The Truman Show
Executive Summary
Poster

Overview
Genres: Drama, Thriller, Mystery, Comedy, Sci-Fi, Romance, Family, Adventure, Slice of Life, Satire
Setting: Contemporary, Seahaven Island, a fictional suburban town
Overview: The Truman Show follows Truman Burbank, an ordinary man living in the idyllic town of Seahaven, who gradually discovers that his entire life is a meticulously crafted reality TV show. Initially content with his routine, Truman's curiosity is piqued by strange occurrences, such as a falling light fixture and memories of a mysterious woman named Sylvia. As he grapples with feelings of disillusionment and a longing for adventure, Truman's quest for truth intensifies, leading him to confront the manipulative forces controlling his life. The story culminates in a dramatic confrontation with the show's creator, Christof, as Truman seeks to reclaim his autonomy and escape the confines of his fabricated existence.
Themes: Personal Freedom, Reality vs. Illusion, Identity, Media Influence, Isolation
Conflict and Stakes: Truman's struggle for autonomy and truth against the manipulative control of Christof and the artificiality of his life, with his identity and freedom at stake.
Overall Mood: Tense and introspective, with moments of humor and absurdity.
Mood/Tone at Key Scenes:
- Scene 1: Lighthearted yet tense as Truman engages in self-reflection, hinting at deeper dissatisfaction.
- Scene 2: Initially friendly but shifts to confusion and unease with the falling object, foreshadowing Truman's awakening.
- Scene 3: Tense and anxious as Truman grapples with childhood memories and parental expectations.
- Scene 4: Nostalgic and bittersweet, reflecting on lost dreams and the harsh realities of adulthood.
- Scene 5: Frustrated and isolated as Truman seeks connection amidst his mundane job.
Standout Features:
- Unique Hook: The concept of a man living his entire life on a reality TV show without his knowledge.
- Major Twist: The revelation that Truman's entire life has been orchestrated and broadcasted to the world.
- Innovative Idea: The exploration of media's influence on personal identity and reality.
- Distinctive Setting: The idyllic yet artificial town of Seahaven, contrasting with Truman's internal struggles.
Comparable Scripts:
- The Truman Show
- The Matrix
- Pleasantville
- Eternal Sunshine of the Spotless Mind
- Black Mirror (Episode: 'Fifteen Million Merits')
- The Giver
- Westworld
- The Adjustment Bureau
- Dark City
Writing Style:
The screenplay exhibits a distinctive blend of existential themes, surreal storytelling, and complex character dynamics. It frequently explores the nature of reality, identity, and human relationships through introspective dialogue and dark humor. The narrative structure often challenges conventional storytelling, incorporating elements of mystery and psychological depth.
Style Similarities:
- Charlie Kaufman
- Christopher Nolan
Pass/Consider/Recommend
Highly Recommend
Explanation: The screenplay for 'The Truman Show' presents a compelling narrative that explores themes of reality, identity, and the human experience through the life of Truman Burbank, a man unknowingly living in a constructed reality. The character arcs are well-developed, particularly Truman's journey from ignorance to self-awareness. The screenplay's strengths lie in its unique premise, character depth, and thematic richness, though it could benefit from tighter pacing in certain sections. Overall, it is a masterful blend of drama and satire that resonates with audiences.
USP: The Truman Show offers a unique blend of satire and drama, exploring the concept of a man living his entire life as the unwitting star of a reality TV show. Its compelling narrative, deep thematic exploration, and strong character development make it a standout piece of storytelling.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 18-45, fans of psychological dramas, science fiction, and social commentary films.
Marketability: The screenplay's unique premise and exploration of reality TV resonate with contemporary audiences, making it highly marketable.
The blend of drama, comedy, and existential themes appeals to a broad demographic, enhancing its marketability.
Strong character development and emotional depth create a compelling narrative that can attract both critical acclaim and commercial success.
Profit Potential: High, due to its relevance to current societal issues, potential for awards, and strong audience engagement.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a blend of dark humor, irony, and social commentary, effectively capturing the absurdity of modern life and the complexities of human relationships. The dialogue is sharp and witty, often revealing deeper emotional truths beneath the surface of mundane interactions. The narrative weaves together elements of nostalgia, surrealism, and introspection, creating a rich tapestry that explores themes of identity, authenticity, and the struggle for personal freedom.
Best representation: Scene 1 - A Shattered Illusion. This scene is the best representation because it encapsulates the writer's unique voice through its blend of dark humor and social commentary, effectively setting the tone for the exploration of themes such as authenticity and the absurdity of modern life.
Memorable Lines:
- TRUMAN: I'm Truman, Truman Burbank-- (Scene 19)
- SYLVIA: Everybody's pretending, Truman. You think this is real? It's all for you. A show. The eyes are everywhere. They're watching you - right now. (Scene 21)
- TRUMAN: Nothing was real. (Scene 58)
- TRUMAN: In case I don't see you--good afternoon, good evening and good night. (Scene 60)
- CHRISTOF: Truman, there's no more truth out there than in the world I created for you - the same lies and deceit. But in my world you have nothing to fear. (Scene 59)
Characters
Truman Burbank:The protagonist, a man unknowingly living in a constructed reality TV show, struggling with his identity and desire for freedom.
Meryl:Truman's wife, who represents the societal expectations and constraints placed on him.
Christof:The creator of 'The Truman Show,' who manipulates Truman's life for entertainment.
Marlon:Truman's best friend, who provides a sense of normalcy but also embodies the complicity of those around Truman.
Sylvia:Truman's love interest who tries to reveal the truth about his life and the show.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Morning Reflections | Deadpan, Sarcastic, Resigned | 8.2 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 2 - A Shattered Illusion | Mysterious, Intriguing, Serene | 8.2 | 9 | 8 | 8 | 8 | 6 | 8 | 7 | 6 | 7 | 6 | 8 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | |
| 3 - A Father's Fear | Anxious, Desperate, Tantalizing, Reluctant | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 4 - Dreams Derailed | Nostalgic, Humorous, Reflective | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 5 - Searching for Connection | Apathetic, Embarrassed, Disconsolate | 8.2 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 8 | |
| 6 - A Sandwich and Solitude | Reflective, Melancholic, Humorous | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 7 - The Weight of Expectations | Tense, Serious, Confrontational | 8.2 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 8 - The Weight of Choice | Anxious, Reflective, Nostalgic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 9 - A Moment of Indecision | Tense, Fearful, Conflict, Horrified | 8.5 | 8 | 9 | 9 | 8 | 9 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 10 - Uncut Grass | Reflective, Guilt-ridden, Disappointment | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
| 11 - Dreams on the Bridge | Reflective, Humorous, Contemplative | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 12 - Reflections on Seahaven | Reflective, Casual, Skeptical | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | |
| 13 - Echoes of the Past | Reflective, Regretful, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 9 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 14 - Tensions in the Nursery | Tension, Longing, Disappointment | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | |
| 15 - Morning Musings and Misunderstandings | Reflective, Humorous, Melancholic | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 16 - A Fractured Connection | Suspenseful, Mysterious, Intense | 8.5 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 17 - A Disconnected Revelation | Tense, Confrontational, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 18 - Nostalgia in the Basement | Reflective, Melancholic, Intriguing | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 6 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 19 - Moments of Longing | Yearning, Regret, Hopeful | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 20 - A Moonlit Escape | Romantic, Mysterious, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 6 | 8 | 5 | 7 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 21 - A Moment Interrupted | Intense, Mysterious, Emotional | 8.5 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 22 - Truman's Inner Turmoil | Intriguing, Mysterious, Reflective | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 23 - Searching for Reality | Intriguing, Reflective, Melancholic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 24 - Confrontation at the Cafe | Suspenseful, Intriguing, Mysterious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 25 - Truman's Frustrating Encounter | Suspenseful, Confused, Intense | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 26 - Trapped in Plain Sight | Confusion, Paranoia, Determination | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 27 - Paranoia in the Aisles | Paranoia, Suspense, Confusion | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 28 - Reflections at Dusk | Confusion, Determination, Paranoia | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 29 - Unveiling Deceit | Reflective, Emotional, Nostalgic | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 30 - A Morning of Missed Connections | Nostalgic, Reflective, Humorous | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
| 31 - Desperate Pursuit | Suspenseful, Intense, Intriguing | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 32 - Escape from Seahaven | Suspense, Paranoia, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 33 - Isolation on the Journey | Suspenseful, Paranoid, Tense | 8.5 | 8 | 9 | 8 | 8 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 34 - Desperate Departure | Intense, Emotional, Tense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 35 - Chaos on the Road | Paranoia, Anxiety, Excitement | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 36 - A Reckless Decision | Tense, Anxious, Chaotic | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 37 - Escape from Seahaven | Tense, Suspenseful, Dramatic | 8.5 | 9 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 38 - Confrontation in the Kitchen | Intense, Suspenseful, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 39 - Beneath the Bridge: A Night of Reflection | Reflective, Intimate, Emotional | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 7 | 2 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 40 - Confronting Truths | Intense, Reflective, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 41 - The Emotional Reunion | Emotional, Triumphant, Reflective | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 42 - A Glimpse of Longing | Sadness, Mystery, Intrigue | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 43 - Control and Manipulation: A Tru Talk with Christof | Serious, Reflective, Informative | 8.5 | 9 | 8 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 44 - The Ethics of Entertainment: A Debate on Truman's Reality | Serious, Reflective, Analytical | 8.5 | 9 | 8 | 9 | 8 | 5 | 9 | 8 | 5 | 8 | 4 | 7 | 8 | 6 | 9 | 9 | 9 | 9 | 9 | |
| 45 - The Weight of Control | Melancholic, Reflective, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 46 - A Glimpse of Freedom | Reflective, Melancholic, Inquisitive | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 8 | 6 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 47 - Shifting Dynamics | Serious, Intriguing, Tense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 48 - Silent Distress | Suspenseful, Anxious, Intriguing | 8.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 49 - The Decoy Discovery | Suspenseful, Intense, Mysterious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 50 - The Search for Truman | Tense, Suspenseful, Frantic | 9.2 | 9 | 9 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 51 - The Manhunt in Seahaven | Eerie, Suspenseful, Tense | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 52 - The Search for Truman | Tense, Anxious, Mysterious | 8.5 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 53 - The Leap into the Unknown | Tense, Dark, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 54 - The Pursuit of Freedom | Tense, Suspenseful, Dramatic | 8.5 | 9 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 55 - Into the Storm | Tense, Anxious, Dark | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 56 - Tempest of Control | Intense, Tense, Defiant, Anxious | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 10 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
| 57 - The Storm and the Revelation | Intense, Eerie, Heroic, Curious | 9.2 | 10 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 10 | 8 | 9 | 8.5 | 8 | 8 | |
| 58 - The Revelation of Reality | Intense, Revealing, Confrontational, Astonishment | 9.2 | 10 | 9 | 9 | 9 | 10 | 9 | 8 | 10 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
| 59 - The Struggle for Freedom | Intense, Emotional, Confrontational | 9.2 | 10 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 10 | 8 | 9 | 10 | 9 | 10 | 9 | 9 | 8.5 | 8 | 8 | |
| 60 - Truman's Farewell: A Triumph of Freedom | Tension, Suspense, Dramatic, Emotional | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
Scene 1 - Morning Reflections
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
...personally I think the
unconquered south face is the only
one worth scaling...of course it's
a 20,000 foot sheer wall of ice but
then when did that ever stop me
before?...Naturally, I intend to
make the ascent without the benefit
of oxygen but also without crampons
or even an ice pick...risks?...
(smug, TV smiles)
...sure I'm aware of the risks--why
else do you think I would spend
seven years as an adjuster in a
life insurance company...?
MERYL (O.S.)
Truman, you're gonna be late!
Truman resignedly opens the door of the cabinet and replaces
his shaving tackle. It partially obscures the lens of the
hidden camera. He closes the door and exits.
INT. KITCHEN. MORNING.
MERYL, wearing a stylish robe, sits at the kitchen table
sipping coffee. On the table in front of her lies a parcel.
TRUMAN enters and glances at the gift.
TRUMAN
What's that?
MERYL
It's a surprise.
TRUMAN unwraps the parcel - an expensive-looking set of
exercise sweats.
MERYL (CONT’D)
(eager for his response)
Well, what do you think?
TRUMAN
They're...
(the merest hesitation)
perfect. Thank you.
Truman returns Meryl's kiss.
MERYL
(handing him the sweat
top)
Try it on.
Truman pulls the top over his head. As he does so, a closer
shot focuses on the manufacturer's name.
MERYL (CONT’D)
I thought you could wear them when
you do your exercises.
(afterthought)
Pre-shrunk. And they breathe.
Ratings
Scene 2 - A Shattered Illusion
Wearing a business suit, briefcase in hand, TRUMAN emerges
from his pleasant, Victorian-inspired, picket-fenced house
into an idyllic suburban street of similarly picturesque
homes. A neighbor, SPENCER, is taking in trashcans,
whistling a tune. Spencer breaks off abruptly as Truman
approaches his car. His license plate reads, "Seahaven - A
A Nice Place To Live".
SPENCER
Morning, Truman.
TRUMAN
Morning, Spencer. And in case I
don't see you, good afternoon, good
evening and good night.
Spencer's dog, PLUTO, bounds happily over to Truman.
TRUMAN (CONT’D)
(petting the dog)
Hey, Pluto.
Truman exchanges a polite nod with the WASHINGTON's, an
African-American family across the street. MR. WASHINGTON
is farewelled by his WIFE and CHILD.
Truman is about to climb into his car when he is distracted
by a high-pitched whistling sound. Suddenly, a large
spherical glass object falls from the sky and lands with a
deafening crash on the street, several yards from his car.
The startled Truman looks to Spencer but he has abruptly
disappeared inside his house with Pluto. Mrs. Washington
and Washington Junior have also made themselves scarce.
Truman investigates. Amidst a sea of shattered glass are
the remains of a light mechanism.
He looks around him but the street is deserted. He checks
that all the surrounding street lights are accounted for,
even though the fallen fixture is far larger. He looks up
into the sky but there is no plane in sight. With some
effort, Truman picks up what's left of the crumpled light
and loads it into the trunk. A label on the light fixture
reads, "SIRIUS (9 Canis Major)". As he drives away, we hear
the sound of his car radio.
RADIO ANNOUNCER
Another glorious morning in
Seahaven, folks.
INT/EXT. TRUMAN'S CAR - SEAHAVEN. DAY.
TRUMAN makes his way along the streets of Seahaven past a
series of quaint, pastel-shaded cottages.
EXT. SEAHAVEN ISLAND TOWNSHIP. DAY.
A high-angle reveals an anonymous mid-sized town built
around a small, pretty bay. A cluster of high-rise
buildings stand at the water's edge overlooking a marina.
Surrounding the commercial center lie neatly arranged
suburbs.
EXT. OCEANSIDE STREET. DAY.
Pausing at a traffic light along a seaside road, TRUMAN
looks through a curious wooden arch to the beach and ocean
beyond. The sight triggers a memory in his head.
Ratings
Scene 3 - A Father's Fear
Unlike a conventional flashback, the scene in his memory
appears to be playing on a television screen.
FOUR-YEAR-OLD TRUMAN runs towards a bluff on the beach.
The boy's father, KIRK, late-thirties, beer bottle in hand,
flirts with TWO TEENAGE GIRLS at the shoreline. Suddenly,
the father remembers his son. He looks anxiously around.
The sight of the boy at the far end of the beach causes him
to drop his bottle in the sand and run to Truman.
The boy is near the top of the cliff before his agitated
father comes within earshot.
FATHER
(out of breath, clutching
his side)
Truman! Truman! Stop!
Truman turns from his perch and waves happily down to his
father. But the smile quickly vanishes when he registers
the anger and distress on his father's face.
FATHER (CONT’D)
Come down now!
His father's unnatural anxiety makes the next bay even more
tantalizing. The boy considers defying his father. He puts
his hand on the rock above him to stretch up and sneak a
peek at the other side. One good stretch would do it.
FATHER (CONT’D)
(reading Truman's mind,
enraged)
No!
TRUMAN
Why? What's there?
FATHER
(unconvincing)
Nothing. It's...it's dangerous.
(trace of desperation)
Come down, now! Please!
Truman is suddenly aware that the hundreds of other
BEACHGOERS have stopped their activities to stare at him.
Reluctantly, he starts to retrace his steps down the rocks.
When he finally jumps to the sand, his father embraces him
and leads him away.
FATHER (CONT’D)
I told you to stay close. Don't
ever leave my sight again.
(pause)
You've got to know your
limitations. You could've fallen.
INT. TRUMAN'S CAR - DOWNTOWN SEAHAVEN. MORNING - PRESENT.
Through his car window, TRUMAN buys a cup of coffee from a
streetside VENDOR.
VENDOR
How are ya, Truman?
TRUMAN
(placing his fingers to
his pulse)
Vital signs are good.
He pulls into a parking space and sips on the coffee. As he
drinks, he becomes aware of a school bell summoning children
to class in the adjacent Elementary School. The image
prompts another childhood memory.
Ratings
Scene 4 - Dreams Derailed
DAY.
Once again, the flashback appears to be playing on a
television screen.
SEVEN-YEAR-OLD TRUMAN sits in the middle row of an
Elementary School classroom surrounded by twenty-or-so other
well- scrubbed, uniformed YOUNGSTERS. MARLON, the boy next
to Truman, is on his feet under the scrutiny of a kindly
Norman Rockwell-style SCHOOL MISTRESS.
MISTRESS
What do you want to do when you
grow up, Marlon?
MARLON
I want to be an entrepreneur like
my dad.
SCHOOL MISTRESS
(impressed)
Tell the class what an
"entrepreneur" does, Marlon.
MARLON
He makes a lot of money, Ma'am.
SCHOOL MISTRESS
A good one does, Marlon.
(looking in her purse,
hamming it up)
Perhaps I'll be coming to you for a
loan one of these days.
The CLASS titters. Marlon sits down and winks to Truman.
SCHOOL MISTRESS (CONT’D)
What about you, Truman?
Truman rises to his feet, gathering his nerve.
TRUMAN
I want to be an explorer
(with reverence)
...like Magellan.
The School Mistress smiles benevolently.
SCHOOL MISTRESS
(slightly condescending)
I'm afraid no one's going to pay
you to do that, Truman. You might
have to find something a little
more practical.
(glancing to a pulldown
wall map behind her head)
Besides, you're too late. There's
really nothing left to explore.
The class roars with laughter as the crestfallen Truman
takes his seat.
EXT. PARKING LOT. DAY - PRESENT.
TRUMAN, briefcase in hand, crosses from the parking lot to
the town square, surrounded by similarly suited, briefcase-
toting OFFICE WORKERS.
EXT. DOWNTOWN SEAHAVEN. DAY.
TRUMAN walks briskly down the bustling city street. A snarl
of taxis, buses and COMMUTER traffic. A STREET VENDOR
thrusts a pretzel under Truman's nose, a CAREER WOMAN tries
to catch his eye.
Truman stops at a kiosk and buys a newspaper - "THE ISLAND
TIMES".
VENDOR
Is that all for you, Truman?
TRUMAN
That's all. Thanks, Errol.
Other CUSTOMERS also purchase the morning paper. Tucking
his copy under his arm, Truman selects a glossy magazine
from a rack, quickly flicking through the pages.
Glancing in the direction of the NEWSPAPER VENDOR and
finding him busy with another CUSTOMER, Truman deftly tears
a portion of the open page and pockets the cutting. He
hastily replaces the magazine and departs.
As Truman hurries away, the vendor exits the kiosk and picks
up the magazine, instantly turning to the torn page.
It is a cosmetics advertisement with the MODEL'S NOSE
missing. However, the vendor makes no effort to confront
Truman, almost as if he were expecting it.
Ratings
Scene 5 - Searching for Connection
Truman passes along a row of shops and offices, finally
entering a building that proudly proclaims, "Seahaven Life &
Accident Inc." above the entrance. He has evidently taken
his teacher's advice.
INT. INSURANCE COMPANY - SEAHAVEN LIFE AND ACCIDENT, INC.
DAY.
In a cramped, cluttered cubicle, TRUMAN talks on the
telephone.
TRUMAN
(into receiver)
...okay, okay, let's call it what
it is...I'm not going to lie to
you...life insurance is death
insurance...you've just got to ask
yourself two questions... one, in
the event of your death, will
anyone experience financial
loss?...and two, do you care?
A CLERK drops a large reference book on Truman's desk.
Truman checks the spine - "MARITIME ACCIDENTS".
TRUMAN (CONT’D)
(into receiver)
Hold on, will you?
(to Clerk, referring to
the book)
This is no good. Lumps all
maritime accidents together. I
need drownings as a separate
category.
The Clerk shrugs, returns the book to his cart and continues
his rounds.
TRUMAN (CONT’D)
(returning to his call)
...just think about what I've been
saying and let me...hello?...
The person on the other end has hung up. With an apathetic
shrug, Truman replaces the receiver. He looks over his
shoulder and places another call.
TRUMAN (CONT’D)
(lowering his voice)
Can you connect me with directory
inquiries in Fiji?
A CO-WORKER suddenly pokes his head over the neighboring
cubicle.
CO-WORKER
What do you know, Truman?
TRUMAN
(embarrassed, mouthing
the word)
--Can't talk.
(waving off his neighbor,
pretending to be on a
business call)
I'm sorry, ma'am. If he's in a
coma, he's probably uninsurable.
The Co-Worker disappears back into his own cubicle.
TRUMAN (CONT’D)
(lowering his voice
again)
Hello, operator...yes, Fiji...Do
you have a listing for a Lauren
Garland?
(pause)
...nothing listed?...what about a
Sylvia Garland..."S" for
Sylvia...nothing? Okay, thanks...
The disconsolate Truman replaces the receiver. Other
INSURANCE AGENTS are heading to lunch. Truman puts on his
jacket and follows them to the elevators.
Ratings
Scene 6 - A Sandwich and Solitude
Behind a deli counter, TYRONE, fifties, is having his hair
brushed by a YOUNG MAN. The man fusses one final time, then
swiftly departs through a rear door just as TRUMAN enters
the store. Tyrone has anticipated Truman's order and has
already begun preparing a meatball and mozzarella sandwich
on an Italian roll. Truman gazes at the sandwich skillfully
under construction, pained by his own predictability.
TYRONE
(nauseatingly cheerful)
How's it going, Truman?
TRUMAN
(deadpan)
Not bad. I just won the State
Lottery.
TYRONE
(not listening to
Truman's reply)
Good. Good.
TRUMAN
Tyrone, what if I said I didn't
want meatball today?
TYRONE
(not missing a beat,
passing Truman his
wrapped sandwich)
I'd ask for identification.
Truman forces a half-smile and exits.
TYRONE (CONT’D)
See you tomorrow, Truman.
TRUMAN
You can count on it.
EXT. SECLUDED PARK. DAY.
TRUMAN eats lunch alone at a small, out-of-the-way park
dominated by a gazebo. From his briefcase he pulls out an
old, hardcovered book, "To The Ends Of The Earth - The Age
Of Exploration". He reads to himself, his sandwich uneaten
beside him. Struck by a particular passage, he reads aloud.
TRUMAN
"With a mutiny but half-repressed
and starvation imminent, he pressed
southward till he found the long-
hoped-for straits..."
Truman is interrupted by a TRANSIENT in a wheelchair. It is
the man's sneakers Truman notices first, over the top of his
book - they are distinctively initialed, "T.S.". Still
under the spell of the account of Magellan, he hands the
grateful man his sandwich.
INT. A CONFERENCE ROOM SOMEWHERE. DAY.
A group of a dozen MEN and WOMEN of varying ages sit around
a circular conference table in a sterile, windowless meeting
room. All stare at a single telephone placed in the center
of the table, anticipating a call.
On cue, the phone rings and one of the men, after waiting
for the second ring, picks up.
MAN
Hello?...I'm sorry, I've got more
than enough life insurance.
He hangs up. After a moment the phone rings again.
Ratings
Scene 7 - The Weight of Expectations
TRUMAN sits at his desk, making a cold call.
TRUMAN
(into receiver)
...this isn't about insurance, this
is about the great variable - when
will death occur? Could be a week,
a month, a year. Could happen
today...A sunbather, minding his
own business, gets stabbed in the
heart by the tip of a runaway beach
umbrella... No way you can guard
against that kind of thing, no way
at all...
The prospect on the other end, unimpressed with Truman's
pitch, hangs up. Truman's supervisor, LAWRENCE, younger
than Truman by several years, sharper suit, sharper haircut,
appears around the corner of the cubicle.
LAWRENCE
(handing Truman some
documentation)
Hey, Burbank, I've got a prospect
in Welles Park I need you to close.
Truman's face falls. He stares out of his third floor
window at the hazy skyline of a nearby island across the
bay.
TRUMAN
(referring to the island)
Welles Park on Harbor Island?
LAWRENCE
(sarcastic)
You know another one?
TRUMAN
I can't do it.
(searching for a
plausible excuse)
(MORE)
TRUMAN (CONT'D)
--I've got an appointment--er,
dentist.
LAWRENCE
(insistent)
You'll lose a lot more than your
teeth if you don't meet your quota,
Burbank.
(the threat in his voice
is unmistakable)
They're making cutbacks at the end
of the month. You need this.
(as he exits the cubicle)
Besides, a half hour across the
bay. Sea air. Do you good.
Truman sinks back into his seat and stares out at the
distant skyline. The buildings appear very still. Truman
picks up a photo of his wife, Meryl, deposits it in his
briefcase and exits.
Ratings
Scene 8 - The Weight of Choice
Truman's car heads out of the city on its way to the ferry.
INT. SEAHAVEN FERRY TERMINAL. DAY.
TRUMAN exits his car. Mustering all his nerve, he marches
into the Seahaven terminal and buys a token for the ferry.
Out of his hearing, TWO FERRY WORKERS observe Truman's
agitated behavior.
FERRY WORKER 1
I got a feeling this is the day.
FERRY WORKER 2
No way. I say he makes it through
the turnstiles but he never gets
on.
The two men shake on the wager. Unaware of the scrutiny,
Truman passes through the turnstiles with a herd of TOURISTS
and COMMUTERS. He makes his way across the terminal, but
abruptly pulls up at the gangway.
As the other PASSENGERS impatiently brush past him onto the
boat, Truman remains frozen to the spot, mesmerized by the
scummy water rising and falling beneath the dock. It
triggers a memory in his head.
PLAYBACK - EXT. SEAHAVEN HARBOR. DAY.
As always, the flashback appears to play on a television
screen.
SEVEN-YEAR-OLD TRUMAN, wearing a lifejacket, sits alongside
his father, KIRK, in a small sailing dinghy, sailing into a
stiff breeze.
A second sail boat circles them. We observe the father and
son from an angle atop the mast of the neighboring vessel.
TRUMAN
(shouting above the wind)
Let's go further, daddy! Let's go
further!
KIRK
(shouting back)
It's getting rough, Truman.
TRUMAN
(entreating his father)
Please!...
Kirk shakes his head ruefully and indulges his son by
heading towards the gathering storm clouds on the horizon.
INT. SEAHAVEN FERRY TERMINAL. DAY - PRESENT.
Truman turns and begins to fight his way back against the
tide of PASSENGERS boarding the ferry, emerging back onto
the street, gasping for air. The FERRY WORKERS settle their
wager.
EXT. ROADWAY ADJACENT TO THE FERRY TERMINAL. DAY.
TRUMAN stands at a payphone. By stretching the payphone's
receiver cord as far as it will go, he is just able to reach
his arm and leg into the driver's door of his car. He
punctuates his conversation with blasts on the car's horn
while revving the car's engine with his outstretched foot.
The few passing MOTORISTS and PEDESTRIANS regard Truman
curiously.
TRUMAN
(shouting into phone)
--I tell you the traffic's insane.
(blasting his horn
several times to imitate
the sound of of gridlock)
...I'll never make the ferry in
time. What can I do?--
what?...Lawrence, I can't hear you!
Truman hangs up the phone.
Ratings
Scene 9 - A Moment of Indecision
On his way home, a large "DETOUR" sign forces him onto a
secondary road.
INT. TRUMAN'S CAR - PARKLAND, SEAHAVEN. DAY.
TRUMAN drives along a winding road through parkland. He
pulls up at a red light - no other traffic around. His
attention is caught by an attractive YOUNG WOMAN, sitting on
a park bench not far from the intersection. She is being
taunted by TWO YOUNG THUGS. She attempts to ignore the
youths by concentrating on the book on her lap.
YOUTH 1
(to woman)
You wanna read to me?
His companion smirks.
YOUTH 1 (CONT’D)
(more insistent)
You wanna read to me?
The boy reaches over and snatches the novel from her grasp.
YOUTH 2
(menacing)
My friend asked you a question.
The woman picks up her bag in a reflex and holds it to her.
She looks about for assistance, briefly catching Truman's
eye. The youths also look in Truman's direction, staring him
down.
WOMAN
(reaching for the book)
Please...
The boy returns the book to the woman, but before doing so
rips out the last page from the novel and stuffs it in his
shirt pocket.
YOUTH 2
Now you're gonna have to ask me how
it ends.
One of the youths grabs the woman, dragging her toward the
surrounding woods.
YOUTH 1
We're gonna tell you how it ends,
baby.
WOMAN
Help! Please help!
As they drag her towards the undergrowth, Truman, horrified,
half gets out of the car - fearful of his own safety as much
as the woman's. Truman shouts to the youths, his voice
cracking with fear.
TRUMAN
Hey! Let her go!
A huge truck suddenly appears behind Truman's car, its horn
blasting, the DRIVER hurling abuse. Truman hesitates as the
youths drag the woman into the bushes, conflicted over
whether or not to help. The truck driver keeps his hand on
the horn. Truman retreats back into his car and reluctantly
drives on.
Ratings
Scene 10 - Uncut Grass
Truman's car safely out of sight, the YOUTHS promptly
release the YOUNG WOMAN. She calmly brushes herself off, no
longer afraid. The young men, no longer angry, retrieve her
bag.
WOMAN
Thanks.
The threesome walks back towards the roadway as if life-long
friends.
WOMAN (CONT’D)
(pondering the incident)
He did nothing.
YOUTH 1
(shrugs, suddenly more
couth)
Physical violence paralyzes him.
Always has.
EXT. TRUMAN'S HOUSE - DUSK
Beyond the pretty picket fence at the end of the property
flows a busy highway.
TRUMAN is mowing the lawn. From his expression it would
seem that he's still reflecting on his inaction in the park.
He switches off the mower and leans on the handle.
He is distracted by the arrival of his wife, MERYL, exiting
the house. She wears a nurse's uniform and carries a
curious metal device attached to a card board backing. She
kisses Truman affectionately on the cheek.
MERYL
Hi, honey. Look at this.
(proudly referring to the
device)
It's a "Chef's-Mate." Dicer,
slicer and peeler in one. Never
needs sharpening. Dishwasher safe.
TRUMAN
Gee, that's great.
Looking over Truman's shoulder, Meryl notices a small, uncut
patch of grass missed by Truman in one of his passes.
MERYL
(referring to the uncut
grass)
You missed a section.
Meryl enters the house. Truman restarts the lawnmower and
obediently pushes it towards the offending patch of lawn.
As the mower brushes up against the unconforming blades of
grass, Truman pulls back abruptly. He checks the kitchen
window for Meryl and wheels the mower away, leaving the
patch uncut.
INT. TRUMAN'S HOUSE - LIVING ROOM. NIGHT.
MERYL is removing the cap of her nurse's uniform when TRUMAN
enters.
TRUMAN
How did it go today?
MERYL
(matter-of-fact)
A man tripped and fell on a
chainsaw.
(shrug)
We got three of his fingers back
on.
Truman retrieves a bucket of golf balls and a golf club from
behind the door.
MERYL (CONT’D)
(disappointed at the
sight of the golf
equipment)
(MORE)
MERYL (CONT’D)
I was hoping we could have a
special evening.
TRUMAN
I won't be late.
MERYL
(sensing something odd in
his demeanor)
Did something happen today?
Truman turns to her too sharply, his guilt showing.
TRUMAN
What could happen?
Truman exits.
Ratings
Scene 11 - Dreams on the Bridge
A half-constructed bridge, paved but unmarked, ends abruptly
in mid-air - reinforcing steel protruding from the concrete.
TRUMAN stands at the end of the unfinished bridge with
MARLON, thirties, a well-filled physique. Marlon drinks
beer from a can while Truman addresses a teed-up golf ball
with a number three wood. The headlights of their two
parked cars light the cement "fairway". Their target is a
sign at the far end of the bridge proclaiming, "THE SEAHAVEN
CAUSEWAY - Linking Seahaven Island With The Rest Of The
World - Your Tax Dollars At Work" - an upturned plastic cone
at the foot of the sign is the "hole."
Truman winds up and swings, making a healthy contact with
the ball. The ball arches away into the night sky. From a
new angle we see the ball take a huge hop on the outside
lane of the abandoned freeway and continue down the asphalt
beyond the sign.
Marlon tosses Truman another off-white ball from a bucket of
badly scarred golf balls. Truman sets the ball up on the
makeshift tee area and launches himself into his second
shot. With a slight fade, the second ball carries even
further than the first.
MARLON
Whose nuts were those?
Truman hands Marlon their sole golf club without comment.
Marlon tees up a ball of his own He uses orange golf balls.
TRUMAN
I'm thinking of getting out,
Marlon.
MARLON
(mild interest only)
Yeah? Outta what?
TRUMAN
Outta my job, outta Seahaven, off
this island...out!
Marlon takes a practice swing.
MARLON
Outta your job? What the hell's
wrong with your job? You gotta
great job. You gotta desk job.
I'd kill for a desk job.
Marlon addresses the ball and swings - a sweeping hook shot
that bounces off the freeway and into the water hazard.
MARLON (CONT’D)
(annoyed by the errant
tee shot)
Sonofabitch.
(still looking in the
direction of his ball)
Try stocking vending machines for a
living. My biggest decision of the
day is whether the Almond Joys look
better next to the Snickers or the
Baby Ruths.
Truman selects another "M" ball from the bucket and tosses
it to Marlon.
TRUMAN
(adamant)
Haven't you ever gotten itchy feet?
Overcompensating with his second shot, Marlon slices the
ball in the other direction. A lucky bounce keeps it on the
"green." The ball rolls in the direction of the upturned
cone.
MARLON
(skeptical, picking up
his beer)
Where is there to go?
Truman gulps his beer as he prepares his answer.
TRUMAN
(unable to disguise his
reverence)
Fiji.
Marlon considers Truman's suggestion as he sips his beer.
MARLON
(impressed)
Fiji? Where the hell is Fiji
exactly? Near Florida? You can't
drive there, can you?
Truman picks up a golf ball to demonstrate. He points to a
dimple on his make-shift globe.
TRUMAN
See here, this is us.
(sliding his finger
around the other side of
the ball)
All the way round here, Fiji. You
can't get any further away before
you start coming back.
(tossing the world in his
hand, warming to his
subject)
Y'know, there are still islands in
Fiji where no human has ever set
foot.
MARLON
(still dubious)
So when are you leaving?
TRUMAN
It's not that simple. Takes money,
planning. You can't just up and
go.
(heading off Marlon's
skepticism)
Oh, I'm going to do it, don't worry
about that. I've just got to move
slow. Pick my moment. Bonus
time's just around the corner.
Soon as I finish the...
MARLON
Nursery?
TRUMAN
Spare room - I can start thinking
about selling up...and I'll be
gone. Up and away on that big
steel bird.
(as if to convince
himself)
I'm going, don't you worry about
that.
Marlon nods even though the concept of taking flight is
beyond his imagination.
MARLON
I never knew anybody who wanted to
leave Seahaven.
An awkward moment. Truman, once again, not so sure of
himself.
Ratings
Scene 12 - Reflections on Seahaven
A MAN looks up sharply. He stares into camera. CHRISTOF,
late fifties - a vitality in his eyes that belies his years.
A news anchor-style earpiece disappears down the neck of his
suit.
EXT. BRIDGE. NIGHT.
TRUMAN and MARLON wander along the empty bridge, retrieving
the golf balls.
Marlon goes to say something to the disconsolate Truman, but
is momentarily distracted. He raises his hand to his ear.
Truman places another of the balls in the bucket.
MARLON
Truman, you know, I did think about
moving away one time.
TRUMAN
(interest piqued)
Yeah, what happened?
MARLON
I figured, what's the point? I
knew I'd just be taking my problems
with me. Once the kids came along,
it made me look at Seahaven with
new eyes.
(gazing out at the lights
of Seahaven)
I realized, what the hell could be
better than this?
(putting a hand on
Truman's shoulder)
I'm telling you. What you really
need is someone to carry on the
"Burbank" name.
TRUMAN
You think so?
MARLON
Trust me.
Marlon picks up the last ball at the mouth of the upturned
cone. The ball is white.
MARLON (CONT’D)
(checking the ball)
You win.
They approach Truman's car. Truman opens the trunk to
deposit their humble golfing equipment. Inside are the
remains of the fallen light fixture.
TRUMAN
(referring to the light)
You really think it could've
dropped off an airliner?
MARLON
(unimpressed)
Sure. It's halogen. Shame it
didn't hit you - you could've sued.
(quickly changing the
subject)
You coming for a drink?
TRUMAN
I can't tonight.
Ratings
Scene 13 - Echoes of the Past
From the POV of the lighthouse's lantern room, we observe
TRUMAN sitting on the beach staring out to sea.
Closer on Truman. He has a portable tape recorder slung
over his shoulder and points a corded microphone at the
surf. We watch Truman's impassive face as he makes the
recording of the lapping waves. The lamp from the
lighthouse occasionally falls upon Truman.
PLAYBACK - EXT. OCEAN. DAY.
As always, the flashback appears to play on a television
screen.
The sky is black with storm clouds. Gale force winds lash
rain into the faces of SEVEN-YEAR-OLD TRUMAN and his father,
KIRK. As Kirk stands up to get his hearings, a freak gust
of wind catches the sail. The boom whips across the stern
and strikes Kirk flush in the head, knocking his overboard.
Truman, wearing the sole lifejacket, desperately reaches for
his father. He momentarily has hold of his father's hand
when Kirk is abruptly dragged beneath the surface.
TRUMAN
(crying out)
Daddy!!...Daddy!!...
His cries go unanswered. Seven-year-old Truman finds
himself alone - the storm abruptly passed, the wind suddenly
dropped, the water stilled.
The frightened Truman examines the ring he holds in his open
hand - his father's ring - wrenched from his finger in
Truman's fight to keep him afloat.
EXT. BEACH. NIGHT - PRESENT.
A close up of TRUMAN from KIRK'S RING that Truman now wears.
Then, from the lighthouse POV, we observe Truman get to his
feet and walk towards the dark water. He stands at the
water's edge.
TRUMAN
(shouting at the surf)
I'm sorry, Dad! I'm sorry!
As if in reply, a tongue of lightning flashes across the
distant skyline, followed by a growl of thunder.
INT. A LIVING ROOM SOMEWHERE. NIGHT.
TWO OLD WOMEN, seventies, sit beside each other on a sofa
looking directly into camera as they talk.
OLD WOMAN 1
(playing amateur
psychiatrist)
It left him with more than his
obvious fear of the water.
OLD WOMAN 2
He was never the same curious
little boy again.
OLD WOMAN 1
Half the women I know named their
children after him.
EXT. BEACH PARKING LOT. NIGHT.
TRUMAN is forced to leg it through a sudden rain shower to
his car.
From Truman's point-of-view, the shower appears quite
normal. However, viewed from a distance, we see that the
shower is extremely localized, encircling only him, as if a
small cloud is directly above his head, tracking his
progress.
As Truman crosses the parking lot, the shower crosses with
him. Sensing something amiss, Truman dances back and forth
across the street, intrigued by the curious phenomenon. He
hums a few bars of "Singin' In The Rain."
The rain becomes heavier, covering a wider area. Truman
runs the remaining distance to his car.
Ratings
Scene 14 - Tensions in the Nursery
The drenched TRUMAN enters to find MERYL, in the unfinished
nursery, comparing wallpaper samples. Meryl wears a robe, a
glimpse of black negligee beneath.
MERYL
Where have you been?
TRUMAN
(wringing out his jacket)
I've been thinking--
MERYL
(rolling her eyes)
Oh, God.
TRUMAN
(ignoring the reception)
--I figure we could scrape together
eight thousand.
MERYL
(exasperated)
Every time you and Marlon--
TRUMAN
--We could bum around the world for
a year on that.
MERYL
And then what, Truman? We'd be
back to where we were five years
ago. You're talking like a
teenager.
TRUMAN
Maybe I feel like a teenager.
MERYL
We're mortgaged to the eyeballs,
Truman. There's the car payments.
Are we just going to walk away from
our financial obligations?
Truman, still dripping on the floor, holds Meryl by the
arms. He talks excitedly to her the way we imagine he did
when they were courting.
TRUMAN
It'd be an adventure.
MERYL
I thought we were going to try for
a baby. Isn't that enough of an
adventure?
TRUMAN
That can wait. I want to get away.
See some of the world. Explore.
Meryl gives a derisive laugh.
MERYL
You want to be an explorer? You
don't even have a passport, Truman.
I bet you don't even know how to
get one.
The words sting. Truman turns away. Seeing the pain she's
caused, she changes tack.
MERYL (CONT’D)
This'll pass. Everybody thinks
like this now and then.
(making an attempt at
seduction)
Come to bed.
TRUMAN
I think I'm going to stay up for a
while.
Ratings
Scene 15 - Morning Musings and Misunderstandings
In the reception area of an office building, TWO UNIFORMED
GUARDS drink coffee.
GUARD 1
How can they have a child?
GUARD 2
It's not gonna be his, you idiot.
GUARD 1
Why not?
GUARD 2
You think she'd go through with it?
GUARD 1
Sure she would.
GUARD 2
(reassessing his own
opinion)
Guess I always thought they'd
adopt.
EXT. TRUMAN'S STREET. DAWN.
There is something peculiar about the way the sun rises over
Seahaven Island - the light appears in an arc that's
slightly too perfect and well-defined.
INT. TRUMAN'S BEDROOM. MORNING.
In front of his bedroom window, TRUMAN, wearing his new
sweats, performs an exercise routine of his own invention.
He counts off the exercises to himself - cheating as he does
so. He counts five leg-lifts for every two he completes.
TRUMAN
--Five...
(two leg-lifts later)
Then...fifteen...two more makes
twenty.
INT. A BEDROOM SOMEWHERE. MORNING.
A middle-aged MARRIED COUPLE in identical matching sweats
repeat the same eccentric exercises in perfect sync, as if
they were in a class led by Truman.
EXT. CAR. DAY.
TRUMAN climbs into the car and switches on the radio. He
drives down the street.
RADIO ANNOUNCER
Another glorious morning in
Seahaven, folks. Don't forget to
buckle up--
Truman mutters to himself as is his custom.
Ratings
Scene 16 - A Fractured Connection
TRUMAN emerges from the parking lot and as usual stops at
the newspaper stand. He picks up a glossy magazine and
flips through the cosmetic ads, surreptitiously tearing a
pair of EYES from one of the pages. He returns the magazine
to the rack. As usual, the NEWSPAPER VENDOR fails to
intervene. Truman begins his daily pilgrimage to work
through the rush hour pedestrian traffic.
As he enters the street leading to his office, he glimpses a
HOMELESS MAN reflected in the window of a parked car.
Truman, spellbound by the man, suddenly wheels around to
face him. The Homeless Man, late-fifties, more well-groomed
and well-fed than the average vagrant, has a serene smile on
his face.
The Homeless Man places his hand ever so gently on Truman's
cheek. Truman makes no effort to withdraw. He is
transfixed by the man's eyes. He appears to recognize him.
TRUMAN
(almost to himself,
mouthing the word)
Dad...
Suddenly an ELEGANT WOMAN SHOPPER walking a small WIENER DOG
and a BUSINESS EXECUTIVE carrying a briefcase, walking in
opposite directions along the sidewalk, grab the Homeless
Man. One under each arm, lifting the Homeless Man off the
ground, they start to whisk the bewildered derelict down the
street.
TRUMAN (CONT’D)
(calling out)
Stop! Stop!!
Truman begins to give chase. However, the shopper and the
businessman are surprisingly fleet-footed. Even more
surprising as Truman embarks on the pursuit is the behavior
of the PEDESTRIANS and COMMUTERS. They appear to part for
the fleeing trio, then close ranks in front of him. Is it
accidental, or are the pedestrians working together, running
interference?
TRUMAN (CONT’D)
(shouting at the
pedestrians)
Outta the way! Outta the way!
They are escaping.
Truman finally breaks through the pack, bowling over several
of the pedestrians in the process.
Just as he gets within reach of the shopper and the
businessman, a bus suddenly screeches to a halt beside the
abductors, doors already open. The Woman Shopper and the
Executive bundle the Homeless Man onto the bus. Truman
lurches after them, but he is met by the bus doors, closing
sharply in his face.
TRUMAN (CONT’D)
(to BUS DRIVER)
Hey, stop! Stop the bus!!
Truman thumps against the doors, but the BUS DRIVER ignores
his cries and the bus roars away. The other PASSENGERS in
the bus, apparently oblivious to the incident, keeps staring
straight ahead.
Truman continues to give chase when a taxi appears out of
nowhere and cuts in front of him, blocking his path. When
he recovers, the bus has disappeared. The mysterious crowd
of pedestrians has also dissolved as if it never existed.
Retracing his steps, head reeling, wondering if the could
have imagined the whole incident, Truman discovers that the
Woman Shopper has left her WIENER DOG behind. The dog
wanders aimlessly on the pavement, its leash trailing behind
it.
Ratings
Scene 17 - A Disconnected Revelation
TRUMAN paces impatiently in the living room of his Mother's
cramped, fussy, doilyed little house full of Burbank family
memorabilia - a cluster of framed photographs is dominated
by one of his FATHER trimmed with a black ribbon. A toilet
flushes and Truman's MOTHER finally emerges from the next
room.
She presents something of a contradiction. Although she
walks with the aid of a "walker," she is actually a well-
preserved sixty. She wears a glamorous nightgown and a full
head of bleached-blonde hair.
TRUMAN
(kissing Mother on the
cheek)
How are you, Mother?
MOTHER
Well, I made it through another
night.
TRUMAN
How's your hip?
MOTHER
Oh, just so.
Truman supports Mother.
MOTHER (CONT’D)
You know surprises aren't good for
me. You should really call before
you come over, dear.
TRUMAN
I've got something to tell you.
You'd better sit down.
Truman helps her into an overstuffed armchair.
MOTHER
You look very pale, Truman. Are
you taking your vitamin D's?
TRUMAN
(exasperated)
I spend half my life out in the
sun, Mother, why would I need
vitamin D?
MOTHER
I feel certain my condition runs in
the family.
(putting the back of her
hand dramatically over
her forehead)
Can't this wait, dear?
He kneels beside her.
TRUMAN
No, I'm afraid it can't.
Truman takes a deep breath as he prepares to give her the
news.
TRUMAN (CONT’D)
I know this is going to sound
insane, Mother, but...I saw Dad
today on Lancaster Circle. He's
alive.
Mother smiles condescendingly.
MOTHER
It doesn't sound insane, Truman. I
swear I see him ten times a week--
in a hundred faces.
(MORE)
MOTHER (CONT'D)
I almost hugged a perfect stranger
in the salon last Thursday.
TRUMAN
It was Dad, I swear, dressed like a
homeless man. And you know what
else was really strange? A
businessman and a woman with a
little dog appeared from nowhere
and forced him onto a bus.
MOTHER
About time they started cleaning up
the trash Downtown. We don't want
to end up like the rest of the
country.
TRUMAN
They never found Dad's body--maybe
somehow--
MOTHER
--Darling--
TRUMAN
(already doubting
himself)
I'm telling you, if it wasn't him,
it was his twin. Did Dad have a
brother?
MOTHER
You know he was an only child, like
you.
(placing a comforting arm
around him)
I know how bad you feel about what
happened--sailing into that storm.
But I don't blame you, Truman. I
never have.
Mother kisses Truman on the cheek.
MOTHER (CONT’D)
(referring to her
platinum blonde hair)
I was thinking about going lighter.
What do you think?
Truman regards his Mother. Her hair is already impossibly
blonde.
Ratings
Scene 18 - Nostalgia in the Basement
The basement is cluttered with junk - ships in bottles, a
train track without trains, an oxygen mask, a stringless
guitar, many abandoned projects. The basement is dimly lit
by a single, naked bulb. TRUMAN looks over his shoulder
before opening a large walk-in cupboard. On the cupboard
door is a wall map of the Pacific Ocean - the Fiji Islands
are carefully circled. Amongst the many tools and household
implements inside the cupboard is a trunk under a dusty
canvas sheet. He pulls the trunk into the room, unfastens
the lock and opens the lid.
Inside, mementoes from his youth. A "HOW TO SAIL" book, a
stack of "GREAT EXPLORERS" magazines, and beneath it all, a
garment in a drycleaning bag. Truman carefully lifts up the
plastic to reveal a young woman's cardigan sweater. He puts
the cardigan to his nose and takes in its scent.
Footsteps. Truman hastily drops the cardigan in the trunk
and shuts the lid. MERYL's legs appear on the stairs.
MERYL
What're you doing down here?
TRUMAN
(turning attention to an
upturned mower on the
basement floor)
Fixing the mower.
(matter-of-fact)
I saw my father today.
MERYL
I know.
TRUMAN
(suspicious)
How do you know?
MERYL
Your mother called. You shouldn't
upset her like that.
Meryl's response takes the wind out of Truman's sails.
TRUMAN
What did you want?
MERYL
I made macaroni.
TRUMAN
I'm not hungry.
Meryl nods, not at all convinced.
MERYL
We really ought to toss that mower
out. Get one of those new Elk
Rotaries.
Truman does not reply. After an uncomfortable pause, she
turns back up the stairs.
Truman waits a moment before re-opening the trunk. He
removes the cardigan and holds it up, reminiscing.
INT. A KITCHEN SOMEWHERE. NIGHT.
A MOTHER, DAUGHTER about 12, and a BABY in a highchair stare
into camera.
DAUGHTER
What's he doing?
MOTHER
They removed all physical trace of
her but they couldn't erase the
memory.
DAUGHTER
The memory of who?
MOTHER
(finger to lips)
Shhh!
Ratings
Scene 19 - Moments of Longing
Once again the images appear to be playing on a television
screen.
On the steps of a typical college campus, TRUMAN, 21, in a
college band uniform, participates in a football pep rally.
MARLON, 21, a member of the football team, and MERYL, 21, a
cheerleader, are nearby. Truman observes an ethereal-
looking young woman walk by - LAUREN.
PLAYBACK - INT. DANCEHALL. NIGHT.
At a college dance, TRUMAN dances with MERYL. LAUREN dances
by with a PARTNER of her own. However, Truman only has eyes
for Lauren. Suddenly, she is escorted from the dance floor.
PLAYBACK - EXT. COLLEGE CAMPUS - STREET. DAY.
TRUMAN almost trips off the curb as he waves to LAUREN,
riding towards him on a bicycle.
However, she rides right by with her nose in the air, not
even acknowledging his presence - Truman puzzled by her
change of heart.
The montage ends at a scene in a college library.
PLAYBACK - INT. COLLEGE LIBRARY. NIGHT.
In the school library, TRUMAN, 21, sits with MARLON, 21, and
wife-to-be, MERYL, 21, doing a final cram for a test. The
STUDENTS begin to pack up their books. Meryl gives Truman a
peck on the cheek.
MERYL
Come on, Truman. Haven't you
studied enough?
TRUMAN
I still want to look over a couple
of things.
MARLON
(punching Truman in a
chummy way on the arm,
referring to Truman's
book)
Take the "C" average. That's what
I do.
Truman looks up from his books. The library is almost
deserted. He spies a GIRL's hand around the table divider.
Truman musters the nerve to poke his head over the divider.
He finds LAUREN on the other side, buried in a book.
TRUMAN
Konichi-wa.
Lauren looks blank.
TRUMAN (CONT’D)
(referring to the
Japanese text in front of
her)
You take Japanese.
LAUREN
(quickly closing the
book)
Oh, yes.
TRUMAN
(glancing to the name
carefully written on the
front of the book)
Lauren, right?
LAUREN
(as if unaware of her own
name)
That's right. Lauren.
TRUMAN
(extending his hand)
I'm Truman, Truman Burbank--
LAUREN
--I'm not allowed to talk to you.
Truman is not surprised.
TRUMAN
(resigned)
It's okay. I probably wouldn't
talk to me either.
LAUREN
(softening)
I'm sorry. It's not up to me.
TRUMAN
(crestfallen)
You have a boyfriend? Of course
you do.
Lauren looks about her, unsure.
LAUREN
No...I, er.
TRUMAN
(hopeful once again)
No? Really? Good, I mean, I
thought possibly a pizza. How
about Friday?
LAUREN
No.
TRUMAN
Saturday?
Lauren looks around the almost-deserted library.
TRUMAN (CONT’D)
Actually, I'm free Sunday.
LAUREN
Now.
TRUMAN
Right now? We've got finals
tomorrow.
LAUREN
If we don't go now, it won't
happen.
Truman hesitates.
LAUREN (CONT’D)
(impatient, looking
anxiously around)
Well, what do you want to do?
TRUMAN
(closing his books, still
a little uncertain)
I think I've studied enough.
Ratings
Scene 20 - A Moonlit Escape
NIGHT.
LAUREN, taking TRUMAN by the hand, runs down various streets
and paths through the campus. She occasionally pauses and
looks about her, often changing direction or looking up at
streetlights and the towers of houses along their route, as
if trying to elude an unseen pursuer.
The excited and apprehensive Truman runs with her although
he is unsure exactly who, or what, they are running from.
The further they get from the campus, the higher, wider and
less effective the coverage of the scene - some camera
angles are even partially obscured.
PLAYBACK - EXT. HIGHWAY - WESTERN END OF TOWN. NIGHT.
TRUMAN and LAUREN eventually cross an empty highway on the
edge of town.
They run over the dunes onto a strangely deserted beach and
down to the water's edge under a hyper-real full moon.
Lauren throws off her cardigan and hitches up her skirt,
wading out into the inviting water without another thought.
Truman stares down, transfixed by the shimmering water.
LAUREN
(splashing)
It's beautiful! What are you
waiting for?
TRUMAN
(nervous)
I...I can't.
Lauren suddenly stops splashing.
LAUREN
That's right. Oh, God, I'm sorry.
She wades out of the water.
TRUMAN
(confused)
Why, Lauren? You've got nothing to
be sorry about?
Lauren, dripping wet, stands besides Truman at the
shoreline. She meets his gaze.
LAUREN
My name's not Lauren. It's Sylvia.
Truman looks into her eyes and believes her. Truman wipes
the water from her face, then leans forward and gently
kisses her lips. She kisses him back.
Ratings
Scene 21 - A Moment Interrupted
In a quiet bar room, a WAITRESS explains her viewpoint to
the BARMAN. A PATRON on a barstool eavesdrops.
WAITRESS
Don't you get it? She was willing
to lose him, lose everything, if it
meant he could find himself.
(registering the barman's
blank look)
Never mind. You wouldn't
understand.
PLAYBACK - EXT. BEACH. NIGHT.
As we return to Truman's reminiscence, TRUMAN and SYLVIA (as
she is now called throughout the remainder of the movie) sit
on the sand at the water's edge. With great delicacy,
Truman traces the outline of her nose with his finger, at
the same time inhaling her scent. Sylvia looks nervously
around her. Truman goes to say something, but Sylvia hushes
him.
SYLVIA
They're coming. Any minute.
TRUMAN
(looking around the
deserted beach)
Who?
SYLVIA
They're going to stop me talking to
you.
TRUMAN
(confused)
There's no one here.
SYLVIA
(looking over her
shoulder nervously)
Just listen. You remember when you
were a little boy, you stood up in
class and said you wanted to be an
explorer like Magellan--
TRUMAN
(incredulous)
--How do you know about that?
SYLVIA
--And your teacher said, "You're
too late, Truman. There's nothing
left to explore."
TRUMAN
Were you there--how do you know?
SYLVIA
--It doesn't matter. Everybody
knows about it. They know
everything you do. The point is,
you got scared.
TRUMAN
I don't understand.
SYLVIA
(looking over her
shoulder, increasingly
nervous)
You must listen. Everybody's
pretending, Truman.
She points to the sky and scoops up the sea at their feet.
SYLVIA (CONT’D)
You think this is real? It's all
for you. A show.
(frustrated, raving)
The eyes are everywhere. They're
watching you - right now.
Suddenly a car's headlights come bouncing over the dunes.
The car roars across the beach towards the couple.
SYLVIA (CONT’D)
(scared)
I told you, Truman!
The car skids to a stop and a large MAN, 40ish, with a shock
of red hair, jumps from the car. The man yanks the
frightened Sylvia to her feet, causing her cardigan to fall
to the ground.
MAN
(to Sylvia, oddly
sympathetic)
Lauren, sweetheart, not again. Get
in the car!
Truman jumps in.
TRUMAN
Hey, who the hell are you?!
MAN
I'm her father!
TRUMAN
We weren't doing anything.
SYLVIA
He's not my father! He's just
saying that! Does he look anything
like me?!
MAN
Come on, Sweetheart.
The Man gently, but firmly, pushes Sylvia towards his car.
Sylvia resists. Truman crosses to them.
TRUMAN
I'll take care of her!
The Man takes Truman aside and whispers in his ear.
MAN
(whispered, out of
Sylvia's earshot)
Schizophrenia. She has episodes.
Doubts start crowding into Truman's head.
SYLVIA
(calling out from the
car)
Don't listen to him, Truman. I'm
telling you the truth!
MAN
(getting into the car)
Don't bother! We're moving
to...Fiji - the Fiji Islands! This
place has done something to her
head.
Ratings
Scene 22 - Truman's Inner Turmoil
CHRISTOF stares intently into camera. Beside him is his
assistant, CHLOE, an androgynous-looking young woman. She
too stares into camera.
CHRISTOF
At least he didn't say "New York
City."
PLAYBACK - EXT. BEACH. NIGHT.
TRUMAN stares after the car as it roars away. He turns back
toward the ocean where his attention is caught by an object
lying on the sand - Sylvia's cardigan.
INT. TRUMAN'S BASEMENT. NIGHT - PRESENT.
TRUMAN carefully places the cardigan back into the trunk.
INT. A KITCHEN SOMEWHERE. NIGHT.
MOTHER, DAUGHTER and BABY stare into camera.
DAUGHTER
But why didn't he just follow her
to Fiji?
MOTHER
Because his mother got sick - very
sick. He couldn't leave her. He's
a kind boy, maybe too kind.
DAUGHTER
I can't believe he married Meryl on
the rebound.
INT. BASEMENT. NIGHT.
TRUMAN turns his attention to the framed photograph of Meryl
that he carries everywhere. Hidden behind her photo is a
composite picture of Sylvia which Truman has constructed by
pasting together individual facial features - nose, mouth,
ears, chin, hair - gathered, presumably, from women's
magazines. He attempts to put the jigsaw puzzle together -
although he has particular difficulty finding a pair of eyes
that match.
From his pocket he takes a recent collection of eyes which,
like a detective working on an identikit picture, he tries
to match. They are still not quite right.
INT. AN APARTMENT SOMEWHERE. NIGHT.
The eyes of a YOUNG WOMAN - blue-green eyes. She turns
slightly, looking directly into camera. We pull back to
reveal her face - SYLVIA.
EXT. TRUMAN'S STREET. EARLY MORNING.
Dawn breaks over Truman's street. On cue, the sound of
birds.
EXT. STREET OUTSIDE TRUMAN'S HOUSE. MORNING.
TRUMAN leaves the house, lost in thought. SPENCER is taking
out the trash.
SPENCER
How's it going, Truman?
Truman hardly acknowledges Spencer. PLUTO the dog fails to
receive his usual pat. The wave from the WASHINGTON's
across the street is also not returned.
INT/EXT. CAR/STREET OUTSIDE TRUMAN'S HOUSE. DAY.
TRUMAN motors down the street, switching on the car radio as
usual.
RADIO ANNOUNCER
--Don't forget to buckle up out
there in radioland. It's another
glorious... ..morrrninggg...innn...
Seaaaa...
haaaa...vennn...f...o...l...k...s..
.
The Announcer's voice slows down - now revealing itself to
be a tape that has worn out. Truman, perplexed, looks at
the radio and pushes buttons in an attempt to find another
station. He finds one.
FEMALE VOICE
(from radio)
...west on Stewart...he's making a
right on Holden...
Truman glances up at the street signs along his route and
finds that they correspond exactly with the streets quoted
on the radio. Distracted, he almost bowls over an OLD LADY
on a crosswalk.
MALE VOICE
(from radio)
...God, he almost hit Marilyn!
He's on the move again, passing the
library...
Truman, readjusts the radio as it starts to fade out.
Suddenly, there is a piercing blast of feedback. He looks
up and, as far as the eye can see, every PEDESTRIAN,
MOTORIST and SHOPKEEPER along the street suddenly winces in
pain and holds their right ear at exactly the same moment.
MALE VOICE (CONT’D)
(from radio, in distress
himself)
...Something's wrong. Change
frequencies...
Truman tries to pick up the channel once again but without
success.
Ratings
Scene 23 - Searching for Reality
TRUMAN sits in his car, drinking his coffee, taking in the
recent incident. From inside the adjacent school, he hears
the familiar, excited squeals and chatter of SCHOOL
CHILDREN. Truman suddenly throws aside his coffee and
sprints across the parking lot and into the school.
INT. SEAHAVEN ELEMENTARY SCHOOL. MORNING.
TRUMAN slams through the front doors into the reception
area. It is deserted, no one stationed at the administration
desk, the corridors empty. He runs down a vacant corridor,
finally standing outside a classroom. The children's voices
can still be heard from inside. Truman bursts through the
door.
The room is empty save for a large reel-to-reel tape
recorder on the teacher's desk playing a continuous tape of
children's voices. The recorder is attached to speakers on
tall stands facing the ventilation ducts. Truman stares at
the machine in disbelief.
EXT. STREET - DOWNTOWN. DAY.
TRUMAN, still lost in thought, exits the school. He stops
at the newsstand and picks up a magazine to resume his
ritual search, but his heart is not in it. He replaces the
magazine without taking a cutting - much to the surprise of
the NEWS VENDOR.
Truman starts his trek to work, pausing to stare at his
reflection in the mirrored building, hoping that the
Homeless Man will appear once again at his side. No one
joins him.
EXT. DOWNTOWN STREET. DAY.
Entering his own building with fellow OFFICE WORKERS, TRUMAN
remains in the revolving door and re-emerges on the street.
EXT. CITY STREETS. DAY.
TRUMAN wanders aimlessly through a city park, observing. We
sense, truly observing for the first time.
A YOUNG WOMAN walks a pair of AFGHAN HOUNDS. An OLD MAN
answers the incessant questions of his GRANDCHILD. Nothing
appears amiss, Truman takes a seat at a small, outdoor cafe.
He fidgets with his father's ring on his finger that
contains one large stone, still looking for a false move.
A DELIVERY MAN unloads boxes from the back of his truck and
carries them into a store. Further down the street
CONSTRUCTION WORKERS take their time tending to an
electrical repair in an exposed manhole. A POSTAL WORKER
does his rounds. An OLD WOMAN struggles with two heavy
shopping bags. Everybody appears natural, places to go.
Ratings
Scene 24 - Confrontation at the Cafe
CHRISTOF and CHOLE stare into camera. Christof leans
forward and speaks.
CHRISTOF
...Everybody stay focussed.
Remember who you are.
EXT. CAFE. DAY.
TRUMAN turns his attention to a group of CUBAN-LOOKING MEN
at the only other occupied table at the cafe. We see
extreme close-ups as Truman scans the men's faces for any
sign of phoniness. They are talking loudly, making
suggestive comments to the WAITRESS. Their behavior passes
the test - all seems genuine.
Then, Truman notices TWO JOGGERS out for a morning run,
making their way down the street towards him. Truman
happens to glance at the sneakers of one of the joggers. He
suddenly springs to his feet. Truman blocks the joggers.
TRUMAN
It's you...isn't it?
The Joggers attempt to sidestep Truman.
JOGGER 1
Excuse me.
TRUMAN
Remember? Two days ago I gave you
my meatball sandwich in the park.
You were in a wheelchair. Same
sneakers.
The jogger looks down at his distinctive sneakers bearing
the initials, "T.S.", and visibly blanches.
JOGGER 2
(coming to his
companion's aid)
Get the hell out of here.
The second jogger roughly shoves Truman aside. Truman calls
out after the two men.
TRUMAN
(ironically referring to
the Jogger's new-found
mobility)
It's a miracle!
Truman picks himself up, dusting dirt from his suit. He
retrieves his briefcase and continues down the street with
renewed purpose.
Ratings
Scene 25 - Truman's Frustrating Encounter
Wandering down the bustling street, TRUMAN suddenly bolts
into a building at random.
INT. OFFICE BUILDING. DAY.
An imposing office building clad in the kind of reflective
glass that shields its occupants from the world - a building
Truman passes every day. A steady stream of EMPLOYEES and
VISITORS enter and exit the building's high-ceilinged lobby
past an intimidating security desk manned by TWO UNIFORMED
GUARDS. Beyond security are banks of elevators, ferrying
executives, clerical staff and delivery personnel to and
from their floors of business.
Truman abruptly enters reception and strides confidently
past the security desk trying to look as if he belongs.
SECURITY GUARD 1
(to Truman)
Can I help?
TRUMAN
(sneaking a glance at the
building directory)
I have an appointment at,
er...Gable Enterprises.
SECURITY GUARD 1
They went bust.
The second Security Guard is rising from his seat to block
Truman's path to the elevators, but Truman reads his mind
and makes a dash for it - into one of the elevators.
A YOUNG WOMAN in the elevator looks in horror at Truman -
the cause of her concern all too apparent. Looking beyond
the Woman, Truman discovers that there is no back to the
elevator car. The PEOPLE Truman has just witnessed entering
other elevators are milling around a refreshment table,
primping or sitting on folding chairs. Gradually, they all
turn to gape at Truman, who in turn stares back, appalled.
Truman's view is abruptly blocked as a rear panel is hastily
attached to the elevator. A Security Guard pulls Truman
from the car.
TRUMAN
What's going on?
SECURITY GUARD 1
(glancing to the lights
above the elevator,
trying to appear
innocent)
Nothing.
Truman observes the upward progress of the elevator via the
light display above the doorway. Before he has time to make
sense of it, the guards drag him away.
SECURITY GUARD 2
You've got to leave.
The Guards frog-march Truman out of the facade towards an
Emergency Exit.
TRUMAN
Just tell me what's going on?
SECURITY GUARD 2
We're re-modeling.
TRUMAN
No, you're not!! What were those
people doing in there?
SECURITY GUARD 1
(shrugs)
It's none of my business.
(ushering Truman off the
property)
None of yours, either.
TRUMAN
(not going quietly)
You don't tell me what's really
going on, I'll report you.
TRUMAN continues to struggle as the GUARDS usher him to the
street.
SECURITY GUARD 2
For what? You're trespassing!
Ratings
Scene 26 - Trapped in Plain Sight
TRUMAN continues to struggle as the GUARDS unceremoniously
dump him on the pavement. He picks himself up, head
reeling, and starts to run along the street. He suddenly
enters another building at random. An office block with a
bank on the ground floor.
Truman rushes to the elevators. The lights above the doors
show all the elevator on upper floors. Frantic pressing of
the elevator button gets no response. A RECEPTIONIST rises
from her desk. Truman heads for the stairs, but is
intercepted by a BANK OFFICIAL barring his way.
TRUMAN
I want to...
The Bank Official, the Receptionist, and a BANK TELLER back
Truman towards the door.
BANK OFFICIAL
...Open an account?
TRUMAN
Yes. Er, why not?
RECEPTIONIST
Savings or checking?
BANK OFFICIAL
Let's go up to my office.
Truman hurriedly exits the bank.
EXT. STREET. DAY.
Back on the street, TRUMAN feels the eyes of the
PEDESTRIANS. Is he simply drawing attention to himself by
his behavior? Truman wheels around, trying to make eye
contact with passersby. They shy away. He continues to run
down the street.
Finally, Truman finds himself standing in front of the
window of an electronics store staring at his own face on a
TV set. It is taking a feed from a camcorder aimed out the
store window.
INT. A BATHROOM SOMEWHERE. DAY.
A MAN stares into camera from a bath of stale water - a
layer of soap scum on the top.
MAN
Don't look at me, pal.
Ratings
Scene 27 - Paranoia in the Aisles
TRUMAN shudders at his video reflection. Further down the
street, he notices Marlon's van parked outside a
supermarket.
INT. SUPERMARKET. DAY.
The door of a vending machine is open. MARLON, half inside
the machine, loads a stack of Baby Ruth candy bars into one
of the dispensing slots. The paranoid TRUMAN appears at his
shoulder.
TRUMAN
Marlon--
MARLON
(startled)
--Truman, what are you doing here?
Truman looks nervously around him. Even the STORE OWNER's
friendly nod from behind the counter is cause for suspicion
in Truman's mind.
TRUMAN
(whisper)
I've got to talk to you.
MARLON
Sorry, I'm way behind.
TRUMAN
I'm onto something, Marlon -
something big.
MARLON
Are you okay? You look like shit.
TRUMAN
I think I'm mixed up in something.
MARLON
Mixed up? Mixed up in what?
TRUMAN
There's no point in trying to
explain it, but a lot of strange
things have been happening -
elevators that don't go anywhere,
people talking about me on the
radio, you know what I mean?
MARLON
(bemused)
No. Truman, if this is another one
of your fantasies...
TRUMAN
I think it's got something to do
with my dad.
MARLON
Your Dad?!
TRUMAN
(looking around
nervously)
I think he's alive. I'll tell you
about it later. I'm definitely
being followed.
MARLON
(looking around,
instantly protective)
Who?
TRUMAN
It's hard to tell. They look just
like regular people.
MARLON
(referring to an OLD
COUPLE entering the deli)
How about them?
TRUMAN
(seriously considering
the possibility)
Could be. Beard looks phony.
(leaning closer to
Marlon)
It's when I'm unpredictable. They
can't stand that. That's why we've
got to get out of here. Can you
come with me?
MARLON
(closing up the vending
machine)
I told you I can't.
TRUMAN
I've got to show you something.
Truman fixes Marlon with a look of deadly seriousness.
MARLON
(weakening)
Christ, Truman. You're gonna get
both our asses fired.
Ratings
Scene 28 - Reflections at Dusk
TRUMAN hurries MARLON up the school steps. The sound of
children's voices continues to drift out from inside the
building. Truman and Marlon storm into the school reception
area - still empty.
INT. SCHOOL CORRIDOR. DAY.
TRUMAN and MARLON stand outside the classroom, the source of
the children's voices. Truman throws his friend an "I-told-
you-so" look and swings open the door with a flourish.
INT. CLASSROOM. DAY.
The once-empty classroom is now full of SCHOOL CHILDREN in
an art class. A hush falls over the students and all eyes
turn to TRUMAN and MARLON.
TEACHER
(gesturing to two
unoccupied easels)
Would you care to join us?
EXT. CLIFFTOP - DUSK
Hand-over-hand, TRUMAN climbs the cliff he once scaled as a
seven-year-old. Finally, he sits on the clifftop, staring
out at the view his father had been so desperate for him not
to see twenty-six years earlier. However, the deserted bay
beyond is identical to its neighbor. MARLON, laboring,
crests the rise and joins his friend on the clifftop.
MARLON
What're we doing here, Truman?
TRUMAN
This is where it started.
MARLON
What exactly?
TRUMAN
Things. Things that doesn't fit.
(another thought occurs)
Maybe I'm being set up for
something. You ever feel like that,
Marlon? Like your whole life has
been building to something?
MARLON
(blank)
No.
TRUMAN
(ignoring the remark)
When you were hauling chickens for
Kaiser Poultry, what was the
furthest you ever went off the
island?
MARLON
I went all over but I never found a
place like this.
(nodding to the setting
sun)
(MORE)
MARLON (CONT'D)
Look at that sunset, Truman. It's
perfect.
TRUMAN
(in a daze)
Yeah...
MARLON
(glancing heavenwards)
That's the "Big Guy". Quite a
paintbrush he's got.
TRUMAN
Just between you and me, Marlon,
I'm going away for a while.
MARLON
Really?
Ratings
Scene 29 - Unveiling Deceit
Truman sits cramped on his sofa. Pulling wider, we discover
the cause of his discomfort. He is sandwiched between MERYL
on one side and MOTHER on the other. Mother, the family
historian, a stack of photograph albums at her feet, turns
the pages of the album on Truman's lap.
TRUMAN
We ought to be getting you back,
Mother.
MOTHER
Hold on a minute, dear.
(pointing out a photo in
the album)
Here's us at Mount Rushmore. You
remember, Truman--when Dad was
still with us - that was quite a
drive. You slept all the way
there.
TRUMAN
(taking an interest in
the monument)
It looks so small.
MOTHER
(quickly turning the
page)
Things always do--when you look
back.
Mother skips several pages in the album, finally stopping at
a spread of wedding photos.
MERYL
Look, Truman, there's my cousin
Errol putting the bouquet down his
pants - it was the happiest day of
our lives.
MOTHER
(referring to Meryl)
Didn't she look beautiful, Truman?
She still does.
Mother turns to a blank page in the album.
MOTHER (CONT’D)
And there's plenty of room for baby
photos. I'd like to hold a
grandchild in my arms--
(dabbing her eye with a
handkerchief)
--before I go.
Meryl rises from the sofa and helps Mother to her walker.
MERYL
I'll take you home, Angela.
(referring to the album)
Why don't you leave those with us
for a while?
TRUMAN
(kissing his emotional
mother)
Good night, Mother.
MERYL
(a wink to Truman)
See you in a minute, sweetheart.
Meryl departs with Mother. Left alone in the living room,
Truman slumps back down onto the sofa and switches on the
television set - an old-fashioned model with rabbit-ears. He
idly studies the photograph album as an over-earnest
television HOST announces the upcoming program.
TV HOST
--Tonight's golden-oldies is the
enduring, much-loved classic, "Show
Me The Way To Go Home". A hymn of
praise to small-town life where we
learn that you don't have to leave
home to discover what the world is
all about and that no one is poor
who has friends...
However, when we turn our attention away from the
television, we find that Truman is peering intently at a
wedding photograph of Meryl and himself taking their vows in
a civil ceremony in a beachside gazebo. Under the scrutiny
of a magnifying glass, he discovers that Meryl has her
fingers crossed.
Ratings
Scene 30 - A Morning of Missed Connections
The TWO LADIES sit on their sofa, a rug across their knees,
sipping a night cap of hot chocolate. They stare into
camera.
OLD LADY 1
Remember at the wedding - that dog?
OLD LADY 2
Started howling when they took
their vows.
OLD LADY 1
And the plastic horseshoe fell off
when they cut the cake.
OLD LADY 2
(shaking her head
ruefully)
They never had a chance.
INT. KITCHEN. MORNING.
TRUMAN, dressed casually in weekend attire, is at the stove
preparing an omelette. MERYL hurries into the kitchen in
her nurse's uniform. She gulps down a cup of coffee and
reaches for her nurse's cap.
However, she still has time to adjust the position of a pack
of "FiberCon Cereal" - squaring it a little more to camera.
TRUMAN
I have to talk with you.
(looking about,
suspicious)
But not here. Let's go for a walk.
MERYL
(kissing him on the
cheek)
I'm sorry, I'm late.
TRUMAN
What's the hurry?
MERYL
Surgery. The elevator disaster
downtown on the news last night.
Cable snapped, a car dropped ten
floors. Non-union contractors.
Monsters. We're starting with an
amputation.
Truman's eyes widen. Meryl adjusts her hat in the mirror.
MERYL (CONT’D)
That building's near yours.
Imagine if you'd been in there for
some reason. It doesn't bear
thinking about.
Truman, lost in thought, picks up the scalding frying pan
with his bare hand. Letting out a howl of pain, he drops
the pan.
TRUMAN
Arrah!
MERYL
Oh, my God!
TRUMAN
What do I do?
MERYL
I don't know--
TRUMAN
--you're a nurse, aren't you?
MERYL
Put some butter on it--or ice?
She looks up the kitchen clock.
MERYL (CONT’D)
(hurrying out the door)
Oh, look at the time.
Truman stares after her, the pain of his hand forgotten for
the moment. He watches Meryl ride her bicycle down the
driveway. Truman exits the house.
Ratings
Scene 31 - Desperate Pursuit
Riding a bicycle of his own, TRUMAN follows MERYL to work,
staying a safe distance back. He watches her enter the
hospital.
INT. HOSPITAL. DAY.
TRUMAN makes his way along various corridors. All seems as
it should - DOCTORS confer with NURSING STAFF and PATIENTS,
gurneys are wheeled about with their PASSENGERS looking
suitably traumatized. Truman approaches a NURSING SISTER.
TRUMAN
I'm looking for my wife--Nurse
Burbank. It's important.
NURSE
(checking her clipboard)
I'm afraid that's impossible--she's
in pre-op.
TRUMAN
Sure. Okay. Fine. Can you pass
on a message?
NURSE
I'll try.
TRUMAN
Tell her, tell her...I had to go to
Fiji. I'll call her when I get
there.
NURSE
When you get to Fiji?
TRUMAN
You got it.
NURSE
Fine. I'll tell her.
The nurse walks off, disappearing through a set of doors.
Truman hesitates before following her.
INT. VARIOUS HOSPITAL CORRIDORS. DAY.
The NURSE walks briskly - fewer people about, TRUMAN
discreetly following behind. The nurse breaks into a jog.
Truman hurries to keep up with her - dodging around gurneys,
JANITORS mopping floors.
INT. OUTSIDE OPERATING THEATRE. DAY.
The NURSE, hastily scrubbed and gowned, enters the theatre.
TRUMAN hesitates but dares not enter. He grabs a mask of
his own.
Looking through the glass window in the operating theatre
door, he sees the YOUNG WOMAN (seen in the hastily fixed
elevator car the day before) lying on the operating table, a
blood-soaked bandage covering her left leg. MERYL, wearing
a surgical gown and mask, assists the SURGEON. The SISTER
hovers nervously in the background.
SURGEON
Scalpel.
Meryl very slowly selects a scalpel from a tray of
instruments and awkwardly hands it to the surgeon.
SURGEON (CONT’D)
I'm now making my primary incision
just above the left knee.
The patient's eyes blink open in horror. The ANESTHETIST
steps in Truman's view before he can get a good look.
Suddenly, a SECURITY GUARD appears beside Truman and takes
him by the arm.
SECURITY GUARD
(referring to the
operation)
This isn't gonna be pretty. Unless
you're family of the patient, I'll
have to ask you to leave.
TRUMAN
No problem. I don't want to cause
any trouble.
Ratings
Scene 32 - Escape from Seahaven
TRUMAN takes a seat at the only desk in an empty travel
agency. The travel brochures and posters that adorn the
walls all feature destinations that bear a striking
similarity to picturesque Seahaven. Another poster spells
out the dangers of travel - "TRAVELLERS BEWARE - Terrorists,
Disease, Wild Animals, Street Gangs". A female TRAVEL AGENT
enters from a rear door.
AGENT
I'm sorry to keep you. How can I
help?
TRUMAN
I want to book a flight to Fiji.
AGENT
Where exactly?
TRUMAN
(believing she is being
deliberately obtuse)
Fiji.
AGENT
(a trace of
condescension)
Where in Fiji? What island?
TRUMAN
I'm sorry, er...the biggest one.
AGENT
(entering the destination
in her computer)
Viti Levu. For how many?
TRUMAN
(finding the question
suspicious)
One.
AGENT
When do you want to leave,
remembering, of course, you do lose
a day on the way there?
TRUMAN
Today.
AGENT
(reading off her computer
screen)
I'm sorry. I don't have anything
for at least a month.
TRUMAN
(suspicious)
A month.
AGENT
(patiently explaining)
It's the busy season.
TRUMAN
(paranoia showing)
You are a travel agent, aren't you?
(reading her nametag)
"Doris"? Your job is to help
people travel.
AGENT
(showing amazing
restraint)
I do have a fabulous rate on a
cruise ship departing for Fiji
tomorrow. But you wouldn't want to
do that.
TRUMAN
Why wouldn't I?
AGENT
I thought you were in a hurry.
TRUMAN
(calming down)
That's right.
AGENT
You want to book the flight?
TRUMAN
It doesn't matter. I'll make other
arrangements.
Ratings
Scene 33 - Isolation on the Journey
Emerging onto the street, TRUMAN looks across to the
building which he entered the previous day. It is now
cordoned off with police tape after the elevator disaster.
Flowers have been laid at the doorway.
EXT. GREYHOUND BUS STATION. DAY.
A Greyhound Bus, bound for "CHICAGO" according to its
destination sign, sits idling at the stop. Just as a burly
SUPERVISOR is about to wave the bus on its way, TRUMAN
dashes into the station.
BUS DRIVER
Last call for Chicago.
Truman jumps onto the bus behind the last boarding passenger
- a YOUNG SOLDIER.
TRUMAN
(to the Bus Driver, as he
boards the bus)
Windy City, here we come.
INT. GREYHOUND BUS. DAY.
TRUMAN takes a seat by a window. An awkward silence
descends over the bus.
The other passengers - a MOTHER with a restless CHILD,
several TOURISTS, an OLD COUPLE and the YOUNG SOLDIER - all
stare stiffly straight ahead, averting their eyes from
Truman.
No one is more uncomfortable than the BUS DRIVER. Beads of
perspiration on his head, he fumbles for the gear shift,
apparently unsure how to operate it. The gears grind.
The OTHER PASSENGERS try not to notice. The CHILD, tugging
her MOTHER's sleeve, points to Truman. Her mother makes her
face the front of the bus. Finally the SUPERVISOR enters
the bus.
SUPERVISOR
Everybody off. We've got a
problem.
The relieved passengers hurriedly exit until Truman is the
only one remaining on the bus. The Bus Driver looks almost
sorry for Truman who sits resolutely in his seat - the hint
of a tear of frustration in his eyes.
BUS DRIVER
(softly)
I'm sorry, son.
INT. A BAR SOMEWHERE. DAY.
The bar seen earlier. A small group of PATRONS discuss
developments. The WAITRESS seems upset, occasionally
glancing to camera as she pours a beer.
PATRON 1
Why would he want to go to Chicago?
Who does he know from there?
PATRON 2
His doctor came from Chicago,
didn't he?
PATRON 1
Wasn't his father from Chicago?
WAITRESS
(upset)
He's not going to Chicago. He's
not going anywhere. He has to have
it out with Meryl.
EXT. STREET - TRUMAN'S BICYCLE. DAY.
As TRUMAN rides home on his bicycle, he stares wildly about
him - the rearview mirror on his bicycle is suddenly cause
for concern, so are the trees and streetlamps lining the
roadway.
Ratings
Scene 34 - Desperate Departure
TRUMAN, staring at the highway from the bottom of the
garden, doesn't bother to look up as MERYL, still wearing
her nurse's uniform, approaches.
TRUMAN
(referring to a distant
car on the expressway)
See that car way down there? I bet
it's a Suburu station wagon.
Meryl looks idly over the fence at the approaching car.
Finally, a Suburu station wagon motors by. Meryl is
unimpressed. Truman turns his back on the highway to
continue his game.
TRUMAN (CONT’D)
I predict the next four cars will
be a white Honda Civic, a blue and
white Dodge Dart with the front
hubcap missing, a Volkswagen Beetle
with a dented fender and a
motorcycle.
Meryl doesn't wish to participate in the game and makes for
the house. Truman holds her arm, forcing her to watch. He
turns to check his prediction. A convoy of cars approaches.
TRUMAN (CONT’D)
There's the Honda...the
Dodge...here comes that dented
Beetle...
Meryl's attention wavers. Truman tightens his grip.
TRUMAN (CONT’D)
Look!
Following the VW is a school bus.
MERYL
(mocking)
Where's the motorcycle?
Truman is momentarily disappointed.
TRUMAN
Don't you want to know how I did
that?
A motorcycle putters by. Meryl turns and walks back to the
house. He hurries after her.
MERYL
I invited Marlon and Rita for a
barbeque Sunday. I thought I'd
make my potato salad. Remind me--
TRUMAN
I won't be here Sunday.
MERYL
--we need more charcoal.
TRUMAN
Are you listening to a word I'm
saying?
MERYL
You're upset because you want to go
to Fiji. Is that it?
Truman is puzzled by her conciliatory tone.
MERYL (CONT’D)
Okay, do it. Get it out of your
system. Save for a few months and
go. There. Happy now? I'm going
to take a shower.
She turns away.
TRUMAN
(catching her wrist)
Let's go now.
MERYL
What?!
Despite her protests, Truman drags Meryl towards his car.
TRUMAN
(as he shoves her into
the car)
I'm ready to go now. Why wait?
Ratings
Scene 35 - Chaos on the Road
TRUMAN holds MERYL's wrist to stop her exiting the car and
accelerates out of the driveway in reverse without looking -
almost running over PLUTO the dog and SPENCER with his
garbage can.
Truman starts circling a gazebo at the center of a
roundabout, faster and faster.
TRUMAN
Where shall we go? Where shall we
go? Spontaneity is what it's all
about. Forget Fiji. We can't very
well drive to Fiji, can we? What
about Atlantic City?
MERYL
(trying to mask her
anxiety)
You hate gambling.
TRUMAN
That's right. I do, don't I?
MERYL
So why do you want to go?
TRUMAN
Because I never have. That's why
you go places, isn't it?
MERYL
Truman, I think I'm going to throw
up.
Truman roars off down the street.
TRUMAN
Me too.
Almost immediately, Truman encounters a traffic snarl.
TRUMAN (CONT’D)
(a manic edge to his
voice)
So much traffic, this time of day.
Does that strike you as peculiar?
Without warning, Truman suddenly dives down a sidestreet.
But his move is anticipated. At the end of the street, a
pack of cars suddenly appears. Other vehicles fill the gap
behind.
TRUMAN (CONT’D)
(to Meryl, marveling)
Blocked at every turn. Beautifully
synchronized, don't you agree?
MERYL
(incredulous)
You blaming me for the traffic?
TRUMAN
Should I?
Truman reverses suddenly and makes a U-turn.
TRUMAN (CONT’D)
You're right. We could be stuck
here for hours. Could be like this
all the way to Atlantic City.
Let's go back. I'm sorry. I don't
know what got into me.
Truman starts heading back the way they came, the roadway
now relatively free of traffic.
MERYL
Would you please slow down, Truman?
Truman floors the car. The car flies past their house.
MERYL (CONT’D)
Truman, that was our house!
TRUMAN
I've changed my mind again. What's
New Orleans like this time of year?
Mardi Gras. Or let's just see
where the road takes us.
MERYL
(pleading)
Let me out, Truman. You're not
right in the head. You want to
destroy yourself, you do it on your
own!
TRUMAN
(eerily calm)
I think I'd like a little company.
As he speeds erratically, Truman glances at the streets on
either side of the main road where he discovers a distinct
lack of moving traffic.
TRUMAN (CONT’D)
(to the anxious Meryl at
his side)
Look, Meryl. No cars! I don't run
into traffic. The traffic follows
me around.
(excited by his
discovery)
We're in a moving pack, don't you
see?
Ratings
Scene 36 - A Reckless Decision
But TRUMAN's clear path is short-lived. He is forced to
slow once again behind a line of other cars at a bridge.
TRUMAN
(to Meryl)
It's hard to go places, isn't it?
MERYL
(looking up ahead at an
overturned car)
There's been an accident, Truman.
TRUMAN
Uhuh. There's no accident. It's
just more stalling.
Truman floors the car again and swerves into the oncoming
lane. He roars along the bridge on the wrong side of the
road. Near the end of the bridge, a distraught MOTORIST
dashes into the middle of the road, waving his arms. Truman
slams on the brakes.
MOTORIST
(pointing to a small BOY
lying very still on the
ground beside a wrecked
car)
--is there a doctor, a nurse?
MERYL
Truman, it's a child. I've got to
help -
TRUMAN
(hardly glancing to the
boy)
He'll be fine.
Truman roars on, almost bowling over the concerned motorist.
MERYL
Truman, I took the "hypocrite"
oath!
TRUMAN
I bet you did.
Truman roars past a sign that reads, "YOU ARE NOW LEAVING
SEAHAVEN - Are you sure that's a good idea?"
Back at the accident scene, the little boy, apparently
uninjured, sits up.
Ratings
Scene 37 - Escape from Seahaven
They roar pass an illuminated sign - "FOREST FIRE WARNING -
Extreme Danger".
MERYL
Truman, what about that sign?
TRUMAN
I'm sure they're just exaggerating.
Suddenly, a 20-foot high wall of flame shoots across the
roadway in front of them - as if someone flicked on a gas
switch.
MERYL
What about that - do you believe
that?!
TRUMAN experiences his first moment of doubt. He looks to
the terrified MERYL, then closes his eyes tightly and
accelerates through the fire wall. He is startled to find
that they have emerged on the other side, singed but
unscathed.
However, the open road in front of them now disturbs Truman
for a different reason - its sheer lack of anything unusual.
Signs along the road advertise motels and give directions to
other destinations - "I-6211 - 2 miles", "Notel Motel -
Pool, Color TV".
Meryl also now appears to be resigned to the journey.
MERYL (CONT’D)
So what do we do for money when we
get to New Orleans?
TRUMAN
(not so confident now)
I've got my Seahaven Bankcard.
MERYL
So we just eat into our savings, is
that the idea? I'd better call
your mother when we get there.
She'll be worried sick - I don't
know how she's going to take this.
Truman appears very unsure of himself.
EXT. ROADWAY. DAY.
However, there is still a barrier between TRUMAN and Bourbon
Street. The highway, leading to a cloverleaf freeway
junction in the distance, is completely blocked off by
Seahaven police cars. No way past. Nuclear silos in the
distance spew out an ominous puff of smoke. A sign reads,
"SEAHAVEN ISLAND NUCLEAR POWER STATION - Clean, Safe,
Economical - More Power To You!"
Truman is forced to slow at the police barricade.
TRUMAN
Now what?
OFFICER
(grim-faced, indicating
the nearby power plant)
Leak at the plant. They had to
shut her down.
TRUMAN
Is there any way around?
OFFICER
The whole area's being evacuated.
TRUMAN
Well, thank you for your help.
OFFICER
You're welcome, Truman.
Truman's eyes widen at the mention of his name from an
apparent stranger. As the officer turns, Truman bolts from
the car, leaving MERYL in the passenger seat.
MERYL
Truman!! Come back!!
Truman flees into the forest.
INT. A LIVING ROOM SOMEWHERE. DAY.
The TWO OLD LADIES we have observed before are almost
overcome with tension. One lady reaches out for her
companion's hand.
EXT. FOREST NEAR SEAHAVEN NUCLEAR POWER PLANT. DAY.
TRUMAN bursts past the alien-looking HAZARDOUS WATER WORKERS
in their protective suits carrying detection instruments.
The workers give chase in their cumbersome suits, trying to
cut off his path.
Nearing the edge of the forest, Truman hears the sound of
hammers and saws. But before he has time to see the source
of the sound, he is tackled to the ground.
As SEAHAVEN POLICE OFFICERS drag him away, one of the WASTE
WORKERS walks the remaining few yards, pushing aside a wall
of tropical foliage. We now see what Truman was prevented
from seeing.
A Polynesian island is under construction by dozens of
RIGGERS, PAINTERS and SET DECORATORS. Large cranes are
lifting palm trees into place, a fake volcano is being
tested in the distance and rehearsals for a firewalking
ceremony are underway complete with hot coals, DRUMMERS and
FIREWALKERS in native dress.
The wings and fuselage of an airliner are being constructed
on a hydraulic gimbal. Leading into one side of the
airliner is a covered walkway, emblazoned with a sign,
"Seahaven Island - Departures". Emerging from the opposite
side of the airliner is an old-fashioned airline stairway
with the sign, "Welcome to Fiji"
At the foot of the steps, TWO WOMEN in Fijian dress are
being shown the correct way to present a floral lei.
FIJI WOMAN
Did he see us?
WASTE WORKER
(into microphone)
Negative.
Ratings
Scene 38 - Confrontation in the Kitchen
MERYL shows TWO SEAHAVEN POLICEMEN out the back door.
MERYL
Thank you.
POLICEMAN 1
You're lucky he's not glowing,
Ma'am. Next time we'll have to file
charges.
Meryl joins TRUMAN at the kitchen table. Truman applauds
ironically.
MERYL
Let me get you some help, Truman.
You're not well.
TRUMAN
(ignoring her medical
advice)
Why do you want to have a child
with me? You can't stand me.
MERYL
That's not true.
Meryl picks up a package and holds it to camera.
MERYL (CONT’D)
Why don't I make you some of this
new Mococoa Drink? All natural.
Cocoa beans from the upper slopes
of Mount Nicaragua. No artificial
sweeteners--
TRUMAN
(incredulous)
--What the hell are you talking
about?!
MERYL
I've tasted other cocoas. This is
the best.
Truman rises from the table and backs her around the room.
TRUMAN
What the hell has that got to do
with anything? Tell me what's
happening?!
MERYL
(frightened but remaining
poised)
You're having a nervous breakdown,
that's what's happening.
TRUMAN
(backing her up against
the kitchen bench)
You're part of this, aren't you?!
Meryl grabs the "Chef's-Mate" from the counter to protect
herself. She points the potato peeler at him.
MERYL
Truman, you're scaring me!
Truman looks into her eyes and, with surprising swiftness,
grabs her wrist and disarms her.
TRUMAN
No, you're scaring me, Meryl!
Truman grabs Meryl and turns the Chef's Mate on her. He
stares wildly about him.
TRUMAN (CONT’D)
Stop this now. I'll do it. I
swear.
MERYL
Do something...
Upon hearing her remark, Truman's eyes widen. Sensing that
she too is addressing a third person, he jerks her head
around to read her face.
TRUMAN
(wild-eyed)
Who were you talking to?!
MERYL
(incredulous)
You're the one talking to the
walls!
TRUMAN
No. You said, "Do something." Who
were you talking to? Tell me!
MERYL
Truman, stop it!
Suddenly, the front door chimes.
TRUMAN
Right on time. Cops must be
telephatic.
Truman grabs his peeler and marches Meryl down the hallway
to the front door. The doorbell chimes a second and third
time, more insistently.
TRUMAN (CONT’D)
(shouting through the
closed door)
Stay where you are!
MARLON (O.C.)
Truman? It's me, Marlon. I need
to talk to you.
Truman flinches. He was so convinced it would be the
police. He takes a step back against the hallway wall.
Before he can decide what to do, MARLON has opened the
unlocked front door to be confronted with the sight of
Truman holding the peeler to Meryl's throat.
Marlon locks eyes with Truman. Sizing up the situation, he
slowly but decisively removes the peeler from Truman's hand.
Meryl wrenches herself free from Truman's now limp grasp and
collapses into Marlon's arm, sobbing.
MERYL
(distraught)
How can anyone expect me to carry
on under these conditions? This
is...unprofessional.
Ratings
Scene 39 - Beneath the Bridge: A Night of Reflection
MARLON and TRUMAN, both nursing bottles of beer, sit on the
end of the unfinished bridge.
TRUMAN
I don't know what to think, Marlon.
Maybe I'm going out of my mind, but
I get the feeling that the world
revolves around me somehow.
MARLON
It's a lot of world for one man.
You sure that's not wishful
thinking, you wishing you'd made
something more of yourself? Christ,
Truman, who hasn't sat on the John
and had an imaginary interview on
"Seahaven Tonight"? Who hasn't
wanted to be somebody?
TRUMAN
This is different. Everybody seems
to be in on it.
Marlon looks around as if drawing inspiration from somewhere
in the night.
MARLON
Tru, we've known each other since
before we were in long pants. The
only way we ever made it through
high school was cheating off each
other's test papers. Jesus, they
were identical. I always liked
that, because whatever the answer
was--
Truman chimes in, nodding fondly at the memory.
TRUMAN & MARLON
--we were right together and we
were wrong together.
MARLON
The only night either of us ever
spent in jail, we spent together
and I wet myself but you never told
anyone. I was best man at your
wedding and my brother was best man
at my wedding and you didn't talk
to me for a month over that and I
didn't blame you because you've
been more of a brother to me than
he's ever been.
Truman is slowly coming around - Marlon's speech from the
heart soothing away his pain.
MARLON (CONT’D)
I know things haven't worked out
for either of us like we used to
sit up on Monroe Avenue all night
and dream they would. We all let
opportunities pass us by. None of
us asks for the dance as often as
we should. I know that feeling
when it's like everything's
slipping away and you don't want to
believe it so you look for answers
someplace else. But, well, the
point is, I would gladly step in
front of traffic for you.
Ratings
Scene 40 - Confronting Truths
CHRISTOF stares intently into camera, holding his
distinctive earpiece to his head. Beside him, his ever-
present assistant,
CHLOE.
CHRISTOF
(hushed tones)
And the last thing I'd ever do is
lie to you.
EXT. FREEWAY. NIGHT.
MARLON
(staring into Truman's
eyes)
And the last thing I'd ever do is
lie to you.
(pause)
Think about it, Truman, if
everybody's in on it, I'd have to
be in on it too. I'm not in on it,
because there is no it.
TRUMAN
So what are you saying, Marlon, the
whole thing has been in my head--?
MARLON
(meeting his gaze)
Not the whole thing, Truman. You
were right about one thing.
TRUMAN
What's that?
MARLON
The thing that started all of this.
TRUMAN looks up in the direction of MARLON's gaze. A FIGURE
stands at the end of the freeway - a homeless man. It is
his father, KIRK.
MARLON (CONT’D)
Yes, he survived somehow. He's got
quite a story to tell.
Marlon helps Truman to his feet - Truman still transfixed by
the figure.
MARLON (CONT’D)
Go to him.
Ratings
Scene 41 - The Emotional Reunion
CHRISTOF continues to direct the action from what is now
revealed to be the control room of a television studio.
CHRISTOF
Go wide, LightCam Eight...
In a wide shot, from one of the streetlights lining the
empty freeway, we see TRUMAN walking towards his long-lost
FATHER.
CHRISTOF
...CarCam Twelve...and...cue
music...Beethoven, Third Symphony,
Second Movement.
Music swells. Kirk and Truman embrace in the middle of the
freeway. Truman takes his father's ring from his own
finger.
CHRISTOF (CONT’D)
...RingCam...
We see a close up of Kirk from the ring's POV. Truman
places the ring in the palm of his father's hand.
CHRISTOF (CONT’D)
...ButtonCam Three...
We see a close up of Truman from a camera on Kirk's coat.
TRUMAN
I never stopped believing.
KIRK
(gazing at the ring, then
up to Truman's face)
Thank you...my son.
CHRISTOF
And wide...
SIMEON looks to his director.
SIMEON
Close up?
CHRISTOF
(staring intently at his
monitor)
No, hold back...
The CREW watches Kirk and Truman embrace.
KIRK
All those years, wasted.
TRUMAN
We have a lot of years ahead.
INT. CONTROL ROOM. NIGHT.
CHRISTOF allows himself a smile of satisfaction.
CHRISTOF
And fade up music...now go in
close...
As a tight two-shot of father and son fills the screen, the
orchestra swells with triumphant music.
EXT. FREEWAY. NIGHT.
FATHER and SON remain in the embrace. Over Truman's
shoulder, we see a flash of guilt flicker across MARLON's
face.
INT. CONTROL ROOM. NIGHT.
CHRISTOF, emotionally drained by the events, slumps in his
chair. CHOLE rests a supportive hand on his shoulder. The
head of the network, MOSES, a man in his seventies, enters
with his young assistant, ROMAN - their faces full of
admiration.
MOSES
Well done. Well done, everyone.
Ratings
Scene 42 - A Glimpse of Longing
A YOUNG WOMAN reclines on a bed, her back against the wall.
Propped up on her knees is a book. However, she's not
reading but staring straight into camera - a look of
profound sadness on her face. It is SYLVIA.
From her point-of-view, we see a portable television set on
a table at the foot of the bed.
On the television is a live picture of TRUMAN - the first
time we have seen him on a television screen. He is sitting
at his kitchen table, unaware of the cameras recording him.
The shot is static. He just sits there in silence, a
steaming cup of cocoa in front of him and a plate of
untouched cookies.
At one point, a sponsor's border, appears on the screen,
tastefully framing the "action", with the message, "MOCOCOA -
Cocoa beans from the upper slopes of Mount Nicaragua".
After several seconds the border disappears.
Suddenly, the live picture of Truman shrinks into a window
on the screen to accommodate a title sequence that begins to
play around the edge of the image. "The Truman Show" theme
music begins.
The camera cranes up and over the Hollywood sign, the
flatlands of Burbank stretching into the distance.
ANNOUNCER (V.O.)
From the network that never sleeps -
broadcasting live and unedited 24
hours a day, 7 days a week, around
the globe...
During this continuous aerial shot, overlapping scenes from
Truman's life appear in chronological order, from infancy to
adolescence and finally adulthood. Photographs of leading
CAST MEMBERS also appear in individual frames.
ANNOUNCER (V.O.)
...with Hannah Gill as Meryl
Burbank, Louis Coltrane as Marlon,
Alanis Montclair as Mother, re-
introducing Walter Moore as her
husband, Kirk...
The music swells as the camera approaches a mammoth
structure at the base of the mountains - a dome so vast it
dwarfs everything around it. At the top of the dome is a
huge painting of Truman's face encircled by satellite dishes
- inside each dish is a single letter spelling out, T-H-E T-
R-U-M-A-N S-H-O-W - a banner proclaims, "30th Great Year"
ANNOUNCER (V.O.)
...and Truman Burbank as Himself,
taped in the world's largest
studio, one of only two man-made
structures visible from space,
comes the longest running
documentary soap opera in history,
now in its 30th great year - "The
Truman Show"!
The camera rushes towards the outside wall of the gigantic
dome bathed in sunlight. When we emerge on the other side,
it is night. The camera cranes up from a calm, moonlit
ocean to the nightsky above. As we near the crescent-shaped
moon, we discover that it is actually a window overlooking
Seahaven. Standing in the "crater" window is the suited
CHRISTOF.
Ratings
Scene 43 - Control and Manipulation: A Tru Talk with 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.
INTERVIEWER
I'm your host, Mike Michaelson,
coming to you live from the Lunar
Room on the 121st story of the
OmniCam Ecosphere, 2800 feet above
Seahaven Island. Tonight, a
special edition of "Tru Talk", the
forum where we discuss and analyze
recent events on the show. We are
honored to bring you a rare and
exclusive interview with the show's
conceiver, creator, tele-
visionary, the Man-In-The-Moon
himself-- Christof.
(referring to the image
of Truman between them)
I remind viewers that as "The
Truman Show" is a living history,
it is our practice to keep the
image of Truman on screen at all
times.
A TITLE APPEARS: Due to the Live and Unedited nature of the
program, viewer discretion is advised.
The Interviewer turns to Christof.
INTERVIEWER (CONT’D)
Welcome.
CHRISTOF
Thank you.
INTERVIEWER
The catalyst for the recent
dramatic events was of course
Truman's father, Kirk, and his
infiltration onto the show. Before
we discuss that, it's worth
reminding viewers that this isn't
the first time someone from the
outside world has tried to reach
Truman.
CHRISTOF
We have had our close calls in the
past.
Behind the two men, the constantly playing image of Truman
engrossed in his book is relegated to a window of the
screen.
PLAYBACK - INT. TRUMAN'S HOME. CHRISTMAS MORNING.
TRUMAN, 7, is opening presents under the tree - KIRK and
MOTHER proudly looking on.
INTERVIEWER
Who can forget the infamous
"Christmas Present" incident in the
seventh season?
Suddenly, a small MAN bursts from a large, Christmas parcel.
Kirk and the man grapple on the floor in front of the
stunned seven-year-old. Kirk drags him away.
PLAYBACK - EXT. CITY STREET. DAY.
As the adult TRUMAN makes his way to work, a PARACHUTIST
drops from the sky into the main street, only yards behind
him.
INTERVIEWER
And only last summer "Billie
Blackbird" made his third attempt,
leaping from a lighting gantry.
The parachutist is dressed entirely in black with a message
emblazoned on his chest, "TRUMAN, YOU'RE ON TV." COMMUTERS
grab the man and drag him away - Truman blissfully unaware
of the incident.
CHRISTOF
(dismissive)
These people have their own
agendas. Many just want to be on
television themselves.
Ratings
Scene 44 - The Ethics of Entertainment: A Debate on Truman's Reality
The encounter between TRUMAN and the homeless KIRK is
replayed up to the point where Kirk is bundled onto the bus.
INTERVIEWER
Of course, there hasn't been
anything to compare with this - the
first time an intruder has been a
former cast member--
CHRISTOF
--a dead one at that.
INTERVIEWER
--and certainly the first time that
an intruder has been rewarded with
a starring role.
(gushing)
I really must congratulate you on
writing Kirk back in. A master
stroke.
CHRISTOF
(feigning modesty)
Since Kirk started this whole
crisis in Truman's life, I came to
the conclusion that he was the only
one who could end it.
INTERVIEWER
I understand he's hardly had a life
of his own since he left the show.
How did you convince him--was it
the opportunity to be close to
Truman again?
CHRISTOF
That and a fat, new contract.
INTERVIEWER
How do you intend to explain his
twenty- two year absence?
CHRISTOF
Amnesia.
INTERVIEWER
(impressed, nodding in
agreement)
Of course.
The Interviewer consults his note.
INTERVIEWER (CONT’D)
Let's talk ratings. "Truman" has
always enjoyed top ten status but
the huge surge over the last few
days--how do you hope to sustain
that audience now that Truman
appears to have reconciled himself?
CHRISTOF
As you know ratings have never been
our primary goal. I imagine we'll
lose those voyeurs only interested
in witnessing Truman's latest
torment.
(MORE)
CHRISTOF (CONT'D)
However, I'm certain that our core
audience will remain loyal.
INTERVIEWER
But recent events have been so
dramatic, it does raise the
perennial question. What keeps us
watching this one man twenty-four
hours a day - eating, sleeping,
working, sitting for hours in
contemplation?
CHRISTOF
It has to be the reality.
During this segment, we cut to a cross-section of VIEWERS -
the WAITRESS and BARMAN in the bar, the TWO OLD WOMEN on
their sofa, the TWO SECURITY GUARDS, and the MAN in the bath
- listening to Christof's theories on their viewing habits.
CHRISTOF (CONT’D)
We've become tired of watching
actors give us phony emotions,
bored with pyrotechnics and special
effects. While the world he
inhabits is counterfeit, there's
nothing fake about Truman himself.
No scripts, no cue cards. It's not
always Shakespeare but it's
genuine. That's how he can support
an entire channel.
INTERVIEWER
A window onto the human condition?
CHRISTOF
I prefer to think of it as a
mirror.
At that moment, Truman - still live on the screen -
unwittingly punctuates the pretentious remark with a belch.
Christof and the Interviewer try not to notice.
CHRISTOF (CONT’D)
Not only does he give us a glimpse
of the truth, he gives us a glimpse
of ourselves.
INTERVIEWER
But how do you account for the
popularity of those eight hours a
day when Truman sleeps?
CHRISTOF
We find many viewers leave him on
all night for comfort. Haven't you
ever watched your child or your
lover sleep?
INTERVIEWER
Let's go to some of those viewers'
calls.
The Interviewer presses a blinking, illuminated button on
his desk's high-tech phone terminal. During this segment,
various windows open on the screen advertising products from
the "Truman" catalogue.
INTERVIEWER (CONT’D)
Charlotte, North Carolina, for
Christof.
MALE CALLER 1 (O.S.)
Hello?
INTERVIEWER
You're on, Caller. Go ahead.
MALE CALLER 1
Christof, it's a great honor to
speak with you.
CHRISTOF
Thank you.
MALE CALLER 1
How much of a strain has the last
few days placed on the actors?
CHRISTOF
Working on "Truman" has always been
a huge commitment for an actor, not
just in terms of separation from
friends and family, but since
Truman essentially drives the plot,
it is a never-ending improvisation -
witness Marlon's extraordinary
performance in the recent "Father
And Son Reunion" episode.
INTERVIEWER
(cutting off the call)
Are we talking Emmies?
CHRISTOF
Certainly a nomination.
INTERVIEWER
Of course, Truman has always been
very much in on casting.
CHRISTOF
As with our own lives, the only
people he can't cast are his
family. Otherwise he has final
approval, able to elevate an extra
into a lead role as was the case
with his only real friend, Marlon,
or alternatively relegate a star to
a bit player.
INTERVIEWER
(presenting another line)
Istanbul, Turkey, you're on with
master videographer, Christof.
FEMALE CALLER 1 (O.S.)
Christof, I've admired your work my
whole life, although I can't say
I've seen it all.
CHRISTOF
Who can?
FEMALE CALLER 1
Can you settle an argument for me?
What's the longest time Truman has
been off-camera?
CHRISTOF
(trace of pride)
In his entire life, forty-two
minutes. A technical fault in the
twelfth season accounts for most of
that time. The remainder generally
results from blindspots, in the
early days, when Truman would stray
out of range of our cameras.
INTERVIEWER
We should remind viewers that
Truman, especially as a child,
presented a challenge for the
production.
CHRISTOF
(turning to the screen)
Let me demonstrate some examples.
Footage of TRUMAN as a baby appears on the screen - as a
newborn INFANT, held in a pair of anonymous latex-gloved
hands, and as a TODDLER, dressed in various baby outfits -
on one occasion looking through the bars of his crib.
CHRISTOF (CONT’D)
He was curious from birth -
premature by two weeks, as if he
couldn't wait to get started.
INTERVIEWER
Of course, his eagerness to leave
his mother's womb also meant he was
the one selected.
CHRISTOF
(enthusing)
In competition with five other
unwanted pregnancies - the casting
of a show determined by an air date
- he was the one who arrived on
cue.
INTERVIEWER
Who knew that a show originally
meant to last one year - "Bringing
Up Baby" - would turn into a
"cradle to grave" concept. He is
in fact the first child in the
world to be legally adopted by a
corporation.
CHRISTOF
That's correct.
INTERVIEWER
And the show now generates a yearly
income equivalent to the gross
national product of a small
country.
CHRISTOF
People forget it takes the
population of an entire country to
keep the show running.
INTERVIEWER
No, of course not.
(quickly changing the
subject)
And since the show runs 24 hours a
day with no commercial breaks the
staggering profits are all
generated from product placement.
CHRISTOF
Yes, everything you see on the show
is for sale - from the actors'
wardrobe, food products, to the
very homes they live in--
INTERVIEWER
All products carefully chosen and
tested by you for quality and
aesthetic value.
CHRISTOF
There's nothing on the show I don't
use myself.
INTERVIEWER
And it's all available in the
"Truman" Show" catalogue.
Operators are standing by.
Christof nods.
INTERVIEWER (CONT’D)
Why do you feel that Truman's never
come close to discovering the true
nature of his world?
CHRISTOF
We accept the reality of the world
with which we're presented. As the
show expanded, naturally we were
forced to manufacture ways to keep
Truman in Seahaven - demonstrating
that every venture is accompanied
by a risk.
The SEVEN-YEAR-OLD TRUMAN we have seen in other flashbacks
appears on the screen. Wearing a cowboy outfit, he goes to
cross the walkway of a bridge when he is suddenly confronted
by a savage DOG wearing a spiked collar.
CHRISTOF (CONT’D)
Later, Kirk's drowning made much of
this kind of intervention
unnecessary.
We freeze on seven-year-old Truman's terrified face.
INTERVIEWER
You've never actually met Truman,
yourself. Never thought about
doing a cameo--playing a
veterinarian, or a priest,
something like that?
CHRISTOF
I've been tempted. But I think
it's important to retain
objectivity. I wouldn't want to
get emotionally caught up.
INTERVIEWER
The Hague for Christof...The
Hague?...lost them.
(pressing another line)
Hollywood, California, you're on
"Tru Talk."
FEMALE CALLER 2 (O.S.)
How can you say he lives a life
like any other?
CHRISTOF
(sensing the thinly
disguised resentment in
the Caller's voice)
As the Bard says, "All the world's
a stage, and all the men and women
merely players." The only
difference between Truman and
ourselves is that his life is more
thoroughly documented. He is
confronted with the same obstacles
and influences that confront us
all. He plays his allotted roles
as we all do--
FEMALE CALLER 2
--He's not a performer. He's a
prisoner.
The Interviewer goes to cut off the call, but Christof stops
him.
CHRISTOF
(rising to the challenge)
And can you tell me, caller, that
you're not a player on the stage of
life - playing out your allotted
role? He can leave at any time.
If his was more than just a vague
ambition, if he were absolutely
determined to discover the truth,
there's no way we could prevent
him. I think what really
distresses you, Caller, is that
ultimately Truman prefers the
comfort of his "cell" as you call
it.
FEMALE CALLER 2
(as if trying to convince
herself, giving herself
away)
--No, you're wrong! He'll prove
you wrong! He can still do it!
The Interviewer hangs up on the caller.
Ratings
Scene 45 - The Weight of Control
In a darkly lit room, we see SYLVIA. It is she who is the
confrontational Caller - phone still in her hand.
CHRISTOF
We've learnt about life as Truman
has and, despite the complaints of
a minority, it's been an
overwhelmingly positive experience,
for Truman and for the viewing
public.
INTERVIEWER
Let's take another call.
(pressing a line)
London, England, you're on "Tru
Talk."
MALE CALLER 2 (O.S.)
Christof? Congratulations on the
way you've always handled Truman's
"sex" life - the classical music,
soft lighting and so on. But has
the recent violence caused a
problem for the show's sponsors?
CHRISTOF
The sponsors know the risks going
in, although we do try to maintain
standards - a level of decorum.
For instance, I've never put a
camera in the toilet.
Still in silhouette, SYLVIA turns down the volume on the
television. Focusing on the window on the screen that
displays TRUMAN, she comes close to the screen, catching his
melancholy, saddened by his regression.
INT. TRUMAN'S BASEMENT. MORNING.
TRUMAN breathes in the scent of Sylvia's sweater one last
time before reluctantly replacing it in the trunk, together
with his book, "To The Ends Of The Earth - The Age Of
Exploration".
For a final time, he regards his unfinished picture of
SYLVIA inside - two holes where the eyes should be. As he
does so, he finds two lost paper cuttings - a pair of eyes
on the basement floor. He tries them. Ironically they fit -
the picture completed. He closes the trunk anyway. With a
sense of finality, he fastens the lock.
INT. CONTROL ROOM. NIGHT.
The giant ON-AIR monitor in the control room plays a close-
up shot of Truman sleeping.
CHRISTOF comes close to the monitor and almost touches the
screen. As he does so, Truman twitches in his sleep.
Ratings
Scene 46 - A Glimpse of Freedom
TRUMAN wipes the mist from the mirror of the bathroom
cabinet and stares into it in a way he has never done
before.
INT. CONTROL ROOM. MORNING.
Close up on the giant ON-AIR monitor in the control room. It
displays a wide shot of Truman staring into the bathroom
mirror.
We slowly pull back to reveal SIMEON and the other VIDEO
OPERATORS sitting at the mixing desks arranged in tiers
reminiscent of an auditorium or NASA's Mission Control. Each
mixing desk contains a dozen-or-so built-in monitors and is
designed with a location such as "Truman's House -
Interior", "Truman's Office - Cubicle", "Tyrone's Deli". The
operator at each desk, sitting in a swivel chair and wearing
the slimmest of headsets, is responsible for monitoring a
particular location.
The monitors cover virtually every facet of Truman's life.
Camera angles from the interior of Truman's house, his
backyard, car, office, the deli he frequents, the seashore
to which he is drawn, the unfinished bridge where he golfs
with Marlon - many of the locations strangely devoid of
people.
Simeon, seated in the front row of mixing desks, stares back
at Truman's image on the monitor, slightly unnerved.
SIMEON
(to a nearby COLLEAGUE)
Is he looking at us?
As if to reassure the technician, Truman begins one of his
familiar monologues. He talks to the mirror as if being
interviewed.
TRUMAN
--What are my plans now? Well,
next I'm thinking of tackling the
Yuba River in an authentic canoe
from the Algonquin tribe. --I'm
talking about the north fork, a
class five rapid - only I'm not
going down the Yuba, I'm going up.
Do you honestly think for one
minute I'd go back to some dreary
office to rubber stamp meaningless
documents...do you?
MERYL (O.C.)
--Truman, you're gonna be late!
Truman sighs as he exits the bathroom.
EXT. STREET. MORNING.
TRUMAN exchanges a cheery greeting with SPENCER.
SPENCER
How are ya, Truman?
TRUMAN
Inhale...exhale...same old thing.
He waves to the WASHINGTONS across the street. He pets
PLUTO the dog.
INT. OFFICE. DAY.
Back at work at the insurance company, TRUMAN sits in his
cubicle making another of his cold calls.
TRUMAN
--a forty-two year old woman
sitting in the second row at an
amateur production of Hamlet,
Hamlet's dagger slips from his hand
and flies into the audience...
A YOUNG WOMAN, carrying a stack of files, catches Truman's
eye as she passes. VIVIAN. She is faintly reminiscent of
Sylvia at the same age - even wearing a similar sweater.
TRUMAN (CONT’D)
(returning to his call)
--what I'm saying is, life is a
fragile thing...hullo?
EXT. TRUMAN'S BACKYARD. DUSK.
TRUMAN wheels his lawnmower, deliberately averting his eyes
from the back of the house. Staring out of the kitchen
window, a tall glass of iced tea in her hand, MERYL has been
anticipating her husband's appearance. She wears a
neckbrace, we sense more as a reminder to Truman than for
any medical benefit she might derive.
Feeling Meryl's eyes burning into his back, Truman fires up
the mower and heads directly towards the symbolically uncut
section of grass. We focus on the errant blades of grass as
they are severed by the mower - a new Elk Rotary. The lawn
is now uniformly trimmed - Truman's final act of defiance
laid to rest.
Ratings
Scene 47 - Shifting Dynamics
CHRISTOF stands at a large, specially screened window,
silhouetted against the twinkling stars and full moon of a
hyper-real nightsky.
Members of the cast enter the room - principal characters in
Truman's life - MERYL, MARLON, MOTHER, KIRK, TYRONE,
LAWRENCE and the new actress, VIVIAN. They take their
places around a long, oval table for a story conference -
Vivian sitting slightly apart from the rest of the cast.
We glimpse over Christof's shoulder at what he sees - the
town of Seahaven far below, bathed in moonlight. He comes
out of his reverie and joins his cast, sitting at the head
of the table. In front of him, a TV "tablet" plays silently
- showing Truman drinking a glass of milk in his kitchen.
CHRISTOF
(to the assembled cast)
First of all, I'd like to welcome
Walter back onto the show.
(nods in Kirk's
direction)
You may have done us more of a
favor than you ever imagined.
(turning to Meryl, using
her real name)
Regrettably, I also have to inform
you that Hannah has chosen not to
renew her contract.
All eyes turn to Meryl. She looks at the floor.
CHRISTOF (CONT’D)
I'm sure we can all respect her
reasons.
Meryl receives a sympathetic squeeze of the hand from her co-
star Marlon, now out of wardrobe, wearing an Armani suit.
CHRISTOF (CONT’D)
As you all know, we have already
begun to orchestrate her break-up
from Truman.
(more up-beat)
However, on a more optimistic note,
I'm pleased to announce that
television's first on-air
conception will still take place.
You witnessed the initial contact
this morning.
(glancing to Vivien, once
again using her real
name)
You all know Claudia from her work
in theatre.
MOTHER
I loved your Ophelia.
CLAUDIA
Why thank you.
The rest of the cast nod politely in Claudia's direction.
CHLOE passes out a bound document to each cast member.
CHRISTOF
(referring to the
documents)
This is a copy of Claudia's back
story. Her character's name is
"Vivien".
The cast idly flips through the documents, prominently
stamped on the cover, "NOT TO BE TAKEN ON SET".
CHRISTOF (CONT’D)
We intend to entice Truman into the
affair as soon as possible.
Claudia will make a pass at the
insurance seminar Truman's
attending. Details are in your
schedules.
(pause for effect)
I don't have to tell you how
critical the next few weeks will
be. This takes us into the next
generation. When Truman's child is
born, the network will be switching
to a two-channel format to
chronicle both lives.
CLAUDIA
What happens when Truman and the
baby are both on camera together?
CHRISTOF
This will simply be duplicate
coverage.
CLAUDIA
(mischievous)
Let's just hope we don't have
twins.
MARLON
(uncharacteristically
flippant)
When Truman dies do we go back to
the single channel?
The cast turn in his direction. Christof shoots him a
disapproving look.
INT. TRUMAN'S BASEMENT. NIGHT.
TRUMAN sleeps on a cot bed in his basement - more cluttered
than usual. A virtual bombsite - dozens of cardboard boxes
stacked everywhere. Although he is covered in bedding, his
sock-clad feet stick out of the bed covers. The outline of
his body is still clearly visible. He snores quietly.
INT. VARIOUS VIEWER LOCATIONS. NIGHT.
The TWO OLD LADIES have nodded off on their sofa in front of
the television, their breathing and occasional snores echo
those of Truman.
In the BAR, the WAITRESS - normally an avid viewer - only
idly glances to the screen as she passes with a tray of
drinks.
The MAN in the bath resignedly lets the water out of the tub
and goes to get out.
The MOTHER only occasionally glances to the screen as she
feeds her BABY. Her DAUGHTER has her eyes closed, bopping
to her Walkman.
Ratings
Scene 48 - Silent Distress
SIMEON sits at his control desk, directing the "night-
shift". He pays scant attention to the big screen, giving
his instructions in a lethargic, metronomic manner.
SIMEON
...Ready two. Go to two.
An OPERATOR, eating a slice of pizza, presses one of the
illuminated buttons on the panel and the camera angle
changes to a close shot of Truman's covered head. The
camera stays on the blanketed head for a long moment.
SIMEON (CONT’D)
And back to the medium...
Another button is pressed and the angle changed. A trace of
frustration is evident in the control room. Recording a
sleeping subject is unrewarding enough without also having
to contend with Truman's recently acquired camera-shyness.
SIMEON (CONT’D)
...and wide...
OPERATOR
(aside to Simeon)
What a loser.
SIMEON
Who cares? Makes life easier for
us. He is what he is.
At the far end of the control room, one of the large double
doors opens and CHRISTOF enters, dressed in a smoking
jacket. Simeon and the Operators subtly straighten in their
chairs. Christof pretends not to notice. He is staring
intently at the ON-AIR monitor.
CHRISTOF
Why is he in the basement?
SIMEON
He moved down there after Meryl
packed up and left.
CHRISTOF
Why wasn't I told? Any
unpredictable behavior has to be
reported.
(returning to the screen)
Is that the best shot we can get?
SIMEON
What's to see?
CHRISTOF
What's on the ClockCam?
The operator punches up the camera hidden inside a broken
cuckoo clock. A box obscures the view.
OPERATOR
There's an obstruction.
Christof watches Truman, a trace of concern in his eyes.
CHLOE enters.
CHRISTOF
(referring to the debris
in Truman's basement)
What happened down there?
SIMEON
He was tidying up his garbage.
(sensing Christof's
concern)
I was going to call you. But half-
way through, he gave up and fell
asleep.
Apparently satisfied, Christof turns to an Operator.
CHRISTOF
I want to check the set-ups for
tomorrow's insurance convention.
Reading off the notes in Chloe's folder, the Operator
punches up a batch of camera angles on smaller preview
monitors. They show a generic-looking hotel, devoid of
actors. A banner in reception reads, "Welcome Seahaven Life
and Accident".
The Operator looks to Christof for approval and realizes his
producer's attention has wandered. Christof has wandered
down to the front of the room to stand beside the giant ON-
AIR monitor still displaying the sleeping figure of Truman.
CHRISTOF (CONT’D)
Give me a shot from Truman's ring.
SIMEON
He gave it back to his father.
Christof nods.
CHRISTOF
(a trace of concern)
Why is he so still?
Christof picks up a spare headset from the panel and puts it
to his ear.
CHRISTOF (CONT’D)
Isolate the audio.
An Operator pushes up an audio fader on the panel. Christof
and his colleagues listen to Truman's steady breathing in
their headphones.
SIMEON
(shrugs)
He's still breathing.
Simeon and the Operators nod, reassured that nothing is
amiss. Christof is not so easily convinced.
CHRISTOF
Give me a preview. An ECU on his
torso.
A camera hidden in the room's lamp zooms in to Truman's
prone outline. While the breathing remains steady, the body
does not rise and fall. Christof, still listening to his
headphones, detects a faint scratching sound followed by a
strange thud.
CHRISTOF (CONT’D)
(anxious, barking a
command to Chloe)
Phone him.
Chloe picks up a phone connected to the desk and dials.
CHRISTOF (CONT’D)
(anticipating Chloe's
question)
Tell him it's a wrong number.
The upstairs phone begins to ring. Truman doesn't flinch.
Ratings
Scene 49 - The Decoy Discovery
The TWO SECURITY GUARDS are intrigued by Truman's unanswered
phone on their television set.
INT. CONTROL ROOM. NIGHT.
CHRISTOF and SIMEON concentrate on another, separate monitor
playing in fast-rewind, time code in the bottom right-hand
corner. It is a recording of the night's transmission.
Simeon pauses on the last on-camera appearance by Truman.
They watch Truman, on-screen, switch off the basement light
and climb into the cot bed fully clothed, immediately
pulling the covers over his head.
As the light is switched off, the recording camera
automatically switches to night vision. Simeon continues to
play at normal speed, now and then scrolling forward in fast-
forward mode. Christof suddenly points to screen.
CHRISTOF
There. Freeze...Zoom into the
chair...
Simeon types the appropriate command.
CHRISTOF (CONT’D)
Enhance...there!
On the blown-up screen, between a cardboard box and a chair
leg, it is barely possible to make out Truman's hand as he
crawls commando-style from beneath the covers and behind a
cardboard box near the large tool cupboard.
Simeon points out an angle of the empty staircase.
SIMEON
He hasn't gone up the stairs. He's
still in the room.
EXT. TRUMAN'S HOUSE. NIGHT.
MARLON's car squeals to a halt outside Truman's house.
Hurriedly dressed in jeans and coat over a bare chest, he
dashes barefoot up the porch to the front door. He tries
the doorhandle, pounds on the door and rings the doorbell
simultaneously, shouting Truman's name all the while.
MARLON
Tru!..Tru!..Earthquake
alert...flood! We've gotta get
outside onto the street! Tru?!
Frustrated, Marlon picks up one of Meryl's carefully
nurtured flower pots from beneath the porch window.
MARLON (CONT’D)
(shouting a warning)
I'm coming in, Tru!
Marlon hurls the flower pot through the window.
INT. TRUMAN'S HOUSE - BASEMENT. NIGHT.
MARLON switches on the light and clambers down the wooden
stairs to the basement.
He pushes away the clutter and finally stands at his co-
star's bedside. He gingerly lifts the covers.
Beneath the bedding, clothes have been carefully piled to
resemble a sleeping figure - socks placed on the end of two
tree branches.
Buried amongst the clothes is Truman's portable tape
recorder. Marlon places the recorder next to his ear. The
cassette plays the sound of TRUMAN BREATHING.
Ratings
Scene 50 - The Search for Truman
CHRISTOF stares, wide-eyed, at the image on the On-Air
monitor of MARLON.
CHRISTOF
Find him, Marlon!
INT. BASEMENT. NIGHT.
MARLON starts frantically pushing aside the clutter, sending
Truman's model ships and other hobbies crashing to the
floor. Eliminating all over possible hiding places, he
confronts Truman's tool closet, the wall map of the Fiji
Islands still hanging on the door. Marlon rips open the
door and is hit with a shaft of light - moonlight.
The top of the closet has been removed and a crude tunnel
containing a ladder heads almost directly upwards to the
outside of the house. The bottom of the closet is ankle
deep with dirt. Embedded in the tunnel wall is Meryl's
Chef's Mate - Truman's digging implement.
EXT. TRUMAN'S HOUSE. NIGHT.
MARLON's head pops up outside the house. Unable to help
himself, Marlon looks directly into a wide shot camera
concealed in a streetlight.
INT. CONTROL ROOM. NIGHT.
CHRISTOF
Marlon, don't look at the camera!
Say something!
MARLON
(to streetlight, stunned,
breaking the fourth wall)
What? He's gone!
CHRISTOF
(to Simeon, quiet but
firm)
Cut transmission.
Simeon hesitates, unsure if he has heard correctly. He
looks to Christof for confirmation, his finger poised over
an "EMERGENCY" button.
CHRISTOF (CONT’D)
(enraged)
I said, "Cut!"
Christof lunges forward and presses the button himself. The
scene in Truman's bedroom playing on the on-air monitor is
abruptly replaced by the "TRUMAN" logo and the message,
"TECHNICAL FAULT. PLEASE STAND BY."
INT. A LIVING ROOM SOMEWHERE. NIGHT.
The TWO OLD WOMEN on the sofa are stunned to see their TV
screen go blank.
INT. A BAR SOMEWHERE. NIGHT.
HEADS also turn in the bar permanently tuned to the "Truman"
channel.
INT. AN APARTMENT SOMEWHERE. NIGHT.
The other loyal viewer transfixed by the test card is
SYLVIA, alone in her darkened apartment.
INT. CONTROL ROOM. NIGHT.
Reminiscent of a military headquarters in wartime, the
control room is a scene of barely controlled panic.
SECURITY GUARDS come and go, phones ring, lights flash,
every available VIDEO MIXER is working. The monitors - the
"eyes" of the searchers - are systematically scrutinized for
any sign of Truman. CHRISTOF orchestrates operations from
his position at the center of the control panel.
SIMEON
(nervous)
We've declared a curfew. Everyone
else is at first positions.
CHRISTOF
All prop cars accounted for?
SIMEON
He has to be on foot. He has the
world's most recognizable face. He
can't disappear.
Ratings
Scene 51 - The Manhunt in Seahaven
We pan down one empty street after another. The town center
is totally, eerily deserted. Suddenly, a line of PEOPLE
comes around the corner, fanned out cross the street - a man-
hunt.
PEOPLE of every description, shoulder to shoulder, marching
down the otherwise empty streets the way a search is
conducted at a crime scene. The lines include PRINCIPALS
and EXTRAS lined arm and arm, wardrobed for their usual
roles as EXECUTIVES and SECRETARIES, STORE CLERKS,
TELEPHONISTS, MAINTENANCE and CONSTRUCTION WORKERS, WAITERS
and WAITRESSES,
COOKS, SHOPPERS, HEALTH WORKERS, SECURITY GUARDS, POSTAL
WORKERS, POLICE OFFICERS, FIRE FIGHTERS and HOMELESS PEOPLE.
We occasionally glimpse Truman's friends and colleagues
amongst the searchers - MARLON, LAWRENCE, MOTHER & KIRK,
VIVIEN and TYRONE. Even the WASHINGTON's and SPENCER and
PLUTO have joined the search - a snarling Pluto straining at
the leash has now assumed the role of tracker dog - Truman's
pajamas waved in front of his nose (clearly miscast as the
friendly, neighborhood pooch).
Searchlights from Seahaven's many towers sweep the town.
Once, the light falls on a blackened face cowering in the
bushes beside a picket fence - the fence now faintly
reminiscent of prison bars. Even the beam of the full moon
appears to be sweeping the town like a searchlight.
EXT. BRIDGE. NIGHT.
Barriers have been erected at the bridge leading out of
Seahaven, guarded by several Seahaven police cars.
An extra dressed as a DERELICT wheels his shopping cart
toward the bridge.
The derelict takes a look along the walkway alongside the
bridge as if participating in the search. He finds a POLICE
OFFICER standing on the walkway.
POLICE OFFICER
Any sign of him?
DERELICT
(gravelly voice)
Not yet.
POLICE OFFICER
Take it easy.
INT. CONTROL ROOM. NIGHT.
A VIDEO OPERATOR in the sixth row watches the scene on one
of his monitors - the derelict standing with his back to
camera. Just as the derelict turns toward camera the
Operator turns away to take a sip of coffee. He misses what
we see on his monitor - the derelict's blackened face
belongs to TRUMAN.
EXT. BRIDGE. NIGHT.
The disguised TRUMAN heads back to town.
INT. CONTROL ROOM. NIGHT.
CHRISTOF turns to a LIGHTING TECHNICIAN.
CHRISTOF
We need more light.
Ratings
Scene 52 - The Search for Truman
A building-to-building, floor-to-floor, office-to-office
search is also being conducted, each structure secured as
they go - the SEARCHERS paying special attention to
potential blind spots such as closets, dumpsters, manholes,
sewers, car trunks, trees and shrubbery.
We focus on one of the waves of searchers. TRUMAN has
linked arms in the middle of a row, his disguise still
holding up.
INT. CONTROL ROOM. NIGHT.
CHRISTOF glances impatiently at his watch.
CHRISTOF
We'll never find him like this.
What time is it?
CHLOE
(anticipating the
request)
It's too early.
CHRISTOF
It doesn't matter. Cue the sun.
EXT. STREETS. NIGHT/DAY.
The sun instantly rises over Seahaven. CAST and EXTRAS
shade their eyes from the sudden glare.
INT. CONTROL ROOM. NIGHT.
While his COLLEAGUES monitor the bank of screens, CHRISTOF
has been joined by the two anxious studio executives, MOSES
and ROMAN.
MOSES
(to Christof who is still
studying the faces in a
row of SEARCHERS)
Rumors are circulating he's dead.
The media is in a feeding frenzy.
The phone lines are jammed. Every
network has a pirated shot of
Marlon in the closet.
ROMAN
(pacing nervously)
The sponsors are threatening to rip
up their contracts.
CHRISTOF
(unconcerned, referring
to the static "STAND BY"
graphic, now accompanied
by soothing classical
music)
Why? We're getting higher ratings
for that graphic than any time in
the show's history.
Ratings
Scene 53 - The Leap into the Unknown
The television above the bar carries the test card. PATRONS
animatedly discuss Truman's fate over their drinks. Some
place bets with each other on Truman's fate.
EXT. ELECTRONICS STORE. NIGHT.
A CROWD of passersby hover around a display of televisions
in the window of an electronics store, awaiting
developments.
INT. CONTROL ROOM. NIGHT.
The fan of EXTRAS reaches the harbor and automatically turns
to make another sweep.
CHLOE
(referring to the empty
streets)
When we flush him out how do we
explain this?
CHRISTOF
(deadpan)
We tell him the truth.
CHLOE looks askance at CHRISTOF.
CHRISTOF
(joking darkly)
We're making a movie.
EXT. HARBORSIDE. DAY.
However, as he bypasses the entrance to a ticket box, he
hasn't bargained on coming face to face with another
straggler from the search.
MARLON. Truman freezes in front of his childhood companion -
Marlon instantly seeing through Truman's homeless disguise.
Truman glances nervously in the direction of the searchers.
Their backs to the two men, they are beginning their next
sweep. One shout from Marlon will give Truman away - he is
at Marlon's mercy.
Without a word, Marlon walks past Truman and rejoins the
search.
Truman glances back to Marlon's retreating figure but Marlon
never looks back.
EXT. DOCKSIDE. DAY.
TRUMAN reaches the edge of the dock. He looks out over the
bay. There, riding at anchor some two hundred yards out, is
a sail boat - the same boat that circled Kirk and Truman's
sail boat many years earlier.
We see a close-up of Truman's terrified eyes in his
blackened face, staring down at the lapping water. He
steels himself, shuts out the doubts and dives into the
water.
Ratings
Scene 54 - The Pursuit of Freedom
SIMEON
(hopeful)
I'm sure we'll get him on this next
sweep.
CHRISTOF
(distracted)
What have we missed?
SIMEON
It's just a matter of time.
CHRISTOF concentrates on a monitor displaying a view of the
harbor.
CHRISTOF
(to Simeon)
We're not watching the sea.
SIMEON
(confused)
Why would we--
CHRISTOF
Sweep the harbor.
His COLLEAGUES begin to flick through dozens of waterborne
hidden camera shots - in moored craft, lighthouses and buoys
- trying to locate Truman.
Suddenly on one of the monitors there appears a single sail
etched against the horizon.
SIMEON
That's got to be him!
ROMAN
How can he sail?! He's in
insurance!
CHRISTOF
Resume transmission.
Simeon punches a button and the image of the sail boat is
instantly transferred to the large ON-AIR monitor.
INT. OLD WOMEN'S APARTMENT. NIGHT.
The TWO OLD WOMEN doze against each other on the sofa in
front of the TV.
The classical music on the television is abruptly replaced
by the sound of the wind and the sea. One Old Lady blinks
her eyes open, her breath taken away by the sight of Truman
at the wheel of the sail boat. She rouses her companion.
INT. CONTROL ROOM. NIGHT.
CHRISTOF
(staring intently at the
ON-AIR monitor)
What do we have on that boat?
SIMEON scans a computer shot list. He types in a code.
A camera from the mast of Truman's sail boat activates.
Truman, unaware of the camera, is concentrating on his
sailing.
EXT. HARBOR. DAY.
By now the ocean spray has washed most of the dirt from
TRUMAN's face - only a residue remains. The rags he wears
are soaked.
As he steers, he occasionally refers to a "HOW TO SAIL" book
from his coat pocket.
INT. A BATHROOM SOMEWHERE. NIGHT.
The MAN in the bath we have seen earlier continues to watch
from his tub.
MAN
(to himself)
I knew he wasn't dead.
EXT. HARBOR. DAY.
TRUMAN is at the wheel of the sail boat, wind filling her
sails.
Seahaven left far behind, his is the only craft afloat in
the harbor. He sets a course for the open sea as he and his
father did long ago.
INT. CONTROL ROOM. NIGHT.
CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a
buoy's POV as he sails by.
CHRISTOF
Get another boat.
CHLOE
The ferry.
Ratings
Scene 55 - Into the Storm
A PRODUCTION ASSISTANT runs down the dock towards the FERRY
CAPTAIN and his CREW.
PRODUCTION ASSISTANT
Get that boat out there!
FERRY CAPTAIN
(who also played the bus
driver)
I don't know how. We were just
told to put on these clothes.
EXT. HARBOR. DAY.
The sea choppier now, rising and falling steeply beneath his
boat, TRUMAN nears a large buoy bobbing clumsily in the
strong swell. An official-looking sign on the buoy reads -
"DANGEROUS WATERS. DO NOT ENTER." We see an extreme close
up of the nautical signpost where a disguised miniature
camera tracks Truman's progress.
INT. CONTROL ROOM. NIGHT.
ROMAN
(anxious)
How do we stop him?
CHRISTOF
(glancing to Simeon)
How else?
Christof nods to controls on the mixing desk marked, "WIND"
and "RAIN".
EXT. HARBOR. DAY.
Storm clouds roll towards TRUMAN's boat at an alarming
speed. He looks back towards the Seahaven skyline, rapidly
receding behind him. Doubts invade Truman's head but he
shuts them out and steers into the teeth of the storm - a
look of resolve in his eyes we have never witnessed before.
INT. CONTROL ROOM. NIGHT.
MOSES and ROMAN pace at the back of the control room.
CHRISTOF is focused on his monitor. Like Truman, he steels
himself for a fight.
CHRISTOF
Cue music...
SIMEON
(hesitant)
What music?
CHRISTOF
(irritated)
Storm music...Wagner...
CHLOE
(watching the monitor)
There's no rescue boat in the area.
He won't know what to do.
MOSES
(trying to appeal to
Christof's sense of
reason)
For God's sake, Chris. The whole
world is watching. We can't let
him die in front of a live
audience.
CHRISTOF
He was born in front of a live
audience.
(never taking his eyes
from the screen)
Don't worry, he's not willing to
risk his life. His doubts will
turn him back.
Simeon reluctantly winds the controls for "WAVE", "WIND" and
"RAIN" towards their maximum settings.
CHRISTOF (CONT’D)
Kill the lights.
Ratings
Scene 56 - Tempest of Control
Darkness suddenly descends. High winds and horizontal
driving rain buffet the boat. TRUMAN fights the tiller.
Hurricane force winds shake the mast and keel, ripping the
sails to shreds.
Suddenly, the mast of Truman's boat is struck by a bolt of
lightning - snapping the rigging and knocking Truman
overboard. Flailing in the tempest, Truman manages to grab
hold of a trailing rope from the mast and hand-over-hand
drags himself back on board. Truman takes the rope and
lashes himself to the wheel.
Monstrous waves continually submerge the boat. With what
little is left of his rigging, Truman continues to head into
the gale.
TRUMAN
(shouting above the
storm, screaming up to
the sky)
Come on, is that the best you can
do? You're gonna have to kill me!
INT. CONTROL ROOM. NIGHT.
In contrast to his panic-stricken COLLEAGUES, CHRISTOF gives
an outward appearance of calm. Only we witness the minute
bead of sweat appearing at his temple that betrays him.
SIMEON
(shocked at the sight of
Truman binding himself to
the boat)
Is he out of his mind?
MOSES
(to Christof)
On behalf of the studio, I demand
that you cease transmission.
CHRISTOF
(defiant, to Operators)
Keep running!
MOSES
--That's not for you to say.
CHRISTOF
I take full responsibility--
MOSES
--I'm telling you for the last
time.
CHRISTOF
(to OPERATOR in front of
radar-style-screen)
How close is he?
OPERATOR
Very close.
CHRISTOF
Capsize him! Tip him over!
MOSES
(overlapping)
For God's sake, Christof!
CHLOE
(unable to contain
herself any longer,
entreating Christof)
You can't! He's tied himself to
the boat. He'll drown!
SIMEON
(staring at Truman on the
monitor, becoming
affected by his display
of courage)
He doesn't care.
CHRISTOF
(enraged, to the
Operator)
Do it!
All eyes turn in Christof's direction. None of the
Operators is willing to touch the controls.
Christof reaches to the panel and does it himself, turning
the "WAVE" controls to their maximum settings.
Ratings
Scene 57 - The Storm and the Revelation
A series of giant breakers march in formation across the sea
- arising from an unseen source.
EXT. OCEAN. DAY.
The waves break across Truman's vessel. TRUMAN appears to
be losing his fight against the storm, each successive wave
taking its roll on his body, sapping his strength, his
bindings the only thing keeping him upright. His head
slumps, the tiller goes loose in his grasp, rocking out of
control. Truman's will is draining away.
INT. CONTROL ROOM. NIGHT.
The control room CREW watch the heroic image of Truman on
the ON-AIR monitor, awestruck, as if they too are now
spectators watching a movie.
EXT. OCEAN. DAY.
As he is about to be overcome by the next wave, TRUMAN
clamps the wheel with his whole body and braces for one last
wave.
But the wave does not come. A strange phenomenon is
occurring in the ocean. A distinct division has appeared in
the ocean swell. Between the large rolling waves lies a
corridor of calmer water, several hundred yards wide, a
curious escape lane. The wind and the rain are also
subsiding, the darkness lifting. A mist clings to the
surface of the water. Truman steers his sail boat down the
eerie corridor.
Several large, dark shapes emerge on the horizon. Land?
Islands? The shapes, containing some enormous mechanism
including a huge wheel, only half exposed above water level,
appear to be the source of the peculiar wave formations.
Truman continues to steer his wrecked sailboat towards the
infinitely receding horizon. All is calm until we see the
bow of the boat suddenly strike a huge, blue wall, knocking
Truman off his feet. Truman recovers and clambers across
the deck to the bow of the boat. Looming above him out of
the sea is a cyclorama of colossal dimensions. The sky he
has been sailing towards is nothing but a painted backdrop.
Truman looks upward, straining his eyes to see the top of
the sky, but it curves away at a steep angle beyond his
sight.
Clinging to the boat with one hand, he tentatively reaches
out towards the painted cyclorama. He touches the sky.
He looks about him and simply laughs.
Ratings
Scene 58 - The Revelation of Reality
CHRISTOF and his PRODUCTION STAFF take in Truman's reaction
in stunned silence.
INT/EXT. BARROOM/LAUNDROMAT/STOREFRONT/APARTMENT. NIGHT.
Truman's laugh echoes around bars, offices, shops, homes and
streets - wherever a television is to be found - no VIEWER
speaks. They too are stunned into a hushed expectancy. The
collective audience holds its breath.
EXT. OCEAN/CYCLORAMA. DAY.
As the boat drifts alongside the seemingly never-ending
curve of the cyclorama, TRUMAN's attention is drawn to an
outline in the otherwise flawless backdrop. He retrieves
the identikit picture of Sylvia from his coat pocket and
clambers to the prow of the boat.
There, camouflaged in the painted skyscape just above the
water line, is a door. Truman grabs hold of the recessed
doorhandle and halts the drifting boat. He stands in front
of the door and closes his eyes in a silent prayer.
INT. CONTROL ROOM. NIGHT.
The control room CREW stare in silence at the monitor -
their very livelihood on the brink of vanishing. CHRISTOF
opens a small panel on his desk, breaks a seal, and speaks
into the emergency P.A. system that is linked to the entire
studio.
CHRISTOF
Truman!
INT/EXT. OCEAN/CYCLORAMA. DAY.
CHRISTOF's voice booms over the now calm ocean.
CHRISTOF
Truman!
TRUMAN drops the handle as if his hand has been burned. He
looks all about him.
CHRISTOF (O.C.) (CONT’D)
You can speak. I can hear you.
Truman takes a moment to overcome his fear and astonishment.
TRUMAN
Who are you?
CHRISTOF
I'm the creator.
Truman looks up to the "heavens".
TRUMAN
The creator of what?
CHRISTOF (O.C.)
A show - that gives hope and joy
and inspiration to millions.
TRUMAN
(incredulous)
A show. Then who am I?
CHRISTOF (O.C.)
You're the star.
Truman struggles to take it all in.
TRUMAN
Nothing was real.
CHRISTOF
You were real. That's what made
you you so good to watch.
Truman takes out the drenched picture of Sylvia, recalling
her words at the beach.
TRUMAN
(to himself)
"The eyes are everywhere."
Ratings
Scene 59 - The Struggle for Freedom
CHRISTOF picks up a slim, flat monitor. He swivels in his
chair and gazes intently at the image of Truman he now holds
in his hands.
CHRISTOF
Listen to me, Truman--
On the screen, Truman again reaches for the door handle.
EXT. CYCLORAMA. DAY.
We focus on TRUMAN's hand. CHRISTOF's voice echoes across
the water.
CHRISTOF
You can leave if you want. I won't
try to stop you. But you won't
survive out there. You don't know
what to do, where to go.
A wave of doubt washes over Truman's face.
TRUMAN
(referring to the photo)
I have a map.
CHRISTOF
Truman, I've watched you your whole
life. I saw you take your first
step, your first word, your first
kiss. I know you better than you
know yourself. You're not going to
walk out that door--
TRUMAN
--You never had a camera in my
head.
INT/EXT. VARIOUS LOCATIONS. NIGHT.
The VIEWERS stare into camera in fascination.
INT. CONTROL ROOM. NIGHT.
TRUMAN turns back to the sky, looking up towards CHRISTOF.
CHRISTOF
Truman, there's no more truth out
there than in the world I created
for you - the same lies and deceit.
But in my world you have nothing to
fear.
Truman seems to be considering the possibilities. He looks
to the identikit picture of Sylvia in his hand.
CHRISTOF (CONT’D)
(suddenly angry)
Say something, damn it! You're
still on camera, live to the
world...!
Ratings
Scene 60 - Truman's Farewell: A Triumph of Freedom
SYLVIA gazes at the picture of herself on her television
screen as if it is her reflection in the mirror.
EXT. CYCLORAMA. DAY.
TRUMAN hesitates. Perhaps he cannot go through with it
after all. The camera slowly zooms into Truman's face.
TRUMAN
In case I don't see you--good
afternoon, good evening and good
night.
He steps through the door and is gone. Silence. Then -
INT/EXT. VIEWERS. NIGHT.
Spontaneous jubilation from VIEWERS in their various
locations - bars, homes and offices. We follow the figure
of SYLVIA, running through the streets. Some of the viewers
outside an electronics store glimpse her as she runs by.
INT. CONTROL ROOM. NIGHT.
Even the cynical SIMEON jumps out of his seat - for the
first time in the film - and lets out a joyous whoop,
forgetting himself for a moment, caught up in the drama.
SIMEON
Yes!
Self-conscious, he takes his seat again almost immediately.
His COLLEAGUES are transfixed by the live ON-AIR monitor
continuing to play its only available shot, the open door in
the sky.
Gradually, the attention of those in the control room shifts
from the monitor to CHRISTOF. He sits slumped, staring at
the open door in the sky.
Eventually MOSES looks to Simeon. Moses nods to the "ON
AIR" button. Simeon presses the button and the screen - the
movie screen - goes to static.
MONTAGE/END TITLES.
Highlights from "Truman - Total Record of a Human Life"
begin
to play.
FADE OUT
Ratings
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| truman | Truman's character arc begins with him living a seemingly idyllic life, unaware of the artificiality surrounding him. As he encounters various events that spark his curiosity, he transitions into a state of confusion and paranoia, questioning the authenticity of his reality. This internal conflict drives him to seek the truth, leading to moments of emotional vulnerability and introspection. Throughout the screenplay, Truman's determination grows as he confronts his fears and challenges the control exerted over his life. His journey culminates in a moment of empowerment, where he embraces his desire for freedom and authenticity, ultimately breaking free from the constraints of his constructed world. By the end, Truman emerges as a courageous individual who has reconciled his past traumas and embraced his true self. | While Truman's character arc is compelling and showcases significant growth, it could benefit from deeper exploration of his internal struggles and motivations. The screenplay presents a clear trajectory from ignorance to awareness, but some moments of emotional depth may feel rushed or underdeveloped. Additionally, the portrayal of his relationships, particularly with Meryl and Marlon, could be expanded to provide more context for his emotional conflicts and enhance the stakes of his journey. The balance between humor and seriousness is well-executed, but there are instances where the humor may detract from the gravity of his situation, potentially undermining the emotional impact of key scenes. | To improve Truman's character arc, consider incorporating more flashbacks or dream sequences that delve into his past traumas and aspirations, providing a richer context for his motivations. Expanding the emotional complexity of his relationships with Meryl and Marlon could also enhance the narrative, allowing for more poignant moments of conflict and resolution. Additionally, maintaining a consistent tone that balances humor with the seriousness of his journey will help to reinforce the emotional stakes. Introducing more moments of vulnerability and introspection throughout the screenplay can deepen the audience's connection to Truman, making his eventual transformation more impactful. Finally, consider adding a mentor or guiding figure who helps Truman navigate his journey, providing a contrasting perspective that highlights his growth. |
| meryl | Meryl's character arc begins with her as a seemingly supportive wife, embodying societal norms and expectations. As Truman's restlessness grows, Meryl's facade begins to crack, revealing her internal conflict between her desire for stability and her awareness of the manipulation at play in their lives. Throughout the screenplay, she oscillates between moments of genuine concern for Truman's well-being and her instinct to maintain control over their situation. As the climax approaches, Meryl's anxiety escalates, forcing her to confront the reality of her role in Truman's life and the deception surrounding them. By the end of the feature, Meryl must make a choice: to continue supporting the illusion or to embrace the uncertainty of a more authentic relationship with Truman, ultimately leading to a moment of self-realization and growth. | Meryl's character arc is intriguing but could benefit from deeper exploration of her motivations and internal struggles. While her duality of care and manipulation is established, the screenplay may not fully delve into the reasons behind her actions. This lack of depth can make her character feel somewhat one-dimensional at times, as her motivations may not resonate strongly with the audience. Additionally, her transformation from a supportive wife to a conflicted character could be more gradual and nuanced, allowing for a more impactful emotional journey. | To improve Meryl's character arc, consider incorporating more backstory that reveals her past experiences and the pressures she faces, which could explain her need for control and stability. Adding scenes that showcase her internal conflict—such as moments of doubt or vulnerability—could create a more relatable and empathetic character. Furthermore, allowing Meryl to have her own moments of agency and decision-making, rather than solely reacting to Truman's actions, would enhance her character development. Finally, exploring her relationships with other characters could provide additional layers to her motivations and choices, making her arc more compelling and resonant. |
| marlon | Marlon's character arc begins with him as a confident and ambitious friend, supportive of Truman's dreams. As the story progresses, he becomes more skeptical and content with his stable life, contrasting Truman's desire for change. This skepticism evolves into concern as he witnesses Truman's struggles, leading him to reflect on his own choices. By the climax, Marlon is faced with a moral dilemma when he discovers Truman's disguise, forcing him to confront his loyalty and the implications of the show's manipulations. Ultimately, Marlon chooses to support Truman, solidifying their bond and showcasing his growth from a carefree friend to a loyal ally who understands the complexities of their reality. | Marlon's character arc is compelling but could benefit from more depth in his internal conflict. While he transitions from skepticism to loyalty, the motivations behind his change could be explored further. The screenplay could delve deeper into Marlon's backstory, revealing what drives his initial contentment with routine and how it contrasts with Truman's ambitions. Additionally, his emotional reactions during Truman's disappearance could be heightened to emphasize the stakes of their friendship and the impact of the show's manipulations on his character. | To improve Marlon's character arc, consider incorporating flashbacks or dialogue that reveals his past aspirations and the reasons for his current contentment. This would provide a richer context for his skepticism and eventual support of Truman. Additionally, adding moments where Marlon grapples with his own desires versus his loyalty to Truman could create a more dynamic internal conflict. Finally, enhancing the emotional weight of his reactions during critical scenes, such as Truman's disappearance, would strengthen the audience's connection to his character and highlight the stakes of their friendship. |
| sylvia | Sylvia's character arc begins with her as a mysterious figure who introduces Truman to the idea of a constructed reality, igniting his quest for truth. As the narrative progresses, she becomes increasingly consumed by her own emotions, reflecting on her past with Truman and the choices that led her to this point. Her internal conflict intensifies as she grapples with the implications of her actions and the impact they have on Truman's life. Ultimately, Sylvia evolves from a distant observer to an active participant in Truman's journey, confronting her own fears and regrets. By the climax, she must make a pivotal choice: to fully reveal herself and help Truman escape his fabricated world or remain in the shadows, haunted by her past. This decision marks her transformation from a passive figure to one who takes agency in her life and in Truman's fate. | While Sylvia's character is rich and complex, her arc could benefit from clearer motivations and a more defined role in the narrative. At times, her emotional depth feels underexplored, and her actions may come across as ambiguous, which could lead to audience confusion regarding her intentions. Additionally, her relationship with Truman, while central to the story, could be developed further to enhance the emotional stakes and provide a more satisfying resolution to her character's journey. | To improve Sylvia's character arc, consider providing more backstory that explains her motivations and the reasons behind her cryptic warnings. This could involve flashbacks or dialogue that reveals her past experiences and the emotional weight she carries. Additionally, enhancing her interactions with Truman throughout the screenplay can create a stronger emotional connection, allowing the audience to invest more in her journey. Finally, ensure that her ultimate decision at the climax is not only impactful but also resonates with her character development, showcasing her growth and the lessons she has learned throughout the story. |
| christof | Christof begins as a confident and controlling figure, fully immersed in the success of 'The Truman Show' and oblivious to the ethical implications of his manipulation. As the story progresses, his control is challenged by Truman's growing awareness and desire for freedom. Christof's obsession with maintaining the show's narrative leads him to make increasingly desperate decisions, culminating in a storm that tests Truman's resolve. In the climax, when Truman confronts him and the truth is revealed, Christof's facade begins to crack, exposing his vulnerability and the moral conflict within him. By the end of the screenplay, Christof is left to confront the consequences of his actions, ultimately realizing that his desire for control has led to the very thing he feared: the loss of his creation. | While Christof's character is well-developed as a manipulative and controlling figure, his arc could benefit from deeper exploration of his motivations and internal conflicts. The screenplay presents him primarily as an antagonist, but it lacks moments that humanize him or provide insight into his backstory. This one-dimensional portrayal may limit audience empathy and understanding of his character's complexity. Additionally, the transition from a confident creator to a conflicted individual could be more gradual, allowing for a more nuanced portrayal of his descent into desperation. | To improve Christof's character arc, consider incorporating flashbacks or dialogue that reveals his past experiences and motivations for creating 'The Truman Show.' This could provide context for his obsession with control and ratings, making him a more relatable character. Additionally, moments of doubt or reflection throughout the screenplay could help illustrate his internal struggle, allowing the audience to witness his gradual realization of the ethical implications of his actions. Finally, a more gradual shift in his demeanor, showcasing small cracks in his confidence leading up to the climax, could enhance the emotional impact of his character's journey. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| High Emotional Impact and Reflective Tone | Scenes with a reflective tone tend to have higher emotional impact scores. For example, scenes 11, 18, and 39 all exhibit reflective tones and score high in emotional impact, suggesting that the author effectively uses reflection to evoke strong emotions. |
| Tension and High Stakes | Scenes that are tense often correlate with high stakes. For instance, scenes 9, 17, and 50 have both high tension and high stakes scores, indicating that the author successfully creates a sense of urgency and danger in these moments. |
| Character Changes and Emotional Impact | Scenes that feature significant character changes tend to have higher emotional impact scores. For example, scenes 3, 9, and 56 show notable character development and also score high in emotional impact, suggesting that character evolution is a key driver of emotional engagement. |
| Dialogue Quality and Overall Grade | There is a strong correlation between the quality of dialogue and the overall grade of the scenes. Scenes with higher dialogue scores, such as 11 and 58, also receive higher overall grades, indicating that well-crafted dialogue contributes significantly to the overall quality of the screenplay. |
| Conflict and Story Progression | Scenes that effectively move the story forward often have higher conflict scores. For example, scenes 7, 9, and 50 not only advance the plot but also present significant conflict, suggesting that the author is adept at intertwining conflict with narrative progression. |
| Tone Variation and Scene Engagement | Scenes that vary in tone tend to engage the audience more effectively. For instance, scenes 4 and 15 combine humor with reflective tones, resulting in higher engagement scores, indicating that tonal variation can enhance audience connection. |
| Suspense and Character Development | Scenes that build suspense often coincide with character development. For example, scenes 31 and 56 not only create suspense but also show significant character changes, suggesting that suspenseful moments can be pivotal for character arcs. |
| Emotional Tone and Character Changes | Scenes with an emotional tone often coincide with notable character changes. For instance, scenes 19 and 59 have emotional tones and significant character developments, indicating that emotional resonance can be a catalyst for character evolution. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong command of character development, emotional depth, and thematic exploration. The writer effectively blends humor, tension, and introspection, creating engaging narratives that resonate with audiences. However, there are areas for improvement, particularly in dialogue refinement, pacing, and the exploration of character motivations.
Key Improvement Areas
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Save the Cat!' by Blake Snyder | This book provides valuable insights into crafting compelling characters, engaging plots, and effective storytelling techniques, which can help refine dialogue and pacing. |
| Screenplay | Read 'Eternal Sunshine of the Spotless Mind' by Charlie Kaufman | This screenplay showcases a blend of humor, emotional depth, and character-driven narratives, offering inspiration for enhancing dialogue and exploring complex themes. |
| Exercise | Practice writing dialogue that reveals character motivations and conflicts through subtext.Practice In SceneProv | This exercise will help improve the depth and authenticity of character interactions, allowing for more engaging and nuanced dialogue. |
| Exercise | Write a scene with minimal dialogue to convey emotions through actions and visual storytelling.Practice In SceneProv | This will enhance the writer's ability to communicate subtext and emotional depth without relying heavily on dialogue, improving overall narrative impact. |
| Exercise | Create character profiles that explore their internal conflicts, desires, and motivations in depth.Practice In SceneProv | This exercise will deepen the writer's understanding of character development, leading to richer and more compelling narratives. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| The Truman Show | The screenplay summary is a direct reference to 'The Truman Show,' where the protagonist, Truman Burbank, lives in a constructed reality without his knowledge. Both stories explore themes of surveillance, the nature of reality, and the quest for personal freedom. |
| The Matrix | Similar to Truman's journey of self-discovery, 'The Matrix' features a protagonist, Neo, who learns that his reality is a simulated construct. Both stories delve into the awakening of the main character to the truth of their existence and the struggle against a controlling system. |
| Pleasantville | In 'Pleasantville,' characters from the modern world are transported into a black-and-white 1950s television show, leading to a clash between reality and illusion. Both narratives explore the themes of conformity, the desire for change, and the awakening of characters to a more vibrant reality. |
| Eternal Sunshine of the Spotless Mind | This film explores themes of memory, identity, and the desire to escape painful experiences, paralleling Truman's quest for truth and authenticity in his life. Both stories highlight the struggle against external forces that manipulate personal experiences. |
| Black Mirror (Episode: 'Fifteen Million Merits') | This episode features a dystopian society where individuals are trapped in a cycle of entertainment and consumerism, similar to Truman's life in Seahaven. Both narratives critique reality television and the commodification of personal experiences. |
| The Giver | In 'The Giver,' the protagonist Jonas lives in a controlled society devoid of true emotions and experiences. His journey to discover the truth about his world mirrors Truman's awakening to the artificiality of his life and the longing for genuine experiences. |
| Westworld | This series explores the lives of artificial beings in a theme park who gradually become aware of their reality. Similar to Truman, the characters grapple with their identities and the nature of their existence, questioning the morality of their creators. |
| The Adjustment Bureau | In this film, the protagonist discovers that his life is being manipulated by a mysterious organization, paralleling Truman's realization that his life is scripted. Both stories explore themes of free will versus predestination and the struggle to break free from control. |
| Dark City | In 'Dark City,' the main character, John Murdoch, awakens to find his memories manipulated by mysterious beings. Both narratives focus on the protagonist's quest for truth and identity in a world where reality is artificially constructed. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| The Unwitting Star | Truman is the unwitting star of a reality show, living his life without knowledge that he is being filmed. | This trope involves a character who is the center of attention or a show without their knowledge. An example is 'The Truman Show' itself, where Truman's entire life is broadcasted to the world without his consent. |
| The Perfect Suburbia | Truman lives in a picturesque suburban neighborhood that appears idyllic but hides darker truths. | This trope depicts a seemingly perfect suburban setting that conceals underlying issues. A classic example is 'Desperate Housewives,' where the facade of a perfect neighborhood hides secrets and scandals. |
| The Call to Adventure | Truman feels a growing desire to explore the world beyond Seahaven, indicating a call to adventure. | This trope involves a character feeling compelled to leave their ordinary life for something greater. An example is 'The Hobbit,' where Bilbo Baggins is called to adventure by Gandalf. |
| The Mentor | Marlon serves as a mentor figure to Truman, providing advice and support. | The mentor trope features a wise character who guides the protagonist. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel about martial arts and life. |
| The Love Interest | Meryl, Truman's wife, serves as the love interest, but her true intentions are questionable. | |
| The False Reality | Truman's entire life is a constructed reality, leading to his eventual realization. | This trope involves characters living in a false reality, often leading to a quest for truth. An example is 'The Matrix,' where characters discover their world is an illusion. |
| The Journey of Self-Discovery | Truman embarks on a journey to discover his true self and the nature of his existence. | This trope involves a character's journey to understand themselves better. An example is 'Eat Pray Love,' where the protagonist travels to find herself. |
| The Conspiracy | Truman suspects a conspiracy surrounding his life, leading to paranoia. | This trope involves characters believing they are part of a larger scheme. An example is 'The X-Files,' where characters often uncover conspiracies. |
| The Climactic Confrontation | Truman confronts Christof, the creator of his reality, leading to a pivotal moment. | This trope involves a climactic showdown between the protagonist and the antagonist. An example is the confrontation between Luke Skywalker and Darth Vader in 'Star Wars.' |
| The Happy Ending | Truman ultimately escapes his fabricated life, suggesting a hopeful resolution. | This trope involves a resolution that brings happiness to the protagonist. An example is 'The Pursuit of Happyness,' where the protagonist achieves his dreams. |
| Theme | Theme Details | Themee Explanation | ||
|---|---|---|---|---|
| Personal Freedom | Truman's desire to escape Seahaven and explore the world. | This theme is central to Truman's character arc as he seeks to break free from the constraints of his manufactured life. | ||
Strengthening Personal Freedom:
| ||||
| Reality vs. Illusion | The contrast between Truman's perceived reality and the constructed world around him. | This theme explores the nature of reality and how it can be manipulated, leading Truman to question his existence. | ||
| Identity | Truman's journey to discover his true self amidst the roles imposed on him. | This theme delves into the complexities of identity formation in a controlled environment, as Truman grapples with who he is versus who he is told to be. | ||
| Media Influence | The role of the media in shaping perceptions and reality. | This theme critiques how media can distort reality and manipulate individuals for entertainment. | ||
| Isolation | Truman's emotional and physical isolation within Seahaven. | This theme highlights the loneliness that comes from being surrounded by people who are not genuine. | ||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by a blend of dark humor, irony, and social commentary, effectively capturing the absurdity of modern life and the complexities of human relationships. The dialogue is sharp and witty, often revealing deeper emotional truths beneath the surface of mundane interactions. The narrative weaves together elements of nostalgia, surrealism, and introspection, creating a rich tapestry that explores themes of identity, authenticity, and the struggle for personal freedom. |
| Voice Contribution | The writer's voice contributes to the script by enhancing the overall mood and emotional depth, allowing audiences to engage with the characters' internal struggles and societal critiques. The use of humor and irony adds layers to the narrative, making it both thought-provoking and entertaining. This unique voice invites viewers to reflect on the nature of reality, the impact of surveillance, and the quest for genuine connection in a manufactured world. |
| Best Representation Scene | 1 - Morning Reflections |
| Best Scene Explanation | This scene is the best representation because it encapsulates the writer's unique voice through its blend of dark humor and social commentary, effectively setting the tone for the exploration of themes such as authenticity and the absurdity of modern life. |
- Overall originality score: 9
- Overall originality explanation: The screenplay presents a highly original premise centered around a man unknowingly living his life as the star of a reality TV show. This concept is further enriched by the authenticity of character interactions, the exploration of existential themes, and the unique blend of humor and drama. The screenplay effectively utilizes familiar settings and tropes, such as suburban life and the father-son dynamic, while infusing them with fresh perspectives and unexpected twists, making the narrative both engaging and thought-provoking.
- Most unique situations: The most unique situations in the screenplay are Truman's gradual realization of his manipulated reality, the ethical implications of surveillance and control in a reality TV format, and the emotional depth of his relationships with characters like Meryl and Sylvia. Additionally, the use of symbolic elements, such as the painted sky and the constructed environment, adds layers of intrigue and originality to the story.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability through Truman's journey of self-discovery and the various obstacles he faces in his quest for truth. The tension between his desire for freedom and the control exerted by Christof creates a dynamic narrative that keeps the audience guessing. Unexpected twists, such as the revelation of his father's identity and the manipulation of his environment, contribute to the overall unpredictability, ensuring that viewers remain engaged and invested in Truman's fate.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | Truman's internal goals evolve from seeking normalcy and security within his constructed life to a deep yearning for freedom and authenticity as he slowly uncovers the truth of his existence. He grapples with self-identity, desires for connection, and the need to escape the bounds of his manufactured reality. |
| External Goals | Truman's external goals transition from maintaining his day-to-day life and fulfilling societal expectations to actively seeking to escape Seahaven and uncover the truth about his reality. His external actions reflect his growing awareness and defiance against the constraints placed upon him. |
| Philosophical Conflict | The overarching conflict is between Truman's yearning for freedom and autonomy versus Christof’s control and manipulation for the sake of entertainment. Both perspectives raise essential questions about agency, truth, and what it means to lead a ‘real’ life. |
Character Development Contribution: The evolving goals and conflicts highlight Truman's transformation from a complacent participant in his own life to an empowered individual challenging the boundaries set by others. His internal struggles foster resilience, courage, and authenticity, marking his growth as a character.
Narrative Structure Contribution: The progression of Truman’s goals drives the narrative forward, creating a tension-filled journey that builds toward a climax where he confronts both the show’s creator and his own life choices. This structure of rising conflict ultimately leads to a powerful resolution that emphasizes character agency.
Thematic Depth Contribution: The intertwined goals and conflicts deepen themes of autonomy, the quest for truth, and the ethical implications of reality television. As Truman's story unfolds, it encourages viewers to reflect on the nature of reality, freedom, and personal agency within the confines of societal expectations.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay is set in Seahaven, a picturesque and idyllic suburban town characterized by Victorian-inspired houses, a serene beach, and a controlled environment where Truman Burbank's life unfolds under constant surveillance. The physical settings range from cozy domestic spaces to bustling urban areas, all designed to create a sense of normalcy while hiding the underlying manipulation.
- Culture: The culture in Seahaven is one of conformity and predictability, where community interactions are friendly yet superficial. The characters engage in routine activities, reflecting societal norms and expectations. The presence of a reality TV show influences the characters' behaviors, as they are often performing roles rather than living authentically. Nostalgia and a longing for adventure are also prevalent themes, particularly in Truman's interactions and memories.
- Society: The societal structure is highly controlled and manipulative, with Truman unknowingly being the star of a reality TV show. Everyone around him, including his wife and friends, are actors playing roles designed to maintain the illusion of a normal life. The society prioritizes entertainment and profit over individual autonomy, creating a voyeuristic environment where Truman's every move is monitored and orchestrated for the audience's enjoyment.
- Technology: Advanced technology plays a crucial role in the screenplay, with hidden cameras, two-way mirrors, and a sophisticated control room allowing producers to manipulate Truman's reality. The use of surveillance technology creates an atmosphere of paranoia and control, as Truman is constantly observed and influenced by unseen forces. The technology also blurs the lines between reality and fiction, contributing to the screenplay's themes of authenticity and identity.
- Characters influence: The world elements shape the characters' experiences and actions by placing them in a controlled environment where their choices are limited. Truman's desire for adventure and authenticity is stifled by the societal expectations and manipulations of those around him. The surveillance culture creates a sense of paranoia, influencing Truman's growing suspicion and desire to escape, while the other characters are often caught between their roles and their genuine feelings for Truman.
- Narrative contribution: The world elements contribute to the narrative by establishing a tension between Truman's quest for truth and the artificiality of his surroundings. The idyllic setting of Seahaven contrasts sharply with the dark reality of his situation, driving the plot forward as Truman begins to uncover the truth about his life. The manipulation of reality for entertainment purposes serves as a central conflict, propelling Truman's journey toward self-discovery and liberation.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring concepts of free will, identity, and the nature of reality. The controlled environment raises questions about authenticity and the impact of media on personal lives. Truman's struggle against the constraints of his fabricated existence serves as a commentary on the human desire for freedom and the search for truth in a world dominated by surveillance and manipulation.
central conflict
Truman's struggle for autonomy and truth against the artificial constraints of his manufactured reality.
primary motivations
- Truman's desire for exploration and adventure.
- Meryl's desire for stability and conformity within their life.
- Christof's ambition to maintain control over Truman's life and the show.
catalysts
- The falling light fixture that symbolizes the cracks in Truman's reality.
- Truman's memories of his father and childhood that spark his desire for truth.
- The appearance of Sylvia, who represents the possibility of a life beyond Seahaven.
barriers
- Meryl's manipulation and the societal expectations of Seahaven.
- Christof's control over Truman's environment and the show's narrative.
- Truman's own fears and doubts about leaving the only life he has known.
themes
- The nature of reality and illusion.
- The quest for identity and self-discovery.
- The ethical implications of surveillance and media manipulation.
stakes
Truman's freedom and the authenticity of his existence versus the continued success of the show and the control exerted by Christof.
uniqueness factor
The story uniquely blends elements of reality television with philosophical questions about existence and free will.
audience hook
The suspense of whether Truman will discover the truth about his life and escape the confines of Seahaven.
paradoxical engine or bisociation
The juxtaposition of Truman's idyllic life against the underlying deception of his reality creates a tension that drives the narrative.
paradoxical engine or bisociation 2
The contrast between Truman's yearning for freedom and the audience's voyeuristic enjoyment of his struggles highlights the complexities of human desire and control.
Pass / Consider / Recommend Analysis
GPT4
Executive Summary
- The screenplay effectively establishes a unique premise that captivates the audience's attention from the very beginning, introducing the concept of a reality show that encompasses Truman's entire life. high ( Scene Sequence number 1 (A FOGGED MIRROR) Scene Sequence number 12 (INT. A DIMLY-LIT ROOM SOMEWHERE. NIGHT.) )
- Character development is a significant strength, particularly in Truman's transformation from a passive participant in his life to an active seeker of truth, culminating in his confrontation with Christof. high ( Scene Sequence number 11 (EXT. UNFINISHED BRIDGE. NIGHT.) Scene Sequence number 41 (INT. CONTROL ROOM. NIGHT.) )
- The climax is powerful and emotionally resonant, showcasing Truman's ultimate decision to embrace the unknown, which serves as a metaphor for personal freedom and self-discovery. high ( Scene Sequence number 60 (EXT. OCEAN. DAY.) )
- The screenplay's use of humor and satire to critique media and societal norms adds depth and entertainment value, making it both thought-provoking and engaging. high ( Scene Sequence number 5 (EXT. SEAHAVEN LIFE AND ACCIDENT, INC. DAY.) )
- The narrative structure is well-crafted, with a clear progression from setup to conflict to resolution, maintaining audience engagement throughout. high ( Scene Sequence number 24 (INT. CONTROL ROOM. NIGHT.) )
- Some scenes, particularly in the middle act, could benefit from tighter pacing to maintain momentum and avoid dragging, especially during exposition-heavy moments. medium ( Scene Sequence number 8 (INT. SEAHAVEN FERRY TERMINAL. DAY.) )
- The motivations of secondary characters, such as Meryl and Marlon, could be further developed to enhance their roles and provide more depth to their relationships with Truman. medium ( Scene Sequence number 10 (EXT. PARKLAND - WOODS. DAY.) )
- There are moments where the dialogue could be more naturalistic, as some exchanges feel overly scripted, which may detract from character authenticity. medium ( Scene Sequence number 15 (INT. AN OFFICE BUILDING SOMEWHERE - RECEPTION. NIGHT.) )
- The flashback sequences, while effective, could be more seamlessly integrated into the narrative to avoid disrupting the flow of the main storyline. medium ( Scene Sequence number 19 (PLAYBACK MONTAGE - EXT. COLLEGE CAMPUS - STEPS. DAY.) )
- The resolution could be more explicit in addressing the aftermath of Truman's decision, providing closure for both the character and the audience. medium ( Scene Sequence number 22 (INT. A DIMLY-LIT ROOM SOMEWHERE. NIGHT - PRESENT.) )
- There is a lack of exploration into the psychological impact of living under constant surveillance, which could add depth to Truman's character and the overall narrative. high ( Scene Sequence number 4 (PLAYBACK - INT. SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM. DAY.) )
- The screenplay could benefit from a more explicit exploration of Truman's internal conflicts and fears, particularly regarding his relationships and the nature of his reality. medium ( Scene Sequence number 18 (INT. TRUMAN'S BASEMENT. DUSK.) )
- The motivations behind Christof's actions could be more thoroughly examined, providing insight into his character and the ethical implications of his control over Truman's life. medium ( Scene Sequence number 25 (EXT. DOWNTOWN STREET. DAY.) )
- The reactions of the audience to Truman's journey could be more deeply explored, providing a commentary on societal voyeurism and the ethics of reality television. medium ( Scene Sequence number 30 (INT. A LIVING ROOM SOMEWHERE. NIGHT.) )
- The screenplay lacks a clear resolution for the supporting characters, leaving their arcs somewhat unresolved and diminishing the overall impact of the narrative. medium ( Scene Sequence number 46 (INT. CONTROL ROOM. NIGHT.) )
- The opening scene effectively sets the tone and premise of the film, immediately drawing the audience into Truman's world and establishing the central theme of surveillance. high ( Scene Sequence number 1 (A FOGGED MIRROR) )
- The dynamic between Christof and the production team adds a layer of complexity to the narrative, highlighting the ethical dilemmas of reality television. high ( Scene Sequence number 41 (INT. CONTROL ROOM. NIGHT.) )
- Truman's final line before leaving the constructed reality is poignant and encapsulates his journey, serving as a powerful conclusion to his character arc. high ( Scene Sequence number 60 (EXT. OCEAN. DAY.) )
- The use of flashbacks throughout the screenplay effectively enriches the narrative, providing context for Truman's character and his motivations. high ( Scene Sequence number 12 (INT. A DIMLY-LIT ROOM SOMEWHERE. NIGHT.) )
- The commentary on media and reality is woven throughout the screenplay, making it a relevant critique of contemporary society and its relationship with television. high ( Scene Sequence number 22 (INT. A DIMLY-LIT ROOM SOMEWHERE. NIGHT - PRESENT.) )
- Character Motivation The motivations of secondary characters, particularly Meryl and Marlon, are not fully explored, which can lead to a lack of depth in their relationships with Truman. For example, Meryl's sudden shift in behavior during the climax feels abrupt and underdeveloped. medium
- Dialogue Naturalism Some dialogue feels overly scripted and lacks the natural flow of conversation, particularly in scenes where characters are trying to convey exposition. For instance, the exchanges between Truman and Meryl can come off as stilted at times. medium
DeepSeek
Executive Summary
- The screenplay excels in its thematic consistency and depth, exploring the nature of reality and freedom through Truman's journey. high ( Scene 1 (THE TRUMAN SHOW) Scene 58 (OCEAN/CYCLORAMA) )
- Character development is strong, particularly for Truman and Christof, whose arcs are well-defined and compelling. high ( Scene 22 (A DIMLY-LIT ROOM SOMEWHERE) Scene 43 (LUNAR STUDIO) )
- The pacing is excellent, with a balance of tension, action, and introspection that keeps the audience engaged. high ( Scene 36 (TRUMAN'S CAR - BRIDGE) Scene 57 (OCEAN) )
- The use of flashbacks and playback scenes effectively builds Truman's backstory and emotional depth. medium ( Scene 20 (PLAYBACK - EXT. VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE) Scene 21 (PLAYBACK - EXT. BEACH) )
- The resolution is satisfying and thematically resonant, with Truman's final choice carrying significant emotional weight. high ( Scene 59 (CONTROL ROOM) Scene 60 (A ROOM SOMEWHERE) )
- Some secondary characters, like Meryl and Marlon, could benefit from deeper development to make their motivations clearer. medium ( Scene 15 (A BEDROOM SOMEWHERE) )
- The middle act could tighten slightly to maintain momentum, as some scenes feel slightly repetitive. low ( Scene 34 (TRUMAN'S BACKYARD) )
- More exploration of the outside world's reaction to Truman's show could add depth to the narrative. medium
- A deeper dive into the ethical implications of the show from Christof's perspective could enrich the antagonist's arc. medium
- The moment Truman touches the sky is a visually and thematically powerful climax. high ( Scene 58 (OCEAN/CYCLORAMA) )
- Christof's character is a fascinating antagonist, blending creator and manipulator roles. high ( Scene 22 (A DIMLY-LIT ROOM SOMEWHERE) )
- The opening scene effectively sets up the premise and tone of the story. high ( Scene 1 (THE TRUMAN SHOW) )
- Ethical Implications The screenplay could explore more deeply the ethical ramifications of Christof's actions and the audience's complicity in Truman's exploitation. medium
- Minor Pacing Issues Some scenes in the middle act feel slightly repetitive, which could be tightened to maintain momentum. low
Claude
Executive Summary
- The opening sequences establish a strong sense of place, with the detailed descriptions of Truman's world and the town of Seahaven. This immediately immerses the audience in the story's unique setting and lays the groundwork for the unfolding mystery. high ( Scene 1 (The Truman Show) Scene 2 (EXT. Truman's House. Day.) )
- The flashback montage sequence provides excellent character development for Truman, revealing his past relationship with Sylvia/Lauren and hinting at the larger mysteries surrounding his life. This helps to deepen the audience's understanding of Truman and investment in his journey. high ( Scene 19 (Playback Montage) )
- The reveal of the control room and the true nature of Truman's world is a masterfully executed plot twist that challenges the audience's perception of reality and adds an intriguing layer of complexity to the story. high ( Scene 41 (Control Room) )
- The in-depth interview with Christof, the creator of "The Truman Show," provides invaluable insight into the motivations and worldview of the characters controlling Truman's life. This scene adds depth and nuance to the narrative's exploration of themes related to free will and the nature of reality. high ( Scene 44 (Christof Interview) )
- The climactic sequence in which Truman discovers the true nature of his world and makes the decision to leave is a powerful and emotionally resonant conclusion to the story. The interplay between Truman, Christof, and the various viewers adds an additional layer of depth and complexity to the narrative's themes. high ( Scene 58 (Ocean/Cyclorama) Scene 59 (Control Room) Scene 60 (A Room Somewhere) )
- While the scene with Tyrone at the deli effectively establishes Truman's routine and predictability, the dialogue could be tightened to avoid feeling overly on-the-nose in its exposition. low ( Scene 6 (Local Italian Deli. Lunchtime.) )
- The sequence in the office building, while effective in raising Truman's suspicions, could be streamlined to avoid feeling repetitive or overly drawn out. medium ( Scene 25 (Office Building) )
- While the screenplay does an excellent job of exploring Truman's journey and the larger themes of the story, there could be an opportunity to further develop the supporting characters, particularly Meryl and Marlon, to provide a more well-rounded perspective on Truman's world. medium ( Scene N/A (N/A) )
- The screenplay's opening sequence, with the detailed description of the two-way mirror and Truman's mundane morning routine, immediately establishes a sense of unease and the underlying mystery of the story. high ( Scene 1 (The Truman Show) )
- The interview with Christof provides a fascinating glimpse into the motivations and thought processes of the creator of "The Truman Show," adding depth and complexity to the narrative's exploration of the nature of reality and the human condition. high ( Scene 44 (Christof Interview) )
- The climactic sequence in which Truman discovers the true nature of his world and confronts Christof is a powerful and thought-provoking resolution to the story, leaving the audience with a deep sense of reflection on the nature of reality and the human experience. high ( Scene 58 (Ocean/Cyclorama) Scene 59 (Control Room) )
- Lack of Diversity While the screenplay effectively explores themes of identity and the human condition, there is a lack of racial and ethnic diversity in the main cast of characters. The town of Seahaven and the supporting cast could benefit from a more inclusive representation to better reflect the diversity of the real world. medium
- Overly Expositional Dialogue In a few instances, the dialogue feels slightly on-the-nose in its exposition, such as the scene with Tyrone at the deli. While this helps establish Truman's routine and predictability, the writing could be tightened to feel more natural and less forced. low
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 19 | TRUMAN: I'm Truman, Truman Burbank-- |
| 21 | SYLVIA: Everybody's pretending, Truman. You think this is real? It's all for you. A show. The eyes are everywhere. They're watching you - right now. |
| 58 | TRUMAN: Nothing was real. |
| 60 | TRUMAN: In case I don't see you--good afternoon, good evening and good night. |
| 59 | CHRISTOF: Truman, there's no more truth out there than in the world I created for you - the same lies and deceit. But in my world you have nothing to fear. |