죽은 시인의 사회 (Dead Poets Society, 1989) 영문 대본,영어 대본


죽은 시인의 사회 (Dead Poets Society, 1989) 영어 대본

죽은 시인의 사회

 

DEAD POETS SOCIETY

죽은 시인의 사회 영문 대본


Directed by Peter Wyre




 # 1


MOT: Remember, shoulders back.


FAT: Put your arm around your brother. One more.


MAN: Just to review. You're going to follow with the procession until you get to

       the headmaster. At that point he'll indicate to you light the candles of

       the boys.


MAN: Boys settle down. Banners up.


NOL: Ladies and gentlemen, boys, the light or knowledge. 100 years ago in

      1859, 41 boys sat in this room and they were asked the same question

      that now greets you at the start of each semester.

      Gentlemen, what are the four pillors?


STU: Tradition, honor, discipline, excellence.


NOL: In her first year, Welton Academy graduated 5 students. Last

      year we graduated 51, and more than 75% of those went on the Ivy

      League. This kind of accomplishment is the result of fervent dedication

      to the principles taught here. This is why you parents have been sending

      us your sons. This is why we are the best prepatory school in the United

      States. As you know, our beloved Mr. Portius the English Department

      retired last term. You will have the opportunity later to meet his replace-

      ment, Mr. John Keating, himself an honors graduated of this school, and

      who for the past several years has been teaching at the highly regarded

      Chester School in London.


BOY: You forgot your bag.


BOY: Hi, Johnny, how ya doin?


NOL: Glad you could come by.


AND: Thrilling ceremony as usual.


NOL: You've been away too long.


AND: Hello, Dr. Nolan. This is our youngest, Todd.


NOL: Mr. Anderson, you have some big shoes to fill, young man. Your brother

      was one of our finest.


TOD: Thank you.


WOM: Lovely ceremony.


NOL: Glad you liked it.


PER: Gale, good to see you again.


NOL: Tom.


NEI: Hello, Dr. Nolan.


NOL: Neil, we expect great things from you this year.


NEI: Thank you, sir.


PER: He won't disappoint us. Right Neil?


NEL: I'll do my best sir.


FAT: Come on son.


MOT: Chin up.


FAT: No tears.


BOY: I don't want to go here.


MOT: There, therem do your lessons.



 # 2


NEI: Hey, I hear we're going to be roommates. I'm Neil Perry.


TOD: I'm Todd Anderson.


NEI: Why'd you leave Balincrest?


TOD: My brother went here.


NEI: Oh, so you're that Anderson.


FAT: This is for his sinuses. If he can't swallow, give him one of these. If he

            has trouble breathing...


TEA: Fine.


FAT: Did you remember your vaporizer?


SPZ: Yes.


BOY: How's it going Neil?


NEI: Hi.


CAM: Neil, study group tonight?


NEI: Sure.


CAM: Business as usual. Heard you got a new kid. Looks like a stiff. Oops!


NEI: Listen, don't mind Cameron. He was born with his foot in his mouth.

     Know what I mean?


CHA: Rumor has it, you did summer school.


NEI: Yep, chemistry. My father thought I should get ahead. How was your summer,

     slick?


CHA: Keen. Meeks, door closed.


MEE: Yes sir.


NEI: Gentlemen, what are the four pillars?


EVE: Travesty, horror, decadence, excrement.


CHA: Okay, good study group. Meeks aced Latin. I didn't quite flunk English.

              So, if you want, we got our study group.


NEI: Sure, Cameron asked me, too. Anyone mind including him.


CHA: What's his specialty, bootlicking?


NEI: He's your roommate.


CHA: That's not my fault.


MEE: I'm sorry. My name is Stephen Meeks.


NEI: This is Todd Anderson.


TOD: Nice to meet you.


CHA: Charlie Dalton.


KNX: Knox Overstreet.


NEI: Todd's brother was Jeffrey Anderson.


CHA: Oh, yeah. Valedictorian. National Merit Scholar.


MEE: Oh, well. Welcome to Hell-Ton.


CHA: It's every bit as tough as they say, unless you're a genius like Meeks.


MEE: He flatters me. That's why I help him with his Latin.


CHA: And English, and Trig.


NEI: It's open. Father, I thought you'd gone.


CHA: Mr. Perry.


PER: Keep your seats, fellows. Keep your seats. Neil, I've just spoken to

     Mr. Nolan. I think that you're taking too many extracurricular activities

     this semester and I've decided that you should drop school annual.


NEI: But I'm the assistant editor this year.


PER: I'm sorry Neil.


NEI: But Father, I can't. It would't be fair.


PER: Fellows would you excuse us for a moment?

      Don't you ever dispute me in public. Do you understand?


NEI: Father...


PER: After you finish medical school, then you're on your own.Then you can do

      as you damn well please. But until then, you do as I tell you.

      Is that clear?


NEI: Yes sir, I'n sorry.


PER: You know how much this means to your mother, don't you?


NEI: Yes sir, I'm always taking on too much.


PER: Well, that's my boy. Listen, you need anything, you let us know.


NWI: Yes sir.


CHA: Why doesn't he let you do what you want?


KNX: Yeah, Neil. Tell him off. It couldn't get any worse.


NEI: That's rich. Like you guys tell your parents off, Mr. Future Lawyer and

     Mr. Future Banker.


CHA: Okay, so I don't like it any more than you do.


NEI: Just don't tell me how to talk to my father. You guys are the same way.


KNX: All right. Jesus. So what are you going to do?


NEI: Well, I have to drop the annual.


CHA: Well, I wouldn't lose too much sleep over it. It's just a bunch of jerks

       trying to impress Nolan.


NEI: I don't give a damn about any of it.


MEE: Well, Latin? 8:00 in my room?


NEI: Yes.


MEE: Todd, you are welcome to join us.


KNX: Yeh, come along pal.


TOD: Thanks.


McA: Slow down boys, Slowdown, you horrible phalanx of pubescense.


TEA: Pick three laboratory experiments from the project list and report on them

     every 5 weeks. The first twenty questions at the end of chapter one are

     due tomorrow.


McA: Agricolam.....etc.


STU: Agricolam.....etc.


HAG: Your study of trigonometry requires absolute precision. Anyone failing to

     turn in any homework assignment will be penalizedon point off their final

     grade. Let me urge you now not to test me on this point.


CHA: Hey Spaz.


JOH: Well, come on.


CAM: Let's go.


MEE: Where?


JOH: Oh Captain, my captain. Who knows where that came from? Anybody?

      Not a clue? It's from a poem by Walt Whitman about Mr.Abraham

      Lincoln. Now, in this class, you can call me either Mr. Keating or if

      you're slightly more daring, Oh Captian, my Captain. Now let me dispel

      a few rumors so they don't fester into facts.

      Yes, I too attended 'Hell-ton' and survived. And no, at that time I was

      not the mental giant you see before you. I was the intellectual eqivalent

      of a 98 pound weakling. I would go to the beach and people would kick

      copies of Byron in my face. Now Mr. Pitts. That's a rather unfortunate

      name. Mr. Pitts, where are you? Mr. Pitts, you will open your 'Hymal'

      to page 542? Read the first stanza of the poem you find there.


PIT: "To the Virgins to Make Much of Time."


JOH: Yes, that's the one. Somewhat appropriate, isn't it?


PIT: "Gather ye rosebuds while ye may,

       Old time is still a-flying,

       And this same flower that smiles today,

       Tomorrow will be die."


JOH: Thank you, Mr. Pitts. " gather ye rosebuds while ye may," The Latin

      term for that sentiment is Carpe Diem. Who knows what that means?


MEE: Carpe Diem. That's seize the day".


JOH: Very good, Mr....


MEE: Meeks.


JOH: Meeks. Another unusual name. " Seize the day." " Gather ye rosebud

      while ye may." Why does the writer use these lines?


CHA: Because he's in a hurry.


JOH: No. Ding. Thanks for playing anyway. Because we are food for worm

      lads. Because, believe it or not, each of us in this room is one day

      going to stop breathing, turn cold, and die. I would like you to step

      forward over here and persue some faces from the past. You've walked

      past them many times, but I don't think you've really looked at them.

      They're not taht different from you, are they? Same haircuts, full of

      hormones, just like you. Invincible, just like you feel. The world is their

      oyster. They believe they're destined for great things just like many of

      you. Their eyes are full of hope, just like you. Did they wait until it was

      too late to make from their live even one iota of what they were capable?

      Because gentlemen, those boys are fertilizing daffodils. If you listen real

      close, you can hear them whisper their legacy to you. Go on, lean in.

      Listen. You hear it? Carpe, Carpe. Carpe Diem. Seize the day boys. Make

      your lives extraordinary.



 # 3


KNX: That was weird.


NEI: But different.


KNX: Spooky if you ask me.


CAM: Think he'll test us on that stuff?


CHA: Oh come on, Cameron. Don't you get anything?


CAM: What, What?


COA: Let's go boys. Hustle up in here. That means you Dalton.


MEE: Who's up for trig study group?


CHA: Sure.


KNX: I can't make it guys.I have to have dinner at the Danbury's house tonight.


CHA: Who are the Danburys?


NEI: Big alums. How'd you swing that?


KNX: Friend of my dad. They're probably ninety.


NEI: Anything's better than Hell-ton hash, Knox.


KNX: I'll second that.


NEI: Hey. Want to come to the study group tonight?


TOD: No. I've got some history I want to do.


NEI: Suit yourself.


HAG: Ready Overstreet?


KNX: Ready to go sir.


DAN: Chet, can you get that?


CHR: I'll get it. Can I help you?


KNX: Hi, Knox Overstreet. Dr. Hager.


CHR: Hi.


KNX: This is the Danbury's right?


CHR: Are you here to see Chet?


KNX: Mrs. Danbury?


CHR: No.


DAN: Thank you Chris. I'm Mrs. Danbury. You must be Knox.


KNX: Yes.


DAN: Back by 9:00? Please come on in.


CHT: Chris, come on. What are you doing?


CHR: Chet, I'm going.


DAN: Knox, how are you? Joe Danbury.


KNX: Please to meet you sir.


DAN: Well, he's the spitting image of his father, isn't he? How is he?

       Come on in.


KNX: He's great. He just did a big case for G.M.


DAN: I know you're headed. Like father, like son, huh.


CAM: Replace there for X and Y.


NEI: Of course.


CAM: Of course? So what's the problem?


CHA: How was dinner?


KNX: Terrible, awful.


CHA: What happened?


KNX: Tonight I met the most beautiful girl I have ever seen in my entire life.


NEI: Are you crazy? What's wrong with that?


KNX: She's practically engaged, to Chet Danbury.


CHA: He could eat a football.


PIT: Too bad.


KNX: It's worse than too bad Pitts. It's a tragedy.

      A girl this beautiful in love with such a jerk.


PIT: All the good ones go for jerks. You know that.


CAM: Yeah, forget her. Open your trig book and try to figure out problem 5.


KNX: I can't just forget her, Cameron.

      I certainly can't think about trig.


PIT: We got it.


HAG: Gentlemen, five minutes. Let's go.


CHA: Did you see her naked?


KNX: Very funny Dalton.


HAG: That wouldn't be a radio in your lap, would it, Mr. Pitts?


PIT: No sir. A science experiment. Radar.



 # 4


JOH: Gentlemen, open your texts to page 21 of the introduction. Mr. Perry,

      read the opening paragraph of the preface, entitled "Understanding Poetry."


NEI: "Understanding Poetry",  by Dr. J.Evans Prichard, PHD. " To fully

      understand poetry, we must first be fluent with it's meter, rhyme, and

      figures of speech. Then ask two questions: One, how artfully has the

      objective of the poem been rendered? And Two, how important is

      objective? Once these questions have been answered, determining the

      poems greatness becomes relatively simple matter. If the poems score for

      perfection is plotted on the horizontal of a graph, and it's importance is

      plotted on the vertical, then calculating the total area of the poem yields

      the measure of it's greatness. A sonnet by Byron might score high on

      the vertical, but only arrange on the horizontal. A Shakespearean sonnet,

      on the other hand, would score high both horizontally and vertically,

      yielding a massive total area, thereby revealing the poem to be truely

      great. As you proceed through the poetry in this book, practice this rating

      method. As your ability to evaluate poems in this manner grows, so will

      your enjoyment and understanding of poetry."


JOH: Excrement. That's what I think of Mr. J.Evans Pritchard. We're not laying

      pipe. We're talking about poetry. How can you describe poetry like Amerian

      Bandstand? "Oh, I like Byron. I give him a 42, but I can't dance to it."

      Now I want you to rip out that page. Go on. Rip it out. Thank you Mr.

      Dalton. Gentlemen, I'll tell you what, not just that page, but the entire

      introduction. I want it gone, history. Leave nothing of it. Rip it out, rip!

      Be gone J.Evans Pritchard, PHD. Rip. Shred. Tear. I want to hear nothing

      but the ripping of Mr. Pritchard. We'll perforate it, put it on a roll. It's not

      the Bible. You're not going to hell for this. Make a clean tear. I want

      nothing left of it.


CAM: We shouldn't be doing this.


NEI: Rip. Rip.


JOH: Rip, rip it out. Rip.


McA: What the hell is going on here?


JOH: I didn't hear enough rip.


McA: Mr. Keating.


JOH: Mr. McAllister.


McA: I'm sorry. I didn't know you were here.


JOH: I am.


McA: So you are. Excuse me.


JOH: Keep ripping, gentlemen. This is a battle, a war. And the casualties

      could be your hearts and souls. Thank you Mr. Dalton. Armies of acedemics

      going forward, measuing poetry. No. We'll not have any more J.Evans

      Pritchard. Now in my class you'll learn to think for yourselves again. You

      will learn to savor words and language. No matter what anybody tells you,

      words and ideas can change the world. I see that look in Mr. Pitts' eye,

      that 19th century literature has nothing to do with business school or

      medical school. Right?

      Maybe. Mr. Hopkins, you may agree with him, thinking yes, we should

      study our Mr. Pritchard, and learn our rhyme and meter and go quietly

      about the business of achieving other ambitions. I have a little secret for

      you. Huddle up. Huddle up. We don't read poetry because we are

      members of the human race. The human race is filled with passion.

      Medicine, law, business, engineering, these are noble pursuits and

      necessary to sustain life. But poetry, beauty, romance, love, these are

      what we stay alive for. To quote from Whitman:

      " O me. O life. Of the questions of these recurring,

        Of the endless trains of the faithless,

        Of cities filled with the foolish.

        What good amid these o me, o life?

        The answer, that you are here.

        That life exists and identity.

        That the powerful play goes on.

        and you may contribute a verse."

       What will be your verse?


EVE: For what we are about to receive, may the lord make us truly grateful.

      Amen.



 # 5


McA: Quite an interesting class you gave today, Mr. Keating.


JOH: Sorry if I shocked you, Mr. McAllister.


McA: No need to apologize. It was very fascinating, misguided though it was.


JOH: You think so?


McA: You take a big risk by encouraging them to become artists, John. When

      they realize they're not Rhembrandts, Shakespeares, or Mozarts, they'll

      hate you for it.


JOH: We're not talking artists, George. We're talking free thinkers.


McA: Freethinkers at seventeen?


JOH: Funny, I never pegged you as a cynic.


McA: Not a cynic, a realist. Show me the heart unfettered by foolish dreams

      and I'll show you a happt man.


JOH: But only in their dreams can men be truly free. Twas always thus and

      always thus will be.


McA: Tennyson?


JOH: No, Keating.


NEI: Hey, I found this senior annual in the library. Listen to this, "Captian of the

     soccer team, Editor of the annual, Cambridge bound, 'thigh man', and the

     Dead Poets Society,"


CAM: " Man most likely to do anything"


CHA: " Thigh man". Mr. Keating was a hell-raiser.


MEE: What's the Dead poets society?


NEI: I don't know.


CHA: Is there a picture?


NEI: Nothing. No other mention of it.


HAG: That boy there, see me after lunch.


NEI: Mr. Keating? Mr. Keating. Sir.


CHA: Say something.


NEI: Oh Captain, my captain.


JOH: Gentlemen.


NEI: We were just looking at your old annual.


JOH: Oh my god. No, it's not me. Stanley "the tool" Wilson.


NEI: What was the Dead Poets Society?


JOH: I doubt the present administration would look favourably upon that.


NEI: Why, what was it?


JOH: Gentlemen, can you keep a secret?


NEI: Sure.


JOH: The Dead Poets were dedicated to " sucking the marrow out of life"

      That's a phrase from Thoureau we would invoke ay the beginning of every

      meeting. We gather at the old Indian Cave and take turns reading

      from Thoureau, Whitman, Sheely, the bigges. Even some of our own verse.

      In the enchantment of the moment we'd let poetry work it's magic.


KNX: You mean it was a bunch of guys sitting around reading poetry?


JOH: No. Mr. Overstreet. We were romantists. We didn't just read poetry.

      We let it drip from our tongues like honey. Spirits soared, women swooned,

      and gods were created, gentlemen. Not a bad way to spend an evening.

      Thank you, Mr. Perry, for this stroll down Amnesia Lane. Burn that,

      espesially my picture.


NEI: Dead Poets Society.


CAM: What?


NEI: I say we go tonight.


CHA: Tonight?


CAM: Wait a minute.


NEI: Everybody in?


PIT: Where's the cave he's talking about?


NEI: It's beyond the stream. I know where it is.


PIT: That's miles.


CAM: Sounds boring to me.


NEI: Don't go.


CAM: You know how many demerits we're talking about, Dalton?


CHA: So don't come.


CAM: All I'm saying is that we have to be careful. We can't get caught.


CHA: No shit, Sherlock.


HAG: You boys there, hurry up.


NEI: All right, who's in?


CAM: Aw, come on Neil. Hagers....


NEI: Forget Hager. Who's in?


CHA: I'm in.


HAG: I'm warning you, move.


CAM: Me, too.


PIT: I don't know, Neil.


NEI: What, Pitts?


CHA: Pittsie, come on.


MEE: His grades are hurting Charlie.


NEI: You can help him Meeks.


PIT: What is this? A midnight study group?


NEI: Forget it Pitts. You're coming. Meeks, your grades hurting too?


MEE: I'll try anything, once.


CHA: Except sex.


CAM: If we're careful...


CHA: What about you Knox?


KNX: I don't know Charlie.


CHA: Come on Knox, it'll help you get Chris.


KNX: Yeah, how?


CHA: Women swoon.


KNX: Why do they swon? Charlie, tell me why do they swoon?


NEI: You're not listening. Any questions? Follow the stream to the waterfall.


CAM: It's starting to sound dangerous.


CHA: Why don't you just stay home?


McA: For god sake, stop chattering and sit down.


NEI: Todd, are you coming tonight?


TOD: No.


NEI: Why not? You were there. You heard Keating. Don't you want to do

     something about that?


TOD: Yes, but...


TOD: Keating said that everybody took turns reading. I don't want to do that.


NEI: Gosh, if you really have a problem with that, don't you?


TOD: No, I don't have a problem. Neil, I just don't want to do it, okay?


NEI: All right. What if you don't have to read? What if you just come and

     listened?


TOD: That's not how it works.


NEI: Forget how it works. What if they said it was O.K.?


TOD: Are you going to go up and ask them if...no,no.


NEI: I'll be right back.


TOD: Neil.


McA: Oh, shut up, will you?


SPZ: That's for my asthma. Give that back to me. Will you give that back?


NEI: You're in.


SPZ: Get away from me.


STU: Spz, check your pockets. Spz, I have to brush my teeth.


HAG: Cut out that racket in there.



 # 6


CHA: I'm a dead poet. Guys, over.


MEE: It's too wet.


CHA: You trying to smoke us out?


MEE: The smoke's going right up this opening.


NEI: You okay?


CAM: Oh, god, clowns.


NEI: All right. Forget the fire. Let's go gentlemen. I hereby reconvene the Dead

     Poets Society.


NEI: Welton Chapter. The meetings will be conducted by myself and the other

     new intiates now present. Todd Anderson, because he prefers not to read,

     will keep minutes of the meeting. I'll now read the traditional opening

     message by society Henry David Thoreau. " I went to the woods because

     I wanted to live deliberately. I wanted to live deep and suck out all the

     marrow of life."


CHA: I'll second that.


NEI: " To put to rout all that was not life. And not, when I had come to die,

     discover that I had not lived." And Keatings marked a bunch of other pages.


CHA: All right. Inthermission. Dig deep. Right here. Right here, lay it down.


MEE: We're going to put our food in the mud?


CHA: Meeks, put your coat down, picnic blanket.


MEE: Use Meeks' coat.


CHA: Don't keep anything back, either. You guys are always bumming my

      smokes.


MEE: Raisins?


NEI: Yeah.


CHA: Wait a minute, who gave us half a roll.


MEE: I'm eating the other half. Want me to put it back?


NEI: It was a dark and rainy night. This old lady, who had a passion for jisaw

     puzzles, sat by herself in her house at her table to complete her new jisaw

     puzzles. As she pieced the puzzle together, she realized to her

     astonishment the image that was formed was her very own room. And

     the figure at the center of the puzzle as she completed it was herself.

     With trembling hands, she placed the last four pieces and stared in horror

     at the face of a demented madman at the window. The last thing that this

     old lady ever heard was the sound of breaking glass. Yes, this is true.


CAM: I've got one that is even better than that. I do. There's this young

      married couple, and they're driving through the forest at night on a long

      trip. They run out of gas and there's a madman,....


EVE: With the hand.....


CAM: I love that story.


PIT: I told you that one.


CAM: I got that in camp in 6th grade.


PIT: " In a mean abode on the Shankhill Road,

       Lived a man named William Bloat.

       Now he had a wife, the plague of his life,

       Who continually got his goat.

       And one day at dawn with her nightshift on,

       He slit her bloody throat."


CAM: It get's worse.


CHA: Want to hear a real poem? No, I don't need it.


NEI: You memorized a poem?


CHA: I didn't memorized a poem.


MEE: An original piece by Charlie Dalton.


PIT: Take center stage.


CAM: Do you know this is history, right?


CHA: " Teach me to love?

         Go teach thyself more wit.

         I chief thyself more wit.

         The god of love,

         If such a thing there be,

         May learn to love from me."


NEI: Wow, did you write that?


CHA: Abraham Cowley. Okay, who's next?


NEI: Alfred, Lord Tennyson.

     " Come my friends, tis not too late to seek a newer world.

       For my purpose holds to sail beyond the sunset.

       And though we are not now that strength

       Which in old days moved earth and heaven,

       That which we are, we are.

       One equal temper of heroic hearts

       Made weak by time and fate, but strong in will.

       To strive, to seek, to find, and not to yield."


MEE: " Then I had religion. Then I had a vision.

         I could not turn from their revel in derision.

         Then I saw the Congo creeping through the black,

         Cutting through the forest with the golden track."

         etc............



 # 7


JOH: A man is not "very tired". He is exhausted. Don't use "very sad."

      Use, come on Mr. Overstreet, you twerp.


KNX: Morose?


JOH: Exactly. "Morose." Language was developed for one endeavor, and

      that is, Mr. Anderson. Come on, are you a man or an amoeba? Mr. Perry.


NEI: Uh, to communicate?


JOH: No. To woo women. Today we're going to talk about William Shakespeare.

      I know a lot of you look forward to this about as much as you look forward

      to root canal work. We're going to talk about Shakespeare as someone

      who writes something very interesting. Many of you have seen Shakespeare

      done very much like this: " O Titus, bring your friend hither." But if

      you've seen Mr. Brando, you know Shakespeare can be different:

      " Friends, Romans, and Coutrymen, lend me your ears." You can also

      imagine maybe John Wayne as Macbeth going " Well, is this dagger I see

      before me? " Or: "Dogs, sir?" "Oh not just now." "I do enjoy a good dog

      once and a while sir. You can have a three course meal from one dog.

      Start with the canine crudite. Go to your Fido flambe for main course, and

      for dessert a Pekingese parfait, and you can pick your teeth with a little."

      Why do I stand up here? Anybody?


CHA: To feel taller?


JOH: No. Thank you for playing, Mr. Dalton. I stand upon my desk to remind

      myself that we must constantly look at things in a different way. You see,

      the world looks different from up here. You don't believe me? Come see

      for yourseves. Come on.


JOH: Just when you think you know something, you have to look at it in another

      way. Even though it may seem silly or wrong, you must try. Now when you

      read, don't just consider what the author thinks. Consider what you think.

      Boys, you must strive to find your own voice. The longer wait to begin,

      the less likely you'll find it at all. Thoreau said, "Most men live lives of

      quiet desperation." Don't be resigned to that. Break out. Don't just walk

      off the edge like lemmings. Look arounds you. There you go, Mr. Priske.

      Thank you. Yes. Dare to strike out and find new ground. Now in addition

      to your essays, I would like you to compose a poem of your own.

      An origional work. That's right. You have to deliver it aloud in front of the

      class on Monday. Bonne chance, gentlemen. Mr. Anderson, don't think

      that I don't know that this assignment scares the hell out of you, you mole.



 # 8


MEE: We got it Pittsie. Radio free America.


NEI: Ha, I found it.


TOD: You find what?


NEI: What I really want to do, right now. What's really inside of me.


TOD: A Midsummer Nights Dream? What is that?


NEI: It's a playing, dummy.


TOD: I know that. What does it have to do with you?


NEI: They're putting it on at Henley Hall. Open tryouts. Open tryouts.


TOD: Yes, so?


NEI: So, I'm gonna act. Yes, I'm going to be an actor. Ever since I can

     remember, I've wanted to try this. I even tried to go to summer stock

     last year, but of course my father wouldn't let me. For the first time in my

     whole life, I know what I want to do, and for the first time I'm going to do

     it whether my father wants me to or not. Carpe Diem.


TOD: Neil, how are you going to be in a play if your father won't let you?


NEI: First I've to get the part, then I can worry about that.


TOD: Won't he kill you if finds out you went to an audition and didn't even tell

       him.


NEI: No. As far as I'm concerned, he won't have to know about any of this.


TOD: TOD: That's impossible.


NEI: Bullshit. Nothing's impossible.


TOD: Why don't you just call him and ask him and maybe he'll say yes.


NEI: That's a laugh. If I don't ask him, at least I won't be disobeying him.


TOD: Yeah.


NEI: Jesus Todd, who's side are you on. I mean I haven't even got the part

     yet. Can't I even enjoy the idea for a little while?

     You're coming to the meeting this afternoon?


TOD: I don't know. Maybe.


NEI: Nothing Mr. Keating has to say means shit to you, does it? You're in the

     club. Being in the club means being stirred up by things. You look about

     as stirred up as a cesspool.


TOD: You want me out?


NEI: I want you in. But being in means you got to do something, not just say

     you're in.


TOD: Listen, Neil. I appreciate this corcern, but I'm not like you.

      You say things and people listen. I'm not like that.


NEI: Don't you think you could be?


TOD: No. I don't know. That's not the point. The point is there's nothing you

      can do about it. So you can just butt out. I can take care of myself just

      fine. All right?


NEI: No.


TOD: What do you mean?


NEI: No.


TOD: Give me that Neil. Give that back.


NEI: " We are dreaming of ...." Poetry. I'm being chased by Walt Whitman.

      Okay. Okay.


CAM: What are you guys doing? You see chemistry...Hey give me....


TOD: Neil. Don't be immature. Come on.


CHA: I need my....


JOH: Now devotees may argue that one sport or game is inherently better than

      an other. For me, sport is a chance for us to have other human beings

      push us to excel. I want you all to come over here and take a slip of paper

      and line up single file. Mr. Meeks, time to inherit the earth. Mr. Pitts, rise

      above your name. Hand these to the boys, one apiece. You know what to

      do, Pitts.


PIT: " O to struggle against great odds, to meet enemies undaunted."


JOH: Sounds to me like you're daunted. Say it again like you're undaunted.


PIT: " O to struggle against great odds, to meet enemies undaunted."


JOH: Go on next.


STU: " To be a sailor of the world. Bound for all parts."


JOH: Louder.


STU: " Oh to live to be the ruler of life, not a slave. To mount the scaffold.

      To advance to the muzzles of guns with perfect nonchalance."


JOH: Come on Meeks, listen to the music.


MEE: " To dance, clap hands, exult, shout, skip, rool on, float on."


JOH: Yes.


STU: " Oh to have life henceforth the poem of new joys."


JOH: Aw boo. Come on Charlie, let it fill your soul.


CHA: " To indeed be a God."



 #9


NEI: Charlie, I got the part. I'm going to play Puck. I'm going to play Puck.


PIT: What did he say?


NEI: I got the main part. Charlie I got it.


CHA: Congratulations.


TOD: Good for you Neil.


NEI: Okay.


TOD: Neil, how are you gonna do thia?


NEI: I need a letter of permission from my father and Dr. Nolan.


TOD: You're not going to write it?


NEI: Yes I am.


TOD: Neil, you're crazy.


NEI: " I am wring to you on behalf of my son, Neil Perry." This is great.


KNX: I see a sweetness in her smile Bright light shines from her eyes

      Life is complete, contentment is mine Just knowing that she's alive

      Sorry my Captain, it's stupid.


JOH: No. It's a good effort. It touched on one of the major themes, love. A

      major theme not only in poetry but life. Mr. Hopkins. You were laughing,

      you're up.


HOP: " The cat, sat on the mat."


JOH: Congratulations, Mr. Hopkins, yours is the first poem to have a negative

      score on the Pritchard scale. We're not laughing at you. We're laughing

      near you. I don't mind that your poem had a simple theme.

      Sometimes the most beautiful poetry can be about simple things, like a cat

      or a flower or rain. Poetry can come from anything with the stuff of

      revelation in it. Just don't let your poems be ordinary. Now who's next?

      Mr. Anderson, you're sitting their in agony. Come on, Todd, step up and

      let's put you out of your misery.


TOD: I didn't do it. I didn't write a poem.


JOH: Mr. Anderson thinks that everything inside of him is worthless and

      embarrassing. Isn't that right Todd? Isn't that your worst fear? I think you're

      wrong. I think you have something inside og you that is worth a great deal.

      " I sound my barbaric yawp over the rooftops of the world. W.W."

      Uncle Walt again. For those of you who don't know, a yawp is a loud cry

      or yell. Come on, you can't yawp sitting down. Let's go. Up.

      You got to get in yawping stance.


TOD: A yawp?


JOH: Not just a yawp, a barbaric yawp.


TOD: Yawp.


JOH: Come on louder.


TOD: Yawp.


JOH: That's a mouse. Come on louder.


TOD: Yawp.


JOH: Good go. yell like a man.


TOD: Yawp.


JOH: There it is. You see. You have a barbarian in you after all. You don't get

      away that easy. That picture of Uncle Walt up there, what does he remind

      you of? Don't think, answer.


TOD: A madman.


JOH: What kind of madman? Don't think about it, just answer.


TOD: A crazy madman.


JOH: You can do better than that. Clear up your mind. Use your imagination.

      Say the first thing that pops into your head, even if it's total gibberish.


TOD: A sweaty toothed madman.


JOH: Good boy. There's a poet in you after all. Close your eyes.

      Close'em. Now describe what you see.


TOD: Close my eyes?


JOH: Yes.


TOD: And this image floats beside me.


JOH: A sweaty toothed nadman?


TOD: A sweaty toothed madman with a stare that pounds my brain.


JOH: That's excellent. Now give him action. Make him do something.


TOD: His hands reach out and choke me.


JOH: Wonderful.


TOD: All the time, he's mumbling.


JOH: What's he mumbling?


TOD: Mumbling " Truth is like a blanket that always leaves your feet cold."


JOH: Forget them. Stay with thye blanket. Tell me about the blanket.


TOD: You push it, stretch it, it'll never be enough. Kick at it, beat it, it'll never

       cover any of us. From the moment we enter crying, to the moment we

       leave dying, it'll just cover your face as you wail and cry and scream.


JOH: Don't you forget this.


CHA: That's a boy Pittsie. Inhale deeply.


CAM: My dad collects pipes.


PIT: Your parents collect pipes? Oh, that's really interesting.


CHA: Come on Knox, join in.


PIT: Yeah we're from the government. We're here to help.


STU: It's Chris.


PIT: Here's a picture of Chris for you.


KNX: That's not funny.


CHA: Smoke


MEE: Neil?


NEI: Friends, scholars, Welton men.


MEE: What is that, Neil?


PIT: It's a lamp, Meeks.


NEI: No, this is the God of the cave.


MEE: The God of the cave?


STU: Charlie.


CHA: What do you say we start this meeting?


PIT: I need a light.


CHA: Did you bring earplugs? Gentlemen, " Poetrusic" by Charlie Dalton.

      " Laughing, crying, tumbling, mumbling. Got to do more. Got to be more.

        Chaos sceaming. Chaos dreaming. Got to do more. Got to be more."


PIT: Wow, that was nice. That was great. Where did you learn to play like that?


CHA: My parents made me take the clarinet for years.


CAM: I love the clarinet.


CHA: I hate it. The saxophone, the saxophone is more sonorous.


CAM: Woo, sonorous. Vocabulary words.


KNX: I can't take it anymore. If I don't have Chris I'm going to kill myself.


CHA: Knoxious, you got to calm down.


KNX: No, Charlie. That's just my problem. I've been calm all my life. I'm going

      to do something about that.

NEI: Where are you going? What are you going to do?


KNX: I'm going to call.



 #10


CHR: Hello.


KNX: She's going to hate me. The Danburrys will hate me. My parents will kill

      me. All right, god damn it. You're right. Carpe Diem. Even if it kills me.


CHR: Hello?


KNX: Hello, Chris?


CHR: Yes?


KNX: Hi. This is Knox Overstreet. She's glad I called.


CHR: Listen, Chet's parents are going out of town this weekend. He's having a

      party. Like to come?


KNX: Would I like to come to the party?


CHR: Friday night.


KNX: Well, sure.


CHR: Around seven.


KNX: O.K. Great, I'll be there Chris. Friday night, at the Danburrys. Okay.

      Thank you. I'll see you. Bye.

      Yawp. Can you believe it? She was going to call me. She invited me to a

      party with her.


CHA: At Chet Danburry's house.


KNX: Yeah.


CHA: Well?


KNX: So?


CHA: You don't really think she means you're going with her?


KNX: Of course not, Charlie. That's not the point. That's not the point at all.


CHA: What's the point?


KNX: The point is .....


CHA: Yeah?


KNX: That she was thinking about me. I've only met her once and already she's

      thinking about me. Damn it, it's going to guys.

      I feel it. She's going to be mine.


STU: Carpe Diem.


JOH: No grades at stake gentlemen. Just take a stroll. There it is.

      " I don't know what I've been told.

        Doin' poetry is pretty cold.

        Left, right, left right left.

        Left, right, left right left.

        Left, halt."

        Thank you gentlemen. Notice that everyone started at their own stride,

        at their own pace. Mr. Pitts is taking his time. He knew he'd get there

        one day. Mr. Cameron was thinking, " Is this right? It might be right,

        maybe not. I don't know." Mr. Overstreet is driven by a deeper force.

        Yes, we all know that. All right. I didn't bring them up here to ridicule

        them. I brought them up here to illustrate the point of conformity. The

        difficulty of maintaining your own beliefs in the face of others. There are

        those of you, I see a look in your eyes like " I would have walked

        differently." Well, ask yourselves why you were clapping. Now we all have

        a great need for acceptance, but you must trust that your beliefs are

        unique, your own, even though others may think them odd or unpopluar.

        Even though the heard may go " That's bad." Robert Frost said,

        " Two diverged in a yellow wood and I, I took the one less travelled by,

        and that has made all the difference." I want you to find your own walk

        right now, your own way of striding, pacing: any diection, anything you

        want. Whether it's proud or silly. Anything. Gentlemen, the courtyard is

        yours. You don't have to perform. Just make it for yourself. Mr. Dalton,

        will you be joining us?


CHA: Excercising the right not to walk.


JOH: Thank you, Mr. Dalton. You just illustrated the point. Swim against the

      stream.


NEI: Todd? Hey?


TOD: Hey.


NEI: What's going on?


TOD: Nothing. Today is my birthday.


NEI: Is today your birthday? Happy birthday. What did you get?


TOD: My parents gave me this.


NEI: Isn't this the same desk set.....


TOD: Yeah, they gave me the same things as last year.


NEI: Oh.


TOD: Oh.


NEI: Maybe they thought you needed another one.


TOD: Maybe they weren't thinking about anything at all. The funny thing about

      this is I didn't even like it the first time.


NEI: Todd, I think you're underestimating the value of this desk set. I mean who

     would want a football or a baseball?


TOD: Or a car?


NEI: Or a car, if they could have a desk set as wonderful or this one? If I were

     ever going to buy a desk set, twice, I would probably buy this one, both

     times. In fact, it's shape is rather aerodynamic, isn't it? You can feel it.

     This desk set wants to fly. Todd, the world first undamned flying desk set.


TOD: Teah.


NEI: Woo, Oh my. I wouldn't worry. You'll get another one next year.


STU: " To live deep and the marrow of life. To put to rout all that was not life."


CAM: My God.


Tin: Is this it?


CHA: Yeah, this is it. Go on in. It's my cave. Watch your step.


GLO: Hi.


PIT: Oh.


CHA: Guys, meet Gloria and...


TIN: Tina.


CHA: Tina, this is the pledge class of the Dead Poets Society.


GLO: Hello, how do you do?


TIN: Hi, how are you?


CHA: Guys, move. Come on olks, it's Friday night. Let's get on with the meeting

      Guys I have an announcement to make in keeping with  the spirit of

      passionate experimentation of the Dead Poets. I'm giving up the name

      Charlie Dalton. From now on, call me Nuwanda.



 #11


KNX: Hello? Hello? Chris?


CHR: Knox?


KNX: Hi.


CHR: You made it. Bring anybody?


KNX: No.


CHR: No? Ginny Danburry's here. But I have to go find Chet. Why don't you

      go downstairs, that's where everybody is.


KNX: But Chris....


CHR: Make yourself at home.


KNX: Hi guys.


STU: Hey, aren't you Mutt Sanders' brother? Bubba, does this guy look like

      Mutt Sanders to you, or what?


BUB: You're his brother?


KNX: No relation. Never heard of him. Sorry guys.


BUB: Where's our manners? Mutt Sanders' brother and we don't even offer him

      a drink. Have some whiskey pal.


KNX: I don't really drink whiskey.


BUB: To Mutt.


STU: To Mutt.


KNX: To Mutt.


BUB: How the hell is old Mutt anyway?


STU: What's old Mutter been up to?


KNX: You see, I don't really know Mutt.


BUB: To the mighty Mutt.


STU: To mighty Mutt.


KNX: To mighty Mutt.


BUB: Well, I got to go find Patsy. Say hello to Mutt for me, okay?


KNX: Will do.


STU: Hell of a guy, your brother Mutt.


CHA: We going to have a meeting, or what?


GLO: Yeah, if you guy's don't have a meeting, how do we know if we want

     to join?


NEI: Join?


CHA: " Shall I compare thee to a summer's day?

         Thou art more lovely and more temparate."


TIN: That's so sweet.


CHA: I made that up just for you.


TIN: You did?


CHA: I'll write one for you too, Gloria.

      " She walks in beauty like the night.

        She walks in beauty like the night.

        Of cloudless climes and starry skies.

        All that's best, dark and bright

        Meet in her aspect and her eyes."


GLO: That's beautiful.


CHA: There's plenty more where that came from.


KNX: God help me. Carpe Diem.


BUB: Chet. Look.


CHT: What?


BUB: It's Mutt Sanders' brother.


KNX: Huh.


BUB: He's feeling your girl.


CHR: Knox, What are you doing?


CHT: What the hell are you doing?


CHR: Chet, don't. I know this looks bad. Chet, no, you'll hurt him. Stop it.

       Leave him slone. Chet, stop it.


CHT: Bastard.


CHR: Knox, are you all right?


CHT: Get the hell away from him.


CHR: Chet, you hurt him.


CHT: Good.


KNX: I'm sorry. I'm sorry.


CHR: It's okay. It's okay.


CHT: Next time I see you, you die.


TIN: Go ahead, pass it around.


MEE: Me and Pitts are working on a hi-fi system. It shouldn't be that hard to

      put together.


PIT: Yeah, I might be going to Yale, but I might not.


GLO: Don't you guys miss having girls around here?


CHA: That's part of what this club is about. In fact, I'd like to announce I

       published an article in the school paper in the name of the Dead Poets.


CAM: What?


CHA: Demanding girls be admitted to Welton, so we can all stop beating off.


NEI: How did you do that?


CHA: I'm one of the proofers. I slipped the article in.


NEI: It's over now.


CHA: Why, nobody knows who we are.


CAM: Don't you think they're going to figure out who wrote it?

       They're going to come and ask to know what the Dead Poets Society is.

       Charlie, you had no right to do something like that.


CHA: It's Nuwanda, Cameron.


GLO: That's right, it's Nuwanda.


CHA: Are we just playing around out here, or do we mean what we say? If all

      we do is come together and read a bunch of poem to each other what

      the hell are we doing?


NEI: All right, but you still shouldn't have done it, Charlie. This could mean in

     trouble. You don't speak for the club.


CHA: Hey, would you not worry about your precious little neck. If they catch me,

      I'll tell them I made it up.


NOL: Fine. Sit. In this week's issue of Welton Honor, There appeard a profane

      and unauthorized article. Rather than spend my valuable time ferreting out

      the guilty persons, and let me assure you I'll find them, I'm asking any and

      all students who know anything about this article to make themselves known

      here and now. Whoever the guilty persons are, this is your only chance to

      avoid expulsion from this school.


CHA: Welton Academy. Hello? Yes he is. Just a moment. Mr. Nolan, it's for you.

      It's God. He says we should have girls at Welton.


NOL: Wipe that smirk off your face. If you think, Mr. Dalton, that you're the

       first to try to get thrown out of this school, think again. Others have had

       similar notions and have failed just as surely as you will fail. Assume the

       position. Count aloud Mr. Dalton.


CHA: One, two....


NOL: What's the Dead Poets Society? I want names.


NEI: You get kicked out?


CHA: No.


NEI: So what happened?


CHA: I'm to turn everybody in, apologize to the school, and all will be forgiven.


NEI: So what are you going to do? Charlie?


CHA: Damnir Neil, the name is Nuwanda.



   #12


NOL: Excuse me. May we have a word, Mr. Keating?


JOH: Certainly.


NOL: This was my first classroom John. Did you know that? My first desk.


JOH: Didn't know you taught, Dr. Nolan.


NOL: English. Long before your time. It was hard giving it up, I can tell you.

      I'm hearing rumors, John, about some unorthodox teaching methods in

      your classroom. I'm not saying they've had anything to do with the Dalton

      boys' outburst but I don't think I have to warn you, boys of his age are

      very impressionable.


JOH: Your reprimand made quite an impression, I'm sure.


NOL: What was going on in the courtyard the other day?


JOH: Courtyard?


NOL: Boys marching, crapping in union.


JOH: Oh, that. That was an exercise to prove a point, dangerous of conformity.


NOL: John, the curriculum here as set has proven it works. If you question it

       what's to prevent them from doing the same?

JOH: I always thought the idea of education was to learn to think for yourself.


NOL: At these boy's age, not on your life. Tradition, John. Discilpine.

      Prepare them for college and the rest will take care of itself.


CHA: He starts walking around towards my left. "Assume the position, Mr. Dalton"


JOH: It's alright, gentlemen.


CHA: Mr. Keating.


JOH: Mr. Dalton. That was a pretty lame stunt you pulled today.


CHA: You're siding with Mr. Nolan? What about carpe diem and "Sucking all the

       marrow?"


JOH: "Sucking all the marrow out of life" doesn't mean choking on the bone.

       There's a time for daring and there is a time for caution, and a wise man

       understands which is called for.


CHA: But I tuought you'd like that.


JOH: No. You being expelled from school is not daring to me, it's stupid.

      Because you'll miss some golden opportunities.


CHA: Like what?


JOH: Like, if nothing else, the opportunity to attend my classes. Got it ace?


CHA: Aye, aye captain.


JOH: Keep your head about you. That goes for the lot of you.


STU: Yes captain.


JOH: A phone call from God. If it'd been collect, that would have been daring.



 #13


NEI: Father.


MRP: Neil.


NEI: Before you say anything, please let me explain.....


MRP: Don't you dare talk back to me. It's bad enough that you're wasted your

      time with this absurd acting business, but you deliberately deceined me.

      How did you expect to get away with this? Answer me. Who put you up

      to this? Was it that new man, this Mr. Keating?


NEI: No. Nobody, I thought I'd surprise you. I've gotten all A's...


MRP: Did you think I wouldn't find out? "My niece is in a play with your son,"

      says Mrs. Marks. " No," I say. " No you must be mistaken. My son's

      not in a play." You made a liar out of me Neil. Now tomorrow you go to

      them and you tell that your quitting.


NEI: No I can't. I have the main part. The performance is tomorrow night.


MRP: I don't care if the world come to an end tomorrow night, you're through

      with that play. Is that clear? Is that clear?


NEI: Yes sir.


MRP: I made a great many sacrifices to get you here, Neil, and you will not

      let me down.


NEI: No sir.


JOH: It's open. Neil, what's up?


NEI: Can I speak to you a minute?


JOH: Certainly. Sit down. I'm sorry. Get you some tea?


NEI: Tea? Sure.


JOH: Like some milk or sugar in that?


NEI: No thanks. Gosh, they don't give you much room around here.


JOH: That's part of the monastic oath. They don't want wordly things distracting

      me from my teaching.


NEI: She's pretty.


JOH: She's also in London. Makes it a little difficult.


NEI: How do you stand it?


JOH: Stand what?


NEI: You can go anywhere. You can do anything. How can you stand being here?


JOH: Because I love teaching. I don't want to be anywhere else. What's up.


NEI: I just talked to my father. He's making me quit the play at Henley Hall.

     Acting is everything to me. But he doesn't know. I can see his point.

     We're not rich family like Charlie's. He's planning the rest of my life for me

     and he's never asked me what I want.


JOH: Have you ever told your father about what you just told me? About your

      passion for acting? Have you ever showed him that?


NEI: I can't.


JOH: Why not?


NEI: I can't talk to him this way.


JOH: Then you're acting for him too. You're playing the part of the dutiful son.

      I know this sounds impossible, but you have to talk to him, you have to

      show him who you are, what your heart is.


NEI: I know what he'll say. That they're counting on me. He'll just tell me to

     put it out of my mind for my own good.


JOH: You are not an indentured servant. It's not whim for you. You prove it

      to him by your conviction and your passion. You show him that and if he

      still doesn't believe you, then you'll be out of school and you can do

      anything you want.


NEI: No. What about the play? The show is tomorrow night.


JOH: Then you have to talk to him before tomorrow night.


NEI: Isn't therer an easier way?


JOH: No.


NEI: I'm trapped.


JOH: No, you're not.


KNX: Chris. Chris Noel. Do you know whereshe is?


STU: I think she's in room 111.


KNX: Thanks. Excuse me. Chris.


CHR: Knox. What are you doing here?


KNX: I came to apologize for the other night. I brought these and a poem

      I  wrote for you.


CHR: Knox, don't you know that is Chet finds you here, he'll kill you.


KNX: I don't care. I love you Chris.


CHR: Knox, you're crazy.


KNX: Look, I acted like a jerk and I know it. Please accept these.


CHR: No. I can't. Just forget it. Knox, I don't believe this.


KNX: All I'm asking you to do is listen. "The heavens made a girl named Chris,

      with hair and skin of gold. To touch her would be Paradise."


CHA: Cameron you fool. Did you read it to her?


KNX: Yeah.


PIT: What'd she say?


KNX: Nothing.


CHA: What do you mean nothing?


KNX: Nothing. But I did it.


CHA: What did she saying. She had to say something.


KNX: Seize the day.


JOH: Did you talk to your father?


NEI: Yeah. He didn't like it one bit, but at least he's letting me stay in the play.

     He won't ba able to make it. He's in Chicago. But I think he's going to let

     me stay with acting.


JOH: Really? You told him what you told me.


NEI: Yeah. He wasn't happy. But he'll be gone for at least four days. I don't

     think he'll make the show. But I think he'll let me stay with it.

     " Keep up the school work." Thanks.



 #14


PIT: Baby.


MEE: Henley Hall, here I come.


CAM: Excuse m just a moment. Todd, I'm trying to fix this.


MEE: Come on Nuwanda, we'll miss Neil's entrance.


PIT: He said something about "getting red" before we left.


CAM: " Getting red "? What does that mean?


MEE: You know Charlie. So, Charlie, what's this "getting red" bit?


TOD: What is that?


CHA: It's an Indian warrior symbol for virility. Makes me feel potent, like I can

      drive girls crazy.


TOD: Come on, Charlie. The girls are waiting.


CAM: Whoa.


KNX: Chris, what are you doing here?


JOH: Gentlemen, let's go.


KNX: Go ahead guys. I'll catch up.


CHA: Yeah, come on guys.


KNX: Chris, you can't be in here. If they catch you, we're both going to be

      in big trouble.


CHR: But it's fine.......


KNX: Shhhh.


CHR: It's fine for you to come barging into my school and make a complete

      fool out of me.


KNX: I didn't mean to make a fool out of you.


CHR: Well, you did. And Chet, it took everything I could do to keep him from

      coming here and killing you. Knox, you've got to stop this stuff.


KNX: I can't, Chris. I love you.


CHR: Knox, you say that over and over, and you don't even know me.


JOH: Will you be joining us, Mr. Overstreet?


KNX: Go ahead Captain, I'll walk.


CHR: Knox, it just so happens that I could careless about you.


KNX: Then you wouldn't be here warning me about Chet.


CHR: I have to go. I'm going to be late for the play.


KNX: Are you going with him?


CHR: Chet? To a play? Are you kidding?


KNX: Then come with me.


CHR: Knox you are so infuriating.


KNX: Come on, Chris. Just give me one chance. If you don't like me after

      tonight, I'll stay away forever.


CHR: Uh, huh.


KNX: I promise. Dead Poets honor. You come with me tonight and then if if you

      don't want to see me again, I swear I'll bow out.


CHR: You know what would happen if Chet found out?


KNX: He won't know anything. We'll sit in the back and sneak away as soon as

      it's over.


CHR: I suppose you would promise that this would be end of it.


KNX: Dead Poets honor.


CHR: What is it?


KNX: My word.


CHR: You're so infuriating.


BLAH BLAH BLAH BLAH, Shakespeare.


WOM: Really, you were wonderful.


MRP: Excuse me, excuse me.


BOY: Neil, you were great. Neil?


NEI: I can't guys.


JOH: Neil? Neil, you have the gift. What a performance. You left even me

      speechless. You have to saty with...


MRP: Get in the car. Keating, you stay away from my son.


CHA: Neil? Neil? Mr. Perry, come on.


JOH: Don't make it any worse than it is.


CHA: Is it okay if we walk back? Captain?


MRP: We're trying very hard to understand why it is you insist on defying us.

       Whatever the reason, we're not going to let you ruin your life. Tomorrow

       I'm withdrawing you from Welton and enrolling you in Braden Military School.

       You're going to Harvard and you're going to be a doctor.


NEI: That's ten more years. Father, that's a lifetime.


MRP: Stop it. Don't be so dramatic. You make it sound like a prision term.

       You don't understand, Neil. You have opportunities that I never even

       dreamt of. And I'm not going to let you....


NEI: I've got to tell you what I feel.


MRP: Tell me what you feel? What is it? Is it more of this, this acting business?

       Because you can forget that. What?


NEI: Nothing.


MRP: Nothing? Well, then let's go to bed.


NEI: I was good. I was really good.


MRS: Go and get some sleep.


MRP: It's going to be all right. What was that?


MRS: What?


MRP: That sound.


MRS: Waht sound? Tom, what is it? What's wrong?


MRP: Neil?


MRS: I'll look outside, Neil?


MRP: Oh, Neil. Oh my God. Oh my God. My poor son.


MRS: He's all right. He's all right.


MRP: Stop it. Stop it.


CHA: Todd. Todd.


TOD: Charlie, what is it?


CHA: Neil was dead.


TOD: It's so beautiful.


CHA: Todd.


KNX: It's okay, Todd.


PIT: It's all right. It's okay, Todd.


CHA: Shh. It's all fight.


TOD: He wouldn't have.....


MEE: You can't explain it.


TOD: It was his father.


PIT: No.


TOD: He wouldn't have left us. His father did it. His father killed him.


MEE: Todd.


CHA: Leave him be.


NOL: The death of Neil Perry is a tragedy. He was a fine student, one of

       Welton's best. And he will be missed. We've contacted each of your

       parents to explain the situation. Naturally, they're all quite concerned.

       At the request of Neil's family, I intend to conduct a thorough inquiry

       into this matter. your complete cooperation is expected.


CHA: You told him about this meeting?


MEE: Twice.


CHA: That's it guys. We're all fried.


PIT: What do you mean?


CHA: Cameron's fink. He's in Nolan's office right now finking.


PIT: About what?


CHA: The club, Pittsie. Think about it. The Board of Directors, the Trustees,

      and Mr. Nolan. Do you think for one moment they're going to let this thing

      just blow over? Schools go down because of things like this. They need a

      scapegoat.


CAM: What's going on, guys.


CHA: You finked, didn't you?


CAM: Finked? I don't know what the hell you're talking about?


CHA: You told Nolan everythingabout the club, is what I'm talking about.


CAM: Look, in case you haven't heard, Dalton, there's something called an

       honor code at this school, all right? If the teacher asks you a question,

       you tell the truth or you're expelled.


KNX: Charlie.


CHA: He's a rat. He's in up to his eyes, so he ratted to save himself.


KNX: Don't touch him Charlie. You do and you're out.


CHA: I'm out anyway.


KNX: You don't know that, not yet.


CAM: He's right there Charile. And if you guys are smart, you will do exactly

       what I did and cooperate. They're not after us. We're victim. Us and Neil.


CHA: What's that mean? Who are they after?


CAM: Mr. Keating, of course. The Captain himself. I mean you guys didn't think

       he could avoid responsibility, did you?


CHA: Mr. Keating responsible for Neil? Is that what they're saying?


CAM: Who else do you think, dumb ass? The Administration? Mr. Perry?

       Mr. Keating put us up to all this crap, didn't he? If it wasn't for Mr. Keating,

       Neil would be cozied up in his room right now studying chemistry and

       dreaming of being called doctor.


TOD: That's not true Cameron. And you know that. He didn't put us up to

      anything. Neil loved acting.


CAM: Believe what you want, but I say let Keating fry. Why ruin our lives?

       He just signed your expulsion papers, Nuwanda. And if the rest of you are

       smart, you'll do exactly what I did. They know everything anyway. You

       can't save Keating, but you can save yourselves.


HAG: Knox Overstreet.


TOD: Meeks.


MEE: Go away, I have to study.


TOD: What happened to Nuwanda?


MEE: Expelled.


TOD: What'd you tell them?


MEE: Nothing they didn't already know.


HAG: Todd Anderson.


DAD: Hello son.


MOM: Hello darling.


NOL: Have a seat Mr. Anderson. I think we're pretty well put together what's

      happened here. You do admit to being a part of this Dead Poets Society?


DAD: Anser him, Todd.


TOD: Yes sir.


NOL: I have here a detailed description of what occurred at your meetings.

      I describe how your teacher Mr. Keating encouraged you boys to organize

      this club and to use it as a source of inspiration for reckless and self-

      indulgent behavior. It describes how Mr. Keating, both in and out of the

      classroom encouraged Neil Perry to follow his obsession with acting when

      he knew all along it was against the explicit orders of Neil's parents.

      It was Mr. Keating's blatant abuse of his position as teacher that led

      directly to Neil Perry's death. Read that document carefully Todd.

      Very carefully. If you've nothing to add or amend sign it.


TOD: What's going to happen Mr. Keating?


DAD: I've had enough. Sign the paper Todd.



 #15


NOL: Sit. I will be teaching this class through exams. We'll find a permanent

      English teacher during the break. Who will tell me where you are in the

      Pritchard textbook? Mr. Anderson.


TOD: Uh, in the ...


NOL: I can't hear you Mr. Anderson.


TOD: In the Pritchard...


NOL: Kindly inform me, Mr. Cameron.


CAM: We skipped around alot, sir. We covered the Romantics and some of

       the chapters on post-civil war literature.


NOL: What about the realists?


CAM: I believe we skipped most of that, sir.


NOL: All right, then. We start over. What is poetry?


JOH: Excuse me. I came for my personals. Should I come back after class?


NOL: Get them now Mr. Keating. Gentlemen, turn to page 21 of the Introduction.

      Mr. Cameron, read aloud the excellent essay by Dr. Pritchard on

      " Understanding Poetry."


CAM: That page has been ripped out, sir.


NOL: Well borrow somebody else's book.


CAM: They're all ripped out sir.


NOL: What do you mean "they're all ripped out" ?


CAM: Sir we...


NOL: Never mind. Read.


CAM: " Understanding Poetry," by J.Evans Pritchard, PHD. " To fully understand

       poetry, we first be fluent with it's meter, rhyme, and figures of speech.

       Then ask two questions: one, how artfully has the objective of the poem

       been rendered? And two, how important is that objective? Question one

       rates the poem's perfection. Question two rates it's importance. And once

       these question have been ansered, determining the poems greatness

       becomes a relatively simple matter. If the poems score for perfection is

       plotted on the ................


TOD: Mr. Keating? They made everybody sign it.


NOL: Quiet, Mr. Anderson.


TOD: You've got to believe me. It's true.


JOH: I do believe you Todd.


NOL: Leave Mr. Keating.


TOD: But it wasn't his fault.


NOL: Sit down Mr. Anderson. One more outburst from you or anybody else and

      and you're out of this school. Leave Mr. Keating. I said leave Mr. Keating


TOD: Oh Captian, my captian.


NOL: Mr. Overstreet. I warn you. Sit down. Sit down. Sit down, all of you.

      I want you seated. Sit down. Leave Mr. Keating. All off you. I warn you

      seated. Do you hear me?


JOH: Thank you boys. Thank you.




****THE END****

 

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