"THE TRUMAN SHOW" (1998)

THE TRUMAN SHOW

Written by

Andrew M. Niccol

Shooting Script

A FOGGED MIRROR

Behind the fog we hear the sounds of a bathroom. After a long moment, a hand wipes the condensation from the glass to reveal the face of TRUMAN BURBANK. He wears a sleeveless Hanes undershirt and blue-stripe pajama bottoms, behind him a white glazed tiled bathroom wall. It is immediately apparent that we are viewing him through a two-way mirror.

Truman, expressionless, studies his reflection in the mirror. For a long moment, he does nothing. He continues to look impassively into the mirror for what becomes an uncomfortably long time. Still nothing. Finally he speaks, talking to himself in the mirror as if participating in a TV interview.

Truman resignedly opens the door of the cabinet and replaces his shaving tackle. It partially obscures the lens of the hidden camera. He closes the door and exits.

MERYL, wearing a stylish robe, sits at the kitchen table sipping coffee. On the table in front of her lies a parcel. TRUMAN enters and glances at the gift.

TRUMAN unwraps the parcel - an expensive-looking set of exercise sweats.

Truman returns Meryl's kiss.

Truman pulls the top over his head. As he does so, a closer shot focuses on the manufacturer's name.

Wearing a business suit, briefcase in hand, TRUMAN emerges from his pleasant, Victorian-inspired, picket-fenced house into an idyllic suburban street of similarly picturesque homes. A neighbor, SPENCER, is taking in trashcans, whistling a tune. Spencer breaks off abruptly as Truman approaches his car. His license plate reads, "Seahaven - A A Nice Place To Live".

Spencer's dog, PLUTO, bounds happily over to Truman.

Truman exchanges a polite nod with the WASHINGTON's, an African-American family across the street. MR. WASHINGTON is farewelled by his WIFE and CHILD.

Truman is about to climb into his car when he is distracted by a high-pitched whistling sound. Suddenly, a large spherical glass object falls from the sky and lands with a deafening crash on the street, several yards from his car.

The startled Truman looks to Spencer but he has abruptly disappeared inside his house with Pluto. Mrs. Washington and Washington Junior have also made themselves scarce.

Truman investigates. Amidst a sea of shattered glass are the remains of a light mechanism.

He looks around him but the street is deserted. He checks that all the surrounding street lights are accounted for, even though the fallen fixture is far larger. He looks up into the sky but there is no plane in sight. With some effort, Truman picks up what's left of the crumpled light and loads it into the trunk. A label on the light fixture reads, "SIRIUS (9 Canis Major)". As he drives away, we hear the sound of his car radio.

TRUMAN makes his way along the streets of Seahaven past a series of quaint, pastel-shaded cottages.

A high-angle reveals an anonymous mid-sized town built around a small, pretty bay. A cluster of high-rise buildings stand at the water's edge overlooking a marina. Surrounding the commercial center lie neatly arranged suburbs.

Pausing at a traffic light along a seaside road, TRUMAN looks through a curious wooden arch to the beach and ocean beyond. The sight triggers a memory in his head.

PLAYBACK - EXT. LONG, WIDE BEACH. DAY.

Unlike a conventional flashback, the scene in his memory appears to be playing on a television screen.

FOUR-YEAR-OLD TRUMAN runs towards a bluff on the beach.

The boy's father, KIRK, late-thirties, beer bottle in hand, flirts with TWO TEENAGE GIRLS at the shoreline. Suddenly, the father remembers his son. He looks anxiously around.

The sight of the boy at the far end of the beach causes him to drop his bottle in the sand and run to Truman.

The boy is near the top of the cliff before his agitated father comes within earshot.

Truman turns from his perch and waves happily down to his father. But the smile quickly vanishes when he registers the anger and distress on his father's face.

His father's unnatural anxiety makes the next bay even more tantalizing. The boy considers defying his father. He puts his hand on the rock above him to stretch up and sneak a peek at the other side. One good stretch would do it.

Truman is suddenly aware that the hundreds of other BEACHGOERS have stopped their activities to stare at him. Reluctantly, he starts to retrace his steps down the rocks. When he finally jumps to the sand, his father embraces him and leads him away.

Through his car window, TRUMAN buys a cup of coffee from a streetside VENDOR.

He pulls into a parking space and sips on the coffee. As he drinks, he becomes aware of a school bell summoning children to class in the adjacent Elementary School. The image prompts another childhood memory.

PLAYBACK - INT. SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM. DAY.

Once again, the flashback appears to be playing on a television screen.

SEVEN-YEAR-OLD TRUMAN sits in the middle row of an Elementary School classroom surrounded by twenty-or-so other well- scrubbed, uniformed YOUNGSTERS. MARLON, the boy next to Truman, is on his feet under the scrutiny of a kindly Norman Rockwell-style SCHOOL MISTRESS.

The CLASS titters. Marlon sits down and winks to Truman.

Truman rises to his feet, gathering his nerve.

The School Mistress smiles benevolently.

The class roars with laughter as the crestfallen Truman takes his seat.

TRUMAN, briefcase in hand, crosses from the parking lot to the town square, surrounded by similarly suited, briefcase- toting OFFICE WORKERS.

TRUMAN walks briskly down the bustling city street. A snarl of taxis, buses and COMMUTER traffic. A STREET VENDOR thrusts a pretzel under Truman's nose, a CAREER WOMAN tries to catch his eye.

Truman stops at a kiosk and buys a newspaper - "THE ISLAND TIMES".

Other CUSTOMERS also purchase the morning paper. Tucking his copy under his arm, Truman selects a glossy magazine from a rack, quickly flicking through the pages.

Glancing in the direction of the NEWSPAPER VENDOR and finding him busy with another CUSTOMER, Truman deftly tears a portion of the open page and pockets the cutting. He hastily replaces the magazine and departs.

As Truman hurries away, the vendor exits the kiosk and picks up the magazine, instantly turning to the torn page.

It is a cosmetics advertisement with the MODEL'S NOSE missing. However, the vendor makes no effort to confront Truman, almost as if he were expecting it.

Truman passes along a row of shops and offices, finally entering a building that proudly proclaims, "Seahaven Life & Accident Inc." above the entrance. He has evidently taken his teacher's advice.

DAY.

In a cramped, cluttered cubicle, TRUMAN talks on the telephone.

A CLERK drops a large reference book on Truman's desk. Truman checks the spine - "MARITIME ACCIDENTS".

The Clerk shrugs, returns the book to his cart and continues his rounds.

The person on the other end has hung up. With an apathetic shrug, Truman replaces the receiver. He looks over his shoulder and places another call.

A CO-WORKER suddenly pokes his head over the neighboring cubicle.

The Co-Worker disappears back into his own cubicle.

The disconsolate Truman replaces the receiver. Other INSURANCE AGENTS are heading to lunch. Truman puts on his jacket and follows them to the elevators.

Behind a deli counter, TYRONE, fifties, is having his hair brushed by a YOUNG MAN. The man fusses one final time, then swiftly departs through a rear door just as TRUMAN enters the store. Tyrone has anticipated Truman's order and has already begun preparing a meatball and mozzarella sandwich on an Italian roll. Truman gazes at the sandwich skillfully under construction, pained by his own predictability.

Truman forces a half-smile and exits.

TRUMAN eats lunch alone at a small, out-of-the-way park dominated by a gazebo. From his briefcase he pulls out an old, hardcovered book, "To The Ends Of The Earth - The Age Of Exploration". He reads to himself, his sandwich uneaten beside him. Struck by a particular passage, he reads aloud.

Truman is interrupted by a TRANSIENT in a wheelchair. It is the man's sneakers Truman notices first, over the top of his book - they are distinctively initialed, "T.S.". Still under the spell of the account of Magellan, he hands the grateful man his sandwich.

A group of a dozen MEN and WOMEN of varying ages sit around a circular conference table in a sterile, windowless meeting room. All stare at a single telephone placed in the center of the table, anticipating a call.

On cue, the phone rings and one of the men, after waiting for the second ring, picks up.

He hangs up. After a moment the phone rings again.

TRUMAN sits at his desk, making a cold call.

The prospect on the other end, unimpressed with Truman's pitch, hangs up. Truman's supervisor, LAWRENCE, younger than Truman by several years, sharper suit, sharper haircut, appears around the corner of the cubicle.

Truman's face falls. He stares out of his third floor window at the hazy skyline of a nearby island across the bay.

Truman sinks back into his seat and stares out at the distant skyline. The buildings appear very still. Truman picks up a photo of his wife, Meryl, deposits it in his briefcase and exits.

Truman's car heads out of the city on its way to the ferry.

TRUMAN exits his car. Mustering all his nerve, he marches into the Seahaven terminal and buys a token for the ferry.

Out of his hearing, TWO FERRY WORKERS observe Truman's agitated behavior.

The two men shake on the wager. Unaware of the scrutiny, Truman passes through the turnstiles with a herd of TOURISTS and COMMUTERS. He makes his way across the terminal, but abruptly pulls up at the gangway.

As the other PASSENGERS impatiently brush past him onto the boat, Truman remains frozen to the spot, mesmerized by the scummy water rising and falling beneath the dock. It triggers a memory in his head.

PLAYBACK - EXT. SEAHAVEN HARBOR. DAY.

As always, the flashback appears to play on a television screen.

SEVEN-YEAR-OLD TRUMAN, wearing a lifejacket, sits alongside his father, KIRK, in a small sailing dinghy, sailing into a stiff breeze.

A second sail boat circles them. We observe the father and son from an angle atop the mast of the neighboring vessel.

Kirk shakes his head ruefully and indulges his son by heading towards the gathering storm clouds on the horizon.

Truman turns and begins to fight his way back against the tide of PASSENGERS boarding the ferry, emerging back onto the street, gasping for air. The FERRY WORKERS settle their wager.

TRUMAN stands at a payphone. By stretching the payphone's receiver cord as far as it will go, he is just able to reach his arm and leg into the driver's door of his car. He punctuates his conversation with blasts on the car's horn while revving the car's engine with his outstretched foot. The few passing MOTORISTS and PEDESTRIANS regard Truman curiously.

Truman hangs up the phone.

On his way home, a large "DETOUR" sign forces him onto a secondary road.

TRUMAN drives along a winding road through parkland. He pulls up at a red light - no other traffic around. His attention is caught by an attractive YOUNG WOMAN, sitting on a park bench not far from the intersection. She is being taunted by TWO YOUNG THUGS. She attempts to ignore the youths by concentrating on the book on her lap.

His companion smirks.

The boy reaches over and snatches the novel from her grasp.

The woman picks up her bag in a reflex and holds it to her. She looks about for assistance, briefly catching Truman's eye. The youths also look in Truman's direction, staring him down.

The boy returns the book to the woman, but before doing so rips out the last page from the novel and stuffs it in his shirt pocket.

One of the youths grabs the woman, dragging her toward the surrounding woods.

As they drag her towards the undergrowth, Truman, horrified, half gets out of the car - fearful of his own safety as much as the woman's. Truman shouts to the youths, his voice cracking with fear.

A huge truck suddenly appears behind Truman's car, its horn blasting, the DRIVER hurling abuse. Truman hesitates as the youths drag the woman into the bushes, conflicted over whether or not to help. The truck driver keeps his hand on the horn. Truman retreats back into his car and reluctantly drives on.

Truman's car safely out of sight, the YOUTHS promptly release the YOUNG WOMAN. She calmly brushes herself off, no longer afraid. The young men, no longer angry, retrieve her bag.

The threesome walks back towards the roadway as if life-long friends.

Beyond the pretty picket fence at the end of the property flows a busy highway.

TRUMAN is mowing the lawn. From his expression it would seem that he's still reflecting on his inaction in the park. He switches off the mower and leans on the handle.

He is distracted by the arrival of his wife, MERYL, exiting the house. She wears a nurse's uniform and carries a curious metal device attached to a card board backing. She kisses Truman affectionately on the cheek.

Looking over Truman's shoulder, Meryl notices a small, uncut patch of grass missed by Truman in one of his passes.

Meryl enters the house. Truman restarts the lawnmower and obediently pushes it towards the offending patch of lawn. As the mower brushes up against the unconforming blades of grass, Truman pulls back abruptly. He checks the kitchen window for Meryl and wheels the mower away, leaving the patch uncut.

MERYL is removing the cap of her nurse's uniform when TRUMAN enters.

Truman retrieves a bucket of golf balls and a golf club from behind the door.

Truman turns to her too sharply, his guilt showing.

Truman exits.

A half-constructed bridge, paved but unmarked, ends abruptly in mid-air - reinforcing steel protruding from the concrete. TRUMAN stands at the end of the unfinished bridge with MARLON, thirties, a well-filled physique. Marlon drinks beer from a can while Truman addresses a teed-up golf ball with a number three wood. The headlights of their two parked cars light the cement "fairway". Their target is a sign at the far end of the bridge proclaiming, "THE SEAHAVEN CAUSEWAY - Linking Seahaven Island With The Rest Of The World - Your Tax Dollars At Work" - an upturned plastic cone at the foot of the sign is the "hole."

Truman winds up and swings, making a healthy contact with the ball. The ball arches away into the night sky. From a new angle we see the ball take a huge hop on the outside lane of the abandoned freeway and continue down the asphalt beyond the sign.

Marlon tosses Truman another off-white ball from a bucket of badly scarred golf balls. Truman sets the ball up on the makeshift tee area and launches himself into his second shot. With a slight fade, the second ball carries even further than the first.

Truman hands Marlon their sole golf club without comment. Marlon tees up a ball of his own He uses orange golf balls.

Marlon takes a practice swing.

Marlon addresses the ball and swings - a sweeping hook shot that bounces off the freeway and into the water hazard.

Truman selects another "M" ball from the bucket and tosses it to Marlon.

Overcompensating with his second shot, Marlon slices the ball in the other direction. A lucky bounce keeps it on the "green." The ball rolls in the direction of the upturned cone.

Truman gulps his beer as he prepares his answer.

Marlon considers Truman's suggestion as he sips his beer.

Truman picks up a golf ball to demonstrate. He points to a dimple on his make-shift globe.

Marlon nods even though the concept of taking flight is beyond his imagination.

An awkward moment. Truman, once again, not so sure of himself.

A MAN looks up sharply. He stares into camera. CHRISTOF, late fifties - a vitality in his eyes that belies his years. A news anchor-style earpiece disappears down the neck of his suit.

TRUMAN and MARLON wander along the empty bridge, retrieving the golf balls.

Marlon goes to say something to the disconsolate Truman, but is momentarily distracted. He raises his hand to his ear. Truman places another of the balls in the bucket.

Marlon picks up the last ball at the mouth of the upturned cone. The ball is white.

They approach Truman's car. Truman opens the trunk to deposit their humble golfing equipment. Inside are the remains of the fallen light fixture.

From the POV of the lighthouse's lantern room, we observe TRUMAN sitting on the beach staring out to sea.

Closer on Truman. He has a portable tape recorder slung over his shoulder and points a corded microphone at the surf. We watch Truman's impassive face as he makes the recording of the lapping waves. The lamp from the lighthouse occasionally falls upon Truman.

PLAYBACK - EXT. OCEAN. DAY.

As always, the flashback appears to play on a television screen.

The sky is black with storm clouds. Gale force winds lash rain into the faces of SEVEN-YEAR-OLD TRUMAN and his father, KIRK. As Kirk stands up to get his hearings, a freak gust of wind catches the sail. The boom whips across the stern and strikes Kirk flush in the head, knocking his overboard.

Truman, wearing the sole lifejacket, desperately reaches for his father. He momentarily has hold of his father's hand when Kirk is abruptly dragged beneath the surface.

His cries go unanswered. Seven-year-old Truman finds himself alone - the storm abruptly passed, the wind suddenly dropped, the water stilled.

The frightened Truman examines the ring he holds in his open hand - his father's ring - wrenched from his finger in Truman's fight to keep him afloat.

A close up of TRUMAN from KIRK'S RING that Truman now wears.

Then, from the lighthouse POV, we observe Truman get to his feet and walk towards the dark water. He stands at the water's edge.

As if in reply, a tongue of lightning flashes across the distant skyline, followed by a growl of thunder.

TWO OLD WOMEN, seventies, sit beside each other on a sofa looking directly into camera as they talk.

TRUMAN is forced to leg it through a sudden rain shower to his car.

From Truman's point-of-view, the shower appears quite normal. However, viewed from a distance, we see that the shower is extremely localized, encircling only him, as if a small cloud is directly above his head, tracking his progress.

As Truman crosses the parking lot, the shower crosses with him. Sensing something amiss, Truman dances back and forth across the street, intrigued by the curious phenomenon. He hums a few bars of "Singin' In The Rain."

The rain becomes heavier, covering a wider area. Truman runs the remaining distance to his car.

The drenched TRUMAN enters to find MERYL, in the unfinished nursery, comparing wallpaper samples. Meryl wears a robe, a glimpse of black negligee beneath.

Truman, still dripping on the floor, holds Meryl by the arms. He talks excitedly to her the way we imagine he did when they were courting.

Meryl gives a derisive laugh.

The words sting. Truman turns away. Seeing the pain she's caused, she changes tack.

In the reception area of an office building, TWO UNIFORMED GUARDS drink coffee.

There is something peculiar about the way the sun rises over Seahaven Island - the light appears in an arc that's slightly too perfect and well-defined.

In front of his bedroom window, TRUMAN, wearing his new sweats, performs an exercise routine of his own invention. He counts off the exercises to himself - cheating as he does so. He counts five leg-lifts for every two he completes.

A middle-aged MARRIED COUPLE in identical matching sweats repeat the same eccentric exercises in perfect sync, as if they were in a class led by Truman.

TRUMAN climbs into the car and switches on the radio. He drives down the street.

Truman mutters to himself as is his custom.

TRUMAN emerges from the parking lot and as usual stops at the newspaper stand. He picks up a glossy magazine and flips through the cosmetic ads, surreptitiously tearing a pair of EYES from one of the pages. He returns the magazine to the rack. As usual, the NEWSPAPER VENDOR fails to intervene. Truman begins his daily pilgrimage to work through the rush hour pedestrian traffic.

As he enters the street leading to his office, he glimpses a HOMELESS MAN reflected in the window of a parked car. Truman, spellbound by the man, suddenly wheels around to face him. The Homeless Man, late-fifties, more well-groomed and well-fed than the average vagrant, has a serene smile on his face.

The Homeless Man places his hand ever so gently on Truman's cheek. Truman makes no effort to withdraw. He is transfixed by the man's eyes. He appears to recognize him.

Suddenly an ELEGANT WOMAN SHOPPER walking a small WIENER DOG and a BUSINESS EXECUTIVE carrying a briefcase, walking in opposite directions along the sidewalk, grab the Homeless Man. One under each arm, lifting the Homeless Man off the ground, they start to whisk the bewildered derelict down the street.

Truman begins to give chase. However, the shopper and the businessman are surprisingly fleet-footed. Even more surprising as Truman embarks on the pursuit is the behavior of the PEDESTRIANS and COMMUTERS. They appear to part for the fleeing trio, then close ranks in front of him. Is it accidental, or are the pedestrians working together, running interference?

They are escaping.

Truman finally breaks through the pack, bowling over several of the pedestrians in the process.

Just as he gets within reach of the shopper and the businessman, a bus suddenly screeches to a halt beside the abductors, doors already open. The Woman Shopper and the Executive bundle the Homeless Man onto the bus. Truman lurches after them, but he is met by the bus doors, closing sharply in his face.

Truman thumps against the doors, but the BUS DRIVER ignores his cries and the bus roars away. The other PASSENGERS in the bus, apparently oblivious to the incident, keeps staring straight ahead.

Truman continues to give chase when a taxi appears out of nowhere and cuts in front of him, blocking his path. When he recovers, the bus has disappeared. The mysterious crowd of pedestrians has also dissolved as if it never existed.

Retracing his steps, head reeling, wondering if the could have imagined the whole incident, Truman discovers that the Woman Shopper has left her WIENER DOG behind. The dog wanders aimlessly on the pavement, its leash trailing behind it.

TRUMAN paces impatiently in the living room of his Mother's cramped, fussy, doilyed little house full of Burbank family memorabilia - a cluster of framed photographs is dominated by one of his FATHER trimmed with a black ribbon. A toilet flushes and Truman's MOTHER finally emerges from the next room.

She presents something of a contradiction. Although she walks with the aid of a "walker," she is actually a well- preserved sixty. She wears a glamorous nightgown and a full head of bleached-blonde hair.

Truman supports Mother.

Truman helps her into an overstuffed armchair.

He kneels beside her.

Truman takes a deep breath as he prepares to give her the news.

Mother smiles condescendingly.

Mother kisses Truman on the cheek.

Truman regards his Mother. Her hair is already impossibly blonde.

The basement is cluttered with junk - ships in bottles, a train track without trains, an oxygen mask, a stringless guitar, many abandoned projects. The basement is dimly lit by a single, naked bulb. TRUMAN looks over his shoulder before opening a large walk-in cupboard. On the cupboard door is a wall map of the Pacific Ocean - the Fiji Islands are carefully circled. Amongst the many tools and household implements inside the cupboard is a trunk under a dusty canvas sheet. He pulls the trunk into the room, unfastens the lock and opens the lid.

Inside, mementoes from his youth. A "HOW TO SAIL" book, a stack of "GREAT EXPLORERS" magazines, and beneath it all, a garment in a drycleaning bag. Truman carefully lifts up the plastic to reveal a young woman's cardigan sweater. He puts the cardigan to his nose and takes in its scent.

Footsteps. Truman hastily drops the cardigan in the trunk and shuts the lid. MERYL's legs appear on the stairs.

Meryl's response takes the wind out of Truman's sails.

Meryl nods, not at all convinced.

Truman does not reply. After an uncomfortable pause, she turns back up the stairs.

Truman waits a moment before re-opening the trunk. He removes the cardigan and holds it up, reminiscing.

A MOTHER, DAUGHTER about 12, and a BABY in a highchair stare into camera.

PLAYBACK MONTAGE - EXT. COLLEGE CAMPUS - STEPS. DAY.

Once again the images appear to be playing on a television screen.

On the steps of a typical college campus, TRUMAN, 21, in a college band uniform, participates in a football pep rally. MARLON, 21, a member of the football team, and MERYL, 21, a cheerleader, are nearby. Truman observes an ethereal- looking young woman walk by - LAUREN.

PLAYBACK - INT. DANCEHALL. NIGHT.

At a college dance, TRUMAN dances with MERYL. LAUREN dances by with a PARTNER of her own. However, Truman only has eyes for Lauren. Suddenly, she is escorted from the dance floor.

PLAYBACK - EXT. COLLEGE CAMPUS - STREET. DAY.

TRUMAN almost trips off the curb as he waves to LAUREN, riding towards him on a bicycle.

However, she rides right by with her nose in the air, not even acknowledging his presence - Truman puzzled by her change of heart.

The montage ends at a scene in a college library.

PLAYBACK - INT. COLLEGE LIBRARY. NIGHT.

In the school library, TRUMAN, 21, sits with MARLON, 21, and wife-to-be, MERYL, 21, doing a final cram for a test. The STUDENTS begin to pack up their books. Meryl gives Truman a peck on the cheek.

Truman looks up from his books. The library is almost deserted. He spies a GIRL's hand around the table divider.

Truman musters the nerve to poke his head over the divider. He finds LAUREN on the other side, buried in a book.

Lauren looks blank.

Truman is not surprised.

Lauren looks about her, unsure.

Lauren looks around the almost-deserted library.

Truman hesitates.

PLAYBACK - EXT. VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE. NIGHT.

LAUREN, taking TRUMAN by the hand, runs down various streets and paths through the campus. She occasionally pauses and looks about her, often changing direction or looking up at streetlights and the towers of houses along their route, as if trying to elude an unseen pursuer.

The excited and apprehensive Truman runs with her although he is unsure exactly who, or what, they are running from.

The further they get from the campus, the higher, wider and less effective the coverage of the scene - some camera angles are even partially obscured.

PLAYBACK - EXT. HIGHWAY - WESTERN END OF TOWN. NIGHT.

TRUMAN and LAUREN eventually cross an empty highway on the edge of town.

They run over the dunes onto a strangely deserted beach and down to the water's edge under a hyper-real full moon. Lauren throws off her cardigan and hitches up her skirt, wading out into the inviting water without another thought. Truman stares down, transfixed by the shimmering water.

Lauren suddenly stops splashing.

She wades out of the water.

Lauren, dripping wet, stands besides Truman at the shoreline. She meets his gaze.

Truman looks into her eyes and believes her. Truman wipes the water from her face, then leans forward and gently kisses her lips. She kisses him back.

In a quiet bar room, a WAITRESS explains her viewpoint to the BARMAN. A PATRON on a barstool eavesdrops.

PLAYBACK - EXT. BEACH. NIGHT.

As we return to Truman's reminiscence, TRUMAN and SYLVIA (as she is now called throughout the remainder of the movie) sit on the sand at the water's edge. With great delicacy, Truman traces the outline of her nose with his finger, at the same time inhaling her scent. Sylvia looks nervously around her. Truman goes to say something, but Sylvia hushes him.

She points to the sky and scoops up the sea at their feet.

Suddenly a car's headlights come bouncing over the dunes. The car roars across the beach towards the couple.

The car skids to a stop and a large MAN, 40ish, with a shock of red hair, jumps from the car. The man yanks the frightened Sylvia to her feet, causing her cardigan to fall to the ground.

Truman jumps in.

The Man gently, but firmly, pushes Sylvia towards his car. Sylvia resists. Truman crosses to them.

The Man takes Truman aside and whispers in his ear.

Doubts start crowding into Truman's head.

CHRISTOF stares intently into camera. Beside him is his assistant, CHLOE, an androgynous-looking young woman. She too stares into camera.

PLAYBACK - EXT. BEACH. NIGHT.

TRUMAN stares after the car as it roars away. He turns back toward the ocean where his attention is caught by an object lying on the sand - Sylvia's cardigan.

TRUMAN carefully places the cardigan back into the trunk.

MOTHER, DAUGHTER and BABY stare into camera.

TRUMAN turns his attention to the framed photograph of Meryl that he carries everywhere. Hidden behind her photo is a composite picture of Sylvia which Truman has constructed by pasting together individual facial features - nose, mouth, ears, chin, hair - gathered, presumably, from women's magazines. He attempts to put the jigsaw puzzle together - although he has particular difficulty finding a pair of eyes that match.

From his pocket he takes a recent collection of eyes which, like a detective working on an identikit picture, he tries to match. They are still not quite right.

The eyes of a YOUNG WOMAN - blue-green eyes. She turns slightly, looking directly into camera. We pull back to reveal her face - SYLVIA.

Dawn breaks over Truman's street. On cue, the sound of birds.

TRUMAN leaves the house, lost in thought. SPENCER is taking out the trash.

Truman hardly acknowledges Spencer. PLUTO the dog fails to receive his usual pat. The wave from the WASHINGTON's across the street is also not returned.

TRUMAN motors down the street, switching on the car radio as usual.

The Announcer's voice slows down - now revealing itself to be a tape that has worn out. Truman, perplexed, looks at the radio and pushes buttons in an attempt to find another station. He finds one.

Truman glances up at the street signs along his route and finds that they correspond exactly with the streets quoted on the radio. Distracted, he almost bowls over an OLD LADY on a crosswalk.

Truman, readjusts the radio as it starts to fade out. Suddenly, there is a piercing blast of feedback. He looks up and, as far as the eye can see, every PEDESTRIAN, MOTORIST and SHOPKEEPER along the street suddenly winces in pain and holds their right ear at exactly the same moment.

Truman tries to pick up the channel once again but without success.

TRUMAN sits in his car, drinking his coffee, taking in the recent incident. From inside the adjacent school, he hears the familiar, excited squeals and chatter of SCHOOL CHILDREN. Truman suddenly throws aside his coffee and sprints across the parking lot and into the school.

TRUMAN slams through the front doors into the reception area. It is deserted, no one stationed at the administration desk, the corridors empty. He runs down a vacant corridor, finally standing outside a classroom. The children's voices can still be heard from inside. Truman bursts through the door.

The room is empty save for a large reel-to-reel tape recorder on the teacher's desk playing a continuous tape of children's voices. The recorder is attached to speakers on tall stands facing the ventilation ducts. Truman stares at the machine in disbelief.

TRUMAN, still lost in thought, exits the school. He stops at the newsstand and picks up a magazine to resume his ritual search, but his heart is not in it. He replaces the magazine without taking a cutting - much to the surprise of the NEWS VENDOR.

Truman starts his trek to work, pausing to stare at his reflection in the mirrored building, hoping that the Homeless Man will appear once again at his side. No one joins him.

Entering his own building with fellow OFFICE WORKERS, TRUMAN remains in the revolving door and re-emerges on the street.

TRUMAN wanders aimlessly through a city park, observing. We sense, truly observing for the first time.

A YOUNG WOMAN walks a pair of AFGHAN HOUNDS. An OLD MAN answers the incessant questions of his GRANDCHILD. Nothing appears amiss, Truman takes a seat at a small, outdoor cafe. He fidgets with his father's ring on his finger that contains one large stone, still looking for a false move.

A DELIVERY MAN unloads boxes from the back of his truck and carries them into a store. Further down the street CONSTRUCTION WORKERS take their time tending to an electrical repair in an exposed manhole. A POSTAL WORKER does his rounds. An OLD WOMAN struggles with two heavy shopping bags. Everybody appears natural, places to go.

CHRISTOF and CHOLE stare into camera. Christof leans forward and speaks.

TRUMAN turns his attention to a group of CUBAN-LOOKING MEN at the only other occupied table at the cafe. We see extreme close-ups as Truman scans the men's faces for any sign of phoniness. They are talking loudly, making suggestive comments to the WAITRESS. Their behavior passes the test - all seems genuine.

Then, Truman notices TWO JOGGERS out for a morning run, making their way down the street towards him. Truman happens to glance at the sneakers of one of the joggers. He suddenly springs to his feet. Truman blocks the joggers.

The Joggers attempt to sidestep Truman.

The jogger looks down at his distinctive sneakers bearing the initials, "T.S.", and visibly blanches.

The second jogger roughly shoves Truman aside. Truman calls out after the two men.

Truman picks himself up, dusting dirt from his suit. He retrieves his briefcase and continues down the street with renewed purpose.

Wandering down the bustling street, TRUMAN suddenly bolts into a building at random.

An imposing office building clad in the kind of reflective glass that shields its occupants from the world - a building Truman passes every day. A steady stream of EMPLOYEES and VISITORS enter and exit the building's high-ceilinged lobby past an intimidating security desk manned by TWO UNIFORMED GUARDS. Beyond security are banks of elevators, ferrying executives, clerical staff and delivery personnel to and from their floors of business.

Truman abruptly enters reception and strides confidently past the security desk trying to look as if he belongs.

The second Security Guard is rising from his seat to block Truman's path to the elevators, but Truman reads his mind and makes a dash for it - into one of the elevators.

A YOUNG WOMAN in the elevator looks in horror at Truman - the cause of her concern all too apparent. Looking beyond the Woman, Truman discovers that there is no back to the elevator car. The PEOPLE Truman has just witnessed entering other elevators are milling around a refreshment table, primping or sitting on folding chairs. Gradually, they all turn to gape at Truman, who in turn stares back, appalled. Truman's view is abruptly blocked as a rear panel is hastily attached to the elevator. A Security Guard pulls Truman from the car.

Truman observes the upward progress of the elevator via the light display above the doorway. Before he has time to make sense of it, the guards drag him away.

The Guards frog-march Truman out of the facade towards an Emergency Exit.

TRUMAN continues to struggle as the GUARDS usher him to the street.

TRUMAN continues to struggle as the GUARDS unceremoniously dump him on the pavement. He picks himself up, head reeling, and starts to run along the street. He suddenly enters another building at random. An office block with a bank on the ground floor.

Truman rushes to the elevators. The lights above the doors show all the elevator on upper floors. Frantic pressing of the elevator button gets no response. A RECEPTIONIST rises from her desk. Truman heads for the stairs, but is intercepted by a BANK OFFICIAL barring his way.

The Bank Official, the Receptionist, and a BANK TELLER back Truman towards the door.

Truman hurriedly exits the bank.

Back on the street, TRUMAN feels the eyes of the PEDESTRIANS. Is he simply drawing attention to himself by his behavior? Truman wheels around, trying to make eye contact with passersby. They shy away. He continues to run down the street.

Finally, Truman finds himself standing in front of the window of an electronics store staring at his own face on a TV set. It is taking a feed from a camcorder aimed out the store window.

A MAN stares into camera from a bath of stale water - a layer of soap scum on the top.

TRUMAN shudders at his video reflection. Further down the street, he notices Marlon's van parked outside a supermarket.

The door of a vending machine is open. MARLON, half inside the machine, loads a stack of Baby Ruth candy bars into one of the dispensing slots. The paranoid TRUMAN appears at his shoulder.

Truman looks nervously around him. Even the STORE OWNER's friendly nod from behind the counter is cause for suspicion in Truman's mind.

Truman fixes Marlon with a look of deadly seriousness.

TRUMAN hurries MARLON up the school steps. The sound of children's voices continues to drift out from inside the building. Truman and Marlon storm into the school reception area - still empty.

TRUMAN and MARLON stand outside the classroom, the source of the children's voices. Truman throws his friend an "I-told- you-so" look and swings open the door with a flourish.

The once-empty classroom is now full of SCHOOL CHILDREN in an art class. A hush falls over the students and all eyes turn to TRUMAN and MARLON.

Hand-over-hand, TRUMAN climbs the cliff he once scaled as a seven-year-old. Finally, he sits on the clifftop, staring out at the view his father had been so desperate for him not to see twenty-six years earlier. However, the deserted bay beyond is identical to its neighbor. MARLON, laboring, crests the rise and joins his friend on the clifftop.

Truman sits cramped on his sofa. Pulling wider, we discover the cause of his discomfort. He is sandwiched between MERYL on one side and MOTHER on the other. Mother, the family historian, a stack of photograph albums at her feet, turns the pages of the album on Truman's lap.

Mother skips several pages in the album, finally stopping at a spread of wedding photos.

Mother turns to a blank page in the album.

Meryl rises from the sofa and helps Mother to her walker.

Meryl departs with Mother. Left alone in the living room, Truman slumps back down onto the sofa and switches on the television set - an old-fashioned model with rabbit-ears. He idly studies the photograph album as an over-earnest television HOST announces the upcoming program.

However, when we turn our attention away from the television, we find that Truman is peering intently at a wedding photograph of Meryl and himself taking their vows in a civil ceremony in a beachside gazebo. Under the scrutiny of a magnifying glass, he discovers that Meryl has her fingers crossed.

The TWO LADIES sit on their sofa, a rug across their knees, sipping a night cap of hot chocolate. They stare into camera.

TRUMAN, dressed casually in weekend attire, is at the stove preparing an omelette. MERYL hurries into the kitchen in her nurse's uniform. She gulps down a cup of coffee and reaches for her nurse's cap.

However, she still has time to adjust the position of a pack of "FiberCon Cereal" - squaring it a little more to camera.

Truman's eyes widen. Meryl adjusts her hat in the mirror.

Truman, lost in thought, picks up the scalding frying pan with his bare hand. Letting out a howl of pain, he drops the pan.

She looks up the kitchen clock.

Truman stares after her, the pain of his hand forgotten for the moment. He watches Meryl ride her bicycle down the driveway. Truman exits the house.

Riding a bicycle of his own, TRUMAN follows MERYL to work, staying a safe distance back. He watches her enter the hospital.

TRUMAN makes his way along various corridors. All seems as it should - DOCTORS confer with NURSING STAFF and PATIENTS, gurneys are wheeled about with their PASSENGERS looking suitably traumatized. Truman approaches a NURSING SISTER.

The nurse walks off, disappearing through a set of doors. Truman hesitates before following her.

The NURSE walks briskly - fewer people about, TRUMAN discreetly following behind. The nurse breaks into a jog. Truman hurries to keep up with her - dodging around gurneys, JANITORS mopping floors.

The NURSE, hastily scrubbed and gowned, enters the theatre. TRUMAN hesitates but dares not enter. He grabs a mask of his own.

Looking through the glass window in the operating theatre door, he sees the YOUNG WOMAN (seen in the hastily fixed elevator car the day before) lying on the operating table, a blood-soaked bandage covering her left leg. MERYL, wearing a surgical gown and mask, assists the SURGEON. The SISTER hovers nervously in the background.

Meryl very slowly selects a scalpel from a tray of instruments and awkwardly hands it to the surgeon.

The patient's eyes blink open in horror. The ANESTHETIST steps in Truman's view before he can get a good look. Suddenly, a SECURITY GUARD appears beside Truman and takes him by the arm.

TRUMAN takes a seat at the only desk in an empty travel agency. The travel brochures and posters that adorn the walls all feature destinations that bear a striking similarity to picturesque Seahaven. Another poster spells out the dangers of travel - "TRAVELLERS BEWARE - Terrorists, Disease, Wild Animals, Street Gangs". A female TRAVEL AGENT enters from a rear door.

Emerging onto the street, TRUMAN looks across to the building which he entered the previous day. It is now cordoned off with police tape after the elevator disaster. Flowers have been laid at the doorway.

A Greyhound Bus, bound for "CHICAGO" according to its destination sign, sits idling at the stop. Just as a burly SUPERVISOR is about to wave the bus on its way, TRUMAN dashes into the station.

Truman jumps onto the bus behind the last boarding passenger - a YOUNG SOLDIER.

TRUMAN takes a seat by a window. An awkward silence descends over the bus.

The other passengers - a MOTHER with a restless CHILD, several TOURISTS, an OLD COUPLE and the YOUNG SOLDIER - all stare stiffly straight ahead, averting their eyes from Truman.

No one is more uncomfortable than the BUS DRIVER. Beads of perspiration on his head, he fumbles for the gear shift, apparently unsure how to operate it. The gears grind.

The OTHER PASSENGERS try not to notice. The CHILD, tugging her MOTHER's sleeve, points to Truman. Her mother makes her face the front of the bus. Finally the SUPERVISOR enters the bus.

The relieved passengers hurriedly exit until Truman is the only one remaining on the bus. The Bus Driver looks almost sorry for Truman who sits resolutely in his seat - the hint of a tear of frustration in his eyes.

The bar seen earlier. A small group of PATRONS discuss developments. The WAITRESS seems upset, occasionally glancing to camera as she pours a beer.

As TRUMAN rides home on his bicycle, he stares wildly about him - the rearview mirror on his bicycle is suddenly cause for concern, so are the trees and streetlamps lining the roadway.

TRUMAN, staring at the highway from the bottom of the garden, doesn't bother to look up as MERYL, still wearing her nurse's uniform, approaches.

Meryl looks idly over the fence at the approaching car. Finally, a Suburu station wagon motors by. Meryl is unimpressed. Truman turns his back on the highway to continue his game.

Meryl doesn't wish to participate in the game and makes for the house. Truman holds her arm, forcing her to watch. He turns to check his prediction. A convoy of cars approaches.

Meryl's attention wavers. Truman tightens his grip.

Following the VW is a school bus.

Truman is momentarily disappointed.

A motorcycle putters by. Meryl turns and walks back to the house. He hurries after her.

Truman is puzzled by her conciliatory tone.

She turns away.

Despite her protests, Truman drags Meryl towards his car.

TRUMAN holds MERYL's wrist to stop her exiting the car and accelerates out of the driveway in reverse without looking - almost running over PLUTO the dog and SPENCER with his garbage can.

Truman starts circling a gazebo at the center of a roundabout, faster and faster.

Truman roars off down the street.

Almost immediately, Truman encounters a traffic snarl.

Without warning, Truman suddenly dives down a sidestreet. But his move is anticipated. At the end of the street, a pack of cars suddenly appears. Other vehicles fill the gap behind.

Truman reverses suddenly and makes a U-turn.

Truman starts heading back the way they came, the roadway now relatively free of traffic.

Truman floors the car. The car flies past their house.

As he speeds erratically, Truman glances at the streets on either side of the main road where he discovers a distinct lack of moving traffic.

But TRUMAN's clear path is short-lived. He is forced to slow once again behind a line of other cars at a bridge.

Truman floors the car again and swerves into the oncoming lane. He roars along the bridge on the wrong side of the road. Near the end of the bridge, a distraught MOTORIST dashes into the middle of the road, waving his arms. Truman slams on the brakes.

Truman roars on, almost bowling over the concerned motorist.

Truman roars past a sign that reads, "YOU ARE NOW LEAVING SEAHAVEN - Are you sure that's a good idea?"

Back at the accident scene, the little boy, apparently uninjured, sits up.

They roar pass an illuminated sign - "FOREST FIRE WARNING - Extreme Danger".

Suddenly, a 20-foot high wall of flame shoots across the roadway in front of them - as if someone flicked on a gas switch.

TRUMAN experiences his first moment of doubt. He looks to the terrified MERYL, then closes his eyes tightly and accelerates through the fire wall. He is startled to find that they have emerged on the other side, singed but unscathed.

However, the open road in front of them now disturbs Truman for a different reason - its sheer lack of anything unusual. Signs along the road advertise motels and give directions to other destinations - "I-6211 - 2 miles", "Notel Motel - Pool, Color TV".

Meryl also now appears to be resigned to the journey.

Truman appears very unsure of himself.

However, there is still a barrier between TRUMAN and Bourbon Street. The highway, leading to a cloverleaf freeway junction in the distance, is completely blocked off by Seahaven police cars. No way past. Nuclear silos in the distance spew out an ominous puff of smoke. A sign reads, "SEAHAVEN ISLAND NUCLEAR POWER STATION - Clean, Safe, Economical - More Power To You!"

Truman is forced to slow at the police barricade.

Truman's eyes widen at the mention of his name from an apparent stranger. As the officer turns, Truman bolts from the car, leaving MERYL in the passenger seat.

Truman flees into the forest.

The TWO OLD LADIES we have observed before are almost overcome with tension. One lady reaches out for her companion's hand.

TRUMAN bursts past the alien-looking HAZARDOUS WATER WORKERS in their protective suits carrying detection instruments. The workers give chase in their cumbersome suits, trying to cut off his path.

Nearing the edge of the forest, Truman hears the sound of hammers and saws. But before he has time to see the source of the sound, he is tackled to the ground.

As SEAHAVEN POLICE OFFICERS drag him away, one of the WASTE WORKERS walks the remaining few yards, pushing aside a wall of tropical foliage. We now see what Truman was prevented from seeing.

A Polynesian island is under construction by dozens of RIGGERS, PAINTERS and SET DECORATORS. Large cranes are lifting palm trees into place, a fake volcano is being tested in the distance and rehearsals for a firewalking ceremony are underway complete with hot coals, DRUMMERS and FIREWALKERS in native dress.

The wings and fuselage of an airliner are being constructed on a hydraulic gimbal. Leading into one side of the airliner is a covered walkway, emblazoned with a sign, "Seahaven Island - Departures". Emerging from the opposite side of the airliner is an old-fashioned airline stairway with the sign, "Welcome to Fiji"

At the foot of the steps, TWO WOMEN in Fijian dress are being shown the correct way to present a floral lei.

MERYL shows TWO SEAHAVEN POLICEMEN out the back door.

Meryl joins TRUMAN at the kitchen table. Truman applauds ironically.

Meryl picks up a package and holds it to camera.

Truman rises from the table and backs her around the room.

Meryl grabs the "Chef's-Mate" from the counter to protect herself. She points the potato peeler at him.

Truman looks into her eyes and, with surprising swiftness, grabs her wrist and disarms her.

Truman grabs Meryl and turns the Chef's Mate on her. He stares wildly about him.

Upon hearing her remark, Truman's eyes widen. Sensing that she too is addressing a third person, he jerks her head around to read her face.

Suddenly, the front door chimes.

Truman grabs his peeler and marches Meryl down the hallway to the front door. The doorbell chimes a second and third time, more insistently.

Truman flinches. He was so convinced it would be the police. He takes a step back against the hallway wall. Before he can decide what to do, MARLON has opened the unlocked front door to be confronted with the sight of Truman holding the peeler to Meryl's throat.

Marlon locks eyes with Truman. Sizing up the situation, he slowly but decisively removes the peeler from Truman's hand. Meryl wrenches herself free from Truman's now limp grasp and collapses into Marlon's arm, sobbing.

MARLON and TRUMAN, both nursing bottles of beer, sit on the end of the unfinished bridge.

Marlon looks around as if drawing inspiration from somewhere in the night.

Truman chimes in, nodding fondly at the memory.

TRUMAN & MARLON --we were right together and we were wrong together.

Truman is slowly coming around - Marlon's speech from the heart soothing away his pain.

CHRISTOF stares intently into camera, holding his distinctive earpiece to his head. Beside him, his ever- present assistant,

CHLOE.

TRUMAN looks up in the direction of MARLON's gaze. A FIGURE stands at the end of the freeway - a homeless man. It is his father, KIRK.

Marlon helps Truman to his feet - Truman still transfixed by the figure.

CHRISTOF continues to direct the action from what is now revealed to be the control room of a television studio.

In a wide shot, from one of the streetlights lining the empty freeway, we see TRUMAN walking towards his long-lost

FATHER.

Music swells. Kirk and Truman embrace in the middle of the freeway. Truman takes his father's ring from his own finger.

We see a close up of Kirk from the ring's POV. Truman places the ring in the palm of his father's hand.

We see a close up of Truman from a camera on Kirk's coat.

SIMEON looks to his director.

The CREW watches Kirk and Truman embrace.

CHRISTOF allows himself a smile of satisfaction.

As a tight two-shot of father and son fills the screen, the orchestra swells with triumphant music.

FATHER and SON remain in the embrace. Over Truman's shoulder, we see a flash of guilt flicker across MARLON's face.

CHRISTOF, emotionally drained by the events, slumps in his chair. CHOLE rests a supportive hand on his shoulder. The head of the network, MOSES, a man in his seventies, enters with his young assistant, ROMAN - their faces full of admiration.

A YOUNG WOMAN reclines on a bed, her back against the wall. Propped up on her knees is a book. However, she's not reading but staring straight into camera - a look of profound sadness on her face. It is SYLVIA.

From her point-of-view, we see a portable television set on a table at the foot of the bed.

On the television is a live picture of TRUMAN - the first time we have seen him on a television screen. He is sitting at his kitchen table, unaware of the cameras recording him.

The shot is static. He just sits there in silence, a steaming cup of cocoa in front of him and a plate of untouched cookies.

At one point, a sponsor's border, appears on the screen, tastefully framing the "action", with the message, "MOCOCOA - Cocoa beans from the upper slopes of Mount Nicaragua". After several seconds the border disappears.

Suddenly, the live picture of Truman shrinks into a window on the screen to accommodate a title sequence that begins to play around the edge of the image. "The Truman Show" theme music begins.

The camera cranes up and over the Hollywood sign, the flatlands of Burbank stretching into the distance.

During this continuous aerial shot, overlapping scenes from Truman's life appear in chronological order, from infancy to adolescence and finally adulthood. Photographs of leading CAST MEMBERS also appear in individual frames.

The music swells as the camera approaches a mammoth structure at the base of the mountains - a dome so vast it dwarfs everything around it. At the top of the dome is a huge painting of Truman's face encircled by satellite dishes - inside each dish is a single letter spelling out, T-H-E T- R-U-M-A-N S-H-O-W - a banner proclaims, "30th Great Year"

The camera rushes towards the outside wall of the gigantic dome bathed in sunlight. When we emerge on the other side, it is night. The camera cranes up from a calm, moonlit ocean to the nightsky above. As we near the crescent-shaped moon, we discover that it is actually a window overlooking Seahaven. Standing in the "crater" window is the suited CHRISTOF.

Pulling back from the window we reveal an INTERVIEWER, mid- forties, conservative suit and hair. A large television shows a live picture of Truman. Immersed in his book.

A TITLE APPEARS: Due to the Live and Unedited nature of the program, viewer discretion is advised.

The Interviewer turns to Christof.

Behind the two men, the constantly playing image of Truman engrossed in his book is relegated to a window of the screen.

PLAYBACK - INT. TRUMAN'S HOME. CHRISTMAS MORNING.

TRUMAN, 7, is opening presents under the tree - KIRK and MOTHER proudly looking on.

Suddenly, a small MAN bursts from a large, Christmas parcel. Kirk and the man grapple on the floor in front of the stunned seven-year-old. Kirk drags him away.

PLAYBACK - EXT. CITY STREET. DAY.

As the adult TRUMAN makes his way to work, a PARACHUTIST drops from the sky into the main street, only yards behind him.

The parachutist is dressed entirely in black with a message emblazoned on his chest, "TRUMAN, YOU'RE ON TV." COMMUTERS grab the man and drag him away - Truman blissfully unaware of the incident.

PLAYBACK - EXT. CITY STREET. DAY.

The encounter between TRUMAN and the homeless KIRK is replayed up to the point where Kirk is bundled onto the bus.

The Interviewer consults his note.

During this segment, we cut to a cross-section of VIEWERS - the WAITRESS and BARMAN in the bar, the TWO OLD WOMEN on their sofa, the TWO SECURITY GUARDS, and the MAN in the bath - listening to Christof's theories on their viewing habits.

At that moment, Truman - still live on the screen - unwittingly punctuates the pretentious remark with a belch. Christof and the Interviewer try not to notice.

The Interviewer presses a blinking, illuminated button on his desk's high-tech phone terminal. During this segment, various windows open on the screen advertising products from the "Truman" catalogue.

Footage of TRUMAN as a baby appears on the screen - as a newborn INFANT, held in a pair of anonymous latex-gloved hands, and as a TODDLER, dressed in various baby outfits - on one occasion looking through the bars of his crib.

Christof nods.

The SEVEN-YEAR-OLD TRUMAN we have seen in other flashbacks appears on the screen. Wearing a cowboy outfit, he goes to cross the walkway of a bridge when he is suddenly confronted by a savage DOG wearing a spiked collar.

We freeze on seven-year-old Truman's terrified face.

The Interviewer goes to cut off the call, but Christof stops him.

The Interviewer hangs up on the caller.

In a darkly lit room, we see SYLVIA. It is she who is the confrontational Caller - phone still in her hand.

Still in silhouette, SYLVIA turns down the volume on the television. Focusing on the window on the screen that displays TRUMAN, she comes close to the screen, catching his melancholy, saddened by his regression.

TRUMAN breathes in the scent of Sylvia's sweater one last time before reluctantly replacing it in the trunk, together with his book, "To The Ends Of The Earth - The Age Of Exploration".

For a final time, he regards his unfinished picture of SYLVIA inside - two holes where the eyes should be. As he does so, he finds two lost paper cuttings - a pair of eyes on the basement floor. He tries them. Ironically they fit - the picture completed. He closes the trunk anyway. With a sense of finality, he fastens the lock.

The giant ON-AIR monitor in the control room plays a close- up shot of Truman sleeping.

CHRISTOF comes close to the monitor and almost touches the screen. As he does so, Truman twitches in his sleep.

TRUMAN wipes the mist from the mirror of the bathroom cabinet and stares into it in a way he has never done before.

Close up on the giant ON-AIR monitor in the control room. It displays a wide shot of Truman staring into the bathroom mirror.

We slowly pull back to reveal SIMEON and the other VIDEO OPERATORS sitting at the mixing desks arranged in tiers reminiscent of an auditorium or NASA's Mission Control. Each mixing desk contains a dozen-or-so built-in monitors and is designed with a location such as "Truman's House - Interior", "Truman's Office - Cubicle", "Tyrone's Deli". The operator at each desk, sitting in a swivel chair and wearing the slimmest of headsets, is responsible for monitoring a particular location.

The monitors cover virtually every facet of Truman's life. Camera angles from the interior of Truman's house, his backyard, car, office, the deli he frequents, the seashore to which he is drawn, the unfinished bridge where he golfs with Marlon - many of the locations strangely devoid of people.

Simeon, seated in the front row of mixing desks, stares back at Truman's image on the monitor, slightly unnerved.

As if to reassure the technician, Truman begins one of his familiar monologues. He talks to the mirror as if being interviewed.

Truman sighs as he exits the bathroom.

TRUMAN exchanges a cheery greeting with SPENCER.

He waves to the WASHINGTONS across the street. He pets PLUTO the dog.

Back at work at the insurance company, TRUMAN sits in his cubicle making another of his cold calls.

A YOUNG WOMAN, carrying a stack of files, catches Truman's eye as she passes. VIVIAN. She is faintly reminiscent of Sylvia at the same age - even wearing a similar sweater.

TRUMAN wheels his lawnmower, deliberately averting his eyes from the back of the house. Staring out of the kitchen window, a tall glass of iced tea in her hand, MERYL has been anticipating her husband's appearance. She wears a neckbrace, we sense more as a reminder to Truman than for any medical benefit she might derive.

Feeling Meryl's eyes burning into his back, Truman fires up the mower and heads directly towards the symbolically uncut section of grass. We focus on the errant blades of grass as they are severed by the mower - a new Elk Rotary. The lawn is now uniformly trimmed - Truman's final act of defiance laid to rest.

CHRISTOF stands at a large, specially screened window, silhouetted against the twinkling stars and full moon of a hyper-real nightsky.

Members of the cast enter the room - principal characters in Truman's life - MERYL, MARLON, MOTHER, KIRK, TYRONE, LAWRENCE and the new actress, VIVIAN. They take their places around a long, oval table for a story conference - Vivian sitting slightly apart from the rest of the cast.

We glimpse over Christof's shoulder at what he sees - the town of Seahaven far below, bathed in moonlight. He comes out of his reverie and joins his cast, sitting at the head of the table. In front of him, a TV "tablet" plays silently - showing Truman drinking a glass of milk in his kitchen.

All eyes turn to Meryl. She looks at the floor.

Meryl receives a sympathetic squeeze of the hand from her co- star Marlon, now out of wardrobe, wearing an Armani suit.

The rest of the cast nod politely in Claudia's direction. CHLOE passes out a bound document to each cast member.

The cast idly flips through the documents, prominently stamped on the cover, "NOT TO BE TAKEN ON SET".

The cast turn in his direction. Christof shoots him a disapproving look.

TRUMAN sleeps on a cot bed in his basement - more cluttered than usual. A virtual bombsite - dozens of cardboard boxes stacked everywhere. Although he is covered in bedding, his sock-clad feet stick out of the bed covers. The outline of his body is still clearly visible. He snores quietly.

The TWO OLD LADIES have nodded off on their sofa in front of the television, their breathing and occasional snores echo those of Truman.

In the BAR, the WAITRESS - normally an avid viewer - only idly glances to the screen as she passes with a tray of drinks.

The MAN in the bath resignedly lets the water out of the tub and goes to get out.

The MOTHER only occasionally glances to the screen as she feeds her BABY. Her DAUGHTER has her eyes closed, bopping to her Walkman.

SIMEON sits at his control desk, directing the "night- shift". He pays scant attention to the big screen, giving his instructions in a lethargic, metronomic manner.

An OPERATOR, eating a slice of pizza, presses one of the illuminated buttons on the panel and the camera angle changes to a close shot of Truman's covered head. The camera stays on the blanketed head for a long moment.

Another button is pressed and the angle changed. A trace of frustration is evident in the control room. Recording a sleeping subject is unrewarding enough without also having to contend with Truman's recently acquired camera-shyness.

At the far end of the control room, one of the large double doors opens and CHRISTOF enters, dressed in a smoking jacket. Simeon and the Operators subtly straighten in their chairs. Christof pretends not to notice. He is staring intently at the ON-AIR monitor.

The operator punches up the camera hidden inside a broken cuckoo clock. A box obscures the view.

Christof watches Truman, a trace of concern in his eyes. CHLOE enters.

Apparently satisfied, Christof turns to an Operator.

Reading off the notes in Chloe's folder, the Operator punches up a batch of camera angles on smaller preview monitors. They show a generic-looking hotel, devoid of actors. A banner in reception reads, "Welcome Seahaven Life and Accident".

The Operator looks to Christof for approval and realizes his producer's attention has wandered. Christof has wandered down to the front of the room to stand beside the giant ON- AIR monitor still displaying the sleeping figure of Truman.

Christof nods.

Christof picks up a spare headset from the panel and puts it to his ear.

An Operator pushes up an audio fader on the panel. Christof and his colleagues listen to Truman's steady breathing in their headphones.

Simeon and the Operators nod, reassured that nothing is amiss. Christof is not so easily convinced.

A camera hidden in the room's lamp zooms in to Truman's prone outline. While the breathing remains steady, the body does not rise and fall. Christof, still listening to his headphones, detects a faint scratching sound followed by a strange thud.

Chloe picks up a phone connected to the desk and dials.

The upstairs phone begins to ring. Truman doesn't flinch.

The TWO SECURITY GUARDS are intrigued by Truman's unanswered phone on their television set.

CHRISTOF and SIMEON concentrate on another, separate monitor playing in fast-rewind, time code in the bottom right-hand corner. It is a recording of the night's transmission. Simeon pauses on the last on-camera appearance by Truman.

They watch Truman, on-screen, switch off the basement light and climb into the cot bed fully clothed, immediately pulling the covers over his head.

As the light is switched off, the recording camera automatically switches to night vision. Simeon continues to play at normal speed, now and then scrolling forward in fast- forward mode. Christof suddenly points to screen.

Simeon types the appropriate command.

On the blown-up screen, between a cardboard box and a chair leg, it is barely possible to make out Truman's hand as he crawls commando-style from beneath the covers and behind a cardboard box near the large tool cupboard.

Simeon points out an angle of the empty staircase.

MARLON's car squeals to a halt outside Truman's house. Hurriedly dressed in jeans and coat over a bare chest, he dashes barefoot up the porch to the front door. He tries the doorhandle, pounds on the door and rings the doorbell simultaneously, shouting Truman's name all the while.

Frustrated, Marlon picks up one of Meryl's carefully nurtured flower pots from beneath the porch window.

Marlon hurls the flower pot through the window.

MARLON switches on the light and clambers down the wooden stairs to the basement.

He pushes away the clutter and finally stands at his co- star's bedside. He gingerly lifts the covers.

Beneath the bedding, clothes have been carefully piled to resemble a sleeping figure - socks placed on the end of two tree branches.

Buried amongst the clothes is Truman's portable tape recorder. Marlon places the recorder next to his ear. The cassette plays the sound of TRUMAN BREATHING.

CHRISTOF stares, wide-eyed, at the image on the On-Air monitor of MARLON.

MARLON starts frantically pushing aside the clutter, sending Truman's model ships and other hobbies crashing to the floor. Eliminating all over possible hiding places, he confronts Truman's tool closet, the wall map of the Fiji Islands still hanging on the door. Marlon rips open the door and is hit with a shaft of light - moonlight.

The top of the closet has been removed and a crude tunnel containing a ladder heads almost directly upwards to the outside of the house. The bottom of the closet is ankle deep with dirt. Embedded in the tunnel wall is Meryl's Chef's Mate - Truman's digging implement.

MARLON's head pops up outside the house. Unable to help himself, Marlon looks directly into a wide shot camera concealed in a streetlight.

Simeon hesitates, unsure if he has heard correctly. He looks to Christof for confirmation, his finger poised over an "EMERGENCY" button.

Christof lunges forward and presses the button himself. The scene in Truman's bedroom playing on the on-air monitor is abruptly replaced by the "TRUMAN" logo and the message,

"TECHNICAL FAULT. PLEASE STAND BY."

The TWO OLD WOMEN on the sofa are stunned to see their TV screen go blank.

HEADS also turn in the bar permanently tuned to the "Truman" channel.

The other loyal viewer transfixed by the test card is SYLVIA, alone in her darkened apartment.

Reminiscent of a military headquarters in wartime, the control room is a scene of barely controlled panic. SECURITY GUARDS come and go, phones ring, lights flash, every available VIDEO MIXER is working. The monitors - the "eyes" of the searchers - are systematically scrutinized for any sign of Truman. CHRISTOF orchestrates operations from his position at the center of the control panel.

We pan down one empty street after another. The town center is totally, eerily deserted. Suddenly, a line of PEOPLE comes around the corner, fanned out cross the street - a man- hunt.

PEOPLE of every description, shoulder to shoulder, marching down the otherwise empty streets the way a search is conducted at a crime scene. The lines include PRINCIPALS and EXTRAS lined arm and arm, wardrobed for their usual roles as EXECUTIVES and SECRETARIES, STORE CLERKS, TELEPHONISTS, MAINTENANCE and CONSTRUCTION WORKERS, WAITERS and WAITRESSES,

COOKS, SHOPPERS, HEALTH WORKERS, SECURITY GUARDS, POSTAL

WORKERS, POLICE OFFICERS, FIRE FIGHTERS and HOMELESS PEOPLE.

We occasionally glimpse Truman's friends and colleagues amongst the searchers - MARLON, LAWRENCE, MOTHER & KIRK, VIVIEN and TYRONE. Even the WASHINGTON's and SPENCER and PLUTO have joined the search - a snarling Pluto straining at the leash has now assumed the role of tracker dog - Truman's pajamas waved in front of his nose (clearly miscast as the friendly, neighborhood pooch).

Searchlights from Seahaven's many towers sweep the town. Once, the light falls on a blackened face cowering in the bushes beside a picket fence - the fence now faintly reminiscent of prison bars. Even the beam of the full moon appears to be sweeping the town like a searchlight.

Barriers have been erected at the bridge leading out of Seahaven, guarded by several Seahaven police cars.

An extra dressed as a DERELICT wheels his shopping cart toward the bridge.

The derelict takes a look along the walkway alongside the bridge as if participating in the search. He finds a POLICE OFFICER standing on the walkway.

A VIDEO OPERATOR in the sixth row watches the scene on one of his monitors - the derelict standing with his back to camera. Just as the derelict turns toward camera the Operator turns away to take a sip of coffee. He misses what we see on his monitor - the derelict's blackened face belongs to TRUMAN.

The disguised TRUMAN heads back to town.

CHRISTOF turns to a LIGHTING TECHNICIAN.

A building-to-building, floor-to-floor, office-to-office search is also being conducted, each structure secured as they go - the SEARCHERS paying special attention to potential blind spots such as closets, dumpsters, manholes, sewers, car trunks, trees and shrubbery.

We focus on one of the waves of searchers. TRUMAN has linked arms in the middle of a row, his disguise still holding up.

CHRISTOF glances impatiently at his watch.

The sun instantly rises over Seahaven. CAST and EXTRAS shade their eyes from the sudden glare.

While his COLLEAGUES monitor the bank of screens, CHRISTOF has been joined by the two anxious studio executives, MOSES and ROMAN.

The television above the bar carries the test card. PATRONS animatedly discuss Truman's fate over their drinks. Some place bets with each other on Truman's fate.

A CROWD of passersby hover around a display of televisions in the window of an electronics store, awaiting developments.

The fan of EXTRAS reaches the harbor and automatically turns to make another sweep.

CHLOE looks askance at CHRISTOF.

However, as he bypasses the entrance to a ticket box, he hasn't bargained on coming face to face with another straggler from the search.

MARLON. Truman freezes in front of his childhood companion - Marlon instantly seeing through Truman's homeless disguise.

Truman glances nervously in the direction of the searchers. Their backs to the two men, they are beginning their next sweep. One shout from Marlon will give Truman away - he is at Marlon's mercy.

Without a word, Marlon walks past Truman and rejoins the search.

Truman glances back to Marlon's retreating figure but Marlon never looks back.

TRUMAN reaches the edge of the dock. He looks out over the bay. There, riding at anchor some two hundred yards out, is a sail boat - the same boat that circled Kirk and Truman's sail boat many years earlier.

We see a close-up of Truman's terrified eyes in his blackened face, staring down at the lapping water. He steels himself, shuts out the doubts and dives into the water.

CHRISTOF concentrates on a monitor displaying a view of the harbor.

His COLLEAGUES begin to flick through dozens of waterborne hidden camera shots - in moored craft, lighthouses and buoys - trying to locate Truman.

Suddenly on one of the monitors there appears a single sail etched against the horizon.

Simeon punches a button and the image of the sail boat is instantly transferred to the large ON-AIR monitor.

The TWO OLD WOMEN doze against each other on the sofa in front of the TV.

The classical music on the television is abruptly replaced by the sound of the wind and the sea. One Old Lady blinks her eyes open, her breath taken away by the sight of Truman at the wheel of the sail boat. She rouses her companion.

SIMEON scans a computer shot list. He types in a code.

A camera from the mast of Truman's sail boat activates. Truman, unaware of the camera, is concentrating on his sailing.

By now the ocean spray has washed most of the dirt from TRUMAN's face - only a residue remains. The rags he wears are soaked.

As he steers, he occasionally refers to a "HOW TO SAIL" book from his coat pocket.

The MAN in the bath we have seen earlier continues to watch from his tub.

TRUMAN is at the wheel of the sail boat, wind filling her sails.

Seahaven left far behind, his is the only craft afloat in the harbor. He sets a course for the open sea as he and his father did long ago.

CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a buoy's POV as he sails by.

A PRODUCTION ASSISTANT runs down the dock towards the FERRY CAPTAIN and his CREW.

The sea choppier now, rising and falling steeply beneath his boat, TRUMAN nears a large buoy bobbing clumsily in the strong swell. An official-looking sign on the buoy reads - "DANGEROUS WATERS. DO NOT ENTER." We see an extreme close up of the nautical signpost where a disguised miniature camera tracks Truman's progress.

Christof nods to controls on the mixing desk marked, "WIND" and "RAIN".

Storm clouds roll towards TRUMAN's boat at an alarming speed. He looks back towards the Seahaven skyline, rapidly receding behind him. Doubts invade Truman's head but he shuts them out and steers into the teeth of the storm - a look of resolve in his eyes we have never witnessed before.

MOSES and ROMAN pace at the back of the control room. CHRISTOF is focused on his monitor. Like Truman, he steels himself for a fight.

Simeon reluctantly winds the controls for "WAVE", "WIND" and "RAIN" towards their maximum settings.

Darkness suddenly descends. High winds and horizontal driving rain buffet the boat. TRUMAN fights the tiller. Hurricane force winds shake the mast and keel, ripping the sails to shreds.

Suddenly, the mast of Truman's boat is struck by a bolt of lightning - snapping the rigging and knocking Truman overboard. Flailing in the tempest, Truman manages to grab hold of a trailing rope from the mast and hand-over-hand drags himself back on board. Truman takes the rope and lashes himself to the wheel.

Monstrous waves continually submerge the boat. With what little is left of his rigging, Truman continues to head into the gale.

In contrast to his panic-stricken COLLEAGUES, CHRISTOF gives an outward appearance of calm. Only we witness the minute bead of sweat appearing at his temple that betrays him.

All eyes turn in Christof's direction. None of the Operators is willing to touch the controls.

Christof reaches to the panel and does it himself, turning the "WAVE" controls to their maximum settings.

A series of giant breakers march in formation across the sea - arising from an unseen source.

The waves break across Truman's vessel. TRUMAN appears to be losing his fight against the storm, each successive wave taking its roll on his body, sapping his strength, his bindings the only thing keeping him upright. His head slumps, the tiller goes loose in his grasp, rocking out of control. Truman's will is draining away.

The control room CREW watch the heroic image of Truman on the ON-AIR monitor, awestruck, as if they too are now spectators watching a movie.

As he is about to be overcome by the next wave, TRUMAN clamps the wheel with his whole body and braces for one last wave.

But the wave does not come. A strange phenomenon is occurring in the ocean. A distinct division has appeared in the ocean swell. Between the large rolling waves lies a corridor of calmer water, several hundred yards wide, a curious escape lane. The wind and the rain are also subsiding, the darkness lifting. A mist clings to the surface of the water. Truman steers his sail boat down the eerie corridor.

Several large, dark shapes emerge on the horizon. Land? Islands? The shapes, containing some enormous mechanism including a huge wheel, only half exposed above water level, appear to be the source of the peculiar wave formations.

Truman continues to steer his wrecked sailboat towards the infinitely receding horizon. All is calm until we see the bow of the boat suddenly strike a huge, blue wall, knocking Truman off his feet. Truman recovers and clambers across the deck to the bow of the boat. Looming above him out of the sea is a cyclorama of colossal dimensions. The sky he has been sailing towards is nothing but a painted backdrop. Truman looks upward, straining his eyes to see the top of the sky, but it curves away at a steep angle beyond his sight.

Clinging to the boat with one hand, he tentatively reaches out towards the painted cyclorama. He touches the sky.

He looks about him and simply laughs.

CHRISTOF and his PRODUCTION STAFF take in Truman's reaction in stunned silence.

Truman's laugh echoes around bars, offices, shops, homes and streets - wherever a television is to be found - no VIEWER speaks. They too are stunned into a hushed expectancy. The collective audience holds its breath.

As the boat drifts alongside the seemingly never-ending curve of the cyclorama, TRUMAN's attention is drawn to an outline in the otherwise flawless backdrop. He retrieves the identikit picture of Sylvia from his coat pocket and clambers to the prow of the boat.

There, camouflaged in the painted skyscape just above the water line, is a door. Truman grabs hold of the recessed doorhandle and halts the drifting boat. He stands in front of the door and closes his eyes in a silent prayer.

The control room CREW stare in silence at the monitor - their very livelihood on the brink of vanishing. CHRISTOF opens a small panel on his desk, breaks a seal, and speaks into the emergency P.A. system that is linked to the entire studio.

CHRISTOF's voice booms over the now calm ocean.

TRUMAN drops the handle as if his hand has been burned. He looks all about him.

Truman takes a moment to overcome his fear and astonishment.

Truman looks up to the "heavens".

Truman struggles to take it all in.

Truman takes out the drenched picture of Sylvia, recalling her words at the beach.

CHRISTOF picks up a slim, flat monitor. He swivels in his chair and gazes intently at the image of Truman he now holds in his hands.

On the screen, Truman again reaches for the door handle.

We focus on TRUMAN's hand. CHRISTOF's voice echoes across the water.

A wave of doubt washes over Truman's face.

The VIEWERS stare into camera in fascination.

TRUMAN turns back to the sky, looking up towards CHRISTOF.

Truman seems to be considering the possibilities. He looks to the identikit picture of Sylvia in his hand.

SYLVIA gazes at the picture of herself on her television screen as if it is her reflection in the mirror.

TRUMAN hesitates. Perhaps he cannot go through with it after all. The camera slowly zooms into Truman's face.

He steps through the door and is gone. Silence. Then -

Spontaneous jubilation from VIEWERS in their various locations - bars, homes and offices. We follow the figure of SYLVIA, running through the streets. Some of the viewers outside an electronics store glimpse her as she runs by.

Even the cynical SIMEON jumps out of his seat - for the first time in the film - and lets out a joyous whoop, forgetting himself for a moment, caught up in the drama.

Self-conscious, he takes his seat again almost immediately. His COLLEAGUES are transfixed by the live ON-AIR monitor continuing to play its only available shot, the open door in the sky.

Gradually, the attention of those in the control room shifts from the monitor to CHRISTOF. He sits slumped, staring at the open door in the sky.

Eventually MOSES looks to Simeon. Moses nods to the "ON AIR" button. Simeon presses the button and the screen - the movie screen - goes to static.

MONTAGE/END TITLES.

Highlights from "Truman - Total Record of a Human Life" begin

to play.