Good will hunting
GOOD WILL HUNTING
an Original Script
by Matt Damon and Ben Affleck
The following is Matt Damon and Ben Affleck's Award Winning Script for Good Will Hunting.
EXT. SOUTH BOSTON ST. PATRICK'S DAY PARADE -- DAY
INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING
The bar is dirty, more than a little run down. If there is
ever a cook on duty, he's not here now. As we pan across
several empty tables, we can almost smell the odor of last
nights beer and crushed pretzels on the floor.
Oh my God, I got the most fucked up
thing I been meanin' to tell you.
As the camera rises, we find FOUR YOUNG MEN seated around a
table near the back of the bar.
Oh Jesus. Here we go.
The guy holding court is CHUCKIE SULLIVAN, 20, and the largest
of the bunch. He is loud, boisterous, a born entertainer.
Next to him is WILL HUNTING, 20, handsome and confident, a
soft-spoken leader. On Will's right sits BILLY MCBRIDE, 22,
heavy, quiet, someone you definitely wouldn't want to tangle
with. Finally there is MORGAN O'MALLY, 19, smaller than the
other guys. Wiry and anxious, Morgan listens to Chuckie's
horror stories with eager disgust.
All four boys speak with thick Boston accents. This is a rough,
working class Irish neighborhood and these boys are its product.
You guys know my cousin Mikey Sullivan?
Well you know how he loves animals
right? Anyway, last week he's drivin'
What? Come on!
(trying not to laugh)
I'm sorry, 'cause you know Mikey, the
fuckin guy loves animals, and this is
the last person you'd want this to
Chuckie, what the fuck happened?
Okay. He's driving along and this
fuckin' cat jumps in front of his car,
and so he hits this cat--
Chuckie is really laughing now.
--That isn't funny--
--and he's like "shit! Motherfucker!"
And he looks in his rearview and
sees this cat-- I'm sorry--
So he sees this cat tryin to make it
across the street and it's not lookin'
It's walkin' pretty slow at this point.
You guys are fuckin' sick.
So Mikey's like "Fuck, I gotta put
this thing out of its misery"--So he
gets a hammer--
--out of his tool box, and starts
chasin' the cat and starts whackin' it
with the hammer. You know, tryin' to
put the thing out of its misery.
And all the time he's apologizin' to
the cat, goin' "I'm sorry." BANG,
"I'm sorry." BANG!
Like it can understand.
And this Samoan guy comes runnin'
out of his house and he's like "What
the fuck are you doing to my cat?!"
Mikey's like "I'm sorry"--BANG--" I hit
your cat with my truck, and I'm just
trying to put it out of it's misery"--
BANG! And the cat dies. So Mikey's
like "Why don't you come look at the
front of the truck." 'Cause the other
guy's all fuckin flipped out about--
Watching his cat get brained.
Morgan gives Will a look, but Will only smiles.
Yeah, so he's like "Check the front of
my truck, I can prove I hit it 'cause
there's probably some blood or
--or a tail--
And so they go around to the front of
his truck...and there's another cat on
Is that unbelievable? He brained an
The opening credits roll over a series of shots of the city
and the real people who live and work there, going about their
We see a panoramic view of South Boston.
Will sits in his apartment, walls completely bare. A bed, a
small night table and an empty basket adorn the room. A
stack of twenty or so LIBRARY BOOKS sit by his bed. He is
flipping through a book at about a page a second.
Chuckie stands on the porch to Will's house. His Caddilac
idles by the curb. Will comes out and they get in the car.
We travel across crowded public housing and onto downtown.
Finally, we gaze across the river and onto the great cement-
domed buildings that make up the M.I.T. campus.
INT. M.I.T. CLASSROOM -- DAY
The classroom is packed with graduate students and TOM.
PROFESSOR LAMBEAU (52) is at the lectern. The chalkboard behind
him is covered with theorems.
Please finish McKinley by next month.
Many of you probably had this as
undergraduates in real analysis. It
won't hurt to brush up. I am also
putting an advanced fourier system on the
main hallway chalkboard--
I'm hoping that one of you might prove
it by the end of the semester. The
first person to do so will not only be
in my good graces, but go on to fame
and fortune by having their
accomplishment recorded and their name
printed in the auspicious "M.I.T. Tech."
Prof. Lambeau holds up a thin publication entitled "M.I.T.
Tech." Everyone laughs.
Former winners include Nobel Laureates,
world renowned astro-physicists, Field's
Medal winners and lowly M.I.T.
Okay. That is all.
A smattering of applause. Students pack their bags.
INT. FUNLAND -- LATER
The place is a monster indoor funpark. Will, Chuckie, Morgan,
and Billy are in adjoining batting cages. Will has disabled
the pitching machine in his and pitches to Chuckie. The boys
have been drinking. Will throws one to Chuckie, high and tight.
Several empty beer cans sit by the cage.
Another pitch, inside.
You're gonna get charged!
You think I'm afraid of you, you big
fuck? You're crowdin' the plate.
Will guns another one, way inside.
Stop brushin' me back!
Stop crowdin the plate!
Chuckie laughs and steps back.
Casey's bouncin' at a bar up Harvard.
We should go there sometime.
What are we gonna do up there?
I don't know, we'll fuck up some smart
(stepping back in)
You'd prob'ly fit right in.
Will fires a pitch at Chuckie's head. Chuckie dives to avoid
being hit. He gets up and whips his batting helmet at Will.
EXT. SOUTH BOSTON ROOFTOP -- EARLY AFTERNOON
SEAN McGUIRE (52) sits, FORMALLY DRESSED, on the roof of his
apartment building in a beat-up lawn chair. Well-built and
fairly muscular, he stares blankly out over the city.
On his lap rests an open invitation that reads "M.I.T. CLASS
OF '67 REUNION."
While the morning is quiet and Sean sits serenely, there is a
look about his that tells us he has faced hard times. This is
a man who fought his way through life. On his lonely stare we:
EXT. M.I.T. CAMPUS LAWN -- DAY
A thirty year REUNION PARTY has taken over the lawn. A well
dressed throng mill about underneath a large banner that reads
"WELCOME BACK CLASS OF '72." We find Professor Lambeau standing
with a drink in his hand, surveying the crowd. He is
interrupted by an approaching STUDENT.
Excuse me, Professor Lambeau?
I'm in your applied theories class.
We're all down at the Math and Science
I know. We just couldn't wait 'till
Monday to find out.
Find out what?
Who proved the theorem.
EXT. TOM FOLEY PARK, S. BOSTON -- AFTERNOON
In the bleachers of the visiting section we find our boys,
drinking and smoking cigarettes. Will pops open a beer. The
boys have been here a while and it shows.
Billy sees something that catches his interest.
Who's that? She's got a nice ass.
Their P.O.V. reveals a girl in stretch pants talking to a beefy
looking ITALIAN GUY (BOBBY CHAMPA)
Yah, that is a nice ass.
You could put a pool in that backyard.
Who's she talking to?
That fuckin' guinea, Will knows him.
Yah, Bobby Champa. He used to beat
the shit outta' me in Kindergarten.
He's a pretty big kid.
Yah, he's the same size now as he was
Fuck this, let's get something to eat...
What Morgan, you're not gonna go talk
The boys get up and walk down the bleachers.
I could go for a Whopper.
Let's hit "Kelly's."
Morgan, I'm not goin' to "Kelly's Roast
Beef" just cause you like the take-out
girl. It's fifteen minutes out of our
What else we gonna do we can't spare
All right Morgan, fine. I'll tell you
why we're not going to "Kelly's."
It's because the take-out bitch is a
fuckin' idiot. I'm sorry you like her
but she's dumb as a post and she has
never got our order right, never once.
She's not stupid.
She's sharp as a marble.
We're not goin'.
I don't even like "Kelly's."
INT. M.I.T. HALLWAY -- LATER
Lambeau, still in his reunion formal-wear, strides down the
hallway, carrying some papers. A group of students have
gathered by the chalkboard. They part like the red sea as he
approaches the board. Using the papers in hand, he checks the
proof. Satisfied, he turns to the class.
This is correct? Who did this?
Dead silence. Lambeau turns to an INDIAN STUDENT.
Nemesh shakes his head in awe.
Lambeau erases the proof and starts putting up a new one.
Well, whoever You are, I'm sure you'll
find this one challenging enough to
merit coming forward with your identity.
That is, if you can do it.
INT. CHUCKIE'S CAR, DRIVING IN SOUTH BOSTON -- CONTINUOUS
The street is crowded as our boys drive down Broadway. They
move slowly through heavy traffic, windows down. Chuckie sorts
through a large "KELLY'S ROAST BEEF" BAG as he drives.
Will holds the wheel for Chuckie as he looks through the bag.
Chuckie gets out fries for himself, hands Will his fries.
I, I had a Kelly's Double Burger.
Would you shut the fuck up! I know
what you ordered, I was there!
So why don't you give me my sandwhich?
What do you mean "your sandwhich?" I
Yah, all right...
How much money you got?
I told you, I just got change.
Well give me your fuckin' change and
we'll put your fuckin' sandwhich on
Why you gotta be an asshole Chuckie?
I think you should establish a good
line of credit.
Laughter, Chuckie goes back searching through the bag.
She didn't do it again did she?
Jesus Christ. Not even close.
Did she get my Double Burger?
NO SHE DIDN'T GET YOUR DOUBLE BURGER!!
IT'S ALL FUCKIN' FLYIN' FISH FILET!!
Chuckie whips a FISH SANDWHICH back to Morgan, then to Billy.
Jesus, that's really bad, did anyone
even order a Flyin' Fish?
No, and we got four of 'em.
You gotta' be kiddin' me. Why do we
even go to her?
Cause fuckin' Morgan's got a crush on
her, we always go there and when we
get to the window he never says a
fuckin' word to her, he never even
gets out of the car, and she never
gets our order right cause she's the
goddamn MISSING LINK!
Well, she out did herself today...
I don't got a crush on her.
Push in on Will who sees something O.S.
Will's P.O.V. reveals BOBBY CHAMPA and his friends walking down
the street. One of them casually lobs a bottle into a wire
garbage can. It SHATTERS and some of the glass hits a FEMALE
PASSERBY who, although unhurt, is upset.
What do we got?
I don't know yet.
Will's P.O.V.: The woman says something to Bobby. He says
something back. By the look on her face, it was something
Come on, Will...
No, why didn't you fight him at the
park if you wanted to? I'm not goin'
now, I'm eatin' my snack.
So don't go.
Will is out of the door, jogging toward Bobby Champa. Billy gets
out, following Will with a look of casual indifference.
Morgan, Let's go.
I'm serious Chuckie, I ain't goin'.
Leaving the car, Chuckie opens his door to follow.
(spins in his seat)
You're goin'. And if you're not out
there in two fuckin' seconds, when I'm
done with them you're next!
And with that, Chuckie is out the door.
EXT. SIDEWALK --CONTINUOUS
Will comes jogging up towards BOBBY CHAMPA, calling out from
across the street,
(smiling, good naturedly)
Hey, Bobby Champa! I went to
Kindergarten with you right? Sister
Bobby is bewildered by this strange interruption and unsure of
Will's intentions. Just when it looks as though Bobby might
remember him, Will DRILLS HIM with a sucker-punch which begins
FIGHT SEQUENCE: 40 FRAMES OVER M. GAYE'S "LET'S GET IT ON."
Will's momentum and respectable strength serve to knock the
hapless Champa out cold.
As soon as Will hits Bobby, his friends CONVERGE ON WILL.
Billy JUMPS IN and wrestles one guy to the ground. The two
exchange messy punches on the sidewalk.
Will is in trouble, back pedaling, dodging punches, trying to
avoid being overrun.
When Will goes for one guy, another has an open shot and he
HAMMERS WILL with a right hand to the head.
Will is staggered and bleary, as a second guy winds up for a
shot he is BLIND SIDED by Chuckie who hits the kid like he was
a tackling sled, lifting him off the ground.
Chuckie turns to see Will still outnumbered. It's all Will
can do to stay standing as Morgan DROP KICKS one of Champa's
boys from the hood of a car.
Contrary to what we might think, Morgan is actually quite a
fighter. He peppers the kid with a flurry of blows.
The fight is messy, ugly and chaotic. Most punches are thrown
wildly and miss, heads are banged against concrete, someone
throws a bottle.
In the end, it's our guys who are left standing, while Bobby's
friends stagger off. Chuckie and Morgan turn to see Will,
standing over the unconscious Bobby Champa, still POUNDING
ANGLE ON WILL: SAVAGE, UGLY, VICIOUS, AND VIOLENT
Whatever demons must be raging inside Will, he is taking them
out on Bobby Champa. He pummels the helpless, unconscious
Champa, fury in his eyes. Chuckie and Billy pull Will away.
The POLICE finally arrive on the scene and having only witnessed
Will's vicious attack on Champa, they grab him.
EXT. SIDEWALK (FULL SPEED) -- CONTINUOUS
A crowd of onlookers have gathered. Chuckie addresses them.
Hey, thanks for comin' out.
Yeah, you're all invited over to
Morgan's house for a complementary
The Police slam Will into the hood of a car.
Hey, I know it's not a French cruller,
but it's free.
The cop holding Will SLAMS his [Will's] face into the hood, another cop
uses a baton to press Will's face into the car. The look of
rage returns to Will's eye.
Get the fuck off me!
Will resists. Another cop comes over. Will KICKS HIM IN THE
KNEE, dropping the cop. Momentarily freed, Will engages in a
fracas with three cops. More converge on Will, who -- though he
struggles -- takes a beating.
EXT. SEAN'S ROOF -- NIGHT
Sean sits, exactly as we first saw him, except his tie is now
loose and an empty bottle of BUSHMILLS is at his side. He
stares out over the City. A MATRONLY LANDLADY comes out of a
doorway on the roof.
Sean doesn't answer.
Sean? You okay?
It's getting cold.
After a moment, she retreats back down the stairs. Sean doesn't
EXT. CHARLES RIVER, ESTABLISHING SHOT -- MORNING
The morning sun reflects brilliantly off the river.
EXT. COURTHOUSE -- NEXT MORNING
Will emerges from the courthouse. Chuckie is waiting for him
in the Cadillac with two cups of DUNKIN' DOUGHNUTS coffee. He
hands one of them to Will. This feels routine.
When's the arraignment?
Chuckie pulls away.
EXT. M.I.T. CAMPUS, ESTABLISHING SHOT -- MORNING
Students walk to class, carrying bags. More than any other,
students seem to be heading into one PARTICULAR CLASSROOM.
INT. M.I.T. CLASSROOM -- MORNING
The classroom is even more crowded than last we saw it.
Tom takes notes as Lambeau plays along with the excited
environment with mock pomposity and good humor.
Is it my imagination, or has my class
I look around and see young people who
are my students, young people who are
not my students as well as some of my
colleagues. And by no stretch of my
imagination do I think you've all come
to hear me lecture.
But rather to ascertain the identity
of who our esteemed "The Tech" has
come to call "The Mystery Math
He holds up the M.I.T. Tech featuring a silhouetted figure,
emblazoned with a large, white question mark. The headline
reads "Mystery Math Magician strikes again."
Whoever you are, you've solved four of
the most difficult theorems I've ever
given a class. So without further
ado, come forward silent rogue, and
receive thy prize.
The class waits in breathless anticipation. A STUDENT shifts
his weight in his chair, making a noise.
Well, I'm sorry to disappoint my
spectators, but it appears there will
be no unmasking here today. I'm going
to have to ask those of you not enrolled
in the class to make your escape now
or, for the next three hours be
subjected to the mundities of
People start to gather their things and go. Lambeau picks up
a piece of chalk and starts writing on the board.
However, my colleagues and I have
conferred. There is a problem on the
board, right now, that took us two
years to prove. So let this be said;
the gauntlet has been thrown down.
But the faculty have answered the
challenge and answered with vigor.
INT. M.I.T. HALLWAY -- NIGHT
Lambeau comes out of his office with Tom and locks the door.
As he turns to walk down the hallway, he stops. A faint TICKING
SOUND can be heard. He turns and walks down the hall.
Lambeau and Tom come around a corner. His P.O.V. reveals a
figure in silhouette blazing through the proof on the
chalkboard. There is a mop and a bucket beside him. As Lambeau
draws closer, reveal that the figure is Will, in his janitor's
uniform. There is a look of intense concentration in his eyes.
Will looks up, immediately starts to shuffle off.
Oh, I'm sorry.
What're you doing?
Lambeau follows Will down the hall.
What's your name?
Don't you walk away from me. This is
people's work, you can't graffiti here.
Hey fuck you.
Well... I'll be speaking to your
Will walks out. Lambeau goes to "fix" the proof, scanning the
blackboard for whatever damage Will caused. He stops, scans
the board again. Amazement registers on his face.
Down the hall, we hear the DOOR CLOSE. He turns to look for
Will, who is gone.
EXT. BOW AND ARROW PUB, CAMBRIDGE -- THAT NIGHT
A crowded Harvard Bar. Will and our gang walk by a line of
several Harvard students, waiting to be carded.
You got fired, huh?
Yeah, Morgan. I got fired.
How fuckin' retarded do you have to be
to get shit-canned from that job? How
hard is it to push a fuckin' broom?
You got fired from pushing a broom,
you little bitch.
Yah, that was different. Management
--Yah, restructurin' the amount of
retards they had workin' for them.
Fuck you, you fat fuck.
Least I work for a livin'.
Why'd you get fired?
Management was restructurin'.
My uncle can probably get you on my
What the fuck? I just asked you for a
I told you "no" yesterday!
After two students flash their ID's to the doorman (CASEY)
our boys file past him.
(one after another)
What's up Case.
With an imperceptible nod, Casey waves our boys through. A
fifth kid, a HARVARD STUDENT, tries to follow. He is stopped
by Casey's massive, outstretched arm:
INT. BOW AND ARROW -- CONTINUOUS
Chuckie is collecting money from the guys to buy a pitcher,
all but Morgan cough up some crumpled dollars.
So, this is a Harvard bar, huh? I
thought there'd be equations and shit
on the wall.
INT. BACK SECTION, BOW AND ARROW -- MOMENTS LATER
Chuckie returns to a table where Will, Morgan and Billy have
made themselves comfortable. He [Chuckie] spots two ATTRACTIVE YOUNG
HARVARD WOMEN sitting together at the end of the bar. Chuckie
struts his way toward the women and pulls up a chair. He
flashes a smile and tries to submerge his thick Boston accent.
Hey, how's it goin'?
So, you ladies ah, go to school here?
Yeah, cause I think I had a class with
At this point, several interested parties materialize. Morgan
Billy and Will try, as inconspicuously as possible, to situate
themselves within listening distance. A rather large student
in a HARVARD LACROSSE sweatshirt, CLARK (22) notices Chuckie.
He [Clark] walks over to Skylar and Lydia, nobly hovering over them as
protector. This gets Will, Morgan, and Billy's attention.
Ah, history I think.
Yah, it's not a bad school...
At this point, Clark can't resist and steps in.
What class did you say that was?
How'd you like that course?
Good, it was all right.
History? Just "history?" It must
have been a survey course then.
Chuckie nods. Clark notices Chuckie's clothes. Will and Billy
exchange a look and move subtly closer.
Pretty broad. "History of the World?"
Hey, come on pal we're in classes all
day. That's one thing about Harvard never
seizes to amaze me, everybody's talkin'
about school all the time.
Hey, I'm the last guy to want to talk
about school at the bar. But as long
as you're here I want to "seize" the
opportunity to ask you a question.
Billy shifts his beer into his left hand. Will and Morgan see
this. Morgan rolls his eyes as if to say "not again..."
Oh, I'm sure you covered it in your
Clark looks to see if the girls are impressed. They are not.
When Clark looks back to Chuckie, Skylar turns to Lydia and
rolls her [own] eyes. They laugh. Will sees this and smiles.
To tell you the truth, I wasn't there
much. The class was rather elementary.
Elementary? Oh, I don't doubt that it
was. I remember the class, it was
just between recess and lunch.
Will and Billy come forward, stand behind Chuckie.
All right, are we gonna have a problem?
There's no problem. I was just hoping
you could give me some insight into
the evolution of the market economy in
the early colonies. My contention is
that prior to the Revolutionary War
the economic modalities especially of
the southern colonies could most aptly
be characterized as agrarian pre-
Will, who at this point has migrated to Chuckie's side and is
completely fed-up, includes himself in the conversation.
Of course that's your contention.
You're a first year grad student.
You just finished some Marxian
historian, Pete Garrison prob'ly, and
so naturally that's what you believe
until next month when you get to James
Lemon and get convinced that Virginia
and Pennsylvania were strongly
entrepreneurial and capitalist back in
1740. That'll last until sometime in
your second year, then you'll be in
here regurgitating Gordon Wood about
the Pre-revolutionary utopia and the
capital-forming effects of military
Well, as a matter of fact, I won't,
because Wood drastically underestimates
the impact of--
--"Wood drastically underestimates the
impact of social distinctions predicated
upon wealth, especially inheriated
wealth..." You got that from "Work in
Essex County," Page 421, right? Do
you have any thoughts of your own on
the subject or were you just gonna
plagerize the whole book for me?
Clark is stunned.
Look, don't try to pass yourself off
as some kind of an intellect at the
expense of my friend just to impress
Clark is lost now, searching for a graceful exit, any exit.
The sad thing is, in about 50 years
you might start doin' some thinkin' on
your own and by then you'll realize
there are only two certainties in life.
Yeah? What're those?
One, don't do that. Two-- you dropped
a hundred and fifty grand on an
education you coulda' picked up for a
dollar fifty in late charges at the
Will catches Skylar's eye.
But I will have a degree, and you'll
be serving my kids fries at a drive
through on our way to a skiing trip.
Maybe. But at least I won't be a prick.
And if you got a problem with that, I
guess we can step outside and deal
with it that way.
While Will is substantially smaller than Clark, he [Clark] decides not
to take Will up on his [Will's] offer.
If you change your mind, I'll be
over by the bar.
He turns and walks away. Chuckie follows, throwing Clark a
look. Morgan turns to a nearby girl.
My boy's wicked smart.
INT. BOW AND ARROW, AT THE BAR --LATER
Will sits with Morgan at the bar watching with some amusement
as Chuckie and Billy play bar basketball game where the players
shoot miniature balls at a small basket. In the B.G.
Occasionally we hear Chuckie shouting "Larry!" When he scores.
Skylar emerges from the crowd and approaches Will.
I've been sitting over there for forty-
five minutes waiting for you to come
talk to me. But I'm just tired now
and I have to go home and I wasn't
going to keep sitting there waiting
Skylar. And by the way.
That guy over there is a real dick and
I just wanted you to know he didn't
come with us.
I kind of got that impression.
Well, look, I have to go. Gotta' get
up early and waste some more money on
my overpriced education.
I didn't mean you. Listen, maybe...
Here's my number.
Skylar produces a folded piece of paper and offers it to Will.
Maybe we could go out for coffee
Great, or maybe we could go somewhere
and just eat a bunch of caramels.
When you think about it, it's just as
arbitrary as drinking coffee.
Okay, sounds good.
I was trying to be smooth.
But at twelve-fifteen I was gonna come
over there and talk to you.
See, it's my life story.
Five more minutes and I would have got
to hear your best pick-up line.
The caramel thing is my pick-up line.
Glad I came over.
EXT. BOW AND ARROW -- LATER
Our boys are walking out of the bar teasing one another about
their bar-ball exploits. Across the street is another bar
with a glass front. Morgan spots Clark sitting by the window
with some friends.
There goes that fuckin' Barney right
now, with his fuckin' "skiin' trip."
We should'a kicked that dude's ass.
Will crosses the street and approaches the plate glass window
and stands across from Clark, separated only by the glass. He
POUNDS THE GLASS to get Clark's attention.
Clark turns toward Will.
DO YOU LIKE APPLES?
Clark doesn't get it.
DO YOU LIKE APPLES?!
Will SLAMS SKYLAR'S PHONE NUMBER against the glass.
WELL I GOT HER NUMBER! HOW DO YA LIKE
Will's boys erupt into laughter. Angle on Clark, deflated.
EXT. STREET -- NIGHT
The boys make their way home, piled into Chuckie's car, laughing
EXT. CHARLES STREET BRIDGE -- DAWN
Shot of car crossing over the Charles St. Bridge, overtaking a
EXT. CHARLESTON BACKROAD -- DAWN
Travelling through narrow back roads in Charlestown, passing
the Bunker Hill monument.
EXT. WILL'S APARTMENT -- DAY
Arriving at Will's house and dropping him off.
INT. M.I.T. BUILDING AND GROUNDS GARAGE -- DAY
Lambeau walks into a small garage facility. The area stores
lawn machinery and various tools. An older man, TERRY (58)
sits behind the desk reading the BOSTON HERALD sports page.
Lambeau has obviously never been here before. He takes in the
surroundings, somewhat uncomfortable. Gets dirty.
Excuse me. Is this the buildings and
Yeah, can I help you?
I'm trying to find the name of a student
who works here.
No students work for me.
Could you just check, because the young
man who works in my building--
Which one's your building?
Terry checks a list behind his [own] desk. Looks up.
Well, if something was stolen, I should
know about it.
No, no. Nothing like that. I just
need his name.
I can't give you his name unless you
have a complaint.
Please, I'm a professor here and it's
Well, he didn't show up for work
Terry takes a beat. Holding all the cards.
Look, he got his job through his P.O.
so you can call him.
Terry goes through a stack of paper on his desk. Takes out a
card and hands it to Lambeau. Lambeau looks blankly at the
card which reads: "PAROLE EMPLOYMENT PROGRAM."
INT. COURTROOM -- DAY
Will stands before JUDGE MALONE (40) being arraigned. It is
fairly unceremoniuous, the coutroom nearly empty, save Will
and the PROSECUTOR. Lambeau walks in from the back.
There is a lengthy legal precedent,
Your Honor, going back to 1789, whereby
a defendent may claim self-defense
against an agent of the government
where the act is shown to be a defense
against tyranny, a defense of liberty--
The Judge interrupts to address the prosecutor.
Mr. Simmons, Officer McNeely who signed
the complaint isn't in my courtroom.
Why is that?
He's in the hospital with a broken
knee, Your Honor. But I have
depositions from the other officers.
Henry Ward Beecher proclaimed, in his
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