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235 EXT -- PRISON YARD -- DAY (1953) 235
Andy strolls along, whistling softly, hands in both pockets.
TILT DOWN to his pantleg. Concrete grit trickles out.
RED (V.O.)
It turns out Andy's favorite hobby was totin' his wall out into
the
exercise yard a handful at a time...
236 INT -- 2ND TIER -- NIGHT (1962) 236
A GUARD strolls the tier, shining his flashlight into the cells.
He pauses at Andy's bars, playing the beam over the sleeping form
huddled under the blankets.
p37 REVERSE ANGLE (FROM INS1DE ANDY'S CELL) 237
We see what the guard doesn't: instead of Andy's head under the
blanket, it's a wadded-up pillow. The flashlight plays across
the cell, pinning Marilyn Monroe in a circle of light.
238 ANGLE FROM BEHIND POSTER 238
The light illuminates her face through the paper. WIDEN to reveal
Andy lying in his tunnel, holding his breath. The light clicks
off. The FOOTSTEPS move on. He gets back to work.
RED (V.O.)
While the rest of us slept, Andy spent years workin' the nightshift...
239 INT -- SHAFT -- NIGHT (1965) 239
BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly,
a piece of concrete the size of a quarter jumps free and plummets
down the shaft as the rock-hammer pushes through. The pick withdraws,
replaced by Andy's peering eye.
240 A SERIES OF DISSOLVES (1965 through 1966) 240
takes us through the widening of the hole. First as big as a
tea cup. Then a saucer. Then a dinner plate.
RED (V.O.)
Probably took him most of a year just to get his head through.
Andy finally gets his head through, scraping his ears. He's got
a penlight clenched in his teeth. He peers down into the shaft.
At the very bottom, maybe 20 feet down, a big ceramic pipe runs
the length of the cellblock. Beneath its coat of grime and dust,
the word "SEWER" is stenciled.
241 EXT -- LOADING DOCK ACCESS -- NIGHT (1966) 241
ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies facedown
at Norton's feet. Blood is spreading, fanning out of the pavement.
Norton turns, strolls out of frame.
RED (V.O.)
I guess after Tommy was killed, Andy decided he'd been here just
about long enough.
Again we see: Andy working. Norton pokes his head in.
NORTON
Lickety-split. I wanna get home.
ANDY
Just about done, sir.
Norton crosses to the wall safe and works the dial, his back
turned. This time, though, we stay on Andy:
He pulls up his sweater, yanks out a large black book and a stack
of files, lays them on the desk. He then grabs the real ledger
and files, jams them down his pants and smoothes his sweater down.
He picks up the bogus stack, crosses to Norton, and shoves everything
in.
243 INT -- HALLWAY -- NIGHT (1966) 243
Norton exits his office and strolls off whistling. PUSH IN on
the open door. We see Andy at the guard's desk, pulling Norton's
dress shoes from their box.
RED (V.O.)
Andy did like he was told. Buffed those shoes to a high mirror
shine.
244 INT -- NORTON'S OFFICE -- MINUTES LATER (1966) 244
Andy sorts through Norton's three suits. He pauses, checking
the gray pinstripe. Nice.
245 INT -- CELLBLOCK FIVE -- NIGHT (1966) 245
The guard BUZZES Andy through. Andy walks toward us.
RED (V.O.)
The guard simply didn't notice. Neither did I. I mean, seriously,
how often do you really look at a man's shoes?
TILT DOWN as he passes by. Yep, he's wearing Norton's shoes.
246 INT -- ANDY'S CELL -- NIGHT (1966) 246
The lights go out. Andy places the last chess piece. Gazes up
at Racquel. Smiles. Pulls the rope from under his pillow. He stands
and unbuttons his prison shirt, revealing Norton's gray pinstripe
suit underneath. A FLASH OF LIGHTNING floods the cell, throwing
wild shadows.
247 INT -- ANDY'S CELL -- NIGHT (1966) 247
The storm rages. Andy, naked, carefully slips Norton's folded
suit into a large industrial Zip-Lock bag. Next to go in are the
shoes, chess pieces (already in a smaller bag), black ledger en
files. Last but not least, a bar of soap wrapped in a towel.
248 INT -- TUNNEL -- NIGHT (1966) 248
Andy, again wearing prison clothes, inches down the tunnel.
249 INT -- SHAFT -- NIGHT (1966) 249
Andy squeezes through the hole head-first, emerges to the waist,
He reaches for the opposite wall, manages to snag a steel conduit
with his fingers.
Suddenly, a huge rat darts for his hand. Andy yanks away and
almost plummets head-first down the shaft. He dangles wildly upside-down
for a moment, arms windmilling, then gets his hands pressed firmly
against the opposite wall. The rat scurries off, pissed.
Andy snags the conduit again. He contorts out of the hole and
dangles into the shaft. We now see the purpose for the rope: the
plastic bag hangs from his ankle with about two feet of slack,
He kicks his legs across the shaft, gets his feet braced. Wit3
his back against one wall and feet against the other, he starts
down the shaft. Sliding dangerously. Using pipes for handholds.
Flinching as rats dart this way and that, scurrying in the shadows.
He drops the last few feet to the bottom.
He approaches the ceramic sewer pipe and kneels before it. Pulls
out the rock-hammer and says a quick silent prayer. Raises the
rock-hammer high and swings it down with all his might. Once,
twice -- third time lucky. An enormous eruption of sewage cascades
into the air as if rocket-propelled, the Mount St. Helens of shit.
Andy is instantly coated black. He turns away and heaves his guts
out. The shit keeps coming.
250 INT -- SEWER PIPE -- NIGHT (1966) 250
Andy peers down through the hole, playing his penlight aroun5,
The inside diameter is no more than two feet. Tight squeeze. Coated
with crud. It seems to go on for miles.
No turning back. He wriggles into the pipe and starts crawling,
plastic bag dragging behind.
RED (V.O.)
Andy crawled to freedom through five hundred yards of shit-smelling
foulness I can't even imagine. Or maybe I just don't want to.
251 EXT -- FIELD -- NIGHT (1966) 251
Rain is falling in solid sheets. Shawshank is half a mile distant.
BOOM DOWN to reveal the creek...and PUSH IN toward the mouth of
the sewer pipe that feeds into it.
RED (V.O.)
Five hundred yards. The length of five football fields. Just shy
of half a mile.
Fingers appear, thrusting through the heavy-gauge wire mesh covering
the mouth of the pipe. Andy's face looms from the darkness, peering
out at freedom. He wrenches the mesh loose, pushes himself out,
and plunges head-first into the creek. He comes up sputtering
for breath. The water is waist-deep.
He wades upstream, ripping his clothes from his body. He gets
his shirt off, spins it through the air over his head, flings
the shirt away. He raises his arms to the sky, turning slowly,
feeling the rain washing him clean. Exultant. Triumphant. A FLASH
OF LIGHTNING arcs from horizon to horizon.
252 INT -- ANDY'S TUNNEL -- DAY (1966) 252
Once again, we see stunned faces as CAMERA PULLS BACK.
RED (V.O.)
The next morning, right about the time Racquel was spilling her
little secret...
253 INT -- CASCO BANK OF PORTLAND -- MORNING (1966) 253
The door opens. Spit-shined shoes enter. DOLLY the shoes to the
counter.
RED (V.O.)
...a man nobody ever laid eyes on before strolled into the Casco
Bank
of Portland. Until that moment, he didn't exist -- except on paper.
FEMALE TELLER (O.S.)
May I help you?
TILT UP to Andy. Smiling in Norton's gray pinstripe suit.
ANDY
My name is Peter Stevens. I've come to close out some accounts.
254 INT -- BANK -- SHORTLY LATER (1966) 254
The teller is cutting a cashier's check while the MANAGER carefully
examines Mr. Stevens' various I.D.s.
RED (V.O.)
He had all the proper I.D. Driver's license, birth certificate,
social
security card. The signature was a spot-on match.
MANAGER
I must say I'm sorry to be losing your business. I hope you'll
enjoy
living abroad.
ANDY
Thank you. I'm sure I will.
TELLER
Here's your cashier's check, sir. Will there be anything else?
ANDY
Please. Would you add this to your outgoing mail?
He hands her a package, stamped and addressed. Gives them a
pleasant smile. Turns and strolls from the bank.
RED (V.O.)
Mr. Stevens visited nearly a dozen banks in the Portland area
that
morning. All told, he blew town with better than 370 thousand
dollars of Warden Norton's money. Severance pay for nineteen years.
255 INT -- OFFICE -- DAY (1966) 255
A MAN in shirtsleeves is going through the mail on his desk.
He finds Andy's package, rips it open. Pulls out the black ledger
and files. Scans a cover letter. Holy shit. He dashes to his door
and yanks it open, revealing the words on the glass: "PORTLAND
DAILY BUGLE -- Editor In Chief."
MAN
Hal! Dave! Get your butts in here!
256 INT -- SHAWSHANK PRISON -- DAY (1966) 256
Norton walks slowly toward his office. Dazed. The morning paper
in his hand. He goes wordlessly past the DUTY GUARD into his office.
Shuts the door. Lays the paper on his desk.
The headline reads: "CORRUPTION AND MURDER AT SHAWSHANK."
Below that, the sub-headline: "D.A. Has Ledger. Indictments
Expected." Norton looks up as SIRENS SWELL in the distance.
257 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 257
For the second time, State Police cruisers go rocketing up the
road with SIRENS AND LIGHTS.
258 INT -- NORTON'S OFFICE -- DAY (1966) 258
Norton opens his safe and pulls out the "ledger" --
it's Andy's Bible. The title page is inscribed by hand: "Dear
Warden. You were right. Salvation lay within." Norton flips
to the center of the book -- and finds the pages hollowed out
in the shape of a rock-hammer.
259 EXT -- PRISON -- DAY (1966) 259
Police cruisers everywhere. A media circus. REPORTERS jostle
for position. A colorless DISTRICT ATTORNEY steps forward into
CLOSEUP, flanked by a contingent of S.ATE TROOPERS.
D.A.
Byron Hadley?
ANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting.
D.A.
You have the right to remain silent. If you give up that right,
anything you say will be used against you in court...
TROOPERS move in, cuffing Hadley's hands behind his back. The
D.A. drones on. FLASHBULBS POP. Hadley says nothing. His face
scrunches up. He begins to cry.
RED (V.O.)
I wasn't there to see it, but I hear Byron Hadley was sobbing
like a little girl when they took him away.
Hadley sobs all the way to the car. The D.A. snaps a gaze up
toward Norton's window, motions his men to follow.
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