Back to the Future Part One Story Treatment

BACK TO THE FUTURE STORY TREATMENT By Jeffrey D. Dean, Sr. Marty and Jennifer "Stephen Spielberg Presents" in white lettering over a black background. The sound of a ticking clock. The title logo appears. FADE IN: INTERIOR DOC BROWN WORKSHOP. MORNING. The single ticking clock transforms into a chorus of clocks all ticking, much similar to

the opening introduction from the song "Time" by Pink Floyd, which is the fourth track on their 1973 album "Dark Side of the Moon." The scene finally opens as the camera pans across various clocks of all kinds all reading the exact same time. 7:53. One clock has a small figure of Harold Lloyd hanging desperately from the hands of a skyscraper clock from the movie "Safety Last!" (1923) Amidst the clocks there is a bulletin board with a couple of old news articles that read "Brown Mansion Destroyed" and "Brown Estate Sold to Developers." A radio comes on with a commercial about Statler Toyota. A coffee pot begins to pour coffee but there is no carafe, the liquid sizzles and runs onto the floor. A television comes on with a woman news reporter talking about a recent theft of a case of plutonium. There is a picture of a yellow and black nuclear logo in the background of the report. An automated toaster burns the same two pieces of toast over and over again, automated machines crack and cook eggs. A robotic can opener opens a can of Kal Kan dog food and empties the contents into a dog food bowl marked "Einstein." The dog food plops with a sickening sound onto a pile of spoiled food that is now overflowing in the bowl. The robot arm drops the can into a trash can that is almost full of empty dog food cans. The front door of the garage opens. Enter Marty McFly (Michael J. Fox) a good looking young man about 17 years old wearing jeans and sunglasses. He calls out "Doc" several times while he places a set of keys under a doormat. He comes through the door of Doc Brown's workshop and calls out for Doc again and whistles for Einstein. He gags at the site (and perhaps the smell) of the dog food and grumbles in disgust, puts down his skateboard and kicks it across the

floor. It rolls, stopping at a hidden yellow box with nuclear logo we saw in the news report. Near the box is the only clock that shows a different time than the others. It reads 8:20. He goes over to a huge guitar amplifier. It has one of the biggest speakers you might ever see. He plugs in a banana colored "Erlewine Chiquita" electric guitar, reaches up and flips a switch marked CRM 114. This is a subliminal "nod" to Stanley Kubrick, who used this designation as a reference throughout many of his films. He flips a bunch of circuit breakers and other switches and turns all the dials so that the amp is on maximum overdrive. As he does so the lack of shielding in the guitar causes a loud buzz to increase as each knob is turned.

He centers himself on the speaker, facing it, pauses, and

strums the instrument. The speaker explodes, sending him flying backwards hard against a bookshelf. The book shelf falls spilling its entire contents over him until he is covered in books and papers. He sits up, staring at the destroyed speaker which is still sparking menacingly. He lifts up his sunglasses and in a voice of awe says, "Woah! Rock and Roll." A fire alarm begins ringing off the wall. It's actually a telephone rigged to an alarm bell. He scrambles up, searches for the phone frantically in all that mess, finds it by pulling the phone cord and letting that lead him to it. When he answers, it's Doctor Emmet Brown calling. (Played by Christopher Lloyd). He asks Marty to meet him that night at the Twin Pines Mall at 1:15 a.m. He asks him where he's been all week. He responds, "working."

Marty reminds him that he has left his equipment on. Doc warns him not use the amplifier saying, "there's a slight possibility of overload." Marty chuckles at this while glancing once again at the destroyed speaker and says, "I'll keep that in mind." All the clocks go off at once, chiming and ringing. Sounding excited Doc asks if those are his alarm clocks and asks what time the clocks read. He tells him, "eight o'clock."

He brags that it means his experiment worked and that all

the clocks are exactly 25 minutes slow. He flips out at the news. "Doc are you telling me it's 8: 25?" He confirms this and asks "why?" Marty, in complete frustration shouts into the phone "I'm late for school." He slams down the receiver, grabs his skateboard and rushes out. CUT EXTERIOR WORKSHOP AND HILL VALLEY VILLAGE SQUARE: The soundtrack plays. "Power of Love" by Huey Lewis and the News," as he makes his way to school on his skateboard, by using the various vehicles passing by through town to tow him there. The drivers all seem as though this is all par for the course here in town and perhaps Marty, or many of the kids in town get around this way. CUT EXTERIOR HILL VALLEY HIGH SCHOOL. As he arrives at school a pretty young girl runs out to meet him. She is Jennifer Parker whom we learn is his girlfriend, (played in the first movie by Claudia Wells). She warns him that the principal Strickland is looking for him because this will make 4 times in a row that he has been late.

FOLLOW THEM TO INTERIOR HALLWAY HILL VALLEY HIGH SCHOOL. Marty, ironically, points out that this time it really wasn't his fault and tells her about how Doc set the clocks back for some experiment. At the sound of that word, "Doc," Principal Strickland (James Tolkan) suddenly emerges from where he has been lying in wait and demands to know if by "Doc" he means Doctor Emmet Brown. He is not pleased that Marty is still hanging around with Doc. He hands him and Jennifer each a tardy slip and then continues his lecture about Doc Brown, calling him a "real nutcase" and "dangerous." Strickland warns him that that if he continues hanging out with Doc, he'll get in trouble someday. Strickland also harshly tells Marty that he is a slacker, just like his father. "No McFly ever amounted to anything in the history of Hill Valley!" he says, bringing his face closer to Marty's until their noses almost touch. Marty, with a surly and confident air puts his hands in his pockets and counters, "ya well, history is gonna change." CUT INTERIOR HILL VALLEY HIGH SCHOOL GYMNASIUM. AFTERNOON. A band has just finished playing. Four judges sit all together on chairs in an otherwise empty room facing the stage and request the next band. Marty and his band get up on stage. He introduces them as The Pinheads. They launch into the opening bars of The Power of Love. Immediately, before they even break past the intro, a strange and surly looking judge, (who, incidentally is played by Huey Lewis himself) stands up with a megaphone and silences them saying "I'm afraid you're just too damned loud." He looks visibly crushed.

CUT EXTERIOR HILL VALLEY VILLAGE SQUARE. After school, as he and Jennifer walk past the the courthouse together in the village square, Jennifer attempts to encourage him. He refuses to be comforted, obviously feeling like he'll never go anywhere in the music business if he can't even pass a simple High School audition. She tries to tell him how good he is and urges him to send in his demo tape to a record company. He objects, asking, "what if they tell me I'm no good? What if they say, 'get out of here kid, you got no future?' Jennifer looks consoling. He says, "I just don't think I can take that sort of rejection." As he says this his attention is drawn to across the street where a black 4 X 4 Toyota pickup is being delivered to the Statler Toyota dealership.

He

admires the vehicle with a longing and daydreams out loud about how nice it would be to take her to the lake in something like that. Reminded by this, Jennifer asks if him if his mother knows about their plans to go to the lake together for the weekend. He scoffs at the notion of telling his mother the truth. He informs Jennifer that his mother thinks he's going camping with the guys. He believes she would freak if she knew the truth. He says he'd get the standard lectures about how things were when she was his age and mumbles, "really, I think she was born a nun." Jennifer smiles and says "she's just trying to keep you respectable." They draw in for a kiss but are rudely interrupted by a unicef style donation can that is shoved in between their faces and rattled by an old woman

saying, "save the clock tower! Save the clock tower!"

She's collecting

contributions for a fund that will be used to stop the Mayor from replacing the clock. (Apparently they plan to "buy off" the Mayor somehow to keep him from replacing it). She hands them a flyer and verbally tells them the history of how the clock tower has been "frozen in time" at 10:04 pm on the night of November 12, 1955 ever since it was struck by lightning . She represents the Hill Valley Preservation Society, who believe the clock tower should be preserved as is. He graciously gives her a quarter saying "it's all I have" which is probably the truth. She thanks him and insists he take a copy of the flyer so he can tell others. She runs off to stop other unsuspecting "victims" (citizens) who are passing by. He and Jennifer nearly kiss again when they are interrupted by the beep of a horn. It's Jennifer's father in an AMC Eagle station wagon. He has arrived to pick her up. She scribbles "I love you" on the back of the flyer and runs to jump in the car with her dad. He smiles, staring at the note on the back of the flyer and puts the treasure in his pocket. He gets back on his skateboard and hitches a ride from a passing police cruiser.

But Dad, the car!

CUT TO EXTERIOR LYON ESTATES ENTRANCE. DUSK. Marty skates past the entrance to the Lyon Estates subdivision where he lives. CUT EXTERIOR MCFLY HOME. Marty releases a car that has towed him to the front of his house and rolls past a tow truck in the driveway that is letting

down a smashed car. He stares in anguish visibly upset From inside angry voices waft out to him. Approaching the front door to the house his father George McFly (Crispin Glover) who is a skinny, oily haired thin man with a mousey demeanor, is having an intense discussion with Biff Tannen (Thomas F. Wilson) a very large and boisterous individual who has a growth of hair on one side of his head that he uses to push over to the other side in order to hide a receding hairline.

Biff is angrily shouting at George about how

he never warned him of the car's "blind spot," and says "I could have been killed!" George says that he never noticed a "blind spot" in the car before when he was driving it. George gives Marty a quick hello before turning back to Biff and asking if his insurance was going to pay for the damage. Incredulously, Biff insists that George's insurance should cover it then demands to know who's going to pay his cleaning bill since he spilled beer on his shirt during the wreck. Biff asks George if he's finished filling out his reports for him. George says he was thinking he had until Monday. Biff, annoyed, puts his hand behind his head begins wrapping his knuckles on George's forehead saying "hello, hello is anyone in there?" He grabs Georges shirt and says "think, Mcfly, think, I have to have time to retype them!" He asks him "do you know what would happen if I turn in my reports in your handwriting?" George hesitates to answer, this being an obvious rhetorical question. Biff answers his own question, "I'd get fired!" George nods in understanding. Biff stops and stares at him suspiciously. "Now, you wouldn't want that to happen would you?" George hesitates again, uncertainty on his face, he's obviously not sure if this is another rhetorical

question or if it's bait. Biff takes a hostile tone and grabs his shirt menacingly again. "Well, would you?" George says "well of course Biff..." Biff wraps his hand in George's shirt angrily, "now you know I wouldn't want that to happen!" Biff slaps his shirt away then goes to the refrigerator, looks in and complains that all George has is light beer.

He helps himself anyway, spouts an order about not giving him the

reports too early on Sunday because he sleeps in. As he's leaving he says to Marty in a very inappropriate and suggestive manner "say hello to your mom for me." After Biff leaves George apologizes to his son for letting Biff roll over him saying, "Biff just happens to be my supervisor and I'm afraid I'm not very good at confrontations." Marty, in despair says "ya Dad, but the car... I needed that car" he reminds George of his lake trip. Once again George apologizes. CUT INTERIOR DINING ROOM MCFLY HOUSEHOLD. The family sits down to dinner - George, his wife Lorraine (Lea Thompson), and their children Marty, Dave (Marc McClure) and Linda (Wendie Jo Sperber). Lorraine drops a thin cake onto the table. It says 'Welcome Home, Joey', next to a picture of a bird flying out of jail. Uncle 'Jailbird' Joey has failed to make parole, again. Linda laments how he's a family embarassment. Lorraine makes excuses for him. Dave, in his fast food uniform, jumps up, it's not just that he's tired of the conversation, he announces that he's going to be late for work. (Apparently tardiness runs in the family).

He kisses George on the head and says "wooh,

maybe it's time to change that oil" to which George points and laughs in a choking nerdy laugh that resembles more grunting than anything else. Linda

criticizes Marty for pouting over the car and tells him that while he was doing that Jennifer called three times for him. Lorraine becomes upset at this news, disapproving how girls call guys in this day and age and how when she was their age she never called a boy, or chased after a boy, or went parking with a boy. This inevitably leads to a conversation between Linda and Lorraine about the proper way to meet boys, which causes Lorraine to use how she met George as an example. Linda, in outrage says "that was so stupid, grandpa hit him with the car!"

Lorraine, undaunted, begins to tell the story of their meeting as if it's

the most romantic story ever told. She explains that after her father hit George with the car she cared for George. Linda jumps in and says "we've all heard this story before you felt sorry for him so you asked him to the "fish under the sea dance." Lorraine corrects her. "Enchantment Under the Sea dance." Lorraine tries to engage George into the conversation by asking him if he remembered that night and tries to pry his memory (even though he isn't even listening to her) by mentioning the terrible lightning storm they had that night. She continues with her recounting of the dance and how when they kissed that night on the dance floor she "knew she'd spend the rest of her life with him." When she says this she almost tears up, but they don't seem like tears of joy, more like tears of regret. They all look at George now who is absorbed in a re-run of the Honeymooners. He turns, laughing in that same nerd laugh and pointing at the television screen, seemingly obvlivious to his wife's conversation, and her obvious pain.

Doc, you disintegrated Einstein!!

CUT INTERIOR MARTY'S ROOM. He's asleep on the bed when he is awakened by a call from Doc, who asks him to stop by the lab and pick up his video camera that he forgot. CUT EXTERIOR TWIN PINES MALL. Marty shows up at the Twin Pines Mall later on his skateboard ,carrying the camera. There is a large moving van. As he says hello to Einstein the back of the van opens with dramatic dry ice fog and from out of the back of the truck rolls what appears to be a souped up Delorean DMC-12. It backs down the ramp on it's own, then the driver's side wing door opens and out steps Doc. Doc welcomes him to the big experiment, saying "this is it, the big one, the one I've been waiting for all my life" (a reference to the pending experiment) He asks him to begin filming. In a complete surprise move he places the dog, Einstein into the driver's seat of the DeLorean and buckles him in. He lifts up a watch that is hanging on a chain on the dog's neck and holds up a similar watch next to it and notes for the camera that the times on the watches are perfectly synchronized. He closes the DeLorean's door and, whipping a remote control out from seemingly nowhere begins to use it to drive the DeLorean across the parking lot some distance away. He locks the front breaks on the vehicle and begins spinning the back tires, faster and faster as they squeel and the rubber burns in place on the asphalt.

Marty is getting visibly nervous and is obviously worried that he has lost his mind and is about to do something really stupid with that car, with Einstein still in it. Doc turns to him and with an insane and excited tone in his voice says, "if my calculations are correct, when this baby hits 88 miles per hour... we're going to see some serious shit." He switches off the brakes! Free now, the DeLorean excells rapidly, right toward them! Marty tries to inch his way out of the car's path but Doc gives him a disapproving look and he sheepishly and reluctantly rejoins the madman in the path of the careening Delorean. Marty clenches his eyes tightly shut, turns his head and seems to brace for the impact. Instead, however a bright light quickly emanates from deep within the center of the Delorean and it spreads outward like colorful lightning, surrounding the vehicle and engulfing it. Before the car can hit them it flashes like the sun then... vanishes in an instant, leaving nothing but two burning fire trails where the tires would have traveled on either side of them. Marty looks back behind them where the Delorean should be but all that is left of is that fire trail and the license plate which ironically reads "outatime," spinning there in the center of the car's firey wake. It falls to the ground. Doc cheers like a madman, but Marty stares in horror at him. Doc is raving about how it "worked!" He can't believe his ears. He asks, "what worked Doc, you just

disintegrated Einstein!" He tells him to calm down and that no one disintegrated anything. The Doc begins to explain that he has just made Einstein the world's first time traveler! Again Marty appears to not be able to process what he's hearing. You can see by the look on his face he's starting to realize how right Principal Strickland might have been in his prediction about Doc Brown being "dangerous." He is still explaining that he sent Einstein exactly one minute into the future. Marty, still disbelieving asks, "Doc are you telling me you built a time machine? Out of a Delorean?" He confirms this and remarks how he used a Delorean because he wanted to give it some style, and also because it's stainless steel construction was the perfect conductor for the energy of the flux capacitor, which is the device that makes time travel possible.

Suddenly he looks at his watch and shoves

him out of the way just in time as the Delorean reappears, at the exact spot it had disappeared only a moment earlier. He manipulates the remote control and brings the car to a screeching halt.

The Delorean is encrusted with ice and he

has to use his foot to open the door. There, inside, is Einstein, still strapped in, looking warm and cozy and happy to have taken a ride in the car. Once more Einstein's watch is lifted and placed next to Doc's control watch, the two watches are now exactly one minute apart. He explains that, from Einstein's perspective the trip was likely instantaneous because he skipped

over that minute of time. Still operating the camera he is given a tour of the interior of the Delorean complete with an explanation of how the time circuits and the special flux capacitor work. Doc begins inputting examples of dates and times into the time circuit. He mentions a "red letter" day in history and inputs November 05, 1955 into the "destination" time. He explains that was the day he invented time travel. Waxing nostalgic he recounts the story of how he stood on the toilet to hang a clock when he slipped, struck his head on the sink and immediately had a vision of the flux capacitor.

He mentions that it took all that time and his entire family

fortune to realize the dream of this day. Still lost in the past, Doc gets out of the vehicle and looks around at the mall, commenting how it was once farm land as far as the eye could see.

He is reminded of the farmer "Old Man Peabody" who

had crazy idea about breeding pine trees. Marty, putting his very finger on the puzzle piece, asks him how he generates the power to time travel, wanting to know if the flux capacitor runs on regular gasoline. He is told that the car's engine still runs on gas but the time circuit is electrical. He chooses this moment to inform Marty of the real danger. The flux capacitor runs on plutonium because he needed a nuclear reaction to generate the 1.21 gigawatts of power needed for time travel. Understandably Marty is alarmed and demands to know where he would get plutonium, then he realizes where he might have got it. "Did you rip that off?" He almost whispers as if the mall had eyes and ears.

Doc tells him the cold hard truth. He has done something incredibly stupid. He's taken the Plutonium from Libyan terrorists who stole it for him with the promise that he would build them a nuclear bomb. What's worse, he double crossed them, giving them a shoddy bomb casing full of used pinball parts. They have now donned their yellow radiation suits and Doc demonstrates how to drop the plutonium rod into the nuclear reactor he has built on the back of the Delorean. Then, Doc Brown leans onto the doorway of the car and begins a farewell address about how he is about to embark on an historic journey. He stops mid sentence and slaps himself in the forehead and laughs at his own stupidity. He has forgotten to pack extra plutonium for the trip back. He heads over to pick up the case and as he turns to come back he stops. Einstein begins to bark in warning of something or someone approaching. Doc looks in the direction the dog is barking. He sees headlights come on in the distance across the parking lot near the entrance. Doc, in dismay says, "it's too late, they found me, I don't know how but they found me!" Marty asks, "who found you?" He says, "who do you think? " He points and screams, "the LIBYANS!" A VW microbus races toward them across the parking lot.

A man pops

out of the sun roof with an M-16 automatic rifle and begins shooting . He yells for him to run then he grabs a pistol from his bag, but it's too late, the VW bus is on him. He tries to shoot but the pistol is not loaded. His handsgou up and he surrenders, the pistol clattering limply to the pavement.

There is a brief pause.

Maybe they just want their plutonium back. Then, the man opens fire on Doc, riddling his body with bullet holes. Marty screams, "NO! Damn you bastards!" Hearing Marty's screams the terrorist turns his gun on the teenager, but he dodges and hides. The van tries to go around Doc's large moving van to get at him from the other side. He jumps into the Delorean, slamming the door behind him and takes off in it. There is a car chase through the parking lot. They are shooting but the bullets are just bouncing off the stainless steel of the car. The rifle jams. It looks like he might be in the clear but the man goes back into the VW bus, then re-emerges with an shoulder mounted anti-tank rocket launcher, aiming it at the Delorean. He drops the shifter into low gear and mumbles, "let's see if that thing can do 90." He speeds away.

He doesn't realize that the time

circuits are still on from Doc's preparations. We see the speedometer almost reach 88 mph but he has to swerve and it drops again. It picks up speed again. He heads toward the one hour photo processing booth near the exit. Unexpectedly, to Marty at least, we see the Delorean engulfed in that same ethereal energy we witnessed during the Einstein time travel experiment. He stares out of the windshield and braces for impact with the photo booth. The light surrounds him, then, suddenly the photo booth and the mall parking lot are replaced by a corn field. The car strikes a scare crow and it is propelled toward him. He screams. The scarecrow bounces off the windshield and the car plows into a barn.

He gains control of the car and brings it to a sudden halt, right in

the middle of some cows.

Old man Peabody had a farm, eieio

CUT TO INTERIOR PEABODY BARN. THE DELOREAN SITS STEAMING IN THE MIDDLE OF A BUNCH OF COWS. Lights come up in the nearby farmhouse. A man emerges with his wife, a daughter and a son around 9 or 10 years old. They cautiously creep open the barn door and peer in, their eyes widen when they see the Delorean. The father suggests that it might be some sort of airplane. The boy with him said "that ain't no airplane, look," showing them all a comic book he has in his hand. On the cover is a flying saucer that indeed looks very similar to the Delorean. The wing door on the Delorean opens and He steps out, still dressed in his yellow radiation suit, and apparently the hood has dropped down over his head in the accident. He looks like a spaceman. The mother screaches and the father yells, the entire family turns and flees for the safety of the house. He pulls the hood off of his head and attempts to follow after them shouting apologies for the barn. The old man re-emerges from the house carrying a shotgun, his son runs just slightly ahead of him. The boy hollers, "he's already beginning to mutate into human form, shoot him! The old man takes a shot. He leaps back in the DeLorean fires it up, throws it in reverse and as the old man takes another shot at him he speeds out of the barn and down the driveway toward the dirt road. He takes too sharp of a left hand turn at the end of the drive and runs through one of the two small pine tree saplings marked with a

protective sign and a fence. The man screams in anguish... "MY PINE, WHY YOU," then takes another shot which hits a mailbox with the name PEABODY on it. FOLLOW DELOREAN TO THE STREET. As Marty speeds away down the road the old man is shooting wildly and shouts after him, "You space bastard! You killed my pine!" The Delorean races off into the early morning sunrise down a two lane highway,, inside Marty is muttering to himself that it's only a nightmare. CUT EXTERIOR ROAD NEAR LYON ESTATES ENTRANCE. By sunrise he reaches his destination, the trusted gates of his home turf, the Lyon Estates. Suddenly he puts his foot hard down on the brake pedal and stares in disbelief. Where his subdivision should be is nothing but plowed earth and some tractors. The stone gates which bear the subdivision's name appear to have just been erected recently. Near the entrance is a billboard sign advertising "coming soon, Lyon Estates."

Marty, is confused and flabbergasted. He sees a car coming toward him and attempts to flag them down, perhaps to ask them what is going on, but he's still wearing the yellow radiation suit and they immediatel spot his vehicle. The elderly couple seems more stunned than he is. The woman begins pounding on the elderly man in the drivers seat yelling, "drive, Wilbur, drive!" They screech away fast with Marty trying to desperately run after them. When he gets back in the Delorean and attempts to head back down the road an electrical short causes

it to completely die.

He takes off the radiation suit, pushes the car behind the

billboard, covers it with some branches and debris to hide it further, and proceeds down the road toward town. A sign reads "Hill Valley: 2 Miles."

If you want a Pepsi, pal, you're going to have to pay for it!

CUT EXTERIOR HILL VALLEY VILLAGE SQUARE. Marty, dressed in his 80's style quilted winter vest, walks along the village square past the courthouse, not far from where, only hours earlier he had been snuggling with his girlfriend when they were interrupted by the "save the clocktower" lady, back in 1985. The song "Mr. Sandman" is playing from the nearby record store which advertises such big names as "Merle Travis" and "The Ballad of David Crockett" by George Brun. In Marty's time the old "Essex Movie Theater" had been converted over to a pentecostal church. Now, the sign on the theater advertises the showing of "Cattle queen of Montana," starring Barbara Stanwyck and Ronald Reagan. He stumbles in awe past the old Texaco station, attendants in pristine uniforms run out as a car pulls in and like a Nascar pit crew begin to service every aspect of the vehicle even washing the windshield. The clock tower begins chiming! He stops in his tracks in complete and utter shock! He's never in his life heard the sound of that clock tower before. He mumbles again, "this MUST be a dream." He sees a a man throw newspaper away and grabs it. As he reads, his hands begin to shake. The date reads,

"November 5, 1955." He looks around now as if he's going to pass out, completely disoriented by what he is seeing and hearing. Across the street, in Lou's Diner (which is an aerobics studio in his time) there is the familiar sign of a pay phone, he heads that way. INTERIOR LOU'S DINER. Marty enters and is greeted by Lou Caruthers, Proprietor, a friendly enough looking man in a white apron standing behind the counter by a lone customer who is eating his breakfast. Lou says hello and asks him "what, did you jump ship or something?" He doesn't understand. Lou asks, "what's with the life preserver" gesturing at Marty's quilted down vest jacket. He seems out of it and says, "I just need to use the phone." Lou points in the phone's direction and as he heads that way he watches him, almost suspiciously. In the booth, he gets the phonebook out and tries to find Doc's number by the address. The names of the streets are all different. As he does so, the tiny alarm on his wristwatch goes off just as Lou is walking past. Lou stops and peers in.

He hides the watch and looks away nervously. The man glares at him

and leaves. He finally does find what he believes to be Doc Brown there in the book and he tears the page. When he comes out of the phone booth he starts to ask Lou for directions. Lou gets curt with him, telling him to either make an order or leave. Lou doesn't like loiterers to begin with and especially not ones that look like they belong in a circus.

He asks for a Tab (a sugar free cola made by Coca-Cola in Marty's time). "Look kid, I can't give you a tab unless you order something." (A tab in that timeframe means they keep a running tab of everything you order then you pay the tab as you leave). `

He asks for a Pepsi Free, another sugar free brand of Pepsi that is only

made in his time. The man gets upset again, telling him that if he wants a Pepsi he's going to have to pay for it. He is now frustrated and says "just give me something with no sugar." "No sugar?" Lou repeats the order in disgust and disbelief. Almost sneering, he sets the coffee cup down roughly in front of Marty. Behind him He hears the diner door open and a familiar voice shouts "MCFLY!" He turns around to see a much younger version of Biff standing there with his henchmen. He's totally confused, how could Biff recognize him? He realizes Biff is talking to the customer next to him. He turns and examines this person for the first time. Hes eyes pop out of his head when he realizes the man he has been sitting next to all this time is his own father, looking not much older than he is. Biff and his henchmen, Match, Skinhead and 3D storm in and angrily approach. Biff demands to know where his homework is. They have almost the same identical conversation as they did in the kitchen the night before, only this time it's homework instead of reports and it's "I'll get expelled" instead of "I'll be fired." He can't believe what he's seeing and hearing. Biff has been doing this

sort of thing to his father for decades. The bullies leave with a warning to George never to come in the diner again.

He is still speachless, continuing to stare bug eyed at George, who

knows he is being stared at and is becoming visibly annoyed. George finally throws down his fork and demands, "what?" Marty sputters breathlessly, "you're George Mcfly!" George confirms this and demands to know who he is. He doesn't know how to answer but a dishwasher/ busboy comes in between them and begins to lecture George to stand up to bullies or he'll be putting up with their crap his whole life. Marty recognizes him too. In 1985 this is Mayor Goldie Wilson an extremely slick and savvy politician.

While Goldie is talking to George he

mentions that he is going to night school and will make something of himself someday. Excitedly he jumps up and shouts, "that's right, he's going to be Mayor!" Goldie's eyes flash with delight. "That's right, I'm going to be Mayor" he pontificates how he will someday "clean up this town." Lou hands him a broom and says he can start by sweeping the floor. Goldie insists that he will be Mayor to which Lou scoffs, making a sarcastic comment about how "that will be the day" when the town has a "colored" Mayor. Goldie walks past Marty, carrying the broom. His eyes narrow as he mouths the words again, "Mayor Goldie Wilson," he nods his head in approval, "I LIKE the sound of THAT!" He looks around and George is gone. He sees him ride past the door to the diner on his bike.

He has now found the only real connection to his life in

this strange and foreign place, and instinctively, like any good kid in trouble he stays close to dad!

Reruns

CUT EXTERIOR NEIGHBORHOOD. Marty runs after George and momentarily loses track of him in a nearby housing development. He soon finds his bike, however, leaning against a tree but no George. As he stands under the tree, looking around and puzzling over this mystery, some leaves fall from above and he hears a rustle. He looks up. George Mcfly is straddling a tree branch directly overhead with a pair of binoculars. He looks in the direction George is spying and sees a girl through a window getting dressed in her bedroom. He has experienced another uncomfortable revelation.

Through the corner of his

mouth he mutters, "he's a peeping tom?" Suddenly George loses his grip on the tree branch and falls to the road below, straight into oncoming traffic. Acting purely out of reflex and before he can consider the consequences he shouts "DAD!" He darts out into the road and shoves George hard out of the way of the car. The car, unfortunately is on him a second later and he's struck full force. He's thrown to the ground where he strikes his head on the pavement. He starts to get back up but then, the lights go out. George Mcfly, in a panic, runs to his bicycle and pedals away. The driver gets out and shouts to the house that George has just been spying on, "another one of these damned kids jumped in front of my car again!"

CUT INTERIOR BEDROOM. NIGHT. Marty lies on a large bed with a cold compress on his head. As he comes to awareness he can see that, outside through the window, it's night time and it's raining. The soothing sound of his mother's voice comes from across the room, comforting him and remarking that he's been asleep for 9 hours. He is relieved. His mother's voice means the nightmare is finally over.

Still a bit groggy but elated to hear her he quietly tells

her about a "terrible" dream that he went back in time. She is but a shadowy figure across the room. The compress on his head partially obscures his vision. He hears her voice again as she draws closer, reassuring him that the nightmare is over and he's safe and sound now, back in good old 1955. "Ninteen fifty FIVE?" He sits up in alarm. At the same time she switches on a lamp and he's dumbfounded. Before him stands a thin and attractive girl about his own age, but it's still definitely his mother! Lorraine Baines. He starts to get out of bed, throws back the covers and sees his purple Calvin Klein designer underwear. "Where are my pants?" He asks in dismay. She points, "they're over there,... on my HOPE chest!" Immediately she calls him Calvin Klein thinking the embroidered logo on his underwear must be his name. Lorraine does something unthinkable, she reaches out for him in a seductive way and he recoils.

She appears relentless however and gets even

more aggressive with him but he hears a woman's voice outside the door shouting for Lorraine to come to dinner. Lorraine, now horrified, says "oh my God it's my mother" and tosses him his pants. She runs out of the room but not without giving him a wistful and wanting look.

CUT BAINES FAMILY DINING ROOM. DINNER. Marty meets the rest of Baines family. Her brothers Milton and Toby, her sister Sally, and sitting quietly, happily playing in a crib against the wall is little "jailbird" Joey. He says, "so you're my Uncle Joey." Rapping lightly on the bars of the crib he whispers "you better get used to these bars, kid."

Lorraine's mother (Marty's maternal

grandmother Stella) notices Marty's interest in Joey and the crib. She explains that Joey loves it in there and cries every time they try to take him out so they just leave him in there all the time. (Marty's maternal grandfather) rolls a television into the dining room on a rolling tv, as if for the very first time, it's obvious he has just purchased the tv on wheels. "Look at it roll!" He laughs as he drags it and the family cheers. "Now we can watch tv and eat at the same time" the father says proudly. They all sit and eat over the exact same episode of "The Honeymooners" that George was watching in the McFly kitchen only the night before, back in 1985. When Marty recognizes the episode he can't believe the coincidence and blurts out, "hey I've seen this one, this is the one where..." He cuts himself off seeing their confused looks. One of his young uncles asks, "what do you mean you've seen it? It's brand new." (It's a bit unclear what they are talking about now, the episode or the rolling tv). He explains he saw it in a rerun, which only confuses the boy more. He now looks at Marty like an alien. "What's a rerun?" Marty starts to try and get directions from Sam, however when he mentions "John F. Kennedy Drive" Sam gets miffed and asks Stella, "who the hell is John F. Kennedy?" Stella shrugs. Nevertheless he has gleaned enough

information from the conversation to figure out how to get to Doc Browns from there. Lorraine grabs his leg and suggests that he can spend the night, in her room. He leaps up so fast that he nearly knocks over the table. He frantically makes excuses and runs out of the house. She stares after him with a deep look of longing. Obviously she's mistaking her maternal feelings for a lover's crush. After he's gone Stella remarks that he's a very strange boy, to which Sam replies, "he's an idiot" and then "his parents are probably idiots too." He glares at Lorraine and says "if you ever have a kid who acts like that, I'll disown you!" She blushes.

Tell me, Future Boy

CUT EXTERIOR BROWN ESTATE. Marty makes his way over to Doc's house, which he has probably never seen before, being that it will be destroyed in a fire according to the news articles seen in Doc's workshop in the first scene. He appears visibly impressed by the Brown Estate and, boldly approaching the front door, he rings the door bell. The door swings open and shuts again immediately, as if the person inside is afraid to talk to Marty. Marty looks really confused now. How could anyone know who he is? The door opens a second time and Doc jumps out of the doorway at him wearing a ridiculous bowl shaped contraption with what looks like christmas lights decorating it. Doc takes some electrodes, licks them, and begins attaching them to Marty's forehead while at the same time shushing him and not allowing him to say a word.

He can't help

but notice there is also a bandage on Doc's head. FOLLOW THEM TO INTERIOR BROWN ESTATE. Doc explains this is his latest invention, a "thought reader." He waits patiently as Doc closes his eyes and concentrates as if listening.

Then, looking much like a third rate psychic he

begins to try and guess who Marty is and what he wants. He guesses that he comes from a great distance, and Marty confirms this as accurate. He shushes him again then, looking at Marty's quilted vest (which looks very much like a life preserver), he guesses that Marty wants him to make a donation to the Youth Coast Guard Auxillary. Marty's had enough. He yanks the electrode suction cups off of his forehead and tells him straight up that he's from the year 1985. He says, "I came here in a time machine that you built." Doc is looks extremely shaken by the news. There is an awkward silence in which he assumes Doc is taking in this news and processing it. Doc grabs him by the shoulders histrionically and in an awe inspired voice asks him, "do you know what this means?" Marty says "no." In complete frastration and disappointment, he responds, "it means that this damned thing doesn't work at all!" He rips the thought reader off of his head, throws it down, and walks away from Marty, dismissing him entirely as he contemplates his next move. Marty does not give up though and continues to try and convince a now skeptical Doc Brown that he is in fact a time traveler from the future. He shows

him his Drivers license, He dismisses it as a forgery. He shows him his family photo from Disney World, Doc takes a quick look and calls it "cheap photographic trickery" and points out that the top of Marty's older brother, Dave's, head is missing from the photo. Doc keeps calling him "future boy" after an old time travel show from the 50's and demands to know who is the President in 1985. Marty tells him Ronald Reagan. Doc scoffs loudly, "the ACTOR?" He gathers up some plans and drawings and runs outside, with Marty still following him. FOLLOW THEM EXTERIOR BROWN ESTATE. Doc continues to mock Marty's story, obviously thinking that has been sent there by the neighborhood kids to play a prank on him. He sarcastically suggests that perhaps Jerry Lewis is the Vice Presiden, and Jane Weinman is the first lady and Jack Benny is the Secretary of the Treasury! Eventually, however, he is able to convince the good Doctor by telling him how he got that bump on his head (the one the bandage is covering).

He

relates the story that Doc's 1985 counterpart told him, how that on the night of 5 November 1955 he was standing on the toilet, hanging a clock and slipped and banged his head on the sink, and that's when he had the vision for the flux capacitor which is what makes time travel possible. Doc Brown stops dead immediately emerges from his workshop and stares at him in silence shock.

It Works!

CUT EXTERIOR LYONS ESTATE. BEHIND BILLBOARD. Marty unviels the Delorean to Doc, who then shows him the drawing he made of the flux capacitor just that evening. Marty pops open the door and points at the flux capacitor, flips on the time circuit and the flux capacitor begins to flash and glow. Doc collapses to his knees and then drops forward against the Delorean in joy, almost weeping. "It works! I finally invent something that works!"

One Point Twenty One Gigawatts!

CUT INERIOR BROWN ESTATE. GARAGE. Doc has somehow figured out how to hook Marty's portable Cam Corder into an old black and white television set. They begin to watch. At first the only thing that impresses Doc is how old he looks and how he still has most of his hair. Then, when they get to the explanation of how the time circuit works and he hears the term "1 point 21 gigawatts" he immediately asks for the tape to be rewound, acting as though he can't believe what he's just heard. When he hears it again he comes unglued shouting "1 point 21 gigawatts" over and over again, pacing like a rat in a cage, and running his hands through his hair, giving him a wild man appearance.

He

runs into his study and grabs a photograph of Thomas Edison and begins talking to it. "Tom, Tom, how could I be so careless?" Marty comes in, looking very concerned. Doc looks at him in total dismay and says "1 point 21 gigawatts" again.

He mumbles at the photo again. "How am I going to generate that much power? It can't be done, it's impossible!" When Marty tells Doc that it's easy, all they need is some plutonium, Doc, beside himself, sarcastically remarks that maybe in 1985 plutonium is available at every corner drug store but in 1955 it's "a little" hard to comeby. He informs him flatly that he's stuck there in 1955. Forever! Marty can't accept that answer and shows him the love note Jennifer wrote and tells him, "I can't be stuck here, Doc!" Doc brown explains to him that in 1955 the only thing that he knows of, short of a nuclear reaction, that could generate that sort of power is a bolt of lightning. He remarks, "unfortunately you never know when or where lighting is going to strike." Marty glares at the note in his hand, turns it over, and his eyes light up. "We do now!" When he reads the flyer about the clock tower being struck by lightning he confirms what Marty is thinking. Since the clock tower will not be struck by lightning for another week they have time to plan and prepare to somehow harness that lightning when it strikes. Doc triumphantly and confidently says, "it just might work!" Then, he tells Marty, "next Saturday we're sending you BACK TO THE FUTURE," as he says this he dramatically points into the sky (and into the camera).

Every Picture Tells A Story!

Marty approves of the plan and seems to calm down saying "this is perfect," he remarks that it's only a week and he can just spend the time hanging out in 1955, see the sights, explore the neighborhood. Doc immediately warns him that he can't "explore" at all. That it is absolutely imperative that he have no contact with anyone else or any THING else here in the past. Marty sheepishly accepts this but something in his demeanor, a twinge of guilt and worry on his face, tips him off that it might be too late. Doc gets serious now and asks him if he has interracted with anyone else since arriving in 1955. Finally after a bit of urging, he confesses that he "might of, sort of, bumped into his parents." Doc is taken aback! Gravely, he asks for the family photo again, it now dawning on him what he saw earlier. He holds it under the light to see. Dave's head is beginning to fade from the photograph. Marty is totally confused by this. Doc explains that he must have somehow interfered with the natural course of his parent's relationship. Marty still doesn't understand so Doc tells him that he has prevented his own existence in the future, that his older siblings will soon completely be erased from the photo because they are being erased from existence itself. He further informs him that if they cannot repair the damage he has done, Marty too will eventually be erased from existence!

Isn't He a Dream Boat?

CUT EXTERIOR HILL VALLEY HIGH SCHOOL. MORNING. In hopes of figuring out how Marty managed to interfere with his parent's realtionship and how to fix it Doc takes him to the high school the next morning and enrolls him as his nephew. Marty is amazed how clean and nice the school looks as they approach. CUT INTERNAL HILL VALLEY HIGH SCHOOL HALLWAY. While they are there Marty peers in through a classroom window just in time to see his mother cheating on a test.

When the bell rings and the halls fill with students Doc asks

him to point out his father. They see George being literally kicked in the ass down the hallway by several laughing bullies. All George does in response is say "ya ya ya, real mature." Doc offers consolation to him in the way of a sarcastic remark, "maybe you were adopted," to which he nods sadly. Suddenly, Principal Strickland appears, looking exactly as he looks in 1985 and rips a "kick me" sign off of George's back, calling him a slacker! Marty mutters under his breath, "Jesus, didn't that guy ever have hair?" Doc wonders out loud what Lorraine ever saw in George to begin with. Marty admits that she only ever felt sorry for him because her dad hit him with the car. The realization hits home, exactly how Marty interfered with their relationship. He laments... "he hit ME with the car." The mystery is solved. Doc Brown explains that this is called "the Florence Nightingale effect" and uses the example of when a nurse falls in love with her patient.

Marty steps forward and boldly grabs George, ushering him over to Lorraine who is now standing at her locker with two other girls. He explains to George that there is someone he wants him to meet. Practically dragging his father over to his mother he introduces them to each other. This does not have the effect he'd hoped for, however, as his mother is only interested in Marty now. George wanders off, humiliated, as Lorraine fawns over Marty and as he is completely distracted by her unexpected attention. He looks around for George, sees him slowly and sadly wandering down the hall, starts after him. The bell rings and Lorraine runs to her next class, as she passes Doc Brown she gushes to her girlfriends about Marty... "isn't he a dream boat?" When he returns, defeated, Doc gives him the bad news. The situation is more serious than they had first thought. Not only does George lack the selfconfidence to win a popular girl like Lorraine, but it appears that Lorraine is "amorously infatuated" with him instead. Marty stops in his tracks. "Wait a minute Doc," he asks, "are you telling me that my mother has the hots for me?" Doc says "precisely!" As they discuss their options, which appear to be few, Doc notices and "Enchantment Under the Sea Dance" poster on the wall and points it out, calling it a "ryhthmic ceremonial ritual," and suggesting he get his parents to go to this event. The light bulb comes on. He says, "Doc that it, they're supposed to go to this dance." He tells Doc the story that his mother had relayed to him many many times. They decide that the logical plan of action is to get George McFly, who's described by some as "that irish bug" to ask the most popular girl in school

out! CUT INTERIOR HIGH SCHOOL CAFETERIA. Marty begins his efforts anew in the cafeteria over lunch. He sits down with George. After being humiliated several times already, however, George appears in no mood to socialize with Marty. So far the new kid he barely knows has brought him nothing but trouble. Marty notices that George is writing feverishly in a tablet that he quickly hides when he takes too much interest. He finally wrenches the truth out of George and is stunned to learn that he writes science fiction stories. Marty says, "gettoutatown, I never knew you ever did anything creative!" When he George to him read some, totally fascinated, he hides them under his arms. George explains that no one reads his stories because he's afraid they might tell him they are "no good" and George just can't "take that kind of rejection." George says, "I guess you wouldn't undertstand those feelings." Marty, with heartfelt empathy does in fact understand, having uttered almost those exact same words about his own creative activities not more than 24 hours earlier. Marty goes back to the task at hand, trying to convince George to talk to Lorraine again and tells him that she told him that she wants George to ask her to the dance. George receives this news with complete skepticism saying, "I think she'd rather go with someone else." Marty asks him, "who?"

He looks down at his writings, points his pencil at the table past Marty and says, "Biff!" He turns around to see Biff grabbing and pawing at his mother as she angrily fends off his obscene gestures and advances, literally wrapping his legs around her and groping at her breasts right there in the lunch room. She slaps him and says she's not that kind of girl, to which he responds that maybe she is but she just doesn't know it yet. He cannot take this another minute. He stomps over and grabs Biff by the shirt and tries to yank him to his feet but Biff is an unmoveable mountain! Biff, however does slowly stand to his feet and we can see the contrast in size between the two young men. He towers over Marty like Goliath himself. He is not intimidated however. They both square off toe to toe, fists raised. It would have turned violent right there and then but Strickland once again appears out of nowhere like magic. Biff sees the principal and lowers his fist. Marty senses him and does the same. The boys consider each other for a moment longer. Biff smooths Marty's collar and quietly says "you're new here so I'm going to cut you a break" he says "now make like a tree and get out of here." Strickland goes off to put out another fire somewhere. CUT EXTERIOR NEIGHBORHOOD OF GEORGE MCFLY. After school Marty is following George home. George turns around and angrily demands why. He is now pleading with George to ask Lorraine out. George says he can't go to the dance because he'll miss Science Fiction Theatre. He keeps insisting until, finger pointing, George declares that neither he, nor anyone else on this planet can make him change his mind and storms into his house. He pulls out his

family photo and all that is left of his older brother is his shoes and socks. Getting an idea, he mumbles reflectively. "Science Fiction Theatre, huh?"

I'm Your Density

CUT TO INTERIOR GEORGE MCFLY'S BEDROOM. NIGHT. George is fast asleep. A dark figure towers at the foot of his bed dressed in a yellow radiation suit.

He has what looks like a ray gun holstered to his waste with a

belt. The figure places a pair of walkman headphones on the sleeping George's head, inserts a tape labeled "Edward Van Halen" into the walkman, cranks the volume and hits the play button. A cacophony of rock and roll noise pollution floods George's ears at full blast and he bolts upright in his bed, grabbing at the headphones. When he sees the figure before him, however he freezes in fear, his hands lightly resting on the headphones as if afraid to touch them anymore being that they obviously came from this creature who has invaded his room. George points in utter terror at the figure and breathlessly asks, "who are you?" Marty presses play again and George writhes in agony to the roaring heavy metal in his ears. He presses stop and responds to George through the microphone on the radiation suit helmet using his best "Darth Vader" bass. "Silence Earthling." The microphone gives him a metalic and electronic tone to his voice.

He introduces himself as Darth Vader, an extraterrestrial from the

planet Vulcan.

CUT TO HILL VALLEY SQUARE. EXTERIOR TEXACO STATION. Marty is at a soda machine getting a soda when George runs up to him, shirt tail hanging out, hair a mess. George frantically tells his new friend about the alien visitor to his room and says that he must ask Lorraine out or Darth Vader will come back from the planet Vulcan and melt his brain. George desperately asks him to help him get Lorraine to go with him to the dance because he doesn't know how to talk to girls. Marty reassures him, has him straighten himself up and leads him to the diner where he knows Lorraine is now at, hanging with her girlfriends. He instructs George on how to talk to Lorraine using suggestions such as "tell her that her destiny has brought you to her." George writes these suggestions down and goes into the diner nervously. FOLLOW THEM TO INTERIOR DINER. Inside he stops at the bar and while summoning his courage orders a chocolate milk shake. Takes one drink, slaps it back on the bar and saunters awkwardly over to Lorraine's table. Marty comes in and lingers at the bar near his milk shake, listening, but trying not to look like he's listening. When Lorraine looks up at George she smiles sweetly. George botches the lines horribly saying "my destiny has popped me to you." Lorrain looks totally confused and starts to look at him as some sort of weirdo on drugs. Her girlfriends begin to giggle. Lorraine says "wait a minute don't I know you from somewhere?" George gets excited, emboldened that she recognizes him and he says, "yes, yes, I'm George, George McFly, I'm your density."

She frowns in confusion again. More giggles from the girls. George recovers his composure, stares for a second at his notes, gives up, puts them down and says in a sultry voice that was quite out of character. "I mean, I'm your destiny." The conviction with which he utters this line is enough to make Lorraine pause, and she blushes. George begins to smile and warm up to his newfound confidence when he hears a voice behind him. "Mcfly!" It's Biff Tannen. The entire diner goes silent as Biff strolls angrily toward George demanding money because George defied him and came into his turf uninvited. As he moves closer however, Marty's leg juts out from the bar in front of Biff and he trips, falling flat on his face. Biff springs up quickly and faces Marty, furiously. It's obvious Biff is going to get violent this time but Marty points behind Biff and asks "what's that over there?" It's an old trick he has learned from Biff. When Biff instinctively turns around to look he sucker punches him. Biff goes flying over the table. Then, Marty turns and bolts, shoving hard on his three henchmen as well, who also tumble down. FOLLOW MARTY TO EXTERIOR DINER, VILLAGE SQUARE. Once outside, he comes upon two boys, one who's pushing a homemade scooter. He looks down at it and realizes the base of it looks exactly like a skateboard complete with roller skate wheels. He grabs the shcoter from the kid and apologizes, quickly ripping the crate off the base. It now is a skateboard. "Hey!" The kid complains.

Marty takes off, grabbing a nearby truck to be towed away, but soon Biff and his henchmen give chase in Biff's Ford Super De Lux Convertable. CUT INTERIOR DINER FRONT WINDOWS. Everyone has been watching from the diner. As he rolls past them being chased by Biff's car, Lorraine repeats her line, "isn't he a dream?" CUT EXTERIOR VILLAGE SQUARE. Marty loses control and goes across the sidewalk, crashing into a couple. By the time he gets back up on his skateboard Biff's sedan is on him. He twists around and puts his hands on the hood of Biff's car, now he's being pushed rather than towed.

They think they

have him now and begin to steer toward a parked truck to ram him. He jumps up on the hood of the car with both feet and the car rolls over the skateboard. He runs aft, across the hood, jumps the windshield, lands both feet in the front cab of the car ,then he hops and skips over the seats and onto the trunk of the car before any of Biff's henchmen can grab him. By now the car has completely rolled over the skateboard and he gets there just in time to jump down onto the skateboard and roll away in the opposite direction. The four men in the car are so stunned by this maneuver they watch him roll off in amazement, helpless to stop him. Biff, however has forgotten that the car is still rolling forward toward the parked truck. He turns back and realizes his mistake in horror. They all scream "SHIT!" He spins the wheel and presses the brake. The car squeals to a halt sideways and just clips the back of the truck, which opens up and spills manure all over Biff and his henchmen. The manure literally fills Biff's car and stops in a

great pile from which emerges Biff's head. Everyone from the diner has now spilled out onto the sidewalk gawking at this spectacle. A girl shouts out "who is he, where does he come from?" Lorraine, her expression full of determination and blatant desire, says, "I don't know, but I'm going to find out."

George Mcfly Who?

CUT TO INTERIOR BROWN GARAGE/WORKSHOP. Marty is getting a run down of how they will use the lighting bolt to power the DeLorean. Doc has built an impressive scale model of the entire village square for which he ironically apologizes, calling it crude. The plan is to string a heavy electrical wire from the clock tower to the street.

This is a heavy reinforced cable, the kind used in

1955 to carry electricity from one point to another. The Delorean will be fitted at the end with a catch hook (similar to the type used on aircraft to hook the mooring cables when they are landing on an aircraft carrier). The electrical cable will be strung across the street between two poles and then grounded. The idea is for the hook on the back of the Delorean (that goes straight into the flux capacitor) will strike the cable at just the right moment when the lightning is arcing between the two poles and this will channel the 1.21 gigawatts of electricity into the flux capacitor, jump starting the time circuit and sending him back to his future. Doc sets up a demonstration using jumper cables and an electric toy car.

Marty sets the car down and it rolls toward the cable, at just the right moment Doc hooks the last jumper cable to the other side of the circuit and the car speeds up dramatically, going faster and faster, until it flies right off the demonstration exhibit rolls across the floor, hits some rags, and causes the rags to burst into flame. Doc gasps and runs for a fire extinguisher. "You're not instilling me with a lot of confidence Doc" Marty says as Doc puts out the fire. Just as the flames go out there is a knock on the door. Doc peeks outside then desperately closes the door again. "It's your mother" says Doc! Marty is dumbfounded. They quickly cover the time machine with a tarp. When Doc let's Lorraine in she approaches him coyly. Marty asks her how she found him and she abashedly admits that she followed him. Then, being coy again, she asks him to ask her to the dance. Doc turns and faces the other way. Both of them had assumed that George indeed asked Lorraine to the dance so when she asks Marty, he's more than a little surprised. He point blank brings up George, wondering why she wasn't going with him. At first she doesn't even seem to know who he's talking about. Then, realizing he means George Mclfy, she is very surprised by the suggestion, admitting that even though George is kind of cute, she needs a man who can stand up for himself, who can protect the woman he loves. He blushes from ear to ear and it appears, from his back, that Doc may be squelching out and out laughter at the predicament Marty has got himself into. In the most unexpected move ever, he accepts her invitation to go to the

dance. Later he tells Doc that he has a plan to get his parents together but he has to take her to the dance to make it work. Skeptically Doc seems to accept this answer, but not totally. He begins to look at his young new friend with new eyes.

Dammit, George, Swear!

CUT EXTERIOR GEORGE MCFLY HOME. BACK YARD. DAYTIME. Marty is hounding George as the gangly kid does laundry in his back yard. "I'm telling you George she really wants to go with you to the dance, she just doesn't know it yet." George says that he's confused how he is supposed to take Lorraine to the dance if she's going with Marty. Marty then, apparently for the second time, lays out his plan for George. George is to go to the dance alone and then look for Doc's car in the parking lot. When he finds it he will hear Lorraine crying for help because "that's what nice girls do when someone tries to take advantage of her." George doesn't like this part of the plan because it realizes that Marty will have to do inappropriate things to Lorraine. He objects. Marty reminds him it's all an act. The plan is for George to open the door and tell Marty, "hey you, get your damn hands off her." George objects again, this time questioning whether or not it is necessary for him to swear. Marty says, "yes, DAMMIT George, swear." The rest of the plan is simple, they pretend to fight, He pretends to be defeated by George. George escorts

Lorraine into the dance as her knight in shining armor. It's a fool proof plan, or so he thinks. When George finally seems on board with the plan Marty gives him a pep talk. He places his hand on his dad's shoulder and says "if you put your mind to it, you can accomplish anything." (Something that Jennifer had said to him just before he went back in time about his music).

Right Time, Right Car, Wrong Cad!

CUT EXTERIOR VILLAGE SQUARE. COURTHOUSE. NIGHT. Marty is dressed in a suit and tie and is having a conversation with Doc about the upcoming storm. Doc mentions how excited he is to be able to some day travel in time. Marty then tries to warn Doc about what happens the night he goes back to the future but Doc refuses to listen, telling him that it's too dangerous for anyone to know too much about their own future. Even if their intentions are good, it can backfire on them drastically. CUT TO INTERIOR LOU'S DINER. Marty sits carefully wording a note of warning to Doc Brown. "Dear Doc Brown, on the night when I go back in time you are shot by terrorists." He hopes Doc will read the letter after he's gone and take the necessary precautions to avoid being killed. He slips the note into Doc's overcoat pocket when Doc isn't looking. CUT TO INTERIOR HIGH SCHOOL GYMNASIUM. We see George

inside looking very handsome and dashing in a white tux, except for the fact he's dancing all alone, occassionaly looking up at the clock for his appointed time. Marvin Berry and Starlighters are playing "Night Train." CUT TO EXTERIOR SCHOOL PARKING LOT. Doc Brown's 1948 Packard Custom Eight Victoria convertible pulls in with Lorraine in the passenger seat and Marty driving. When they are fully stopped Lorraine suggest they "park" first. Even in 1985 Marty knows that means she wants to make out. Now, he starts to see the wrinkles in his plan. He realizes his young mother might not be the "born nun" he always thought she was and that could be disasterous for the whole operation. Just then, she produces a small flask of whiskey and drinks, looking around to make sure the coast is clear, she hands it to him. He lectures her that she shouldn't drink because she might regret it later in life. Angrily she tells him not to be "a square." He shrugs and takes a swig. As he does, she lights up a cigarette.

He chokes at this, spitting some of the whiskey out.

"Jesus, you smoke too?" Now she gets peeved and complains, "your starting to sound like my mother." CUT INTERIOR SCHOOL GYMNASIUM. Back in the dance the band ends their song and announces it's time for a break. CUT TO EXTERIOR SCHOOL PARKING LOT. Lorraine asks him why he's so nervous. He asks her if she ever had to do something but when it came time to do it did she realize she couldn't go through with it? She grins wickedly and without further warning Lorraine makes her move, she's all over him. As he struggles she plants her lips to his aggressively, her eyes pop wide and she

backs away, staring at him with an extremely odd expression. He asks her what's wrong and she says that when she kissed him it was almost like she was kissing her brother. He is not surprised.

Suddenly the drivers side door to the

car swings open and Marty rolls his eyes, thinking George is jumping his queue. A very large arm reaches in and drags him out of the car. It's not George, it's Biff Tannen. "You cost me 300 bucks to fix my car you sonofabitch," growls Biff, "and now I'm going to take it out of your ass." From inside the car we hear Lorraine shout to "leave him alone." Biff looks in at Lorraine in her very provocative party dress and grins wickedly. Biff hands him over to his henchmen saying to Lorraine, "well, looky what we have here." She realizes her cleavage is showing then sees his look and tries to dart out the passenger side. Biff is too quick, he jumps into the car with her and is on her, tearing at her dress. Even the henchmen are taken aback by this sudden act of barbarism. Biff whips his head around and screams at them, "this ain't no peep show" and slams the car door. You can see poor Lorraine's feet and legs flailing wildly as Biff climbs on top of her. FOLLOW MATCH, SKINHEAD, AND 3D EXTERIOR BACK PARKING LOT. They carry him out behind the school and toss him into the open trunk of the first car they see and slam the lid shut. Emerging from the car are Marvin Berry and the Starlighters who have been back there taking their break, smoking on a doobie. They chase Biff's gang off, literally kicking their asses as they flee. They hear Marty's voice and realize he's locked in the trunk. What's worse, when

they look for the keys they hear Marty's muffled voice saying, "the keys are in the trunk." CUT FRONT PARKING LOT OF SCHOOL. DOC'S CAR. You can hear Lorraine crying and Biff laughing, and you can still see Lorrianes feet flailing inside the car. Apparently she's being raped. George McFly appears, sees the commotion inside the car, pauses, putting on his best acting face he thinks the show is on. He stomps over to the car, swings the door open and, as he does, says his line as they rehearsed it. "Hey you get your damned hands offfff...." His voice trails off as, in horror, he sees that it's Biff in the car, not Marty. Biff, sweating profusely and breathing hard tells George in a menacing tone that he has the wrong car. Lorraine cries out George's name and balefully begs for help. George assesses the gravity of the situation in a flash. Biff tells him to just walk away. George's demeanor suddenly changes. A look comes over him that no one has ever seen before. He points angrily at Biff and says, "no Biff, you leave her alone!" Biff climbs out of the car and tells George he's been asking for it and now he's going to get it. George takes an awkward swing at Biff but the brute just grabs his arm and twists it hard behind his back. George goes to his knees, grimacing in pain. CUT TO BACK PARKING LOT. Marvin Berry is using a knife to try and jimmy the trunk lock. It works but he cuts his hand badly in the process. The trunk pops open and Marty jumps up, thanking them profusely he tosses them the keys and he darts back to save Lorraine from Biff.

CUT TO FRONT PARKING LOT. DOC'S CAR. Biff still has George at his mercy and Lorraine leaps out of the car and onto Biff's back digging her nails into him. Biff throws her to the ground and she hits hard. Biff starts laughing at the sight of this, cruelly. When George sees this his face twists in rage and the fist on his free arm clenches white. As Biff stands there laughing at Lorraine, George uses the leverage provided by the angle at which Biff is holding him and strikes upward full swing. The punch hits Biff so hard his head flips back against the car and his face goes blank. It's lights out as Biff drops onto the pavement. Out cold. Marty rounds the corner just in time to see George's swing and Biff drop like a stone. He stops dead and stares in utter disbelief. George stares at his own hand as if it had acted on it's own, a mixture of total surprise and elation on his face. He looks down at Lorraine who is still sitting where Biff shoved her. She is staring up at George with a newfound adoration. He offers her the hand that had just saved her and asks her, "are you okay?" She smiles and nods, almost trancelike, then takes his hand as he lifts her. Without saying a word he wraps his arm around her protectively and begins to escort her proudly into the school. A small crowd is gathering around Biff's limp body. Another small crowd gathers behind where Marty still stands, watching this entire thing with glee and pride. A girl watches George escort Lorraine and asks "who is that?" Her boyfriend says, "that's George Mcfly" in a

tone of awe and wonder. "THAT'S George Mcfly?" She asks incredulously. He looks at his family photo expecting to see it restored. To his utter shock and dismay his brother is completely gone from the photo and his sister is half gone. Getting George and Lorraine together at the dance was not enough, it didn't fix a thing. His brow furrows in complete confusion, as it dawns on him what the problem is. He runs back toward the alley.

But Your Kids Are Gonna Love It!

CUT TO BACK PARKING LOT. Marty runs up and asks why they haven't gone back in to resume playing for the dance. They are wrapping Marvin's hand in a large bandage and inform him that Marvin's hand is too badly injured and the band can't play without Marvin. He urges them to go back in and play music, talking a mile a minute, he pleads with Marvin: "Marvin, you gotta play! That's where they kiss for the first time, on the dance floor! You see, if there's no music they can't dance and if they can't dance they can't kiss and if they can't kiss they can't fall in love and then I'm history!" Marvin sits up and tells him, "hey man the dance is over, unless you know someone else that can play the guitar!" CUT TO INTERIOR SCHOOL GYMNASIUM. DANCE STAGE. Marty stands to the right of the stage, Marvin's red Gibson ES-345 strapped to him, almost dwarfing him, he is strumming the chords to "Earth Angel" by the Penguins. George and Lorraine are out on the dance floor, together, but George

has appeared to have lost his nerve, he's holding her practically at arms length and he looks terrified. Marty has mounted the family photo on the machine head of the neck, weaved in with the strings, and he keeps looking out at the couple then back at the photo desperately hoping to see them kiss and to see the photo restored. Nothing is happening as the song continues. Finally, Lorraine sweetly asks George "aren't you going to kiss me?" George balks, indecisively. A red headed punk appears from nowhere and shoves George away exclaiming that he's cutting in. George starts to sheepishly walk away in humiliation. The bully is literally dragging Lorraine away from George while she calls out his name. The bully cruelly laughs at George. An horrible dischordant sounds start eminating from Marty's guitar. The other members of the band grimace and look his way. He stares at his right hand. It' begins to phase in and out of existence. George continues to walk away sadly. He peers out on the dance floor and weakly says, "George," as he begins to collapse onto the floor. The little punk is now holding Lorraine tightly against her will and trying to dance with her. Suddenly George reappears and shoves the kid to the ground. He approaches Lorraine and puts both of his hands gently on her face and draws her to him.

They kiss passionately.

Marty springs up instantly and the music from his guitar is beautiful again. He looks at the picture as one by one each person in the photo magically reappears. He smiles in absolute relief. He's done it!

The song ends and Marty, triumphant looks out at George, who waves. He waves back looking triumphant and starts to put the guitar down. Marvin Berry urges him to play another number, something that "really cooks." He thinks about it then agrees. He steps up to the microphone and announces, "this is an oldie," he stops, then adds, "well, it's an oldie where I come from." He tells the band to play a standard 12 bar blues in the key of B. He launches into the opening and distinct riff for Johny B. Goode, by Chuck Berry. The band joins in, feeling the vibe and grinning in pleasure and amazement. Everyone begins to dance excitedly. CUT TO BACKSTAGE OFFICE. As Marty plays, we see Marvin on the phone in the backstage office shouting, to Chuck Berry, his cousin about that "new sound" he's been looking for. Marvin shouts into the reciever, "well listen to this," and holds the phone out so that Marty's riffs can be heard. CUT TO STAGE. Marty begins to put on his best showmanship. He hops across the stage, kicking one leg up like Chuck Berry. He kicks his amplifier over like the Townsend from The Who, he drops to his knees like Van Halen and does a solo that employs hammeron pulloffs, then he plays the guitar behind his neck like Jimi Hendrix. When he lies down on the stage with the guitar and begins scooting across the floor like Angus Young of AC/DC, however, the band literally stops playing. He looks up to see everyone is staring at him. You could hear a pin drop in there. He gets up, regains his composure, steps up to the microphone and says, "I guess you're not ready for that yet..." pauses, adds "but your kids are going to LOVE it!"

He hands the guitar back to Marvin Berry who scrutinizes the instrument for damage. CUT INTERIOR BACK STAGE NEAR BACK EXIT. Marty runs back stage and heads for the exit. He's met by Lorraine standing in a doorway. He stops and she asks if it's okay for George to drive her home. Giver her a playful chuck under her chin and says "I had a feeling about you two." She agrees with him. George and Lorraine stand arm in arm to say their goodbyes and ask him if they will ever see him again. He says, "I personally guarantee it." As he's about to leave, he stops and says, "oh, by the way, if you two ever have kids..." they blush, "and one of them accidentally sets fire to the rug when he's 8 years old, go easy on him will you?" They nod. He runs out the exit, leaving Lorraine reflecting about how nice the name Marty is.

No Real Concept of Time!

CUT TO EXTERIOR TOWN SQUARE. COURTHOUSE. The clock is nearing 10: 00 pm. Doc is frantically pacing in front of the courthouse examining his many watches and cursing Marty. When Marty finally arrives Doc asks him if he has no concept of time. He defends himself by saying there was no way he was going back to his own time in that "zoot suit." While they uncover the Delorean to prep it, Marty tells Doc how George laid Biff out in one punch and says "he's never stood up to Biff in his life." He hands Doc the family photo so he can see for himself that the

timeline is restored. Doc frowns, staring at the picture and asks Marty, "never?" Marty confirms it and looks concerned. Doc says "never mind that now" and continues to prep the Delorean. He reminds Marty of the plan and points down the street in the direction of where he has drawn a starting line. He sets the time dial to send him back to the exact moment he left and comments, "it will be like you never left." They hug. Doc says "see you in 30 years" and Marty, almost in tears says "I hope so." Doc reassures him saying "don't worry" and tells him as long as he sticks to the plan everything will be fine. As he says this, he reaches his hand into the pocket where Marty had slipped his note hours earlier. Doc feels something, pulls out the envelope, reads the address and demands to know what is the meaning of this? Doc guesses that it's information about the future and becomes furious, ripping up the envelope and lecturing him about trying to slip him information that could jeapordize his own existence the way Marty had done to himself! Marty is adamant and says "I'll just tell you outright then." He never gets the chance however. The wind picks up and a large branch falls on the cable, disconnecting it from the clocktower. The connector falls all the way to the steps of the courthouse. Doc frantically grabs a rope and tells him to get the connector and he'll throw the rope down to him from the clock so that Marty can tie the connector to the rope. CUT INTERIOR CLOCK TOWER STAIRWELL. Doc scrambles as fast as

he can up the stairway to the clock. He climbs bravely out on the very thin ledge. He drops the rope to Marty, who ties the connector to it and Doc drags the connnector up. Frantically, he begins trying to make his way to the other side of the clock to reconnect the cable. As he does so Marty tries to yell up at Doc to warn him about his being shot by the terrorists but Doc can't hear him because the thunder and the wind are picking up as the moment of the lightning strike approaches. The ledge breaks and Doc nearly hangs for a moment by the decorations around the clock, until he manages to climb back up. Marty is still shouting his warnings, unheard. Doc shouts to Marty, "look at the time!" Marty realizes he has to go now. FOLLOW MARTY DOWN THE ROAD IN DELOREAN. He runs back to the DeLorean and races it down the road, stopping and lining himself up at the painted starting line. He gets out of the car and installs the grappling hook style contactor into the flux capacitor like Doc showed him. He gets back in the car, looks at the alarm clock and laments that he didn't have enough time to warn Doc, until he realizes he's got all the time he needs as long as he has a time machine. He resets his destination time to arrive 10 minutes earlier. Speaking to himself he says, "I'll just go back early and warn him."

The car stalls, just as

it had near the billboard on the first day and it again will not start back up. The timer goes off and he slams his head on the steering wheel. The car starts!

He

throws it in gear and speeds begins speeding toward the town square. CUT EXTERIOR CLOCK TOWER. Doc is still struggling to get the connector to the other side of the clock so he can reconnect it. When he gets

there it won't reach because it's pinned down partially by the fallen branch. He gives it a good hard tug and it snaps free. Doc looks down and gasps in horror to realize that it has now disconnected at the other end, by the tree branch. Doc looks and it's almost time, he sees the Delorean speeding toward the cable where it crosses the road. He gets an idea and with no more time to spare he connects the cable, wraps a large section of cable around the hands of the clock, and using his jacket he slides down the cable toward the tree branch. CUT TO DELOREAN. Marty can now see that Doc is in trouble but he keeps accelerating. The Delorean has almost reached 88 mph and the cable ahead. CUT TO EXTERIOR TOWN SQUARE NEAR COURTHOUSE. Doc lands near the tree branch, jumps up, pulls the cable free of the branch, grabs the two ends and connects them just as the lightning strikes the clock tower. Electricity arcs between Doc's two hands and lights up the cable, crossing the street just as the Delorean hits 88 miles per hour and at the exact moment the hook connects with the cable. The electricity flows down the connector into the Delorean and it flashes with light, disappearing. Leaving behind the now familiar fire trail where the tires were traveling. FOLLOW DOC DOWN THE STREET. Doc celebrates joyously in the street then he looks up at the clocktower smiling in satisfaction surveying the damage he did to the ledge.

What The Hell, Doc

CUT TO CLOCKTOWER EXTERIOR NIGHT. 1985. Pan same exact angle view of the clocktower as seen at end of last scene. A hellicopter passing overhead shines a light on the tower and we see the damage to the ledge done by Doc 30 years earler. The time is 1:20 AM. Red Thomas, former Mayor turned homeless man sleeps on a bench with a radio playing. The flash of the Delorean entering the time zone awakens him with a start. The Delorean crashes into the old theatre which is now a converted pentecostal church. Red pops up with a start and grumbles "crazy drunk drivers" at the Delorean as it pulls out of the wrecked front window of the church and turns around. The car dies again, as it has done 2 other times before due to an electrical short in the starter for which Deloreans of that era were well known. Marty, frustrated, tries to start it again, this time to no avail. As he continues in futility when from behind, the Libyans' blue VW microbus races past him on a collision course with destiny. He has no choice but to get to the mall on foot if he is going to save Doc from the terrorists. CUT EXTERIOR MALL ENTRANCE TO PARKING LOT. 10 MINUTES OR SO LATER. When Marty arrives at the mall he runs past the sign which now reads "Lone Pine Mall."

He looks down into the parking lot of the mall in

dismay. He's too late. Doc is being shot. He hears his own voice in the distance scream, "no, you bastards!" His eyes widen in amazement as he sees an exact duplicate of himself darting out of the way of the terrorist bullets. He falls and rolls down the hill to the parking lot surface. Gets up and observes as it's all

unfolding as it did before, with him now on the sidelines watching helplessly as the Libyrans chase the Delorean around the parking lot and toward the photo booth.

He gets to see what happened after he went to 1955. When the

DeLorean vanishes, the shocked Libyans lose control of their van and it crashes into the photo booth and rolls over on it's side. Throwing caution to the wind, not even knowing if the Libyans survived the crash or not, he runs down to check on poor Doc. FOLLOW MARTY DOWN THE HILL TO THE PARKING LOT BELOW. In complete devastation he falls down next to the inventor's limp dead body and begins to mourn. He can't bear to look and turns his head. Doc's eyes flutter. He senses movement and turns back just as Doc sits up. "You're alive!" He whispers in amazement. "But how?" Without saying a word, and as if he's just remembering this for the first time himself, he opens his coveralls to reveal a bullet proof vest covered in flattened bullets. Martys asks "how did you know?" Doc reaches in his top pocket and pulls out the letter he had slipped him in 1955. It was taped back together and laminated to preserve it. Marty demands, "what about all that talk about screwing up future events? The space time continuum?" To which Doc merely says, "well I figured, what the hell!"

Marty, Did You Hit Your Head?

CUT EXTERIOR MCFLY RESIDENCE DRIVEWAY. ABOUT 1 HOUR LATER. The Delorean pulls up and Marty gets out. He asks Doc how far ahead he's going and Doc says that 30 years seems like a good round number.

He

tells him to look him up when he gets there and Doc says he will (but he doesn't really seem sincere). They both share a look as if to say they know that wouldn't be appropriate.

He stands and sadly watches as the Delorean pulls away and

continues to watch until it flashes and disappears. CUT TO INTERIOR MARTY BEDROOM. MORNING. The alarm clock goes off at 10:27 and "Back In Time" by Huey Lewis and the News starts to play. He has been sleeping in his clothes. He gets up, looks around groggily, and sleepily mumbles "what a nightmare!" He exits his room and wanders toward the kitchen, then stops and jumps backward, peering into the living room. It looks like it was decorated for "Better Homes and Gardens."

He hears Dave and

Linda at the table bickering over her numerous boyfriends calling her at all hours. Dave wears a suit and tie. Linda is dressed in a woman's business attire herself, and her hair is perfect.

Dave looks up and disapprovingly asks him if he slept in

his clothes again. He nods and asks him what he's wearing. Dave stands up and looks at Marty oddly and says, "I always wear a suit to the office. " The kitchen, too, has beautiful expensive furniture, including a white grand piano. Just then, the back sliding door opens and in walk George and Lorraine, they have just returned from the Country Club. George carries a tennis racket

and Lorraine is demanding a rematch. George asks "why, were you cheating?" They look like two completely different people. Marty falls on the floor he's so shocked! They are concerned and ask him if he's alright and if he hit his head. He gushes as he picks himself back up, "Mom, Dad, you guys look GREAT!" George's hair is pleasantly styled and he looks fit as a fiddle, carrying himself with an air of sophistication that Marty has never seen before. His mother, too, is in terrific shape. George playfully makes a provocative grab for her backside as he walks away behind her and she giggles. Lorraine heads to the dining room table while George goes to the living room. He stands eyeing Marty with a knowing look as he puts his sun glasses in his inside coat pocket. He continues to gaze at Marty, almost as if he knows what is going on. Linda tells Marty that Jennifer called. Lorraine, standing at the table, remarks how much she likes that sweet girl Jennifer. Then she asks him if this isn't the night they go to the lake? He says, "mom we talked about this remember the car is wrecked." Havoc breaks loose at this. Dave jumps up and demands why he is never told about these things. George just stammers for a second then tells everyone to calm down and that the car is fine. He heads to the front door. "See, there's Biff out there waxing it right now." CUT EXTERIOR MCFLY RESIDENCE. DRIVEWAY. George opens the door and we see an out of shape Biff waxing a beautiful BMW in a green running suit. George barks at him from the doorway, "I want two coats of wax this time."

Biff, slightly irritated" says "I'm just finishing up the second coat now." George barks louder, "now Biff, don't con me." Biff becomes extremely apologetic, calling him "Mr. Mcfly." He says "I meant I was just starting the second coat." George closes the door with, "that Biff, what a character. CUT INTERIOR MCFLY DEN. He's always trying to get away with something," then, "he's been that way ever since High School." He sits down and Lorraine hops on his lap, reminding him that if it wasn't for Biff they never would have fallen in love. Marty is looking more and more disoriented. Suddenly Biff runs in carrying a box and shouting, "it's just arrived I think it's your new book!" They all gather to look at the contents and it's a novel, written by George Mcfly about a couple who are brought together by a space man. On the front cover is a figure in a yellow radiation suit, pushing a boy and a girl together. George tells Marty, "see son, it's like I keep telling you, if you put your mind to it, you can accomplish anything." Biff hands Marty a set of keys and says, "it's all waxed up, ready for tonight." He looks truly baffled now. Lorraine and George look at each other like they are pleased at his surpirsed reaction. CUT TO INTERIOR GARAGE. DARKNESS. The door swings open and in the flooding light outside we see as Marty stands in awe at what is inside. It's

the jet black Toyota 4 X 4 pickup he always admired. He can't believe his eyes. He walks in and leans on it, exhausted by all of this. He hears Jennifer's voice asking him for a ride. He runs to her and holds her tightly saying "you are a sight for sore eyes." She comments that he's acting like he hasn't seen her for a week. He says, "I haven't!" They kiss. We see George and Lorraine who have been watching from the screen door, almost knowingly, turn away to give them their privacy.

Roads? We Don't Need No Stinking Roads!

Suddenly there is a FLASH behind them and the Delorean appears, smashing into the garbage cans at the end of the driveway and screeching to a halt. Doc Brown jumps out dressed in odd clothes and wearing strange visorlike sunglasses. He shouts to Marty that he has to come back with him. "Back where?" Marty asks. Doc says, "back to the future." He runs to the garbage cans and grabs a beer can and some other garbage and begins feeding it into a machine mounted to the back of the Delorean. It has "Mr. Fusion" embossed on it. He asks Doc what he's doing and he says he needs fuel. He asks Doc "why, what happens to us in the future, do we turn into ass holes or something?" Doc says, "no both you and Jennifer turn out fine, it's your kids, Marty."

Jennifer is now staring at them both like they are completely insane. Doc grabs him by the shoulders and says, "something's got to be done about your kids." Reluctantly they get in the Delorean, with Marty continuing to object a little. CUT INTERIOR DELOREAN. Doc backs up for a take off. He says, "Doc you better back up more, you don't have enough road to get up to 88." "Roads?" Doc Brown says dramatically as he puts his sunglass visor back down. "Where we're going we don't NEED roads." CUT TO EXTERIOR DELOREAN. The Delorean hovers a few feet in the air and the tires retract under the car sideways. They advance forward a space, turn, and fly straight toward the camera and pass overhead, picking up speed. There is a flash and the familiar sound of the time jump. Fade to black. Music. Credits roll.