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| author | Fudgerboy <91767657+Fudgerboy@users.noreply.github.com> | 2024-04-14 05:02:38 +0000 |
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| committer | Fudgerboy <91767657+Fudgerboy@users.noreply.github.com> | 2024-04-14 05:02:38 +0000 |
| commit | 248d296234dc7ce76294c677bf2ca5e76c2f50d1 (patch) | |
| tree | 5a38d5a5eb4cd6075e10de1583fde289c144cc91 /wk5/pset/speller/texts/birdman.txt | |
| parent | ba93a5dca5f93fe7b5761c251037d4f1860f9a43 (diff) | |
Sat, Apr 13, 2024, 10:02 PM -07:00
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diff --git a/wk5/pset/speller/texts/birdman.txt b/wk5/pset/speller/texts/birdman.txt new file mode 100644 index 0000000..a0ac18a --- /dev/null +++ b/wk5/pset/speller/texts/birdman.txt @@ -0,0 +1,6222 @@ + BIRDMAN + + + + + + Written by + + Alejandro G. Inarritu + Nicolas Giacobone + Alexander Dinelaris, Jr. + Armando Bo + +1 BLACK 1 + + We hear a clock ticking. + + FADE IN: + +1 INT. RIGGAN'S DRESSING ROOM - THEATER - DAY 1 + Close on the brilliant colors of a middle eastern rug, the + center of what seems to be a makeshift "meditation" space. + + We slowly tilt up to discover the back of Riggan Thomson (55). + He is in the proper `Lotus' position, dressed only in tight + white briefs and he appears to be meditating deeply. And if all + this seems a little odd, it becomes all the more so when you + notice that he is levitating almost two feet above the floor. + His breath is calm and measured... in and out... in and out. + + MAN (V.O.) + How did we end up here? + (Beat.) + This place is a fucking dump. + + We begin to slowly move toward Riggan's back while his measure + breathing continues. We see a clock on the wall, ticking. + + MAN (V.O.) + Smells like balls. + + A slight twitch in Riggan's neck. + + MAN (V.O.) + We don't belong in this shithole. + + A Skype call shatters the silence. Close on his back, we follow + Riggan as he walks over to the computer and answers the call. + On the computer screen appears Sam (21), in a pair of Levi's + and a Led Zeppelin T-shirt. She has simple and striking good + looks, with an edge in her voice and behind her eyes. She + stands in a Korean Deli among the flowers, talking to Riggan + through her iPhone. + +1A 1A + + The Korean Store owner (50) stands in the background screaming + at her the whole time. + + RIGGAN + Sam, I can't-- + + + + (CONTINUED) + 10/29/14 / 2. + + SAM + Dad? What kind of-- + (Turning to Korean.) + SHUT UP!!! + (Back to screen.) + What kind of flowers did you say you + wanted? + + RIGGAN + Alchemillas. Or something soothing that + smells nice. Listen I can't-- + SAM + It all smells like fucking Kimchi! + + RIGGAN + Then whatever looks nice. Anything but + roses. No roses. + + KOREAN + Flowers don't need you touch! They need you + buy!!! + + SAM + (Close into the screen.) + I hate this job. + + And the Skype call is over. Riggan closes the laptop and leans + forward trying to regain his calm. His reflection appears in + the mirror, and for the first time we see his face. He has a + dark goatee and his hair looks strangely abundant. There is a + piece of paper on the mirror with the handwritten phrase "A + thing is a thing, not what it is said of that thing." + + ANNIE ON SPEAKERS + Riggan, they're starting scene + five. We need you on stage. + + RIGGAN + Shit... + Riggan throws on a sweater and stumbles into his slacks. He + hurries out... + +2 INT. HALLWAYS - THEATER - CONTINUOUS 2 + + ...through the narrow corridors of the theater. There is a lot + of activity as various workers and stage hands appear and + disappear carrying equipment and scenery. As Riggan descends the + stairs, a Stage Hand· passes by in the opposite direction. + + STAGE HAND· + Mr. Thomson. + + (CONTINUED) + 10/29/14 / 3. + + RIGGAN + Steve. + + STAGE HAND· + It's Daniel. + + RIGGAN + (Already passed.) + Okay. + + Riggan continues on until he arrives backstage. He runs into + Jake (42) his producer and friend. + + JAKE + How's it going, buddy. + + RIGGAN + Great. It'd be even better if I + could get Ralph to stop acting like + he's in an educational video for + syphilis... + The camera moves off of them and onto... + +3 INT. STAGE - THEATER - CONTINUOUS 3 + ...the stage. Suddenly we are in the midst of an Americana style + kitchen. + + Around the kitchen table sit Lesley (35), plain and no nonsense, + her simple hairstyle and makeup can't hide how attractive she + is. Laura (35), dark, exotic, the kind of woman who makes every + person she meets feel like she's seducing them. And Ralph (40), + slightly handsome, slightly balding, slightly invisible. + + A half empty bottle of gin on the table, they drink from + highball glasses as they chat... + + LESLEY + He loved me. + + RALPH + Yeah. He loved her so much he tried + to kill her. + + LAURA + He tried to kill you? + + LESLEY + No. (A beat.) Okay, well, he did + beat me up one night. He dragged me + around the living room by my + ankles, yelling "I love you, I love + (MORE) + (CONTINUED) + 10/29/14 / 4. + LESLEY (CONT'D) + you, bitch." What do you do with a + love like that? + + RALPH + How is that-- That is not love and you know + it. Why do you insist on calling it-- + + LESLEY + You can say what you want, but I know what + it was. + RALPH + What about you, Nick? Does that sound like + love to you? + +Riggan arrives at the table and sits. + + RIGGAN + Sorry I'm late. + (Beat. In character.) + I'm the wrong person to ask. I didn't + know the man. I've only heard his name + mentioned in passing. You'd have to + know the particulars. But I think what + you're saying is that love is absolute. + + RALPH + Yeah. The kind of love I'm talking about + is... The kind of love I'm talking about, + you don't try and kill people. + + LESLEY + (Sadly.) + It was love, Mel. To Eddie, it was. I don't + care what anybody says. He was ready to die + for it. + + RALPH + Ask her what he did after she left him. + + LESLEY + He shot himself in the mouth. But he + screwed that up, too. Poor Ed. + + RALPH + Poor Ed, my ass. The guy was dangerous. + + LAURA + How'd he screw it up if he shot himself in + the mouth? + + RALPH + (By the numbers.) + He used to carry this twenty-two. We lived + like fugitives those days. I never knew-- + (CONTINUED) + 10/29/14 / 5. + + RIGGAN + (Breaking character to direct. + Exasperated.) + Okay. Fugitives are on the run, Ralph. How + many times do I have to-- Fugitives are + scared. Give me more of that. + +Ralph nods. He takes a breath and dives in once again... + + RALPH + (The same but louder.) + We lived like fugitives those days... + +Extremely frustrated, Riggan stares out into the auditorium. +From his POV we see Jake who is now sitting in the third row. +His head buried in his hands, tortured by Ralph's performance. +Riggan turns back to Ralph. + + RALPH (CONT'D) + ...I never knew if he was going to come out + of the bushes or from behind a car and just + start shooting. + +Riggan watches Ralph act and sees his whole production headed +down the drain. Ralph is just that bad. + + RALPH (CONT'D) + The man was crazy. He was capable of + anything. + +The actors all wait for a cue from Riggan, who is now staring +up into the lights above the stage. Laura finally picks up +Riggan's cue. + + LAURA + Christ. What a nightmare... + + RALPH + He used to call me at the hospital and + say... + (Over the top.) + "Son of a bitch. Your days are numbered." + +Silence. Ralph looks over to Riggan. + + RALPH (CONT'D) + Too much? Little bit? I just wanted to give + you a range, so you could-- + +And with that a light comes barreling down from it's perch and +crashes into Ralph's head, making him hit the floor like a rag +doll. Silence. + + LAURA + Holy shit. + (CONTINUED) + 10/29/14 / 6. + + Lesley and Annie (35), the Stage Manager, run over to Ralph + who is out cold. Not knowing what to do, they stare at him. + + LESLEY + Is he breathing? + + Jake runs toward the stage. + + JAKE + Someone call 911! + Riggan slowly backs away from the chaos. + + LAURA + Is that blood coming out of his + ear? + + JAKE + (To Riggan.) + Where are you going? + LESLEY + Okay, he's breathing. What did he + have for lunch? + + LAURA + Did anyone call for help? + + ANNIE + (Clapping.) + Wake up! Wake up! + + Two crew members try to help Ralph. + + CREW MEMBER + Grab his legs. I got the top. + + JAKE + Don't move him! Wait for the ambulance. + (Calling out.) + For the love of God! I could get a black + audience in this theater faster than a + doctor! + + Riggan heads off the stage, and Jake chases after him. We + follow them as... + +4 INT. HALLWAY - THEATER - CONTINUOUS 4 + + ...they walk through the corridor. + + JAKE + Where are you going? We'll have the + understudy ready to rehearse in five-- + (CONTINUED) + 10/29/14 / 7. + + RIGGAN + Forget the understudy. We have to postpone + the preview. + + JAKE + What are you-- It's a full house. We would + have to refund all the-- + + RIGGAN + Then do it. +A crew member· passes in the opposite direction. + + CREW MEMBER· + How's Ralph? + + RIGGAN + He'll be fine. + + JAKE + Wait. Wait. Fuck. Wait. + RIGGAN + Listen to me. It was going to be a + disaster. That guy's the worst actor I've + ever seen. The blood coming out of his ear + was the most honest thing he's done so far. + + JAKE + He's not that bad. + +Riggan stops in his tracks and stares at Jake. + + JAKE (CONT'D) + Okay, he's fucking horrible. But-- + +Riggan starts walking again. + + JAKE (CONT'D) + You have the press in your dressing + room in a few hours. How are we-- + RIGGAN + I'll make something up. + +Two Technicians· hurry up in the opposite direction. + + RIGGAN (CONT'D) + Jake. This happened for a reason. It wasn't + an accident. + + JAKE + What do you mean? + + + (CONTINUED) + 10/29/14 / 8. + + RIGGAN + I-- (A beat.) I made it happen. + + JAKE + Oh. Okay. + (Beat.) + Are you drunk? + + RIGGAN + Find me an actor. A good actor. + Philip Seymour Hoffman... + JAKE + He's doing the third Hunger Games. + + RIGGAN + Michael Fassbender? + + JAKE + Doing the prequel to the X-Men + prequel. + They arrive at Riggan's dressing room. + + RIGGAN + What's his name? Jeremy Renner... + + JAKE + Who? + + RIGGAN + The... the Hurt Locker guy. + + JAKE + Yeah. He's an Avenger. + + RIGGAN + (With disgust.) + Fuck. They put him in a cape, too? + (A beat.) Look, I don't care. Find + me someone. + Riggan enters... + +5 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 5 + + ...his dressing room and tries to shut the door. Jake, still in + the corridor, stops it with his foot. + + JAKE + (Sticking his head in.) + Ralph'll sue us. He'll sue us. And he's got + a case. + + (CONTINUED) + 10/29/14 / 9. + +Riggan releases the door. + + RIGGAN + Then make him go away. + + JAKE + How do you suggest I do that? + + RIGGAN + You're my lawyer, my producer and + my oldest friend. We are going to + make this work. Now just get out + there and do what you were born to + do. + + JAKE + What's that? + + RIGGAN + I have no idea. But I have faith. + Now go away from me. + JAKE + Do you think we should-- + +Riggan slams the door shut on Jake. A beat. On a television, a +segment of E! News. A busty blond, with an exaggerated smile, +hosts. + + BLOND WOMAN + ...and when we come back, an exclusive + interview with Robert Downey Jr., who tells + us about the billion-dollar Iron Man + franchise. The talented actor invited us + onto the set of Iron Man 3... + +Riggan slams the tv off, his mind racing. He sits on a chair. + + MAN (V.O.) + That clown doesn't have half your talent + and he's making a fortune in that Tin Man + get up. + +Riggan stares into the mirror, in the reflection he catches +sight of a poster from a movie called "Birdman 3". The +superhero, Birdman (a younger Riggan in a bird costume), wings +widely spread, stares directly back at him. A hand written +note on the top of the poster reads: "Thomson, break a wing! +From the boys at Local 1." Riggan tries to calm himself with a +mantra... + + RIGGAN + "Breathing in, I embrace my anger. + Breathing out, I smile to it." + + (CONTINUED) + 10/29/14 / 10. + + BIRDMAN (V.O.) + Embrace it. Kiss it. Turn it around and + fuck it in the-- + +A knock on the door behind him. + + RIGGAN + Not now! + +Laura opens the door and sticks her head in. + LAURA + Can I come in? + + RIGGAN + No. + + LAURA + Okay. Two words. Shia La Beouf. + + RIGGAN + That's three words. + + LAURA + It's two. + + RIGGAN + Get out. + + LAURA + I love you. + +She closes the door. Riggan tries to calm himself down, but +Laura opens the door again. + + LAURA (CONT'D) + I take it we're not going to dinner + anymore? + + RIGGAN + I don't have an actor. + LAURA + I don't have a life. + + RIGGAN + Laura... + + LAURA + Fine. Whatever. + (Goes to leave but stops.) + You remember at Joan's when you + asked me to come do a Broadway play + with you? You said it would be + fun... + (CONTINUED) + 10/29/14 / 11. + + RIGGAN + Go away. + + LAURA + So far? No fun. + + Riggan closes the door and looks at the Birdman poster. + + BIRDMAN (V.O.) + Fun? You know what would be fun? Getting + the fuck out of here before we humiliate + ourselves. That would be fun. + + Riggan looks at himself in the mirror and begins to pull at + his hair. As it comes off his head, we discover it was a wig. + He turns away from the mirror, trying desperately to stay + calm. Something catches his eye: a vase of roses on the end + of the table. A card in them says, "They didn't have the + whatever you wanted - Sam". Enraged, Riggan focuses on the + vase. It begins to shift. Then, with a surge of anger, + without ever touching it, he sends it crashing against the + wall on the other side of the room. + + The camera pans over the roses scattered across the floor. It + hovers over the carpet and around the perimeter of the room, + until it finally settles on Riggan, now dressed in a casual + blazer. + +A5 A5 + + It is later the same day. He is sitting on the sofa and on three + chairs in front of him are three journalists: + + Gabriel, a geeky theatre journalist, wearing thick glasses and + a thin tie. Clara, a reporter from an entertainment blog. And + Han, a polite, obese Japanese journalist, who sits next to his + translator, another Japanese guy. + + GABRIEL + Why does somebody go from playing the lead + in a comic book franchise to adapting + Raymond Carver for the stage? + + Riggan tries to remain calm. + + GABRIEL (CONT'D) + I mean, as you're probably aware, Barthes + said, "The cultural work done in the past + by gods and epic sagas is now done by + laundry detergent commercials and comic + strip characters." It's a big leap you've + taken... + + Riggan shifts nervously. + (CONTINUED) + 10/29/14 / 12. + + RIGGAN + Well... Absolutely. As you said... that + Barthes said... Birdman, like Icarus... + + CLARA + Hang on. Who's this Barthes guy? Which + Birdman was he in? + + GABRIEL + Roland Barthes was a French philosopher, + who-- + CLARA + Oh. Okay. Sure. Now, is it true you've been + injecting yourself with semen from baby + pigs? + + RIGGAN + What? + + CLARA + As a method of facial rejuvenation. + + RIGGAN + Who told you that? + + CLARA + It was tweeted by... (checks her notes) + @prostatewhispers. + + RIGGAN + It's a lie. + + CLARA + I know. But did you do it? + + RIGGAN + No! + + GABRIEL + Are you afraid at all that people will say + you're doing this play to battle the + impression that you're a washed-up super + hero? + + RIGGAN + No. I'm not. And that's exactly why + 20 years ago I refused to do + Birdman 4. + + HAN + Birdman 4??? You do Birdman 4??? + +Jake opens the door and the camera pans to him. + + (CONTINUED) + 10/29/14 / 13. + + JAKE + Okay. That's enough for today. + Thank you for coming. We're + expecting some great pieces from + you... + +Riggan stares at the Birdman poster. + + JAKE (CONT'D) + Publicity guys are trying to get + you a Times feature. +Riggan stands up and pulls the Birdman poster off of the +wall. + + JAKE (CONT'D) + So, How'd it-- Whoa. If I were you + I wouldn't do that. + + RIGGAN + I don't want to look at it anymore. + JAKE + That was a present from the crew. + Don't fuck with those guys, they're + union. + + RIGGAN + I don't care. + +Riggan leaves the poster on the floor, facing the wall, and +walks to the window. He opens it. We can hear distant drums +coming from the street. + + JAKE + So... How'd it go? + + RIGGAN + Great. + + JAKE + (Worried.) + Did they ask about Ralph? + + RIGGAN + Nope. + + JAKE + Good. He did it, you know? The + motherfucker threatened to sue us. + Didn't even wait to get out of the + hospital. + + RIGGAN + And, what did you say? + (CONTINUED) + 10/29/14 / 14. + + JAKE + What'd I say? I said, "You + motherfucker. You're threatening + me? ME? I swear to god, you fuck, I + so much as get a letter from a + lawyer, the press'll get the + pictures we got off your computer." + + RIGGAN + What pictures? + JAKE + The guy has a thing for nuns... in + diapers. What do you care? You + shouldn't have any knowledge about + it anyway. The important thing is + that I made him go away. + + RIGGAN + Right. That's great. + JAKE + Yeah, it's fantastic. One problem. + We don't have an actor. And if we + cancel the first preview the press + will smell the blood. We can't + afford to lose any more money. At + all. + + RIGGAN + What do you want me to do? + + JAKE + We pay an understudy, let's use the + understudy. + + RIGGAN + No. + + JAKE + No? Riggan, listen to me. Our dream actor + is not going to knock on that door and + say: "Hey fellas, when do we start?" + +B5 B5 + + There is a knock at the door. Leslie peeks in. + + LESLIE + Can I talk to you for a second? + + RIGGAN + Yeah. What's up? + + (CONTINUED) + 10/29/14 / 15. + + LESLIE +Did you find another actor? + + RIGGAN +No. + + LESLIE +Okay. Well... Mike's available. + + RIGGAN +He is? + JAKE +Mike who? + + RIGGAN +I thought he was doing-- + + LESLIE +He was. He quit. Or got fired. + JAKE +Mike who? + + RIGGAN +Which one? Quit or fired? + + LESLIE +With Mike it's usually both. + + JAKE +Mike Fucking Who? + + LESLIE +Shiner. + + JAKE +Yes! + + RIGGAN +Jake... + JAKE +Yes! How do you know Mike Shiner? + + LESLIE +We share a vagina. + + RIGGAN +You think he'd want to do it? + + LESLIE +Yeah. + + + (CONTINUED) + 10/29/14 / 16. + + JAKE + How do you know? + + LESLIE + Because he said he'd want to do it. + + JAKE + Yes! + + RIGGAN + Jake. Hang on a minute. + JAKE + (to Riggan) + Ask me if he sells tickets. + + RIGGAN + Does he sell tickets? + + JAKE + A shitload of tickets. Now ask me if the + critics like him? + + RIGGAN + Do they like him? + + JAKE + They want to spooge on him. + + RIGGAN + (Indicating Lesley.) + Hey. + + JAKE + Leslie... + + LESLIE + Right on his face. + + JAKE + Everything for a reason, right? + RIGGAN + You think he'll be able to come tonight? + + LESLEY + I can call him and find out. + +Riggan gives Jake a look. + + JAKE + I'll call his agent. + +Jake charges out of the room. The camera follows him into... + 10/29/14 / 17. + +6 INT. HALLWAY - THEATER - CONTINUOUS 6 + + ...the hallway and as Jake makes a left turn, Annie enters from + the right. + + JAKE + Annie, turn the work lights on and get me a + fresh copy of the script. We're gonna have + a "put in" tonight. + + ANNIE + Who? + JAKE + You'll find out... + + Jake disappears down the hall and we follow Annie through the + theater and onto... + +7 INT. STAGE - THEATER - EVENING 7 + ...the stage, where she turns some of the stage work lights on. + We pan along the stage until we find Riggan, wearing the same + clothes as before, scanning the empty auditorium. + + MIKE (O.S.) + Intimidating. Isn't it? + + Riggan sees Mike Shiner (39) coming down the aisle, slovenly + dressed with mussed hair and intense eyes. + + MIKE (CONT'D) + Do you have any idea who walked these + boards before you? + (Beat.) + Geraldine Page, Marlon Brando, + Helen Hayes, Jason Robards... And + now you. Riggan Thomson. + + Riggan, trying to hide the intimidation. + + RIGGAN + Thanks for coming on such short notice, + Mike. I appreciate it. + + MIKE + Hey. This is what we do. + (Indicates a script.) + So, you wrote this adaptation? + + RIGGAN + I did. + + + (CONTINUED) + 10/29/14 / 18. + + MIKE + And you're directing the adaptation and + starring... + + RIGGAN + I am. + + MIKE + Ambitious. + + RIGGAN + Thank you. + +A sly smile from Mike. He leaps onto the stage. + + MIKE + Why don't we do a bit of it? + + RIGGAN + Hey, I wasn't expecting you to-- + MIKE + First preview is tomorrow, right? + + RIGGAN + Yeah, but you can go on with the script + until you feel comfortable-- + + MIKE + Let's just do some of it. + +Riggan tries to hide his excitement. He grabs the script from a +nearby table and walks it over to Mike. + + RIGGAN + Take a look at page twenty-- + + MIKE + Yeah. I don't need that. + + RIGGAN + What? + + MIKE + I don't need the script. Just give me a + cue. + + RIGGAN + What are you talking about? + + MIKE + Feed me a line. + + RIGGAN + I don't-- What? + (CONTINUED) + 10/29/14 / 19. + + MIKE + Feed. Me. A line. + +Riggan drops the script and begins the scene. + + RIGGAN + "I'm the wrong person to ask. I didn't + know the man. I've only heard his name + mentioned in passing. I wouldn't know. + You'd have to know the particulars. But + I think what you're saying is that love + is absolute." + +Mike stares at Riggan, hyper-focused. + + MIKE + (Ruminating.) + Am I saying that love is absolute? + (He transforms.) + "Yeah. The kind of love I'm talking about + is. The kind of love I'm talking about you-- + " + (An intense pause.) + Well, you don't try to kill people. + +Riggan is transfixed, and almost immediately intimidated. + + RIGGAN + How do you know the lines? + + MIKE + I have a thing, a whatever, a gift. + (A beat.) Come on, I helped Lesley get + off book. Hey, give me that cue again. + + RIGGAN + "I'm the wrong person to ask. I didn't + know the man. I've only heard his name + mentioned in passing. I wouldn't know. + You'd have to know the particulars. But + I think what you're saying is--" + MIKE + Okay, can I-- Do you mind if I-- + + RIGGAN + No, go ahead. + + MIKE + Follow me. He says, "I'm the wrong + person to ask." What's his intention? + Is he fed up with the topic? + Deflecting? Guilt about his wife maybe? + Then four sentences all say the same + thing... "I didn't even know the man." + (MORE) + (CONTINUED) + 10/29/14 / 20. + MIKE (CONT'D) +"I've only heard his name mentioned in +passing." "I wouldn't know." "You'd +have to know the particulars." First of +all, particulars? What are you, my +grandmother? But the point is, YOU +DON'T KNOW THE GUY, WE FUCKING GET IT. +Make it one line. "I didn't even know +the guy." Right? ... + + RIGGAN +You pretty much know my lines too, huh? + MIKE +Can we-- Are we doing something here? Come +on let's go. Cut it down, give it to me +again. + + RIGGAN +"I'm the wrong person to ask--" + + MIKE +Oh, right, sorry, you see? "I'm the wrong +person to ask?" That's another fuck you. +"Don't put me on the spot. Don't make me +self conscious about my marriage when my +wife is sitting right here..." See? Give +it to me. Give me a good fuck you. Come +on... + + RIGGAN +Okay, let me-- + + MIKE +Come on. Give it to me right now. Fuck me. +Right now. Right here. Let's do it. + + RIGGAN +Okay, yeah... + + MIKE +DO IT! + RIGGAN + (Jumps in w/out thinking.) +"Hey. I'm the wrong person to ask, okay? I +didn't even know the guy. So what's your +point?" + + MIKE +"What's my point?" + + RIGGAN +"What's your point? What are you saying? +Spit it out. You're saying, what? That love +is an absolute?" + (CONTINUED) + 10/29/14 / 21. + + MIKE + (Exploding.) + "Yeah! Alright? The kind of love I'm + talking about is absolute. The kind of love + I'm talking about you-- + (A painful memory.) + Well, you don't try to kill people. + +Riggan stands silently, his heart pounding. + + MIKE (CONT'D) + So what do you think, boss? Do I have a + job? + +Riggan calls over to the wings. + + RIGGAN + What do you think? + +Mike turns to see Sam, who has been there for a bit. + SAM + Larry needs to see him for a fitting. + + MIKE + I'm gonna take that as a yes. + (Walking to Sam.) + And you are...? + + RIGGAN + That's my daughter, Sam. + + MIKE + Right. Yeah. I can see it around the... (A + beat) She doesn't look anything like you. + (To Sam.) + And your job is...? + + RIGGAN + She's my assistant. + MIKE + Your assistant... + (To Sam.) + And can you speak? + + SAM + Yup. I can even 'sit', 'stay' or 'roll + over' if you have any treats. + + RIGGAN + Welcome aboard, Mike. + + + + (CONTINUED) + 10/29/14 / 22. + + MIKE + (Mock saluting.) + Thank you, Captain. + + We follow Mike and Sam off as they... + +8 INT. HALLWAY - THEATER - CONTINUOUS 8 + + ...advance through the hallways. + + MIKE + I'm Mike Shiner, by the way. + + SAM + I know who you are. + (Reluctantly honest.) + I saw you in 'Hothouse' at the Geffen. It + was... great. + + MIKE + That ass is great. + + She turns her head toward him with a disgusted expression. + + SAM + Dude. Seriously? + + Moving by her, into a dressing room. + + MIKE + This is the theatre, honey. Don't be so + self-conscious. + + She follows him into the room where we see... + +9 INT. COSTUME DEPARTMENT - THEATER - CONTINUOUS 9 + + ...Larry stressing out while he works on a costume. He turns + to see Mike standing there. Sam stands against the wall, + focused on her cell phone. + + LARRY + Oh, thank the Lord and pass the + biscuits! I finally have an actor to + dress. Hello, Mr. Shiner. + + MIKE + How're you doing, Larry? + + LARRY + Better, now that you're here. Take off your + clothes. + + (CONTINUED) + 10/29/14 / 23. + +Mike takes off his shirt and hands it to Sam. She doesn't budge, +and it hits the floor. He begins to unbutton his pants... + + MIKE + You gonna stand there? + + SAM + (Glancing at her cell.) + This is the theatre, honey. Don't be so + self-conscious. +Larry searches for a few costume pieces. + + LARRY + Okay. I'm gonna have to start from + scratch, with less than twenty-four + hours... Let's see if these-- + +He turns to see a completely naked Mike. + + LARRY (CONT'D) + Holy-- What is happening? Where are + your underpants? + + MIKE + At home, under the bed, I think. + +Sam glances at Mike for a second, then returns to her phone. +Larry begins to help Mike into some pants which, given the +situation, is very awkward. + + LARRY + Okay. Everything is too small. + + SAM + Yeah, you're not kidding. + +Lesley enters the room immediately coming face to face with a +naked Mike. She doesn't notice Sam who is partially hidden by a +clothes rack. She just goes about trying a costume shirt. + LESLEY + Oh, that's nice... + (To Larry.) + Forgive him, Larry. Mike's like my five + year old son. Neither one of them has + clean underwear... + + LARRY + Or pubic hair, I imagine. + (Folding the pants.) + Okay, well, I can take out the suit but + we're going to need some new pants and + shirts. + (MORE) + (CONTINUED) + 10/29/14 / 24. + LARRY (CONT'D) + (Looking back.) + And underwear... + +Mike just stands there naked, staring at his penis in the +mirror. + + LESLEY + (To Larry.) + This is too small. + (To Mike.) + What the hell are you doing? + MIKE + Waiting for Larry to finish. + + LARRY + I'm finished. + +Larry disappears deeper into the costume room. + + MIKE + Okay, well, then I'm just standing here + with my balls out. + + LESLEY + Get dressed. Riggan's daughter is hanging + around, and I don't need her to walk in + here and-- + + MIKE + Leslie... + + LESLEY + No, Mike. You haven't seen her. She's + always hanging around, just-- I don't-- + Watching everyone. It's creepy. It's-- + + MIKE + Les... + + LESLEY + I don't know if the drugs fried her + brain or what, but I don't need her + running to her father saying you showed + her your junk. + + MIKE + Okay, then we should probably get her out + of here. + +Lesley's expression goes blank. + + LESLEY + Oh, God. Really? + + (CONTINUED) + 10/29/14 / 25. + + MIKE + Hey, Sammy... + + SAM + It's Sam. + + LESLEY + Fuck. + +Sam steps forward. + LESLEY (CONT'D) + (To Sam.) + I didn't mean-- + + SAM + (Totally relaxed.) + It's cool. He's a handful, huh? + +They both look back at Mike. + LESLEY + Almost. + +Sam smiles at her and exits. Lesley wheels on Mike. + + LESLEY (CONT'D) + Jesus... How is it you always manage to find + a new way to humiliate me? + + MIKE + To be fair, you make it really easy. + + LESLEY + What the hell was she doing here? + + MIKE + She brought me. + + LESLEY + And stayed??? + MIKE + I know, right? She's a little-- + + LESLEY + Look at me, Mike. This is Broadway. I'm + here. Finally. And I'm begging you, if you + love me, please, do me a favor... don't + fuck it up. + + MIKE + (Gently.) + Come here. + + (CONTINUED) + 10/29/14 / 26. + + Lesley moves toward Mike. He cups her face in his hands + tenderly. They are face to face. + + MIKE (CONT'D) + Play with my balls... + + She twists his nipples hard and walks out. + + MIKE (CONT'D) + I won't fuck it up... Probably! + Larry reappears holding some clothes. We follow him out... + +10 INT. HALLWAY - THEATER - CONTINUOUS 10 + ...through the hallway. He walks by Jake and Riggan who are mid + conversation. We stay with them. + + + + RIGGAN (O.S.) + I don't care, sign it. + JAKE (O.S.) + Listen to me. + + RIGGAN (O.S.) + No you listen to me-- + + JAKE (O.S.) + I can't afford to listen to you... + + LARRY + I'm gonna need to go shopping + again. + + JAKE + Fucking sew something, you old + fuck! + + RIGGAN + I don't care. Give him what he + wants. + JAKE + His agent is asking for almost four + times what we were paying-- + + RIGGAN + Then go into the reserve. + + JAKE + The reserve is gone. You spent it + on the fog. And those fake trees... + (CONTINUED) + 10/29/14 / 27. + + RIGGAN + It's a dream sequence, it-- + + JAKE + And three union midgets that dance + around like-- + + RIGGAN + You're not supposed to call them + midgets-- + JAKE + The reserve is gone! + + RIGGAN + Listen to me, you didn't see what I + just saw. But you will, at the preview + tomorrow. Look, get the contract done. + I'll get the money. + +Riggan begins marching toward the stage. + JAKE + (Calling after him.) + When??? + +Laura comes down some stairs and chases Riggan. + + LAURA + (Incredulous.) + Hey, is it true? Shiner? + + RIGGAN + He's in. + + LAURA + Holy shit! When can I meet him? + + RIGGAN + He's in a fitting with Larry. +Lesley comes down the hallway. + + LESLEY + I'm going to Starbucks. You guys + want anything? + + RIGGAN + I'm fine. How's Mike? + + LESLEY + Did you talk to your daughter? + + RIGGAN + No. + (CONTINUED) + 10/29/14 / 28. + + LESLEY + He's great. + + LAURA + (To Lesley. Matter-of- + factly.) + Honey, your tits look like fucking + anjou pears in that top! + + LESLEY + (Uncomfortable.) + Okay, well I'm gonna-- Thank you. + + She walks away. + + LAURA + And that ass. Like two eggs in a hanky! + +A10 A10 + + Riggan walks, Laura follows him. + + LAURA + Okay, I was going to tell you this over + dinner, but everything-- I have some news + too. + RIGGAN + Good or bad? Cause right now-- + + A technician walks by. + + LAURA + (Whispering.) + I missed my last two periods. + (Beat.) + I think it's happening this time. + + Riggan stops. Silent. A beat. + + LAURA (CONT'D) + Is that good or bad? + (He stares at her.) + Riggan...? + + RIGGAN + It's good. It's great. + She smiles, her eyes filled with emotion. Riggan smiles back, + and nods absently. + + LAURA + Say something else... + + (CONTINUED) + 10/29/14 / 29. + + RIGGAN + (Joking.) + You're pretty sure it's mine? + + LAURA + (Unamused but plays along) + Well, let's see. There's you. Jake. That + masseuse wore a condom so... Yes, it's + yours... idiot. + + She puts her head on Riggan's chest. We see his mind racing. + Laura is moved, and confused. + + LAURA (CONT'D) + Are you excited? + + RIGGAN + Yeah. + + LAURA + Me too. + Laura moves slightly away from him and suddenly slaps him across + the face. Riggan looks at her, confused. + + RIGGAN + What--? + + LAURA + You're not funny. + + She kisses him intensely on the lips and briefly places his + hand on her belly, then moves it up to her breasts. After a + moment, she backs away. + + LAURA (CONT'D) + First preview tomorrow. Here we go! + + Laura turns and walks away. Riggan continues down the + corridor. He passes by a Security Guard· in front of a small + TV. The camera becomes Riggan's POV and advances until... + +11 INT. BACKSTAGE - THEATER - EVENING 11 + + ...we go through the stage door. We scan the backstage area to + see the stagehands ready to do their jobs. We can feel the + electricity of a first preview. + + On stage part of the kitchen set from before is visible. Annie + stands at her podium, calling the cues for the show. + + ANNIE + (Into her headset.) + Cue 34 and 35. Go. + (CONTINUED) + 10/29/14 / 30. + +She turns and looks directly into the camera. + + ANNIE (CONT'D) + Places. + + RIGGAN (O.S.) + Okay. + +Riggan walks on screen wearing his costume, carrying a bucket of +ice and a bottle of gin. He goes to the opposite side of the +stage and takes his place in the wings. He peeks out at the +audience who seem to be watching with interest. + +Then we pan to the stage to find Mike, Lesley and Laura +performing the scene we saw at the beginning, around the table. +Mike looks comfortable, sipping at his drink. A half empty +bottle of gin on the table. + + MIKE + The maniac shot himself right in front of + us. I rode with him in the ambulance to the + hospital. + + LESLEY + I'll never get that image out of my head. + Right before he did it, his eyes-- they + were so sad... lonely. + + LAURA + Did you have to treat him? + + MIKE + I didn't have to. But I did. + (Pouring another drink.) + He was in bad shape. His head swelled + up to like twice the size of a normal + head. I'd never seen anything like + it. And I swear to God, I hope I + never do again. + +Riggan stands near Annie. + RIGGAN + He's good. + + ANNIE + He's incredible. I think he's + drinking real gin. + +Riggan looks out at Mike, who is refilling his glass. + + RIGGAN + What? + + + (CONTINUED) + 10/29/14 / 31. + + A stagehand gives Riggan a bottle. Riggan watches and waits + for his cue. + + MIKE + Ask Nick what real love is. He'll + agree with me. You watch. + + LESLEY + Why don't we just head to the + restaurant? + LAURA + Don't get him started, Mel. You + haven't seen how he's been lately. + He's been depressed. I'm worried + about him. He's been-- + + She gently pushes Riggan and we follow him on stage... + +12 INT. STAGE - THEATER - CONTINUOUS 12 + ...where Mike goes to refill his glass with the last of the + real gin. Riggan snatches the bottle out of his hands and + gulps the rest, straight from the bottle. + + RIGGAN + Been what? (Beat.) I'll tell you + what real love is. This happened a + few months ago. + (Drops bottle on table) + And it ought to make us ashamed + when we talk like we know what + we're talking about when we talk + about love. + + LAURA + Nick, for God's sake. Are you + getting drunk? + + RIGGAN + (Pointed at Mike.) + I don't have to be drunk to say + what I think. + + MIKE + Nobody's drunk. We're just having a + few drinks. + + LESLEY + You've had more than a few. + + RIGGAN + What are you, counting? + + (CONTINUED) + 10/29/14 / 32. + + LAURA + Don't you talk to her like that. + Don't talk like a drunk if you're + not-- + + RIGGAN + (Exploding.) + Shut up. For once in your life. + Will you do me a favor and shut up + for a minute? + (Beat.) + Like I was saying... There's this + old couple, had a car wreck out on + the interstate. Some drunk kid + plowed his dad's pick up into their + camper. + +We begin to hear the underscoring of violins. + + RIGGAN (CONT'D) + Fucking teenager. By the time I got + to the hospital, the kid was dead. + He was off in a corner laid out on + a gurney. We took the old couple up + to the O.R.. They were a mess. We + worked like hell on them for most + of the night... + +Over the speech, Mike reaches for the new bottle that Riggan +placed on stage. He refills his glass. + + RIGGAN (CONT'D) + When we were done, we wrapped them in full + body casts. The husband was depressed. + Even when I told him his wife was gonna + pull through, he was still depressed. So, + I got up to his mouth hole and asked him, + and he told me it was because he couldn't + see her through the eye holes. Can you + imagine? I'm telling you, the man's heart + was breaking because he couldn't turn his + goddamn head and see his goddamn wife. + +Riggan is doing a good job. Lesley and Laura are genuinely +moved. Mike notices. He sips his drink. + + RIGGAN (CONT'D) + I mean... It was killing him. Killing him + that he-- + + MIKE + I'm tired of this shit. + +They all look at Mike. In silence. + + (CONTINUED) + 10/29/14 / 33. + + MIKE (CONT'D) + (to Riggan) + What the fuck is this? Water? + +He hurls the glass against the wall. Some laughter from the +audience. Riggan stares at him, confused. He presses on. + + RIGGAN + It was killing the old bastard... + + MIKE + Did you just give me water? + + RIGGAN + Come on, Mike. + + MIKE + Come on what? + + RIGGAN + Take it easy. You're drunk. + MIKE + Of course I'm drunk! I'm supposed to + be drunk! This is Carver, man! The guy + lost a piece of liver every time he + wrote a page! If I'm supposed to drink + gin then bring me fuckin gin! I mean, + you fucked the time period! You took + all the good lines for yourself! At + least let me-- + +The audience is now hysterical. Dozens of cell phones +pointing at the stage. Mike walks toward the apron, facing +the audience. + + MIKE (CONT'D) + Oh, okay. Seriously? You people are + pathetic. Put the cell phones down and + join the real world! Will somebody + please just live in the real world?!! +He crosses to the refrigerator. + + LAURA + Where's he going? + + LESLEY + (Firmly.) + Mike, cut it out. + +Mike rummages through the fridge. + + + + (CONTINUED) + 10/29/14 / 34. + + MIKE + Look at this. It's all fake. + (Tossing items out of the + fridge.) + The milk is fake. The butter is fake. + + Riggan storms off the stage. + + MIKE (CONT'D) + (To Riggan.) + Your performance is fake. + (He finds some fried + chicken.) + Hey! There's chicken. Real chicken. The + only thing real up here is the chicken. + So I'm gonna stick with the chicken. + + The audience laughs harder. + + MIKE (O.S.) (CONT'D) + Hey, this is good bird, man! + Riggan charges through the chaos backstage running into a + panicked Annie. + + RIGGAN + Get Mike out of here. + + ANNIE + How do you want me to do that? + + Riggan keeps walking up to... + +13 INT. HALLWAY - THEATER - CONTINUOUS 13 + ...the hallway. Jake chases him. + + RIGGAN + I want him gone. + + JAKE + No. + + RIGGAN + What? + + JAKE + We can't do that. + + RIGGAN + What are you-- Of course we can do that. + It's our show. + + + (CONTINUED) + 10/29/14 / 35. + + JAKE + Riggan, listen to me-- + +Riggan comes to a halt and faces Jake. + + RIGGAN + No. You listen to me. Get him the fuck out + of my play. Did you see him out there? + + JAKE + It was a preview! Nobody gives a shit about + previews. Nothing matters until that old + bat from the New York Times is sitting in + that audience on opening night. + + RIGGAN + We're getting rid of him. I'm not going to + stand up on that stage and-- + + JAKE + Shut up! Just shut up for once and + listen to me. As soon as we announced he + was taking over, the advance doubled. We + can't afford to lose a preview. We can't + afford to lose money. We can't afford to + lose Mike. This is about being + respected, validated, remember? That's + what you told me. That's how you got me + into this shit. Now, you're the + director. Get him under control. + (A beat. As a friend.) + These are not the nineties anymore. + +Jake storms away. Riggan heads toward his dressing room. Out +of nowhere, Mike barrels into him, pinning him against a wall. + + RIGGAN + (Startled.) + Holy Fuck! + +Mike presses up against Riggan, breathing down his neck. After a +painful silence... + + MIKE + (Like he's possessed.) + You were good... + + RIGGAN + Meet me in front of the theater in + 10 minutes. + +Mike chuckles and slaps Riggan gently on the face before he +disappears into his dressing room. Riggan begins walking +again. We follow him into... + 10/29/14 / 36. + +14 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 14 + + ...his dressing room. He goes into the bathroom and quickly + washes his face. + + SYLVIA (O.S.) + What the hell was going on up there? + + We pan over to see his ex-wife Sylvia (43), standing in one + corner, staring at Riggan. She is elegant and simply beautiful. + + RIGGAN + I didn't know you were here tonight. + SYLVIA + That guy's an asshole, huh? + + Riggan dries his hands with a towel and comes out of the + bathroom. + + RIGGAN + What are you doing here? + SYLVIA + Sam and I are going to grab a bite + after she's finished with-- + + RIGGAN + No, I mean here. Now. + + SYLVIA + Well. I know how much this means to + you, so-- + + RIGGAN + I appreciate that. + + A beat. + + SYLVIA + So, how's it going? + + RIGGAN + The play? + + SYLVIA + No, you and Sam. + + RIGGAN + It's good. (A beat.) It's the same. + + SYLVIA + Do you talk to her? + + + (CONTINUED) + 10/29/14 / 37. + + RIGGAN + We talk. We-- I don't know, it's been crazy + around here. + + SYLVIA + You understand where her head is at right + now. + + RIGGAN + Of course. + SYLVIA + She's trying to stay away from everything + and everyone that got her into rehab in the + first place, but... + + RIGGAN + ...I know, Sylvia... + + SYLVIA + ...But that's all she had. So she's-- + RIGGAN + I really do get it. + + SYLVIA + I know you're caught up in all this stuff, + but-- + + RIGGAN + Stuff... + + SYLVIA + You know what I mean. + (Beat.) + Riggan... You don't have to be a great + father right now, you just have to be one. + + RIGGAN + Yeah. +Suddenly, Laura opens the door and sticks her head in. + + LAURA + (Noticing Sylvia.) + Oh, sorry. + +She closes the door. Awkward silence. + + SYLVIA + So how is that going? Is she and + Sam--? + + RIGGAN + I don't wanna talk about it. + (CONTINUED) + 10/29/14 / 38. + +He goes to a small fridge, takes out a beer and closes it. + + SYLVIA + You're drinking? + + RIGGAN + I'm having a beer. + + SYLVIA + Okay... +He sits and sips in silence for a moment. Then he begins to +take out the wig. + + RIGGAN + So, what's going on with you? + + SYLVIA + Me? Nothing. Everything's the same I guess. + I'm going back to teaching. + RIGGAN + I'm thinking about refinancing the Malibu + house. + + SYLVIA + Wh-- I'm sorry? + + RIGGAN + I'm thinking about-- + + SYLVIA + No, I heard you. I just need a second to-- + (A beat.) That's gonna be Sam's house. Why + would you-- (A beat.) What? For this play? + + RIGGAN + (Honest and vulnerable.) + I need the money. + + SYLVIA + Do you have any idea how crazy that sounds? + + RIGGAN + What do you want me to say? My health + lasted longer than the money... Go figure + that out. + +Riggan seems pensive and lost. + + SYLVIA + Riggan... + (Beat.) + What's going on?... Look at me. + + (CONTINUED) + 10/29/14 / 39. + +Riggan gently looks up to Sylvia. + + RIGGAN + I have a chance to do something right. And I + have to take it. I have to. + + SYLVIA + It's funny. I was sitting here waiting + for you, and all of a sudden I couldn't + remember why we broke up. +Silence. Then, as if he hasn't heard what she said. + + RIGGAN + The last time I flew here from LA, George + Clooney was sitting two seats in front of + me. With those cuff links, and that... + chin. We ended up flying through this + really bad storm. The plane started to + rattle and shake, and everyone on board + was crying... and praying. And I just sat + there-- Sat there thinking that when Sam + opened that paper it was going to be + Clooney's face on the front page. Not + mine. (A beat.) Did you know that Farrah + Fawcett died on the same day as Michael + Jackson? + +She smiles sadly. She kisses him on the head and goes to the +door. + + RIGGAN (CONT'D) + Why did we break up? + + SYLVIA + (Looks him in the eye.) + You threw a kitchen knife at me... + +Riggan is smacked by that memory. His eyes on the floor. + + SYLVIA (CONT'D) + ...and one hour later you were + telling me how much you loved me. + (Beat.) + Just because I didn't like that + ridiculous comedy you did with Goldie + Hawn didn't mean I did not love you. + But that's what you always do. You + confuse love with admiration. + +She smiles sadly. He looks at her. As Sylvia opens the door, +she turns back to Riggan... + + + + (CONTINUED) + 10/29/14 / 40. + + SYLVIA (CONT'D) + It's your house, so do what you want with + it. Just make sure you're there for our + daughter. + + RIGGAN + I will. + + SYLVIA + You're not Farrah Fawcett, Riggan. + She exits. Painful silence... until... + + BIRDMAN (V.O.) + We should have done that reality show they + offered us. "The Thomsons." That would've + been good. Crazy, druggy, wise ass daughter. + Milfy wife with the perky tits. People would + have watched that. + + RIGGAN + (To the poster.) + Shut up. + + Riggan stands up and grabs his jacket. He opens the door and + goes out to... + +15 INT. HALLWAY - THEATER - CONTINUOUS 15 + ...the hallway. + + BIRDMAN (V.O.) + Where are we goin'? + + RIGGAN + (Almost whispering.) + Leave me alone. + + Riggan walks between crew members. Annie interrupts him. + + ANNIE + The sun bed is here. + + RIGGAN + What does that mean? + + ANNIE + It means there's a sun bed out there + being delivered to in here. + + RIGGAN + Who ordered a sun bed? + + + (CONTINUED) + 10/29/14 / 41. + + ANNIE + Mike. He says it's for his character. + Carver's red necks, "people of the + land". Part of his process and that + shit. + + Riggan cannot deal with this right now. He continues walking + until he arrives at a metal door that takes him out to... + +16 EXT. AN ALLEY WAY - OUTSIDE THE THEATER - CONTINUOUS 16 + + ...an alley way. Riggan walks toward the street. There is a man + playing drums. Riggan finds Mike leaning against a parked car, + dazed and looking up at the marquis... + + RIGGAN + Let's go. Walk. + + Riggan begins to walk, Mike follows. + + MIKE + Where are we going? + RIGGAN + To get you some coffee. Have I done + anything to disrespect you? + + MIKE + Not yet. + + RIGGAN + I have a lot riding on this play. + MIKE + Is that right? + + RIGGAN + People know who I am, and-- + + MIKE + Bullshit. + + RIGGAN + Mike-- + + MIKE + Bullshit. People don't know you. They + know the guy in the bird suit. They + know the guy who tells those quaint, + slightly vomitous stories on Letterman. + + RIGGAN + Well, I'm sorry for being popular, but + that-- + (CONTINUED) + 10/29/14 / 42. + + MIKE + (With irony.) + Popular? POPULAR?... Oh God, popularity is + just the slutty little cousin of prestige. + + RIGGAN + Okay, I don't even know what that-- + + MIKE + My reputation is riding on this play. + And that's... That is... + RIGGAN + A lot? + + MIKE + A lot. Exactly. Fuck you. Yes. This + doesn't work out for you, you get to go + home to your studio pals and jump right + back into that cultural genocide you + guys are perpetrating. "There's a + douchbag born every minute". That was + P.T. Barnum's premise when he got rich + inventing the circus. And you and your + pals know nothing's changed, and + whatever toxic shit you make people are + still gonna pay to see it. But, after + you're gone, I'll still be here. I'll + still be making my living on the stage. + Baring my soul. Wrestling with emotions, + complex emotions. + + RIGGAN + Right. Is that what tonight was about then? + (Mocking him.) Wrestling with "complex + emotions"? + + MIKE + Tonight was about making it alive. About + making it bleed. This isn't the Warner + Brothers lot, Riggan. This is the city, and + this is how we do things. + +Mike turns and opens the front door of The Rum House. + + RIGGAN + Where are you going? + + MIKE + They have coffee in here. + +He walks into the restaurant. Riggan backtracks and we follow +him into... + 10/29/14 / 43. + +17 INT. RUM HOUSE - CONTINUOUS 17 + + ...The Rum House. Mike stands at the bar, the bartender + already pouring two whiskeys. + + MIKE + (To bartender.) + Thanks, Tommy. + + Tommy nods and walks away. + + RIGGAN + (Getting back on point.) + People were laughing in our faces. + + MIKE + (Handing Riggan a drink.) + Tonight they were laughing, tomorrow + they'll be... be.. tweeting about us. Fuck + `em. Who cares??? These are the people who + pay half price to watch us rehearse. Stop + fucking caring! + RIGGAN + We're doing Raymond Carver. This play is a + drama. This play is-- + + MIKE + You don't know what this play is. These are + previews. This is where we find out what + the play is. + + Mike points to an Older Woman sitting at the bar. She sips a + martini and scribbles in a notebook with a sour expression. + + MIKE (CONT'D) + You see that woman over there? The one that + looks like she just licked a homeless guy's + ass? Nothing matters until she writes five + hundred words about us in the New York Times. + + RIGGAN + That's... + MIKE + Tabitha Dickinson. Yes. And, believe it or + not, the only thing that matters in theater + is whether she likes us or not. She does, + we run. She doesn't, we're fucked. + + RIGGAN + (Preoccupied.) + She does look like she licked a homeless + guy's ass. + + (CONTINUED) + 10/29/14 / 44. + + MIKE + Do me a favor, don't get your panties in a + twist over a preview, alright? And don't tell + me how to do my job. Cause, this is my town. + And, to be honest, nobody gives a shit about + you around here. + + LADY (O.S.) + You're Riggan Thompson, right? + +Two fat tourists in "Mamma Mia" t-shirts, with a seven year old +kid, approach the table. + + HUSBAND + (Timidly.) + We're sorry to interrupt... + + LADY + Would you mind terribly if we got a + picture? + RIGGAN + Of course. It's no trouble at all. + +The Lady shoves her camera into Mike's hands. + + LADY + (To Mike.) + Would you mind? + +Mike gets up with a blank expression and takes the camera. +The Lady pushes the kid into the booth next to Riggan. + + LADY (CONT'D) + (Ordering Mike.) + The button right on top there. + + KID + Who is this guy? + + LADY + (To his son.) + Come on, Billy. He used to be like Batman. + +She yanks the kid closer and they squeeze up against Riggan. +Mike takes the photo and holds the camera to the lady. + + LADY (CONT'D) + (To Mike) + I think you screwed that one up. Take + another one. + +Mike takes another picture. + + + (CONTINUED) + 10/29/14 / 45. + + LADY (CONT'D) + (To Riggan.) + God bless you, darlin'. You're very sweet. + And handsome! + +She kisses Riggan hard on the mouth. Then gets up, giddy, and +takes her son by the hand. As the couple leaves, husband shoves +a five dollar bill into Mike's hands. + + HUSBAND + We really appreciate it. +An agitated Mike takes a sip of whiskey. + + MIKE + Are we good here? Cause I'm gonna go. + + RIGGAN + See you tomorrow. + +Mike places the dollar under one of the shot glasses and begins +to walk away, but then stops and turns curiously. + + MIKE + Why Raymond Carver? You never told me. + +Riggan looks at Mike for a second, than reaches for his wallet +and produces an old cocktail napkin with some writing on it. He +slides it to Mike. + + RIGGAN + A long time ago, I did a play back in + high school in Michigan. He was in the + audience. He sent this backstage after. + + MIKE + "Thank you for an honest performance. Ray + Carver." What is this? + +Riggan looks vulnerable. He is trying to make Mike understand +the importance of the napkin, to build a bridge between them. + RIGGAN + And that's when I knew I was going to + be an actor. + +Mike can't stop himself from smiling. + + RIGGAN (CONT'D) + Why is that funny? + + MIKE + He wrote it on a cocktail napkin. + + + (CONTINUED) + 10/29/14 / 46. + + RIGGAN + So... + + Mike slides the napkin back to Riggan. + + MIKE + He was drunk. + +A17 A17 + + He walks away and we follow him as he passes by the bar next + to Tabitha Dickinson, the Critic. + + TABITHA + You headed to Hollywood, Mike? + + Mike stops. + MIKE + Hollywood's headed here, Tabby. + + TABITHA + (A devilish smile.) + Good luck with that. + + Mike looks directly into her eyes. + + MIKE + "A man becomes a critic when he can not be an + artist, in the same way that a man becomes an + informer when he cannot be a soldier." + Flaubert, right? + + He flashes his own devilish smile. She stares back. If she + weren't so much older than him, you'd swear there was sexual + electricity between them. + + TABITHA + He's a Hollywood clown in a Lycra bird + suit. + + MIKE + Yeah. And at 8 o'clock tomorrow, he's gonna + get on stage and risk everything. What're + you gonna be doing? + + A standoff. + + TABITHA + Don't you ever worry that I'll give you a + bad review? + + + + (CONTINUED) + 10/29/14 / 47. + + MIKE + Oh, I'm sure you will. If I ever give a bad + performance. + (Beat.) + Ms. Dickinson. + + TABITHA + Mr. Shiner. + + Mike smiles and waves over to an obviously nervous Riggan. He + goes toward the exit, but we stay with Tabitha, scribbling on + her notebook. Suddenly she raises her eyes and, with a dark + expression, looks at Riggan who is passing by. + + We follow Riggan toward the exit. Through the window we see him + leave the restaurant. Then we pan to a wooden wall, and this + wall takes us to... + +19 INT. HALLWAY - THEATER - LATER 19 + + ...the theater hallway. Riggan walks through the quiet corridor, + until he arrives at... + +20 INT. GREEN ROOM - THEATER - CONTINUOUS 20 + ...the Green Room. Sam sits listlessly, drawing some lines + across a roll of toilet paper. + + RIGGAN + What're you still doing here? + + SAM + (Continues scribbling.) + Nothing. I'm-- Nothing. Your costumes are + hanging in your room. + + RIGGAN + Great... + + SAM + I got the coconut water you wanted. If you + want me to get-- + + RIGGAN + Hey. + + SAM + What? + + RIGGAN + I'm not sure if I said thank you. + + + (CONTINUED) + 10/29/14 / 48. + + SAM + For what? + + RIGGAN + All of it. You've been doing a good job. + And I've been... + + SAM + Yeah. + + RIGGAN + So, I just wanted to say that-- + (He stops abruptly.) + What is that? + + SAM + What...? + + RIGGAN + That smell. + SAM + I don't-- + + RIGGAN + Look at me. + + SAM + What are you-- + + RIGGAN + Look at me. + +She does. He examines her eyes, then immediately rises, scouring +the room. + + SAM + Dad... + + RIGGAN + (Continuing to search.) + You have to be shitting me... Where is it? + + SAM + Could we not do this? + +Riggan pulls a jar of peanut butter from the trash. + + RIGGAN + What is this? + + SAM + That is chunky peanut butter that happens, + by the way, to have Omega-- + + (CONTINUED) + 10/29/14 / 49. + +Riggan pulls a stubbed joint out of the jar. + + RIGGAN + This. + + SAM + Oh. That's pot. + + RIGGAN + Sam. + SAM + Alright, just relax. + + RIGGAN + Relax? What the hell are you doing? + + SAM + Protecting myself from cataracts? + + RIGGAN + You can't do this to me! + + SAM + To you? + + RIGGAN + SHUT UP! You know what I'm talking about. + + SAM + Yeah. You're talking about you. What else + is new? + + RIGGAN + Don't try to-- + + SAM + What? Make it about me? I wouldn't dream of + it. + + RIGGAN + Listen to me. I'm trying to do something + that's important... + + SAM + This is not important. + + RIGGAN + It's important to me! Alright? Maybe not to + you, or your cynical playmates whose sole + ambition is to end up going viral and who, + by the way, will only be remembered as the + generation that finally stopped talking to + one another. But to me... To me... This is-- + God. This is my career, this is my chance + (MORE) + (CONTINUED) + 10/29/14 / 50. + RIGGAN (CONT'D) + to do some work that actually means + something. + + SAM + Means something to who? You had a career + before the third comic book movie, before + people began to forget who was inside the + bird costume. You're doing a play based on + a book that was written 60 years ago, for + a thousand rich, old white people whose + only real concern is gonna be where they + go to have their cake and coffee when it's + over. Nobody gives a shit but you. And + let's face it, Dad, it's not for the sake + of art. It's because you just want to feel + relevant again. Well, there's a whole + world out there where people fight to be + relevant every day. And you act like it + doesn't even exist! Things are happening + in a place that you willfully ignore, a + place that has already forgotten you. I + mean who are you? You hate bloggers. You + make fun of twitter. You don't even have a + Facebook page. You're the one who doesn't + exist. You're doing this because you're + scared to death, like the rest of us, that + you don't matter. And you know what? + You're right. You don't. It's not + important. You're not important. Get used + to it. + + Silence. Riggan seems devastated, and Sam can see that. + + Sam (CONT'D) + Dad... + + She looks at him sympathetically, but not knowing what to + say... exits. + + After a moment Riggan gets up and heads for the trash can. He + digs out the roach, grabs some matches and lights it. Music + begins to sound. He inhales deeply and holds the smoke for a + few seconds and finally exhales. He coughs, tosses away the + joint and heads out of the kitchen. We follow him... + +21 INT. HALLWAY - THEATRE - CONTINUOUS 21 + + ...as he slowly walks until he disappears into the darkness of + the corridor. We keep moving forward until we end up... + 10/29/14 / 51. + +A21 INT. BACKSTAGE - THEATRE - EVENING A21 + + ...backstage. We are in the middle of the second preview. The + music continues, it belongs to the play. + + Laura is by herself on stage performing the end of a scene. She + stands in the middle of a surrealistic forest set, at dusk. + There is fog, and trees. A strong, artificial wind blows + through Laura's hair. Desolate music. + + LAURA + (To the audience as soliloquy.) + In the days before Nick's depression really + started to eat away at him, he had no idea + I was pregnant. And I never intended on + telling him. I guess we make choices in + life, and we choose to live with them. Or + not. I didn't want that baby... + + Three dancers on stage pass by in front of Laura. We follow + the dancers backstage where we find Mike and Lesley wearing + pajamas. + LAURA (O.S.) (CONT'D) + ...Not because I didn't love Nick. And not + because I didn't love the-- The idea of + it. But because I just wasn't ready to + love myself. There's a certain distance to + it all now. A wistful distance. + Underscored by a gentle breeze and the + sound of the birds... laughing at the + whimsy of it all. + + A stage hand helps Mike and Lesley into a double bed. The + camera slips under the covers with them and stays there. + + MIKE + (Whispering.) + Hey, Les... + + LESLEY + (Whispering.) + What? + MIKE + I'm hard. + + LESLEY + No, you're not. It's just that sometimes + you don't consider other people's feelings. + + MIKE + No. I'm hard. Feel. + + + (CONTINUED) + 10/29/14 / 52. + + LESLEY + Oh, you gotta be kidding. + + The stage begins to revolve as we hear... + + +22 INT. STAGE - THEATER - CONTINUOUS 22 + ...music through the transition. It remains dark. + + MIKE + Let's really do this. Let's fuck. + + LESLEY + Are you crazy? No. + + Mike rolls on top of Lesley. + + LESLEY (CONT'D) + Cut it out... + + Mike continues to maneuver himself. + + LESLEY (CONT'D) + I'm serious, Mike. Stop! + + MIKE + I'm Mel. Not Mike. Mel. + A knock on a door. + + RIGGAN (O.S.) + Terri! Terri! + + A furious Lesley tries to reposition herself under Mike. + + RIGGAN (O.S.) (CONT'D) + Terri! I know you're in there! + + The knocking gets louder. + + RIGGAN (O.S.) (CONT'D) + Terri??? + + Mike, lost in his libido, has begun to have sex with Lesley. + The camera comes out from under the covers and pans to Riggan + who stumbles into what is now the Motel Room set. He wears a + mustache and a long wig, that makes him look like a wild man. + He holds a gun in his right hand. A neon "Motel" sign is + illuminated. A clever effect of falling rain is visible behind + the set, accompanied by the appropriate sound effect. Riggan + is wet because of the "rain". + + Lesley uses Riggan's entrance to escape from Mike. + + (CONTINUED) + 10/29/14 / 53. + + LESLEY + Ed! + +Mike hops out of bed, unaware of the very noticeable erection +protruding underneath his pajama bottoms. + +Some laughter from the audience. + + LESLEY (CONT'D) + What are you doing here? +Lesley doesn't understand the audience response, until she +notices the erection herself. + + RIGGAN + (To Lesley.) + Why? I need you to tell me why. I lived for + you. I worshipped you... + + MIKE + Listen Ed, I know this is hard but-- +More laughter. Riggan is disturbed, but he continues... + + RIGGAN + (to Mike) + Fuck you. Shut up. Fuck you. + +He shoves Mike violently to the floor. + + LESLEY + Eddie! Please! + +Riggan points the gun at Mike's head. + + RIGGAN + What's wrong with me? Why do I end up + having to beg people to love me? + + LESLEY + Ed. Eddie. Please... Give me the gun. +She begins to cry. Her performance is beautiful. + + LESLEY (CONT'D) + Just look at me. I was drowning. I + was not capable of-- You deserve to + be loved. You do. + + RIGGAN + I just wanted to be what you wanted. + (Beat.) + Now I spend every fucking minute praying to + be someone else. Someone I'm not. Anyone... + + (CONTINUED) + 10/29/14 / 54. + + MIKE + Put down the gun, Ed. She just doesn't love + you anymore. + + The audience is silent. + + RIGGAN + (A sad smile.) + You don't, do you? + + LESLEY + (With sympathy.) + No... + + RIGGAN + And you never will... + + LESLEY + I'm sorry. + + RIGGAN + (A revelation.) + I don't exist. I'm not even here. I don't + exist. None of this matters. + + Riggan points the gun at Lesley. Then at Mike. Finally, he puts + the gun to his own head and pulls the trigger. PUM! And with the + explosion, a fake blood mechanism splatters brains onto the + stage. Riggan drops to the floor. + + A blackout. The audience applauds politely. The curtain falls. + We follow Riggan off stage and into... + +23 INT. BACKSTAGE - THEATER - CONTINUOUS 23 + ...the wings, where Annie immediately helps him remove the + bloody and wet wig with the propeller mechanism. Laura waits + next to them for their bows. Meanwhile, a stage hand crosses + behind them, and we follow him as he goes on stage to... + +24 INT. STAGE - THEATER - CONTINUOUS 24 + + ...reposition some scenery for the curtain call. The camera + carries us to the other side of the stage, where Mike and Lesley + are in a heated exchange... + + MIKE + Just, keep your voice down... + + LESLEY + (Furious.) + You have to be shitting me. You can't get it + up in six months... + (MORE) + (CONTINUED) + 10/29/14 / 55. + LESLEY (CONT'D) + (She starts hitting him.) + ...and now you try to fuck me in front of + eight hundred strangers??? + + MIKE + What do you want from me? I have to feel it. + You know that. I told you that from the-- + + LESLEY + Oh, fuck you... +Music begins and the curtain rises. The audience applauds as +Lesley and Mike stride onto the stage and take their bows, +smiles plastered on their faces. + + MIKE + ...I was in the moment... + + LESLEY + I told you to stop. You fucking animal. + MIKE + But... You were incredible. + + LESLEY + What is wrong with you? + +Lesley starts back for the wings, and Mike follows her. In the +background we see Riggan and Laura enter from the other side to +take their bows. + + MIKE + Listen I'm sorry, alright, I-- + + LESLEY + I want your shit out of the apartment. + +They go back on stage and join Riggan and Laura for the company +bow. + + MIKE + Can we-- + + LESLEY + No we can't. Maybe up here you're Mr. Truth, + Mike. But in the real world, where it counts, + you're a fraud. How's that for truth? You... + dick. + +Lesley storms off, leaving Mike and a confused Riggan on stage. +Laura chases her off and straight into... + 10/29/14 / 56. + +25 INT. HALLWAY - THEATER - CONTINUOUS 25 + + ...the hallway. + + LAURA + What's going on? + + LESLEY + He's an asshole. + + LAURA + What did he do now? + LESLEY + Oh, nothing. He just tried to fuck me in + front of a full house. + + LAURA + Oh, my God... + + LESLEY + Right? + LAURA + That's kind of hot. + + She follows Lesley into... + +26 INT. LESLEY AND LAURA'S DRESSING ROOM - THEATER - CONTINUOUS + 26 + + ...the dressing room and closes the door. Lesley proceeds to + smash everything on her dressing table. Then she looks in the + mirror holding a hairbrush. + + LESLEY + Why don't I have any self-respect? + + LAURA + You're an actress, honey. + + Lesley begins to cry. Laura hugs her. + LESLEY + I'm pathetic. You know, I've dreamt of + being a Broadway actress since I was a + little kid. And now I'm here. And I'm not a + Broadway actress. I'm still just a little + kid. And I keep waiting for someone to tell + me I made it. + + LAURA + (Hiding how moved she is.) + Hey. You made it. + + (CONTINUED) + 10/29/14 / 57. + + LESLEY + I did? + + LAURA + Sadly, it was with Mike Shiner, on a fake + motel bed, in front of-- + + LESLEY + (A little laugh.) + Shut. Up. +Riggan steps into the doorway and sees Laura hugging Lesley. + + RIGGAN + Is she okay? + + LAURA + She's gonna be fine. + +Riggan enters gingerly and walks up to Lesley. + RIGGAN + None of this is your fault. + (Into her eyes.) + You're beautiful. And talented. And I'm + lucky to have you. Okay? + + LESLEY + Okay. + + RIGGAN + Okay. + +Riggan leaves the room. Laura leans on the makeup table. + + LESLEY + That was very sweet. + + LAURA + Yeah. +Laura is suddenly teary. + + LESLEY + What's wrong? + +A beat. + + LAURA + (Smiling.) + Nothing. Two years, he's never said + anything like that to me. + + + + (CONTINUED) + 10/29/14 / 58. + + LESLEY + (Into her eyes.) + Hey. You're smart. And beautiful. And + talented. And I'm lucky to have you. Okay? + + LAURA + We're gross. + + LESLEY + We are. + Laura smiles and caresses Lesley's hand. They look at each + other. Then Laura leans forward, close to Lesley's face... + + LESLEY (CONT'D) + (Nervous.) + What are you doing? + + LAURA + Nothing. + Laura kisses Lesley tenderly on the lips. Lesley seems + confused. A few seconds of silence. Then... + + LESLEY + Do it again. + + Laura kisses her again. A knock at the door. They separate. + Mike opens the door holding the prop gun. + + MIKE + (To Lesley.) + Can we talk about this like two-- + + Lesley hurls the hair brush at his head. + + LESLEY + FUCK YOU!!! + + MIKE + Okay, well, you're not ready. + Mike points the prop gun at her, pretends to fire and... + + MIKE (CONT'D) + That was hot. + + He exits the room. We follow him... + +27 INT. HALLWAY - THEATER - CONTINUOUS 27 + ...down the hallway up to Riggan's dressing room. Riggan sits + at his table, picking the brains out of his hair. + + (CONTINUED) + 10/29/14 / 59. + + MIKE + (Holding the gun.) + Your gun is ridiculous. It looks like a + plastic toy. And it still has the red plug + in the barrel. + (Shows the plug.) + You look like a seven year old when + you're holding it. I'm not threatened + by it at all. + + He tosses the gun onto Riggan's table. + MIKE (CONT'D) + Have some self respect and get a new one. + (Takes a step then turns.) + That was a fun crowd, huh? + + We follow Mike to... + +28 INT. STAIRS - THEATER - CONTINUOUS 28 + ...the stairs. He climbs them as he lights a cigarette. He goes + through a metal door that takes him out onto... + + +29 EXT. ROOFTOP - THEATER - CONTINUOUS 29 + + ...a rooftop. The Marquis' of the other theaters glowing with + the street lamps, a classic Broadway view. + + Mike is surprised to find Sam sitting on the cornice of the + building, a good fifty feet above 45th street. He goes next to + her, looking down at the street. + + MIKE + I don't think it's high enough. + + Sam turns to him, uncomfortable by his presence. + SAM + Me neither. + + MIKE + So, what are you doing up here? + + SAM + (Hesitant.) + Adrenaline. Just came out of rehab. Closest + I get to a drug. + + MIKE + You were in rehab? + + + (CONTINUED) + 10/29/14 / 60. + + SAM + (Distant.) + Yeah. + + MIKE + Cool. + + SAM + It wasn't all Dr. Drew or anything, but + that dude from American Pie was there. + A VOICE + (From the street below.) + Juuump! + + SAM + (Calling down.) + Eat me! + + A VOICE + Okay. Jump on my face! + SAM + (To Mike.) + I love this city. + + MIKE + Yeah. + + SAM + (Casually.) + Why do you act like a dick all the time? Do + you just do it to antagonize people? + + MIKE + Maybe... + +Sam turns and faces Mike. + + SAM + You really don't give a shit if people like + you or not... + + MIKE + Not really. + + SAM + (More comfortable.) + God, that's cool. + + MIKE + Is it...? + +Mike leans on the railing, looking down at the street. For a +moment, he is somewhere else... + (CONTINUED) + 10/29/14 / 61. + + SAM + Hey. + (Mike doesn't respond. She pushes + him.) + Hey... + + MIKE + What? + + SAM + Let's play a game. + MIKE + A game? + + SAM + Yeah. + + MIKE + What are you, eight? + SAM + What are you, seventy-eight? Truth or + dare...? + + MIKE + You gotta be-- + + SAM + Truth or dare? + +He looks at her, intrigued. + + MIKE + Truth. + + SAM + The first time we met, you made a comment about + my ass. Why'd you do it? + + MIKE + Because you have a great ass, and I noticed + it. So, I said it. + (A beat.) + Truth or dare? + + SAM + Dare. + + MIKE + Really... + + SAM + Uh-huh. + + (CONTINUED) + 10/29/14 / 62. + +A moment of tension. + + MIKE + (Looking at the street.) + There's a bald guy about to walk by down + there. Spit on his head. + + SAM + No! + + MIKE + You said dare. + + SAM + Truth. + + MIKE + Too late. + +She stares into Mike's eyes, knowing she's being tested. She +leans over the railing and spits down toward the street. + SAM + Happy? + + MAN (O.C.) + (From the street) + Fuck you! + +Sam laughs. Mike smiles at her carefree laugh. It could be the +first time we've seen a genuine smile from him. + + SAM + Truth or dare? + + MIKE + Truth. + + SAM + You're boring. + MIKE + Truth. + +She stares him down. + + SAM + (Nervous, pretending.) + Do you want to fool around with me? + +A pause. + + MIKE + No. + + (CONTINUED) + 10/29/14 / 63. + + SAM + (Taken aback.) + Really? Why not? + + MIKE + That's a second question. + + SAM + It's a second part. + +A pause. + MIKE + I'd be afraid I couldn't get it up. + +Impressed with his honesty. + + SAM + That didn't seem to be a problem for you on + stage. + MIKE + Nothing's a problem for me on stage. + + SAM + I wanna ask another question... + + MIKE + You just asked-- + + SAM + One more. + + MIKE + Go 'head. + + SAM + If you weren't afraid. What would you want + to do to me? + +He carefully considers it, then moves his face close to hers. + MIKE + I would want to pull the eyes out of your + head... + + SAM + ...That's sweet... + + MIKE + ...And stick them in my skull, and then + look out at this street and see it the way + I saw it when I was your age. + + + (CONTINUED) + 10/29/14 / 64. + + Mike turns and stares out at the street once more. Sam stares + at the mystery that is Mike. + + SAM + G'night, Mike. + + She walks away and into the building, never looking back. + +A29 A29 + + Mike stares out into the night. We move to his POV. The street. + Night turns to day. Pedestrians begin to walk below. + + +B29 B29 + + We crawl down the wall until we arrive at Riggan's dressing + room window. We push in to find... + +30 INT. RIGGAN'S DRESSING ROOM - THEATER - DAY 30 + ...Riggan siting with his feet on the window frame, staring at + a manila envelope in his hands that reads... "R, MALIBU + REFINANCE DOCS. SIGN AND SEND ASAP. J." Riggan sighs and props + the letter up against the mirror. + + With a soft knock, Laura enters. She stands in the doorway with + an odd expression on her face. + + RIGGAN + What now? + Laura lays the Arts section of the New York Times down in front + of Riggan. + + LAURA + Don't kill the messenger. + + Riggan picks up the paper. His expression immediately changes. + Laura watches him sympathetically. + + LAURA (CONT'D) + He's an asshole. + + Now we see the cover of the Arts section. There is a picture + of Mike lounging on a black sofa, his bare feet on a table as + he sips a glass of wine. The Title of the article reads... + "CARVING OUT HIS PLACE IN THEATER HISTORY. Shiner says Raymond + Carver is the reason he became an actor." Riggan involuntarily + squeezes the paper as he reads on, filling with rage. + + BIRDMAN (V.O.) + He's fooling you. + (CONTINUED) + 10/29/14 / 65. + + RIGGAN + Shut up. + + LAURA + (Confused.) + I didn't say anything. + + RIGGAN + Fuck. This is it? + (He passes a few pages.) + This can't be it. + LAURA + Page twelve. + +Riggan searches desperately for page twelve. When he gets +there, he finds a huge ad of the new Toyota Camry that almost +fills the entire page, and down in the left corner a tiny +press release with the title: + +"From Birdman to Carver: An aging Action Hero Grasps for His +Youth." + + RIGGAN + (Reading.) + "Riggan Thompson, better known as the face of + the Birdman films, tries not to lay an egg on + Broadway..." + (Flipping pages.) + Where's the rest of it? + + LAURA + There is no rest of it. + + RIGGAN + They didn't use the photo I sent them. + + LAURA + What photo? + + RIGGAN + The one you liked. The one you said + I look like a young Jack Nicholson. + + LAURA + (She lights a candle.) + Don't worry about it. Someone'll be using + that to pick up dog shit tomorrow. + + RIGGAN + How can you be so calm about this? + + LAURA + What are my other choices? + + (CONTINUED) + 10/29/14 / 66. + + RIGGAN + Aren't you scared at all? + + LAURA + About what? + + RIGGAN + About being humiliated out there. + + LAURA + It won't be the first time I've been + humiliated. + + RIGGAN + I bet it won't. + + Laura looks at him with fire in her eyes. + + LAURA + You're an asshole. + She charges to the door and is about to leave when she turns + back to Riggan... + + LAURA (CONT'D) + By the way... I'm not pregnant. So there's + one thing you don't have to worry about. + + She leaves, slamming the door behind her. + + Riggan remains still. Mike seems to be smirking at him right + through the cover of the Arts section... + + BIRDMAN (V.O.) + That pretentious, little, theater fuck is + stealing your thunder. + + Riggan charges out of the room and into... + +31 INT. HALLWAY - THEATER - CONTINUOUS 31 + + ...the hallway. He walks to Mike's dressing room, finds the + door half opened and enters... + + +32 INT. MIKE'S DRESSING ROOM - THEATER - CONTINUOUS 32 + + ...discovering Mike lying in a sun bed. His arm is sticking + out of it, holding on to a copy of Borges's 'Labyrinths'. + + Riggan yanks the sun bed open. Mike is asleep, wearing tiny + sun goggles. Riggan slams the lid down on him. + + + (CONTINUED) + 10/29/14 / 67. + + MIKE + What the fuck is going on! + + RIGGAN + Get up! + + MIKE + Back away. + + RIGGAN + Get up. +Riggan slaps Mike on the arm. + + MIKE + Ow, fuck that hurts! + + RIGGAN + So, Carver is the reason you became an + actor? + MIKE + What? + + RIGGAN + This is my play! I did the work. I raised the + money. I arrange the press. + + MIKE + They called me for an interview. I said-- I + don't know, I said the first thing that + came to mind. Jesus, we got the cover of + the Arts section! + + RIGGAN + You said the first-- Fuck the Arts section. + The first thing that came to mind? Right. + Cause that's you. Mr. Natural. Mr. Fuck the + scene, just stare at my massive hard-on. + Because that's the truth of the moment. + MIKE + You think it looked massive? + + RIGGAN + Shut up. Shut the fuck up. You don't get + hard on my stage unless I tell you to. + + MIKE + Your stage? This stage belonged to a lot of + great actor's, pal. But you are not one of + them. + +Mike storms out of the room. Riggan follows him into... + 10/29/14 / 68. + +33 INT. HALLWAY - THEATER - CONTINUOUS 33 + + ...the hallway. He slaps Mike on his sun burned back. + + RIGGAN + So, you wrote your own lines? + + He slaps him again. + + MIKE + Ow. Fuck. Yes I did. + + RIGGAN + You changed a few words, and mumbled a + little, you self absorbed prick. + + MIKE + Look who's talking... + + RIGGAN + Let me tell you something, you spiteful + nobody piece of shit. + MIKE + Nobody? My hard-on has already fifty + thousand views on youtube. + + RIGGAN + Fifty thousand views? A cat playing with + a dildo has more than that. + + MIKE + I don't care. + + RIGGAN + Yes you do. + (Beat.) + Everybody says: "Mike is so honest". (Smacks + him.) "So truthful". (Smacks him again.) + + MIKE + (Like a child.) + Ouch. Fuuuuuck. Cut the shit! + Riggan corners Mike against the wall. + + RIGGAN + You said in the interview that your father + was a drunk, like Carver. Is that true + Mike? Is it really true? + + Riggan stares intensely into Mike's eyes. Mike looks away. + + + + (CONTINUED) + 10/29/14 / 69. + + RIGGAN (CONT'D) + Because my father was. My father was a mean + fucking drunk. Beat the shit out of us. But + we were okay with the beatings. You know + why? Because at least when he was beating + us, he wasn't thinking about taking us out + to his tool shed... + +Mike's expression changes. + + RIGGAN (CONT'D) + That sonofabitch would smile and say, "Do + you want to kneel down and unbuckle my + belt? Or do you want me to take it off and + use it?" I learned how to make myself numb. + But my sister-- (Holding back tears.) My + little sister... + +Riggan can't go on. Mike is horrified. + + MIKE + Jesus, Riggan. I'm really sorry. I + didn't-- That's fucking horrible... + + RIGGAN + (Crazy smile.) + Yeah. It's also not true. See? (Cracking + up.) I can pretend too, you little dick! + +Riggan shoves Mike violently. + + RIGGAN (CONT'D) + Don't fuck with me, Mike. + + MIKE + You're crazy... + + RIGGAN + You have no idea what I'm capable of. You + understand me? +Riggan pulls the paper out of his back pocket. + + RIGGAN (CONT'D) + Working with Riggan Thomson is like + waltzing with a monkey? + +He smacks Mike in the head with the paper and begins to jump in +front of him, ready to fight. + + RIGGAN (CONT'D) + Let's go. Put your hands up. + + + + (CONTINUED) + 10/29/14 / 70. + + MIKE + (Tauntingly.) + Don't you want to go put on your tights and + your-- + + Riggan punches him on the face. Mike needs a few seconds to + understand what has just happened. Then they begin to wrestle + in the hallway. Mike breaks free from the headlock. + + MIKE (CONT'D) + What are you gonna do? You gonna get rid of + me? Huh? What do you think my friend + Tabitha is going to write in the Times + after you get rid of me? + + Riggan stares at Mike, paralyzed by the truth. Finally, he + turns and marches to his dressing room, and we follow him... + +34 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 34 + + ...Riggan slams the door shut and paces in a rage. He glares at + a make-up box on the table and, points his finger at it, and + sends it flying across the room. + + BIRDMAN (V.O.) + You are lame, Riggan. Rolling around + with that third rate actor in an 800 + seat shithole like this. + + RIGGAN + (Whispering.) + Breathing in, I feel my rage. Breathing + out, I embrace my mental formations. + + BIRDMAN (V.O.) + You're going to let that poncey theater + fuck threaten you? + + Riggan continues breathing deeply with his eyes tightly closed. + He smiles a tiny artificial smile. + + RIGGAN + (Whispering.) + Breathing in, I am calm. Breathing out, + I ignore my mental formations. This is a + mental formation. This is a mental form-- + + BIRDMAN (V.O.) + Stop that shit. I am not a mental + formation. I am "you", asshole. + + Riggan looks down at the poster on the floor. + + + (CONTINUED) + 10/29/14 / 71. + + RIGGAN + (Whispering.) + Leave me alone. + + BIRDMAN (V.O.) + You were a movie star, remember? + Pretentious, but happy... + +Riggan opens his eyes, slowly. A sad expression on his face. + + RIGGAN + I was not happy. + + BIRDMAN + ...Ignorant but charming. Now you are a + tiny bitter cocksucker. + + RIGGAN + Shut up! Stop whining! I was miserable! + + BIRDMAN (V.O.) + Yeah. But fake miserable. Hollywood + miserable. + +Riggan points his fingers at a lamp and sends it flying. + + BIRDMAN (V.O.) + What are you trying to prove? Huh? That + you're an artist? You're not. + + RIGGAN + Fuck you! + +Riggan points his fingers at a chair and sends it flying. + + BIRDMAN (V.O.) + Fuck you, coward! And fuck those critics + that made you quit. Our franchise + grossed billions worldwi-- + + RIGGAN + And billions of flies eat shit everyday! + So what? Does that make it good? (Beat.) + And I don't know if you've noticed, but + that was 1992! Look at me! (He takes off + his shirt.) This is what's left! + (Grabbing his neck.) This! (Grabbing his + chest.) This! (Totally exploding.) I'm + fucking disappearing! I'm the answer to a + fucking trivial pursuit question. + +Riggan sits down, exhausted. + + + + (CONTINUED) + 10/29/14 / 72. + + RIGGAN (CONT'D) + What part of that don't you get? You're + fucking dead. + + BIRDMAN (V.O.) + We are not dead. We're-- + + RIGGAN + Stop saying 'we'! There is no 'we'. I am + not you. I'm Riggan fucking Thomson. + BIRDMAN (V.O.) + No. You're Birdman. Because without me, all + that's left is "you". A sad, selfish, + mediocre actor, grasping-- + + Riggan points his finger and sends the poster flying, spearing + it on a coat rack, piercing Birdman right through the heart. + Finally, silence. Until... + + BIRDMAN (V.O.) + What the hell did you do that for? I liked + that poster. + + A confused Riggan looks over to the wall, where the lamp on the + floor is creating a shadow of his figure. Only in the shadow, it + appears as if Riggan is wearing the Birdman costume. Stunned, + Riggan slowly lifts one arm and in the shadow we see a wing. + + BIRDMAN (V.O.) + It's always 'we' brother. + + The television turns on by itself, playing an episode of the + original Birdman cartoon. Riggan points his fingers at the tv + and sends it hurling at the shadow. Then he proceeds to + destroy everything in his room with his telekinetic powers. + + We slowly pan to see that, behind Riggan, Jake stands on the + other side of the half-opened door. We push in on Jake, + watching in shock. The camera turns and becomes Jake's POV... + +35 INT. HALLWAY - THEATER - CONTINUOUS 35 + + ...and now, from his view, we see Riggan yelling at the shadow. + + RIGGAN + Fuck you! Fuck you! + + He picks up a chair and throws it down. He then picks up the + newspaper from the floor and tossing it all around. And now we + understand that he is not using telepathy. He has been using + only his hands. Completely mad. As Riggan turns to pick up + something else, he spots Jake on the other side of the door. He + immediately calms himself and walks over. + (CONTINUED) + 10/29/14 / 73. + + RIGGAN (CONT'D) + What's up? + + JAKE + Um... Well. Two hours to curtain. Why don't + you rest a little bit? + + RIGGAN + Yeah. Sure. + + JAKE + Last preview, buddy. We're almost there. + + RIGGAN + Okay. + + JAKE + How ya doin? + + RIGGAN + Good. Great. + JAKE + Good. That's good. + (A beat.) + The, uh, money came through. I just have to + transfer it to the account. + + RIGGAN + Oh, that's terrific... + + JAKE + Okay. Well, I'm gonna do that. + (He stares at Riggan who + seems about to collapse.) + You know I'm proud of you, right? This took + balls. And you did it. + +Riggan nods. An exhausted sadness in his eyes. + + RIGGAN + I can't do this anymore, Jake. + + JAKE + What? + + RIGGAN + I think I'm gonna cancel the + preview. I'm exhausted. + + JAKE + It's a joke, right? (He forces a + laugh.) Good one, Riggan. + + + (CONTINUED) + 10/29/14 / 74. + + RIGGAN + I'm starting to believe that this is not + for me. The applause is... lukewarm. I + think they're laughing at me. + + JAKE + What are you--? Listen. There's a three + block line of people waiting to see you. + We are sold out. It's a full house. + + RIGGAN + Really? + + JAKE + Yes. And the French embassador is + coming. And the prince of Saudi Arabia, + with one of his wives. And... I wasn't + going to tell you this, but-- Martin + Scorsese. He's casting for his new + film. But don't tell anyone, okay? This + is between you and me. + RIGGAN + Okay. I'll be ready. + +Riggan smiles. He has forgotten about his existential doubts. +A worried Jake closes the door. He walks a few steps and +finds Laura and Lesley. They've been listening to his +conversation with Riggan. + + LESLEY + How is he? + + JAKE + He'll be okay. + + LESLEY + Poor creature. + + LAURA + Is it true? Scorsese? + JAKE + Yes. And the new Pope too. + (Beat.) + +They both understand. + + LAURA + You're an asshole, Jake. + + JAKE + I'm the one keeping this boat afloat. + + + (CONTINUED) + 10/29/14 / 75. + + LESLEY + So there is no line of people out there? + + JAKE + I don't know. Now go and get ready. + That's your job. + (He begins to walk.) + I'll better invest in a taco truck, or + a strip joint near the airport. + +Laura leaves. We follow Lesley up to Riggan's dressing room. +She knocks on the door. Nothing. Silence. She half-opens the +door and, from behind her, we see Riggan examining his right +hand. He has blood falling from the palm to the wrist. + + LESLEY + Are you okay? + + RIGGAN + (Smiles.) + Yeah, I-- This is nothing. Shaving. +He cleans his hand against his trousers. + + LESLEY + I just want to say I'm sorry. + + RIGGAN + For what? + + LESLEY + I knew what Mike was capable of, + and I brought him in, anyway. + + RIGGAN + You did good. + +Lesley nods. A beat. + + LESLEY + Tomorrow's my first opening night + on Broadway. + + RIGGAN + Mine too. + + LESLEY + And I want you to know that, + whatever happens, I'll always be + grateful to you for that. + + RIGGAN + Me too. It's going to be great. Full + house. + + (CONTINUED) + 10/29/14 / 76. + + She looks at him with tender eyes. Then we follow her along + the corridor until she passes by Mike's dressing room. Mike + half-opens the door and sees Lesley walking by. He has a + black eye. He waits for Lesley to be completely gone, and + then he comes out of his dressing room and we follow him up + the stairs to... + +38 EXT. ROOFTOP - THEATER - DUSK 38 + ...the rooftop. He finds Sam standing on the cornice, looking + at the street. + + MIKE + For fuck's sake, just jump already. + + Sam stares out, a smile creeping over her face. + SAM + How did you know I'd be up here? + + MIKE + I didn't. I was just hoping. + + Silence. Mike walks up next to her and stares out as well. + + SAM + Where's Lesley? + + MIKE + Moving on. + + SAM + Smart girl... + + MIKE + I appreciate that. + A beat. + + SAM + Ready for the last preview? + (Noticing his black eye.) + Who did that to you? + + Mike smiles. No answer. + + SAM (CONT'D) + Could have been anybody, I guess. + (After a beat.) + I'm sort of hoping it was Lesley. + He barely says no, smiling, and lights a cigarette. She + understands. + + (CONTINUED) + 10/29/14 / 77. + + SAM (CONT'D) + Oh, don't tell me... + +Silence. + + MIKE + What's the worst thing he ever did to + you? + +Sam is surprised by the question. She thinks for a moment. + SAM + He was never around, so... + + MIKE + That was--? + + SAM + No. That was-- Who gives a shit. It + was the way he tried to make up for + it by constantly trying to convince + me I was special. (A beat.) What + about you? + + MIKE + My dad? + + SAM + Yeah. + + MIKE + He pretended I was his son. + +She stares him down. Silence. + + SAM + So, what happens now? + + MIKE + I have no idea... + SAM + Yeah... + +A beat. + + MIKE + He was right, though. + + SAM + About what? + + MIKE + About your being special. You're hanging + around here trying to make yourself + (MORE) + (CONTINUED) + 10/29/14 / 78. + MIKE (CONT'D) + invisible behind that fragile little fuck + up routine. But you can't. You're + anything but invisible. You're big. And + you're sort of this really great mess, a + candle burning at both ends, and no + amount of booze or pills is gonna hide + that. + + Sam tosses Mike's cigarette over the balcony, and kisses him. + He leans into the kiss. + MAN'S VOICE + (From below.) + Jesus Fuck! + + She suddenly pulls away. + + SAM + It's a good thing you're an actor and not a + writer cause that little speech was just + like, Oprah... Hallmark... R. Kelly bad. + She kisses him lightly one more time and then walks away. When + she gets to the door she stops and leans on the frame. + + SAM (CONT'D) + Truth or dare? + + MIKE + Truth. + + SAM + No. + + MIKE + Truth. + + SAM + No. Truth or dare? + + The slightest smile as she exits through the door, and after a + short pause, Mike follows... + +39 INT. HALLWAYS - THEATRE - CONTINUOUS 39 + + ...along a darkened hallway. They reach a tiny wooden door and + Sam leads the way through it. + + MIKE + Do you have any idea where you're going? + + SAM + Absolutely not. + + (CONTINUED) + 10/29/14 / 79. + + She continues on until she gets to... + + +40 INT. ABOVE STAGE - THEATER - CONTINUOUS 40 + + ...the "grid" above stage where the lights are located. We can + see, below us, the empty seats of the auditorium and the + kitchen set. + + MIKE + What now...? + + Mike reaches up to kiss her. She stops him. + + SAM + How do you do it? + MIKE + What? + + SAM + How do you go out there and pretend to be + someone else in front of all those people? + + MIKE + I don't pretend. Not out there. Just about + every place else, but never out there. + + SAM + Good to know. + + They stare at one another... + + MIKE + What are we doing here? + + SAM + What do you mean? + + MIKE + I mean, what are we doing here? + + She moves in. + + SAM + Adrenaline... + They kiss. The camera begins to drift down toward the stage... + + RIGGAN (O.S.) + Fucking teenager. + + As the camera continues down from the grid, we discover an + auditorium full of people staring at the actors on stage. + + (CONTINUED) + 10/29/14 / 80. + + RIGGAN (O.S) (CONT'D) + By the time I got to the hospital, the + kid was dead. He was off in a corner + laid out on a gurney. We took the old + couple up to the O.R.. They were a + mess. We worked like hell on them for + most of the night... + +We pan along the auditorium back to the stage to find Riggan, +Mike, Lesley and Laura in the kitchen. + RIGGAN (CONT'D) + When we were done, we wrapped them in + full body casts. The husband was + depressed. Even when I told him his + wife was gonna pull through, he was + still depressed. So, I got up to his + mouth hole and asked him, and he told + me it was because he couldn't see her + through the eye holes. Can you imagine? + I'm telling you, the man's heart was + breaking because he couldn't turn his + goddamn head and see his goddamn wife. + + LESLEY + (In genuine tears.) + That's terrible. (Beat.) Perfect. + And terrible. + +She is crushed. Laura holds Lesley, trying to control her own +emotion. + + RIGGAN + (Taking this in.) + Yeah. So I guess what we have to + ask ourselves is... What do we talk + about when we talk about love? + +The lights go to a blackout and the audience applauds as some +scene change music plays. As we follow Riggan off stage, the +lights are turned on again, but now they have an orange mood. +Lesley is the only one on stage, doing a monologue. + + LESLEY + Mel and I have been together five + years, been married for four. But + it was Ed who taught me something + no one else could... He taught me + what it felt like to really feel + loved. And the terrible thing is + that if something happened to Mel + or myself, if something happened to + either one of us tomorrow, I think + the other one would grieve for a + while, you know, but then would go + (MORE) + (CONTINUED) + 10/29/14 / 81. + LESLEY (CONT'D) + out and love again, have someone + else soon enough. All this-- All of + this love we're talking about... it + would just be a memory. Maybe not + even a memory. Am I wrong? I mean, + I don't know anything. And I'm the + first one to admit it. + +A Dresser waits in the wings to help Riggan with his change. + + DRESSER + That was amazing! + +Riggan looks proud. Things are finally going well. He undresses +to his underwear and puts on a robe and his moccasins, as the +stage begins to revolve. Laura, in costume, walks up beside +him. Over the following dialogue, the kitchen gives way to the +extravagant garden set we saw before. + + LAURA + (A bit distant.) + It's actually going well. + + RIGGAN + Yeah. (A beat.) Hey. I think we have to + talk. + + LAURA + (Sad smile.) + No. We don't. + +Riggan nods. + + RIGGAN + Right. (Beat.) We will eventually, + though, `cause that's the only way I get + to say I'm sorry. I really am. + +Silence. + + LAURA + We could've made good parents. + + RIGGAN + Horrible. We would've been just-- + + LAURA + Awful. Would have raised, like... + + RIGGAN + ...a serial killer... + + LAURA + ...or Justin Bieber. + (She smiles at him.) + (MORE) + (CONTINUED) + 10/29/14 / 82. + LAURA (CONT'D) + I'm not really the housewife type anyway. I + thought I could be a mom. My body seems to + disagree. + + The lights come up and Laura walks onto the stage. + + LAURA (CONT'D) + (Back to him.) + You were right. This was fun. + Riggan watches her go, but something else grabs his attention. + We pan across the stage to see Sam and Mike on the other side. + They talk and laugh. Sam kisses Mike softly. Mike playfully + grabs her ass. + + We pan back to Riggan. His expression morphs from broken- + hearted to rage. He marches over to a stage hand. + RIGGAN + You have a cigarette? + + The stage hand holds out a pack, Riggan takes one. + + STAGE HAND + You need a light? + + Riggan snatches the lighter and storms out through the hallway, + and out the back door of the theater to... + +41 EXT. AN ALLEY WAY - OUTSIDE THE THEATER - CONTINUOUS 41 + + ...the alley. Down at the end, we can see the tourists making + their way about the streets. Riggan lights the cigarette and + leans back against the stage door trying to calm himself. + + RIGGAN + Breathing in, I calm myself. Breathing out, + I ease myself. + + But this is New York City. A fluorescent light buzzes above his + head. Taxis honk their horns. The sound of pedestrians yelling + at one another. All fueling his agitation. + Riggan checks his watch. He pulls one last drag from the + cigarette before he tosses it, and turns to head back in, only + to realize the door has locked. He tries to pull it open to no + avail. He begins to knock loudly on the door. There is no + response. He knocks louder. Nothing. + + He is turning to walk away when he realizes that his robe is + caught in the door. He checks his watch again and now is + beginning to panic. He tries to tear at the robe but the terry + cloth is too strong for him to rip. Frantically, he looks around + for an answer. No answer. No time. He pulls the robe off of him + (CONTINUED) + 10/29/14 / 83. + + and, wearing only his underwear and moccasins, he charges down + the alley way toward... + +42 EXT. STREET - CONTINUOUS 42 + + ...the street. Now, rushing down the block in his underwear. A + tourist spots him. + + TOURIST + Hey, aren't you...? + + RIGGAN + I'm sorry. I can't really-- + + TOURIST + Riggan Thompson! Holy Shit! Let me get an + autograph. + + Riggan marches on as a few more people begin to notice. The + Tourist runs in front of him, forcing him to stop. + + TOURIST (CONT'D) + Come on, man. Don't be a dick. Let me have + an autograph. + + The man produces a pen and a magazine from his pocket. More + people begin to gather... + + MAN ON STREET + Birdman! + + Seeing no other way out, Riggan signs the autograph. + + TOURIST + Dude! You fuckin' rock! + + Directly in front of him stand a lady and her two kids. + + LADY + Can we take one picture? + + RIGGAN + Are you kidding me? + + KID #1 + Why is he naked? + LADY + One picture... + + KID #2 + I can see his weenie. + + + (CONTINUED) + 10/29/14 / 84. + + Riggan tries to get past them, but a crowd has formed. A swarm + of cell phones begin to glow like fireflies. + + LADY + (To her kids.) + Get next to him! + + RIGGAN + Give me a fucking break, lady. + + The kids run up next to him. Even more people crowding around. + Riggan puts up his middle finger, just as the Lady takes the + shot. He shoves the kids aside and moves on. + + WOMAN ON STREET + He looks so old in person. + + MAN ON STREET + (From across the street.) + You suck! + RIGGAN + Fuck you! + + Riggan pushes through the crowd to get to the lobby. The people + begin to chant. Dozens of cell phones recording him. + + CROWD + Bird-man! Bird-man! Bird-man! + + Riggan pushes his way through to the lobby doors... + +43 INT. LOBBY - THEATER - CONTINUOUS 43 + + ...to be stopped by the vision of Ralph in a wheelchair. His + head wrapped in a bandage. A man in a suit next to him. + + RIGGAN + Jesus Christ! What're you doing here? + + RALPH + Waiting for Jake. This is Mr. Roth, my + attorney. + + Riggan continues walking toward the auditorium. Ralph and Mr. + Roth follow him. + + MR. ROTH + We're pursuing financial remuneration for the + injuries Mr. Pinkus suffered while rehearsing + your-- + + RIGGAN + I have a play to do. + (CONTINUED) + 10/29/14 / 85. + + RALPH + I'm going to ruin you! + + Riggan storms toward the auditorium, but is stopped by an old + Usher. + + OLD USHER + I'm sorry sir, you're going to have-- + + Riggan shoves the old lady aside and enters... + +44 INT. AUDITORIUM - THEATER - CONTINUOUS 44 + + ...the theater. Riggan stands in the back among the audience. + He sees the "rain" falling on the stage. The "Motel" sign is + lit. Mike and Lesley are in bed, for the motel scene, waiting + for the knock on the door. With nothing else to do, Riggan + yells his line from the back of the auditorium... + + RIGGAN + Knock knock knock! Terri! Terri! + + The audience turns to see Riggan standing in his underwear. + They begin to murmur and laugh and point at him. + Riggan marches down the aisle. He looks haggard and covered + with perspiration. + + Lesley and Mike, confused, come out of bed. + + LESLEY + Ed! What are you doing here? + + RIGGAN + Why? I need you to tell me why. I lived for + you-- I worshipped you... + + MIKE + Listen Ed, I know this is hard but-- + + RIGGAN + Fuck you. Shut up. Fuck you. + + Giggles from the audience. Riggan turns threateningly and points + to an audience member on the aisle who is giggling at him. + + RIGGAN (CONT'D) + Shut up! + + The guy stops smiling. The audience goes silent. Riggan arrives + at the apron of the stage. Annie from the wings slides the gun + towards him. Riggan grabs it and points it at Mike. + + + (CONTINUED) + 10/29/14 / 86. + + LESLEY + Eddie! Please! + + Riggan climbs onto the stage. Exhausted. He goes to Mike and, + with a last effort, pushes him lamely. + + RIGGAN + What's wrong with me? Why do I end + up having to beg people to love me? + + LESLEY + Ed. Eddie. Please... Give me the gun. + + We pan to the wings where Jake is staring in disbelief. His + cellphone begins to vibrate, and he answers. + + JAKE + Yeah. (A beat.) What?... No no no no no no + no. Wait there. I'm coming out in-- + + He walks toward the hallway and we follow him... + +45 INT. HALLWAY - THEATER - CONTINUOUS 45 + + ...through the corridor. + + JAKE + No. Wait. Wait for me. I'll be there in a + second. (Beat.) What is that, a threat? + (Beat.) What wheelchair? (Beat.) Wait. + Don't hang up. Mr. Roth, we can discuss-- + Hello?... Hello?... + + He goes out one of the exits and we are left with the silence of + the empty hallway. After a few seconds, the sound of the gunshot + from the scene echoes through the theater. The audience + applauds. The camera starts to move forward. A few seconds later + Riggan takes over the POV with his bloody long wig and the fake + gun. We follow up to... + +46 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 46 + + ...his dressing room. He puts on a robe. He walks to his + refrigerator without acknowledging Sam who is sitting on the + couch, scribbling her dashes on the toilet paper once again. + Riggan takes out a plastic container of bologna and a jar of + mustard. He sits in front of his dressing table, peels open the + bologna and opens the jar of mustard. Slice by slice, he dips + the bologna in the mustard and shoves it into his mouth. + + SAM + Dad...? + + (CONTINUED) + 10/29/14 / 87. + + RIGGAN + (Looking up.) + Hey. How ya doin'? + + SAM + Are you okay? + + RIGGAN + Why? + + SAM + I don't know. You seem-- + + RIGGAN + (Eating.) + I'm good. This is good. + (Holding out a piece.) + You want some? + + SAM + I'm good. + RIGGAN + Great. Great. + +He continues to eat. She tries to fill the odd silence. + + SAM + So. Opening night, tomorrow. + + RIGGAN + Yeah. + + SAM + That's exciting, huh? + + RIGGAN + Yeah. Well... I don't know. The previews + have been a train wreck. We haven't been + able to get through a performance + without a raging fire... or a raging + hard-on. I'm not really sleeping, you + know, at all. And I'm pretty much broke. + Oh, and also, this play feels like a + miniature, deformed version of myself + that keeps following me around, hitting + me in the balls with a tiny hammer. + (Beat.) + Sorry, what was your question? + + SAM + (Looking through phone.) + Never mind... Tonight wasn't bad. It was + weird. But that's sort of cool. People + seemed to like it. + (CONTINUED) + 10/29/14 / 88. + +Silence. Riggan notices the toilet paper. + + RIGGAN + What are you doing? Some homework? + + SAM + No. I don't-- When I was in rehab, they + made us do this. + + RIGGAN + Really... + SAM + Yeah. These dashes, represent the six + billion years the planet has existed. + Each dash represents 100 years. + +She unravels the roll and we see that there are thousands of +black marks running along the toilet paper. She takes the last +two panels and tears them off. + SAM (CONT'D) + And this... (Hands them to him.) ...is + supposed to represent the entire time us + humans have been here. One hundred and + fifty thousand years. That's it. + (Beat.) + I guess they were trying to remind us + that that's what all our egos and self- + obsession are worth. + +Riggan stares at the paper, and then at Sam. + + RIGGAN + (Casually.) + I was a shitty father, wasn't I? + + SAM + No. You were a-- (She stops herself.) + You were fine. +He stops chewing and stares out. + + RIGGAN + Fine... You're right. I am just + "fine". Adorably mediocre. + +He smiles to her sadly, and then he wipes the mustard from his +face with the piece of toilet paper. + + SAM + Dad! + + RIGGAN + What? + (CONTINUED) + 10/29/14 / 89. + +Sam looks at the ruined toilet paper in his hands. + + RIGGAN (CONT'D) + Oh... Shit. I'm sorry. + + SAM + (Smiling.) + It's okay. You just destroyed the entire + human race in one blow. + +Riggan looks at her with the saddest of expressions. + SAM (CONT'D) + Dad. (She hesitates.) Do you know + you're becoming a trending topic? + + RIGGAN + Really? What does that mean? + +Sam searches for something on her iPhone and then hands it to +Riggan. Riggan looks at the phone and sees a hand-held video of +himself in the streets in his underwear. + + SAM + 350,000 views in less than an hour. + Believe it or not, this is power. + +Riggan looks at more footage, seemingly confused. After a +moment, the phone vibrates and the video is interrupted by a +text message, which reads "Truth or Dare?" + + RIGGAN + It's for you. + +She grabs the phone and looks at the screen. Then at her +father. Riggan is staring at her. She looks down. + + RIGGAN (CONT'D) + Go ahead... + + SAM + (Hesitant.) + Are you...? + + RIGGAN + Go. + +A sympathetic smile. An understanding. Sam exits. + +Riggan stares into the mirror absently. His eyes locked on +his reflection trying to find himself in the image. Then he +spots a vase with dying roses, the same roses he flung to the +ground previously. + + + (CONTINUED) + 10/29/14 / 90. + + He gets up and goes into the bathroom. He pulls off the long + wig and the mustache. He washes his face. Then he opens a + small bottle and uses the liquid to scrub his goatee. The + dark dye begins to run out, leaving only white hair. For the + first time we see that Riggan has a white beard. + + He puts on new clothes and comes out of the bathroom. He grabs + a beige raincoat and heads out of the dressing room and + into... + +47 INT. HALLWAY - THEATER - CONTINUOUS 47 + + ...the hallway. As he passes by Mike's door he can hear Sam and + Mike. They're trying to be as quiet as possible, but we can hear + them flirting and laughing. + + He pauses for a moment but continues on. After a few seconds, + his phone vibrates. He looks at it. A text from Jake reads: + "Have you seen this??? Awesome!!!" He clicks the attachment and + sees the, now infamous, video of his underwear escapade in the + street. We zoom in until the image fills the screen, when we + finally pull away, we discover that... + +48 INT. RUM HOUSE - LATER 48 + ...Riggan's video is being played now in a television in the + bar. We see the MTV logo on the bottom of the screen and a video + caption that reads: "Birdman goes viral, 930.000 views and + counting". The camera pans to find Riggan sitting at the bar, + drunk. He is one of the few customers. He polishes off his + drink. + RIGGAN + Let me have another one. + + BARTENDER + You got it. + + The bartender pours another whiskey for Riggan. A waiter steps + up to the bar. The bartender points to a martini. + + BARTENDER (CONT'D) + (To the waiter.) + That's going over to Ms. Dickinson. + + Riggan's head tilts at the mention of the name. He looks over to + see Tabitha sitting at a table, scratching in her notebook. + + RIGGAN + (Hands the waiter a bill.) + I got it. She's a friend of mine. + + + (CONTINUED) + 10/29/14 / 91. + +The waiter pockets the money and gives Riggan the drink. He +walks it over to Tabitha and places it down in front of her. Not +looking up, she pulls the drink closer and takes a sip. + +Riggan sits down across from her. She looks up and immediately +recognizes him. He takes out the Carver cocktail napkin and +pushes it in front of her. She looks at him, and then down to +the napkin. She reads it in silence. + + RIGGAN (CONT'D) + (Re: The napkin.) + That was twenty years before I put on that + damned costume. + +A pause. Then she pushes the napkin back toward him. + + TABITHA + I don't care. + + RIGGAN + I'm just saying, when you come tomorrow + night, I want you-- + + TABITHA + It doesn't matter. + + RIGGAN + What are you-- + + TABITHA + I'm going to destroy your play. + + RIGGAN + You haven't even seen it. I don't-- Did I + do something to offend you? + + TABITHA + As a matter of fact you did. You took up + space in a theater which otherwise might + have been used on something worthwhile. + RIGGAN + But you don't even know if it's-- + + TABITHA + That's true. I haven't read a word of it, + or even seen a preview, but after the + opening tomorrow I'm going to turn in the + worst review anybody has ever read. And I'm + going to close your play. Would you like to + know why? Because I hate you. And everyone + you represent. Entitled. Spoiled. Selfish. + Children. Blissfully untrained, unversed + and unprepared to even attempt real art. + Handing each other awards for cartoons and + (MORE) + (CONTINUED) + 10/29/14 / 92. + TABITHA (CONT'D) + pornography. Measuring your worth in + weekends. Well, this is the theater, and + you don't get to come in here and pretend + you can write, direct and act in your own + propaganda piece without going through me + first. So, break a leg. + +Tabitha goes back to her writing. Riggan sits for a moment. + + RIGGAN + What has to happen in someone's life, + for them to end up becoming a critic? + +She looks up at him. + + RIGGAN (CONT'D) + Whatcha writin'? You reviewin' a play? Was + it good? Bad? Did you even see it? Lemme + read. + +He snatches the notebook from her. + TABITHA + I will call the police. + + RIGGAN + No you won't. Let's read your review! + (He scans the notebook.) + "Callow". A label. "Lackluster". Label. + "Marginalia". Sounds like you need + penicillin to clear that up. None the + less... label. + (Looks to Tabitha.) + All labels. You're a lazy fucker + aren't you? + (Looks one last time at + the notebook.) + Epistemological vertigo? + +Tabitha wants to reach for the notebook, but her pride won't +let her. Riggan takes a flower from a vase at the center of the +table. + + RIGGAN (CONT'D) + You know what this is? You don't, do + you? You can't even see it if you don't + label it. You mistake those sounds in + your head for true knowledge. + + TABITHA + Are you finished? + + RIGGAN + (Wrinkling one of the pages.) + Nothin' about intention, structure, + (MORE) + (CONTINUED) + 10/29/14 / 93. + RIGGAN (CONT'D) + technique. Just crappy opinions backed + up by crappy comparisons. You're + incapable of writing more than a couple + of paragraphs, and you risk nothing of + yourself. + (He tears out the page and tosses + the notebook.) + Well, I'm an actor and this play has + cost me everything. So you can take + your cowardly, malicious, shittily + written reviews and shove them up + your... (Showing her the wrinkled + page.) ...wrinkly, tight ass. + +Riggan wears a proud smile. And suddenly, Tabitha begins to +smile with him. + + TABITHA + You think you're an actor? + (Calls to the waiter.) + Eddie! +Eddie the waiter approaches the table. + + WAITER + Yeah, Mrs. Dickinson? + + TABITHA + Give us some Shakespeare. + + WAITER + No problem. Got anything in mind? + +Tabitha looks over at Riggan picking the perfect verse. + + TABITHA + The Scottish Play. Act five... + + WAITER + Tomorrow, and tomorrow, and tomorrow, + Creeps in this petty pace from day to + day, To the last syllable of recorded + time; And all our yesterdays have lighted + fools. The way to dusty death... + +He is brilliant. The monologue is perfectly played and powerful. +Riggan being mercilessly reminded of his mediocrity... by Eddie +the waiter. + + WAITER (CONT'D) + ...Out, out, brief candle! Life's but a + walking shadow, a poor player, That + struts and frets his hour upon the + stage, And then is heard no more. It is + (MORE) + (CONTINUED) + 10/29/14 / 94. + WAITER (CONT'D) + a tale told by an idiot, full of sound + and fury... Signifying nothing. + + A few drunks clap at the beautiful performance. Then, a powerful + silence rings out for a moment, until... + + TABITHA + Thank you, Eddie. + + WAITER + You got it. + TABITHA + (To Riggan. A derisive laugh.) + You're no actor. You're a celebrity. + Let's be clear on that. + + Tabitha rises from her seat and grabs her things. + + TABITHA (CONT'D) + I'm going to kill your play. + She walks away. Riggan sits numb. After a moment, he reaches + over and gulps down Tabitha's entire martini, gin pouring out + the sides of his mouth. Unaware, he slams the empty martini + glass on top of the Carver napkin and gets up. We follow him + out onto... + +49 EXT. STREET - CONTINUOUS 49 + + ...the street, where he walks through the theater district. + Tired. Drunk. Empty. Neon lights all around him. A crazy, old + homeless man passes by in the opposite direction shouting + furiously. Riggan keeps walking until he arrives at a bench, + with a tree behind. Everything is quiet. Riggan sits on the + bench, lost. We begin to tilt up, slowly, toward a tall tree. + We move closer into the branches and the green leaves. + Silence. + +A49 A49 + Night turns into day. The sounds of the city disappear and + birds begin to sing. The branches now caressed by golden shafts + of morning sun. Finally, we tilt down slowly and find... + + +50 EXT. STREET - DAY. 50 + + ...Riggan still sleeping on the bench. He looks like a bum. His + raincoat is dirty and wet. + + + + (CONTINUED) + 10/29/14 / 95. + + BIRDMAN (V.O.) + God. You look like shit, brother. You + get that mongoloid look when you're hung + over, don't you? + + Riggan opens an eye. He scratches his hair. + + BIRDMAN (V.O.) + Let's go. Get up. It's a beautiful day. + + Riggan sits up slowly. He is really hung over. + BIRDMAN (V.O.) + Stand up! Forget about the times. Everyone + else has. So you're not a great actor... + Who cares?!! You're much more than that. + Fuck! You tower over all these theater + douchebags. You're a movie star! A Global + force! Don't you get it? + + Riggan stands up and begins to stumble forward. We pan around + to find Birdman (a stronger Riggan wearing a cool Birdman + outfit), following behind him. + + BIRDMAN + You spent your whole life building a + reputation and a bank account, and now + they're both blown. So what? Fuck it. We + make a come back. Something huge. Take what + belongs to us. Take back the spotlight. + Magazine covers and billboards. Happy meals + with Birdman dolls. Remember that? That's + who you are. That's who we are! + + Riggan just marches on. People and cars pass by, but nobody + notices Birdman. Riggan tries to ignore him. + + BIRDMAN (CONT'D) + C'mon, buddy. Tell me we're going back + to the big leagues. Let's do this. + Shave off that pathetic goatee, and put + the mask back on! Batman my balls. + We'll start a new franchise. Birdman: + Phoenix Rising. Trust me! A billion + world wide. Swear to God. + +A50 A50 + + Riggan keeps walking. Birdman, insistent, chases, until + suddenly he begins to flutter off the ground. + + BIRDMAN + Do you hear me? You can do anything! You're + an icon! + (CONTINUED) + 10/29/14 / 96. + + Desperate, Birdman flies a bit higher around him. + + BIRDMAN (CONT'D) + You're bigger than life. You save people + from their boring, miserable lives... + + The camera pans to the street in front of them. People carry + out their everyday routines. There is a deli, a souvenir shop, + a small bank... + + BIRDMAN (O.S.) (CONT'D) + ...You make them jump, laugh, cry, + shit their pants... All you have to do + is snap your fingers and... + +B50 B50 + Riggan snaps his fingers, once, twice, and the bank suddenly + explodes. The sound is so loud that it seems to belong to + another movie. The earth shakes. People run. Dust all over. + Fire. An unsteady camera pans back to Birdman. + + BIRDMAN + (Excited.) + That's what I'm talking about! That is + cool! Explosive! Big, fast, loud! + (He turns directly to the camera + and talks about the audience.) + Look at them. They love that shit! + They starve for blood and action, + not this artsy-fartsy-philosophical + bullshit! + +C50 C50 + We hear a loud roar, and the camera pans to discover a huge + alien about to crash a cab against the asphalt. Birdman uses his + powerful blow to send the alien flying away. + + BIRDMAN + And when you shout "whooaa!"... + (Riggan shouts "Whooaa!") + ...it explodes in the eardrum of + millions. Your power is unlimited. + + Riggan slows down his pace, as he starts to listen. + + BIRDMAN (CONT'D) + You glimmered on 3000 screens, over 5 + continents, in 47 countries at the + same time. You are ubiquitous. You're + a God! You can do it again. You can + soar above all of them. + 10/29/14 / 97. + +D50 D50 + + Riggan suddenly begins to levitate. + + BIRDMAN + There you go, you mother fucker! See? + Gravity doesn't even apply to you. + + The camera flies up with Riggan as he floats above the street. + There is something magical in his ascension, gently impelled by + the breeze. A beautiful backlight makes his body glow. Birdman + flutters around him. + BIRDMAN (CONT'D) + Listen to me. We gotta go back! We have to + do this. We have to end it on our terms. + With a grand gesture. + + A strange light suddenly palpitates in Riggan's eyes. Something + makes sense in what Birdman is telling him. + + The camera becomes Riggan's POV. He looks down to see the + people on the street, watching him in awe. + BIRDMAN (O.S.) (CONT'D) + We'll go back. We'll show them how much + they're going to miss us. Flames. Icarus. + Sacrifice... + + We tilt up again to Riggan's face. He has a plan. + + BIRDMAN (O.S.) (CONT'D) + Let's go back one more time and show them + what we're capable of. You can do it. + You're Birdman. Do you hear me? You're... + + A GUY'S VOICE (O.S.) + Birdman! + +E50 E50 + + And as the camera pulls away, we discover Birdman is gone and + Riggan is standing on the ledge of a tall building. The camera + tilts down and we see that more people have gathered around, + and more cars has stopped, and they all point at Riggan, + worried about the situation. + + A guy wearing shorts, a Bob Marley t-shirt and a robe opens his + window, one floor below Riggan, and looks up at him. + + GUY + Dude, what are you doing? + + Riggan looks down at the people on the street far below. + (CONTINUED) + 10/29/14 / 98. + + GUY (CONT'D) + You okay, buddy? Do you want me to + call someone? + +We pan to a lady on her balcony filming Riggan with her phone. + + LADY + Is this for real, or you're shooting a + film? + + RIGGAN + A film. + +The lady looks around but sees nothing. + + LADY + Oh, you people are full of shit. + +She goes into her apartment. + + GUY + I'm calling 911. + +The guy goes inside his apartment. + + RIGGAN + One more time... + +Now, from the door of the rooftop, a good neighbor calmly +approaches Riggan. + + GOOD NEIGHBOR + Hi, sir. Can I help you? You should be + careful. + + RIGGAN + Sorry. Can't talk. I'm late. + (Murmuring.) + Music. + +Some underscoring music begins to sound. The neighbor is now +close to him and helps Riggan step down from the edge on to the +floor of the rooftop. + + GOOD NEIGHBOR + Are you alright? Do you want me to + call someone? Do you know where to go? + +Riggan closes his eyes for a moment as the camera moves slowly +toward him. He opens his eyes. The music begins to swell. Riggan +stands up straight and proud, and in a voice that sounds like +Birdman... + + RIGGAN + Yes. I know where to go. + (CONTINUED) + 10/29/14 / 99. + + He turns and begins to run on the rooftop. The music is rousing. + As he runs, he holds out his arms, spreading them wide. The + camera runs behind him, until suddenly... + + +F50 F50 + Riggan jumps, and the camera jumps after him. He rapidly + falls toward the street, toward the asphalt. But in his face + there is no fear. No. He spreads his arms again and... + + +G50 G50 + + He takes flight, soaring high over Manhattan. The music becomes + epic. There is something beautiful about this broken man flying + like a superhero. We fly next to him, and we can see below the + spectacular sight that is Manhattan, until... + +51 EXT. THEATER - CONTINUOUS 51 + ...he finally lands on 45th street and calmly approaches the + theater. An Usher acknowledges him with a look of surprise. + + USHER + Mr. Thomson. I think you forgot to-- + + RIGGAN + Stop the music. + + The music stops. + USHER + I beg your pardon? + + Riggan enters the theater. + + The confused Usher watches him go by, as he points to the + street. We pan to see a taxi driver coming out of his car, + running like a mad man toward us. + + We stay with the Usher and the taxi driver as they argue. They + take it inside the lobby, but we remain out front. + +A51 A51 + + Day turns to night, igniting the lights of the marquee, which + reflect off of the lobby doors. We hear wild applause coming + from inside the theater. Seconds later, the doors of the + theater open and the audience files out for intermission. + + + + (CONTINUED) + 10/29/14 / 100. + + MAN + (Tweeting on his phone.) + It's really good. + + WOMAN + I know. I can't believe it... + + We begin to move up, outside the theater. We see the marquee of + the play that reads, "What We Talk When We Talk About Love". + Above the title, in smaller print, "Riggan Thomson and Mike + Shiner". Below on a banner, "Opening Night". + We keep climbing until we arrive at Riggan's dressing room + window. We push in to find... + +52 INT. RIGGAN'S DRESSING ROOM - THEATER - EVENING 52 + ... that the room is full of roses and cards. Riggan lies on + the sofa, hugging a cushion. He is wearing the long wig and + mustache for the motel scene. + + Sylvia appears in the doorway. + + SYLVIA + Wow, that is just NASCAR hot. + + He smiles at her. + SYLVIA (CONT'D) + I just wanted to come say hello. It's going + great out there. You're so good. I mean it. + You're-- I really mean it. + + RIGGAN + Come here. Sit next to me. + + ANNIE ON SPEAKERS + This is your five minutes. + SYLVIA + Do you need to--? + + RIGGAN + I'm fine. Sit. + + She does. + + SYLVIA + Look at all these roses. + + SYLVIA (CONT'D) RIGGAN + You hate roses... I hate roses... + + She laughs. He watches her, something odd in his expression. + (CONTINUED) + 10/29/14 / 101. + + SYLVIA (CONT'D) + Are you okay? You seem-- I don't know, you + seem abnormally calm. + + RIGGAN + I am calm. I'm great. I spent most of + the day observing how beautifully this + pile of dirty clothes was lit by the + warm afternoon sun. (A tiny smile.) So + beautiful. +Sylvia, teasing him, closes her eyes and imitates Riggan's +meditation posture. + + SYLVIA + (Mocking him.) + Oh yes. God is those purplish light + dots I see between my eyes and my + eyelids. + + RIGGAN + You know? I have this voice that talks to + me and tells me the truth. It's comforting, + and scary. + +A beat. + + SYLVIA + I'm going to pretend I didn't hear you say + that. + + RIGGAN + Okay. + + SYLVIA + (Changing the subject.) + You wouldn't believe the crowd outside. + They said, some people paid up to 500 + dollars a ticket. + +He sits down. + RIGGAN + You wanna hear something funny? + + SYLVIA + Sure. + + RIGGAN + Do you remember our last anniversary party? + + SYLVIA + Seriously? You're going to ruin a nice + moment with that? + + (CONTINUED) + 10/29/14 / 102. + + RIGGAN + Do you remember the party? + + SYLVIA + The party where you fucked Janet Rossbach + in our bed? Yeah, it rings a bell. + + RIGGAN + Yeah, well. Let's skip over that part + for a minute. + SYLVIA + Gladly. + + RIGGAN + After you threw the guests out of the + house, and the furniture out of the + window. You locked yourself in the + bathroom. + + SYLVIA + I remember. Why are we-- + + RIGGAN + I drove down to Malibu. I sat on the beach + for a while. Just... staring out at the + ocean. + + SYLVIA + Riggan... + + RIGGAN + Until I walked straight into the water + and tried to drown myself. + +Silence. Sylvia stares at Riggan, surprised. + + RIGGAN (CONT'D) + I was in up to my chest when I felt the + first one. On my back, like somebody was + holding a frying pan against me. And then + my chest, and my legs. The water was full + of jellyfish. I fought my way out of the + water, and I started rolling around the + sand like a maniac... crying. + +Sylvia doesn't know how to react. + + SYLVIA + You said it was a sunburn. + + RIGGAN + (Smiling.) + And you believed me. + + (CONTINUED) + 10/29/14 / 103. + + SYLVIA + To be honest, I didn't give a shit. + + RIGGAN + I love you. And I love Sam. + + SYLVIA + I know. + +Silence. They stare at each other. + RIGGAN + I never should have video taped Sam's + birth. First of all because you and Sam + both look like shit in that video. But + mostly because I missed the moment. I + should have just been there with the two + of you. Present in my own life. So I'd + have it. But, I don't. I don't have any of + it. + SYLVIA + You have Sam. + + RIGGAN + No, I don't. + + SYLVIA + Listen, she's just-- + + RIGGAN + No, I understand. She needed a father + and she got one shamefully successful + youtube video. Pretty pathetic. + + SYLVIA + (Putting a finger on + Riggan's lips.) + Shhh... There are more pathetic things + than that. That mustache, for example. +She kisses him. + + ANNIE ON SPEAKERS + Places for act two. Places. + + SYLVIA + Riggan... + + RIGGAN + You should get back to your seat. You + don't want to miss what's next. + +Sylvia lingers for a moment, and not knowing what to say, she +exits. Riggan opens a drawer and takes out a black case. He + (CONTINUED) + 10/29/14 / 104. + + gently opens the lid. Inside a revolver. He takes some bullets + out of a box and one by one loads them into the chamber as he + does his vocal exercises into the mirror. + + RIGGAN (CONT'D) + Twenty little leopards laughed at two + lofty lions. Twenty little leopards + laughed at two lofty lions. Twenty + little leopards... laughed. + + He stares at the dressing room door, and with his telekinetic + powers he opens it. He snaps the cylinder into the gun and + exits out into... + +53 INT. HALLWAY - THEATER - CONTINUOUS 53 + + ...the hallway. He paces deliberately, gun in hand. + + A technician goes by in the opposite direction. + + TECHNICIAN + Break a leg, Mr. Thomson. + + Riggan ignores him and continues through to the... + +54 INT. BACKSTAGE - THEATER - CONTINUOUS 54 + + ...backstage area. Annie immediately hustles over to him holding + up the brain mechanism. He walks right by her. + + RIGGAN + (Brushing her off.) + I don't need it. + + Annie doesn't seem to understand. She stays there, holding the + device. Riggan takes his place outside the motel door. We pan + toward the audience. The auditorium is full. The audience in + complete silence. + + + Riggan knocks firmly on the door. Silence again. Then... + + RIGGAN (CONT'D) + Terri! Terri! + (Beat.) + I know you're in there! + He barges through the door and onto... + 10/29/14 / 105. + +55 INT. STAGE - THEATER - CONTINUOUS 55 + + ...the stage. The motel room as we saw it before. Mike and + Lesley jump out of the bed. + + LESLEY + Ed! What are you doing here? + + RIGGAN + (Almost whispering.) + Why? I need you to tell me why. I lived for + you-- I worshipped you... + MIKE + Listen Ed, I know this is hard but-- + + Riggan raises one hand to silence Mike. Mike looks at him, + confused. His eyes narrow on the gun. There is no red plug. + + Dead silence. An eerie electricity in the theater. + + RIGGAN + What's wrong with me? Why do I end + up having to beg people to love me? + + LESLEY + Ed. Eddie. Please... Give me the gun. + + She begins to cry. + + LESLEY (CONT'D) + Just look at me. I was drowning. I + was not capable of-- You deserve to + be loved. You do. + + RIGGAN + I just wanted to be what you wanted. + (Beat.) + Now I spend every fucking minute + praying to be someone else. Someone + I'm not. Anyone... + + MIKE + Put down the gun, Ed. She just doesn't love + you anymore. + + RIGGAN + (To Lesley.) + You don't, do you? + + LESLEY + (With sympathy.) + No... + + + (CONTINUED) + 10/29/14 / 106. + + RIGGAN + And you never will... + + LESLEY + I'm sorry. + +For the first time, Riggan turns to face the audience. He +smiles the most beautiful insane smile. + + RIGGAN + I don't exist. I'm not even here. I don't + exist. None of this matters. + +Then he raises a trembling arm, and with his eyes full of +tears, he aims the gun at Mike. + + RIGGAN (CONT'D) + Pum. + +But he doesn't shoot. Then he turns and aims at Tabitha +Dickinson who is sitting on the second row. + RIGGAN (CONT'D) + Pum. + +Again, no shot. Slowly, Riggan raises the gun toward his own +head, suddenly a frightening explosion. Blood sprays. Riggan +falls. We stay with the shell-shocked audience. A moment of +tension, of uncertainty, until... + + MAN + Bravo! + +The audience, one by one, jump to their feet, applauding +wildly. The sole exception is Tabitha, who remains seated, a +dazed expression on her face. We stay with the audience a few +seconds longer. + + FADE TO BLACK. + +The sounds slowly vanish. After a moment of silence... + BIRDMAN (V.O.) + You won't be hearing from him + anymore. + + MAN (V.O.) + Is he...? + + BIRDMAN (V.O) + He's gone. + 10/29/14 / 107. + +INT. WAITING ROOM - HOSPITAL - DAWN + +One of the old Birdman films is playing on a small television +screen that hangs on a corner. The scene ends and a Morning +Show host appears. Behind him a picture of Riggan and a +caption that reads: "Nation in shock." A shot of a candle +vigil in Central park. + + HOST + What do we talk about when we talk + about Riggan Thomson? When we come + back, more on the actor who two + nights ago shot himself during the + opening performance of his new + Broadway play... + +We pan away from the TV to see that the waiting room is +filled with newsmen waiting for something to happen. There is +almost no room to breath. + +We pan to see Jake emerging from an elevator, carrying a +newspaper under his arm. He walks through the dense mass of +newsmen with a serious expression on his face. We follow him +into... + + +INT. ROOM - HOSPITAL - CONTINUOUS + +...a room. Jake peers in. Riggan lies on a bed, the bandages +on his nose cover most of his face. Sylvia is looking out the +window. + + JAKE + Is he...? + + SYLVIA + He's awake. + +Jake enters the room. + + JAKE + (Serious.) + I thought I lost you, buddy. Thank + god you're a horrible shot! What + the hell happened? I was watching + you up on that stage, and all of a + sudden you get that goofy look in + your eye, and you were just like-- + +He starts to laugh. + + SYLVIA + What the hell are you laughing + about? He tried to-- What is wrong + with you? + (CONTINUED) + 10/29/14 / 108. + + JAKE + I'm happy, okay? He's alive. My + best friend is alive. And he is the + man of the hour! + +Jake holds the New York Times up in the air. + + RIGGAN + What is that? + + JAKE + You did it. + + SYLVIA + (Coming to them.) + You have to be shitting me... She + wrote a review? + +Jake unfolds the newspaper and we see the headline of the +review: "The Unexpected Virtue of Ignorance". + JAKE + (To Sylvia.) + Read it. + +He hands her the newspaper. She begins to read to herself. + + SYLVIA + I don't believe this... + + JAKE + Read it out loud! + + SAM + "Thompson has unwittingly given + birth to a new form that can only + be described as supra-realism. + Blood was spilled both literally + and metaphorically by artist and + audience alike. Red blood. The + blood that has been sorely missing + from the veins of the American + theatre..." + (Beat. To a smiling Jake.) + You're happy about this? + +She hands it to Riggan. + + JAKE + Happy? I'm fucking euphoric. This + is the-- This is the kind of review + that turns someone into a living + legend. + + + (CONTINUED) + 10/29/14 / 109. + + SYLVIA + He tried to-- He shot the nose off + his face! + + JAKE + He's got a new nose! And if he + doesn't like that one, we'll get + him another one. We can use Meg + Ryan's guy. Who gives a shit? Turn + on the tv. There are people praying + for him all over the country. + They're lighting candles in Central + Park. He did it. (To Riggan) You + did it! The play's gonna run + forever. It's gonna open in London, + in Paris... The studios will call + us again. We'll get book offers. + + SYLVIA + How do you know all that? You can + see the future? + JAKE + (Euphoric.) + Yes. + +She slaps him in the face. + + SYLVIA + Did you see that coming? You're so + full of shit, Jake. + +Jake needs a few seconds to recover. Then he looks at Riggan +who just sits there, in silence. + + JAKE + Why aren't you saying anything? + This is what you wanted wasn't it? + (Riggan gazes at the + review.) + Riggan, this is what you wanted. + RIGGAN + It's what I wanted. + + JAKE + Okay, listen. You're gonna get hit + with a "brandishing a weapon" + charge. If anybody talks to you, it + was an accident and we're doing an + internal invest-- + +A newsman comes into the room and takes a quick picture. + + + (CONTINUED) + 10/29/14 / 110. + + JAKE (CONT'D) + (Chasing him out.) + This is a hospital you motherfucker! + +Jake rushes to the door, shoving the newsman and a few other +paparazzi out the door. Security guards. Chaos. Finally +silence. Sylvia steps up and looks Riggan in the eye. + + SYLVIA + Is that what it was? An accident? +Riggan just stares at her. His calm, sad eyes peeking through +the bandages. After a moment his gaze moves over her +shoulder. Sylvia turns and we discover Sam standing in the +doorway holding a bouquet of flowers. A bit of awkward +silence, and Sylvia decides to leave them alone. + +She kisses Sam on the head and exits. Sam walks the flowers +to Riggan at the bed. She lays them on his chest. + + SAM + Alchemillas. + +The hint of a smile on Riggan's face. + + SAM (CONT'D) + Are you actually smiling? + (She smiles.) + What's so funny? + + RIGGAN + I can't smell them. + +A moment until the smiles turn to gentle laughter. She takes +out her cell phone and snaps a picture of him. + + RIGGAN (CONT'D) + What are you doing? + + SAM + I'm posting this picture on your + Twitter page. + + RIGGAN + Very funny... + + SAM + Set it up today. + + RIGGAN + You're joking. + + SAM + I'm not. + + (CONTINUED) + 10/29/14 / 111. + + RIGGAN + Let me see the picture. + + SAM + Absolutely not. You look hideous. + + RIGGAN + Thanks a lot. + + SAM + I'm just kidding. No, I'm not. You + look hideous. + (Working on phone.) + You already have 80 thousand + followers. In less than a day. And + I'm about to scare the shit out of + them. + + RIGGAN + Let me see. + SAM + No. Done. + +A moment between them. Sam picks up the flowers and kisses +him tenderly on the head. Riggan is pleasantly surprised by +that kiss. + + SAM (CONT'D) + Now, I'm going to find something to + put these flowers in. + +She heads out of the room. Riggan lies there for a moment, +tranquil. After a moment he reaches up and touches his +bandages. Finally, he climbs out of the bed. We follow him +into... + + +INT. BATHROOM - ROOM - HOSPITAL - CONTINUOUS + +...the bathroom. He stands before the mirror. He stares at +his reflection for a few seconds, and slowly begins to remove +the bandages. We can see that Riggan's nose has been +reconstructed. It is a crooked, incomplete nose, like the one +Javier Bardem has. + + RIGGAN + I do look hideous. + +In the reflection, Riggan sees Birdman sitting on the toilet. +They look at each other, but say nothing. Riggan puts the +bandages back on and we follow him out to... + 10/29/14 / 112. + +INT. ROOM - HOSPITAL - CONTINUOUS + +...the room. He looks around, but Sam is gone. He ambles over +to the window, his ass hanging out of the back of his +hospital robe. He opens the window and feels the sun and the +breeze on his swollen face. We just hear the sounds of the +people standing down in the parking lot. Media trucks. Fans. +We stay with Riggan, who seems to be thinking about +something. He sees a flock of birds dancing in the sky. Then +he grabs the side of the window with one hand and begins to +step up onto the sill. +The camera pans away from him to a table that has some photos +propped on it: One of he and Sam when she was a child. One +with Sylvia and Sam. A copy of Carver's "What we talk About +When We Talk About Love" laying on the surface. + +The camera continues to pan until it comes to the door. Sam +enters with a small vase. She looks around... + + SAM + Dad? + +She goes to the bathroom and peers in... nothing. + + SAM (CONT'D) + Dad...? + +She spots the opened window and registers the sounds from +outside. Tentatively she walks toward the window. She gets +there, summons her courage and looks down. Nothing. Slowly, +confused, she tilts her head up and looks up into the sky. A +smile, filled with pride, begin to wash over her face. + + SMASH TO BLACK * + FOXSEARCHLIGHT.COM/AWARDS +Released by Twentieth Century Fox © 2014 Twentieth Century Fox |