"THE KARATE KID" (1984)

An Original Screenplay

A Jerry Weintraub Production

A John G. AvildsPn Film

An Original Screenplay

--.:-:::i•r,a1?69Cheveysta~ion~agonwith New Jersey lice~se

c,.:;s:E~LaRUSSO,=i£~ee~-a..~d-a-half,and his nct..~er L~CILLE, exit and ~egin to unload the car.

LUCII.U: (excited) Look at ~~a~ dam! Would you look?!

Lr:cu:uE (c~ntinuir.g) Kno•.;wi:at'.:..'-latmeans?

DANIS!. '."eah,be!:idesearthquakes I got to watch cut for falling coconuts :iow.

Wise quy. No mo::-e~lewark winters.

:;JCI::.LE You li~e sore throats? You like ~=ozen tees?

LUCIL~E So make it a h•.md:::ed-and-cne. Open ycur e:/eS,:n:·C:.arli:"".g::on, this is t~e Gard~n of ECen... (beat) and •.,;e'reinapart:::entTwc-D.

Lucille grabs two suitcases and heads into the apart- ment complex. Daniel finally gets his bicycle off the roof. He picks ~pa carton of pots and pans and puts them on the handle-bars, following ~is mo~her a:- ter a mome~t. As he reac~es the door he realizes he cannot free up his hands so he cocks his leg and kicks out to open it, kiaiing loudly. From the othe::: side of the door co~es a TH~D and a CRY. Janie]. ente~s ~o ?RED~Y, his age, picki~g hi~s~l= U? o:=

DANIEL

Yeah.

Freddy and Daniel shake hands.

F~DDY Lemme help you.

)

Freddy relieves Daniel of tt:esuitcase en his handle bars.

' ??.E:JDY (cor-,ti:--:.·.1i:-1g) Where '/S'-l::-0::1?

Ne•.--· Jersey.

F:l.:SDDY • Wow! Whatcha doi:11!"l.e::-e? •

D.UlIEL * '.-ly::,cmgotajob·,1itha • companyout he:-e. Rocket • Computers. • (mimicking) :light to the :~turA. *

FREDDY • Never heard of it. *

DANIEL • It's up and coming. *

Daniel and Freddypast the pool, half empty, unbrackish. • A rubber swan, the neck deflated, floats listlessly. * Next to t!:le::,oolanOLDLADY doing a crossword puzzle * and?...""l.oldscruffy-dog,pantingfromt:ieheat,sit s1.de- • by-side.

DANlEL • (continuing) Hi ya, pup. *

The dog wags his tail asDaniel scratches his ear. *

OLD LADY * This place is a dump. You * should go back to New Jersey. *

DANIEL * How'd you know I was from New * Jersey? *

OLD LADY * Because I'm from New Jersey. * I got a nose for my own. *

DANIEL * Oh yeah? Where you from in * Jersey? *

OLD LADY * Parsippany. And I never should * have left. *

DANIEL * Hey, my Uncle ~ouie is from Parsippany.

~~..-,..,--,,...,~ ...1:.;,."~ :-,:....•-..:.::....o.J-.:..-'---)..,

3 CJ:::-:::::::::(3) l

'

Louie ?er,t:.:1i?

........~~..._,'r L,l"~••-..:..-' • Louie LaR.osso. •

He~ exc~~e~ent dies.

•

With that, she goes back to her ==~sswo=d puzzle. Daniel and ?~eddy start up ~he s~ai.rs. *

FREDDY

She's missin' a few screws.

DA.c'IIEL

(fondly) * She's alright. *

DA.~IEL Coupla times.

As they reach his new apartment, Daniel shrugs with false modesty, implying that indeed he has and can.

~·---- -- -- --

....,...._.,......~·---=-..... ·,..v.l...-•~-......1•

?'.'~DC"!

·,,.;~atc~adoi::.-:~;;:cr:~~w?

F?.E=DY w~• re hasi~' 3.;-arty3t t:":e=eac:1. Sort.:1.:.diosSl;TT'.rr;e!'.~.;arlnaco~e?

DANIE:. Sur':.

Freddy scoots down the stai:s. Daniel enters the apartment.

D'3.niel(!:;.ters.Be~o=ehecan set aword off, Lucille

..

taxes the of~cnsi·1e.

:..UCILLE

Not a word about t~e ;col,

please. I'll call fi=st

thi:1gin -::1emor:1ing.

DANIEL

You tell that lady downstai=s

where we were f=om?

LUCILLE

Yeah. Tell me, doesn't she

remind you of Aunt ?essy?

Daniel takes a bowl from a box. *

DANIEL * ~ore li%e Uncle Louie. *

As Daniel goes toward the sink, Lucille tal%s on. *

LUCILLE * You knew, I =eully ':l1i:1k * we're qonna do good ~ere. * I never telt so 9osicive * about a~;,t:li:1::;i:".!":'!"/~i=•~. * This was re~ll~ t~e =~~ht * rr.ove.I'm t-::lli.r:gyou, * • Dan. •

...... r .·- --,-·--:::.-.. :::..____::n.

-··r-:-'!"...":" ~·-'----- I~r---~...,,.·..,,_·1 --·•--·-~--··-'

LC'CIL:..E '::le:-ealestatei~d:'says t-,~re1 sa ::::x-i~c;:.:ya=::ur.d ~e:e. See if yoc can ~ind hi;n,okay?

Daniel ta;;est.'lehalf-filledklowlof water a:-idgoesto

LUCI"'...-:- (conti:i.'.lingl What's t.'latfor?

~ DANin

Uncle ~cuie's dog. (beat) I qot ir.vitedto apar~y tcrnorrow.

LUC:!..LE P.ey,great. You see?

DA..'l!EL Iwas going to help you U."1pack.

LuCILLE Idon't remer.~ersaying any'tliing about t!"lat.

Daniel exits.

S,\

a::d;,lacestr.ebowl cf As ::.!:.e:5.~g ..

6 5

Daniel enters.

2ello.

dozers o~ ~~e ~cs= ~~rfect ~~~~ ::C:--..::~i...;s:-;.;2?r~;Gso•...-:;0::..:rnthe::-ea: ae ~011~~3 t~~ so~~~. As ~e rouncisa ~=r~~=, ~~ is s~artl~~, ==~i-~g~3ce ~o ~~c~ ~ith an c:~ O:ie~tal ~an b:3~jish~~; a set o: =~cp- sticks in :je air. ~ name?a~=h on ~1i3shir: identi~ies hi:nas :1:Y.;G:.

DA~IEL Are you the :naintenanceman?

A FLY'S 3UZZI~G distracts t~e old ~an. H!s eyes to follow it. :ii.=ic~o~st:cksare\l'?,?Oised.

His eyes follow the fly. Daniel watches ?er?l~xed. Suddenly, Miyagi stabs at the 9UZZ!SG with his cho?- sticks, Undaunted, he continues :ollowin~ the ~OIS2.

)

f:---,:,:::::.:=.-.==-·)

:.:.. _---··---··--._,_,•~-•V-,...1• -·•l.

f' r-·~·--...

~-----~:,_.:;._. :s that l.:et-:.er,.!:;.:,y? *

-::---.edocstc::sc:_-~ lor.g to lie:': * ..

·JL:)LADY * ~~c?e you take ~y advice. "

,...,-.,·--·;..,,..""l..l.1-L.....

:1e're discussi~g i~. • ~a~ I fi~d ~he mai~te~ance • •

OLD LADY .. You go down through there and * you take a right, where it * goes to the left, but not too * far, then you go left, and * it'll be on the right. *

DA.HEL .. So Igo left, then right. *

OLD LADY *

/

No, right where it's left, *

' then left, then to the right.

Daniel starts walking in the general direct~on, totally • car.fused.

?.E~::s=.:i:s-2s-~J:s.:..:.::::l -

DA:--IIE:. Om, can I tell ~y rn= when?

Miyaqi's attention is anywhere but on Daniel.

Daniel watches him follow the fly's movement for a moment, and the exits, shaking his head.

Secluded strip cf sand at the bottcm of steep brush covered hill. Twenty kids cavort on the sand and in the water. D.~~IE~plays soccer with F?LDDY, ALAN, CHUCKIE and BILLY. P.eis clearly the best of the bunch. The ball is kicked high out of bounds onto a blanket where a group of girls sit around a radio giggling and chatting. As DANIEL jogs over to retrieve ~he ball, ALI, cute as a button, picks it up ready to ccss it to him. Their eyes meet, ALI smiles. ALI tosses him the ball. DA.NIELcatches it on his knee, bounces it tohis other knee, then to his head, then to his instep, then up to his hand. ALI's eye twinkle. She is duly impressed. Her friends rise and they all runto the water. ALI looks over her shoulder once more before hitting the surf. DANIEL'S friends jog up.

FREDDY

The hills,

DANIEL

What's thehills.

ALAN

Rich. (CO:iTr::-:tJED)

7 •

FREDDY takes the ball and boots it. E•:eryoneruns after it exceot DASIEL who l~nce~s ~or a ~ocent, his eyes on ALI andher :riends ca·:ortir,:;inthewaves.

LATER - NIGHT (FOG) 8

The fog has rolled in. The kids are gathered around seve=al ca::"c?fi=es.Arou!"ldarcDANIEL and r.:.snew

friends bcbbli::gt!"'.esccce:-ball.u;..~;IELseyes~eep drifti::gover to wtere ALI i~ sitting aro1..:.r.da:i.ot:ler fire wit~ te= ==ie~Cs. Likewise, her ey8s a=e C=i:ting. CHUCKIE cf::e=DA...'JIELajoint.:JANIEL::ef-:..:ses.

CHUCKIE

Got a car?

DANIEL

No. Why?

CHUCKIE

This is the Southlandman, no wheels - no feels.

But ALI is still locking,

FREDDY

Hey man, she is hot for you.

DA..'UEL

Yeah, sure.

FREDD'f

Make a move.

ALAN

Maybe they ain't got no moves where he comes from.

DANIEL

I got moves you turkeys never heard of.

Mischievous, FREDDY lofts the soccer ball onto ALI's blanket.

FREDDY

Let's see.

OTHERS

Yenh, let'~.se~.

---,----,·..:......:,.___,'. J . ...."..~-····-. s --~··~-··-__,.

P.esi-=.:i.:-.~l::',C.\:;::::::~::::.cs~c::-:::..:::..c·;~':·:,;:.:._..:...,___.,\s.-.,~ a~~roc~esr ~:i r~s~s ~~~~~~0 --,-.---~~j ~~~anc2~ .: f~::.,s~e;::s.s:--.-:1.:~-:::.l:-:.:.:;;~o:.::e~.:..:.~.Ee,'ioes:=:=~'= fancy r.andl.:.r.g.

.....'...:.......:.. Is that hdri to learn?

~ct really.

DA.:'lIEL Sure.

C··-.lTO:

JGH~~Y a~d t~e Cob=as pullup on the hilltop overlooking the beac!1. JOE~~;yhas a ~adiowr:.i.ch:i..11st!1eairwit:.:1 '.!Usie.Heand BCBB'!ha=on'-zeto t~,eSony. TmL.'IYpulls apart 3 six pack. He prof~ersa can to JOHENY, who refuses.

JOH:-INY I pass. *

) TO'.·!.'IYistakenaback.

TO!-'..MY * What is this, somethingnew? *

JOH~lNY You <;otit. *

JOHNNY and BOBBY slao a suooortivefive as TOn1Y looks * towards the beach, mischiefin his eyes. *

) JOHNNY doesn't get his~eani~g.

Take a riqht.

~o~~~;yfoJ.::wsT0~1Y'S h~~~- ?C'/JOF~:;~y-..:..::..:r:a:-:d:·."'..:;1::~C,Jsc:·~=-:-:~~~...'::".-::=·::3.C:,-,..*

:ic:.:::::::·..::~:

of: his =:ic:~o. 'j

(,:c:--.ce:-:--.2::1 Its anci~nthistory ~an.

JOH~~y ?Uts h~s ~el~~ton a~d guns his jike.

She broi<:eup.~e didn't.

JOH~~~Yshoots dcwn t~e hill. All cheothers :allow his lead.

TO~~Y, the trouble~aker, smiles~ischievously. BOBBY rides after JOH~~NY.

) ANGLE 0~ ALI. S~e !oo~s up thehill ~t the i~~e~di~g he~d- lights k~owi~~ w~at is co~inc. Hopi~; t= a ✓ oidtro~bla,s~~ kicks the o~ll ~ard toward theocean. ~~livi~us, ~l~~IEL hap?ily ru~s to ret=ie·reit anddces so. A~ t1:2~ater's ~~ge he tur~s a~d sees A~I i~ co~versatic~wi~~ JC~~~:~who ha.~ di3~cunted. 2isappoin~ed hyt not~an~i~g ~o in~er~er2, ·~ teads back to tis o~n ~rcu?where ;~I's trie~~s a~d th~~~=~ bike=s have all gathered. Sud~en!y,t~e ~lasti~s of ALI's

radio turns DANIEL s attention andeveryo!1eelse to A~I a::d JCB~-;~-:y.

?OV DA.,I:C:L-JOmiNYis yellin::;overt:-.eno:.seof::heradio. His anger mounting turns it off inALI's a=:ns.

De:iantly, ALI s;,:itchesit::lac~0:1.~Jo·..J,:::.1:.attentionis0~1t.~.-2 feuding couple. JO?.~:;ytakesthe radio::..·,.·3.·./f::-cmr\I.iIa:1.c':.!-.:-ov-·z,r it. It hits the sand and goes off justas DA:;r2Lcomes o·:sr. DASI:C:Lbendsdown to pie~ it up.

JOH}l:-iY den's touch it.

DA.l~I:::LpicksitU!Jan:_r..:ayandgoe~tohand~tto AL:. rips it from D~NIE~'s ~a!1ds.

)

You deaf? ALI (cc;;.cerr-.sd) Lee hirnhave it.

I ..,•--•.•'•.'"I

For a seco~d c~;r:L dc0~ n8t ~ove. ~;it~o·J~~a=~i~ghe :~~~:3 upwa:-dspi...:r.c!'":.i:--.g.Jc;;~;:;ylc?.:1sb-2c:{.~;....::r~:.· s:":ists=~:>::_;;-,:..s nose dr3.wi~::r~:coC..T:-'.ec::-c·.-?~coesJi2.e;1t.~e,.::.;Nytol!s::::sfli.s nc -e•.::,'1-0··1.';~-..,,.,_••~a~,_•~1.·-•=,-~ 0c:;......~-~~--...-~::'0 -~·=~--~-s....~-•··-:--,,_,·~cs~-··•'-,,.,..~~s-as-~~r~-~....=--.::,...,_,.~--...1 y• D~lIEL st3~ds his g~oi...:~~,sasp~~gforbre2~~,his hands =~ised in a defensive ~osi~ion.

DA~IEL (pleading) ;,..·eI reeven.

Like a tige=, JC:·!1~-i~JYsettlesir:toafightingstance.

AL1 tries to restrain hi::i.i3utTO:1..'!Yanc!SUTCHphysically restrain her.

Jom::;yignores ner as he stalks DANIEL.

JCHNNY's friends pickup his chant.

FRIE/<DS No r.iercy,.

DA.'lIEL'sfrier.dsexhorttheir boy.

FREDDY, Drop hi::iman. Karate him.·

Suddenly JOHNNY's foot rips out towards DANIEL'S groin. Reflexively ::l.'-'lI:::L'sh~ndstopstobloc:kit!:n:tthelegf:.i,·:s'-'? at the last second. JO:-r:,;~-;y'sroundhousekickcater.esD;..!~~::.Lf2_,..1s!i in the face. DANIEL staqgers back, holc:.ingorc.eeye.JOH:.'.'Y pursues hi~, landing a viscicus ba=age cf punches. Each o~e connecting. DA.i.~IELtriestoCefer:Chirnsel£:Jutto !;Oavail.. Jos;;:,;yneatsD.:>..';:IELintothesandbefore3C33Yrestrair,.s:-.i::;.• At t:lat:nornent.;librea:<sth:.-oughDUTCHa::dT0~::,1Y.Shep'Js~.<2s* JO!!N:,y,herangerexploding. *

JOr.NNYs:nilesat her c:.ramatics,ashis frienc:.scrowdaround. *

JOHNNY * It's your fault.

JOE:J~:y:.:1dot!"'.ersr:10;.1::t.theirmotorcyclesasg:.-cu?disper3cs.* )

CH:JCKIE • W:-iatabulls,nt artist. *

:.J •

• •

2!=.it·.:.· * You sure?ic~ =~al ~eo~l~ ~a je f=ie~~s with. *

As the kids dri!t oft ALI rushes to the still prostrate • DANIEL.

ALI *

Are you OK? *

Humiliated, hurting he wants to be left alone.

D.'\NIEL

Leave me alone. *

ALI

Let me help you.

Sne goes to touch hL~. He pulls away.

DAlHEL

I just wanna be alone.

At t~at ~=~e~~ JOS~;NYle3dshis friendson motorcycles ove~

•

Rebuffed, She allows BA'."'-BARAtole&dheroff.

PULL BACK on DAN:EL sprawledon the foggy beach as the kids all disp2ear into the n~ght.

11 ll

Lucil!e is ~re~~r~~gbrea~~~st.

LL'C::.:.E

LUCIL!..E (contir:ui:cg) "Li3!"lle~..,Oh!

She is st3.:::.ied:Jy:Jari.ielstandi:;.gi.:--.t!iedco:-'.-i2Y,the da=}:est~ai= o~ ove::si:ed~viatorgl~3ses co~erins ~i= ~ace. She t~r~s ~3ck to the stove.

LUCILLE

I I ~u5t',,ebeen rnoret~an okay.

I didn'~ :1earyou cor~ heme. Any frie~d ~aterial?

..

Daniel is taking some orange juice ~=o~ tte refrigera~~=, gulping it down, looking to exit quickly. *

DA'.-;IEL Some. I gotta go.

I I

Lucille senses something is wrong.

)

(CC~':I~UED)

r?::;:-:1

5eca~se I as%ed ~-outo.

f

DANIE'.., Hey na, it1 sCali:~~~ia. *

L~CI~:..: Ta}~e'e;.1c:-=.I •....,·ar.t.tosee * my balJy:Oro•...,·r-.s. *

DA:H2L ~-1.a,c1 mcn.

Lucille grows suspicious.

LCC!LLE Are you on sonet~ing?

DAtJIEL '~.~ Yeah, ~-!:!.!"lu.te.·~3.lC. *

L'JCI:.:..E Why are you hiding your eves?

'

Her hand SLA.~Sthecounter for e~?hc5is.

Daniel re~ovest~e slasses. L~cille s cnser f3Qe5 to a gasp,when shesees Daniel's big black eye. *

LUCILLE * (continuir;.g~ * running ove:::-) * Oh ,:-.yGod~How did this * ha;,pen?

)

DP..:iIEL (explain.:.:10) I hit 3 curbwi':h~y bii2, then i'::l.itr.:e. (;'ORE)

:...:.

11 (2)

D/~:-1==!,;((,~;:·,:1JJ I di~~'t ~~2~~to wc~r~·~-o~. lcc'.·~3·,,:o:-3<::.::1::.:'.1.:.:<2e:].s, reail:.:

Lock 3.t~·o:.i. * (;)C:3.t) * Do :'ou:~an~~o stay ho~e?

~Io.it's r1:--.e.Igot<:.ago. *

He pecks his ~ot~er on t~e c~eek. *

DA:'lI=L (continuing) It 1 sokay,really.

Lucillenods, hur~i~g for her son. Da11ielsli9s the glassesback on and exits, leavins ~er al~ne, cancer~~~, but impotent.

& & 13 The :irstday of school. Daniel peda~s his bicycle 13

through theparki~~ lot. ·Hiseyes t3}:~in ~ll t~e cars and~ctorcyclas. ?oreig~ sports c~rs, cjro~2d bikes, chO??~da~d custo~ized hot rads. ~~2ryc~e se2~s to know ever1onee:-:ceptDa~iel.

As Daniel chainshis bike to the bike rack he see~ Johnny showir.go::his new Honda 150cc a-:.t:;.ec·~rb. * Anxious to avoidbeing noticed, Da:1ielf'.1..1.~:-ies--:.o·.-;a.rC the school's entrance,when Freddy's ~oi~e catches his attention andJohnny's. *

CHUCK:::E * The only~ove he kncws is how * to gethis asskicked. *

FREDDY * I al~e~dy k~ow how todo t~at * one.

All the beys laugh i:tf:·3.S3i~;. *

)

his bi~e, his eyes * •

::,~·,..._.,.........~---..,,I>::,::)

l~

cc~e jc~g~~~ ~~~::~~e:~e~j. _:1:::--t-~b.g.":~.,_e:r.~::'..b-2'!:"s a: t:le.5::.::ce~·-.:.~:.:.:-:-.·:~1:-::-:t.:.~.AsS0~iel:J~:c~icesso~e moves wi~~ ~~~~~ :..e1st2?~ed 0:1c~~2sho~l1~r. ~e turr.s~o :·._2..,i:1::.:'.~,2r:ea.:!ir.?0::-~b.Shei3t.2:<eri. aback :Jy:-,is!J:.2.c:~eye.

It looks~orse ~h~n it

AL:;: I hopeso. It l:ioksterrible. I ~eve~got a cha~cc to t~a~k you.

;

(co~~TI~HJES\

)

,~::,-.

15 CON':'I~UED: 15

His attitude earns her admiration.

She picks up Daniel's soccer ball and does the routine he showed her at the beach. It's obvious she's prac- ticed. His heart swells.

Ali gives Daniel back the ball.

She trots off.

Ali stops. Turns.

She smiles that smile and rushes off.

ANGLE ON: Johnny, a member of the soccer team. He has seen the whole thing. Bobby and Tommy, there for try- outs, have also. Johnny's eyes meet theirs.

16 A SOCCER BALL AGAINST A BLUE SKY, falling towards 16 earth.

ANGLE ON DANIEL going up to head it. Out of nowhere, an elbow smashes into his solar plexus. Daniel crum- bles to the turf. The play heads down field.

DANIEL'S POV: Tommy looking over his shoulder. Bobby runs alongside and slaps him five.

Daniel, aware of Ali's eyes on him from the sidelines, drives down field -- going strong. He passes one de- fender, then fakes out another. There is only one man left between him and the goal: Bobby. Daniel fakes left, Bobby commits.

17 1...._,.,-!""I"''".....~,··•--...,i....:.....:

......., Danie: goes :i;~~ a~~ :s a~c~~ ~~ ta~e jis 5hot ~hen Bobby ~a::s ~o ~he:~=~ a~d nc~~s Jan.:..el'3legf:c~ be:~:.nd.

Daniel ~a!ls ~e1~i:y ~n ~is ~~ee. ~~e ball. 3ctb~ r:2~s, ;::.~~.:..~~- spri:-1:;:;,·..;r-=::s::::-:r;:-:.:..:n::::c·,.;n.:i::~S':'!..'.'::S::::.~·,;.C:ic1c'.1es and ~la~~rs co~~ :~~~.:..ng.Dani~lz~d E2~~y a:e se9a- rated, str~:.~i~g~o go at eac~ ct~e:. T:1eCOAC:!:aces Daniel.

COAC:-f Out!

DANI':L (furious) He hooked r:-.e.

Bobby smiles at Daniel maliciously. The Coach blows his WH!STI.E.

CO,\CH

) Back to it.

Play resumes. As 3obby jogs off, he fli~s ~aniel t.:ie bird. Daniel li~ps of! the f.:..~ld,deject~d,p~stA2.i and the ether as?iri~g cr.eerlead'=:ssr,i·r:..1}:.i1gands:1~··-:~ ing a.Jay. :iedoes net ~aise his ey~s.

ANGLE ON Ali, watching Daniel pass, feeling for him.

Daniel sits on a couch, pensive, burde~ed by ~he eve1~ts of the last two davs. T~e door ooe~s. Lucille ~us~es in. Daniel covers·wi~h a big smile, as if he didn't have a care in the world.

Lucille hurries past him towards the ~ed:oom. She begins to rustle through her closet.

.UCI~L:: Ri, hon! How's c~e eye?

l7

-, 18 18

D.;~JI:2:L * ~-:hat'sther~s~? *

(excited) * I gat a job. *

DA:JI.2:.. * w (sarcastic) Yeah. I know. R=cket:c~?~tcr~. * Flight to t!1efut~~e. *

LCCILLE * Crash landed in tje~resent is * more like it. T~eyNe~t * bankrupt last Friday. Can you * believe it? *

DA:iIEL (hopeful) So we're going home?

Daniel hands them to her.

DA~!IE:: (displeased) * So af~er going tc school and *

)

all these night classes 'n stuff * for compu~ers, you're going to * be a wait:::-css? * • (COclTI:i'.:::::::;

18 (2) 18

n;..~JIEL 3ig ,,:i::ere!1ce.

LUCILLE: ':'her-2is.3~t it's 2nl:_,: * terr.por.J.r~·,an~'WUY.J'...lst:.o * keep br-eadon the t~ble. *

LUC~LLE (halflistening) That's nice. These go?

)

18 CONTI~lUED: ( 2) 18

She holds up a pair of earrings, one on either lobe.

Lucille clips on the earrings and starts to do her lipstick.

She has not heard a word Daniel said. His mood de- flates.

She hurriedly pecks n1s cheek and exits. Rejection begins to set in when thedoor reopens abrup~ly.

Daniel's cloud lifts. He beams at his mother. Lucille smiles knowingly and exits, leaving her son alone, but this time, smiling.

Daniel is doing front snap kicks, referring time and again to a karate instruction book opened, propped up on the couch. The kicks are awkward.

) A KNOCKON THE DOOR interrupts his counting. He opens it to Miyagi, holding a wrench. Miyagi bows, waving the wrench.

Fix ::aucet.

Daniel allo~s hi~ to ente=.

MIY.:\GI (continuing) Ka:-.J.te!You?

::t;;..NIEL Yeah!

D.l',NIEL

,\ Fell cff my bike.

1IYAGI And not hurt hands?

Daniel looks at his hands, then at the old man. He returns to the living room and resu.--:1eshiskicking. Miyagi starts to fix the faucet. POV MIYAGI: Daniel trying a le~hal-looking technique which looks anything but.

Daniel is at the cashier paying for lunch. Ali scoots through the line forfeiting everything except a con- * tainer of milk to get to Daniel. *

Dl>-"IIEL Hey, Ali with an I. How you * doin'?

ALI

i Okay. So, how do you like

the Valley so far? *

\'~-t:"~~-'-':'.-,;,,,,\! 19.;.

20 co:-;TI:;cED: 20

DJ..NIE:L * It's :1.0tdt.:11. *

ALI * Was ~1e•.,;2.x<-<Cull? *

DNHEL * How'd you know I was from * Newark? *

ALI * (sweetly) * I asked. *

Her interestmakes Daniel feel 10-feet tall. *

DANIEL * You sittingwith anyone?

ALI * You.

(beat)

Sorry about soccer tryouts. *

(CONTINC'E'.))

)

---- .,._,-,_;..,

;.;:1,youre...'Tl.e!!'..bertheguyyou ha= t=o~ble wit~ on tte beach?

o;._:!IEL :z:.~sKarate?

... L'-......,;... He's ~y ex-boyfriend.

7he news stops Daniel in his tracks.

Daniel cocks his head to the side as if l~stening to * someone. ..

Ali looks at him strangely. *

What'd it say? *

CAoiISL * That I've got to be some * kind of coconut to pursue * this.

ALI .. It's over. *

CA.:.~IEL * How over? *

ALI

,........~............-:-... •-~-o.•--•'-•-I

-------....

JAi:IEL (to :--,i:nsel.fi ~e2~s? J~2 ~ee~? Twc ~eeks? -.i•-•..•a.._--f~-

~e follows ~er a step behind.

A.SG.:..Eon.::::r:::r:ysittingata-:.able~..,ithhisbuddies,

£1.:.=ti.~g·.,::.:.hs-:irr.egirls.-:ic::-.!!'ty~a;,shisarr.iand

:r.oti-:,ns~o•,,:2.::dn.liar..dDanielmcvingtot:leirseats,

tal~ing, smilin?. Joh~ny s~ile dies. F.escoops U? ':'cr.."".ly's;:,lue:Oerr:,pieandsli::esacrossthecafeteria

-.,i<:.h:'1istrayending'-.:.?rightbehindAliandDaniel *

as they are about to sit. *

C~CSEUP: The chair. As Daniel lowers himself, a piece of blueberry pie slips onto the seat ir.c.'1esa.l-ieadof his white pants., Contact is made with an audible SQUISH.

Daniel rises. His eyes and Ali's ga to the seat of his blueberry smeared pants. ~ids at =he surrcundinc table~ rutoerneck. Laughter and giggling erupts: !n the a 7sle across the way, Johnny ar.dhis friends are slapp1ng each other "five,• hysterical with laughter.

Daniel's smoldering eyes meet Johnny's taunting ones. Daniel's face goes passive. He wipes the thick * blueberry mess off his pants, holding it in his * hands calmly, with measured steps he walks to where * Johnny is standing. Johnny's eyes drop for a moment. *

CLOSEUP: The gob of blueberries. *

JCIDTh"Y * (derisive) * Don't even think about it, * worm. *

Johnny's eyes look up in disbelief just as Daniel cal~ly plan~s the goo on his chest a~d smears it , down to tis belt. J~hnny stares at the mess ~or a.T.cr:v::,.':ar:.C.then~oesfo=Da:i.iel.~•!a:/hen~r--.:pts, a.s.::cze!"'..so:boysju.~?i!'ltob:-~akit.'J:>.

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(

r

22 22 *

His bike is s-:.::-2.r;;?edtot::e=cof.?OVc.;::IEL:Across the st=eet the Ccbra Kai Kara~e Co~o.

Li.;C:L:.: Ke?i!1a:1d:<ennysai,-1yo1..1now they'd have~ cor.ni?t~on. You'll ~ave a license ~e:ore * they even touch a 3teering * wheel. *

DA..'lIEL Urn•••:au :::-e;Tie.TTiber·...;hen:1ister * ~aletta's ?izza t=~ck went * through that :ence? *

) DANIEL

Thirteen? *

sausage and all that extra * cheese he used to use. *

LUCILLE: * You never give up. *

DANIEL

That's my middle name. *

LUCILLE * In here. *

She had al~ost ~issed the Orient =xpress r~staurant. * Startled, Daniel turns abru;:--tly.:.';-.,2~..;teelhits~~~e* curb, t~e car stalls. Danie: locks over l1isshoulder. *

22 ( 2) 22*

n;..~I2l.. • I'll be a sec', ::ia.. •

LUC:LL:S • Okay. ~ot ~~o lcn;, o~ w8 won't be able to eat together. * •

Lucille hurries inside the restaurant. *

23 OMI':''!'ED 23 & &

25 E:X:'.COBRA ,:_;rDOJO- DAY 25

Daniel leeks into a tro?hY laden wir.dow. In the midst of theglittering hardware are two ?hotogra?hS. One of JOHN KREESE, granite jawed, hard eyed in Green Beret fatigues wi~h the caption CAPT. JOF.NK?ESSZ. D.I. PARRIS rs:,~\!ZC,U.S.M.C.andthe other also of C\r~esein a black gi ar.dblack belt holding tha biggest trophy i~aginable and captioned .',LLAMERICANOPEN KJ..~~TEC~~- ?ION 1970-i3. -1

As Daniel en=e=s, ~ifteen s~udents, ra~ging ~rom black belt towhite belts, kneel, their backs to the 1oor ~~d Daniel. E~~lQzoned en the jack of ever·ystudent's gi is the school e~ble~: a hooded cobra rising c~inou~ly over a clenched fist.

(CONTIN'vED)

-.-··•-·_·--....,.....,:•,

~s one, t~e stude~cs S?=i~; !=~~ ~~ei~ ~~ees. The collective sho=~ o~ ~~u=~een sets oi t2els hitting t~e !lee= ~~t~e~es ~hrc~~h ~he tuili~~=- Their bcdies c~sc~=2 Jc~~~y•s :i~~ of vision.

~~e class bows at the waist.

~C~""}.~Y'S?OV:Danial is cone. The siichtest trace of a sn~~e c~eep3 ac=oss johnny's ~outt:

OMI':'TED 27 thru

30 DlT. ORIE}ITEXPRESS - LATE AFTER."100N 30

His appetite fled, Daniel pushes his food around the * plate. Lucille, positive, enthusiastic, sits down.

(

spot opens you're in. And the

ben€=its?! I'd never get th~~

work~ng in co~puters. They pay

for eve.:-ythinq.

DA.'<IEL (unent:hused) Great.

Lucille sees his despondency.

::ot!ling.

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D.~;rs:. * (s:1r::.gs) guess nat.

(

LGC:LLE ;._'"ldwhat'swi':.!":thegirl • sit".J.at:.on? •

It s okay.

LUCIL::::: Just okay? ~o me it looks like ch~ whole world went blc~d. You got an eye fer ~nybc~y? *

3is shrug a~d the s~all smile ;!ayi~~ s=o~nd the ==:~:e= of his no~th tells ~ucille sje's c~ t~e ri;ht tr~c~.

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25 D;._y

S:niel ~u:s~s out ot !:iU~.lC.l.7i;'..:;

ga.::.a.spcs~i:::l'= t::2girl.5.

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CONTI::-lUED: 36

DANI£L Bike accident.

Daniel blushes.

They begin to walk.

Daniel is at a loss for words.

On the spot, Daniel is about to bluff when he sees something at the curb which stops him cold: the Cobras.

He heads back to the building.

)

And with a few quick stride~ he is inside.

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43 CONTI:-lUED: 43

) He shows the distance toDaniel with his hands. Daniel fingers a tree.

MIYAGI

J Close eyes.

Daniel hesitates for a moment, but something in the old man's face is reassuring.

Concentration etches on Daniel's face as the old man speaks.

Daniel nods.

Miyagi pushes a small bushy pine tree in front of him along with a pair of clippers.

) , Miyagi goes back to his own tree. Daniel is over- whelmed by thetas~. Miyagi looks up for a moment, smiling.

Tentatively, Daniel makes the first cut. He looks at Miyagi for approval. Miyagi nods. Daniel clips again and again. Miyagi smiles. Daniel's concentration zeros in on the tree.

Lucille exits from the car. She sees Daniel's bicycle, repaired, outside Miyagi's shed. Curious, she ap- proaches. ?OV LUCILLE through the window: Daniel working on his tree, while Miyagi instructs him. The sight gladdens her hearc.

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RE'/I3EJ:.8-23-83 (3:,;,;:::.':

4U *

c.;.~IELand~IYAGI are clipping tr~es. LUC:~LE appears at the entrance.

L:.:CILLE

Hi.

DANIEL

Hey, mom.

LUCILLE

You fixed your bike.

DANIEL

Mr. Miyagi fixed it. Come on in.

LUCILLE

Oh great (beat) Thank you very :nuch

LUCILLE opens her poc~etOQk.

I LUCILLE

How much do we owe you?

MIYAGI

My pleasure.

LUCILLE

Well, thank you.

MIYAGI

Welcome.

MIY.:-.GIbows.

LUCILLE not knowing how to respond dips awkwardly from the waist.

LUCILLE

What are you doing?

DANIEL

Trirr~ing. Like b~by trees?

MIYAGI

'L1,-i!"':saitree.

cc,;::::;.;::J:

-...,·-":"• ....r-...1--- go . ~:YAGI :ree

and ;u~s it i~ h~s ar:ns.

MIYAGI

No forget t=ee, practice.

MIYAGI puts the clippers in DANIEL'S pocket.

DANIEL

Thanks,

MIYAG:l:

Welcome. Saycnara.

DANIEL and L~CI~LE walk to the screen door (ad lib).

DANIEL

He gave you the best one. Look the bike works perfect.

\

Daniel sits on the stairs, in a bl~e funk. Below, Freddy ¥d his friends emer;e in Halloween costumes joking and laughing. Daniel's gloom deepens.

DANIEL comes to the screen door and enters. *

DANIEL * Mr. Miyagi. *

MIYAGI is not there. DANIEL looks around for a moment * and then notices a big Jack-o-latern carved with an * oriental face. Next to it a smaller pumpkin drawn in * outline with a similar face, uncarved. DANIEL admires * then wistfully. MIYAGI enters, surprising DANIEL. *

MIYAGI unloads little packs of candy from a bag. He * tosses one tc DANIEL.

MIYAGI * Happy Halloween * (beat) How bonsai co~ing? *

DANIEL * Good, good. *

--------..

:--1IYAGInoticesDANIE:..ad..'-:'liring;:,u..~pkins. *

DANIEL * Did you do this? *

DA~IIEL,;,ats,;,u.-n,;,kin. *

MIYAGI * Hai.

:-IIYAGIhandsDA:lIELa carving kni.:e. *

MIYAGI * Like try? *

DANIEL takes the carving knife and begins to carve the * smaller ,;,u.-n,;,kin.

) DANIEL

Don't feel like it. *

) DANIEL

They weren't accidents. So, like, unless I go as the InvisibleMan, I'd be better off staying here.

A shower complete with curtain, shower head and grey yarn for water apDea:s at the e~trance. ~~e ~ron: curtain is ?ulled slightly and Daniel ?eeks out at the decorated-for-Halloween gym. A TSOUSAND COST~"MED K:DS gyrate to a ::ARD?.OCK:-lmlSERunder a strobe. Daniel's eyes find Ali, a scantily-clad Harem girl, dancing in a group. As the :ast nu~ber stops and a slow number. begins Daniel approaches her. Couples are ?airing of: in close clinches. Daniel comes uo behind Ali, ocens his curtai~, encircles her and clo~es it. She t~~~s, startled, but coming nose to nose with Daniel brea~s into a smile.

ierar.nsencircle his nee...~"'1·Qsgoarouna·her waist.·

n such close proxi~ity things steam up fast. )

)

words lose their meaning. Eyes do the talking. Slowly their heads close the inchgap between them until their lips meet: torrid yet tender, intimate yet innocent. The heat rises.

Still face to face, they try to walk, laughing at the awkwardness of their position. Ali gets turned around. Daniel opens the curtain enough to see. POV BOTH: Twenty yards off in the crowd a giant chicken flops around with a basket of eggs. The chicken's eyes fix on the shower. He removes an egg from his basket and begins to run toward them, clucking and flapping.

I DANIEL

Oh no.

The chicken ·leapshigh in the air.

An egg comes out the top of the shower and splatters on Daniel's head. Ali laughs at the sight. Outside the chicken crows. Daniel forces a smile as the egg drops down his forehead.

Inside the shower, Daniel wipes the last spots of egg when he hears a voice he knows only too well.

VOICE OVER il exits, leaving the room empty. Daniel looks under the stall at one pair of legs.

(CCNTINUEC)

~·--~\ .!-/• I -_,._,--,

Ee climbs up on the sink ar.dpeers over the top of the toilet. POV DA!l!ZL: John11yseated, :olling scme joints. Daniel is ready to flee when his eye catches a hose, a mop and a bucKec in the co:ner. A light bulo goes off in his head. He runs ~he hose ever a light fixture so tne nozzle is ai~ed at the stall, turns on the water and runs out. Right into the ar~s of the rest of the Cobras.

Daniel doesn't waste a second. Ee breaks loose and heads for the gT,11. A moment later Johnny exits furi- ous, soaking wee. The Cobras take off in pursuit.

Daniel runs through the crowd, past Ali. 3e is about to explain when he sees the Cob:as see him. He splits. As the Cobras pass Ali all becomes clP.arto her. She sticks cut her foot, tripping Johnny. ~he others topple over him.

50 OMITT;:'.;:l 50

Shedding his costume in bits and pieces Daniel runs across the street. Cars SCREECH to a h~lt, rear ending each other, as the Cobras come rushj,.ngout.

Winded, tiring, DANIEL takes off across a weed choked lot. At the end of the lot is a chain link fence, beyond the fence is ho~e and safety. DANIEL reaches the fence a:'\dlee,:s.His ha:•dsgrasp the top ashe struggles to pull himself over, he is dragged down from behind by JOHNNY. The others catch up, breathing hard, their faces obscured in shadow. The surround DA~IEL and ·,1ith one last desparate attempt he tries to break ~way, punching and kaiing loudly but JOHNNY's knee to his chest ends all that.

JOHNNY

You couldn't leave well enough alone, could you * you little twirp and now you are going to pay * for it. · *

JOHNNY, soaking wet and furious, lifts DANIEL by his collar and* J pushes him to one of his compatriot~._ The.Cobras push o;.,NI~L * around ""~_:'"'Jhi::iupforJCHN1'Y'sv{cic-uskicking technic;,._;e.• He is pushec!around three times. JOHNNY hitting him each till'.e* until at last he is prostrate onthe ground. (CO:,TDICE

?.E'/:SE:'.:l~0-23-33

52 CON7rNw!'.::l: 52 •

JOHNNY

Get him up.

The others hang back, hesitant to do more damage.

BOBBY

Corne onman, he's had it.

A man faces you, he is your enemy. An enemy deserves no mercy. Get him up.

Two of the other Cobras obey, propping the almost un- conscious figure against the fence. Johnny backs up, takes a running !tac~, and leaps-into the air.

DANIEL'S POV: through blurred vision, he watches Johnny's lethal side kick unfolding in SLCW MOTION, aimed for his head. ·Too weak to mo~e, he waits for the inevitable i=pact, when out of nowhere a figure leaps the fence, 9ushing Daniel to the ground. Johnny's foot hits the fence a second later with such force a slat cracks where Daniel's head was.

DANIEL'S POV FROM TliEGROUND: A small, lithe figure, obscured by shadows, poised opposite the Cobras in a low cat stance. The first three Cobras attack. In a moment, they are on the floor, writhing in pain, as the anonymous defender lashes out with punches and kicks, Johnny, the last one left standing, charges madly. The mystery figure somersaults towards him, shooting his leg up into Johnny's exposed groin. Johnny stops dead, choking, and crumbles. Daniel's vision fades to black.

Daniel revives, his vision clears. He looks around at a familiar setting. A repugnant smell catches his riose. ae removes an offensive compress from his head / when Miyagi appe~rs.

(CONTI!?OED)

j'j•

53 CONTI~UED: 53

Re firmly slaps the compress on Daniel's head.

As Miyaqi dabs at Daniel's cuts and bruises, Daniel looks around.

Miyagi blinks. A revelation slowly unfolds.

Miyagi bows and smiles.

)

But the words will not come.

A KETTLE WHISTLES. Miyagi rises.

He goes over to the hot plate and pours two cups of tea. Daniel sits up slowly.

CONTINUED: ( 2) 53

Miyagi removes Daniel's head cloth, rinses it out, and reapplies it.

MIYAGI

' No.

J

-----------

53 CONTINCED: ( 3) 53

DAtlIEL No offense, Mr. Miyagi, but I don't think you understand the problem.

)

(CONTINUE!:))

..".

53 CONTINUED: ( 4) 53

Miyagi has a point. Daniel stops and thinks about it.

)

Daniel gets up and throws the rag off.

Daniel stalks out. Miyagi's face reflects his troubled thoughts.

Daniel is halfway tohis building.

Daniel stops and turns,petulantly.

{CC\NTI NUED)

Daniel's petulance gives way to a smile. Miyagi turns to go back to the maintenance shed.

Miyagi sees by Daniel's face that his joke is not understood.

Daniel nods.

Miyagi enters the maintenance shed and closes the door.

Miyagi waits by his dusty old pickup. Daniel arrives, nervous as can be.

Miyagi slaps the truck's keys into his hand and climbs into the passenger side.

Daniel climbs in behind the wheel and starts the en- gine, GRINDING the ignition.

Miyagi looks straight ahead, waiting to be off.

CLOSEUP: On the wall a poster: ALL VALLEY UNDER 18 OPEN KARATE CHAMPIONSHIP. Twenty STUDENTS stand in four lines doing punches from a difficult horse-stance position. Kreese prowls the ranks, barking the cadence. As Miyagi and Daniel take seats in the first row of the visitors' section, one of the students shifts his eyes a fraction in their direction. In a flash, Kreese sweeps his legs out. The student's head hits the wooden floor hard, opening a gash above his eye. Kreese fires a fist towards the stunned boy's face, kiaiing ferociously. The fist stops a hair's breadth from the boy's nose. The whole class stops in mid-punch. ·Noone bats an eye.

The student does not move. Blood trickles from wound.

The student jumps up, bows to Kreese, and runs into the locker room, shamed.

The class rushes to don hand and foot protectors. Bobby's eye, which is suitably blackened, catches Daniel and Miyagi. He nudges Johnny, whose glare makes Daniel squirm.

)

44A •

t:.:c::..:..::a:-::::;..~;:~:.s-:2.:-:-:2-;o. ar:dpt.:.ts:.~i:-,~.:.sa=-:-:-.s.

MIYAGI

No forget tree, practice.

MIYAGI puts the clippers in DAN!EL's pocket.

DANIEL

Thanks.

MIYAGI

Welcome. Sayonara.

DANIEL and LUCILLE walk to the screen door (adlib).

DANIEL

He gave you the best one. Look the bike works perfect.

Daniel sits on the stairs, in a blue funk. Below, Freddy ~nd his friends emerge in Halloween costumes joking and laughing. Daniel's gloom deepens~

I• Daniel enters. ~iyagi is not present, but several miniature Jack O'Lancerns, carved in an oriental motif, are. Daniel examines them wistf•-1lly,thensits down to work on his tree which is reall.yshaping up. Miyagi with an arm full of plumbing supplies, including a shower head, enters. ·

Daniel doesn't respond.

j MIYAGI

How come?

Bonsai tre2.

MIYAGI

Bonsai.

DA.'HEL

Bonsai.

LUCILLE walks over to examine a tree.

LUCILLE.•..

They are beautiful.

LUCILLE

Really.

MIYAGI presents LUCILLE with a tree.

LUCILLE

For me? No, no ..Icouldn't.

MIYAGI is insistent.

MIYAGI

Please. Hurt feelings.

LUCILLE (touched)

Well, thank you very much. I know just where I am going to put it.

MIYAGI bows. LUCILLE not knowing how to respond, dips at the waist.

LUCILLE

Come on, we've got to go - it's getting late. School tomorrow.

DANIEL

Be up in a half hour.

LUCILLE

) (insistent)

N. de've got to go now. You've got to get to bed.

LUCILLE (toMiyagi)

Tha!":ikyo,.;fore~,erything.

57 CONTI~UED: 57

Bobby jumps up, along with another student, JERRY, and runs to face Kreese. Both boys bow to Kreese and turn to face each other.

Before the word is out, Bobby spins, burying his foot in Jerry's stomach, doubling hi~over. Bobby looks at Kreese for approval.

Bobby jumps on the prostrate student, delivering a chop to the back of his exposed neck. He snaps to attention before Kreese. Kreese nods. Bobby bows to him. Kreese stands over Bobby's hapless opponent, who is still on his knees trying to catch his breath.

KREESE

) (addressing the class)

We do not train to be merciful. Mercy is for the weak. Here, on the street, in competition, a man confronts you, he is the enemy. An enemy deserves no mercy.

ANGLE ON DANIEL: He has heard these words before.

Jerry tries to stand, but his wind has not returned. Kreese yanks him up by his gi until the boy's face is inches from his own. His eyes turn hypnotic, demanding.

The boy gasps for breath.

57 CONTINUED: { 2) 57

The boy drags himself to a sit-up board at the far end of the dojo, assumes aposition and begins to do a series of painful sit-ups.

Johnny and another boy his age jump up to face Kreese. Johnny moves with a slight limp. As he presents him- ) self before Kreese, he shoots a look at Miyagi and Daniel.

Johnny leans forward and whispers in Kreese's ear. Kreese's hard eyes train on Daniel and Miyagi.

ANGLE ON Daniel, fidgeting uncomfortably.

As he goes to rise, Miyagi's hand rests on his knee, staying him. Kreese, with Johnny behind him, ap- preaches. He stops before Miyagi, towering over him, glowering.

4 7 •

57 CONTINUED: ( 3) 57

) Kreese looks at Daniel and speaks to another student.

He thrusts a gi into Daniel's chest.

Miyagi takes the gi from Daniel and puts i~ neatly on the chair. He motions for Daniel to follow him. As they turn to leave, Kreese blocks their path.

Miyagi points to the tournament ~oster on the wall.

ANGLE ON DANIEL: His knees all but buckle. His face goes white. Kreese's anger evaporates. A smile breaks across his face. He begins to laugh. All his students laugh with him.

,'0-'

~I

3'7

Rreese's jov~3li~y V3~:ste3. ~e r~dJcas ~~e dista~c2 bet~een hi~~e:~ ~~d ~iyagi :s i~c~~s.

3ut y,:,,:.Cc::.•-:sr.o·;,;,it'sc~e:-. seasc:--..0::hi:ri. (beat) And yoi:..

Miy3gi ~e~t3 ~reese's ha=d glare cii=~~tly. He bows cou:teously, .~,::·;~..;aro0J::d"::-lebir;ge-r~ai'1a:1de:<i':.s, Caniel ~o~:owi~g c::.hisneels.

Daniel is a qu:vering mass of conce:n bordering on hysteria.

DA!J!EL ~hy'd you do that? You said we were gcnna find a solution.

:-!IYAGI Did. save three months beating.

DA!HI:L (exasperated) Oh, God!

Miyagi flips the truck keys toDaniel.

The pickup drives through an abandoned oil =iq area, sto?ping in f:ontof a ramchackle hcuse in need of a paint job. Several vincage autos si: outside. Daniel andMiyagi exit from the truck.

I didn't know you were in

the oil b1Jsi~ess.

MIYAGI * Not everything ~s as seeIT.s.

) *

L'.'\~!EL What a~~ we doi~g tere?

.-'':,'3j

-·,~-.--.-~----~.

59 '-'-"'•1-.._.,_~v.

---.:.':'.::2-::-.~C::i:-:-:n•~'.:,S.:::.::-3:!~::.1.ythey,:.~.:;. __··•-·Jc..::.i•2:-:..~cc:-:s3t':'.>~::.:."'::.o:-:".:Jbile'.=, ~•--'-:.:..:..:.:-.\~:~:>..;~.:,.:.:--..:c.:.:-:..;,J.1950* Cl1svycc~~~=::i~:~. * ~ tucket, 3C~.e~ass *

:-1:::y_:._G.I'.S?:•\~::ar:~asj_zi:-:s, • car,~ak.:.~~bel~ev~he l.3,,::::-:i_,;i.:--,:;. •

~iyagi comesup ~o hi~, ~a::.:..elgets□ Ltatthecar. *

DANI~L You really thin~! c~n beat ~in?

)

No::ioreb.:,t.her.

DANIEL

Or they ll bury illewher~I fall.

~-1!".L.;GI Either way, problem solveG. (beat) Ready?

D,\NIEL I guess so.

Yes.

) •'.b~a~)

I 1rnready.

\.;,-

-.···-- I~,'. ·-~-·-~-·~·_.

""

Gocd.

learr-:. .:.-::.,_.,..:.::,..~~v qu~-~:..:...);;.::-;3t::·cl..r:;::;.:':.

:.1rY.;,~: First wash. ~~en ·.-1ax.l...i'-:':?:::.:s. ·,.;axonrig:-it. 0..:t.

CONTINUED: ( 2) 59

Miyagi makes small circles, clockwise, on the fender with his right hand.

He repeats the motion with his left hand, counter- clockwise.

Miyagi turns and re-enters the house. Daniel watches him go and then turns glumly to the task at hand.

Daniel slaps on the first bit of wax and begins to rub haphazardly. Miyagi comes up from behind and guides his hand in the prescribed circular motion.

) An exhausted Daniel removes the last bit of wax from the last vehicle. All the cars shine like new.

Daniel enters. The house is sparse to the point of containing nothing. Miyagi sits in a meditative zazen posture against the far wall. Daniel approaches him, is about to say something, thinks better of it, turns, and goes to exit. As he opens the door, a loud snore emanates from Miyagi. He turns and looks at the old man. Another snore punctuates the silence.

Daniel is at his locker when Ali comes up quickly. She is about to speak when he turns. The fresh bruises make her wince. She turns abruptly, angry.

Daniel steps in front of her.

This stops her. ALI'S POV: Over Daniel's shoulder. Johnny and his crew rounding the corner. Daniel, pick- ing up on her eyes, turns. Johnny stops. The others take his cue. I I,I DANIEL

Come on.

Daniel leads Ali past the Cobras.

But no one moves to stop him. Daniel and Ali turn the ) corner to her classroom.

Ali's eyes go warm, intimate.

--··--··-;_J:

.."---.

:-·..:.3is·:1~.s

-,r._,-..--~ii':'""___ _~...;.•,•.c:.::,=:.-~ -··,

She ?u:ls a ?i~ce of ?aper f:cm ~e= ~cte~oc< and ·~:ices

her add=ess. She puts the paper in hi~ hand.

She ~ec~s ~i~ on ~he li?s anC disa??23~S i~~o ~he clas~roc~ sc f3st. She i~ go~e ~e~cre 2a~i~~ can cor~a= a~~ ru~s ri~ht i~~o :o~~~y. :-::-":-:.r.:'!y~-~c:-:s do'.·1:1at.~:iepi-:cH,:;fpa;,e::ar.dt::.er.1.::.:,a-:.I::c.11:...~1.

Don't push

Jo~~~y looks down at the paper.

(cant.:.nui:igJ What's that?

D;...!-i!EL {~ervous) Tha~? Oi, ah.,no~~ing. "

_;sJoh:--..:1:-qoest::ig!:'=.!:_,_,.&.--__,..._,s.;:;es~!.?.•--....,..'"'--..''I....-,.,

--••·-·--•I a ~eac~z=, -~al~i~g by.

........,--~· J..,.,.~.'I!.-J..i Can! :al~ ta yo~ a m:.nu:.e.

:.:;, ..1,,,-.....-...

..=----. ,---•-...'-'- - -::.::._::!.f-::.,.i s~~~ a~~u:.~c~ -_:j:~~s ;c~ ·.-,::::-::·?•

--.---•·•·--

;-.:::.:s:,

--- -·,

_::,:-,.,:..~--::..::-.: Sc ::=•::.:•.,.;?

:-:;...i=t~:.3 ::.at':er-=:d) I'~ ::~e :~is pA:~cd.

r

C • '.

,,..,,..,.,..,...,••~-r-,. 63 ,__,._,,_j-...........::...J:·,,I '_)..:. -·"i ' ...:c:-:~:~:·_•

~-:_!:.

He a~d :~2 =~~=3s sts:~ cf~. r~2..i~•leG.

sc~1Eo~rs::c:.::;:::;~'i.:.I:.s::;~:,;-;ovo.:a~:~l;cesarou~~ th~ sid~ c0 i~v~s~1sa=e.

C:J':1TO:

A marvelous sight graets Da~1~l. A pe~~ect .Japanese garden. Mi~ragii3 put=ing t~e last n3ils into a large unfi.:-1is'.'1eS.\;oode:-:dee.~.Ineachcorn-:raregrace:ul J~p~nc3e lan:erns.

DA~l~EL It's beautiful.

Ignorins ~~e cc2?:~~ent, ~iy3g;_?Ou~ds ~h~ l~st nail and bij.sDel~.:.el:~;;e~l.

Daniel .~icksuo_a wood2~ bloc~...~,1.·t·n.a::-,._::::-ap-~on1.-:.··...

DP..~;IEL " (continuin:r)

What's this? •

MIY.;Gr Ja?anese 3ander.

DANIEL ... How does it work?

:-lIY;.GI

Funny yo~ should ask.

He attaches the sa~~er ~o D~.-,_iftJ.'-<.;;;.=;·n-na·.::..!a-n~.......~e1;ishi.r:: make pe!:'fectci!."'c2..2.;,st2.r~:.:-:'.":'co1.::.r:ter-cl:Jc:•:•,,:is~,th,.:.. paper =~bbi~g h3r~ acains~ tterc~gh, wood dee~.

:).;:,;I.SL

~oul~n'~ i~ be easiR~to go back anC.for~h? *

)

•

__.....__-~·- . --, * (::::.:-:.-:---:...:3~::-.:..i:-:t·2r.• ,.. '., s ::--oc.:-:dhi.:; :c:::-...--.--··-'--..,_-·------..---.:--.·.1::.:s.

CLOSE~?: ~:alfa do=en dis=.J:~eds~~d~ap~r ?3~5 Da~:el, swe3ti~g ~:oE~:ely, ~~s 3l~cst ti:~i~~ed.

)

56 66

He lifts his head, sni:::~g the air, and looks over his shoulder to the far end of the newly-sanded deck, where Miyagi is cooking :ish on a small coal brazier. Daniel's hunger is apparent. ~igayi removes the fish and re-enters the house. ~aniel sands furiously, his renewed vigor :ueled by a growing hunger. He keeps one eye on his work and one eye on the door. Finished, he throws off tne sander and goes to enter the house, Just as Miyagi exits. Face to face, the old man burps contentedly.

Daniel looks over the old man's shoulder to an empty plate sitting just inside on the table. Meanwhile, Miyagi is sliding back and forth across the deck, bare- foot, checking for splinters.

He bows to Daniel. Daniel, perplexed, bows back. J Miyagi steps into the garden and is soon lost in the darkness.

Daniel enters and finds a note on the kitchen table.

CLOSEUP: THE NOTE.

"Dear Dan. Don't wait up. See you tomorrow. Love. Mom.•

His resentment rises. He rubs his shoulder and heads off towards his bedroom.

Danie: enters to find ~iyagi seated at a low table trying to catch flies with chopsticks.

::::-·--::---..-o:: :'.). •,-•---•-'--I-I-_,

',-C. 0,

,--

Da~i2l sit~ dew~ nex~ to the ~~d man, watching him a !:tome:!t.

:-!IYAGI Man who cat=h fly ~ith chopstick can accc~plish anything.

::JANIEL Eve::-catchone?

Daniel picks up an extra pair of chopsticks, snaps thau togetner once or twice to get the feel. and begins lco~ing for a fl". Miyagi glances at hLu from the cor~e~ of his eye. Just then, Daniel's ha~d shoots

( ouc ac a BUZZI~G SOUND. The sticks snao. The BUZZI~G

STOPS. Daniel's e:es go wide. CLOSEUP: The sticks, a fly pinion,ed between them. Daniel looks at Miyagi excited. ,!i"agi lays his own sticks down and ::-ises.

D.WIEL " (continuing) * Hey, look at that, huh? Not * bad for a kid from Newark. *

He rises and walks out the door. Daniel looks at th ■

fly and picks up a make-believe telephone. *

DA..~IEL

Yes, sir. Ah, yes sir. He's * right here. Alright, sir. *

Daniel makes believe he hangs up. *

DANIEL

(continuing; *

f to fly) *

Okay -- :·o·.1we=e_;::luck.That .. was :~a Governo::-.Yo•Jgot a ..

Daniel rises with the fly and walks out.

I•--••'.".""•••·--\ ..- \-..:;_,_...,_~._,__,, ::''.-..

,._.....,-.---~•--.-····-:---...---·'-__,. ('

:~ow,-:;con. • "

•

,,-y-..,.-.-t,... iQ

Da~iel exi~s. ~iyagi be~ore s~x ~a~s o~ paint, nea~~y

s-=ac!-:ed.:.!~:,ac;ihasc;:e!"",eCasevent.'.1andizsti=:.-:...-.g-* ~t wit!:a !:irush. *

DANIEL * l:!ey,~listerMiyagi. Does that * mean ~-can acco:npli.shanything? *

MIYAGI • Yes. But first.paint fe:ice. *

With that, he begins to ?aint the fence.

Aftez-several demo strokes he hands the brush to D.a..:uel.

:1IY..ll.GI ( continuir.g) Up ... down ...up ...down .•• Whole fence. Don't forget breathe.

Dan'-elcomplies. Miyagi walks back to the house, repeating thewords over and over, tickled by their sing-song cadence. *

Miyagi is tending an ancient bonsai with the u~~ost concentration. Daniel, ~ai~~-spla~~ered, tired, rubbing his so=e shoulders, :lopsdown beside hin.

D,,NIEL Finished.

Miyagi's attention does not waver from the tree.

Words rise in Daniel's throat, but he swallows th~~ and exits.

Daniel has just finishedthe last slatwhen Miyagi exits, dapper in a brightly-colored Hawaiian shirt.

I

Daniel, paint-splattered, :!:1.lshesin.Lucille is apply- ing the last touches toher makeup, :;ettingready to go to work.

) fromher wallet)

What do you need?

(CONTHH.:ED)

r REVIS~:J::./:/33 (G:1.:::::-;) 5 8.

73 CO~':':~;0E:D: 73

)

Daniel, you don't have a lice:1se, * re..~e:nber? *

,

a little late?

Daniel gets down on his knees, trying to sway her with comedy.

DANIEL

) ?leeasse. *

Daniel's smile disappears. Resentment surfacing, he rises.

Mother and son lock eyes for a long moment.

LaRusso. When you're right,

you're right.

Lucille's car moves slowly past the large, luxurious homes of the Hills, as Daniel scans the doors for Ali's address.

59,

The ooulence has an effect on both mother and son. She ) is impressed, he is intimidated. They stop in front of Ali's house. A Mercedes adorns the driveway. Daniel seems frozen to the seat.

Hesitantly, Daniel exits. He heads up the walk, almost sorry he has come. He rings the doorbell and Ali pops out brightly.

Seeing her, Daniel's nervousness recedes a bit. As they head down the walk, back towards the Chevy, a big, midnight blue four-door Mercedes pulls into the drive- way. Two elegantly handsome people in tennis whites exit from the car.

) Ali's PARENTS glance at the Chevy by their curb with a rather distasteful look which Daniel pi~ks up on. P.is nervousness comes roaring back.

Daniel shakes hands uncomfortably.

6 0.

r

DANIEL

) We're going to gol: and stuff.

He offers no further information.

The two adults exchange a look of disapproval that Daniel understands only too well.

Both parents smile rather thinly. Neither responds. Ali and Daniel head for the Chevy.

Ali seems unconcerned. Daniel opens the door. Ali slips in next to Lucille.

Ali moves her butt to avoid a spring sticking through the seat. Daniel eyes it, embarrassed.

75 CONTINUED: ( 2) 75

Daniel closes the door. Lucille turns the key to start the ignition. Nothing happens. Lucille looks at Daniel. Daniel's embarrassment mounts.

Lucille hops out. Daniel looks at Ali, smiles weakly, but she doesn't seem to notice his discomfort at all. To her, all this is just fine. She slides over behind the wheel. Daniel and Lucille set at the rear of the car, ready to push. Daniel looks over to where Mr. and Mrs. Mills watch, tight-lipped, from their doorway. Mr. Mills is saying something to his wife.

Daniel shoots a murderous look at his mother as they begin to push. The car rolls, downhill, gaining momen- tum, getting away from them.

A second elapses. The engine catches. Ali hits the brake. Daniel and Lucille run to catch up. They hop in the car on either side. The car disappears down the street, Mr. and Mrs. Mills staring after it in dismay.

The parking lot is packed with kids and their cars and motorcycles. Before Lucille can pull into the parking lot, Daniel stops her.

) Lucille looks at her son oddly, but does not question him. She stops at the curb. Daniel and Ali h0p out.

REVISED ll-1-33 (GRZE:;) 62.

Lucille drives of~. Daniel and Ali hit across the parking lot.

ANGLE on a giant water slide. *

ALI * We'll come back and do it * next time.

DANIEL * Why next time? *

ALI * we need bathing suits. *

DANIEL * Oh yeah? Bathing suits. *

ALI * C'mon. Let me show you * around. *

76A- MONTAGE 76A- B-C- B-C- D-E Ali and Daniel racing together on the Little Indy. D-E Watching her sink a hole in one at the ~ini golf. Jumping up and down en the trampolines. Having co~es and talking. ?laying a video same. Daniel's hand tentatively, tenderly, slipping over Ali's.

Daniel and Ali exit hand in hand. Daniel notices the giant slide.

Daniel likes the idea. Eddie's red Porsche Targa pulls up.

} • ALI

Eddie. This is Daniel. Daniel, Eddie.

::,-;:--r...::-=----.~,-~_;1 (i:.;• -------- 76, c::::c:-::::.::::::i:

Daniel sha~es h~s hand sullenly.

EDDI:S Last week. Want a ride?

Eddie VROOMS off. DANIEL'S ?OV: Lucille pulling into the parking lot.

)

He starts walking towards her, hoping to head her off, when a convertible full of Ali's friends cuts in front of them. Johnny is in the back seat.

Lucille pulls up behind them. Seeing Daniel, she HONKS and waves. He cringes.

Ali glares at him.

) Ali and Daniel walk back to Lucille's car.

She gets in theChevy.

thru thru

J

He flings the paintbrush into the can and stalks off.

Daniel lifts his bike.

J Danielsan.

) DANIEL

(withdrawn) Yeah, I'll call you. 'Night.

He turns to go.

She reaches to his lips and extracts a piece of paper from his mouth. She hands it to him.

She ducks into the house. Her gesture has brought his mood back. He walks back to the car a little lighter.

Daniel, on his bike, approaches the front door where a large note is affixed•

• CLOSEUP: THE NOTE

"Paint house. No up and down. Side side. One half left hand, one half right hand."

To the left, another half-dozen cans of paint are stacked. Daniel is incensed. He rips the note off the door, crumbles it, and flings itonto the ground. After a moment, his anger subsides. He removes the lid on the first can of paint and begins to stir it with a brush.

The house is almost finished. Daniel is slowly doing the last strokes, breathing in and out, when Miyagi pulls up. Daniel does a slow burn but does not turn around. Miyagi crosses the yard, whistling happily, carrying a full string of freshly-caught fish.

Daniel's brush stops in mid-stroke •

• (CONTINUEDi

Back to the wall, dangerous-looking even with his eyes closed, the sensei, JOHN KREESE, kneels facing his students. As Daniel watches with rapt attention, Kreese's eyelids rise. Ris eyes, cold, piercing, seem to be looking right through Daniel. They send a shiver up his spine.

As one, the class bows, touching foreheads to floor, and rises. No one moves. The air is solemn with si- lence.

The response is sharp, booming.

) ANGLEON Daniel, watching, entranced. Kreese's face sweeps the line of students from left to right, fixing each one with his intense, dangerous eyes. Tension crackles in the air. Finally, Kreese's voice breaks the silence.

A black belt springs from his knees. Ris feet bit the floor with a solid thump. His clenched fists are riveted in front of him.

The black belt snaps heels and arms together smartly, coming to attention. He bows crisply from the waist. Kreese bows back and steps aside as the black belt sprints to take his place.

As he turns, Daniel's knees go weak. Johnny's eyes meet Daniel's above the heads of the still kneeling class. )

Class up!

83 CONTINUED: ( 2) 83

Daniel is stopped by the edge in his voice.

Daniel grits his teeth, but obeys, returning to stand before the old man, sullen, distant.

Daniel does not move.

Miyagi feels around Daniel's shoulder for a moment. He ·rubs his hands together back and forth, very :ast, then applies them to Daniel's shoulder, one on ~ach side, pressing hard with his thumbs and palms. )

Daniel does as he is told. To his surprise the ache is gone. Miyagi corrects the angle of his elbow, tucking it in.

Daniel catches the rhythm, making perfect half circles. Without warning, Miyagi throws a chest punch. Before Daniel realizes it, one of his circling hands has in- tercepted the punch and deflected it effortlessly. His eyes findMiyagi's. His face lights up. Miyagi re- mains emotionless.

83 CONTINUED: ( 3) 83

Daniel does as he is told. Miyagi makes the right corrections so that Daniel's arms circle down. The old man shoots a half-speed kick to Daniel's stomach. Daniel's hand deflects it smoothly.

Now Daniel iseager, quick to comply. Miyagi makes a small adjustment, Daniel keeps painting. Miyagi throws a head punch. On the upstroke, Daniel's bent wrist catches Miyagi's punch. Miyagi throws a stomach punch. Daniel's downstroke deflects it perfectly.

Daniel needs no prompting. As he draws his hand from side to side across his body, he deflects two rapid hook punches thrown by the stone-faced old man.

Daniel's eyes lock into Miyagi's.

Miyagi fires a chest punch. Daniel deflects it easily.

Again, the block is there.

Miyagi fires hard for the head. Daniel's snapping block is there to meet the attack.

Daniel's palm heel crashes into Miyagi's fist.

83 CONTINUED: ( 4) 83

He punches. Daniel blocks.

Daniel's block snaps into place.

Daniel sweeps two kicks out of the way.

The punches come faster. The blocks are right there. Suddenly, at the height of the exercise, Miyagi stops. Daniel, breathing hard, elated, waits for more. Miyagi picks up his fish.

He turns abruptly and enters the house, slamming the door behind him before Daniel can say another word.

Lucille exits :n her robe, still sleepy. She knocks on Daniel's door.

When there is no answer, she opens. Daniel's bed is empty, made. Lucille heads for the kitchen.

She stops at the living room, half painted. And on one unpainted wall a message: TO BE CONTINUED. Lucille couldn't be more pleased.

Daniel practices with a soccer ball, dribbling alone, at half speed. Out of nowhere Ali charges past steal- ing the ball, heading for the goal. Daniel pursues, gets the ball and is about to kick for a goal when he mock-trips. Ali takes the chance and boots one home Daniel rises, smiling.

REVISED 10-28-83 (BLIJE) 69 •

DA."UEL Oh. some other time.

l A.LI I'll be finished by 9:30. You can meet me outside.

The varsity soccer tea11!'takesthe field, running past Daniel and Ali. Johnny passes, his eyes set straight ahead. After he passes, Ali notices a peculiar look on his face.

What's the matter?

Ali pecks him on the cheek.

And runs off to join the cheerleaders.

I •• REV!SED ~0-23-83 (3:..UE) i O.

The surf crashes onto the shore. DANIEL stands with MIYAGI at the water's edge. DA..'lIELputshisfoot fo~~ard to test the temperature of the ocean. ~e withdraws it just as f~st and looks at MIYAGI beseechingly. MIYAGI's expression does not change. Like a man conder.~ed,DANIEL walks into the water. Almost i::-.r..ediately,heiscapsizedbya wave. He stands and looks back at MIYAGI.

MIYAGI

Not to worry. Will feel good.

DANIEL

When?

MIYAGI

When finish. '.,.~._.

With that, the.old man turns and walks dcwn the beach toward a line of wooden pilings jutting out into the sea. D.~'lIELstands again bracing himself against the onslaught of the ocean. He begins to throw front.kicks into the waves to his ow~ cadence. A wave hits hard. o;..NIELweavesunsteadily until the undertow I pulls him down. He struggles to regai11his footing, finally succeeding and res~~es kicking until another wave wips him out. When he stands again, he looks down the ~ench to where MIYAGI is left standing on the last piling calmly balancedon his left leg. A wave looms towards him but just as it breaks, the old man leaps over it. He fires a kick with his left legand lands-perfectly balanced on the piling in the same position as when he started.

CUT TO: EXTERIOR BEACH - LATE AFTERNOON

& & 89 DANIEL wrapped ina blanket and MIYAGI head toward the parking lot 89

DANIEL

What was that you were doing on the piling?

MIYAGI

Crane techniaue.

DANIEL

J Does it work?

MIYAGI

Do right, no can defense.

(CONT!NUED)

......

REVISE:)10-28-83 (SL!.'EI

88 88 71. & DANIEL &

Can you teach it to me?

MIYAGI

First learn stand, then learn fly.

DANIEL's disappoint~ent shows.

MIYAGI

Natures rule Danielsan, not mine.

They approach MIYAGI's pickup and trouble. Two big brawny motorcyle riding Yahoos lean on the pickup drinking beer through long neck bottles which are lined up on the truck's fender.

YAHOO 11

Hey look it. Kid has a pet nyp.

YAHOO.#2

He know any tricks kid?

DANIEL'S fear freezes-him·to the spot. MIYAGI approaches the truck. He bows politely.

MIYAGI

Excuse please, boy cold, must leave. Kindly remove bottles.

The two men look at each other and burst out laughing.

YAHOO #1 drains the bottle he is holding and with exaggerated precision lines it up with the others. He burps loudly in MIYAGI's face.

YAHOO #1

Kindry do it yourself Mr. Moto.

He stands very still and then explodes with a blinding chop he neatly slices the neck of all the bottles. No longer smiling, his eyes pierce both men. They sheepishly collect the bottle bottoms and backoff towards their choppers. MIYAGI turns to a very proud DANIEL holding the truck door open.

90-92

90-92 OMITTED

Daniel is getting dressed to meet Ali at the country club. ae has tried on half a dozen different outfits. Nothing looks right. The current one is white shirt, white pants, ~hite sneakers. lielooks in t~e mirror and is about to undress for the umpteenth time, when his mother pokes her head in the door.

She eyes themess in his room curiously, but says noth- ing. Daniel decides to stay all in white.

The Chevy, the bicycle on top, with Daniel driving, pulls up to the curb.

Lucille exits and hurries inside. Daniel wheels the car into a parking space, gets out, takes the key chain, slips the car key off, and sticks it inhis pocket.

Ali and her parents enter the room, greeting people left and right as they make their way ~o the table. A band plays, people dance. As Ali passes her friend Susan, sitting with her parents, Susan points towards a ) far table trying to warn Ali about something. Ali does not catch it until she reaches the table. Her mouth tightens when she sees who the dinner corapany is: Johnny and his PARENTS. Everyone greets everyone.

Thank you.

Ali's response is to sit down and snap open her menu, effectively covering her face. The snub is apparent to everyone.

Daniel parks his Chevy in the shadows and scurries over to the front of the club.

7 3.

cal to the uniforms of the car parks. As he is stand- ing there a Mercedes pulls up. The driver, thinking Daniel works there, leaves the door open and slips Daniel a dollar. Daniel recovers, hops into the car, and parks it.

I Ali is dancing with her father. Johnny catches her eyes from the table. He smiles widely. She purses her lips, ignoring him.

Mr. Mills looks at Ali with a hard eye.

Before he can respond, Johnny taps him on the shoulder.

Mr. Mills all too gladly hands his daughter over to Johnny. Ali is less than pleased. Johnny is all sweetness and light.

Ali iscool, tensed. She does not respond.

She tries to break away. Johnny holds on.

Reluctantly, Ali agrees.

) Daniel paces outside. He looks at the clock on the wall: 9:45. Anxiously, he walks around the side of the club.

Daniel slips into the kitchen.

Daniel walks through the kitchen and peeks out of the swinging doors which lead to the dining room.

DANIEL'S POV: Johnny dancing with Ali. Ali's back is to him, but Johnny is not. Johnny sees Daniel. He brings his lips onto Ali's quickly, before she can respond. ANGLE ON Daniel, hurt, betrayed, disappear- ing. Ali pulls away from Johnny. As she does, a loud CRASH comes from the kitchen. A:l eyes, including hers, look. POV ALL: through the now open kitchen door. Daniel and a waiter sprawled amidst broken dishes and splattered food. Ali and Daniel lock eyes. He scrambles up and runs out. Ali turns to Johnny smiling, triumphant. Her anger erupts. She clips him wit~ a right hand punch and runs after Daniel, despite ~· parents' protests.

-·--;-..-_,:_-__.-_,

101 EX'I'.CLC:3

Ali exits to t:iesr:t::ic0:."::.s:x:1::-:~r;:E:2::?.:1::LE...\vr::G RUBEER out t~e ~r~~t 9ate.

,.---:;...-,...,

Daniel a~?roa:~es t~c ~~~~~ on hi3 b:~e. ~ single la:"'lt2::;fli=~~:si.:-:si]~.OCd,disco:-C.:.:1~;,1?anese

'.-::10:;kson

door. t::e::ioor opens.

103 I~T. >1IY.;GI'SEClC'S::;-~1IG2"!' lJ3

Daniel is t3ken aback by t~~ stJ~e of ti3 teacher. ~iyagi a~pears, :ee~i~g of scotc~, ~~~~~, d:es~e~ i~ c World War II Ar~y u~ifor~, his ch~st cove~ed w1tn ba:- tle ~ibbcns and medals, his hat tilted cdd:y. He bows gracefully, unsteadily.

DA:-n:r::L Thatwas a ~2a= tu~e you ·.,'ere singing,~ister ~liyagi. What

was it?

:HYAGI

Japanesebr~es (blues)

He ushers Daniel into the house. Daniel looks for other guests. ~here are none. ~iyagi leads Daniel over to his low table where a cwc-thirjs e~~t~ bottle cf scotch sits amidst yellow newspapers and·f~amed pict~res. Miyagi pours two healt~y shots of scotch and hands one to Daniel. ~iyagi clinks glasses against Daniel's noisily.

He downs his drink in one gulp. Daniel touches his to his lips. The taste makes him grimace.

)

D.ri.~-!IEL * Oh, like litt:letrees? *

(co~-iTI~.JUI:D)

•I~I~~ --/.;,/::,.;,

lC3 .v_'

~-:o. • 2J.r:::e.i! •

(·..;eaK) * Sanzai. •

~IY.'.GI * (st=or.~i * 3a::z3.i! ' ---- • Bar.zai! •

MIYAGI * Good enough. *

Miyagi downs a second shotof scotch while ~aniel dc~~s * a first, ccug~inq f=c~the heat in his gull~t. ~iyagi * laughs, pounds him on tl1ebackand pours another two * shots.

Miyagi picks up a pic~ur~,yellc~ed wit~ age, of h~~- self in the sa--:12uni..~o!'.'!n,hisa:r-:-:laro1.:::dtheshouj_.::,::::-s of a lovely youngJapanese woman.

MIYl>.GI Anniversary.

Miyagi gestures to thepicture. *

DANIEL * (continuing) * Wow! I didn'tknow you were * married. *

Daniel shakes hishead, agreeing. Miyagi downs the scotch in his glass.

~IIYAGI (contir.uir:g)

) Fi.rstti~e I seeher in cane

fiel~. ~awaii. D~a~tiful. {:V!()RE)

rr·•,..,..-•.,,,::---.

103 '-'--'•'..--·.._,.___,.(~) 103

:-:r.i:.:..GI(c::::-:-'D) (i::eat) wa~n coad c~ne c~t~er, too.

Vi:7.-::~reiss~:e?

~iyagi e~pti0s t~e rest of his scotc~ gl~33 and looks

intothe ~ottle. ~tis empty. I!e:::cir.-=stoDar:iel.'s

glass.

Daniel farces dc~r.~l1escotch. :t aces dawn easier * than the ti~st ti~e. ~iyagi s~ands-unsteadily and weaves across the room to a cabinet. He pullsout a fresh bot~le of scotch, ?Ours hi~self anotherhealthy shot, and downs that one also.

DANIEL'S POV: One of the newspapers on the table. The headline:

JAPANESE ;,MERICANSINTEP'.:ED. PP.ESIDE:•;~cr=Es~-:ARTI~•:E:SECt:RITY.

Miyagi comes over and shows Daniel a pictureof his * bride,now ve~y pregnant.

(continuing)

Look, Danielsan. FirstAl"erican- born Miyagi.

Daniel looks at the picture. The newshitting him all

at once. Miyagi staggers across theroom.

Miyagi cones over to Daniel andtaos on ~nether nicture of his you~g wife, standi~gbeside-~hat 2p~~ars io be * a barrac~s, barbed wire fencingin the bac~ground. S},~ * is very pregnant.

) *

103 ( 3)

::r'-·:-...cr

{;Jrcu".:ly1

First ~~e=ic~:--:-~o=~~:~~·3g:_,

• forces • yei~c·..; roc:7:.

•• •·"-'\"'.L-r'.\J~-..... (CC'lr:~i~..::.:--:,-) Good citize:1.

reporti~g. Kil!edJerr·, * Ge:-r.13.;:s,si.:-!

Miyagi snaps anothersloppy sal~te, alnost lssing ~~s • baL,r.ce.

~IIYAGI

(cor.tinuing)

Sergea~t~iyagi, res.:-etto

infor:ncor..~licatior:s,_s:.:;:.

No doctor at C3.."p,sir.

(salutesaqain)

Regret~~ ir.£0::-:-n~other,

child complicatior.birth, .. First A."':le::-ican-born

' * ) Miyagi. Horneof iree, la~d •

of brave. Complic2~ic~.

First American-born t-'.iyagi..

Miyagi'svoice trails off. ~e sits heavily on his futonbed. His head drops to his chest. His breath- • ing slows.

DANIEL

Mister Miyagi?

Miyagi doesn't answer. ~aniel's attention goes to

theyellowed newspapers once again.

Daniel'sPOV - the headlines:

JAPANJ:SE.'L'!S?.rc;,..NDIVISIOK SE~-JTTOFIGriTGEP..:-L-·\;;5;..;:;:, *

ANOTHER FIGHTI::G,OCR-r'OCR-

TWO BRSAKS T::ROUGH. H.E,',VY

LOSES T,',KSN.

These are things that Daniel knows nothing about. His .r.indingeststhe info=aticn. Dar.iel::,icksup his sco~ch glass, locks De the ~ic~Llreo: ~he yo~~s Miyagi and his pr2gnanc brid~ and drains the glass•

}

The sc1...::--.C.snaosD~niel'sthu:.:=:-'.~s.:Iec-~esov7-r the 1 d,..,..,~..,-n-d,....c-......·,es,..~-_.::.__---d-:-........',.,..,,.-* 0 ..·••'-••a.-.-:..,...,.:..1..;:ic...-:.....,c.:.,,:-~--~·-.......,..:=,:-'.i:7

down, until a box =f metals falls cff ~~~ bed.

-:::.:..-,.-_;::---:.J

,..... ...Vj

• he n'.)ti.c2s::.·:J-=~·:::c:-s.?i:-~':,~.::.~·.J.•.;;.'sd:::g-':J.gs.• c~cs=:,·?':J~>;-:.::-:..;.s.:\:-::::.secc:;::,t:'.~-:.:-..::..::,;:.::atsto::_;• ~ . . . -',-. Ll.r.lcc_::.: ~•'.ivac1 * D::.:.:.e2.:-:.s.::::a. :-:-i.ounti:-.c :J:-~2st.:-:2te.:.cs;-r.i.rnfro:-::• :-1iyagi's Cur::..ous,here~C.sl.::: *

:,,:'=reqr,:;t to ir.f'.J~:;ou-:.:-'.at0:1.:;o·.::=,,;_:..,er 2:-.j,19~➔at :.l--.2:•1?.:1z::-,3-:- Re2.oca~ionCenter, yc~r w~:e and newborn sc:"'ldied~~3to com?lications a=isi~g ~ro~ c~ild- birth. o~r sincerest condolances * and s:z-:npathies." *

Daniel locks do~n at the small cru~p~ed figuresnor:~~ oeacefullv on the futon. His heart brea~s fort~e o:d inan. He ~eac:-lesC.o·...·nandpullstheC()•.~ero•.rer:1iyagi, lo·1inc::..·:re::.o·,,,.incrathreaCfro!:!hisu:1.:.£.:)~,s~;~cothi.ng

his h;i~. Daniei blows out the lantern,~~rowing the * room in~o Cark~ess ~nd exits.

104 O'.1IT1'E::J

&

..

1G6 !::XT.SCHOOLE~l-:"R.;NCE-DAY

Ali, h2r hand bandaged, standa by the entrance, sees Daniel cc~ing up the walk. She is all ready to greet him when r.eNal~s right past, ignoring hec. She stands for an awkward moment, snubbed, off balanc~, Natchins him enter the school. She recovers quickly, self- consciously.

)

Daniel is walking along when he hears Ali call from ) behind, twice.

He ignores it and keeps walking. She runs up and cuts him off.

Daniel shoots her a look of contempt and walks around her. She perseveres.

He walks away as if she wasn't there.

Daniel turns.

He stalks off.

Daniel is rowing, putting all his strength behind the oars. Miyagi, a fisherman's hat on his face, appears to be sleeping.

Daniel is more than happy to comply. Miyagi prepares his fishing rod with a hook and bait.

•

79,

CONTINUED: 108

Miyagi bangs the bow seat. Daniel stands, balancing precariously, trying not to fall overboard, as the ocean rolls and sways against the sides of the small boat. Miyagi throws his line overboard, his back to Daniel.

Daniel does not get it.

Miyagi looks over his shoulder calmly and begins to rock the boat, back and forth. Daniel wobbles, trying to keep his balance. As Miyagi rocks more violently, he topples into the sea. His head comes to the sur- face, spitting water.

Daniel climbs back into the boat and stands on the seat again.

Daniel begins to do all his blocks. Miyagi rocks the boat little by little. Daniel retains his balance.

trn.

Miyagi rocks the boat again, violently. Daniel goes flying overboard. He surfaces, spluttering.

Daniel doesn't think so.

A small crescent of sand nestled beneath the towering cliffs. Miyagi and Daniel sit around the fire feasting on the catch of the day. Daniel warms himself.

This is not the image Daniel wants to have af his teacher.

Miyagi looks at Daniel with a piercing eye.

Daniel ponders the question for a long moment. When he gives his answer, it is with a certainty borne of experience.

The answer brings a smile to Miyagi's face. It is something he has been waiting to hear. He pats Daniel's knee.

He rises and extinguishes the fire.

He brings his gear to the boat. Daniel follows.

MIYAGI

) Ready to learn punch.

Daniel stands in the glare of the overhead light. From the shroud of the gloaming darkness, he hears something being dragged across the yard. A moment later, Miyagi enters the lighted area, pulling what looks like a coatrack with a catcher's mitt tied to its middle, and bamboo staves attached by springs, sticking out at odd angles. He rights the contraption opposite Daniel.

Daniel looks at the contraption and at Miyagi askance.

Daniel bows, lowering his eyes to the ground. Miyagi raps him sharply atop the head.

Daniel rubs his head. Sure Miyagi has flipped. He complies nonetheless, bowing cautiously, his eyes on the dummy.

8 2.

-!IYAGI

} Better. Ready?

Miyagi taps the catcher's mitt.

Daniel does so, lightly, cautiously. Miyagi corrects his fist.

Daniel punches harder, nothing happens.

Daniel fires his best punch; as he makes contact with the mitt, a bamboo pole comes flying over the top and raps him on the head, stunning him. Miyagi laughs hysterically.

Daniel rubs his head, scowling. He sets and punches again, firing a head block almost simultaneously with the punch. This time, however, a side pole swings out, catching Daniel square in the ribs, knocking the wind out of him. Miyagi nearly collapses in gales of laughter. Pissed off, Daniel punches again, only to be hit by a pole from the opposite side. Miyagi laughs so hard he chokes.

Miyagi lifts one of the bamboo staves in victory. Daniel stands back, pride and body bruised. Miyagi's laughter subsides as he stands in front of the rack himself.

a,

~---..-~·------. ··-......,_.~ co:~:-r:;c~:,:(2) •.1....•t,n

Miyagi demonst:ates. 3i3 ~hole ~od~ ral3xes. Sudden- ly, he tjrows a 91J~c:1,conn~cti~~~a:d. ?~e ~eadpiece flies at hi.m. Ee bloc:-<s,::c.::tr~:--.~:;1,~.:.:.·,.;rist,and 9unches agai~. ~~is ti~e ch2 a:~?iece s~in~s OLlt. Ee blocks acain witj c~~ Sd8A r~lax~d oos:~~~, sci~f~ning on1 J.toco..,.,,_-..··.,..:)__......!""J·...,........-...-·-..:.._eL::,-....::.1_,._,-..,,..:.......::~.::i,,_c;-...-...,......,··-=.·,-:1,...,C"-'-S,l.lr._,_..,...;..L, his bloc~ing a~~ ~~~c~1ng see~ li\e one c=~~i~~~us ~ovement. ~br~?c:y, he 2teps back and motions for Daniel t~ t3Ke over.

DANIEL

II Empty hand. I Miyagi holds up his pal~s and nods.

He motions for Daniel to continue. )

D~~icl se~s, quite serious. ~iyaqi ~~rns and wdlks back towards the house, to the SOUND OF PUNCHING At;D BA.'1B00Tnw;.CKING.

Miyagi turns. MIYAGI'S POV: Daniel on the ground, rubbing his head. Miyagi smiles knowingly and enters his house.

111 OMI':'TED 111

The apart~cnt is painted. It lnoks clean, new. Daniel is beginning to sand the ~loors. He gets down on his hands and ~r.eesand begins to work large circles with the hand ::;ander.

)

Dan11=.:~;i:-ac-::c2son::~shiTctc.Hisblcc:<s his punch~s :-:.~:.:.1.:--a:.:-.edu..-:-,::1v.~e~its~rast:i2c~~30~ard,*

Has:-::.:-:;oto3i:-2.1-_;_c~i~s:.:o·.•:~.Do.n.i<2l:.:-o:t;3tf'.c,]~;~.::--.:,·c~

'

...,.--......,.--~--· •

) 114 ll 4 u' ' ~:si..es,.,-.:i...."'..,;~•.....~...,..isC"..,_,,,,::o:..i5aat, '"'1yag1••.. •..~~-·•·-·~---·-~ .....~ 1ng,·t..·-.;-~"'-l-►•.,.,•.._..-.,._·-,i-,,,:-<..1••...c~:-c......_,;-;,;_..........:...,.,,:i-._..._••.......,.._-~:-:-.a:::-::edly i:np~oved.

--~

J..;_'1I2!..:::a:..a::.c~:-.ghis·..;ay.::•~!i:::.:i:!'":e.!.a.s-:.~:..~.:..-.c;.Hege~~·.:? on c::e~eg j~s~ as the ~ave is cc~i~g i~. Eetore~e has ~i~e '":olea•,·e,-:::e·...·a·✓ =:-::-.oc:-;:s!1.:.::io::!-:..:...:3:-e==:-..:'~'2s<:asla!':".S hi~ i~~o the ~~li~gs =~occiyi~ghis ~eat. ~egoes :;~der-:~en s:.:.~.:acess-:.=·..:g;l:.::gagai:is4:.-:he·..:.r-.Ce:::-~o·.,.ibt:t-:::eseaistoes~:-c:1g and sla:.:s~i~.:.~-:~t~e;ili::qsc::.ce~c=eandca==issr.i~cu~. Onlv with s·..1=re~.ee:::o=~C.cess.;!;:~:..::-.a:-:a;e':oa·:oiibei.ng slar.~edi~-:.o·-:.~e?i:i~gaga~~.~i~h ~is las~~u~ce of 3~=e~gt~, ~e ex~=aca~es :re~ t~e cla~i~g g~as? ~f ~~e~~~e=~ow. d=agg~~g ~is spen~ boty U? i~~o t~e sa~d. He lies ~~e=e,~alf i~the water, tal: cu~, co~g~ing ~? t~e sea, exh~usted.

) Christ~as decorations :ill t~~ halls. frcm t~e Cti~kin~ foun:ai~ :ace ..;or.nny, who t~rust~ a piece cf paper i~ ~-••lShand.

JOffNN"! Wanted to ~ake sure you get it.

Daniel glances at the ?aper.

JOEN!IY So they know where to body.

D~.NIEL I thought it was supposed to be nu contact.

JOEiNNY Accidents happen.

F.eturns to go.

)

Heyt

:,.,::--•i':':~;:::::;)

.......'.~-

CA~,;I EL Can Iask you a qu<?s':ion? (::ea::) ~hat 2leasu:~Co you set Er~m th3.t?

JOH:C.NY

DA:nsL The intimijationnumbec: ~e both know you can Kickmy ass ~e~en ways fromSunday. Ri3nc?

Johnny does not answec.

His words sound tinny, lacking conviction. Annoyed, he turns togo. And again Daniel's voice stops him.

)

DA~lJEL You ever thinkhe might be wrong?

Johnny approaches, menacing.

Daniel backs off slowly down the hall.

& &

Miyagi, wearina a birthday hat, enters thedarkened room * car::::-yi!"'.gaDi::::-thdayc~ke.Thec2.nd.lesillu..;1.inatethe* roan. Re aF?rcaches the table, singicg ano:~-Key * "Happy Eirti".day"and,.:lacesthecakedown in ::rentof • ) Daniel and r.ashimoto.

\CCNTIN!JEC:

?.E';ISED11-11-83(i;;!ITEI 86. 119 CONTINUE:D: 119

DANIEL does and blows. The room is plunged into darkness. When MIYAGI raisesthe gas lantern DANIEL finds a present in front of him.

DANIEL bowsto the dwnmy and begins to open the present. MIYAGI cutsthe cake and serves slices to DANIEL and HASHIMOTO.

MIYAGI * So, how spend birthday?

MIYAGI

Hope good advice.

DANIELpulls a brand new kei out of the box. The back

isembroidered in calligraphy over a bonsai tree. DANIEL * triesthe jacket on, thrilled.

J

DANIEL

Oh man, thanks Mr. Hashimoto.

DANIEL bows to the dwnmy and practices some moves with the

jacketon. DANIEL sits down and begins to eat his cake, his * mood a little deflated.

DANIEL

You think I have a chance?

MIYAGI

Not important what Miyagi think,

Miyagi not fighting.

) MIYAGI smiles and bows.

RE~ISED 11-11-83 119 CO~TI~~:.;E::J(2) C,.Q

MIYAGI takes a spoonful of cake.

) DANIEL *

Hey look.

DANIEL whips out his well-worn wallet and extractshis * license. At the s~~e time the photos of hi~and ALI from * Their arcade date falls out. *

DA.'UEL * I got my license. I'm legal. *

MIYAGI'$ eyes only linger on the license;they are much * more interested in the photo. MIYAGI picksup the photos * (CLOSEUP photoof ALI and DANIEL smilinghappily. *

MIYAGI * Didn't know you have sweetheart. *

DANIEL

I don't. *

MIYAGI * Look nice together. Differentbut * same.

DANIEL

Different but different.

) DANIEL takes the kei jacket off.

MIYAGI starts leading DANIELoutside.

MIYAGI and DANIEL stand in frontof the vintage automobiles.

MIYAGI *

Choose.

MIYAGI gestures towards the cars.

?.21.'I.5::J11-1:-23 €·7.

120 co:;_Tr:;;_'E:l(2) 120

MIYAGI * Hurt old man's feelings. *

};

DANIEL climbsinto the 1950 Chevy convertibleand finds * there isa key, the chain, MIYAGI'S dog-tags. The old * m2.!'iknew\-.'hat.r.e·.vouldcr.oose.Heisatalessforwords. *

MIYAGI

(continuing) Ra~ember, license no re?laceeyes *

and ea~s.

DANIELis about to turn the car on when a~cod ccmes over * him.

DA.'UEL * I'm scared. *

'IIYAGI * Understand. Shoulj be. Remember * lesson of balance, yes. *

DANIEL * Yes. *

MIYAGI

Not just lesson for karate. Lesson for whole life. Whole life balance *

) everything you do be better. Karate

too.

MIYAGI producesthe pictures of DANIEL andALI and har.ds * them to DANIEL. DANIEL breaks into a smile. *

MIY.".GI * Understand? *

DANIEL * Thanks for everything-·Mr.Miyagi. * You are the best friend I everknew. *

MIYAGI * (tender) * You pretty OK too. * (beat, gru::fly) * Go! Go!

MIYAG! ~rg~s ~i~ o~~- D~~IEL starts the C3r, p~ts it in gear a~c ~=ives cf~.

ANGLE ON DANIEL,looi~ingin tl':erearviewmirror at

MIYAGI, handsthrown up, smiling like a littleBuddha. ..

MIYAGI

Bonsai.

DANIEL smiles. *

DANIEL

(loud,exuberant) *

?.::.:_..;_._;.,_...;...,,':..:,

,,..~,.,...,,,..,...:s-. '--••·..l..·•·--...,. 123

I k:10•,.,:that's

....... D.z'\~!IEL ,

As lonsas we're on chc subJect,

why you? * .

ALI

Ithought, maybe you and ~e•.. 1 * ~ell, we rc dif~erent.

DA::IEL ~ny don't yoc.just a.drnitth:::.t * you can't handle the situatio~? *

The truth hur:s to the quick. He lasr.esout.

Dh~-:I.CL

)

You'=e so ~ull o~ s~it, you'=e e~·esare tc.r!l.:..:-.g~::c•,•::-:.

8::•

arcade.

122 O:•iI'I'TSJ 122

A hundred vidss ~2chi~es ~l~~k, 3LIP, SCR:~c~, a~j GONG. Janiel tr~es tje !ove-r13c~i~e. :~cdoes not~~

very well. ~e sees Ali a~d Susa~ stoot~~g :~ t3r=sts ~ wit~ rifles. He r~ns over and gets in ~h2~~y cf

the targets.

SUSA~J

~aybe you'll die.

Susan and Ali move off to two ccmputerga:r,es.Ali tr::·-

ing to loo% disinterest2d and distracted. Daniel cc~~s

over.

DANIEL

I just want to apologize.

~·..::....-...:~..J-.l.'-..,!

(2) 123

Ali los~s !:erst2~ac~ ~o~ f~g::ti~~-':'sars·,.;ellUE). She bolt2 ~=o~ ~~2 3=~3de.

SUSA:r ~hat~~~:esy~u so ~ensiti~•c?

scs.;:~ She'snever bee~ anythi~g but nice tcyou.

DA~~IEL Oh yea~. She ~as so nice s~e evenlet me be her tool to ma%e what's-his-na'l\ejealous.

SUSA~: Shedoesn't even like what's- his-na'l\e.

'

togetherat the country club.

SUSAN

Oh, that s righ~. You didn't stick around :or the exciting conclusion.

DA:--IEL Yeah, what? His hand on her

ass?

sprained her wrist doing her nails?

SUSA:'!

That's an understatement.

DANIEL

So why didn't she say something? •

SUSAN

,', She shouldn't have to, should •

she? •

She tu=~s ~n ~er heels and w~lks o~f. lea·,i~cJ~~iel

puz~led.

.._.•:,,r.

Waniel ='J.s~.1=.:;c.n:,lco:,i:-:~:or.~.li.::esess!':e:-·.·,·::::-::-'.-

""I ir.gthe :1..:..-:-:~~:1·;-~a.:::~:s.?......,...~:-:12co:.-:-,crof:-._ereye

she sees hi~ ~co. Shecces to ~3lk 3w3y.

(des,:ierate) rlli?

Ali stops. He ccmesup to her. She looks at him, holding on co ~er hurtand ~er anger.

D.;~;IEL Icontinuing) I'raa jerk.

Hi.s~:uner2.bi:ity-3.r-.dhisc::ir....:ss:::;ionneltal:ofher de:enses. h.radian~smile trea~s a.cressher =ace. She ~ra?s ter ar:-:1saroundDaniel1 sneck.

And in t~e instantof relief, the two of the~ hug closely, tightly. When they break everythi~g is all right. Danielputs his a= over her snculde~·-

DANIEL

)

Hev,c•~on. I want to show :•o~sonetr,ing.

He leads herdown to where his car is parked.

DA:S~IEL (continuing) How do you like ic?

;..LI And you believed me?

She cannottake her hands off the fender.

Want to drive?

) ALI

Sure.

Daniel fli~sher the keys. '--:.~.r a:--.Cd=i·,l~CL~::.

-.- • 1~:

•

fronts~~:~~ :~:ey~::~~ Chevy. C2niel watc~es clos~- ly, silen:ly.

~A:;IEL Really beautiful.

There is st~ll ~~e r~3idue cf :ear in=:er Dani-::..

looks :or a mcment ar.dthen ;en:ly wipes a ;:i:7;•..:dgeot d:rt Eron her forehead.

Ali acds aga.i.n.Daniel exhales, disappoi~~e~.

AL! I haven't accepted.

Daniel's hopes rise. Her smile is he: acceptance.

Ali touches his face.

ALI

So, we ll leave ea:ly.

Daniel sniles at her jske, aff~ctiona~2, reassured. Their heads dra~ tosa=he: si~ultaneoGsl.y. ;;hent~e ;.cissccr.tes,i-=.issc.:t,1n:-:.c:c0n.t,in":i::-.a:e.'iihent:lef pull ~par~ it is with ;:cat reluc~ance.

,..,....'..

-.:.,_ ,_--··--·..--... , d.

,_~....-~ ~---··-~....

...-,...,-•..~-.Io: ......,-...........- ',,:a1.:< -_::;·..:.3'::. ::-,:-:::.1.Cr.:;

•

r.c_::.- :-le'.l~cupsa • bal:~o~~t pe~, ~~r~s ~.i.s~ether's li;ht on, a:-.d • ~a~es her ge!:.~ly. •

(••.;a}:.i:ig) • D~niel, ~~ ~~~~e ~ave yoc • Leen?

D.>.:-;ISL You r2~e~ber Al!?

Lt;CI!..:.E Sweet gi.:-1.Good r.ight.

~~st as s~e is ate~~ to go tack sle-:p,:'.eputs

Uh, can you sign t~is?

L!.:CI~LE ~S:hat?

w;.~:IEL {2p?reh·2!:.si..;,•e) Just a t~i~c ~~- schco!.

~~cill~ ~:i~~E her e~·esc~e~. S~e tocusss o~ tte ;a~cr Da~~el ~ets ~ervcus.

R~:eas,~-......,.-.,.,,-· ::sr inj~ry? -....--;...,·_·"l.

..r•.........."'7' ...,-~-l.L..,..:.,.

n;..r-;r~:. Ma, you do~'t ~r:d~rs~~nd.

LUCI:~::: Yes I Co. ":":~ea:1s·,,.:e:::."~-.3

no.

LUCILLE: Gotta do wha-:? Have~~ visit you in a hos~ital:

1 No Oi;egets It's ~oco:-:-:z.ct.

LC:ClLLE ~hen why do they ;na~eyo~ sign a for;n?

DANIE:L (w;;akly) It's a formality.

Li.:cillec:~mblesi.:;,t.:':efo:::na~Cputsit.....t=:eashtray on he~ night table.

She shuts the li;ht and turns over. D~niel s~an1sin the Car:-::ora r:-,o::-.e;:t.,:-:ist=-~ss=s.sn2:.:.:e::~t:,a::U* snagging the pi2ce of paper he turns and sil3~tlyexits. *

12s.; ..,.,.,-,~-

,;_.;;.:..-.--.',<t:

Daniel o~ens tte r~~~i;erator, stillholji_r!g~~~ 1 * cr..:...-:1?l•~(l:;2..2c-2o.::·;:2:;er.Eetakeso..:t2.::o:-i::.-:.i:-.2r

c~ ~il~ a~d ~oc-2~= Sl? f=c~ it,~hen EC~~~~:~~~., ~~e ~2o~e c~tc~~2s:1i£eye.

I3C?.I

12s.; ,-,-~

J._-:.....

P.et·..:r:--.s, • It1s2.·.....~--r--...C•:· ' Da:-:ie2.·.1:--:...-:-2~_; * C.ollc.::-s-::-'.·2! * •'7.1.s :..:'-::..--..::.....'..,._"'...........-c..:.c·.-;:1 at *

CLOSL:J?: ::r•.:..--:1p2.e~:::i'=c:e'"'-:J3.:-:e.:-,s"::-::.i:;:--.te1;2das test i~ ::~~be, ;asse~ t:.s~2.~oy's ha~:d~oa ~a~'s hand.

(COt,TINUEiJ)

)

ANGLE ON Daniel, in his karate gi and white belt, anx- ) iously watching an OFFICIAL in the cavernous competi- tion hall peruse the paper.

Daniel is at a loss.

The Official fills in the form.

Miyagi coaxes Daniel off. His eyes however stay on the gi bag at the Official's feet, and the black belt sticking out of it.

The various dojo are being announced over the P.A. system as they line up on the gym floor. The packed stands respond with applause. Daniel comes running up to Miyagi and Ali, his gi flopping open. Miyagi wraps the black belt around his waist.

Just then over the P.A. system the Cobra Kdi is announced.

ANGLE ON: The Cobras double-timing in military style, chanting a cadence.

.., ·,

Daniel'3 •?yes t!lem·,.;a:iiy.

;.N~10UNCE:?.. Ger.tle:nen.'I'o:.:·our:1r.,;3.

Fighters scurry to t~eir assigned =~~ss.

fi:st ~a==~~s ~eg1n, San~el, Ali a~d~!~y~si ~~l~ thro~s~ ~~1esce~e ~~Dani~l'3 :ins. ~~ni.~l s2es o~e opponen~ go dow~ toa ~acK ~~cl:.~no~~e~ :~ a s~ecp. Things a:~ rough. H~ sees theOffi:ia: ~=~~outside i~ a g!.,lc:·o.-,i:-1;:er~i3:.~:~.Dan1e::.:..vc~s~,:·,,;:.athis waist. Johnn~ :3 te:,19~:arilyd:3~ract~dby~:i a~,~~~ni~l wal~ing t,,. His cp9onent scores. ~oh~~y's 2~g~r builds,

REFERE2

) LaRusso.

Before he k~o~s it, Da~iel ~inds ~~~sel~ ina ri~g aci~g Rut~s, a head t3ller. ,-. -.jJ. !);':'.LUCILLE'SEE;JROO~-~-jQ;:~::x,; 13l

Lucille wa~es slowly. She tu:ns over. H2r eyes open. She ~ocuses on the empty ashtray. F~lly a~aka ~o~, she looks on the floor f8r the cr~~;le~ 9iec? of 9a9er she ~~cws shou:d be t~e:e. She rises a~d hu:r:es ~nto Da~iel's room. Se is not in bed.

132 I:,'!'.CO~!Pi':TZTION!i.'.LL-DAY 132

~aniel and his first oppcne!1t,Ruf~s, fa~e c~f i~ frc~~ o: a rtE?:S?2Ei:1or.-2oft!"".e:::--.gs.On~::-~5:.del.:..r.~s, ~iyagi and Ali watch, si!ently roocin;.

) The contestants tcw ~8 e3ch other.

R.::FS;(.:2S Sn;arda. Begin.

) Rufus opens with an explosive back kick which catches Daniel in the shoulder and lifts him right out of the ring. The Referee summons him back.

Rufus charges, throwing a barrage of punches, none of them landing effectively. Daniel is driven back out of the ring again. The Referee signals him back impa- tiently. DANIEL'S POV: Several Cobras watch from the side of the ring, their attitudes smug.

Daniel's opponent charges in with a sidekick. Daniel sidesteps, mid-blocks and fires a reverse punch to the spine.

Rufus charges again, this time with a front punch. Daniel hops to the side and snaps a roundhouse kick to • the stomach. He makes enough contact to stop the charge and deflate a little air from the bigger boy.

Ali breaks into applause. Daniel is very pleased. He looks from Miyagi and Ali over to the Cobras. The smugness of a moment ago has been replaced by tight mouths and hard eyes.

Lucille is scouring the hall, going from ring to ring looking for Daniel. When she spies one ring with many more spectators around it than the others, she rushes over. LUCILLE'S POV: Across the ring Ali stands with Miyagi and in the ring her son faces off against Brad. Referee signals the match to begin. Right off, Daniel's opponent throws a strong front kick at Daniel's face. Lucille's heart goes to her mouth.

ANGLE ON Daniel sidestepping the kick gracefully and scoring a point with a classic reverse-front punch.

134 CONTINUED:

) Lucille is startled. Her displeasure islost in her growing excitement. She nudges her way to the front of the crowd. LUCIL~E'S POV: On the far wall, a chart tracks the eliminations down to the finals. She sees Daniel's name as the victor in several matches. A small seed of pride blossoms in her as she turns back to the match. Daniel's opponent charges with a punch, kiaiing. Daniel blocks to the inside the counterpunch- es. The Referee calls the point and brings the boys to center.

Daniel bows to the Referee, then to his opponent. The Referee raises his hand and the crowd applauds appreci- atively. Daniel hears a familiar voice cheering louder than the rest. He turns to Lucille, applauding proudly. He smiles grandly.

Johnny, beating an opponent into the ground with multi- ple techniques. An elimination board serves to keep us current on the tournament's progress. Bobby, scoring ) with a flying wheel kick. Daniel scoring on a counter- punch. Johnny, annihilating another opponen~ vicious- ly, as Kreese looks on. Daniel scoring with a front kick. Bobby scoring with a back kick. Johnny scoring with a fake snap into a roundhouse kick. Bobby scoring with a flying chop. Johnny scoring with a flying chop. Daniel scoring with a flying chop. Off the point, Daniel looks across the room to Kreese, whose arms are folded as he watches silently. The crowd from the ring applauds. Daniel does not take his eyes from Kreese's face.

The bleachers are filling up. The taped rings are gone. Covered by chairs which are being occupied by spectators, Daniel is seated with Miyagi, Lucille and Ali. An INSTRUCTOR passes and pats Daniel on the shoulder.

Daniel accepts the praise with a sparse smile.

ANGLE ON THE ANNOUNCER at center ring.

J ANNOUNCER

And now, ladies and gentlemen, for our first semi-final match of the afternoon. Defending Champion John Lawrence of the Cobra Kai versus Daryl Vidal of the Locust Valley Karate Club. Three points wins. Will the contestants please come to the ring?

Daniel watches Johnny rise and jog up to the ring, supremely confident. The Cobra Kai contingent applauds wildly. Daryl, a head shorter, enters, also cheered loudly. As the match begins Daryl throws a series of incredible techniques. Johnny avoids them easily. Twice more Daryl attacks looking like a world beater. Johnny blocks and retreats. Kreese calls time and whispers something in Johnny's ear. A moment later the match resumes. Daryl throws a big technique. Instead of blocking Johnny spins, dropping Daryl with a back kick. Daryl's sensei rushes to his student, writhing on the floor. He signals to the Referee. Johnny's arms are raised in victory. Cheers from the C~bras mingle with boos from the audience.

ANNOUNCER

'

The next semi-final will determine who will face the defending champion. Will Daniel LaRusso of Miyagi-Do Karate and Bobby Brown of the Cobra Kai please report?

ANGLE ON KREESE: in a corner of the ring. Johnny just behind him. As Bobby is about to climb into the ring, Kreese speaks to him low.

Kreese touches Bobby's knee joint.

CONTINUED: 137

Kreese trains his iron eyes on Bobby. The boy cannot endure their searing heat. His head drops, as Kreese bends him to his will. Bobby sullenly enters the ring.

ANGLE ON Johnny: just behind Kreese. He has heard the entire exchange and disappointment in his teacher's words are evident. Kreese looks up to findMiyagi in the opposite corner, his penetrating eyes on him. Kreese looks away and finds Johnny. Johnny looks away. Bobby and Daniel face off.

Bobby throws a low front kick. Daniel goes to block, only to find, it is a fake for a wheel kick that whis- tles an inch from his ear.

The boys circle. Bobby catches Kreese's comm~nding eyes at ringside. His concentration lapses. Daniel sees the opportunity and lunges with a punch.

Bobby does not respond. His eyes are locked with Kreese's. His breath comes in short nervous gasps.

Bobby puts his hands up. There is no light in his face, only tired resignation. His eyes shift once more to Kreese.

In SLOW MOTION, Bobby jumps high in the air, appearing to throw a flying sidekick. Instinctively, Daniel's hands rise, but instead of kicking out, Bobby drops and pushes the blade of his foot into Daniel's knee, the full weight of his body behind it. A sickening CRACK fills the arena. Lucille screams. Ali's hand aoes to her mouth. Miyagi rushes into the ring. The c~owd rises, sucking air, sharing the pain. Daniel col- lapses, grabbing his knee, feeling more ~ain ll1Knhe has ever known. ANGLE ON JOHNNY: astounded that this has happened.

138 CONTit-;UED: 138

BOBBY

) I'm sorry. I'm sorry.

The Referee pushes Bobby roughly aside. He kneels to examine Daniel and waves for a stretcher. The crowd is on its feet, booing. Cries of "foul" fill the air.

Bobby exits the ring to boos and catcalls. He walks towards Kreese and the other Cobra Kai students, tears welling in his eyes, stopping just long enough to untie his belt and drop it defiantly at Kreese's feet. Kreese glares at him, but Bobby is no longer intimi- dated. He meets the glare fully. Johnny and the other Cobras avert their eyes.

Johnny hesitates. Then obeys.

Daniel lies on a bench in the empty room as a DOCTOR packs his bag. Lucille, Ali and Miyagi all stand in the background, the women visibly upset; Miyagi his usual stoic self.

The Doctor exits. Lucille and Ali rush to comfort Daniel.

'J ALI

That's not true.

A DRY RUBBING SOUND catches everyone's ear. ALL POV: Miyagi standing, rubbing his hands together so quickly that smoke seems to rise from them.

Johnny and Kreese are in the ring about to accept the winner's trophy when Ali runs up to the Announcer.

ANGLE ON: Daniel, Lucille, and Miyagi making it through the crowd to ringside. ANGLE ON: Kreese and Johnny doing a slow burn as Daniel enters the ring.

Daniel throws two kicks, not taking his eyes off Johnny.

Ali and Lucille sit at ringside. Kreese stalks back to his corner and glares across at Miyagi who has taken up his position in the opposite corner. The contestants meet at center ring.

10 2.

141 CONTISUED: 141

REFEREE

) You know the rules. Three points

wins. Let's give these ?eople a championshi? match theywon't forget. Bow.

Daniel's eyes do not leave Johnny's.

Johnny opens with a flurry of punches and kicks, driv- ing Daniel back. His last tecnnique is a wheel kick, which Daniel ducks and follows up with a strong reverse punch to the stomach.

The boys circle each other. Johnny throws a backhand, followed by a strong sidekick. Daniel drops, pokes one leg in front of Johnny's support leg, and one leg be- hind, and twists. Johnny goes crashing to the canvas. Daniel scrambles up and delivers a chop to his neck.

The crowd goes crazy. Kreese's jaw tightens. Johnny rises, his nose bleeding from the fall.

He waves Johnny over, makes believe he is examining the wound.

Johnny hesitates.

·♦ Johnny returns to center ring.

CONTINUED: ( 2) 141

REFEREE

) Engarde. Continue.

Johnny explodes with a full powered foot sweep which catches Daniel just below his bad knee. As Daniel spins off balance Johnny drills a punch into his back.

The Cobra Kai students cheer louder than the rest of the partisan crowd. Daniel rises slowly and returns to center ring, his limp more pronounced.

Right off the mark Johnny throws another sweep, fol- lowed by a roundhouse kick to the head. As Daniel's foot is swept, he spins ~nto Johnny's roundhouse, which makes contact with his mouth. He hits the canvas hard.

Daniel gets up slowly, in pain. Blood trickles from a split lip. His limp is more pronounced. Johnny's eyes go to Kreese. He nods tersely at Johnny, commanding him to continue the barrage.

Johnny sweeps Daniel again, but before he can get his scoring technique off, Daniel is on the canvas, and the Referee is calling the fighter to center ring. Daniel is in pain. As he comes to center ring, Johnny gets into fighting position.

Johnny charges, coming at Daniel with everything he has. Daniel is almost defenseless, pummeled to the mat. The Referee breaks the fighters and sets them back at center. Daniel looks over to his corner, where Miyagi stands impassively.

'

CONTINGED: ( 3 ) 141

Johnny sets low, menacing, ready for the footsweep, ) again. Daniel takes his eyes off Miyagi and raises one leg, his bad leg, up in the air. He puts his hands out in front of him, setting in a perfect crane stance. His eyes lock with Miyagi's. The old ~an's mouth creases in the smallest of smiles. Daniel's eyes turn to Johnny. The stance has confused him and the Referee as well, who hesitates for a moment. Daniel remains immobile.

But Johnny stalls, perplexed, until Kreese's voice shakes him out of his confusion.

Johnny takes a deep breath and lunges. IN SLOWMOTION, Daniel leaps straight up with all his strength, his leg tucked in. His kick catches Johnny in the jaw. Johnny goes down. Daniel lands on his bad leg and collapses as well. The crowd erupts, having never seen such technique. Kreese glares at Johnny, still on the can- vas, and leaves the corner, stalking out of the arena. The Referee calls the fighters to center.

The Referee raises Daniel's arm in victory. Ali and Lucille are all over Daniel. Miyagi stands proudly by his side accepting kudos as well. The trophy is thrust into Daniel's hands by Johnny.

For the first time Ali and Johnny can look at each other without tension.

Miyagi, Daniel, and Ali exit. Some youngsters stop Daniel for an autograph. He obliges.

She goes to hurry to her car, stops, takes Daniel's head in her hands, and kisses him affectionately.

In her excitement she grabs Miyagi and kisses him as well. He blushes.

Lucille runs to her car.

Daniel notices Miyagi looking around.

Miyagi does not seem to hear him. He walks toward the I I parking lot, still looking. Ali and Daniel follow.

The Cobra Kai students load into Kreese's black van with a Cobra Kai emblem painted boldly on its side. Johnny is the last one in line to enter the van. Kreese bars the door.

Kreese, angered by the statement, grabs Johnny by the shirt front and pulls him to within inches of his face. Just as Daniel, Ali, and Miyagi turn the corner.

A voice from the side turns Kreese:

143 CONTINDSD: 143

Kreese throws Johnny aside like a rag doll and rushes Miyagi, lunge punching for his face. At the last mo- ment, Miyagi sidesteps. Kreese's punch goes up to his elbow through a car windshield Miyagi was standing in front of. Ignoring his bloodied hand, Kreese whirls and throws a skip kick. Again Miyagi sidesteps at the last moment, causing Kreese's kick to connect with the side of his own van. The steel bends beneath his power. Enraged, Kreese lunges at Miyagi to kill him. Miyagi does not move. At the last moment, he raises his hand, palm out, and intercepts Kreese's fist. Kreese stops dead in his tracks. The old man's mouth creases in an ironic smile, as he slowly applies pres- sure to Kreese's fist, forcing Kreese down to his knees. ANGLE_ON the Cobra Kai students looking out of the van, their eyes wide witn terror and amazement. ) ANGLE ON Daniel, proud of his teacher. Kreese is brought to his knees, his eyes for the first time, flicker with fear. Miyagi's smile dies. His eyes turn to stone. He cocks his hand back slowly.

Miyagi's hand is cocked as far as it can go behind his head. His face is a mask of vengeance.

ANGLE ON the Cobra Kai students, their mouths fairly trembling with fear. ANGLE ON Daniel.

He cannot believe his teacher would abandon what he has taught him. ANGLE ON Kreese: He looks up at Miyagi, his face rattled with fear. Miyagi's eyes flash. His hand cuts through the air whistling towards Kreese's unprotected head.

_...,I•

143 cs~~'I'INUED: 143

CLOSEUP: K=0',2~•~ face. His eyes shut tightly expect- ing the dea'.::c:).:.C",'.Whenitdoesnot come, he opens his eyes s::.c--:._:.~iyagi'schop is less than an inch from his r.osco,:=Ernblingwith power. Miyagi's fore- finger flicks c~t, nubbing the end of Kreese's nose in the lowest ~er:~cf insult. Miyagi turns to Daniel and winks. Dar.i~l ~J~hes into his teacher's arms. The two cf them embrace. One by one, the Cobra Kai students exit from the van, dropping their belts in front of the still kneelin9 r.reese,and walking off, leaving him alone. ZOCM DC~ on the parking lot and Daniel and Miyagi, the!r a=m£ over each other's shoulders, accom- panied by Ali halting Daniel's trophy, wending their way through the maze of cars.