THE TRUMAN SHOW
A Screen Play
By
Andrew M. Niccol
Director: Peter Weir
Shooting Script
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS.
THEY HAVE BEEN REMOVED FOR THIS SOFT COPY.
A FOGGED MIRROR
Behind the fog we hear the sounds of a bathroom. After a
long moment, a hand wipes the condensation from the glass to
reveal the face of TRUMAN BURBANK. He wears a sleeveless
Hanes undershirt and blue-stripe pajama bottoms, behind him a
white glazed tiled bathroom wall. It is immediately apparent
that we are viewing him through a two-way mirror.
Truman, expressionless, studies his reflection in the mirror.
For a long moment, he does nothing. He continues to look
impassively into the mirror for what becomes an uncomfortably
long time. Still nothing. Finally he speaks, talking to
himself in the mirror as if participating in a TV interview.
TRUMAN
...personally I think the unconquered
south face is the only one worth
scaling...of course it's a 20,000 foot
sheer wall of ice but then when did that
ever stop me before?...Naturally, I
intend to make the ascent without the
benefit of oxygen but also without
crampons or even an ice pick...risks?...
(smug, TV smiles)
...sure I'm aware of the risks--why else
do you think I would spend seven years as
an adjuster in a life insurance
company...?
MERYL (O.S.)
Truman, you're gonna be late!
Truman resignedly opens the door of the cabinet and replaces
his shaving tackle. It partially obscures the lens of the
hidden camera. He closes the door and exits.
INT. KITCHEN. MORNING.
MERYL, wearing a stylish robe, sits at the kitchen table
sipping coffee. On the table in front of her lies a parcel.
TRUMAN enters and glances at the gift.
TRUMAN
What's that?
MERYL
It's a surprise.
TRUMAN unwraps the parcel - an expensive-looking set of
exercise sweats.
MERYL
(eager for his response)
Well, what do you think?
TRUMAN
They're...
(the merest hesitation)
perfect. Thank you.
Truman returns Meryl's kiss.
MERYL
(handing him the sweat top)
Try it on.
Truman pulls the top over his head. As he does so, a closer
shot focuses on the manufacturer's name.
MERYL
I thought you could wear them when
you do your exercises.
(afterthought)
Pre-shrunk. And they breathe.
EXT. TRUMAN'S HOUSE. DAY.
Wearing a business suit, briefcase in hand, TRUMAN emerges
from his pleasant, Victorian-inspired, picket-fenced house
into an idyllic suburban street of similarly picturesque
homes. A neighbor, SPENCER, is taking in trashcans,
whistling a tune. Spencer breaks off abruptly as Truman
approaches his car. His license plate reads, "Seahaven - A
A Nice Place To Live".
SPENCER
Morning, Truman.
TRUMAN
Morning, Spencer. And in case I don't
see you, good afternoon, good evening
and good night.
Spencer's dog, PLUTO, bounds happily over to Truman.
TRUMAN
(petting the dog)
Hey, Pluto.
Truman exchanges a polite nod with the WASHINGTON's, an
African-American family across the street. MR. WASHINGTON
is farewelled by his WIFE and CHILD.
Truman is about to climb into his car when he is distracted
by a high-pitched whistling sound. Suddenly, a large
spherical glass object falls from the sky and lands with a
deafening crash on the street, several yards from his car.
The startled Truman looks to Spencer but he has abruptly
disappeared inside his house with Pluto. Mrs. Washington and
Washington Junior have also made themselves scarce.
Truman investigates. Amidst a sea of shattered glass are the
remains of a light mechanism.
He looks around him but the street is deserted. He checks
that all the surrounding street lights are accounted for,
even though the fallen fixture is far larger. He looks up
into the sky but there is no plane in sight. With some
effort, Truman picks up what's left of the crumpled light and
loads it into the trunk. A label on the light fixture reads,
"SIRIUS (9 Canis Major)". As he drives away, we hear the
sound of his car radio.
RADIO ANNOUNCER
Another glorious morning in Seahaven,
folks.
INT/EXT. TRUMAN'S CAR - SEAHAVEN. DAY.
TRUMAN makes his way along the streets of Seahaven past a
series of quaint, pastel-shaded cottages.
EXT. SEAHAVEN ISLAND TOWNSHIP. DAY.
A high-angle reveals an anonymous mid-sized town built around
a small, pretty bay. A cluster of high-rise buildings stand
at the water's edge overlooking a marina. Surrounding the
commercial center lie neatly arranged suburbs.
EXT. OCEANSIDE STREET. DAY.
Pausing at a traffic light along a seaside road, TRUMAN looks
through a curious wooden arch to the beach and ocean beyond.
The sight triggers a memory in his head.
PLAYBACK - EXT. LONG, WIDE BEACH. DAY.
Unlike a conventional flashback, the scene in his memory
appears to be playing on a television screen.
FOUR-YEAR-OLD TRUMAN runs towards a bluff on the beach.
The boy's father, KIRK, late-thirties, beer bottle in hand,
flirts with TWO TEENAGE GIRLS at the shoreline. Suddenly,
the father remembers his son. He looks anxiously around.
The sight of the boy at the far end of the beach causes him
to drop his bottle in the sand and run to Truman.
The boy is near the top of the cliff before his agitated
father comes within earshot.
FATHER
(out of breath, clutching his side)
Truman! Truman! Stop!
Truman turns from his perch and waves happily down to his
father. But the smile quickly vanishes when he registers the
anger and distress on his father's face.
FATHER
Come down now!
His father's unnatural anxiety makes the next bay even more
tantalizing. The boy considers defying his father. He puts
his hand on the rock above him to stretch up and sneak a peek
at the other side. One good stretch would do it.
FATHER
(reading Truman's mind, enraged)
No!
TRUMAN
Why? What's there?
FATHER
(unconvincing)
Nothing. It's...it's dangerous.
(trace of desperation)
Come down, now! Please!
Truman is suddenly aware that the hundreds of other
BEACHGOERS have stopped their activities to stare at him.
Reluctantly, he starts to retrace his steps down the rocks.
When he finally jumps to the sand, his father embraces him
and leads him away.
FATHER
I told you to stay close. Don't ever
leave my sight again.
(pause)
You've got to know your limitations. You
could've fallen.
INT. TRUMAN'S CAR - DOWNTOWN SEAHAVEN. MORNING - PRESENT.
Through his car window, TRUMAN buys a cup of coffee from a
streetside VENDOR.
VENDOR
How are ya, Truman?
TRUMAN
(placing his fingers to his pulse)
Vital signs are good.
He pulls into a parking space and sips on the coffee. As he
drinks, he becomes aware of a school bell summoning children
to class in the adjacent Elementary School. The image
prompts another childhood memory.
PLAYBACK - INT. SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM. DAY.
Once again, the flashback appears to be playing on a
television screen.
SEVEN-YEAR-OLD TRUMAN sits in the middle row of an Elementary
School classroom surrounded by twenty-or-so other well-
scrubbed, uniformed YOUNGSTERS. MARLON, the boy next to
Truman, is on his feet under the scrutiny of a kindly Norman
Rockwell-style SCHOOL MISTRESS.
MISTRESS
What do you want to do when you grow up,
Marlon?
MARLON
I want to be an entrepreneur like my dad.
SCHOOL MISTRESS
(impressed)
Tell the class what an "entrepreneur"
does, Marlon.
MARLON
He makes a lot of money, Ma'am.
SCHOOL MISTRESS
A good one does, Marlon.
(looking in her purse, hamming it up)
Perhaps I'll be coming to you for a loan
one of these days.
The CLASS titters. Marlon sits down and winks to Truman.
SCHOOL MISTRESS
What about you, Truman?
Truman rises to his feet, gathering his nerve.
TRUMAN
I want to be an explorer
(with reverence)
...like Magellan.
The School Mistress smiles benevolently.
SCHOOL MISTRESS
(slightly condescending)
I'm afraid no one's going to pay you to
do that, Truman. You might have to find
something a little more practical.
(glancing to a pulldown wall
map behind her head)
Besides, you're too late. There's
really nothing left to explore.
The class roars with laughter as the crestfallen Truman takes
his seat.
EXT. PARKING LOT. DAY - PRESENT.
TRUMAN, briefcase in hand, crosses from the parking lot to
the town square, surrounded by similarly suited, briefcase-
toting OFFICE WORKERS.
EXT. DOWNTOWN SEAHAVEN. DAY.
TRUMAN walks briskly down the bustling city street. A snarl
of taxis, buses and COMMUTER traffic. A STREET VENDOR
thrusts a pretzel under Truman's nose, a CAREER WOMAN tries
to catch his eye.
Truman stops at a kiosk and buys a newspaper - "THE ISLAND
TIMES".
VENDOR
Is that all for you, Truman?
TRUMAN
That's all. Thanks, Errol.
Other CUSTOMERS also purchase the morning paper. Tucking his
copy under his arm, Truman selects a glossy magazine from a
rack, quickly flicking through the pages.
Glancing in the direction of the NEWSPAPER VENDOR and finding
him busy with another CUSTOMER, Truman deftly tears a portion
of the open page and pockets the cutting. He hastily
replaces the magazine and departs.
As Truman hurries away, the vendor exits the kiosk and picks
up the magazine, instantly turning to the torn page. It is a
cosmetics advertisement with the MODEL'S NOSE missing.
However, the vendor makes no effort to confront Truman,
almost as if he were expecting it.
EXT. SEAHAVEN LIFE AND ACCIDENT, INC. DAY.
Truman passes along a row of shops and offices, finally
entering a building that proudly proclaims, "Seahaven Life &
Accident Inc." above the entrance. He has evidently taken
his teacher's advice.
INT. INSURANCE COMPANY - SEAHAVEN LIFE AND ACCIDENT, INC. DAY.
In a cramped, cluttered cubicle, TRUMAN talks on the telephone.
TRUMAN
(into receiver)
...okay, okay, let's call it what it
is...I'm not going to lie to you...life
insurance is death insurance...you've
just got to ask yourself two questions...
one, in the event of your death, will
anyone experience financial loss?...and
two, do you care?
A CLERK drops a large reference book on Truman's desk.
Truman checks the spine - "MARITIME ACCIDENTS".
TRUMAN
(into receiver)
Hold on, will you?
(to Clerk, referring to the book)
This is no good. Lumps all maritime
accidents together. I need drownings as
a separate category.
The Clerk shrugs, returns the book to his cart and continues
his rounds.
TRUMAN
(returning to his call)
...just think about what I've been saying
and let me...hello?...
The person on the other end has hung up. With an apathetic
shrug, Truman replaces the receiver. He looks over his
shoulder and places another call.
TRUMAN
(lowering his voice)
Can you connect me with directory
inquiries in Fiji?
A CO-WORKER suddenly pokes his head over the neighboring cubicle.
CO-WORKER
What do you know, Truman?
TRUMAN
(embarrassed, mouthing the word)
--Can't talk.
(waving off his neighbor, pretending
to be on a business call)
I'm sorry, ma'am. If he's in a coma,
he's probably uninsurable.
The Co-Worker disappears back into his own cubicle.
TRUMAN
(lowering his voice again)
Hello, operator...yes, Fiji...Do you have
a listing for a Lauren Garland?
(pause)
...nothing listed?...what about a Sylvia
Garland..."S" for Sylvia...nothing?
Okay, thanks...
The disconsolate Truman replaces the receiver. Other
INSURANCE AGENTS are heading to lunch. Truman puts on his
jacket and follows them to the elevators.
INT. LOCAL ITALIAN DELI. LUNCHTIME.
Behind a deli counter, TYRONE, fifties, is having his hair
brushed by a YOUNG MAN. The man fusses one final time, then
swiftly departs through a rear door just as TRUMAN enters
the store. Tyrone has anticipated Truman's order and has
already begun preparing a meatball and mozzarella sandwich on
an Italian roll. Truman gazes at the sandwich skillfully
under construction, pained by his own predictability.
TYRONE
(nauseatingly cheerful)
How's it going, Truman?
TRUMAN
(deadpan)
Not bad. I just won the State Lottery.
TYRONE
(not listening to Truman's reply)
Good. Good.
TRUMAN
Tyrone, what if I said I didn't want
meatball today?
TYRONE
(not missing a beat, passing
Truman his wrapped sandwich)
I'd ask for identification.
Truman forces a half-smile and exits.
TYRONE
See you tomorrow, Truman.
TRUMAN
You can count on it.
EXT. SECLUDED PARK. DAY.
TRUMAN eats lunch alone at a small, out-of-the-way park
dominated by a gazebo. From his briefcase he pulls out an
old, hardcovered book, "To The Ends Of The Earth - The Age Of
Exploration". He reads to himself, his sandwich uneaten
beside him. Struck by a particular passage, he reads aloud.
TRUMAN
"With a mutiny but half-repressed and
starvation imminent, he pressed southward
till he found the long-hoped-for
straits..."
Truman is interrupted by a TRANSIENT in a wheelchair. It is
the man's sneakers Truman notices first, over the top of his
book - they are distinctively initialed, "T.S.". Still under
the spell of the account of Magellan, he hands the grateful
man his sandwich.
INT. A CONFERENCE ROOM SOMEWHERE. DAY.
A group of a dozen MEN and WOMEN of varying ages sit around a
circular conference table in a sterile, windowless meeting room.
All stare at a single telephone placed in the center of the
table, anticipating a call. On cue, the phone rings and one of
the men, after waiting for the second ring, picks up.
MAN
Hello?...I'm sorry, I've got more than
enough life insurance.
He hangs up. After a moment the phone rings again.
INT. INSURANCE COMPANY. DAY.
TRUMAN sits at his desk, making a cold call.
TRUMAN
(into receiver)
...this isn't about insurance, this is
about the great variable - when will
death occur? Could be a week, a month, a
year. Could happen today...A sunbather,
minding his own business, gets stabbed in
the heart by the tip of a runaway beach
umbrella... No way you can guard against
that kind of thing, no way at all...
The prospect on the other end, unimpressed with Truman's
pitch, hangs up. Truman's supervisor, LAWRENCE, younger than
Truman by several years, sharper suit, sharper haircut,
appears around the corner of the cubicle.
LAWRENCE
(handing Truman some
documentation)
Hey, Burbank, I've got a prospect in
Welles Park I need you to close.
Truman's face falls. He stares out of his third floor window
at the hazy skyline of a nearby island across the bay.
TRUMAN
(referring to the island)
Welles Park on Harbor Island?
LAWRENCE
(sarcastic)
You know another one?
TRUMAN
I can't do it.
(searching for a plausible
excuse)
--I've got an appointment--er, dentist.
LAWRENCE
(insistent)
You'll lose a lot more than your teeth if
you don't meet your quota, Burbank.
(the threat in his voice
is unmistakable)
They're making cutbacks at the end of the
month. You need this.
(as he exits the cubicle)
Besides, a half hour across the bay. Sea
air. Do you good.
Truman sinks back into his seat and stares out at the distant
skyline. The buildings appear very still. Truman picks up a
photo of his wife, Meryl, deposits it in his briefcase and
exits.
EXT. SEAHAVEN. DAY.
Truman's car heads out of the city on its way to the ferry.
INT. SEAHAVEN FERRY TERMINAL. DAY.
TRUMAN exits his car. Mustering all his nerve, he marches
into the Seahaven terminal and buys a token for the ferry.
Out of his hearing, TWO FERRY WORKERS observe Truman's
agitated behavior.
FERRY WORKER 1
I got a feeling this is the day.
FERRY WORKER 2
No way. I say he makes it through the
turnstiles but he never gets on.
The two men shake on the wager. Unaware of the scrutiny,
Truman passes through the turnstiles with a herd of TOURISTS
and COMMUTERS. He makes his way across the terminal, but
abruptly pulls up at the gangway.
As the other PASSENGERS impatiently brush past him onto the
boat, Truman remains frozen to the spot, mesmerized by the
scummy water rising and falling beneath the dock. It
triggers a memory in his head.
PLAYBACK - EXT. SEAHAVEN HARBOR. DAY.
As always, the flashback appears to play on a television
screen.
SEVEN-YEAR-OLD TRUMAN, wearing a lifejacket, sits alongside
his father, KIRK, in a small sailing dinghy, sailing into a
stiff breeze.
A second sail boat circles them. We observe the father and
son from an angle atop the mast of the neighboring vessel.
TRUMAN
(shouting above the wind)
Let's go further, daddy! Let's go
further!
KIRK
(shouting back)
It's getting rough, Truman.
TRUMAN
(entreating his father)
Please!...
Kirk shakes his head ruefully and indulges his son by heading
towards the gathering storm clouds on the horizon.
INT. SEAHAVEN FERRY TERMINAL. DAY - PRESENT.
Truman turns and begins to fight his way back against the tide of
PASSENGERS boarding the ferry, emerging back onto the street,
gasping for air. The FERRY WORKERS settle their wager.
EXT. ROADWAY ADJACENT TO THE FERRY TERMINAL. DAY.
TRUMAN stands at a payphone. By stretching the payphone's
receiver cord as far as it will go, he is just able to reach
his arm and leg into the driver's door of his car. He
punctuates his conversation with blasts on the car's horn
while revving the car's engine with his outstretched foot.
The few passing MOTORISTS and PEDESTRIANS regard Truman
curiously.
TRUMAN
(shouting into phone)
--I tell you the traffic's insane.
(blasting his horn several
times to imitate the sound of
of gridlock)
...I'll never make the ferry in time.
What can I do?--what?...Lawrence, I can't
hear you!
Truman hangs up the phone.
INT. TRUMAN'S CAR. DAY.
On his way home, a large "DETOUR" sign forces him onto a
secondary road.
INT. TRUMAN'S CAR - PARKLAND, SEAHAVEN. DAY.
TRUMAN drives along a winding road through parkland. He
pulls up at a red light - no other traffic around. His
attention is caught by an attractive YOUNG WOMAN, sitting on
a park bench not far from the intersection. She is being
taunted by TWO YOUNG THUGS. She attempts to ignore the
youths by concentrating on the book on her lap.
YOUTH 1
(to woman)
You wanna read to me?
His companion smirks.
YOUTH 1
(more insistent)
You wanna read to me?
The boy reaches over and snatches the novel from her grasp.
YOUTH 2
(menacing)
My friend asked you a question.
The woman picks up her bag in a reflex and holds it to her.
She looks about for assistance, briefly catching Truman's eye.
The youths also look in Truman's direction, staring him down.
WOMAN
(reaching for the book)
Please...
The boy returns the book to the woman, but before doing so
rips out the last page from the novel and stuffs it in his
shirt pocket.
YOUTH 2
Now you're gonna have to ask me how
it ends.
One of the youths grabs the woman, dragging her toward the
surrounding woods.
YOUTH 1
We're gonna tell you how it ends, baby.
WOMAN
Help! Please help!
As they drag her towards the undergrowth, Truman, horrified,
half gets out of the car - fearful of his own safety as much
as the woman's. Truman shouts to the youths, his voice
cracking with fear.
TRUMAN
Hey! Let her go!
A huge truck suddenly appears behind Truman's car, its horn
blasting, the DRIVER hurling abuse. Truman hesitates as the
youths drag the woman into the bushes, conflicted over
whether or not to help. The truck driver keeps his hand on
the horn. Truman retreats back into his car and reluctantly
drives on.
EXT. PARKLAND - WOODS. DAY.
Truman's car safely out of sight, the YOUTHS promptly release
the YOUNG WOMAN. She calmly brushes herself off, no longer
afraid. The young men, no longer angry, retrieve her bag.
WOMAN
Thanks.
The threesome walks back towards the roadway as if life-long
friends.
WOMAN
(pondering the incident)
He did nothing.
YOUTH 1
(shrugs, suddenly more couth)
Physical violence paralyzes him. Always has.
EXT. TRUMAN'S HOUSE - DUSK
Beyond the pretty picket fence at the end of the property
flows a busy highway.
TRUMAN is mowing the lawn. From his expression it would seem
that he's still reflecting on his inaction in the park. He
switches off the mower and leans on the handle.
He is distracted by the arrival of his wife, MERYL, exiting
the house. She wears a nurse's uniform and carries a curious
metal device attached to a card board backing. She kisses
Truman affectionately on the cheek.
MERYL
Hi, honey. Look at this.
(proudly referring to the device)
It's a "Chef's-Mate." Dicer, slicer and
peeler in one. Never needs sharpening.
Dishwasher safe.
TRUMAN
Gee, that's great.
Looking over Truman's shoulder, Meryl notices a small, uncut
patch of grass missed by Truman in one of his passes.
MERYL
(referring to the uncut grass)
You missed a section.
Meryl enters the house. Truman restarts the lawnmower and
obediently pushes it towards the offending patch of lawn. As
the mower brushes up against the unconforming blades of
grass, Truman pulls back abruptly. He checks the kitchen
window for Meryl and wheels the mower away, leaving the patch
uncut.
INT. TRUMAN'S HOUSE - LIVING ROOM. NIGHT.
MERYL is removing the cap of her nurse's uniform when TRUMAN
enters.
TRUMAN
How did it go today?
MERYL
(matter-of-fact)
A man tripped and fell on a chainsaw.
(shrug)
We got three of his fingers back on.
Truman retrieves a bucket of golf balls and a golf club from
behind the door.
MERYL
(disappointed at the sight of
the golf equipment)
I was hoping we could have a special
evening.
TRUMAN
I won't be late.
MERYL
(sensing something odd in his
demeanor)
Did something happen today?
Truman turns to her too sharply, his guilt showing.
TRUMAN
What could happen?
Truman exits.
EXT. UNFINISHED BRIDGE. NIGHT.
A half-constructed bridge, paved but unmarked, ends abruptly
in mid-air - reinforcing steel protruding from the concrete.
TRUMAN stands at the end of the unfinished bridge with
MARLON, thirties, a well-filled physique. Marlon drinks beer
from a can while Truman addresses a teed-up golf ball with a
number three wood. The headlights of their two parked cars
light the cement "fairway". Their target is a sign at the
far end of the bridge proclaiming, "THE SEAHAVEN CAUSEWAY -
Linking Seahaven Island With The Rest Of The World - Your Tax
Dollars At Work" - an upturned plastic cone at the foot of
the sign is the "hole."
Truman winds up and swings, making a healthy contact with the
ball. The ball arches away into the night sky. From a new
angle we see the ball take a huge hop on the outside lane of
the abandoned freeway and continue down the asphalt beyond
the sign.
Marlon tosses Truman another off-white ball from a bucket of
badly scarred golf balls. Truman sets the ball up on the
makeshift tee area and launches himself into his second shot.
With a slight fade, the second ball carries even further than
the first.
MARLON
Whose nuts were those?
Truman hands Marlon their sole golf club without comment.
Marlon tees up a ball of his own He uses orange golf balls.
TRUMAN
I'm thinking of getting out, Marlon.
MARLON
(mild interest only)
Yeah? Outta what?
TRUMAN
Outta my job, outta Seahaven, off this
island...out!
Marlon takes a practice swing.
MARLON
Outta your job? What the hell's wrong
with your job? You gotta great job. You
gotta desk job. I'd kill for a desk job.
Marlon addresses the ball and swings - a sweeping hook shot
that bounces off the freeway and into the water hazard.
MARLON
(annoyed by the errant tee shot)
Sonofabitch.
(still looking in the
direction of his ball)
Try stocking vending machines for a
living. My biggest decision of the day
is whether the Almond Joys look better
next to the Snickers or the Baby Ruths.
Truman selects another "M" ball from the bucket and tosses it
to Marlon.
TRUMAN
(adamant)
Haven't you ever gotten itchy feet?
Overcompensating with his second shot, Marlon slices the ball in
the other direction. A lucky bounce keeps it on the "green."
The ball rolls in the direction of the upturned cone.
MARLON
(skeptical, picking up his beer)
Where is there to go?
Truman gulps his beer as he prepares his answer.
TRUMAN
(unable to disguise his
reverence)
Fiji.
Marlon considers Truman's suggestion as he sips his beer.
MARLON
(impressed)
Fiji? Where the hell is Fiji exactly?
Near Florida? You can't drive there,
can you?
Truman picks up a golf ball to demonstrate. He points to a
dimple on his make-shift globe.
TRUMAN
See here, this is us.
(sliding his finger around
the other side of the ball)
All the way round here, Fiji. You can't
get any further away before you start
coming back.
(tossing the world in his
hand, warming to his subject)
Y'know, there are still islands in Fiji
where no human has ever set foot.
MARLON
(still dubious)
So when are you leaving?
TRUMAN
It's not that simple. Takes money,
planning. You can't just up and go.
(heading off Marlon's skepticism)
Oh, I'm going to do it, don't worry about
that. I've just got to move slow. Pick
my moment. Bonus time's just around the
corner. Soon as I finish the...
MARLON
Nursery?
TRUMAN
Spare room - I can start thinking about
selling up...and I'll be gone. Up and
away on that big steel bird.
(as if to convince himself)
I'm going, don't you worry about that.
Marlon nods even though the concept of taking flight is
beyond his imagination.
MARLON
I never knew anybody who wanted to leave
Seahaven.
An awkward moment. Truman, once again, not so sure of himself.
INT. A DIMLY-LIT ROOM SOMEWHERE. NIGHT.
A MAN looks up sharply. He stares into camera. CHRISTOF, late
fifties - a vitality in his eyes that belies his years. A news
anchor-style earpiece disappears down the neck of his suit.
EXT. BRIDGE. NIGHT.
TRUMAN and MARLON wander along the empty bridge, retrieving
the golf balls.
Marlon goes to say something to the disconsolate Truman, but
is momentarily distracted. He raises his hand to his ear.
Truman places another of the balls in the bucket.
MARLON
Truman, you know, I did think about
moving away one time.
TRUMAN
(interest piqued)
Yeah, what happened?
MARLON
I figured, what's the point? I knew I'd
just be taking my problems with me. Once
the kids came along, it made me look at
Seahaven with new eyes.
(gazing out at the lights of
Seahaven)
I realized, what the hell could be better
than this?
(putting a hand on Truman's
shoulder)
I'm telling you. What you really need is
someone to carry on the "Burbank" name.
TRUMAN
You think so?
MARLON
Trust me.
Marlon picks up the last ball at the mouth of the upturned
cone. The ball is white.
MARLON
(checking the ball)
You win.
They approach Truman's car. Truman opens the trunk to
deposit their humble golfing equipment. Inside are the
remains of the fallen light fixture.
TRUMAN
(referring to the light)
You really think it could've dropped off
an airliner?
MARLON
(unimpressed)
Sure. It's halogen. Shame it didn't hit
you - you could've sued.
(quickly changing the subject)
You coming for a drink?
TRUMAN
I can't tonight.
INT. LIGHTHOUSE. NIGHT.
From the POV of the lighthouse's lantern room, we observe
TRUMAN sitting on the beach staring out to sea.
Closer on Truman. He has a portable tape recorder slung over
his shoulder and points a corded microphone at the surf. We
watch Truman's impassive face as he makes the recording of
the lapping waves. The lamp from the lighthouse occasionally
falls upon Truman.
PLAYBACK - EXT. OCEAN. DAY.
As always, the flashback appears to play on a television screen.
The sky is black with storm clouds. Gale force winds lash
rain into the faces of SEVEN-YEAR-OLD TRUMAN and his father,
KIRK. As Kirk stands up to get his hearings, a freak gust of
wind catches the sail. The boom whips across the stern and
strikes Kirk flush in the head, knocking his overboard.
Truman, wearing the sole lifejacket, desperately reaches for
his father. He momentarily has hold of his father's hand
when Kirk is abruptly dragged beneath the surface.
TRUMAN
(crying out)
Daddy!!...Daddy!!...
His cries go unanswered. Seven-year-old Truman finds himself
alone - the storm abruptly passed, the wind suddenly dropped,
the water stilled.
The frightened Truman examines the ring he holds in his open
hand - his father's ring - wrenched from his finger in
Truman's fight to keep him afloat.
EXT. BEACH. NIGHT - PRESENT.
A close up of TRUMAN from KIRK'S RING that Truman now wears.
Then, from the lighthouse POV, we observe Truman get to his
feet and walk towards the dark water. He stands at the
water's edge.
TRUMAN
(shouting at the surf)
I'm sorry, Dad! I'm sorry!
As if in reply, a tongue of lightning flashes across the
distant skyline, followed by a growl of thunder.
INT. A LIVING ROOM SOMEWHERE. NIGHT.
TWO OLD WOMEN, seventies, sit beside each other on a sofa
looking directly into camera as they talk.
OLD WOMAN 1
(playing amateur psychiatrist)
It left him with more than his obvious
fear of the water.
OLD WOMAN 2
He was never the same curious little
boy again.
OLD WOMAN 1
Half the women I know named their
children after him.
EXT. BEACH PARKING LOT. NIGHT.
TRUMAN is forced to leg it through a sudden rain shower to
his car.
From Truman's point-of-view, the shower appears quite normal.
However, viewed from a distance, we see that the shower is
extremely localized, encircling only him, as if a small cloud
is directly above his head, tracking his progress.
As Truman crosses the parking lot, the shower crosses with
him. Sensing something amiss, Truman dances back and forth
across the street, intrigued by the curious phenomenon. He
hums a few bars of "Singin' In The Rain."
The rain becomes heavier, covering a wider area. Truman runs
the remaining distance to his car.
INT. TRUMAN'S HOUSE - NURSERY. NIGHT.
The drenched TRUMAN enters to find MERYL, in the unfinished
nursery, comparing wallpaper samples. Meryl wears a robe, a
glimpse of black negligee beneath.
MERYL
Where have you been?
TRUMAN
(wringing out his jacket)
I've been thinking--
MERYL
(rolling her eyes)
Oh, God.
TRUMAN
(ignoring the reception)
--I figure we could scrape together
eight thousand.
MERYL
(exasperated)
Every time you and Marlon--
TRUMAN
--We could bum around the world for a
year on that.
MERYL
And then what, Truman? We'd be back to
where we were five years ago. You're
talking like a teenager.
TRUMAN
Maybe I feel like a teenager.
MERYL
We're mortgaged to the eyeballs, Truman.
There's the car payments. Are we just
going to walk away from our financial
obligations?
Truman, still dripping on the floor, holds Meryl by the arms.
He talks excitedly to her the way we imagine he did when they
were courting.
TRUMAN
It'd be an adventure.
MERYL
I thought we were going to try for a
baby. Isn't that enough of an adventure?
TRUMAN
That can wait. I want to get away. See
some of the world. Explore.
Meryl gives a derisive laugh.
MERYL
You want to be an explorer? You don't
even have a passport, Truman. I bet you
don't even know how to get one.
The words sting. Truman turns away. Seeing the pain she's
caused, she changes tack.
MERYL
This'll pass. Everybody thinks like this
now and then.
(making an attempt at seduction)
Come to bed.
TRUMAN
I think I'm going to stay up for a while.
INT. AN OFFICE BUILDING SOMEWHERE - RECEPTION. NIGHT.
In the reception area of an office building, TWO UNIFORMED
GUARDS drink coffee.
GUARD 1
How can they have a child?
GUARD 2
It's not gonna be his, you idiot.
GUARD 1
Why not?
GUARD 2
You think she'd go through with it?
GUARD 1
Sure she would.
GUARD 2
(reassessing his own opinion)
Guess I always thought they'd adopt.
EXT. TRUMAN'S STREET. DAWN.
There is something peculiar about the way the sun rises over
Seahaven Island - the light appears in an arc that's slightly
too perfect and well-defined.
INT. TRUMAN'S BEDROOM. MORNING.
In front of his bedroom window, TRUMAN, wearing his new
sweats, performs an exercise routine of his own invention.
He counts off the exercises to himself - cheating as he does
so. He counts five leg-lifts for every two he completes.
TRUMAN
--Five...
(two leg-lifts later)
Then...fifteen...two more makes twenty.
INT. A BEDROOM SOMEWHERE. MORNING.
A middle-aged MARRIED COUPLE in identical matching sweats
repeat the same eccentric exercises in perfect sync, as if
they were in a class led by Truman.
EXT. CAR. DAY.
TRUMAN climbs into the car and switches on the radio. He drives
down the street.
RADIO ANNOUNCER
Another glorious morning in Seahaven, folks.
Don't forget to buckle up--
Truman mutters to himself as is his custom.
EXT. DOWNTOWN SEAHAVEN. DAY.
TRUMAN emerges from the parking lot and as usual stops at the
newspaper stand. He picks up a glossy magazine and flips
through the cosmetic ads, surreptitiously tearing a pair of
EYES from one of the pages. He returns the magazine to the
rack. As usual, the NEWSPAPER VENDOR fails to intervene.
Truman begins his daily pilgrimage to work through the rush
hour pedestrian traffic.
As he enters the street leading to his office, he glimpses a
HOMELESS MAN reflected in the window of a parked car.
Truman, spellbound by the man, suddenly wheels around to face
him. The Homeless Man, late-fifties, more well-groomed and
well-fed than the average vagrant, has a serene smile on his
face.
The Homeless Man places his hand ever so gently on Truman's
cheek. Truman makes no effort to withdraw. He is transfixed
by the man's eyes. He appears to recognize him.
TRUMAN
(almost to himself, mouthing
the word)
Dad...
Suddenly an ELEGANT WOMAN SHOPPER walking a small WIENER DOG
and a BUSINESS EXECUTIVE carrying a briefcase, walking in
opposite directions along the sidewalk, grab the Homeless
Man. One under each arm, lifting the Homeless Man off the
ground, they start to whisk the bewildered derelict down the
street.
TRUMAN
(calling out)
Stop! Stop!!
Truman begins to give chase. However, the shopper and the
businessman are surprisingly fleet-footed. Even more
surprising as Truman embarks on the pursuit is the behavior
of the PEDESTRIANS and COMMUTERS. They appear to part for
the fleeing trio, then close ranks in front of him. Is it
accidental, or are the pedestrians working together, running
interference?
TRUMAN
(shouting at the pedestrians)
Outta the way! Outta the way!
They are escaping.
Truman finally breaks through the pack, bowling over several
of the pedestrians in the process. Just as he gets within
reach of the shopper and the businessman, a bus suddenly
screeches to a halt beside the abductors, doors already open.
The Woman Shopper and the Executive bundle the Homeless Man
onto the bus. Truman lurches after them, but he is met by
the bus doors, closing sharply in his face.
TRUMAN
(to BUS DRIVER)
Hey, stop! Stop the bus!!
Truman thumps against the doors, but the BUS DRIVER ignores
his cries and the bus roars away. The other PASSENGERS in
the bus, apparently oblivious to the incident, keeps staring
straight ahead.
Truman continues to give chase when a taxi appears out of
nowhere and cuts in front of him, blocking his path. When he
recovers, the bus has disappeared. The mysterious crowd of
pedestrians has also dissolved as if it never existed.
Retracing his steps, head reeling, wondering if the could have
imagined the whole incident, Truman discovers that the Woman
Shopper has left her WIENER DOG behind. The dog wanders
aimlessly on the pavement, its leash trailing behind it.
INT. MOTHER'S HOUSE. DAY.
TRUMAN paces impatiently in the living room of his Mother's
cramped, fussy, doilyed little house full of Burbank family
memorabilia - a cluster of framed photographs is dominated by
one of his FATHER trimmed with a black ribbon. A toilet
flushes and Truman's MOTHER finally emerges from the next
room.
She presents something of a contradiction. Although she
walks with the aid of a "walker," she is actually a well-
preserved sixty. She wears a glamorous nightgown and a full
head of bleached-blonde hair.
TRUMAN
(kissing Mother on the cheek)
How are you, Mother?
MOTHER
Well, I made it through another night.
TRUMAN
How's your hip?
MOTHER
Oh, just so.
Truman supports Mother.
MOTHER
You know surprises aren't good for me.
You should really call before you come
over, dear.
TRUMAN
I've got something to tell you. You'd
better sit down.
Truman helps her into an overstuffed armchair.
MOTHER
You look very pale, Truman. Are you
taking your vitamin D's?
TRUMAN
(exasperated)
I spend half my life out in the sun,
Mother, why would I need vitamin D?
MOTHER
I feel certain my condition runs in the
family.
(putting the back of her hand
dramatically over her forehead)
Can't this wait, dear?
He kneels beside her.
TRUMAN
No, I'm afraid it can't.
Truman takes a deep breath as he prepares to give her the news.
TRUMAN
I know this is going to sound insane,
Mother, but...I saw Dad today on
Lancaster Circle. He's alive.
Mother smiles condescendingly.
MOTHER
It doesn't sound insane, Truman. I swear
I see him ten times a week--in a hundred
faces. I almost hugged a perfect stranger
in the salon last Thursday.
TRUMAN
It was Dad, I swear, dressed like a
homeless man. And you know what else was
really strange? A businessman and a
woman with a little dog appeared from
nowhere and forced him onto a bus.
MOTHER
About time they started cleaning up the
trash Downtown. We don't want to end up
like the rest of the country.
TRUMAN
They never found Dad's body--maybe
somehow--
MOTHER
--Darling--
TRUMAN
(already doubting himself)
I'm telling you, if it wasn't him, it was
his twin. Did Dad have a brother?
MOTHER
You know he was an only child, like you.
(placing a comforting arm
around him)
I know how bad you feel about what
happened--sailing into that storm. But I
don't blame you, Truman. I never have.
Mother kisses Truman on the cheek.
MOTHER
(referring to her platinum
blonde hair)
I was thinking about going lighter. What
do you think?
Truman regards his Mother. Her hair is already impossibly blonde.
INT. TRUMAN'S BASEMENT. DUSK.
The basement is cluttered with junk - ships in bottles, a
train track without trains, an oxygen mask, a stringless
guitar, many abandoned projects. The basement is dimly lit
by a single, naked bulb. TRUMAN looks over his shoulder
before opening a large walk-in cupboard. On the cupboard
door is a wall map of the Pacific Ocean - the Fiji Islands
are carefully circled. Amongst the many tools and household
implements inside the cupboard is a trunk under a dusty
canvas sheet. He pulls the trunk into the room, unfastens
the lock and opens the lid.
Inside, mementoes from his youth. A "HOW TO SAIL" book, a
stack of "GREAT EXPLORERS" magazines, and beneath it all, a
garment in a drycleaning bag. Truman carefully lifts up the
plastic to reveal a young woman's cardigan sweater. He puts
the cardigan to his nose and takes in its scent.
Footsteps. Truman hastily drops the cardigan in the trunk
and shuts the lid. MERYL's legs appear on the stairs.
MERYL
What're you doing down here?
TRUMAN
(turning attention to an upturned
mower on the basement floor)
Fixing the mower.
(matter-of-fact)
I saw my father today.
MERYL
I know.
TRUMAN
(suspicious)
How do you know?
MERYL
Your mother called. You shouldn't upset
her like that.
Meryl's response takes the wind out of Truman's sails.
TRUMAN
What did you want?
MERYL
I made macaroni.
TRUMAN
I'm not hungry.
Meryl nods, not at all convinced.
MERYL
We really ought to toss that mower out.
Get one of those new Elk Rotaries.
Truman does not reply. After an uncomfortable pause, she
turns back up the stairs.
Truman waits a moment before re-opening the trunk. He
removes the cardigan and holds it up, reminiscing.
INT. A KITCHEN SOMEWHERE. NIGHT.
A MOTHER, DAUGHTER about 12, and a BABY in a highchair stare
into camera.
DAUGHTER
What's he doing?
MOTHER
They removed all physical trace of her
but they couldn't erase the memory.
DAUGHTER
The memory of who?
MOTHER
(finger to lips)
Shhh!
PLAYBACK MONTAGE - EXT. COLLEGE CAMPUS - STEPS. DAY.
Once again the images appear to be playing on a television screen.
On the steps of a typical college campus, TRUMAN, 21, in a
college band uniform, participates in a football pep rally.
MARLON, 21, a member of the football team, and MERYL, 21, a
cheerleader, are nearby. Truman observes an ethereal-looking
young woman walk by - LAUREN.
PLAYBACK - INT. DANCEHALL. NIGHT.
At a college dance, TRUMAN dances with MERYL. LAUREN dances
by with a PARTNER of her own. However, Truman only has eyes
for Lauren. Suddenly, she is escorted from the dance floor.
PLAYBACK - EXT. COLLEGE CAMPUS - STREET. DAY.
TRUMAN almost trips off the curb as he waves to LAUREN,
riding towards him on a bicycle. However, she rides right by
with her nose in the air, not even acknowledging his presence
- Truman puzzled by her change of heart.
The montage ends at a scene in a college library.
PLAYBACK - INT. COLLEGE LIBRARY. NIGHT.
In the school library, TRUMAN, 21, sits with MARLON, 21, and
wife-to-be, MERYL, 21, doing a final cram for a test. The
STUDENTS begin to pack up their books. Meryl gives Truman a
peck on the cheek.
MERYL
Come on, Truman. Haven't you studied
enough?
TRUMAN
I still want to look over a couple of
things.
MARLON
(punching Truman in a chummy
way on the arm, referring to
Truman's book)
Take the "C" average. That's what I do.
Truman looks up from his books. The library is almost
deserted. He spies a GIRL's hand around the table divider.
Truman musters the nerve to poke his head over the divider. He
finds LAUREN on the other side, buried in a book.
TRUMAN
Konichi-wa.
Lauren looks blank.
TRUMAN
(referring to the Japanese
text in front of her)
You take Japanese.
LAUREN
(quickly closing the book)
Oh, yes.
TRUMAN
(glancing to the name carefully
written on the front of the book)
Lauren, right?
LAUREN
(as if unaware of her own name)
That's right. Lauren.
TRUMAN
(extending his hand)
I'm Truman, Truman Burbank--
LAUREN
--I'm not allowed to talk to you.
Truman is not surprised.
TRUMAN
(resigned)
It's okay. I probably wouldn't talk to
me either.
LAUREN
(softening)
I'm sorry. It's not up to me.
TRUMAN
(crestfallen)
You have a boyfriend? Of course you do.
Lauren looks about her, unsure.
LAUREN
No...I, er.
TRUMAN
(hopeful once again)
No? Really? Good, I mean, I thought
possibly a pizza. How about Friday?
LAUREN
No.
TRUMAN
Saturday?
Lauren looks around the almost-deserted library.
TRUMAN
Actually, I'm free Sunday.
LAUREN
Now.
TRUMAN
Right now? We've got finals tomorrow.
LAUREN
If we don't go now, it won't happen.
Truman hesitates.
LAUREN
(impatient, looking anxiously
around)
Well, what do you want to do?
TRUMAN
(closing his books, still a
little uncertain)
I think I've studied enough.
PLAYBACK - EXT. VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE. NIGHT.
LAUREN, taking TRUMAN by the hand, runs down various streets
and paths through the campus. She occasionally pauses and
looks about her, often changing direction or looking up at
streetlights and the towers of houses along their route, as
if trying to elude an unseen pursuer.
The excited and apprehensive Truman runs with her although he
is unsure exactly who, or what, they are running from.
The further they get from the campus, the higher, wider and
less effective the coverage of the scene - some camera angles
are even partially obscured.
PLAYBACK - EXT. HIGHWAY - WESTERN END OF TOWN. NIGHT.
TRUMAN and LAUREN eventually cross an empty highway on the edge
of town.
They run over the dunes onto a strangely deserted beach and
down to the water's edge under a hyper-real full moon.
Lauren throws off her cardigan and hitches up her skirt,
wading out into the inviting water without another thought.
Truman stares down, transfixed by the shimmering water.
LAUREN
(splashing)
It's beautiful! What are you waiting for?
TRUMAN
(nervous)
I...I can't.
Lauren suddenly stops splashing.
LAUREN
That's right. Oh, God, I'm sorry.
She wades out of the water.
TRUMAN
(confused)
Why, Lauren? You've got nothing to be
sorry about?
Lauren, dripping wet, stands besides Truman at the shoreline. She
meets his gaze.
LAUREN
My name's not Lauren. It's Sylvia.
Truman looks into her eyes and believes her. Truman wipes
the water from her face, then leans forward and gently kisses
her lips. She kisses him back.
INT. A BAR SOMEWHERE. NIGHT.
In a quiet bar room, a WAITRESS explains her viewpoint to the
BARMAN. A PATRON on a barstool eavesdrops.
WAITRESS
Don't you get it? She was willing to lose
him, lose everything, if it meant he could
find himself.
(registering the barman's
blank look)
Never mind. You wouldn't understand.
PLAYBACK - EXT. BEACH. NIGHT.
As we return to Truman's reminiscence, TRUMAN and SYLVIA (as
she is now called throughout the remainder of the movie) sit
on the sand at the water's edge. With great delicacy, Truman
traces the outline of her nose with his finger, at the same
time inhaling her scent. Sylvia looks nervously around her.
Truman goes to say something, but Sylvia hushes him.
SYLVIA
They're coming. Any minute.
TRUMAN
(looking around the deserted beach)
Who?
SYLVIA
They're going to stop me talking to you.
TRUMAN
(confused)
There's no one here.
SYLVIA
(looking over her shoulder
nervously)
Just listen. You remember when you were a
little boy, you stood up in class and
said you wanted to be an explorer like
Magellan--
TRUMAN
(incredulous)
--How do you know about that?
SYLVIA
--And your teacher said, "You're too late,
Truman. There's nothing left to explore."
TRUMAN
Were you there--how do you know?
SYLVIA
--It doesn't matter. Everybody knows
about it. They know everything you do.
The point is, you got scared.
TRUMAN
I don't understand.
SYLVIA
(looking over her shoulder,
increasingly nervous)
You must listen. Everybody's pretending,
Truman.
She points to the sky and scoops up the sea at their feet.
SYLVIA
You think this is real? It's all for
you. A show.
(frustrated, raving)
The eyes are everywhere. They're
watching you - right now.
Suddenly a car's headlights come bouncing over the dunes.
The car roars across the beach towards the couple.
SYLVIA
(scared)
I told you, Truman!
The car skids to a stop and a large MAN, 40ish, with a shock of
red hair, jumps from the car. The man yanks the frightened
Sylvia to her feet, causing her cardigan to fall to the ground.
MAN
(to Sylvia, oddly sympathetic)
Lauren, sweetheart, not again. Get in
the car!
Truman jumps in.
TRUMAN
Hey, who the hell are you?!
MAN
I'm her father!
TRUMAN
We weren't doing anything.
SYLVIA
He's not my father! He's just saying
that! Does he look anything like me?!
MAN
Come on, Sweetheart.
The Man gently, but firmly, pushes Sylvia towards his car. Sylvia
resists. Truman crosses to them.
TRUMAN
I'll take care of her!
The Man takes Truman aside and whispers in his ear.
MAN
(whispered, out of Sylvia's earshot)
Schizophrenia. She has episodes.
Doubts start crowding into Truman's head.
SYLVIA
(calling out from the car)
Don't listen to him, Truman. I'm telling you
the truth!
MAN
(getting into the car)
Don't bother! We're moving to...Fiji - the
Fiji Islands! This place has done
something to her head.
INT. A DIMLY-LIT ROOM SOMEWHERE. NIGHT - PRESENT.
CHRISTOF stares intently into camera. Beside him is his
assistant, CHLOE, an androgynous-looking young woman. She
too stares into camera.
CHRISTOF
At least he didn't say "New York City."
PLAYBACK - EXT. BEACH. NIGHT.
TRUMAN stares after the car as it roars away. He turns back
toward the ocean where his attention is caught by an object
lying on the sand - Sylvia's cardigan.
INT. TRUMAN'S BASEMENT. NIGHT - PRESENT.
TRUMAN carefully places the cardigan back into the trunk.
INT. A KITCHEN SOMEWHERE. NIGHT.
MOTHER, DAUGHTER and BABY stare into camera.
DAUGHTER
But why didn't he just follow her
to Fiji?
MOTHER
Because his mother got sick - very
sick. He couldn't leave her. He's a
kind boy, maybe too kind.
DAUGHTER
I can't believe he married Meryl on
the rebound.
INT. BASEMENT. NIGHT.
TRUMAN turns his attention to the framed photograph of Meryl
that he carries everywhere. Hidden behind her photo is a
composite picture of Sylvia which Truman has constructed by
pasting together individual facial features - nose, mouth, ears,
chin, hair - gathered, presumably, from women's magazines. He
attempts to put the jigsaw puzzle together - although he has
particular difficulty finding a pair of eyes that match.
From his pocket he takes a recent collection of eyes which,
like a detective working on an identikit picture, he tries to
match. They are still not quite right.
INT. AN APARTMENT SOMEWHERE. NIGHT.
The eyes of a YOUNG WOMAN - blue-green eyes. She turns
slightly, looking directly into camera. We pull back to
reveal her face - SYLVIA.
EXT. TRUMAN'S STREET. EARLY MORNING.
Dawn breaks over Truman's street. On cue, the sound of birds.
EXT. STREET OUTSIDE TRUMAN'S HOUSE. MORNING.
TRUMAN leaves the house, lost in thought. SPENCER is taking
out the trash.
SPENCER
How's it going, Truman?
Truman hardly acknowledges Spencer. PLUTO the dog fails to
receive his usual pat. The wave from the WASHINGTON's across
the street is also not returned.
INT/EXT. CAR/STREET OUTSIDE TRUMAN'S HOUSE. DAY.
TRUMAN motors down the street, switching on the car radio
as usual.
RADIO ANNOUNCER
--Don't forget to buckle up out there in
radioland. It's another glorious...
..morrrninggg...innn... Seaaaa...
haaaa...vennn...f...o...l...k...s...
The Announcer's voice slows down - now revealing itself to be
a tape that has worn out. Truman, perplexed, looks at the
radio and pushes buttons in an attempt to find another
station. He finds one.
FEMALE VOICE
(from radio)
...west on Stewart...he's making a right
on Holden...
Truman glances up at the street signs along his route and
finds that they correspond exactly with the streets quoted
on the radio. Distracted, he almost bowls over an OLD LADY
on a crosswalk.
MALE VOICE
(from radio)
...God, he almost hit Marilyn! He's on
the move again, passing the library...
Truman, readjusts the radio as it starts to fade out.
Suddenly, there is a piercing blast of feedback. He looks up
and, as far as the eye can see, every PEDESTRIAN, MOTORIST
and SHOPKEEPER along the street suddenly winces in pain and
holds their right ear at exactly the same moment.
MALE VOICE
(from radio, in distress himself)
...Something's wrong. Change frequencies...
Truman tries to pick up the channel once again but without
success.
EXT. PARKING LOT. MORNING.
TRUMAN sits in his car, drinking his coffee, taking in the
recent incident. From inside the adjacent school, he hears
the familiar, excited squeals and chatter of SCHOOL CHILDREN.
Truman suddenly throws aside his coffee and sprints across
the parking lot and into the school.
INT. SEAHAVEN ELEMENTARY SCHOOL. MORNING.
TRUMAN slams through the front doors into the reception area.
It is deserted, no one stationed at the administration desk,
the corridors empty. He runs down a vacant corridor, finally
standing outside a classroom. The children's voices can
still be heard from inside. Truman bursts through the door.
The room is empty save for a large reel-to-reel tape recorder
on the teacher's desk playing a continuous tape of children's
voices. The recorder is attached to speakers on tall stands
facing the ventilation ducts. Truman stares at the machine
in disbelief.
EXT. STREET - DOWNTOWN. DAY.
TRUMAN, still lost in thought, exits the school. He stops at
the newsstand and picks up a magazine to resume his ritual
search, but his heart is not in it. He replaces the magazine
without taking a cutting - much to the surprise of the NEWS
VENDOR.
Truman starts his trek to work, pausing to stare at his
reflection in the mirrored building, hoping that the Homeless
Man will appear once again at his side. No one joins him.
EXT. DOWNTOWN STREET. DAY.
Entering his own building with fellow OFFICE WORKERS, TRUMAN
remains in the revolving door and re-emerges on the street.
EXT. CITY STREETS. DAY.
TRUMAN wanders aimlessly through a city park, observing. We
sense, truly observing for the first time.
A YOUNG WOMAN walks a pair of AFGHAN HOUNDS. An OLD MAN
answers the incessant questions of his GRANDCHILD. Nothing
appears amiss, Truman takes a seat at a small, outdoor cafe.
He fidgets with his father's ring on his finger that contains
one large stone, still looking for a false move.
A DELIVERY MAN unloads boxes from the back of his truck and
carries them into a store. Further down the street
CONSTRUCTION WORKERS take their time tending to an electrical
repair in an exposed manhole. A POSTAL WORKER does his
rounds. An OLD WOMAN struggles with two heavy shopping bags.
Everybody appears natural, places to go.
INT. A DIMLY-LIT ROOM SOMEWHERE. DAY.
CHRISTOF and CHOLE stare into camera. Christof leans forward
and speaks.
CHRISTOF
...Everybody stay focussed. Remember who
you are.
EXT. CAFE. DAY.
TRUMAN turns his attention to a group of CUBAN-LOOKING MEN at
the only other occupied table at the cafe. We see extreme
close-ups as Truman scans the men's faces for any sign of
phoniness. They are talking loudly, making suggestive
comments to the WAITRESS. Their behavior passes the test -
all seems genuine.
Then, Truman notices TWO JOGGERS out for a morning run,
making their way down the street towards him. Truman happens
to glance at the sneakers of one of the joggers. He suddenly
springs to his feet. Truman blocks the joggers.
TRUMAN
It's you...isn't it?
The Joggers attempt to sidestep Truman.
JOGGER 1
Excuse me.
TRUMAN
Remember? Two days ago I gave you my
meatball sandwich in the park. You were
in a wheelchair. Same sneakers.
The jogger looks down at his distinctive sneakers bearing the
initials, "T.S.", and visibly blanches.
JOGGER 2
(coming to his companion's aid)
Get the hell out of here.
The second jogger roughly shoves Truman aside. Truman calls
out after the two men.
TRUMAN
(ironically referring to the
Jogger's new-found mobility)
It's a miracle!
Truman picks himself up, dusting dirt from his suit. He
retrieves his briefcase and continues down the street with
renewed purpose.
EXT. DOWNTOWN STREET. DAY.
Wandering down the bustling street, TRUMAN suddenly bolts
into a building at random.
INT. OFFICE BUILDING. DAY.
An imposing office building clad in the kind of reflective
glass that shields its occupants from the world - a building
Truman passes every day. A steady stream of EMPLOYEES and
VISITORS enter and exit the building's high-ceilinged lobby
past an intimidating security desk manned by TWO UNIFORMED
GUARDS. Beyond security are banks of elevators, ferrying
executives, clerical staff and delivery personnel to and from
their floors of business.
Truman abruptly enters reception and strides confidently
past the security desk trying to look as if he belongs.
SECURITY GUARD 1
(to Truman)
Can I help?
TRUMAN
(sneaking a glance at the
building directory)
I have an appointment at, er...Gable
Enterprises.
SECURITY GUARD 1
They went bust.
The second Security Guard is rising from his seat to block
Truman's path to the elevators, but Truman reads his mind and
makes a dash for it - into one of the elevators.
A YOUNG WOMAN in the elevator looks in horror at Truman - the
cause of her concern all too apparent. Looking beyond the
Woman, Truman discovers that there is no back to the elevator
car. The PEOPLE Truman has just witnessed entering other
elevators are milling around a refreshment table, primping or
sitting on folding chairs. Gradually, they all turn to gape
at Truman, who in turn stares back, appalled. Truman's view
is abruptly blocked as a rear panel is hastily attached to
the elevator. A Security Guard pulls Truman from the car.
TRUMAN
What's going on?
SECURITY GUARD 1
(glancing to the lights above
the elevator, trying to appear
innocent)
Nothing.
Truman observes the upward progress of the elevator via the
light display above the doorway. Before he has time to make
sense of it, the guards drag him away.
SECURITY GUARD 2
You've got to leave.
The Guards frog-march Truman out of the facade towards an
Emergency Exit.
TRUMAN
Just tell me what's going on?
SECURITY GUARD 2
We're re-modeling.
TRUMAN
No, you're not!! What were those people
doing in there?
SECURITY GUARD 1
(shrugs)
It's none of my business.
(ushering Truman off the
property)
None of yours, either.
TRUMAN
(not going quietly)
You don't tell me what's really going on,
I'll report you.
TRUMAN continues to struggle as the GUARDS usher him to the
street.
SECURITY GUARD 2
For what? You're trespassing!
EXT. DOWNTOWN STREET. DAY.
TRUMAN continues to struggle as the GUARDS unceremoniously
dump him on the pavement. He picks himself up, head reeling,
and starts to run along the street. He suddenly enters
another building at random. An office block with a bank on
the ground floor.
Truman rushes to the elevators. The lights above the doors
show all the elevator on upper floors. Frantic pressing of
the elevator button gets no response. A RECEPTIONIST rises
from her desk. Truman heads for the stairs, but is
intercepted by a BANK OFFICIAL barring his way.
TRUMAN
I want to...
The Bank Official, the Receptionist, and a BANK TELLER back
Truman towards the door.
BANK OFFICIAL
...Open an account?
TRUMAN
Yes. Er, why not?
RECEPTIONIST
Savings or checking?
BANK OFFICIAL
Let's go up to my office.
Truman hurriedly exits the bank.
EXT. STREET. DAY.
Back on the street, TRUMAN feels the eyes of the PEDESTRIANS.
Is he simply drawing attention to himself by his behavior?
Truman wheels around, trying to make eye contact with passersby.
They shy away. He continues to run down the street.
Finally, Truman finds himself standing in front of the
window of an electronics store staring at his own face on a
TV set. It is taking a feed from a camcorder aimed out the
store window.
INT. A BATHROOM SOMEWHERE. DAY.
A MAN stares into camera from a bath of stale water - a layer
of soap scum on the top.
MAN
Don't look at me, pal.
EXT. STREET - ELECTRONICS STORE. DAY.
TRUMAN shudders at his video reflection. Further down the
street, he notices Marlon's van parked outside a supermarket.
INT. SUPERMARKET. DAY.
The door of a vending machine is open. MARLON, half inside
the machine, loads a stack of Baby Ruth candy bars into one
of the dispensing slots. The paranoid TRUMAN appears at his
shoulder.
TRUMAN
Marlon--
MARLON
(startled)
--Truman, what are you doing here?
Truman looks nervously around him. Even the STORE OWNER's
friendly nod from behind the counter is cause for suspicion
in Truman's mind.
TRUMAN
(whisper)
I've got to talk to you.
MARLON
Sorry, I'm way behind.
TRUMAN
I'm onto something, Marlon - something big.
MARLON
Are you okay? You look like shit.
TRUMAN
I think I'm mixed up in something.
MARLON
Mixed up? Mixed up in what?
TRUMAN
There's no point in trying to explain it,
but a lot of strange things have been
happening - elevators that don't go
anywhere, people talking about me on
the radio, you know what I mean?
MARLON
(bemused)
No. Truman, if this is another one of
your fantasies...
TRUMAN
I think it's got something to do with
my dad.
MARLON
Your Dad?!
TRUMAN
(looking around nervously)
I think he's alive. I'll tell you about
it later. I'm definitely being followed.
MARLON
(looking around, instantly
protective)
Who?
TRUMAN
It's hard to tell. They look just like
regular people.
MARLON
(referring to an OLD COUPLE
entering the deli)
How about them?
TRUMAN
(seriously considering the
possibility)
Could be. Beard looks phony.
(leaning closer to Marlon)
It's when I'm unpredictable. They can't
stand that. That's why we've got to get
out of here. Can you come with me?
MARLON
(closing up the vending machine)
I told you I can't.
TRUMAN
I've got to show you something.
Truman fixes Marlon with a look of deadly seriousness.
MARLON
(weakening)
Christ, Truman. You're gonna get both
our asses fired.
EXT. SEAHAVEN ELEMENTARY SCHOOL. DAY.
TRUMAN hurries MARLON up the school steps. The sound of
children's voices continues to drift out from inside the
building. Truman and Marlon storm into the school reception
area - still empty.
INT. SCHOOL CORRIDOR. DAY.
TRUMAN and MARLON stand outside the classroom, the source of
the children's voices. Truman throws his friend an "I-told-
you-so" look and swings open the door with a flourish.
INT. CLASSROOM. DAY.
The once-empty classroom is now full of SCHOOL CHILDREN in an
art class. A hush falls over the students and all eyes turn
to TRUMAN and MARLON.
TEACHER
(gesturing to two unoccupied
easels)
Would you care to join us?
EXT. CLIFFTOP - DUSK
Hand-over-hand, TRUMAN climbs the cliff he once scaled as a
seven-year-old. Finally, he sits on the clifftop, staring
out at the view his father had been so desperate for him not
to see twenty-six years earlier. However, the deserted bay
beyond is identical to its neighbor. MARLON, laboring,
crests the rise and joins his friend on the clifftop.
MARLON
What're we doing here, Truman?
TRUMAN
This is where it started.
MARLON
What exactly?
TRUMAN
Things. Things that doesn't fit.
(another thought occurs)
Maybe I'm being set up for something.
You ever feel like that, Marlon? Like
your whole life has been building to
something?
MARLON
(blank)
No.
TRUMAN
(ignoring the remark)
When you were hauling chickens for Kaiser
Poultry, what was the furthest you ever
went off the island?
MARLON
I went all over but I never found a place
like this.
(nodding to the setting sun)
Look at that sunset, Truman. It's perfect.
TRUMAN
(in a daze)
Yeah...
MARLON
(glancing heavenwards)
That's the "Big Guy". Quite a paintbrush
he's got.
TRUMAN
Just between you and me, Marlon, I'm
going away for a while.
MARLON
Really?
INT. LIVING ROOM - TRUMAN'S HOUSE. NIGHT.
Truman sits cramped on his sofa. Pulling wider, we discover
the cause of his discomfort. He is sandwiched between MERYL
on one side and MOTHER on the other. Mother, the family
historian, a stack of photograph albums at her feet, turns
the pages of the album on Truman's lap.
TRUMAN
We ought to be getting you back, Mother.
MOTHER
Hold on a minute, dear.
(pointing out a photo in the album)
Here's us at Mount Rushmore. You
remember, Truman--when Dad was still with
us - that was quite a drive. You slept
all the way there.
TRUMAN
(taking an interest in the
monument)
It looks so small.
MOTHER
(quickly turning the page)
Things always do--when you look back.
Mother skips several pages in the album, finally stopping at
a spread of wedding photos.
MERYL
Look, Truman, there's my cousin Errol
putting the bouquet down his pants - it
was the happiest day of our lives.
MOTHER
(referring to Meryl)
Didn't she look beautiful, Truman? She
still does.
Mother turns to a blank page in the album.
MOTHER
And there's plenty of room for baby
photos. I'd like to hold a grandchild
in my arms--
(dabbing her eye with a handkerchief)
--before I go.
Meryl rises from the sofa and helps Mother to her walker.
MERYL
I'll take you home, Angela.
(referring to the album)
Why don't you leave those with us for
a while?
TRUMAN
(kissing his emotional mother)
Good night, Mother.
MERYL
(a wink to Truman)
See you in a minute, sweetheart.
Meryl departs with Mother. Left alone in the living room,
Truman slumps back down onto the sofa and switches on the
television set - an old-fashioned model with rabbit-ears.
He idly studies the photograph album as an over-earnest
television HOST announces the upcoming program.
TV HOST
--Tonight's golden-oldies is the
enduring, much-loved classic, "Show Me
The Way To Go Home". A hymn of praise
to small-town life where we learn that
you don't have to leave home to
discover what the world is all about
and that no one is poor who has
friends...
However, when we turn our attention away from the
television, we find that Truman is peering intently at a
wedding photograph of Meryl and himself taking their vows in
a civil ceremony in a beachside gazebo. Under the scrutiny
of a magnifying glass, he discovers that Meryl has her
fingers crossed.
INT. A LIVING ROOM SOMEWHERE. NIGHT.
The TWO LADIES sit on their sofa, a rug across their
knees, sipping a night cap of hot chocolate. They stare into
camera.
OLD LADY 1
Remember at the wedding - that dog?
OLD LADY 2
Started howling when they took their vows.
OLD LADY 1
And the plastic horseshoe fell off when
they cut the cake.
OLD LADY 2
(shaking her head ruefully)
They never had a chance.
INT. KITCHEN. MORNING.
TRUMAN, dressed casually in weekend attire, is at the stove
preparing an omelette. MERYL hurries into the kitchen in her
nurse's uniform. She gulps down a cup of coffee and reaches
for her nurse's cap.
However, she still has time to adjust the position of a pack of
"FiberCon Cereal" - squaring it a little more to camera.
TRUMAN
I have to talk with you.
(looking about, suspicious)
But not here. Let's go for a walk.
MERYL
(kissing him on the cheek)
I'm sorry, I'm late.
TRUMAN
What's the hurry?
MERYL
Surgery. The elevator disaster downtown
on the news last night. Cable snapped, a
car dropped ten floors. Non-union
contractors. Monsters. We're starting
with an amputation.
Truman's eyes widen. Meryl adjusts her hat in the mirror.
MERYL
That building's near yours. Imagine if
you'd been in there for some reason. It
doesn't bear thinking about.
Truman, lost in thought, picks up the scalding frying pan with
his bare hand. Letting out a howl of pain, he drops the pan.
TRUMAN
Arrah!
MERYL
Oh, my God!
TRUMAN
What do I do?
MERYL
I don't know--
TRUMAN
--you're a nurse, aren't you?
MERYL
Put some butter on it--or ice?
She looks up the kitchen clock.
MERYL
(hurrying out the door)
Oh, look at the time.
Truman stares after her, the pain of his hand forgotten for the
moment. He watches Meryl ride her bicycle down the driveway.
Truman exits the house.
EXT. SEAHAVEN STREET/HOSPITAL/PARKING LOT. DAY.
Riding a bicycle of his own, TRUMAN follows MERYL to work,
staying a safe distance back. He watches her enter the
hospital.
INT. HOSPITAL. DAY.
TRUMAN makes his way along various corridors. All seems as
it should - DOCTORS confer with NURSING STAFF and PATIENTS,
gurneys are wheeled about with their PASSENGERS looking
suitably traumatized. Truman approaches a NURSING SISTER.
TRUMAN
I'm looking for my wife--Nurse Burbank.
It's important.
NURSE
(checking her clipboard)
I'm afraid that's impossible--she's in pre-op.
TRUMAN
Sure. Okay. Fine. Can you pass on a
message?
NURSE
I'll try.
TRUMAN
Tell her, tell her...I had to go to Fiji.
I'll call her when I get there.
NURSE
When you get to Fiji?
TRUMAN
You got it.
NURSE
Fine. I'll tell her.
The nurse walks off, disappearing through a set of doors.
Truman hesitates before following her.
INT. VARIOUS HOSPITAL CORRIDORS. DAY.
The NURSE walks briskly - fewer people about, TRUMAN
discreetly following behind. The nurse breaks into a jog.
Truman hurries to keep up with her - dodging around gurneys,
JANITORS mopping floors.
INT. OUTSIDE OPERATING THEATRE. DAY.
The NURSE, hastily scrubbed and gowned, enters the theatre. TRUMAN
hesitates but dares not enter. He grabs a mask of his own.
Looking through the glass window in the operating theatre
door, he sees the YOUNG WOMAN (seen in the hastily fixed
elevator car the day before) lying on the operating table, a
blood-soaked bandage covering her left leg. MERYL, wearing a
surgical gown and mask, assists the SURGEON. The SISTER
hovers nervously in the background.
SURGEON
Scalpel.
Meryl very slowly selects a scalpel from a tray of instruments
and awkwardly hands it to the surgeon.
SURGEON
I'm now making my primary incision just
above the left knee.
The patient's eyes blink open in horror. The ANESTHETIST
steps in Truman's view before he can get a good look.
Suddenly, a SECURITY GUARD appears beside Truman and takes
him by the arm.
SECURITY GUARD
(referring to the operation)
This isn't gonna be pretty. Unless
you're family of the patient, I'll have
to ask you to leave.
TRUMAN
No problem. I don't want to cause any
trouble.
INT. TRAVEL AGENCY. DAY.
TRUMAN takes a seat at the only desk in an empty travel
agency. The travel brochures and posters that adorn the
walls all feature destinations that bear a striking
similarity to picturesque Seahaven. Another poster spells
out the dangers of travel - "TRAVELLERS BEWARE - Terrorists,
Disease, Wild Animals, Street Gangs". A female TRAVEL AGENT
enters from a rear door.
AGENT
I'm sorry to keep you. How can I help?
TRUMAN
I want to book a flight to Fiji.
AGENT
Where exactly?
TRUMAN
(believing she is being deliberately obtuse)
Fiji.
AGENT
(a trace of condescension)
Where in Fiji? What island?
TRUMAN
I'm sorry, er...the biggest one.
AGENT
(entering the destination in
her computer)
Viti Levu. For how many?
TRUMAN
(finding the question suspicious)
One.
AGENT
When do you want to leave, remembering, of
course, you do lose a day on the way there?
TRUMAN
Today.
AGENT
(reading off her computer screen)
I'm sorry. I don't have anything for at
least a month.
TRUMAN
(suspicious)
A month.
AGENT
(patiently explaining)
It's the busy season.
TRUMAN
(paranoia showing)
You are a travel agent, aren't you?
(reading her nametag)
"Doris"? Your job is to help people
travel.
AGENT
(showing amazing restraint)
I do have a fabulous rate on a cruise
ship departing for Fiji tomorrow. But
you wouldn't want to do that.
TRUMAN
Why wouldn't I?
AGENT
I thought you were in a hurry.
TRUMAN
(calming down)
That's right.
AGENT
You want to book the flight?
TRUMAN
It doesn't matter. I'll make other
arrangements.
EXT. CITY STREET. DAY.
Emerging onto the street, TRUMAN looks across to the building
which he entered the previous day. It is now cordoned off
with police tape after the elevator disaster. Flowers have
been laid at the doorway.
EXT. GREYHOUND BUS STATION. DAY.
A Greyhound Bus, bound for "CHICAGO" according to its
destination sign, sits idling at the stop. Just as a burly
SUPERVISOR is about to wave the bus on its way, TRUMAN dashes
into the station.
BUS DRIVER
Last call for Chicago.
Truman jumps onto the bus behind the last boarding passenger
- a YOUNG SOLDIER.
TRUMAN
(to the Bus Driver, as he
boards the bus)
Windy City, here we come.
INT. GREYHOUND BUS. DAY.
TRUMAN takes a seat by a window. An awkward silence descends
over the bus. The other passengers - a MOTHER with a
restless CHILD, several TOURISTS, an OLD COUPLE and the YOUNG
SOLDIER - all stare stiffly straight ahead, averting their
eyes from Truman.
No one is more uncomfortable than the BUS DRIVER. Beads of
perspiration on his head, he fumbles for the gear shift,
apparently unsure how to operate it. The gears grind.
The OTHER PASSENGERS try not to notice. The CHILD, tugging
her MOTHER's sleeve, points to Truman. Her mother makes her
face the front of the bus. Finally the SUPERVISOR enters the
bus.
SUPERVISOR
Everybody off. We've got a problem.
The relieved passengers hurriedly exit until Truman is the
only one remaining on the bus. The Bus Driver looks almost
sorry for Truman who sits resolutely in his seat - the hint
of a tear of frustration in his eyes.
BUS DRIVER
(softly)
I'm sorry, son.
INT. A BAR SOMEWHERE. DAY.
The bar seen earlier. A small group of PATRONS discuss
developments. The WAITRESS seems upset, occasionally
glancing to camera as she pours a beer.
PATRON 1
Why would he want to go to Chicago? Who
does he know from there?
PATRON 2
His doctor came from Chicago, didn't he?
PATRON 1
Wasn't his father from Chicago?
WAITRESS
(upset)
He's not going to Chicago. He's not going
anywhere. He has to have it out with Meryl.
EXT. STREET - TRUMAN'S BICYCLE. DAY.
As TRUMAN rides home on his bicycle, he stares wildly about
him - the rearview mirror on his bicycle is suddenly cause for
concern, so are the trees and streetlamps lining the roadway.
EXT. TRUMAN'S BACKYARD. DAY.
TRUMAN, staring at the highway from the bottom of the garden,
doesn't bother to look up as MERYL, still wearing her nurse's
uniform, approaches.
TRUMAN
(referring to a distant car on
the expressway)
See that car way down there? I bet it's
a Suburu station wagon.
Meryl looks idly over the fence at the approaching car.
Finally, a Suburu station wagon motors by. Meryl is
unimpressed. Truman turns his back on the highway to
continue his game.
TRUMAN
I predict the next four cars will be a
white Honda Civic, a blue and white Dodge
Dart with the front hubcap missing, a
Volkswagen Beetle with a dented fender
and a motorcycle.
Meryl doesn't wish to participate in the game and makes for
the house. Truman holds her arm, forcing her to watch. He
turns to check his prediction. A convoy of cars approaches.
TRUMAN
There's the Honda...the Dodge...here
comes that dented Beetle...
Meryl's attention wavers. Truman tightens his grip.
TRUMAN
Look!
Following the VW is a school bus.
MERYL
(mocking)
Where's the motorcycle?
Truman is momentarily disappointed.
TRUMAN
Don't you want to know how I did that?
A motorcycle putters by. Meryl turns and walks back to the
house. He hurries after her.
MERYL
I invited Marlon and Rita for a barbeque
Sunday. I thought I'd make my potato
salad. Remind me--
TRUMAN
I won't be here Sunday.
MERYL
--we need more charcoal.
TRUMAN
Are you listening to a word I'm saying?
MERYL
You're upset because you want to go to
Fiji. Is that it?
Truman is puzzled by her conciliatory tone.
MERYL
Okay, do it. Get it out of your system.
Save for a few months and go. There.
Happy now? I'm going to take a shower.
She turns away.
TRUMAN
(catching her wrist)
Let's go now.
MERYL
What?!
Despite her protests, Truman drags Meryl towards his car.
TRUMAN
(as he shoves her into the car)
I'm ready to go now. Why wait?
INT. TRUMAN'S CAR. DAY.
TRUMAN holds MERYL's wrist to stop her exiting the car and
accelerates out of the driveway in reverse without looking -
almost running over PLUTO the dog and SPENCER with his
garbage can.
Truman starts circling a gazebo at the center of a
roundabout, faster and faster.
TRUMAN
Where shall we go? Where shall we go?
Spontaneity is what it's all about.
Forget Fiji. We can't very well drive to
Fiji, can we? What about Atlantic City?
MERYL
(trying to mask her anxiety)
You hate gambling.
TRUMAN
That's right. I do, don't I?
MERYL
So why do you want to go?
TRUMAN
Because I never have. That's why you go
places, isn't it?
MERYL
Truman, I think I'm going to throw up.
Truman roars off down the street.
TRUMAN
Me too.
Almost immediately, Truman encounters a traffic snarl.
TRUMAN
(a manic edge to his voice)
So much traffic, this time of day.
Does that strike you as peculiar?
Without warning, Truman suddenly dives down a sidestreet. But
his move is anticipated. At the end of the street, a pack of
cars suddenly appears. Other vehicles fill the gap behind.
TRUMAN
(to Meryl, marveling)
Blocked at every turn. Beautifully
synchronized, don't you agree?
MERYL
(incredulous)
You blaming me for the traffic?
TRUMAN
Should I?
Truman reverses suddenly and makes a U-turn.
TRUMAN
You're right. We could be stuck here
for hours. Could be like this all
the way to Atlantic City. Let's go
back. I'm sorry. I don't know what
got into me.
Truman starts heading back the way they came, the roadway now
relatively free of traffic.
MERYL
Would you please slow down, Truman?
Truman floors the car. The car flies past their house.
MERYL
Truman, that was our house!
TRUMAN
I've changed my mind again. What's New
Orleans like this time of year? Mardi
Gras. Or let's just see where the road
takes us.
MERYL
(pleading)
Let me out, Truman. You're not right in
the head. You want to destroy yourself,
you do it on your own!
TRUMAN
(eerily calm)
I think I'd like a little company.
As he speeds erratically, Truman glances at the streets on
either side of the main road where he discovers a distinct
lack of moving traffic.
TRUMAN
(to the anxious Meryl at his side)
Look, Meryl. No cars! I don't run into
traffic. The traffic follows me around.
(excited by his discovery)
We're in a moving pack, don't you see?
INT/EXT. TRUMAN'S CAR - BRIDGE. DAY.
But TRUMAN's clear path is short-lived. He is forced to slow
once again behind a line of other cars at a bridge.
TRUMAN
(to Meryl)
It's hard to go places, isn't it?
MERYL
(looking up ahead at an
overturned car)
There's been an accident, Truman.
TRUMAN
Uhuh. There's no accident. It's just
more stalling.
Truman floors the car again and swerves into the oncoming
lane. He roars along the bridge on the wrong side of the
road. Near the end of the bridge, a distraught MOTORIST
dashes into the middle of the road, waving his arms. Truman
slams on the brakes.
MOTORIST
(pointing to a small BOY lying
very still on the ground
beside a wrecked car)
--is there a doctor, a nurse?
MERYL
Truman, it's a child. I've got to help -
TRUMAN
(hardly glancing to the boy)
He'll be fine.
Truman roars on, almost bowling over the concerned motorist.
MERYL
Truman, I took the "hypocrite" oath!
TRUMAN
I bet you did.
Truman roars past a sign that reads, "YOU ARE NOW LEAVING
SEAHAVEN - Are you sure that's a good idea?"
Back at the accident scene, the little boy, apparently
uninjured, sits up.
INT/EXT. CAR. DAY.
They roar pass an illuminated sign - "FOREST FIRE WARNING -
Extreme Danger".
MERYL
Truman, what about that sign?
TRUMAN
I'm sure they're just exaggerating.
Suddenly, a 20-foot high wall of flame shoots across the
roadway in front of them - as if someone flicked on a gas
switch.
MERYL
What about that - do you believe that?!
TRUMAN experiences his first moment of doubt. He looks to
the terrified MERYL, then closes his eyes tightly and
accelerates through the fire wall. He is startled to find
that they have emerged on the other side, singed but
unscathed.
However, the open road in front of them now disturbs Truman
for a different reason - its sheer lack of anything unusual.
Signs along the road advertise motels and give directions to
other destinations - "I-6211 - 2 miles", "Notel Motel - Pool,
Color TV".
Meryl also now appears to be resigned to the journey.
MERYL
So what do we do for money when we get to
New Orleans?
TRUMAN
(not so confident now)
I've got my Seahaven Bankcard.
MERYL
So we just eat into our savings, is that
the idea? I'd better call your mother
when we get there. She'll be worried
sick - I don't know how she's going to
take this.
Truman appears very unsure of himself.
EXT. ROADWAY. DAY.
However, there is still a barrier between TRUMAN and Bourbon
Street. The highway, leading to a cloverleaf freeway
junction in the distance, is completely blocked off by
Seahaven police cars. No way past. Nuclear silos in the
distance spew out an ominous puff of smoke. A sign reads,
"SEAHAVEN ISLAND NUCLEAR POWER STATION - Clean, Safe,
Economical - More Power To You!"
Truman is forced to slow at the police barricade.
TRUMAN
Now what?
OFFICER
(grim-faced, indicating
the nearby power plant)
Leak at the plant. They had to shut
her down.
TRUMAN
Is there any way around?
OFFICER
The whole area's being evacuated.
TRUMAN
Well, thank you for your help.
OFFICER
You're welcome, Truman.
Truman's eyes widen at the mention of his name from an
apparent stranger. As the officer turns, Truman bolts from
the car, leaving MERYL in the passenger seat.
MERYL
Truman!! Come back!!
Truman flees into the forest.
INT. A LIVING ROOM SOMEWHERE. DAY.
The TWO OLD LADIES we have observed before are almost overcome
with tension. One lady reaches out for her companion's hand.
EXT. FOREST NEAR SEAHAVEN NUCLEAR POWER PLANT. DAY.
TRUMAN bursts past the alien-looking HAZARDOUS WATER WORKERS
in their protective suits carrying detection instruments.
The workers give chase in their cumbersome suits, trying to
cut off his path.
Nearing the edge of the forest, Truman hears the sound of
hammers and saws. But before he has time to see the source
of the sound, he is tackled to the ground.
As SEAHAVEN POLICE OFFICERS drag him away, one of the WASTE
WORKERS walks the remaining few yards, pushing aside a wall
of tropical foliage. We now see what Truman was prevented
from seeing.
A Polynesian island is under construction by dozens of
RIGGERS, PAINTERS and SET DECORATORS. Large cranes are
lifting palm trees into place, a fake volcano is being tested
in the distance and rehearsals for a firewalking ceremony are
underway complete with hot coals, DRUMMERS and FIREWALKERS in
native dress.
The wings and fuselage of an airliner are being constructed
on a hydraulic gimbal. Leading into one side of the airliner
is a covered walkway, emblazoned with a sign, "Seahaven
Island - Departures". Emerging from the opposite side of the
airliner is an old-fashioned airline stairway with the sign,
"Welcome to Fiji"
At the foot of the steps, TWO WOMEN in Fijian dress are being
shown the correct way to present a floral lei.
FIJI WOMAN
Did he see us?
WASTE WORKER
(into microphone)
Negative.
INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.
MERYL shows TWO SEAHAVEN POLICEMEN out the back door.
MERYL
Thank you.
POLICEMAN 1
You're lucky he's not glowing, Ma'am.
Next time we'll have to file charges.
Meryl joins TRUMAN at the kitchen table. Truman applauds
ironically.
MERYL
Let me get you some help, Truman. You're
not well.
TRUMAN
(ignoring her medical advice)
Why do you want to have a child with me?
You can't stand me.
MERYL
That's not true.
Meryl picks up a package and holds it to camera.
MERYL
Why don't I make you some of this new
Mococoa Drink? All natural. Cocoa beans
from the upper slopes of Mount Nicaragua.
No artificial sweeteners--
TRUMAN
(incredulous)
--What the hell are you talking about?!
MERYL
I've tasted other cocoas. This is the best.
Truman rises from the table and backs her around the room.
TRUMAN
What the hell has that got to do with
anything? Tell me what's happening?!
MERYL
(frightened but remaining
poised)
You're having a nervous breakdown, that's
what's happening.
TRUMAN
(backing her up against the
kitchen bench)
You're part of this, aren't you?!
Meryl grabs the "Chef's-Mate" from the counter to protect
herself. She points the potato peeler at him.
MERYL
Truman, you're scaring me!
Truman looks into her eyes and, with surprising swiftness,
grabs her wrist and disarms her.
TRUMAN
No, you're scaring me, Meryl!
Truman grabs Meryl and turns the Chef's Mate on her. He
stares wildly about him.
TRUMAN
Stop this now. I'll do it. I swear.
MERYL
Do something...
Upon hearing her remark, Truman's eyes widen. Sensing that
she too is addressing a third person, he jerks her head
around to read her face.
TRUMAN
(wild-eyed)
Who were you talking to?!
MERYL
(incredulous)
You're the one talking to the walls!
TRUMAN
No. You said, "Do something." Who were
you talking to? Tell me!
MERYL
Truman, stop it!
Suddenly, the front door chimes.
TRUMAN
Right on time. Cops must be telephatic.
Truman grabs his peeler and marches Meryl down the hallway to
the front door. The doorbell chimes a second and third time,
more insistently.
TRUMAN
(shouting through the closed door)
Stay where you are!
MARLON (O.C.)
Truman? It's me, Marlon. I need to talk
to you.
Truman flinches. He was so convinced it would be the police.
He takes a step back against the hallway wall. Before he can
decide what to do, MARLON has opened the unlocked front door
to be confronted with the sight of Truman holding the peeler
to Meryl's throat.
Marlon locks eyes with Truman. Sizing up the situation, he
slowly but decisively removes the peeler from Truman's hand.
Meryl wrenches herself free from Truman's now limp grasp and
collapses into Marlon's arm, sobbing.
MERYL
(distraught)
How can anyone expect me to carry on
under these conditions? This
is...unprofessional.
EXT. UNFINISHED BRIDGE. NIGHT.
MARLON and TRUMAN, both nursing bottles of beer, sit on the
end of the unfinished bridge.
TRUMAN
I don't know what to think, Marlon.
Maybe I'm going out of my mind, but I
get the feeling that the world revolves
around me somehow.
MARLON
It's a lot of world for one man. You sure
that's not wishful thinking, you wishing
you'd made something more of yourself?
Christ, Truman, who hasn't sat on the John
and had an imaginary interview on
"Seahaven Tonight"? Who hasn't wanted to
be somebody?
TRUMAN
This is different. Everybody seems to be
in on it.
Marlon looks around as if drawing inspiration from somewhere
in the night.
MARLON
Tru, we've known each other since before
we were in long pants. The only way we
ever made it through high school was
cheating off each other's test papers.
Jesus, they were identical. I always
liked that, because whatever the answer
was--
Truman chimes in, nodding fondly at the memory.
TRUMAN & MARLON
--we were right together and we were
wrong together.
MARLON
The only night either of us ever spent
in jail, we spent together and I wet
myself but you never told anyone. I was
best man at your wedding and my brother
was best man at my wedding and you didn't
talk to me for a month over that and I
didn't blame you because you've been more
of a brother to me than he's ever been.
Truman is slowly coming around - Marlon's speech from the
heart soothing away his pain.
MARLON
I know things haven't worked out for
either of us like we used to sit up on
Monroe Avenue all night and dream they
would. We all let opportunities pass us
by. None of us asks for the dance as
often as we should. I know that feeling
when it's like everything's slipping away
and you don't want to believe it so you
look for answers someplace else. But,
well, the point is, I would gladly step
in front of traffic for you.
INT. CONTROL ROOM. NIGHT.
CHRISTOF stares intently into camera, holding his distinctive
earpiece to his head. Beside him, his ever-present assistant,
CHLOE.
CHRISTOF
(hushed tones)
And the last thing I'd ever do is lie
to you.
EXT. FREEWAY. NIGHT.
MARLON
(staring into Truman's eyes)
And the last thing I'd ever do is lie to you.
(pause)
Think about it, Truman, if everybody's
in on it, I'd have to be in on it too.
I'm not in on it, because there is no it.
TRUMAN
So what are you saying, Marlon, the
whole thing has been in my head--?
MARLON
(meeting his gaze)
Not the whole thing, Truman. You were
right about one thing.
TRUMAN
What's that?
MARLON
The thing that started all of this.
TRUMAN looks up in the direction of MARLON's gaze. A FIGURE
stands at the end of the freeway - a homeless man. It is his
father, KIRK.
MARLON
Yes, he survived somehow. He's got quite a
story to tell.
Marlon helps Truman to his feet - Truman still transfixed by
the figure.
MARLON
Go to him.
INT. CONTROL ROOM. NIGHT.
CHRISTOF continues to direct the action from what is now
revealed to be the control room of a television studio.
CHRISTOF
Go wide, LightCam Eight...
In a wide shot, from one of the streetlights lining the
empty freeway, we see TRUMAN walking towards his long-lost
FATHER.
CHRISTOF
...CarCam Twelve...and...cue
music...Beethoven, Third Symphony, Second
Movement.
Music swells. Kirk and Truman embrace in the middle of the
freeway. Truman takes his father's ring from his own
finger.
CHRISTOF
...RingCam...
We see a close up of Kirk from the ring's POV. Truman places
the ring in the palm of his father's hand.
CHRISTOF
...ButtonCam Three...
We see a close up of Truman from a camera on Kirk's coat.
TRUMAN
I never stopped believing.
KIRK
(gazing at the ring, then up
to Truman's face)
Thank you...my son.
CHRISTOF
And wide...
SIMEON looks to his director.
SIMEON
Close up?
CHRISTOF
(staring intently at his
monitor)
No, hold back...
The CREW watches Kirk and Truman embrace.
KIRK
All those years, wasted.
TRUMAN
We have a lot of years ahead.
INT. CONTROL ROOM. NIGHT.
CHRISTOF allows himself a smile of satisfaction.
CHRISTOF
And fade up music...now go in close...
As a tight two-shot of father and son fills the screen, the
orchestra swells with triumphant music.
EXT. FREEWAY. NIGHT.
FATHER and SON remain in the embrace. Over Truman's shoulder,
we see a flash of guilt flicker across MARLON's face.
INT. CONTROL ROOM. NIGHT.
CHRISTOF, emotionally drained by the events, slumps in his
chair. CHOLE rests a supportive hand on his shoulder. The head
of the network, MOSES, a man in his seventies, enters with his
young assistant, ROMAN - their faces full of admiration.
MOSES
Well done. Well done, everyone.
INT. A BEDROOM SOMEWHERE. NIGHT.
A YOUNG WOMAN reclines on a bed, her back against the wall.
Propped up on her knees is a book. However, she's not
reading but staring straight into camera - a look of profound
sadness on her face. It is SYLVIA.
From her point-of-view, we see a portable television set on a
table at the foot of the bed.
On the television is a live picture of TRUMAN - the first
time we have seen him on a television screen. He is sitting
at his kitchen table, unaware of the cameras recording him.
The shot is static. He just sits there in silence, a
steaming cup of cocoa in front of him and a plate of
untouched cookies.
At one point, a sponsor's border, appears on the screen,
tastefully framing the "action", with the message, "MOCOCOA -
Cocoa beans from the upper slopes of Mount Nicaragua". After
several seconds the border disappears.
Suddenly, the live picture of Truman shrinks into a window on
the screen to accommodate a title sequence that begins to
play around the edge of the image. "The Truman Show" theme
music begins.
The camera cranes up and over the Hollywood sign, the
flatlands of Burbank stretching into the distance.
ANNOUNCER (V.O.)
From the network that never sleeps -
broadcasting live and unedited 24 hours a
day, 7 days a week, around the globe...
During this continuous aerial shot, overlapping scenes from
Truman's life appear in chronological order, from infancy to
adolescence and finally adulthood. Photographs of leading
CAST MEMBERS also appear in individual frames.
ANNOUNCER (V.O.)
...with Hannah Gill as Meryl Burbank,
Louis Coltrane as Marlon, Alanis Montclair
as Mother, re-introducing Walter Moore as
her husband, Kirk...
The music swells as the camera approaches a mammoth structure at
the base of the mountains - a dome so vast it dwarfs everything
around it. At the top of the dome is a huge painting of Truman's
face encircled by satellite dishes - inside each dish is a single
letter spelling out, T-H-E T-R-U-M-A-N S-H-O-W - a banner
proclaims, "30th Great Year"
ANNOUNCER (V.O.)
...and Truman Burbank as Himself, taped
in the world's largest studio, one of
only two man-made structures visible from
space, comes the longest running
documentary soap opera in history, now in
its 30th great year - "The Truman Show"!
The camera rushes towards the outside wall of the gigantic dome
bathed in sunlight. When we emerge on the other side, it is
night. The camera cranes up from a calm, moonlit ocean to the
nightsky above. As we near the crescent-shaped moon, we
discover that it is actually a window overlooking Seahaven.
Standing in the "crater" window is the suited CHRISTOF.
INT. LUNAR STUDIO. NIGHT.
Pulling back from the window we reveal an INTERVIEWER, mid-
forties, conservative suit and hair. A large television
shows a live picture of Truman. Immersed in his book.
INTERVIEWER
I'm your host, Mike Michaelson, coming to
you live from the Lunar Room on the 121st
story of the OmniCam Ecosphere, 2800 feet
above Seahaven Island. Tonight, a
special edition of "Tru Talk", the forum
where we discuss and analyze recent
events on the show. We are honored to
bring you a rare and exclusive interview
with the show's conceiver, creator, tele-
visionary, the Man-In-The-Moon himself--
Christof.
(referring to the image of
Truman between them)
I remind viewers that as "The Truman Show" is
a living history, it is our practice to keep
the image of Truman on screen at all times.
A TITLE APPEARS: Due to the Live and Unedited nature of the
program, viewer discretion is advised.
The Interviewer turns to Christof.
INTERVIEWER
Welcome.
CHRISTOF
Thank you.
INTERVIEWER
The catalyst for the recent dramatic
events was of course Truman's father,
Kirk, and his infiltration onto the show.
Before we discuss that, it's worth
reminding viewers that this isn't the
first time someone from the outside world
has tried to reach Truman.
CHRISTOF
We have had our close calls in the past.
Behind the two men, the constantly playing image of Truman
engrossed in his book is relegated to a window of the screen.
PLAYBACK - INT. TRUMAN'S HOME. CHRISTMAS MORNING.
TRUMAN, 7, is opening presents under the tree - KIRK and
MOTHER proudly looking on.
INTERVIEWER
Who can forget the infamous "Christmas
Present" incident in the seventh season?
Suddenly, a small MAN bursts from a large, Christmas parcel.
Kirk and the man grapple on the floor in front of the stunned
seven-year-old. Kirk drags him away.
PLAYBACK - EXT. CITY STREET. DAY.
As the adult TRUMAN makes his way to work, a PARACHUTIST drops
from the sky into the main street, only yards behind him.
INTERVIEWER
And only last summer "Billie Blackbird"
made his third attempt, leaping from a
lighting gantry.
The parachutist is dressed entirely in black with a message
emblazoned on his chest, "TRUMAN, YOU'RE ON TV." COMMUTERS
grab the man and drag him away - Truman blissfully unaware of
the incident.
CHRISTOF
(dismissive)
These people have their own agendas.
Many just want to be on television
themselves.
PLAYBACK - EXT. CITY STREET. DAY.
The encounter between TRUMAN and the homeless KIRK is
replayed up to the point where Kirk is bundled onto the bus.
INTERVIEWER
Of course, there hasn't been anything
to compare with this - the first time an
intruder has been a former cast member--
CHRISTOF
--a dead one at that.
INTERVIEWER
--and certainly the first time that an
intruder has been rewarded with a
starring role.
(gushing)
I really must congratulate you on writing
Kirk back in. A master stroke.
CHRISTOF
(feigning modesty)
Since Kirk started this whole crisis in
Truman's life, I came to the conclusion
that he was the only one who could end it.
INTERVIEWER
I understand he's hardly had a life of
his own since he left the show. How did
you convince him--was it the opportunity
to be close to Truman again?
CHRISTOF
That and a fat, new contract.
INTERVIEWER
How do you intend to explain his twenty-
two year absence?
CHRISTOF
Amnesia.
INTERVIEWER
(impressed, nodding in
agreement)
Of course.
The Interviewer consults his note.
INTERVIEWER
Let's talk ratings. "Truman" has always
enjoyed top ten status but the huge surge
over the last few days--how do you hope
to sustain that audience now that Truman
appears to have reconciled himself?
CHRISTOF
As you know ratings have never been our
primary goal. I imagine we'll lose those
voyeurs only interested in witnessing
Truman's latest torment. However, I'm
certain that our core audience will
remain loyal.
INTERVIEWER
But recent events have been so dramatic,
it does raise the perennial question.
What keeps us watching this one man
twenty-four hours a day - eating,
sleeping, working, sitting for hours in
contemplation?
CHRISTOF
It has to be the reality.
During this segment, we cut to a cross-section of VIEWERS -
the WAITRESS and BARMAN in the bar, the TWO OLD WOMEN on
their sofa, the TWO SECURITY GUARDS, and the MAN in the bath -
listening to Christof's theories on their viewing habits.
CHRISTOF
We've become tired of watching actors give
us phony emotions, bored with pyrotechnics
and special effects. While the world he
inhabits is counterfeit, there's nothing
fake about Truman himself. No scripts, no
cue cards. It's not always Shakespeare
but it's genuine. That's how he can
support an entire channel.
INTERVIEWER
A window onto the human condition?
CHRISTOF
I prefer to think of it as a mirror.
At that moment, Truman - still live on the screen -
unwittingly punctuates the pretentious remark with a belch.
Christof and the Interviewer try not to notice.
CHRISTOF
Not only does he give us a glimpse of the
truth, he gives us a glimpse of ourselves.
INTERVIEWER
But how do you account for the popularity of
those eight hours a day when Truman sleeps?
CHRISTOF
We find many viewers leave him on all
night for comfort. Haven't you ever
watched your child or your lover sleep?
INTERVIEWER
Let's go to some of those viewers' calls.
The Interviewer presses a blinking, illuminated button on his
desk's high-tech phone terminal. During this segment,
various windows open on the screen advertising products from
the "Truman" catalogue.
INTERVIEWER
Charlotte, North Carolina, for Christof.
MALE CALLER 1 (O.S.)
Hello?
INTERVIEWER
You're on, Caller. Go ahead.
MALE CALLER 1
Christof, it's a great honor to speak
with you.
CHRISTOF
Thank you.
MALE CALLER 1
How much of a strain has the last few
days placed on the actors?
CHRISTOF
Working on "Truman" has always been a
huge commitment for an actor, not just in
terms of separation from friends and
family, but since Truman essentially
drives the plot, it is a never-ending
improvisation - witness Marlon's
extraordinary performance in the recent
"Father And Son Reunion" episode.
INTERVIEWER
(cutting off the call)
Are we talking Emmies?
CHRISTOF
Certainly a nomination.
INTERVIEWER
Of course, Truman has always been very
much in on casting.
CHRISTOF
As with our own lives, the only people he
can't cast are his family. Otherwise he
has final approval, able to elevate an
extra into a lead role as was the case
with his only real friend, Marlon, or
alternatively relegate a star to a bit
player.
INTERVIEWER
(presenting another line)
Istanbul, Turkey, you're on with master
videographer, Christof.
FEMALE CALLER 1 (O.S.)
Christof, I've admired your work my whole
life, although I can't say I've seen it all.
CHRISTOF
Who can?
FEMALE CALLER 1
Can you settle an argument for me?
What's the longest time Truman has been
off-camera?
CHRISTOF
(trace of pride)
In his entire life, forty-two minutes. A
technical fault in the twelfth season
accounts for most of that time. The
remainder generally results from
blindspots, in the early days, when
Truman would stray out of range of our
cameras.
INTERVIEWER
We should remind viewers that Truman,
especially as a child, presented a
challenge for the production.
CHRISTOF
(turning to the screen)
Let me demonstrate some examples.
Footage of TRUMAN as a baby appears on the screen - as a
newborn INFANT, held in a pair of anonymous latex-gloved
hands, and as a TODDLER, dressed in various baby outfits -
on one occasion looking through the bars of his crib.
CHRISTOF
He was curious from birth - premature by
two weeks, as if he couldn't wait to get
started.
INTERVIEWER
Of course, his eagerness to leave his
mother's womb also meant he was the one
selected.
CHRISTOF
(enthusing)
In competition with five other unwanted
pregnancies - the casting of a show
determined by an air date - he was the
one who arrived on cue.
INTERVIEWER
Who knew that a show originally meant to
last one year - "Bringing Up Baby" -
would turn into a "cradle to grave"
concept. He is in fact the first child
in the world to be legally adopted by a
corporation.
CHRISTOF
That's correct.
INTERVIEWER
And the show now generates a yearly
income equivalent to the gross national
product of a small country.
CHRISTOF
People forget it takes the population of
an entire country to keep the show running.
INTERVIEWER
No, of course not.
(quickly changing the subject)
And since the show runs 24 hours a day
with no commercial breaks the staggering
profits are all generated from product
placement.
CHRISTOF
Yes, everything you see on the show is
for sale - from the actors' wardrobe,
food products, to the very homes they
live in--
INTERVIEWER
All products carefully chosen and
tested by you for quality and
aesthetic value.
CHRISTOF
There's nothing on the show I don't
use myself.
INTERVIEWER
And it's all available in the "Truman"
Show" catalogue. Operators are
standing by.
Christof nods.
INTERVIEWER
Why do you feel that Truman's never
come close to discovering the true
nature of his world?
CHRISTOF
We accept the reality of the world with
which we're presented. As the show
expanded, naturally we were forced to
manufacture ways to keep Truman in
Seahaven - demonstrating that every
venture is accompanied by a risk.
The SEVEN-YEAR-OLD TRUMAN we have seen in other flashbacks
appears on the screen. Wearing a cowboy outfit, he goes to
cross the walkway of a bridge when he is suddenly confronted
by a savage DOG wearing a spiked collar.
CHRISTOF
Later, Kirk's drowning made much of
this kind of intervention unnecessary.
We freeze on seven-year-old Truman's terrified face.
INTERVIEWER
You've never actually met Truman,
yourself. Never thought about doing a
cameo--playing a veterinarian, or a
priest, something like that?
CHRISTOF
I've been tempted. But I think it's
important to retain objectivity. I
wouldn't want to get emotionally
caught up.
INTERVIEWER
The Hague for Christof...The
Hague?...lost them.
(pressing another line)
Hollywood, California, you're on "Tru Talk."
FEMALE CALLER 2 (O.S.)
How can you say he lives a life like
any other?
CHRISTOF
(sensing the thinly
disguised resentment in the
Caller's voice)
As the Bard says, "All the world's a
stage, and all the men and women merely
players." The only difference between
Truman and ourselves is that his life is
more thoroughly documented. He is
confronted with the same obstacles and
influences that confront us all. He
plays his allotted roles as we all do--
FEMALE CALLER 2
--He's not a performer. He's a prisoner.
The Interviewer goes to cut off the call, but Christof stops him.
CHRISTOF
(rising to the challenge)
And can you tell me, caller, that you're
not a player on the stage of life -
playing out your allotted role? He can
leave at any time. If his was more than
just a vague ambition, if he were
absolutely determined to discover the
truth, there's no way we could prevent
him. I think what really distresses you,
Caller, is that ultimately Truman prefers
the comfort of his "cell" as you call it.
FEMALE CALLER 2
(as if trying to convince
herself, giving herself away)
--No, you're wrong! He'll prove you
wrong! He can still do it!
The Interviewer hangs up on the caller.
INT. A BEDROOM SOMEWHERE. NIGHT.
In a darkly lit room, we see SYLVIA. It is she who is the
confrontational Caller - phone still in her hand.
CHRISTOF
We've learnt about life as Truman has
and, despite the complaints of a
minority, it's been an overwhelmingly
positive experience, for Truman and for
the viewing public.
INTERVIEWER
Let's take another call.
(pressing a line)
London, England, you're on "Tru Talk."
MALE CALLER 2 (O.S.)
Christof? Congratulations on the way you've
always handled Truman's "sex" life - the
classical music, soft lighting and so on.
But has the recent violence caused a problem
for the show's sponsors?
CHRISTOF
The sponsors know the risks going in,
although we do try to maintain standards
- a level of decorum. For instance, I've
never put a camera in the toilet.
Still in silhouette, SYLVIA turns down the volume on the
television. Focusing on the window on the screen that
displays TRUMAN, she comes close to the screen, catching his
melancholy, saddened by his regression.
INT. TRUMAN'S BASEMENT. MORNING.
TRUMAN breathes in the scent of Sylvia's sweater one last
time before reluctantly replacing it in the trunk, together
with his book, "To The Ends Of The Earth - The Age Of
Exploration". For a final time, he regards his unfinished
picture of SYLVIA inside - two holes where the eyes should
be. As he does so, he finds two lost paper cuttings - a pair
of eyes on the basement floor. He tries them. Ironically
they fit - the picture completed. He closes the trunk
anyway. With a sense of finality, he fastens the lock.
INT. CONTROL ROOM. NIGHT.
The giant ON-AIR monitor in the control room plays a close-up
shot of Truman sleeping.
CHRISTOF comes close to the monitor and almost touches the
screen. As he does so, Truman twitches in his sleep.
INT. BATHROOM. MORNING.
TRUMAN wipes the mist from the mirror of the bathroom cabinet
and stares into it in a way he has never done before.
INT. CONTROL ROOM. MORNING.
Close up on the giant ON-AIR monitor in the control room.
It displays a wide shot of Truman staring into the bathroom
mirror.
We slowly pull back to reveal SIMEON and the other VIDEO
OPERATORS sitting at the mixing desks arranged in tiers
reminiscent of an auditorium or NASA's Mission Control.
Each mixing desk contains a dozen-or-so built-in monitors
and is designed with a location such as "Truman's House
- Interior", "Truman's Office - Cubicle", "Tyrone's Deli".
The operator at each desk, sitting in a swivel chair and
wearing the slimmest of headsets, is responsible for
monitoring a particular location.
The monitors cover virtually every facet of Truman's life.
Camera angles from the interior of Truman's house, his
backyard, car, office, the deli he frequents, the seashore
to which he is drawn, the unfinished bridge where he golfs
with Marlon - many of the locations strangely devoid of
people.
Simeon, seated in the front row of mixing desks, stares back
at Truman's image on the monitor, slightly unnerved.
SIMEON
(to a nearby COLLEAGUE)
Is he looking at us?
As if to reassure the technician, Truman begins one of his
familiar monologues. He talks to the mirror as if being
interviewed.
TRUMAN
--What are my plans now? Well, next I'm
thinking of tackling the Yuba River in an
authentic canoe from the Algonquin tribe.
--I'm talking about the north fork, a
class five rapid - only I'm not going
down the Yuba, I'm going up. Do you
honestly think for one minute I'd go back
to some dreary office to rubber stamp
meaningless documents...do you?
MERYL (O.C.)
--Truman, you're gonna be late!
Truman sighs as he exits the bathroom.
EXT. STREET. MORNING.
TRUMAN exchanges a cheery greeting with SPENCER.
SPENCER
How are ya, Truman?
TRUMAN
Inhale...exhale...same old thing.
He waves to the WASHINGTONS across the street. He pets
PLUTO the dog.
INT. OFFICE. DAY.
Back at work at the insurance company, TRUMAN sits in his
cubicle making another of his cold calls.
TRUMAN
--a forty-two year old woman sitting in
the second row at an amateur production
of Hamlet, Hamlet's dagger slips from his
hand and flies into the audience...
A YOUNG WOMAN, carrying a stack of files, catches Truman's eye
as she passes. VIVIAN. She is faintly reminiscent of Sylvia
at the same age - even wearing a similar sweater.
TRUMAN
(returning to his call)
--what I'm saying is, life is a fragile
thing...hullo?
EXT. TRUMAN'S BACKYARD. DUSK.
TRUMAN wheels his lawnmower, deliberately averting his eyes
from the back of the house. Staring out of the kitchen
window, a tall glass of iced tea in her hand, MERYL has been
anticipating her husband's appearance. She wears a
neckbrace, we sense more as a reminder to Truman than for any
medical benefit she might derive.
Feeling Meryl's eyes burning into his back, Truman fires up
the mower and heads directly towards the symbolically uncut
section of grass. We focus on the errant blades of grass as
they are severed by the mower - a new Elk Rotary. The lawn
is now uniformly trimmed - Truman's final act of defiance
laid to rest.
INT. STUDIO - CONFERENCE ROOM. NIGHT.
CHRISTOF stands at a large, specially screened window,
silhouetted against the twinkling stars and full moon of a
hyper-real nightsky.
Members of the cast enter the room - principal characters in
Truman's life - MERYL, MARLON, MOTHER, KIRK, TYRONE, LAWRENCE
and the new actress, VIVIAN. They take their places around a
long, oval table for a story conference - Vivian sitting
slightly apart from the rest of the cast.
We glimpse over Christof's shoulder at what he sees - the
town of Seahaven far below, bathed in moonlight. He comes
out of his reverie and joins his cast, sitting at the head of
the table. In front of him, a TV "tablet" plays silently -
showing Truman drinking a glass of milk in his kitchen.
CHRISTOF
(to the assembled cast)
First of all, I'd like to welcome Walter
back onto the show.
(nods in Kirk's direction)
You may have done us more of a favor than
you ever imagined.
(turning to Meryl, using her
real name)
Regrettably, I also have to inform you
that Hannah has chosen not to renew her
contract.
All eyes turn to Meryl. She looks at the floor.
CHRISTOF
I'm sure we can all respect her reasons.
Meryl receives a sympathetic squeeze of the hand from her co-
star Marlon, now out of wardrobe, wearing an Armani suit.
CHRISTOF
As you all know, we have already begun to
orchestrate her break-up from Truman.
(more up-beat)
However, on a more optimistic note, I'm
pleased to announce that television's
first on-air conception will still take
place. You witnessed the initial contact
this morning.
(glancing to Vivien, once
again using her real name)
You all know Claudia from her work in
theatre.
MOTHER
I loved your Ophelia.
CLAUDIA
Why thank you.
The rest of the cast nod politely in Claudia's direction.
CHLOE passes out a bound document to each cast member.
CHRISTOF
(referring to the documents)
This is a copy of Claudia's back story.
Her character's name is "Vivien".
The cast idly flips through the documents, prominently
stamped on the cover, "NOT TO BE TAKEN ON SET".
CHRISTOF
We intend to entice Truman into the affair
as soon as possible. Claudia will make a
pass at the insurance seminar Truman's
attending. Details are in your schedules.
(pause for effect)
I don't have to tell you how critical the
next few weeks will be. This takes us
into the next generation. When Truman's
child is born, the network will be
switching to a two-channel format to
chronicle both lives.
CLAUDIA
What happens when Truman and the baby are
both on camera together?
CHRISTOF
This will simply be duplicate coverage.
CLAUDIA
(mischievous)
Let's just hope we don't have twins.
MARLON
(uncharacteristically
flippant)
When Truman dies do we go back to the
single channel?
The cast turn in his direction. Christof shoots him a
disapproving look.
INT. TRUMAN'S BASEMENT. NIGHT.
TRUMAN sleeps on a cot bed in his basement - more cluttered
than usual. A virtual bombsite - dozens of cardboard boxes
stacked everywhere. Although he is covered in bedding, his
sock-clad feet stick out of the bed covers. The outline of
his body is still clearly visible. He snores quietly.
INT. VARIOUS VIEWER LOCATIONS. NIGHT.
The TWO OLD LADIES have nodded off on their sofa in front of
the television, their breathing and occasional snores echo
those of Truman.
In the BAR, the WAITRESS - normally an avid viewer - only idly
glances to the screen as she passes with a tray of drinks.
The MAN in the bath resignedly lets the water out of the tub
and goes to get out.
The MOTHER only occasionally glances to the screen as she
feeds her BABY. Her DAUGHTER has her eyes closed, bopping to
her Walkman.
INT. CONTROL ROOM. NIGHT.
SIMEON sits at his control desk, directing the "night-shift".
He pays scant attention to the big screen, giving his
instructions in a lethargic, metronomic manner.
SIMEON
...Ready two. Go to two.
An OPERATOR, eating a slice of pizza, presses one of the
illuminated buttons on the panel and the camera angle changes
to a close shot of Truman's covered head. The camera stays on
the blanketed head for a long moment.
SIMEON
And back to the medium...
Another button is pressed and the angle changed. A trace of
frustration is evident in the control room. Recording a
sleeping subject is unrewarding enough without also having to
contend with Truman's recently acquired camera-shyness.
SIMEON
...and wide...
OPERATOR
(aside to Simeon)
What a loser.
SIMEON
Who cares? Makes life easier for us.
He is what he is.
At the far end of the control room, one of the large double doors
opens and CHRISTOF enters, dressed in a smoking jacket. Simeon and
the Operators subtly straighten in their chairs. Christof pretends
not to notice. He is staring intently at the ON-AIR monitor.
CHRISTOF
Why is he in the basement?
SIMEON
He moved down there after Meryl packed up
and left.
CHRISTOF
Why wasn't I told? Any unpredictable
behavior has to be reported.
(returning to the screen)
Is that the best shot we can get?
SIMEON
What's to see?
CHRISTOF
What's on the ClockCam?
The operator punches up the camera hidden inside a broken
cuckoo clock. A box obscures the view.
OPERATOR
There's an obstruction.
Christof watches Truman, a trace of concern in his eyes.
CHLOE enters.
CHRISTOF
(referring to the debris in
Truman's basement)
What happened down there?
SIMEON
He was tidying up his garbage.
(sensing Christof's concern)
I was going to call you. But half-way
through, he gave up and fell asleep.
Apparently satisfied, Christof turns to an Operator.
CHRISTOF
I want to check the set-ups for
tomorrow's insurance convention.
Reading off the notes in Chloe's folder, the Operator punches up
a batch of camera angles on smaller preview monitors. They show
a generic-looking hotel, devoid of actors. A banner in reception
reads, "Welcome Seahaven Life and Accident".
The Operator looks to Christof for approval and realizes his
producer's attention has wandered. Christof has wandered
down to the front of the room to stand beside the giant ON-
AIR monitor still displaying the sleeping figure of Truman.
CHRISTOF
Give me a shot from Truman's ring.
SIMEON
He gave it back to his father.
Christof nods.
CHRISTOF
(a trace of concern)
Why is he so still?
Christof picks up a spare headset from the panel and puts it
to his ear.
CHRISTOF
Isolate the audio.
An Operator pushes up an audio fader on the panel. Christof
and his colleagues listen to Truman's steady breathing in
their headphones.
SIMEON
(shrugs)
He's still breathing.
Simeon and the Operators nod, reassured that nothing is
amiss. Christof is not so easily convinced.
CHRISTOF
Give me a preview. An ECU on his torso.
A camera hidden in the room's lamp zooms in to Truman's prone
outline. While the breathing remains steady, the body does
not rise and fall. Christof, still listening to his
headphones, detects a faint scratching sound followed by a
strange thud.
CHRISTOF
(anxious, barking a command
to Chloe)
Phone him.
Chloe picks up a phone connected to the desk and dials.
CHRISTOF
(anticipating Chloe's
question)
Tell him it's a wrong number.
The upstairs phone begins to ring. Truman doesn't flinch.
INT. AN OFFICE BUILDING SOMEWHERE - RECEPTION. NIGHT.
The TWO SECURITY GUARDS are intrigued by Truman's unanswered
phone on their television set.
INT. CONTROL ROOM. NIGHT.
CHRISTOF and SIMEON concentrate on another, separate monitor
playing in fast-rewind, time code in the bottom right-hand
corner. It is a recording of the night's transmission.
Simeon pauses on the last on-camera appearance by Truman.
They watch Truman, on-screen, switch off the basement light
and climb into the cot bed fully clothed, immediately pulling
the covers over his head. As the light is switched off, the
recording camera automatically switches to night vision.
Simeon continues to play at normal speed, now and then
scrolling forward in fast-forward mode. Christof suddenly
points to screen.
CHRISTOF
There. Freeze...Zoom into the chair...
Simeon types the appropriate command.
CHRISTOF
Enhance...there!
On the blown-up screen, between a cardboard box and a chair
leg, it is barely possible to make out Truman's hand as he
crawls commando-style from beneath the covers and behind a
cardboard box near the large tool cupboard.
Simeon points out an angle of the empty staircase.
SIMEON
He hasn't gone up the stairs. He's still
in the room.
EXT. TRUMAN'S HOUSE. NIGHT.
MARLON's car squeals to a halt outside Truman's house.
Hurriedly dressed in jeans and coat over a bare chest, he
dashes barefoot up the porch to the front door. He tries the
doorhandle, pounds on the door and rings the doorbell
simultaneously, shouting Truman's name all the while.
MARLON
Tru!..Tru!..Earthquake alert...flood!
We've gotta get outside onto the
street! Tru?!
Frustrated, Marlon picks up one of Meryl's carefully nurtured
flower pots from beneath the porch window.
MARLON
(shouting a warning)
I'm coming in, Tru!
Marlon hurls the flower pot through the window.
INT. TRUMAN'S HOUSE - BASEMENT. NIGHT.
MARLON switches on the light and clambers down the wooden
stairs to the basement.
He pushes away the clutter and finally stands at his co-star's
bedside. He gingerly lifts the covers. Beneath the bedding,
clothes have been carefully piled to resemble a sleeping
figure - socks placed on the end of two tree branches.
Buried amongst the clothes is Truman's portable tape recorder.
Marlon places the recorder next to his ear. The cassette plays
the sound of TRUMAN BREATHING.
INT. CONTROL ROOM. NIGHT.
CHRISTOF stares, wide-eyed, at the image on the On-Air
monitor of MARLON.
CHRISTOF
Find him, Marlon!
INT. BASEMENT. NIGHT.
MARLON starts frantically pushing aside the clutter, sending
Truman's model ships and other hobbies crashing to the floor.
Eliminating all over possible hiding places, he confronts
Truman's tool closet, the wall map of the Fiji Islands still
hanging on the door. Marlon rips open the door and is hit
with a shaft of light - moonlight.
The top of the closet has been removed and a crude tunnel
containing a ladder heads almost directly upwards to the
outside of the house. The bottom of the closet is ankle deep
with dirt. Embedded in the tunnel wall is Meryl's Chef's
Mate - Truman's digging implement.
EXT. TRUMAN'S HOUSE. NIGHT.
MARLON's head pops up outside the house. Unable to help
himself, Marlon looks directly into a wide shot camera
concealed in a streetlight.
INT. CONTROL ROOM. NIGHT.
CHRISTOF
Marlon, don't look at the camera!
Say something!
MARLON
(to streetlight, stunned,
breaking the fourth wall)
What? He's gone!
CHRISTOF
(to Simeon, quiet but firm)
Cut transmission.
Simeon hesitates, unsure if he has heard correctly. He looks
to Christof for confirmation, his finger poised over an
"EMERGENCY" button.
CHRISTOF
(enraged)
I said, "Cut!"
Christof lunges forward and presses the button himself. The
scene in Truman's bedroom playing on the on-air monitor is
abruptly replaced by the "TRUMAN" logo and the message,
"TECHNICAL FAULT. PLEASE STAND BY."
INT. A LIVING ROOM SOMEWHERE. NIGHT.
The TWO OLD WOMEN on the sofa are stunned to see their TV
screen go blank.
INT. A BAR SOMEWHERE. NIGHT.
HEADS also turn in the bar permanently tuned to the "Truman"
channel.
INT. AN APARTMENT SOMEWHERE. NIGHT.
The other loyal viewer transfixed by the test card is SYLVIA,
alone in her darkened apartment.
INT. CONTROL ROOM. NIGHT.
Reminiscent of a military headquarters in wartime, the
control room is a scene of barely controlled panic. SECURITY
GUARDS come and go, phones ring, lights flash, every
available VIDEO MIXER is working. The monitors - the "eyes"
of the searchers - are systematically scrutinized for any
sign of Truman. CHRISTOF orchestrates operations from his
position at the center of the control panel.
SIMEON
(nervous)
We've declared a curfew. Everyone else
is at first positions.
CHRISTOF
All prop cars accounted for?
SIMEON
He has to be on foot. He has the
world's most recognizable face. He
can't disappear.
EXT. SEAHAVEN - MAIN STREET. NIGHT.
We pan down one empty street after another. The town center is
totally, eerily deserted. Suddenly, a line of PEOPLE comes
around the corner, fanned out cross the street - a man-hunt.
PEOPLE of every description, shoulder to shoulder, marching
down the otherwise empty streets the way a search is
conducted at a crime scene. The lines include PRINCIPALS and
EXTRAS lined arm and arm, wardrobed for their usual roles as
EXECUTIVES and SECRETARIES, STORE CLERKS, TELEPHONISTS,
MAINTENANCE and CONSTRUCTION WORKERS, WAITERS and WAITRESSES,
COOKS, SHOPPERS, HEALTH WORKERS, SECURITY GUARDS, POSTAL
WORKERS, POLICE OFFICERS, FIRE FIGHTERS and HOMELESS PEOPLE.
We occasionally glimpse Truman's friends and colleagues
amongst the searchers - MARLON, LAWRENCE, MOTHER & KIRK,
VIVIEN and TYRONE. Even the WASHINGTON's and SPENCER and
PLUTO have joined the search - a snarling Pluto straining at
the leash has now assumed the role of tracker dog - Truman's
pajamas waved in front of his nose (clearly miscast as the
friendly, neighborhood pooch).
Searchlights from Seahaven's many towers sweep the town.
Once, the light falls on a blackened face cowering in the
bushes beside a picket fence - the fence now faintly
reminiscent of prison bars. Even the beam of the full moon
appears to be sweeping the town like a searchlight.
EXT. BRIDGE. NIGHT.
Barriers have been erected at the bridge leading out of
Seahaven, guarded by several Seahaven police cars.
An extra dressed as a DERELICT wheels his shopping cart
toward the bridge.
The derelict takes a look along the walkway alongside the
bridge as if participating in the search. He finds a POLICE
OFFICER standing on the walkway.
POLICE OFFICER
Any sign of him?
DERELICT
(gravelly voice)
Not yet.
POLICE OFFICER
Take it easy.
INT. CONTROL ROOM. NIGHT.
A VIDEO OPERATOR in the sixth row watches the scene on one of
his monitors - the derelict standing with his back to camera.
Just as the derelict turns toward camera the Operator turns
away to take a sip of coffee. He misses what we see on his
monitor - the derelict's blackened face belongs to TRUMAN.
EXT. BRIDGE. NIGHT.
The disguised TRUMAN heads back to town.
INT. CONTROL ROOM. NIGHT.
CHRISTOF turns to a LIGHTING TECHNICIAN.
CHRISTOF
We need more light.
EXT. SEAHAVEN STREETS. NIGHT.
A building-to-building, floor-to-floor, office-to-office
search is also being conducted, each structure secured as
they go - the SEARCHERS paying special attention to potential
blind spots such as closets, dumpsters, manholes, sewers,
car trunks, trees and shrubbery.
We focus on one of the waves of searchers. TRUMAN has linked
arms in the middle of a row, his disguise still holding up.
INT. CONTROL ROOM. NIGHT.
CHRISTOF glances impatiently at his watch.
CHRISTOF
We'll never find him like this. What
time is it?
CHLOE
(anticipating the request)
It's too early.
CHRISTOF
It doesn't matter. Cue the sun.
EXT. STREETS. NIGHT/DAY.
The sun instantly rises over Seahaven. CAST and EXTRAS shade
their eyes from the sudden glare.
INT. CONTROL ROOM. NIGHT.
While his COLLEAGUES monitor the bank of screens, CHRISTOF
has been joined by the two anxious studio executives, MOSES
and ROMAN.
MOSES
(to Christof who is still
studying the faces in a row of
SEARCHERS)
Rumors are circulating he's dead. The
media is in a feeding frenzy. The phone
lines are jammed. Every network has a
pirated shot of Marlon in the closet.
ROMAN
(pacing nervously)
The sponsors are threatening to rip up
their contracts.
CHRISTOF
(unconcerned, referring to the
static "STAND BY" graphic, now
accompanied by soothing
classical music)
Why? We're getting higher ratings for
that graphic than any time in the show's
history.
INT. BAR. NIGHT.
The television above the bar carries the test card. PATRONS
animatedly discuss Truman's fate over their drinks. Some
place bets with each other on Truman's fate.
EXT. ELECTRONICS STORE. NIGHT.
A CROWD of passersby hover around a display of televisions in
the window of an electronics store, awaiting developments.
INT. CONTROL ROOM. NIGHT.
The fan of EXTRAS reaches the harbor and automatically turns
to make another sweep.
CHLOE
(referring to the empty streets)
When we flush him out how do we
explain this?
CHRISTOF
(deadpan)
We tell him the truth.
CHLOE looks askance at CHRISTOF.
CHRISTOF
(joking darkly)
We're making a movie.
EXT. HARBORSIDE. DAY.
However, as he bypasses the entrance to a ticket box, he
hasn't bargained on coming face to face with another
straggler from the search.
MARLON. Truman freezes in front of his childhood companion -
Marlon instantly seeing through Truman's homeless disguise.
Truman glances nervously in the direction of the searchers.
Their backs to the two men, they are beginning their next
sweep. One shout from Marlon will give Truman away - he is
at Marlon's mercy.
Without a word, Marlon walks past Truman and rejoins the search.
Truman glances back to Marlon's retreating figure but Marlon
never looks back.
EXT. DOCKSIDE. DAY.
TRUMAN reaches the edge of the dock. He looks out over the
bay. There, riding at anchor some two hundred yards out, is
a sail boat - the same boat that circled Kirk and Truman's
sail boat many years earlier.
We see a close-up of Truman's terrified eyes in his blackened
face, staring down at the lapping water. He steels himself,
shuts out the doubts and dives into the water.
INT. CONTROL ROOM. NIGHT.
SIMEON
(hopeful)
I'm sure we'll get him on this next sweep.
CHRISTOF
(distracted)
What have we missed?
SIMEON
It's just a matter of time.
CHRISTOF concentrates on a monitor displaying a view of the
harbor.
CHRISTOF
(to Simeon)
We're not watching the sea.
SIMEON
(confused)
Why would we--
CHRISTOF
Sweep the harbor.
His COLLEAGUES begin to flick through dozens of waterborne
hidden camera shots - in moored craft, lighthouses and buoys
- trying to locate Truman.
Suddenly on one of the monitors there appears a single sail
etched against the horizon.
SIMEON
That's got to be him!
ROMAN
How can he sail?! He's in insurance!
CHRISTOF
Resume transmission.
Simeon punches a button and the image of the sail boat is
instantly transferred to the large ON-AIR monitor.
INT. OLD WOMEN'S APARTMENT. NIGHT.
The TWO OLD WOMEN doze against each other on the sofa in
front of the TV.
The classical music on the television is abruptly replaced by
the sound of the wind and the sea. One Old Lady blinks her
eyes open, her breath taken away by the sight of Truman at
the wheel of the sail boat. She rouses her companion.
INT. CONTROL ROOM. NIGHT.
CHRISTOF
(staring intently at the
ON-AIR monitor)
What do we have on that boat?
SIMEON scans a computer shot list. He types in a code.
A camera from the mast of Truman's sail boat activates. Truman,
unaware of the camera, is concentrating on his sailing.
EXT. HARBOR. DAY.
By now the ocean spray has washed most of the dirt from
TRUMAN's face - only a residue remains. The rags he wears
are soaked.
As he steers, he occasionally refers to a "HOW TO SAIL" book
from his coat pocket.
INT. A BATHROOM SOMEWHERE. NIGHT.
The MAN in the bath we have seen earlier continues to watch
from his tub.
MAN
(to himself)
I knew he wasn't dead.
EXT. HARBOR. DAY.
TRUMAN is at the wheel of the sail boat, wind filling her sails.
Seahaven left far behind, his is the only craft afloat in the
harbor. He sets a course for the open sea as he and his
father did long ago.
INT. CONTROL ROOM. NIGHT.
CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a
buoy's POV as he sails by.
CHRISTOF
Get another boat.
CHLOE
The ferry.
EXT. FERRY TERMINAL. DAY.
A PRODUCTION ASSISTANT runs down the dock towards the FERRY
CAPTAIN and his CREW.
PRODUCTION ASSISTANT
Get that boat out there!
FERRY CAPTAIN
(who also played the bus driver)
I don't know how. We were just told to
put on these clothes.
EXT. HARBOR. DAY.
The sea choppier now, rising and falling steeply beneath his
boat, TRUMAN nears a large buoy bobbing clumsily in the
strong swell. An official-looking sign on the buoy reads -
"DANGEROUS WATERS. DO NOT ENTER." We see an extreme close
up of the nautical signpost where a disguised miniature
camera tracks Truman's progress.
INT. CONTROL ROOM. NIGHT.
ROMAN
(anxious)
How do we stop him?
CHRISTOF
(glancing to Simeon)
How else?
Christof nods to controls on the mixing desk marked, "WIND"
and "RAIN".
EXT. HARBOR. DAY.
Storm clouds roll towards TRUMAN's boat at an alarming speed.
He looks back towards the Seahaven skyline, rapidly receding
behind him. Doubts invade Truman's head but he shuts them
out and steers into the teeth of the storm - a look of
resolve in his eyes we have never witnessed before.
INT. CONTROL ROOM. NIGHT.
MOSES and ROMAN pace at the back of the control room.
CHRISTOF is focused on his monitor. Like Truman, he steels
himself for a fight.
CHRISTOF
Cue music...
SIMEON
(hesitant)
What music?
CHRISTOF
(irritated)
Storm music...Wagner...
CHLOE
(watching the monitor)
There's no rescue boat in the area. He
won't know what to do.
MOSES
(trying to appeal to
Christof's sense of reason)
For God's sake, Chris. The whole world
is watching. We can't let him die in
front of a live audience.
CHRISTOF
He was born in front of a live audience.
(never taking his eyes from
the screen)
Don't worry, he's not willing to risk his
life. His doubts will turn him back.
Simeon reluctantly winds the controls for "WAVE", "WIND" and
"RAIN" towards their maximum settings.
CHRISTOF
Kill the lights.
EXT. HARBOR. DAY.
Darkness suddenly descends. High winds and horizontal
driving rain buffet the boat. TRUMAN fights the tiller.
Hurricane force winds shake the mast and keel, ripping the
sails to shreds.
Suddenly, the mast of Truman's boat is struck by a bolt of
lightning - snapping the rigging and knocking Truman
overboard. Flailing in the tempest, Truman manages to grab
hold of a trailing rope from the mast and hand-over-hand
drags himself back on board. Truman takes the rope and
lashes himself to the wheel.
Monstrous waves continually submerge the boat. With what
little is left of his rigging, Truman continues to head into
the gale.
TRUMAN
(shouting above the storm,
screaming up to the sky)
Come on, is that the best you can do?
You're gonna have to kill me!
INT. CONTROL ROOM. NIGHT.
In contrast to his panic-stricken COLLEAGUES, CHRISTOF gives
an outward appearance of calm. Only we witness the minute
bead of sweat appearing at his temple that betrays him.
SIMEON
(shocked at the sight of Truman
binding himself to the boat)
Is he out of his mind?
MOSES
(to Christof)
On behalf of the studio, I demand that
you cease transmission.
CHRISTOF
(defiant, to Operators)
Keep running!
MOSES
--That's not for you to say.
CHRISTOF
I take full responsibility--
MOSES
--I'm telling you for the last time.
CHRISTOF
(to OPERATOR in front of
radar-style-screen)
How close is he?
OPERATOR
Very close.
CHRISTOF
Capsize him! Tip him over!
MOSES
(overlapping)
For God's sake, Christof!
CHLOE
(unable to contain herself
any longer, entreating
Christof)
You can't! He's tied himself to the
boat. He'll drown!
SIMEON
(staring at Truman on the
monitor, becoming affected by
his display of courage)
He doesn't care.
CHRISTOF
(enraged, to the Operator)
Do it!
All eyes turn in Christof's direction. None of the Operators
is willing to touch the controls.
Christof reaches to the panel and does it himself, turning
the "WAVE" controls to their maximum settings.
EXT. OCEAN. DAY.
A series of giant breakers march in formation across the sea
- arising from an unseen source.
EXT. OCEAN. DAY.
The waves break across Truman's vessel. TRUMAN appears to be
losing his fight against the storm, each successive wave
taking its roll on his body, sapping his strength, his
bindings the only thing keeping him upright. His head
slumps, the tiller goes loose in his grasp, rocking out of
control. Truman's will is draining away.
INT. CONTROL ROOM. NIGHT.
The control room CREW watch the heroic image of Truman on the
ON-AIR monitor, awestruck, as if they too are now spectators
watching a movie.
EXT. OCEAN. DAY.
As he is about to be overcome by the next wave, TRUMAN
clamps the wheel with his whole body and braces for one
last wave.
But the wave does not come. A strange phenomenon is
occurring in the ocean. A distinct division has appeared in
the ocean swell. Between the large rolling waves lies a
corridor of calmer water, several hundred yards wide, a
curious escape lane. The wind and the rain are also
subsiding, the darkness lifting. A mist clings to the
surface of the water. Truman steers his sail boat down the
eerie corridor.
Several large, dark shapes emerge on the horizon. Land?
Islands? The shapes, containing some enormous mechanism
including a huge wheel, only half exposed above water level,
appear to be the source of the peculiar wave formations.
Truman continues to steer his wrecked sailboat towards the
infinitely receding horizon. All is calm until we see the
bow of the boat suddenly strike a huge, blue wall, knocking
Truman off his feet. Truman recovers and clambers across the
deck to the bow of the boat. Looming above him out of the
sea is a cyclorama of colossal dimensions. The sky he has
been sailing towards is nothing but a painted backdrop.
Truman looks upward, straining his eyes to see the top of the
sky, but it curves away at a steep angle beyond his sight.
Clinging to the boat with one hand, he tentatively reaches
out towards the painted cyclorama. He touches the sky.
He looks about him and simply laughs.
INT. CONTROL ROOM. NIGHT.
CHRISTOF and his PRODUCTION STAFF take in Truman's reaction
in stunned silence.
INT/EXT. BARROOM/LAUNDROMAT/STOREFRONT/APARTMENT. NIGHT.
Truman's laugh echoes around bars, offices, shops, homes and
streets - wherever a television is to be found - no VIEWER
speaks. They too are stunned into a hushed expectancy. The
collective audience holds its breath.
EXT. OCEAN/CYCLORAMA. DAY.
As the boat drifts alongside the seemingly never-ending curve
of the cyclorama, TRUMAN's attention is drawn to an outline
in the otherwise flawless backdrop. He retrieves the
identikit picture of Sylvia from his coat pocket and clambers
to the prow of the boat.
There, camouflaged in the painted skyscape just above the
water line, is a door. Truman grabs hold of the recessed
doorhandle and halts the drifting boat. He stands in front
of the door and closes his eyes in a silent prayer.
INT. CONTROL ROOM. NIGHT.
The control room CREW stare in silence at the monitor - their
very livelihood on the brink of vanishing. CHRISTOF opens a
small panel on his desk, breaks a seal, and speaks into the
emergency P.A. system that is linked to the entire studio.
CHRISTOF
Truman!
INT/EXT. OCEAN/CYCLORAMA. DAY.
CHRISTOF's voice booms over the now calm ocean.
CHRISTOF
Truman!
TRUMAN drops the handle as if his hand has been burned. He
looks all about him.
CHRISTOF (O.C.)
You can speak. I can hear you.
Truman takes a moment to overcome his fear and astonishment.
TRUMAN
Who are you?
CHRISTOF
I'm the creator.
Truman looks up to the "heavens".
TRUMAN
The creator of what?
CHRISTOF (O.C.)
A show - that gives hope and joy and
inspiration to millions.
TRUMAN
(incredulous)
A show. Then who am I?
CHRISTOF (O.C.)
You're the star.
Truman struggles to take it all in.
TRUMAN
Nothing was real.
CHRISTOF
You were real. That's what made you
you so good to watch.
Truman takes out the drenched picture of Sylvia, recalling
her words at the beach.
TRUMAN
(to himself)
"The eyes are everywhere."
INT. CONTROL ROOM. NIGHT.
CHRISTOF picks up a slim, flat monitor. He swivels in his
chair and gazes intently at the image of Truman he now holds in
his hands.
CHRISTOF
Listen to me, Truman--
On the screen, Truman again reaches for the door handle.
EXT. CYCLORAMA. DAY.
We focus on TRUMAN's hand. CHRISTOF's voice echoes across
the water.
CHRISTOF
You can leave if you want. I won't try
to stop you. But you won't survive out
there. You don't know what to do,
where to go.
A wave of doubt washes over Truman's face.
TRUMAN
(referring to the photo)
I have a map.
CHRISTOF
Truman, I've watched you your whole life.
I saw you take your first step, your
first word, your first kiss. I know you
better than you know yourself. You're
not going to walk out that door--
TRUMAN
--You never had a camera in my head.
INT/EXT. VARIOUS LOCATIONS. NIGHT.
The VIEWERS stare into camera in fascination.
INT. CONTROL ROOM. NIGHT.
TRUMAN turns back to the sky, looking up towards CHRISTOF.
CHRISTOF
Truman, there's no more truth out
there than in the world I created for
you - the same lies and deceit. But
in my world you have nothing to fear.
Truman seems to be considering the possibilities. He looks
to the identikit picture of Sylvia in his hand.
CHRISTOF
(suddenly angry)
Say something, damn it! You're still on
camera, live to the world...!
INT. A ROOM SOMEWHERE. NIGHT.
SYLVIA gazes at the picture of herself on her television
screen as if it is her reflection in the mirror.
EXT. CYCLORAMA. DAY.
TRUMAN hesitates. Perhaps he cannot go through with it after
all. The camera slowly zooms into Truman's face.
TRUMAN
In case I don't see you--good afternoon,
good evening and good night.
He steps through the door and is gone. Silence. Then -
INT/EXT. VIEWERS. NIGHT.
Spontaneous jubilation from VIEWERS in their various locations
- bars, homes and offices. We follow the figure of SYLVIA,
running through the streets. Some of the viewers outside an
electronics store glimpse her as she runs by.
INT. CONTROL ROOM. NIGHT.
Even the cynical SIMEON jumps out of his seat - for the first
time in the film - and lets out a joyous whoop, forgetting
himself for a moment, caught up in the drama.
SIMEON
Yes!
Self-conscious, he takes his seat again almost immediately.
His COLLEAGUES are transfixed by the live ON-AIR monitor
continuing to play its only available shot, the open door in
the sky.
Gradually, the attention of those in the control room shifts
from the monitor to CHRISTOF. He sits slumped, staring at
the open door in the sky.
Eventually MOSES looks to Simeon. Moses nods to the "ON AIR"
button. Simeon presses the button and the screen - the movie
screen - goes to static.
MONTAGE/END TITLES.
Highlights from "Truman - Total Record of a Human Life" begin
to play.
FADE OUT