BACK TO THE FUTURE


Written by

Robert Zemeckis & Bob Gale




FOURTH DRAFT
Revised 10-12-84
with pink revisions
of 10-21-84


(Obviously, the tipped-in pink sheets that are a typical indication of revised pages
or pages containing revisions within a script are not here. Lines and scenes
containing the revisions of 10-21-84 are marked at the end of the line by an
asterisk, as is also shown in the script itself.)
1 INT. HIGH SCHOOL CLASSROOM – DAY 1

A WEIRD FLICKERING WHITE LIGHT strobes the screen, accompanied by
PROJECTOR NOISE and an OFFSCREEN CONTROL VOICE.

CONTROL VOICE
5...4...3...2...1...detonate!

The light becomes brighter as we pan over to

MARTY MCFLY, 17, a good looking kid wearing Porsche mirrored sunglasses. The
mirrored lenses reflect the MUSHROOM CLOUD of an ATOMIC EXPLOSION.

THE RED HOT OPENING MUSIC KICKS IN; MAIN TITLES BEGIN.

Marty starts bopping along to the rock and roll: he*s plugged into a WALKMAN STEREO.

2 We are in a contemporary HIGH SCHOOL CLASSROOM where 30-odd STUDENTS are 2
watching a 16mm documentary about nuclear tests of the 1950*s.

3 SERIES OF SHOTS — MAIN TITLE SEQUENCE 3

BORED STUDENTS watch the black and white movie. Only MARTY is enjoying himself as
he listens to his stereo. MARTY*S FOOT taps in time to the music.

The teacher, MRS. WOODS, 45, looks around the classroom, making sure the students
are paying attention. She has her “Classroom Planner” in hand.

The DOCUMENTARY depicts preparations for another atomic test, noting that as many as
20 were done per year in the 1950*s. Footage shows how tract houses were constructed
and peopled with mannequins to measure the effects of radiation.

MARTY continues bopping along.

MRS. WOODS notices the one head in the classroom bobbing. MARTY*S FOOT continues
tapping in time. Now a PAIR OF WOMAN *S SHOES step into FRAME.

MRS. WOODS is standing next to Marty, arms crossed, staring at him. But Marty is
oblivious to her.

SUZY PARKER, 17, an attractive girl, looks over at the situation in horror.

Mrs. Woods waves her hand in front of Marty*s sunglasses. No reaction.

Suzy turns her head — she can*t bear to watch.

Mrs. Woods gently removes Marty*s sunglasses. His eyes are closed.

Now Marty opens his eyes. He looks up at Mrs. W oods and smiles weakly.

Mrs. Woods does not smile back. She rips the headphones off — the MUSIC abruptly
stops.

MRS. WOODS
Mr. McFly: detention!
 CUT TO:

4 INT. STRICKLAND *S OFFICE — DAY 4

CLOSE ON MARTY*S WALKMAN in a pair of ELDERLY MALE HANDS being placed in a
WOODWORKING VISE mounted on the corner of a desk.

WIDER — STRICKLAND *S OFFICE

Marty fidgets uneasily in an uncomfortable wooden chair in the sparse office as MR.
STRICKLAND, a humorless disciplinarian, tightens the vise. Strickland looks 60, but he
could be 160 — he was born old and stayed that way, and has been at this school forever.

Strickland gazes at Marty, then gives the vise a hard, mean wrench. The Walkman
CRUNCHES... it sounds like bones breaking.

Marty cringes.

Strickland smiles sadistically and hands it back to him.

MR. STRICKLAND
That*s number three, isn*t it, McFly?

MARTY
Four.

MR. STRICKLAND
You don*t like school, do you, McFly?

Marty rolls his eyes. Is this question for real?

MARTY
Oh, no. sir. I LOVE school.

MR. STRICKLAND
(snaps at him)
You*ve got a real attitude problem, you know that?
(opens a file on his desk)
You*re a slacker, McFly. You*ve got aptitude, but you don*t apply yourself.
You remind me of your father: He was a slacker, too.

Marty just sits there, bored.

MR. STRICKLAND
Now, for slacking off in class and for having a serious attitude problem, your
punishment is two weeks in detention, with me, starting this afternoon.

MARTY
This afternoon? But I can*t! Me and my band have an audition at 3:45 for
the YMCA dance. It*s really important that I be there — they*re counting on
me. I gotta be there at 3:45.

MR. STRICKLAND
Too bad, McFly. I guess this isn*t your day.
 Marty is sick.

CUT TO:

5 INT. DETENTION CLASSROOM — ON A WALL CLOCK — DAY 5
It*s 3:28.

WIDER
A regular math classroom used as detention after hours. Again, we see signs of an old *
school dressed to be more modern: green chalkboards, repainted walls, new desks, and a
sprinkler system.

8 or 10 STUDENTS are seated far apart from each other throughout the room. All are
supposedly studying. One of them has a SKATEBOARD along with his books.

MARTY is at the pencil sharpener in the back, sharpening a pencil...but the look on his
face indicates he*s up to something. He looks at the clock, looks up at the SPRINKLER
PIPE, then glances toward the front of the room.

MR. STRICKLAND sits at the teacher*s desk, grading a LARGE STACK OF PAPERS.

Marty finishes at the sharpener. He sticks a PIECE OF GUM in his mouth and starts
chewing like mad. Then he steps alongside the CAROUSEL SLIDE PROJECTOR and
surreptitiously sneaks the lens into his jacket pocket. He quickly returns to his seat.

Now, Strickland stands up and starts toward Marty! Did he see Marty swipe the lens? No,
he*s merely “patrolling” the room.

When Strickland isn*t looking, Marty produces a matchbook and a rubber band from the
pencil pouch of his loose leaf binder. He opens the matchbook cover and sticks his gum to
the backside.

He waits for Strickland to walk past him, then quickly, Marty stands and, using the rubber
band, fires the matchbook at the ceiling.

Strickland whirls around upon hearing the snap, but Marty is already seated, “studying.”
Strickland looks around suspiciously, but sees nothing. He continues along.

Marty glances up: The gum is holding the matchbook on the ceiling, right near the sprinkler
valve. He smiles.

Now Marty sets his mirrored sunglasses on his leg positioning them to reflect the rays of
the sun up at the matchbook.

That done, he pulls the lens out of his pocket and focuses the beam onto the matchbook.
He adjusts the lens ever so slightly... there! Perfect! A hot white pinpoint of light is focused
on the matchbook.

MR. STRICKLAND returns to his paper grading. He marks an entire set of answers wrong
and puts “F” at the top of a paper. The next paper has two right. Strickland gives it an “F+.”

MARTY continues holding the lens as steady as he can, watching anxiously for results.

ABOVE there is a faint trace of SMOKE on the matchbook.
 THE CLOCK now reads 3:37.

STRICKLAND grades his LAST PAPER, THEN STANDS UP AND STARTS PULLING
DOWN THE W INDOW SHADES!

MARTY is horrified! Strickland is 3 shades away from Marty*s window. Marty looks
anxiously up at the matchbook.

MARTY
(under his breath)
Come on, come on...!

Strickland pulls down the next shade.

There is more smoke from the matchbook...

MARTY
Burn, you sucker...!

Strickland pulls down another shade. The next one is Marty*s...

Strickland steps toward it...

Suddenly the matchbook ignites! FIRE!

Immediately the FIRE ALARM SOUNDS and the SPRINKLERS GO OFF!

MARTY
FIRE!!!

Students jump up and scream as water sprays all over them! They rush for the door.
MARTY grabs the kid with the skateboard, named W EEZE.

MARTY
Weeze — let me borrow this! I*ll bring it back tomorrow!

Marty takes the skateboard and dashes out.

MR. STRICKLAND
Stop! Wait! We must file out in an orderly fashion!

Another sprinkler goes off and sprays Strickland right in the face!

6 EXT. HILL VALLEY HIGH SCHOOL — DAY 6

It*s a classic WPA style high school, built in the 1930*s. Marty dashes out, jumps on the
skateboard, and skateboards down the front steps!

7 EXT. HILLY RESIDENTIAL STREET — DAY 7

Marty comes from around the corner, skateboards down a hill, weaving through traffic. He
skateboards like a champ.

8 EXT. STREET — TOW N SQUARE — DAY 8
 This is HILL VALLEY, a northern California town; it *s October. The town has been here a
while — and its town square business district is beginning to deteriorate... undoubtedly
because there*s a mall someplace.

The old courthouse, now the Department of Social Services, has a clock tower — but the
clock is stopped at 10:02.

A time and temperature clock on the BANK reads 3:43.
MARTY skateboards down the business street and across traffic, narrowly missing being
hit by a car!

9 INT. YMCA — STAGE — DAY 9

3 MEMBERS of the PINHEADS rock band, KEYBOARDS, BASS and DRUMS, exchange
nervous glances, repeatedly checking their watches. They*re all set up on stage.

SUZY PARKER is also here — but she*s not part of the band. *

Suddenly, Marty skateboards onto the stage. *

SUZY
Marty!

Marty gives her a wink; she smiles.

Marty*s guitar, amp and microphone have already been set up for him. He picks up the
guitar and tunes up, then looks over at Suzy.

Suzy smiles and holds up her crossed fingers. Marty grins back. Clearly, they*re “an item.”

Marty practices a riff...and he*s great. You can*t tell where the guitar ends and the man
begins. He turns and addresses the dance committee.

MARTY
All right, we*re the Pinheads, and we*re gonna rock ‘n roll!

They kick into a red hot number. Marty*s fingers dance across the strings and frets in a
complicated lead line. He*s terrific, and the band sounds great.

They get only about 25 seconds into the number when a VOICE calls out.

DANCE COMMITTEEMAN
That*s enough. Thank you.

Marty and the group stop playing, exchanging bewildered glances.
*
CUT TO:

10 EXT. TOWN SQUARE — DAY 10

On some of the boarded up buildings are ELECTION POSTERS: “RE-ELECT MAYOR
‘GOLDIE* WILSON: HONESTY, DECENCY, INTEGRITY” and a picture of the incumbent.
Mayor Wilson is black, about 45, with a GOLD FRONT TOOTH.

MARTY and SUZY are walking together. She carries her schoolbooks: he has the
skateboard. And he*s depressed.

SUZY
Marty, one rejection isn*t the end of the world.

MARTY
I don*t know. Maybe I*m just not cut out for music.

SUZY
But you*re good, Marty. You*re really good. And this audition tape of yours *
is great... (she gives him back a CASSETTE TAPE) You*ve got to send it in *
to that record company. *

MARTY
But what if they hate it? What if they say, “get outta here, kid, you got no
future?” Why should I put myself through all that anxiety? (He sighs.) I*m
sorry. I guess I sound like some kinda schizoid neurotic.

SUZY
Well, according to my shrink, all of our emotional anxieties are a direct result
of the influence our parents had in our childhood.

MARTY
In that case, you can kiss me off right now. You*ve met my old man. You
know what a zero he is.

Suzy nods knowingly. They are walking past a TOYOTA DEALERSHIP. *

SUZY
At least he*s letting you borrow the car tomorrow night. That*s a step in the
right direction.

MARTY
Hey, I*m TAKING the car tomorrow night. That way it saves him the anxiety
of making a decision.

Marty spots a tricked-out black SUPRA in the showroom. *

MARTY
Hey, check out that tricked-out Supra. Now THAT *S a car. (sighs, admiring it *
longingly) Someday, Suzy, someday... *

SUZY
What about your mother? Does she know?

MARTY
Are you kidding? She thinks I*m going camping with the guys. If she found
out I was going camping with you, she*d shit.

Marty sprays some BINACA in his mouth.

SUZY
(nods knowingly)
My shrink says a lot of parents are sexually repressed.
 MARTY
My mom*s not sexually repressed. How can you be repressed about
something you know absolutely nothing about?

They pause across from the former courthouse building.

SUZY
(flirting)
She*s just trying to keep you respectable.

MARTY
(flirting back)
She*s not doing a very good job, is she?

They move closer...

SUZY
Terrible...

They*re about to kiss...

CLOCK WOMAN (O.S.)
Save the Clock Tower!

Marty and Suzy turn. A middle-aged CHURCH GROUP TYPE WOMAN has a donation can
and an armful of printed FLYERS.

CLOCK WOMAN
Please make a donation to save the clock tower.

MARTY
Lady, can*t you see I*m busy here?

CLOCK WOMAN
Mayor Wilson is sponsoring an initiative to repair that clock...

She points to the stopped clock on the old courthouse building.

CLOCK WOMAN
(continuing)
We at the Hill Valley Preservation Society think it should be preserved
exactly the way it is.

MARTY
But it doesn*t tell time. What good is it?

CLOCK WOMAN
It*s part of our history. Here — it *s all in this flyer. (gives Marty one) 30
years ago, lightning struck that clock tower, and the clock hasn’t run since.
We at the society feel it *s a landmark of scientific importance, attesting to
the power of the Almighty.

MARTY
All right, lady. Here*s a quarter.
 Marty drops a quarter into her can.

She nods and moves along to bother someone else.

MARTY
(to Suzy)
Now... you were saying that my mother wasn*t doing a very good job...

They move closer again as before, about to kiss...

Suddenly, a MALE VOICE booms out over a P.A.

SPEAKER VOICE (O.S.)
Marty! Marty McFly!

Marty turns.

A medium sized RV with speakers mounted on the side is idling across the street. The
vehicle is quite used. It*s towing a tarped vehicle on a trailer.

Marty recognizes it, and rolls his eyes.

MARTY
Doc, I*m busy.

DRIVER
It*ll only take a minute...

MARTY
(to Suzy)
Come on, you should see what*s inside this thing.

They go over and step inside.

11 INT. RV — TOWN SQUARE — DAY 11

The driver is DR. EMMETT BROWN, about 65. He looks like an old hippie, with shoulder
length white hair, Hawaiian shirt, faded jeans, an Indian turquoise around his neck and
lively — almost wild — eyes. He*s full of energy, full of life, talks f ast, and is immediately
likable for his eccentricities.

With him in the RV is his big DOG, “EINSTEIN.”

The inside of the vehicle is full of CLOCKS — every imaginable type, a Cuckoo, a
Grandfather, even a classic “Felix the Cat with moving eyes”. All of them are in dead sync.
There is also a bank of state-of-the-art component video and audio equipment. The 25-inch
monitor is tuned to MTV. There are discarded fast food cartons, and a spilled box of sugar
coated cereal, an unmade bed, a doggie dish, and tools and electronic parts. We might
also notice a lead canister with purple radiation symbols.

MARTY
What *s up, Doc?

BROWN
One a.m., right, Marty? You*re gonna be there, right? Twin Pines Mall. *
 MARTY
Yeah, right.

Brown takes the “Save the Clock” flyer out of Marty*s hand.

BROWN
Let me write it down for you so you don*t forget... (writes on the back) “Twin *
Pines Mall... one a.m.” Twin Pines Mall — remember when that used to be *
Peabody*s farm? It was all farmland out there. No — I guess that was *
before your time, Marty. *

He folds the flyer and sticks it in Marty*s pocket.

BROWN
(continuing)
You*re feeling all right, Marty? You*ve been getting plenty of rest?

MARTY
Yeah, but Doc, exactly what are we gonna do at one a.m.?

BROWN
You want me to spoil it for you? Don*t worry about it — it*ll be great.

MARTY
You*re not planning on breaking into another power plant or something...?
That was kinda risky.

BROWN
That*s the point, Marty. Risk. Risk makes life worth living. What would you
rather do, sleep?

Brown checks one of the 4 watches on his arm.

BROWN
(sudden urgency)
It*s almost time — quiet!

Suzy gives Marty a bewildered look, but Marty knows what’s about to happen...

It*s exactly 4 o*clock, and all of the clocks CHIME at once — dings, dongs, electronic
tones, cuckoo birds...

Brown loves it — he drinks it up like a proud father.

BROWN
I love that!

MARTY
Look, Doc, we*ve gotta go. I*ll...see you tonight.

BROWN
Yes! At one a.m.! It could change your life.

Marty and Suzy step out of the RV.
12 EXT. STREET — TOW N SQUARE — DAY 12

Marty and Suzy watch the RV go.

SUZY
I don*t know if you should be hanging out with a guy like that after midnight.

MARTY
Doc Brown *s all right — he*s just a little hung up on time. A couple of years *
ago, he showed up at my house and hired me to sweep out this garage of
his. He pays me 50 bucks a week, gives me free beer... and gives me total
access to his record collection — he*s got this great old record collection.
(a beat)
Hard to believe he was one of the world*s greatest nuclear physicists. *

Down the street, Brown*s RV waits for an ELDERLY MAN to hobble across the street.
Brown *s voice booms out over his P .A.

BROWN (V.O. P.A.)
Let*s move it, Gramps! You*re not that old!

Suzy gives Marty a look of disbelief.

MARTY
(shrugs)
Too much radiation, I guess.
(a beat, moves closer to her)
Where were we?

She smiles and moves toward him.

SUZY
I think we were right here...

Again they*re about to kiss...

A CAR HORN HONKS LOUDLY. Suzy turns away.

SUZY
That*s my Dad. See you tomorrow.

She hops into the waiting car. Marty watches it go.

MARTY
This is not my day.

13 OMITTED
13*

14 EXT. MCFLY HOUSE — DUSK
14
A WRECKER is in the McFly driveway with a 1979 Plymouth Reliant in tow: its front end is
completely smashed, as if someone rammed it into a brick wall. The truck driver is
unhitching it.

Looking on with horror is timid GEORGE McFLY, 47, a balding, boring, uninspired man
who wears a suit he bought at Sears 4 years ago.

Next to him is BIFF TANNEN, 48, an intimidating lout, who wears gold chains and pinky
rings, with sartorial taste to match.

MARTY skateboards up to the scene and is shocked. He listens as Biff lambasts his father.

BIFF
I can*t believe you did this, McFly. I can*t believe you loaned me your car
without telling me it had a blind spot. I could have been killed!

GEORGE
Biff, I never noticed any blind spot before.

BIFF
It*s there, McFly. How else can you explain this?

GEORGE
Can I assume that your insurance will pay for this?

BIFF

My insurance? It’s your car. Your insurance should pay for it. I wanna know
who*s gonna pay for THIS! (indicates his stained suit) I spilled beer all over
it when that car hit me. Who *s gonna pay the cleaning bill?

George hesitates, then meekly pulls out his wallet.

GEORGE
Do you think 20 dollars will cover it?

Biff snatches the 20 dollar bill out of George*s hand.

BIFF
It*s a start. And hey... where*s my reports?

GEORGE
Well, I haven*t finished them yet. I figured since they weren*t due till
Monday...

BIFF
(knocks on George*s head)
Hello? Anybody home? Think, McFly, think! I*ve gotta have time to get ‘em
retyped. If I turn in my reports in your handwriting, I*ll get fired.

GEORGE
Okay, I*ll finish them tonight and run them over first thing in the morning.

BIFF
Not too early — I sleep in on Saturday.
(about to leave)
Oh, hey, McFly: your shoe*s untied.
 GEORGE
(falling for it)
Huh?

He looks down and Biff hits him on the chin. Biff laug hs loudly.

BIFF
Don’t be so gullible, McFly!

Biff walks over to his sparkling year old CADILLAC on the street. He spots Marty.

BIFF
Hiya, kid. How do you like my new paint job?

Marty doesn*t. He steps over to his father, outraged. He *s about to say something, but
George raises his hands and cuts him off.

GEORGE
I know what you*re going to say, son, and you*re right. You*re right. But he
happens to be my supervisor, and I*m afraid I*m just not very good at
confrontations.

MARTY
But Jesus Christ, Dad, look at the car! Look what he did to the car!

GEORGE
I know. And I know you were counting on using it, and I*m sorry.

MARTY
Do you have any idea how important this was to me, Dad? Do you have any
idea at all?

GEORGE
(shrugs)
Well... I guess I don*t...

Biff screeches out in his Cadillac.

MARTY
Dad, did it ever occur to you to say “no?” To just once try saying “no?”

GEORGE
Son, I know it*s hard for you to understand, but the fact is, I*m just not a
fighter.

MARTY
Try it once, Dad. Just one time, say “no.”

Now the NEXT DOOR NEIGHBOR sticks his head out the window of the adjacent house.
He*s 40, pot-bellied, named HOWARD.

HOWARD
Hey, McFly! My kid*s selling Girl Scout cookies! I told her you*d be good for
a case.
 Marty shakes his head. George gulps, then calls back. *

GEORGE
Well... okay.

Marty shakes his head hopelessly.

CUT TO:

15 INT. AT THE McFLY DINNER TABLE — NIGHT 15

The McFly family is dining on meat loaf, Kraft macaroni and cheese, Bird*s Eye mixed
vegetables, and French*s instant mashed potatoes.

Marty*s mother, LORRAINE, 47, was once very attractive. Now she*s OVERWEIGHT, in a
rut, a victim of suburban stagnation. She has more food on her plate than anyone else, and
a glass of vodka.

GEORGE has papers in front of him instead of food: he*s doing the work Biff gave him.
He*s also glancing at the TV, which is tuned to a “Honeymooners” rerun.

Sister LINDA, 19, is cute but wears too much eye makeup; brother DAVE, 22, wears a
MCDONALD*S UNIFORM and is wolfing down his food.

GEORGE *
(to Marty) *
Believe me, son, you*re better off not having the aggravation of dealing with *
that YMCA dance. You*d have to worry about getting all your equipment *
there, making contingency plans in case someone got sick, making sure you *
got paid correctly, settling with the Musician*s union... and what if you were *
so good that other people wanted to hire you? You*d have to worry about *
scheduling your jobs around school. Believe me, son, you*re better off *
without those headaches. *

MARTY *
Thanks for the pep talk, Dad. *

LORRAINE
Kids, your Uncle Joey didn*t make parole again. I think it would be nice if
you all dropped him a line.

MARTY
Uncle “Jailbird Joey”?

DAVE
He*s your brother, Mom.

LINDA
Yeah. I think it*s a major embarrassment having an uncle in prison.

LORRAINE
We all make mistakes in life, children. *
 DAVE
(checks watch)
Damn, I*m late.

He wipes his mouth and hurries off.

LORRAINE
Please watch your language, David.

LINDA
(to Marty)
Suzy Parker called... wants you to call her back.

LORRAINE
I don*t like her, Marty. Any girl who calls up a boy is looking for trouble. Pass
the mashed potatoes, please.

Marty passes them and Lorraine takes a big helping.

LINDA
Oh, Mother, there*s nothing wrong with calling a boy.

LORRAINE
Well, I think it *s terrible, girls chasing boys. I never chased a boy when I was
your age. I never called a boy, or asked a boy on a date, or sat in a parked
car with a boy. Because when you behave like that, boys won*t respect you,
Linda. They*ll think you*re cheap.

Linda rolls her eyes. She*s heard this a million times.

LINDA
Then how are you ever supposed to meet anybody?

LORRAINE
It*ll just happen. Like the way I met your father.

LINDA
But that was so stupid! Grandpa hit him with his car.

LORRAINE
It was meant to be.

LINDA
I still don*t understand what Dad was doing in the middle of the street.

LORRAINE
What was it, George? Birdwatching?

GEORGE
(absorbed in his work)
Huh? Did you say something, Lorraine?

LORRAINE
(to Linda and Marty)
Anyway, Grandpa hit him with the car and brought him into the house. He
 seemed so helpless... like a little lost dog. And my heart just went out to him.

LINDA
Yeah, Mom, you*ve told us a million times: “Florence Nightingale to the
rescue.”

LORRAINE
(thoughtfully, remembering)
The next weekend, we went on our first date: the “Enchantment Under the
Sea” school dance. I*ll never forget it — it was the night of that terrible *
thunderstorm. Remember, George?

GEORGE
What *s that, dear?

LORRAINE
(ignores him; to Marty and Linda)
Your father kissed me for the very first time on the dance floor... and that
was when I realized I was going to spend the rest of my life with him.

Marty and Linda exchange a look and shake their heads.

LINDA
I can*t believe Dad actually got up enough nerve to kiss you in public.

LORRAINE
Well, I may have encouraged him a little...

MARTY
I*ll bet you had to practically jump on his bones.

Marty gets up, finished eating.

LORRAINE
You watch your mouth, young man. And excuse yourself when you get up
from the table.

Marty is already out of the room.

MARTY (O.S.)
May I be excused?

CUT TO:

16 INT. MARTY*S BEDROOM — NIGHT 16

Marty*s walls are covered with posters of rock stars and cars — particularly Toyota Supras. *

There is also a portable home synthesizer, a tape recorder, and a stack of lead sheets.

Marty sits at his desk, with an submission form that has an “R & G RECORDS” letterhead, *
an envelope, and the cassette tape Suzy Parker gave him. There*s also a picture of Suzy *
there.

He signs the form and puts it in the envelope, along with the cassette tape. He is about to
 seal it — then he hesitates, and ponders a moment. He stares at the envelope — it *s *
addressed to the “R & G RECORDS, NEW TALENT DIVISION.” He sighs, shakes his
head, pulls the tape out and chucks the envelope and application into the trash can.

CUT TO:

16-A INT. MARTY*S BEDROOM — CLOCK ON MARTY*S NIGHTSTAND 16-A*

It*s almost 12:30. CAMERA PANS to pick up Marty lying asleep on the bed fully clothed. *

Now Marty*s CORDLESS PHONE beeps. Marty stirs and answers it. *

MARTY
(into phone)
Hello?
(a beat, rolls his eyes)
No, I haven*t forgotten, Doc. One a.m., Twin Pines Mall. *

He hangs up and shakes his head.

CUT TO:

17 EXT. TWIN PINES MALL PARKING LOT — NIGHT 17*

CAMERA PANS from the lit entrance sign, depicting 2 PINE TREES with “TW IN PINES *
MALL” in lettering below (along with a digital clock at 12:59) to pick up MARTY on his *
skateboard with another WALKMAN (it *s a different brand than the one Strickland
smashed). Marty skateboards around a corner of the mall and sees Brown *s RV on the
vast, sodium vapor lit parking lot. DR. BROWN is clad in a white radiation suit, hood off,
(still with his Indian turquoise around his neck)and EINSTEIN, are both next to

A SLEEK, STAINLESS STEEL DELOREAN SPORTS CAR. It*s been modified with some
wicked looking units on its rear engine, giving it a particularly dangerous feel. There are
coils along the front and rear decks.

There are also several small cases of supplies and equipment, and a piece of American
Tourister luggage around the RV.

Marty skateboards over, totally blown away by the car.

MARTY
Jeez, Doc, a DeLorean! What the hell did you do to it?

BROWN
Grab the camera and start taping, Marty. I*ll explain as we go.

Brown indicates a HOME VIDEO CAMERA nearby. Marty picks it up.

MARTY
And what*s with the Devo suit?

Brown lifts open the driver*s side gull wing door.

BROWN
Come on, Einstein. Get in, boy.
 The dog obediently jumps in and sits in the driver*s seat. Brown buckles him in with the
shoulder harness. The dog has a BATTERY OPERATED DIGITAL CLOCK hanging
around his neck.

Marty begins taping, handheld, cinema verite style.

BROWN
(to Marty and video camera)
All right, this is test #1. Please note that Einstein *s clock here is in precise
synchronization with my control watch.

Brown holds up a digital watch next to Einstein*s clock; indeed, the two are in dead sync.

BROWN
(to the dog)
Good luck, Einie.

Brown reaches in and starts the ignition. The DeLorean engine ROARS to life. Brown turns
on the headlights and lowers the gull wing door, sealing Einstein in.

He steps back and picks up a REMOTE CONTROL UNIT, similar to one for a radio
controlled toy car. There are buttons labeled “Accelerator” and “Brake”, a joystick, and an
L.E.D. digital readout labeled “Miles Per Hour.” Brown flicks the power switch on and, using
the accelerator button and joystick for steering, sends the DeLorean down to the far, far
end of the parking lot. He turns the car around so that it *s pointing toward them, idling.

BROWN
Here we go, Marty. If my calculations are correct, when the car hits 88 miles
an hour, you*re gonna see some serious shit.

Brown takes a deep breath, then pushes the accelerator button.

The DeLorean takes off, shifting gears automatically.

The L.E.D. speedometer passes 30.

The stainless steel vehicle zooms faster... past 40...

Marty is getting it all on tape.

Brown watches intently. The speedometer climbs past 60.

IN THE CAR, Einstein remains calmly in the driver*s seat. Gauges and instrument lights
mounted behind him begin flashing.

Brown *s finger holds the accelerator button down.

The meter passes 75.

The DeLorean keeps accelerating, approaching Marty and Brown. The coils mounted
around the car begin glowing.

18 EXT. MALL, DELOREAN — NIGHT 18

The speedometer hits 85... 86... 87... 88...
 The automobile is suddenly engulfed by a BLINDING WHITE GLOW — then, BLAM! It*s
gone, a TRAIL OF FIRE left in its wake.

19 Brown and Marty are hit by a sharp blast of air. Marty blinks in disbelief: it*s as if the car 19
never existed. Only the LICENSE PLATE is left behind — a vanity plate: “NO TIME.”

BROWN
(elated)
What *d I tell you? 88 miles per hour! Temporal displacement occurred at
(checks watch) exactly 1:02 a.m. and zero seconds.

MARTY
(shocked)
Christ Almighty! You disintegrated Einstein!

BROWN
Calm down, Marty. I didn*t disintegrate anything. The molecular structure of
both Einstein and the car are completely intact.

MARTY
Then where the hell are they?

BROWN
The appropriate question is: WHEN the hell are they. You see, Einstein has
just become the world*s first time traveler. I sent him into the future — one
minute into the future, to be exact. And at exactly 1:03 a.m. and zero
seconds, we shall catch up to him... and the time machine.

MARTY
Time machine? Are you trying to tell me you built a time machine out of a
DeLorean?

BROWN
(smiles, modestly)
The way I figured it, if you*re gonna build a time machine into a car, why not
do it with some style? Besides, the stainless steel construction made the flux
dispersal—
(his digital watch BEEPS)
Ten seconds! Roll tape — and brace yourself for a sudden displacement of
air.

Marty aims the camera right where the DeLorean disappeared. Brown grips the remote
control unit tightly and counts down.

BROWN
5...4...3...2...1...

Their hair stands up on end, charged up with static electricity...

20 Suddenly, a SHARP BLAST OF WIND comes up out of nowhere, along with a 20
DEAFENING SONIC BOOM — and the DELOREAN REAPPEARS right where it vanished,
still going 88 m.p.h.!

21 Brown hits the brake button. 21
 The car wheels lock up and the DeLorean comes to a SCREECHING HALT, smoke
pouring off the body.

Brown and Marty rush over to the car. Brown approaches cautiously and reaches for the
door handle. He touches it and recoils in pain.

MARTY
Is it hot?

BROWN
It*s cold. Damned cold.

Brown raises the driver*s side door: there sits Einstein, none the worse for wear. Brown
again compares his watch with Einstein*s.

22 INSERT — WATCHES 22

Einstein*s reads 1:02:10; Brown*s is 1:03:10.

23 BACK TO SHOT 23

BROWN
Exactly one minute difference — and still ticking!

MARTY
Is Einstein all right?

Brown unbuckles the shoulder harness, and Einstein bounds out, happy and playful. Brown
gives the dog a Milk Bone reward.

BROWN
Good boy, Einie!
(to Marty)
He*s fine. And he*s completely unaware that anything happened. As far as
he*s concerned, the trip was instantaneous. That*s why his watch is a
minute behind mine — he “skipped over” that minute to instantly arrive at
this moment in time. Come here, let me show you how it works...

Marty is still a bit skeptical, uneasy. Brown waves him over, like a kid who wants to show
off a new toy. Marty approaches cautiously.

BROWN
First, you turn the time circuits on...

Brown flips the labeled switch. An array of indicator lights go on inside.

BROWN
(continuing)
This readout, tells you where you*re going, this one tells you where you are,
this one tells you where you were.

The three readouts are respectively labeled “DESTINATION TIME,” “PRESENT TIME” and
“LAST TIME DEPARTED.”
 BROWN
(continuing)
You input your destination time on this keypad. Want to see the signing of
the Declaration of Independence?

He punches 7-4-1776. The “DESTINATION TIME” readout lights up with the date.

BROWN
(continuing)
Or witness the birth of Christ?

He punches in 12-25-0.

BROWN
(continuing)
Here*s a red letter date in the history of science: March 19, 1955...

He pauses, realizing something — as if something suddenly makes sense to him.

BROWN
Yes, of course... March 19, 1955...

MARTY
What happened then?

BROWN
That was the day I invented time travel. Actually, it was night. I remember it
vividly: I got hit over the head, and when I came to, I had a revelation — a
vision — a picture in my head. A picture of THIS...

Brown points to a particular centerpiece unit mounted inside the DeLorean.

Marty aims the video camera and gets it on tape. He continues taping as Dr. Brown
explains.

BROWN
This is what makes time travel possible: the T.F.C. — Temporal Field
Capacitor.

MARTY
Temporal Field Capacitor, huh? How*d you get beaned?

BROWN
Well, I was trying to— (stops short, thinking better of it) W ell, it*s not
important. What is important is that it works. It*s taken me over 30 years to
fulfill the vision of that night.

He faces the DeLorean proudly.

MARTY
Heavy duty, Doc. And it runs on, like, regular unleaded gasoline?

BROWN
Unfortunately, no. It requires something with a little more kick...
Brown indicates a container with purple radioactivity symbols on it. *

MARTY
(reads the label)
Plutonium?! You mean this sucker*s nuclear?

BROWN
Electrical. But I need a nuclear reaction to generate the 1.21 jigowatts of
electricity I need. The T.F.C. stores it, then discharges it all at once, like a
gigantic bolt of lightning. Oh, you*d better put on this radiation suit before I
reload. Not that there*s any danger, but it never hurts to take precautions.

Brown hands him the YELLOW RADIATION SUIT which is near the RV. Marty puts the *
camera down. *

MARTY
Hold the phone, Doc — plutonium*s illegal. Did you rip it off? *

BROWN
No, of course not. Here, let me help you with that. *

Brown helps Marty get into the suit.

BROWN
Put your hood up, Marty, while I reload... and keep Einstein covered, too. *

Marty and Brown both pull their hoods over their heads. Marty covers Einstein with a sheet *
of the same radiation proof material. *

Brown opens the container and removes a 4-inch clear cylinder with a plutonium rod within *
(it*s surrounded by water), then closes the container. *

Brown steps over to the rear of the DeLorean and places the plutonium cylinder into the *
loading hopper. The plutonium rod drops down into the reactor, which then seals shut. *

BROWN
(removes his hood)
It*s safe now. Everything is lead lined.

Marty removes his hood and releases Einstein. He picks up the video camera and starts *
taping again. *

BROWN
Oh — I mustn*t forget my luggage...

Brown grabs his suitcase and puts it in the trunk (it *s in the front).

BROWN
Who knows if they*ll have cotton underwear in the future? I*m allergic to all
synthetics.

Brown slams the trunk shut.

MARTY
The future? Is that where you*re going?
 BROWN
That*s right. 25 years into the future. I*ve always dreamed of seeing the *
future — looking beyond my years, observing the progress of mankind. It*s *
almost like cheating death. *
(pauses, then smiles wryly) *
I*ll also be able to find out who wins the next 25 World Series. *

Suddenly, Einstein starts BARKING at something.

BROWN
What is it, Einie?

Brown turns, and reacts with horror to an APPROACHING PAIR OF HEADLIGHTS: it *s an
ominous VAN.

BROWN
Oh, no — they found me. I don*t know how, but they found me.

MARTY
Who?

BROWN
The Libyans! *

MARTY
What Libyans? *

BROWN
The Libyans who got me the Plutonium! They wanted me to build ‘em a *
bomb — I told ‘em I would, but I lied! *

The van side door slides open and a SWARTHY CHARACTER who resembles Yasser
Arafat leans out with an AK 47 submachine gun. He OPENS FIRE.

BROWN
Run for it, Marty! I*ll draw their fire!

Brown pulls a .45 revolver from inside his radiation suit and FIRES at the van! He then
breaks for the mall, a good 500 yards away.

The terrorist van SCREECHES around sharply and gives chase. The terrorist FIRES a
machine gun blast. *

MARTY
Doc — no! Wait!

But Brown keeps running and firing — and the van closes the distance. No way can Brown
outrun it to the mall.

The Terrorist gunner screams a Libyan curse, then FIRES a burst at Brown.
*
The bullets rip into Brown *s chest and the scientist goes down.

Marty stands frozen in horror, video camera still in hand.
 MARTY
Doc! Oh my God!
(at the terrorists)
You bastards!

As if hearing Marty, the van makes a U-turn: it *s coming for Marty!

Marty looks around. He*s out in the open, and has only one chance: The DeLorean.

Marty dashes for it, even as the van accelerates toward him, and dives into the still open
driver*s door.

24 IN THE CAR 24

Marty swings the door shut, then looks over the array or switches and buttons on the
console with frightened bewilderment: how do you start this thing?

Then he spots the keys in the ignition on the steering column, just like any other car. He
turns it over and shifts into first. He floors it.

25 EXT. — CHASE 25*

The DeLorean roars off!

The van gives chase.

25-A INT. DELOREAN — INSERT 25-A*

The speedometer approaches 40.

25-B EXT. MALL PARKING LOT — ON THE VAN 25-B*

The Terrorist Gunner leans out of the van and takes aim.

25-C INT. MOVING DELOREAN 25-C*

MARTY looks into the side view mirror.

25-D MARTY*S P.O.V. THRU SIDE VIEW MIRROR 25-D*

of the Libyan gunner taking aim.

25-E INT. DELOREAN — INSERT 25-E*

The speedometer climbs past 50.

25-F EXT. MALL PARKING LOT — THE MOVING VAN 25-F*

The gunner FIRES.

25-G EXT. MALL PARKING LOT — THE MOVING DELOREAN 25G*

Bullets rip into the parking lot just behind the speeding DeLorean.

25-H INT. MOVING DELOREAN 25-H*
 Marty has the pedal to the metal.

25-J INSERT — The speedometer hits 75. 25-J*

25-K ON MARTY — Marty again checks the side view mirror. 25-K*

25-L MARTY*S P.0.V. THRU SIDE VIEW MIRROR 25-L*

The van is still keeping up.

25-M INT. MOVING DELOREAN 25M*

Marty reacts.

MARTY
Let*s see if you bastards can do 90...

25-N EXT. MALL PARKING LOT 25-N*

The DeLorean continues accelerating.

The van continues pursuit, but begins to lose ground.

25-P INT. MOVING DELOREAN 25-P*

25-Q INSERT — The speedometer passes 85! 25Q*

25-R ON MARTY — Gauges and indicators light up behind Marty*s head, just as they did before 25-R*
Einstein traveled through time — the T.F.C. is about to kick in!

25-S INSERT — The speedometer climbs...86...87...88... 25-S*

26 INT. MOVING DELOREAN, BEHIND MARTY, THRU THE WINDSHIELD 26

The mall parking lot is suddenly changed into an OPEN FIELD with a SCARECROW in the
middle of it!

Marty is speeding toward it at 88 miles an hour — he hits it! The scarecrow*s face is
hideously smashed against the windshield.

Marty continues toward a HAYSTACK! He*s completely disoriented.

27 EXT. FARM FIELD AND BARN — NIGHT 27

The DeLorean speeds right through the haystack, and then into an OPEN BARN.

We hold on the barn exterior — we hear a CRASH; hay and dust are kicked up out the
door... then a CRACK OF WOOD — and A LARGE SECTION OF THE BARN ROOF
CAVES IN!

We hold on the barn. We hear a DOG start BARKING.

28 EXT. NEARBY FARM HOUSE — NIGHT 28

A light goes on in the nearby FARM HOUSE. Now, FARMER PA PEABODY, 45, comes
 out in his red flannels, carrying a lantern. Behind him is his wife, MA; their buxom 14 year
old DAUGHTER, and lively 11 year old son SHERMAN.

They approach the barn and cautiously enter through the rear doors.

29 INT. BARN — NIGHT 29

The Peabodys stare in open-mouthed astonishment:

The stainless steel vehicle faces them head on, headlight beams shining through the dust.
With its wheels buried in the straw and amber hazard lights blinking, it looks like a SPACE
SHIP!

The COWS in the barn don*t seem to care much, but Ma and Pa look up at the hole where
the roof caved in, then exchange an uneasy look.

MA
What is it, Pa?

PA
Looks like an airplane.. .without wings...

SHERMAN
Airplane? It*s a flying saucer, Pa! From outer space!

The driver*s gull wing door rises slowly... just like a hatch.

Pa motions them all back. They watch expectantly, uneasily, with expressions of curiosity
mixed with fear.

Now Marty steps out, dazed — he*s in the radiation suit, and the HOOD IS DOWN, giving
him the appearance of an alien!

Ma SCREAMS and faints!

PA
Run, children! Run for your lives!

They all run like hell out of the barn!

Marty takes a few steps, then removes the hood.

MARTY
Hey! Hello? Where am I?

Marty looks around. The cows in the barn just chew their cud.

Marty shakes his head, then steps out the barn door.

30 EXT. BARNYARD — NIGHT 30

Marty steps out into the barnyard.

MARTY
Excuse me! Anybody here?

EXT. FARM HOUSE — NIGHT

PA busts out of the farmhouse with a double-barreled shotgun. Sherman is right behind
him, with something rolled up in his hand.

SHERMAN
Look, Pa — it*s already mutated into human form! Shoot it!

Pa raises his shotgun and FIRES!

Buckshot cracks into the barn wall behind Marty.

PA
Take that, you mutated son-of-a-bitch!

He squeezes off the second barrel!

Shot explodes in the dirt near Marty*s feet! He dashes back into the barn!

Pa breaks the gun and reloads, then moves cautiously toward the barn. Just as he*s about
to enter, the DELOREAN THUNDERS OUT!

Pa Peabody jumps back!

The car spins around in the barnyard, and smashes through a white picket fence
surrounding 2 NEWLY PLANTED PINE TREES IN A LINE, just like on the sign at “TWIN *
PINES MALL.” The DeLorean takes out one of the small trees, then finds the dirt access *
road and ROARS AWAY.

PA
You space bastard! You killed one of my pines!

Pa FIRES both barrels at the departing vehicle, then runs over to his “pine grove.”

PA
(extremely upset)
Now I only got one.
*
Now he looks up and sees Ma coming out of the barn. She*s dazed, rubbing her head.

PA
Ma! Are you all right!

Sherman runs over, terrified, with a rolled up something in his hand.

SHERMAN
Pa! No! Don*t go near her! She*s a zombie! She*s got no more free will! The
spaceman took over her brain!

PA
What the hell are you talking*, boy?

SHERMAN
Read this! It*s all right here!
 Sherman shows him his WEIRD SCIENCE COMIC BOOK: On the cover is a space ship
that resembles a 50*s version of the DeLorean. An alien is stepping out who looks
something like Marty in the radiation suit, and he appears to have enslaved several human
females. The title of the story is “Space Zombies From Pluto.”

Pa looks at it, then glances over at his wife with trepidation.

CUT TO:

31 EXT. THE DELOREAN — MORNING 31

tears along the dirt road and out onto the MAIN (PAVED)ROAD.

32 OMITTED 32*

33 EXT. STREET — DAY 33

The DeLorean pulls into frame and stops. Marty*s gull wing door opens, revealing Marty*s
shocked expression as he sees

34 HIS OWN HOUSE — (MATTE PAINTING) 34

BRAND NEW, freshly painted — a MODEL HOME, complete with colored pennants and
“model home” signs... without any landscaping.

Next to it is a LARGE SIGN with an artist*s rendering of an idyllic home, nestled between
magnificent oak trees, with a proud family of four beside their Cadillac. Below, in big block
letters: “Live in the home of tomorrow...today! Lyon Estates, scheduled completion, This
Winter.”

Beyond it is vacant land, with some of it graded for construction. There are a few
foundations and perhaps a wood frame or two... and the familiar high tension wires.

35 MARTY 35
is in shock. He looks at the dashboard readouts.

36 INSERT — DASHBOARD L.E.D. 36

The date on the “Destination time” is Saturday, 3-19-1955, 5:35 a.m.... and that matches
the date on “Present time.” (“Last Time Departed” is 10—5 1985, 1:11 a.m.)

Below, the “Plutonium Chamber” light flashes “EMPTY.”

MARTY
1955? 1 don*t believe it!

37 He turns on the car radio and tunes in a newscast. 37

NEWSCASTER (V.O.)
...and President Eisenhower predicted that 1955 would see an increase in
housing starts...

MARTY
Eisenhower?
 MARTY
*
Marty spots a page of discarded NEWSPAPER on the sidewalk in front of his house-to-be. *
He gets out of the car and picks it up.

38 INSERT — NEWSPAPER 38

The date is March 18, 1955

39 MARTY 39

MARTY
This is definitely not my day.

On the back of the newspaper is an AUTOMOBILE ADVERTISEMENT with a picture of a
“new” 1955 Studebaker. The copy clearly says “YOU*LL BE NOTICED driving the car of
the future — the All New 1955 Studebaker.”

Marty looks at the DeLorean, looks again at the ad copy, then looks at the garage door of
his house-to-be.

MARTY
Why not...?

He tries to open the garage door: it *s locked.

Then he reaches in his pocket and pulls out his KEYS. He tries one in the garage lock. It
works! Marty smiles and opens the garage door.

40 ANGLE ON THE OPEN GARAGE — DAY 40*

The DeLorean backs into the garage. *

Marty is about to turn off the car when he hears the RADIO DJ from the car radio. *

DJ
(V.O. RADIO)
And now, one of the top records of the week...

Marty turns up the volume: he wants to hear this. “Papa Loves Mambo” by Perry Como
starts playing. Marty can*t believe what he is hearing. He shakes his head.

MARTY
This is not a good year.

MUSIC BECOMES SCORE AND CONTINUES OVER NEXT SEQUENCE.

41 EXT. STREET IN FRONT OF MARTY*S (MODEL) HOME — MATTE SHOT — DAY 41*

MARTY walks down the street toward Hill Valley. He*s out of the radiation suit and in his *
street clothes. *

CUT TO:

42 EXT. HILL VALLEY TOWN SQUARE — DAY 42
 The town square is immediately recognizable because the courthouse clock tower is now
working. In 1955, the town square is a healthy, vibrant center of commerce. The same
buildings are well kept and clean, and the street bustles with Saturday morning activity.
Marty notices

THE MOVIE THEATER is now playing “Cattle Queen of Montana” starring Barbara
Stanwyck and Ronald Reagan.

THE TOYOTA DEALERSHIP is now a STUDEBAKER DEALERSHIP selling new 1955 *
cars.

AN APPLIANCE STORE is selling “modern” small appliances.

A WOMAN *S STORE displays tie latest fashions.

A TRAVEL AGENCY advertises “Fabulous Vacations in Cuba.”

THE BANK has a round clock instead of the digital version of 1985. A sign in the window
promotes “Passbook Savings at 2-1/4%.”

A RECORD STORE displays the latest records and albums: Eddie Fisher, Perry Como, Pat
Boone. There is no Rock and Roll.

AN ELECTION POSTER: “Re-elect Mayor Frank ‘Red* Thomas. Honesty, Decency,
Integrity.” With the exception of the name and face, it *s the same as the “Goldie Wilson”
poster of 1985.

MARTY walks along tie street staring at the places and people. The people stare at him
too, particularly his green shoes.

The previously boarded up CAFÉ is now open for business. Marty notices a PUBLIC
TELEPHONE SIGN on the window: he*s got an idea. He enters.

43 INT. CAFÉ — DAY 43

A typical café/soda fountain of the period; 2 or 3 CUSTOMERS are at the counter.

Marty stares at the signs advertising menu items: Hamburger — 25 cents. Ham & Cheese
— 30 cents. Chocolate Sundae — 15 cents. A sign over the cigarette display says “All
Brands 20 cents.”

LOU, the counterman, spots Marty.

LOU
Lookin* for something, kid?

MARTY
Uh, the telephone?

Lou points it out, in back: a phone booth.

44 MARTY 44
goes into the phone booth and flips through the directory.

45 INSERT — DIRECTORY 45
 Marty*s finger comes to rest at “Brown, Emmett L. (Scientist).” 1640 Riverside Dr. HIllside *
3-4385.

46 MARTY 46
smiles — just what he was hoping for. The sign on the phone says “Local Calls — 5 cents.”
Marty digs out a nickel and dials the number. It rings...and rings... and rings. No answer.
He hangs up.

MARTY
Not my day.

He rips the page out. *

47 INT. CAFÉ 47

Marty saunters out of the phone booth and takes a seat at the counter. A NERDY
LOOKING KID is seated nearby, sipping a soda and reading a comic book.

Marty looks at Lou, indicating the address on the phone book page. *

MARTY *
Can you tell me where 1640 Riverside— *

LOU *
You gonna order something, kid? *

MARTY *
Uh, yeah. Gimme a Pepsi Free. *
LOU
Kid, if you want a Pepsi, you gotta pay for it.

MARTY
No, a Pepsi Free — you know, diet soda?

Lou looks at him like he*s from another planet.

LOU
No, I don*t know.

MARTY
Uh, well, just give me something to drink that doesn*t have sugar in it.

Lou gives him a look, then puts a cup of coffee in front of him. Marty looks at the bowl of
sugar cubes in front of him.

MARTY
Have you got any Sweet ‘N Low?

LOU
Sweet and what?
(eyeing him suspiciously)
Say, kid, you*d better pay for this right now.

MARTY
Okay.
He pulls out his wallet and gives Lou a crisp, new 20 dollar bill. Lou*s eyes nearly fall out of
his head.

LOU
A 20? What do you think this is, a bank? I can*t break a 20 for a nickel cup
of coffee. (suddenly suspicious) Say, what*s a kid your age doing with a 20
dollar bill anyway?

Marty gulps, pulls a nickel out of his pocket and takes back his 20. Lou gives him a look,
then walks away.

Marty raises his coffee cup and just as he*s about to take a sip...

VOICE (O.S.)
Hey, McFly!

MARTY
Huh?

He spins around on his stool.

The voice came from a PUNK, 17; behind him are 3 OTHER PUNKS. The lead punk is
coming right toward Marty... no, he*s stepping over to the NERDY KID next to him.

NERDY KID
Uh, hi, Biff, how*s it going?

Yes, the punk is BIFF TANNEN, aged 17! And the nerdy kid is GEORGE McFLY, also 17. *
Biff takes George*s soda and drinks it all. *

Biff*s boys buy cigarettes at the counter. They are MATCH, perpetually chewing a wooden
matchstick; SKINHEAD, who has a crewcut just this side of being bald; and 3-D, who
always wears red-green 3-D glasses.

Marty watches the exchange between Biff and George with utter amazement.

BIFF
You got my homework finished, McFly?

GEORGE
Well, no. I figured since it *s not due till Monday...

Biff knocks on George*s head.

BIFF
Hello? Anybody home? Think, McFly, think! I*ve gotta have time to recopy it.
Do you realize what would happen if I turned in MY homework in YOUR
handwriting? I’d get kicked out of school!
(notices Marty staring at him)
What are you lookin’ at, dipshit?

SKINHEAD
Biff — get a load of his shoes. This dork thinks he*s a leprechaun — he
painted ‘em green!
They all laugh. Biff turns back to George.

BIFF
So how about my homework, McFly?

GEORGE
Um, okay, Biff, I*ll do it tonight and bring it over first thing tomorrow.

BIFF
Not too early — I sleep in on Sundays. Oh, hey, McFly — your shoe*s
untied.

GEORGE
(looks down, falls for it)
Huh?

Biff hits him in the chin. He laughs loudly, as do his cronies... and they leave.

Marty, still in disbelief, turns to George.

MARTY
I don*t believe it. You*re George McFly...?

GEORGE
Uh-huh.

MARTY
Your birthday*s August 18th, and your mother*s name is Sylvia?

GEORGE
Uh-huh. Who are you?

MARTY
I*m a relative of yours. A very distant relative.

A BLACK BUSBOY has been sweeping up in the background, making his way over. He
looks at George. As he talks, we see he has a gold front tooth — it*s GOLDIE WILSON,
aged 22!

GOLDIE
Say, what do let that boy push you around for?

GEORGE
Well, uh, he*s bigger than me...

GOLDIE
Stand tall, boy. Have some respect for yourself. You let people walk over
you now, they*ll be walkin* over you for the rest of your life. Look at me. You
think I*m gonna spend the rest of my life in this slophouse?

LOU
(has heard the remark)
Watch it, Goldie.

GOLDIE
 (he*s on a roll)
No, sir! I*m gonna make something of myself! I*m going to night school —
I*m gonna be somebody!

MARTY
That*s right — he*s gonna be Mayor someday.

This is an idea that*s never occurred to Goldie.

GOLDIE
Mayor? That*s a good idea! I could run for mayor!

George slips out as the conversation continues.

LOU
Ha! A colored mayor! That*ll be the day!

GOLDIE
You wait and see, Mr. Carruthers. I*m gonna be mayor.

LOU
Just keep sweeping, Goldie.

Now Marty notices that George has left. He goes out after him.

GOLDIE
(to himself)
“Mayor Goldie Wilson.” I like the sound of that.

48 EXT. — HILL VALLEY TOWN SQUARE 48

Marty looks around and sees GEORGE bicycling down the street.

MARTY
George! Hey, George! I want to talk to you!

But George doesn*t hear him. He disappears around a corner.

Marty runs after him.