path: root/wk5/pset/speller/texts/birdman.txt

                                 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.

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