GOOD WILL HUNTING by Matt Damon & Ben Affleck, Summaries of Painting

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GOOD WILL HUNTING

by

Matt Damon & Ben Affleck

FADE IN:

EXT. SOUTH BOSTON ST. PATRICK'S DAY PARADE -- DAY

CUT TO:

INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING

The bar is dirty, more than a little run down. If there is ever a cook on duty, he's not here now. As we pan across several empty tables, we can almost smell the odor of last nights beer and crushed pretzels on the floor.

CHUCKIE

Oh my God, I got the most fucked up thing I been meanin' to tell you.

As the camera rises, we find FOUR YOUNG MEN seated around a table near the back of the bar.

ALL Oh Jesus. Here we go.

The guy holding court is CHUCKIE SULLIVAN, 20, and the largest of the bunch. He is loud, boisterous, a born entertainer. Next to him is WILL HUNTING, 20, handsome and confident, a soft- spoken leader. On Will's right sits BILLY MCBRIDE, 22, heavy, quiet, someone you definitely wouldn't want to tangle with. Finally there is MORGAN O'MALLY, 19, smaller than the other guys. Wiry and anxious, Morgan listens to Chuckie's horror stories with eager disgust.

All four boys speak with thick Boston accents. This is a rough, working class Irish neighborhood and these boys are its product.

CHUCKIE You guys know my cousin Mikey Sullivan?

ALL Yeah.

CHUCKIE Well you know how he loves animals right? Anyway, last week he's drivin' home... (laughs)

ALL

What? Come on!

CHUCKIE

(trying not to laugh) I'm sorry, 'cause you know Mikey, the fuckin guy loves animals, and this is the last person you'd want this to happen to.

CHUCKIE

And this Samoan guy comes runnin' out of his house and he's like "What the fuck are you doing to my cat?!" Mikey's like "I'm sorry"--BANG--" I hit your cat with my truck, and I'm just trying to put it out of it's misery"-- BANG! And the cat dies. So Mikey's like "Why don't you come look at the front of the truck." 'Cause the other guy's all fuckin flipped out about--

WILL

Watching his cat get brained.

Morgan gives Will a look, but Will only smiles.

CHUCKIE

Yeah, so he's like "Check the front of my truck, I can prove I hit it 'cause there's probably some blood or something"--

WILL

--or a tail--

MORGAN

WILL!

CHUCKIE

And so they go around to the front of his truck...and there's another cat on the grille.

WILL/MORGAN/BILLY No! Ugh!

CHUCKIE Is that unbelievable? He brained an innocent cat!

BLACKOUT:

The opening credits roll over a series of shots of the city and the real people who live and work there, going about their daily lives.

We see a panoramic view of South Boston.

Will sits in his apartment, walls completely bare. A bed, a small night table and an empty basket adorn the room. A stack of twenty or so LIBRARY BOOKS sit by his bed. He is flipping through a book at about a page a second.

Chuckie stands on the porch to Will's house. His Caddilac idles by the curb. Will comes out and they get in the car.

We travel across crowded public housing and onto downtown. Finally, we gaze across the river and onto the great cement- domed buildings that make up the M.I.T. campus.

CUT TO:

INT. M.I.T. CLASSROOM -- DAY

The classroom is packed with graduate students and TOM. PROFESSOR LAMBEAU (52) is at the lectern. The chalkboard behind him is covered with theorems.

LAMBEAU Please finish McKinley by next month. Many of you probably had this as undergraduates in real analysis. It won't hurt to brush up. I am also putting an advanced fourier system on the main hallway chalkboard--

Everyone groans.

LAMBEAU (cont'd) I'm hoping that one of you might prove it by the end of the semester. The first person to do so will not only be in my good graces, but go on to fame and fortune by having their accomplishment recorded and their name printed in the auspicious "M.I.T. Tech."

Prof. Lambeau holds up a thin publication entitled "M.I.T. Tech." Everyone laughs.

LAMBEAU (cont'd) Former winners include Nobel Laureates, world renowned astro-physicists, Field's Medal winners and lowly M.I.T. professors.

More laughs.

LAMBEAU (cont'd) Okay. That is all.

A smattering of applause. Students pack their bags.

CUT TO:

INT. FUNLAND – LATER

The place is a monster indoor funpark. Will, Chuckie, Morgan, and Billy are in adjoining batting cages. Will has disabled the pitching machine in his and pitches to Chuckie. The boys have been drinking. Will throws one to Chuckie, high and tight. Several empty beer cans sit by the cage.

EXT. M.I.T. CAMPUS LAWN -- DAY

A thirty year REUNION PARTY has taken over the lawn. A well dressed throng mill about underneath a large banner that reads "WELCOME BACK CLASS OF '72." We find Professor Lambeau standing with a drink in his hand, surveying the crowd. He is interrupted by an approaching STUDENT.

STUDENT

Excuse me, Professor Lambeau?

LAMBEAU

Yes.

STUDENT

I'm in your applied theories class. We're all down at the Math and Science building.

LAMBEAU It's Saturday.

STUDENT I know. We just couldn't wait 'till Monday to find out.

LAMBEAU

Find out what?

STUDENT

Who proved the theorem.

EXT. TOM FOLEY PARK, S. BOSTON -- AFTERNOON

In the bleachers of the visiting section we find our boys, drinking and smoking cigarettes. Will pops open a beer. The boys have been here a while and it shows.

Billy sees something that catches his interest.

BILLY

Who's that? She's got a nice ass.

Their P.O.V. reveals a girl in stretch pants talking to a beefy looking ITALIAN GUY (BOBBY CHAMPA)

MORGAN

Yah, that is a nice ass.

CHUCKIE

You could put a pool in that backyard.

BILLY

Who's she talking to?

MORGAN

That fuckin' guinea, Will knows him.

WILL

Yah, Bobby Champa. He used to beat the shit outta' me in Kindergarten.

BILLY

He's a pretty big kid.

WILL

Yah, he's the same size now as he was in Kindergarten.

MORGAN

Fuck this, let's get something to eat...

CHUCKIE

What Morgan, you're not gonna go talk to her?

MORGAN Fuck her.

The boys get up and walk down the bleachers.

WILL

I could go for a Whopper.

MORGAN

(nonchalant) Let's hit "Kelly's."

CHUCKIE

Morgan, I'm not goin' to "Kelly's Roast Beef" just cause you like the take-out girl. It's fifteen minutes out of our way.

MORGAN

What else we gonna do we can't spare fifteen minutes?

CHUCKIE All right Morgan, fine. I'll tell you why we're not going to "Kelly's." It's because the take-out bitch is a fuckin' idiot. I'm sorry you like her but she's dumb as a post and she has never got our order right, never once.

MORGAN

She's not stupid.

WILL

She's sharp as a marble.

CHUCKIE

We're not goin'. (beat) I don't even like "Kelly's."

MORGAN

So why don't you give me my sandwhich?

CHUCKIE What do you mean "your sandwhich?" I bought it.

MORGAN

(sarcastic) Yah, all right...

CHUCKIE

How much money you got?

MORGAN

I told you, I just got change.

CHUCKIE

Well give me your fuckin' change and we'll put your fuckin' sandwhich on lay- away.

MORGAN Why you gotta be an asshole Chuckie?

CHUCKIE I think you should establish a good line of credit.

Laughter, Chuckie goes back searching through the bag.

CHUCKIE (cont'd) Oh motherfucker...

WILL She didn't do it again did she?

CHUCKIE Jesus Christ. Not even close.

MORGAN Did she get my Double Burger?

CHUCKIE NO SHE DIDN'T GET YOUR DOUBLE BURGER!! IT'S ALL FUCKIN' FLYIN' FISH FILET!!

Chuckie whips a FISH SANDWHICH back to Morgan, then to Billy.

WILL Jesus, that's really bad, did anyone even order a Flyin' Fish?

CHUCKIE

No, and we got four of 'em.

BILLY

You gotta' be kiddin' me. Why do we even go to her?

CHUCKIE

Cause fuckin' Morgan's got a crush on her, we always go there and when we get to the window he never says a fuckin' word to her, he never even gets out of the car, and she never gets our order right cause she's the goddamn MISSING LINK!

WILL Well, she out did herself today...

MORGAN

I don't got a crush on her.

Push in on Will who sees something O.S.

Will's P.O.V. reveals BOBBY CHAMPA and his friends walking down the street. One of them casually lobs a bottle into a wire garbage can. It SHATTERS and some of the glass hits a FEMALE PASSERBY who, although unhurt, is upset.

CHUCKIE

What do we got?

WILL

I don't know yet.

Will's P.O.V.: The woman says something to Bobby. He says something back. By the look on her face, it was something unpleasant.

MORGAN

Come on, Will...

CHUCKIE

Shut up.

MORGAN

No, why didn't you fight him at the park if you wanted to? I'm not goin' now, I'm eatin' my snack.

WILL

(smiles) So don't go.

Will is out of the door, jogging toward Bobby Champa. Billy gets out, following Will with a look of casual indifference.

CHUCKIE

Morgan, Let's go.

The fight is messy, ugly and chaotic. Most punches are thrown wildly and miss, heads are banged against concrete, someone throws a bottle.

In the end, it's our guys who are left standing, while Bobby's friends stagger off. Chuckie and Morgan turn to see Will, standing over the unconscious Bobby Champa, still POUNDING him.

ANGLE ON WILL: SAVAGE, UGLY, VICIOUS, AND VIOLENT

Whatever demons must be raging inside Will, he is taking them out on Bobby Champa. He pummels the helpless, unconscious Champa, fury in his eyes. Chuckie and Billy pull Will away.

The POLICE finally arrive on the scene and having only witnessed Will's vicious attack on Champa, they grab him.

EXT. SIDEWALK (FULL SPEED) -- CONTINUOUS

A crowd of onlookers have gathered. Chuckie addresses them.

CHUCKIE Hey, thanks for comin' out.

WILL Yeah, you're all invited over to Morgan's house for a complementary fish sandwhich.

The Police slam Will into the hood of a car.

WILL (cont'd) (to Police) Hey, I know it's not a French cruller, but it's free.

The cop holding Will SLAMS his [Will's] face into the hood, another cop uses a baton to press Will's face into the car. The look of rage returns to Will's eye.

WILL (cont'd) Get the fuck off me!

Will resists. Another cop comes over. Will KICKS HIM IN THE KNEE, dropping the cop. Momentarily freed, Will engages in a fracas with three cops. More converge on Will, who -- though he struggles -- takes a beating.

CUT TO:

EXT. SEAN'S ROOF -- NIGHT

Sean sits, exactly as we first saw him, except his tie is now loose and an empty bottle of BUSHMILLS is at his side. He stares out over the City. A MATRONLY LANDLADY comes out of a doorway on the roof.

LANDLADY

Sean?

Sean doesn't answer.

LANDLADY (cont'd) Sean? You okay?

SEAN

Yeah.

A beat.

LANDLADY It's getting cold.

After a moment, she retreats back down the stairs. Sean doesn't move.

DISSOLVE:

EXT. CHARLES RIVER, ESTABLISHING SHOT -- MORNING

The morning sun reflects brilliantly off the river.

CUT TO:

EXT. COURTHOUSE -- NEXT MORNING

Will emerges from the courthouse. Chuckie is waiting for him in the Cadillac with two cups of DUNKIN' DOUGHNUTS coffee. He hands one of them to Will. This feels routine.

CHUCKIE

When's the arraignment?

WILL

Next week.

Chuckie pulls away.

CUT TO:

EXT. M.I.T. CAMPUS, ESTABLISHING SHOT -- MORNING

Students walk to class, carrying bags. More than any other, students seem to be heading into one PARTICULAR CLASSROOM.

INT. M.I.T. CLASSROOM -- MORNING

The classroom is even more crowded than last we saw it. Tom takes notes as Lambeau plays along with the excited environment with mock pomposity and good humor.

19 OMITTED

INT. M.I.T. HALLWAY -- NIGHT

Lambeau comes out of his office with Tom and locks the door. As he turns to walk down the hallway, he stops. A faint TICKING SOUND can be heard. He turns and walks down the hall.

Lambeau and Tom come around a corner. His P.O.V. reveals a figure in silhouette blazing through the proof on the chalkboard. There is a mop and a bucket beside him. As Lambeau draws closer, reveal that the figure is Will, in his janitor's uniform. There is a look of intense concentration in his eyes.

LAMBEAU

Excuse me!

Will looks up, immediately starts to shuffle off.

WILL

Oh, I'm sorry.

LAMBEAU

What're you doing?

WILL

(walking away) I'm sorry.

Lambeau follows Will down the hall.

LAMBEAU

What's your name? (beat) Don't you walk away from me. This is people's work, you can't graffiti here.

WILL

Hey fuck you.

LAMBEAU

(flustered) Well... I'll be speaking to your supervisor.

Will walks out. Lambeau goes to "fix" the proof, scanning the blackboard for whatever damage Will caused. He stops, scans the board again. Amazement registers on his face.

LAMBEAU (cont'd) My God.

Down the hall, we hear the DOOR CLOSE. He turns to look for Will, who is gone.

CUT TO:

EXT. BOW AND ARROW PUB, CAMBRIDGE -- THAT NIGHT

A crowded Harvard Bar. Will and our gang walk by a line of several Harvard students, waiting to be carded.

MORGAN

What happened? (beat) You got fired, huh?

WILL Yeah, Morgan. I got fired.

MORGAN (starts laughing) How fuckin' retarded do you have to be to get shit-canned from that job? How hard is it to push a fuckin' broom?

CHUCKIE You got fired from pushing a broom, you little bitch.

MORGAN

Yah, that was different. Management was restructurin'--

BILLY

--Yah, restructurin' the amount of retards they had workin' for them.

MORGAN Fuck you, you fat fuck.

BILLY Least I work for a livin'. (to Will) Why'd you get fired?

WILL

Management was restructurin'.

Laughter.

CHUCKIE

My uncle can probably get you on my demo team.

MORGAN

What the fuck? I just asked you for a job yesterday!

CHUCKIE I told you "no" yesterday!

After two students flash their ID's to the doorman (CASEY) our boys file past him.

SKYLAR

What class?

CHUCKIE Ah, history I think.

SKYLAR Oh...

CHUCKIE Yah, it's not a bad school...

At this point, Clark can't resist and steps in.

CLARK

What class did you say that was?

CHUCKIE

History.

CLARK

How'd you like that course?

CHUCKIE

Good, it was all right.

CLARK

History? Just "history?" It must have been a survey course then.

Chuckie nods. Clark notices Chuckie's clothes. Will and Billy exchange a look and move subtly closer.

CLARK (cont'd) Pretty broad. "History of the World?"

CHUCKIE

Hey, come on pal we're in classes all day. That's one thing about Harvard never seizes to amaze me, everybody's talkin' about school all the time.

CLARK

Hey, I'm the last guy to want to talk about school at the bar. But as long as you're here I want to "seize" the opportunity to ask you a question.

Billy shifts his beer into his left hand. Will and Morgan see this. Morgan rolls his eyes as if to say "not again..."

CLARK (cont'd) Oh, I'm sure you covered it in your history class.

Clark looks to see if the girls are impressed. They are not. When Clark looks back to Chuckie, Skylar turns to Lydia and rolls her [own] eyes. They laugh. Will sees this and smiles.

CHUCKIE

To tell you the truth, I wasn't there much. The class was rather elementary.

CLARK

Elementary? Oh, I don't doubt that it was. I remember the class, it was just between recess and lunch.

Will and Billy come forward, stand behind Chuckie.

CHUCKIE

All right, are we gonna have a problem?

CLARK

There's no problem. I was just hoping you could give me some insight into the evolution of the market economy in the early colonies. My contention is that prior to the Revolutionary War the economic modalities especially of the southern colonies could most aptly be characterized as agrarian pre- capitalist and...

Will, who at this point has migrated to Chuckie's side and is completely fed-up, includes himself in the conversation.

WILL Of course that's your contention. You're a first year grad student. You just finished some Marxian historian, Pete Garrison prob'ly, and so naturally that's what you believe until next month when you get to James Lemon and get convinced that Virginia and Pennsylvania were strongly entrepreneurial and capitalist back in 1740. That'll last until sometime in your second year, then you'll be in here regurgitating Gordon Wood about the Pre-revolutionary utopia and the capital-forming effects of military mobilization.

CLARK

(taken aback) Well, as a matter of fact, I won't, because Wood drastically underestimates the impact of--