1984

NINETEEN EIGHTY-FOUR
POST-PRODUCTION
RELEASESCRIPT
1984 REEL ONE (IA) Page 1
SCENE No. & ACTION: DIALOGUE & MUSIC: TELESCREEN:
I: 000.00
Black background.
CAPTION: (fade-in) MUSIC IN AT: 5.11

"WHO CONTROLS THE PAST
CONTROLS THE FUTURE
WHO CONTROLS THE PRESENT
CONTROLS THE PAST"
(fade-out)
HYMN IN AT: 19.0
INT. MINISTRY HALL. DAY. COMMENTATOR (male)

LS over the heads of a This is our land. A land of
multitude of PARTY MEMBERS peace and of plenty.
to giant TELESCREEN, depicting
first the flapplng INGSOC flag
& then dissolving to
cornflelds.
3:55.15
CU TELESCREEN showing super- COMMENTATOR

imposed images of cornfields, A land of harmony and hope.
combine harvesters, hands MUSIC/HYMN OUT AT: I01.0 This is our land. Oceania.
kneading dough, workers - both (lost in the sound effects) These are our people: the
male & female , & lines of workers, the strivers, the
patriotic~looking young men, builders. These are our
wearing stern expressions. people. The builders of our
These images then change world, struggling, fighting,
to those of war & suffering: bleeding, dying.
troops, tanks, burning On the streets of our cities
buildlngs. and on the far-flung battle-
fields, fighting against the..
4:120.8 TROOPS: SCREAM & SHOUT
MS section of viewing COMMENTATOR

AUDIENCE of party members.
...mutilation of our hopes
and dreams.
5:128.15
CU TELESCREEN depicting more COMMENTATOR

super-imposed montages. Who are they?
Among them a sea of people
chanting in unison,
CROWD CHANTING
dissolving to Jack-booted
¯ Traitors, traitors, etc.
feet marching along;
troops with~their arms
COmmENTATOR
held high in a clenched-flst
They are the dark armies.
Nazi-style salute; a lone
The dark, murdering armies
soldier cocking & firing
of Eurasia.
his gun & a man shooting
wildly at the cam.
5: Continued. MAN FIRING MACHINE-GUN

Yaaaaaah!
COMMENTATOR
In the barren deserts of
Africa and India...
6:161.3
MS section of AUDIENCE of COMMENTATOR

party members. Some rise
...on the oceans of
cross their wrists hatefully. Australasia, courage,
strength and youth are sacri-
ficed...
7:171.3
CU TELESCREEN: A dead soldier

COMMENTATOR
in CU dissolves to a line
...sacrificed to barbarians,
of soldiers marching past some whose only honour, is
ruined bulldings. Finally,
atrocity.
a man in CU roars, fiercely
baring his teeth.
MAN
Yaaaaah !
WOMEN : SCREAM
8:184.12
MCS FEMALE PARTY MEMBERS

MAN
watching the programme.
Yaaaaah !
The cam. tracks L. to JULIA.
COMMENTATOR
But even as we grasp at
victory, there is a cancer,
an evil tumour, growing,
spreading in our midst.
9:201.5
CU TELESCREEN: Burning buildings,

COMMENTATOR
dissolving to GOLDSTEIN in CU.
Shout! Shout! Shout out his
name!
GOLDSTEIN (overlapped, faint)

Resist the propaganda.
Think your own thoughts.
i0:210.15
MCS cross-section of viewing PARTY MEMBERS/PARSONS

GOLDSTEIN (faint)
audience, among them PARSONS, Goldstein, Goldstein!
You are being brainwashed,
raising their voices in chorus.
robbed of your reality.
1984 REEL ONE (1A) Page 4
18:315.3
MCS WINSTON, silent, his eyes PARTY. MEMBER (male) GOLDSTEIN (faint)
turned to the L as the Traitor! See the evil....
crowd around .him continue
their unceasing chant.
19:318.4
MS O’BRIEN turning his JULIA GOLDSTEIN (faint)

head away, with JULIA, f.g. Death... ¯ ..that is happening to you.
in soft-focus.
20:321.7
MCS WINSTON joining in JULIA o.s. GOLDSTEIN (faint)

with the chanting.~ ...traitor! The Party drops bombs on its
SYME is seated on the R. own citizens.
Other Party members Jump SYME
to their feet with eyes Traitor, traitor!’ I hate you!
full of hatred.
PARTY MEMBER (male)
Traitor! Death!
PARTY. MEMBER2 (male)

Traitor!
WINSTON
Traitor!
21: 327.3
CU GOLDSTEIN on telescreen. ~ARTY MEMBERS GOLDSTE IN (faint)

Death ,- traitor! It is the Party, not the
Euraslans who are our
enemies.
22: 332.1
MCS PARSONS standing in PARSONS GOLDSTEIN (faint)

the midst of his fellow Traitor, traitor, traitor! ~
Rise up.
PARTY MEMBERS.
PARTY MEMBER 3 (male)
Hate!
23:336.12
MCS SYME, his hands held SYME GOLDSTEIN (faint)
above his head, shouting Traitor, traitor, traitor! Throw off the yoke.
with all the volume he can I hate ! You have nothing...
muster.
PARTY MEMBER4 (male)
Death, death, death, death...
24:343.6
MCS TILLOTSON shouting. PARTY MEMBER 4 (male) GOLDSTEIN (faint)

On the L., PARTY MEMBER4, ¯ ..death, death, death, death, ...to lose, and everything to
formerly on the R in 23. death,death! gain.
1984 KEEL ONE (IA) Page 3
Ii: 217.12
CU WOMAN PARTY MEMBER PARTY MEMBERS/WOMAN GOLDSTEIN (faint)

shouting at the top of Goldsteln, Goldstein! Nothing the Party says is
her voice. true.
12:222.14
PARTY MEMBERS: THEIR GOLDSTEIN (faint)
MS PARTY MEMBERS crossing VOICES RISE TO A Nothing the Party does iS
their, wrists in a sign of JEERING CRESCENDO good. Even the war itself
hatred, directed at isn’t real. The Party wants"
Goldstein. The cam. pans you to believe we are at war,
L to the telescreen. so as to channel your
aggressions away from their
rightful target, the Party.
Big Brother is not real.
13:252.6
MCS vociferous PARTY MEMBERS PARTY MEMBERS CHANTING GOLDSTEIN (faint)

behind a row of hard-faced Death to you, traitor! He is pure fiction created
men & women. The cam. tracks Death, death, traitor, by %he Party. The real rulers
L to O’BRIEN,.one of the traitor! Death to you! of the State are unknown,
silent minority. Etc. (for remainder of faceless manipulators who,
hate rltual) because they are not known,
are able to wield power
without let or hindrance.
People of Oceania, you are
being duped. The party
doesn’t serve the people,
it serves itself.
14:290.14
CU GOLDSTEIN on telescreen, JULIA o.s. GOLDSTEIN (faint)

his voice muffled by the Death, death to you, We are not at war with
shouting mob. traitor! Eurasia.
15:296.8
CS JULIA giving full vent JULIA GOLDSTE IN (faint)

to her raging hatred. Death, death,~traitor, Do you understand what is
She swings back her arm, traitor! happening to you? You
about to hurl a Newspeak
are being made into...
dictionary into the air.
16 : 305 ~ II
MLS JULIA, amid the sea

GOLDSTEIN (faint)
of heads, throwing the
...obedient...
dictionary towards the cam.
17:307.4
MCS JULIA as she sits down JULIA GOLDSTEIN (faint)

again...O’BRIEN, b.g., Death to you! Death, death, ...stupid slaves of the Party.
looks round towards the cam. death! Open your eyes.
24: Continued. TILLOTSON

Hate, hate, hate!
25:350.10
CU GOLDSTEIN on telescreen. GOLDSTEIN (faint)

His image dissolves & People of Oceania.
is replaced by a man
spraying machlne-gun fire
at the cam.
26:355.3
CU JULIA screaming with her JULIA

colleagues. No, No!
GIRL, b.E.
Kill him, kill hlm!
27:358.14
CU TELESCREEN as MACHINE- MUSIC IN :AT: 362.0

GUNNER dissolves to flapping (as chanting subsides)
INGSOC FLAG.
28:365.11
MCS JULIA rising with her

colleagues & fervently
stretching her arms aloft.
29 : 369.12
MCS SYMES following suit

& closing his eyes as if
in prayer.
30 : 372.10
MCS WINSTON rising & crossing

his wrists with reverence.
31:376.10
CS O’BRIEN, one of the

last people to rise.
32:382.4
LS over saluting PARTY MEMBERS

to TELESCREEN as BIG BROTHER’S
face comes, into view.
The cam. tracks slowly L.
MT I: VIRGIN FILMS PRESENTS

AN UMBRELLA-ROSENBLUM PRODUCTION
V. ..
19 84 REEL ONE (IA) Page 6
33:399.5
MCS INNER PARTY MEMBERS

mouthing the letter B
repeatedly as the cam. tracks L.
along their ranks.
MT 2: JOH~ HURT
MT 3: RICHARD BURTON
MT 4: IN MICHAEL HADFORD’S FILM

OF GEORGE ORWELL’S
34:422.3
LS BIG BROTHER’S still image

in CU on the telescreen over
the heads Of PARTY MEMBERS, their
wrists crossed above their
heads in devotion.
MT 5: NINETEEN EIGHTY-FOUR
35:433.11
MCS O’BRIEN & his Inner Party

colleagues, viewedfrom ~the side.
MT 6: with SUZANNA HAMILTON PARTY MEMBERS (becoming audible)

B-B=B-B...
36:440..12
MCS WINSTON, his eyes fixed in

a stare & turned to the L. Then
they suddenly shift & gaze
directly ahead.
MT 7: CYRIL CUSACK PARTY MEMBERS/WINSTON

...B-B-B-B-B-B-B-B-B...
MT 8: ~nd GREGOR FISHER
37:452.14
CS JULIA uttering the chant. PARTY MEMBERS/JULIA

as the cam. pans slowly R ¯ ¯ ¯ B-B-B-B-B-B-B-B-B-B-
to her colleague beside her. B-B...
MT 9:.ASSOCIATE PRODUCER
JOHN DAVIS
MT 10: PRODUCTION DESIGNER

ALI~N.CAMERON
MT ii: EDITOR
TOM PRIESTLY
19 84 REEL ONE (IA) Page 7
38:470.15
MCS PARSONS chanting with PARTY MEMBERS/PARSONS

ferv0ur. . . .B-B-B...
39:475.0
CS WOMAN chanting & flanked PARTY MEMBERS

by the dark silhouettes of . . .B-B-B...
her colleagues.
40:479.1
A MLS, panning over the PARTY MEMBERS

heads of the PARTY MEMBERS ¯ . . B-B-B-B-B-B-B-B-B-B-B-B-
to the telescreen, where B-B-B-B-B-B-B~B-B-B-B-B...
BIG BROTHER’S face looms
large.
MT 12: DIRECTOR OF PHOTOGRAPHY

ROGER DEAKINS
MT 13: MUSIC EURYTHMICS AND

DOMINIC MULDOWNEY
MT 14: CO-PRODUCERS
AL CLARK
ROBERT DEVEREUX
MT 15: EXECUTIVE PRODUCER

MARVIN J. ROSENBLUM
MT 16: PRODUCED BY
SIMON PERRY
41:511.15
INT. CORRIDOR. DAY. MUSIC OUT AT: 519.0 ANNOUNCER (female)

MS PARTY MEMBERS, among them. (lost in clatter of Innuendo, deleted.
WINSTON, advancing in a group, footsteps) Intransigence, rendered as
crimethink.
Inverslon...
42:524.7
INT. RECORDS OFFICE. DAY.

MS tracking overhead the
small compartmentallzed
unfts to WINSTON’S work
station.
43:558.1
CU TELESCREEN bearing the

captions: OLDTHINKERS UNBELLYFEEL
INGSOC
THINK IN NEWSPEAK
IF YOU HAVE A PROBLEM CONSULT
lO%h NEWSPEAK DICTIONARY
(Caption fades out)
44:572.3
MCS WINSTON at work as seen

through telescreen’s watchful
eye.
45 : 579.8
CU NOTE in WINSTON’S hands.

It reads: "MINREC SECTION HISTORY
6079
TIMES 14.2.84 REF MINIPROD
MALQUOTED CHOCOLATE
RECTIFY"
46:587.7
CU WINSTON as he dials a
nu~b e r.
47:596.2
CU WINSTON’S hand dialling

number on t~lephone dlal.
The cam. pans L to his face.
The telescreen flashes up
details of the desired newspaper:
"BACKNUMBERS 14-2-84"
48:614.11
CU desired page emerging

from PNEUMATIC TUBE
49:616.13
CU WINSTON looking up to
the L.
50 : 625.7
CS SYME speaking into the SYME into speakwrite

speakwrite, glancing round UNINTELLIGIBLE
as he does so. Backday one...
51:633.2
CU WINSTON looking down

SYME o.s. into speakwrite
at his work before him. ...fighting...
52:636.8
CU ARTICLE HEADLINED:
"MINIPROD PLEDGE NO
REDUCTION IN 30 GRAMME
CHOCOLATE RATION 1984"
1984 REEL ONE (IA) Page .9
52: Continued.
WINSTON’S hand deletes the

headline with a pencil.
53:651.5
CU WINSTON picking up WINSTON into speakwrite

speakwrite and holding it Ref Times, fourteen,two,
close to his mouth. elghty-four, page three, byllne
two should read: "Minlprod forecast
increase chocoratlon April...
54:667.11
CU ARTICLE. WINSTON o.s. intospeaRwrite

...nineteen eighty-four from
twenty to twenty-flve grames per
week."
55 : 672.13
CU WINSTON setting down

speakwrite and picking up
.newspaper.
56:682.1
CS WINSTON from behind as

he rolls newspaper up and
inserts it in dyllnder.
57:690.14
CU WINSTON turning to the

incinerator to destroy note,
which is consumed by a
tongue of flame.
REEL ONE (IA) ENDS AT: 700.12 "

1984 REEL TWO (IB) Pa~e 10
I: 000.00
EXT. VICTORY MANSIONS. DAY.

JONES
MLS WINSTON picking his way I confess to spreading the
through the debris rumour, on orders from
littering the street.
Goldstein, that the war is
not really with Eurasia,
The cam. pans him L to
but with Eastasia. And that
some steps, which he
for years, in fact since the
ascends. days of our...
2: 18.4
INT. VICTORY MANSIONS. DAY. WINSTON

JONES
MS WINSTON entering. He closes COUGHS
...glorious revolution, I
the door behind him, coughs had no faith in our future.
& exits cam. L. I forged government
The cam. tilts up to a still
announcements and falsified
image of AARONSON on the
figures quoted for
telescreen. agrlcultural and...
3:32.15
INT. LANDING OF VICTORY WINSTON JONES

MANSIONS. DAY. COUGHS ...industrial production.
MCS WINSTON ascending the
As a result of mental
steps towards the cam.
disturbance, dating from my
Behind him, a giant picture
experiences during the atomic
of Big Brother covers the
wars, I was a willing subject
wall.
of Goldstein’s Influence.
The cam. pans R to llttle
WILLIAM. PARSONS,.sporting a
scout-like uniform, watching
his every move.
4:51.5
INT. WINSTON’S FLAT. DAY. WINSTON JONES

MS WINSTON entering. COUGHS I was stubborn and egocentric.
He puts down his briefcase
When ownlife thoughts occurred
& wearily walks over to
to me, I revelled in them.
the telescreen, L, depicting
I went into the Proletarian
JONES listing his ’crimes’.
zones, I had sex with
Here he pauses a while,
prostitutes, I deliberately
then steps forward & WINSTON contracted syphilis. It was
exits from shot. COUGHS at this time that I made
contact with the Resistance.
5:78.15
MCS WINSTON dipping into a

JONES
pack of "Victory" cigarettes.
I was personally contacted by
The cam. tilts up to his WINSTON
the archtraitor, Goldstein,
face as he pops one of these SIGHS, Bugger!
and ordered to assassinate
into his mouth, only to withdraw
certain Inner Party officials.
it quickly when the tobacco falls out.
This I did.
1984 REEL TWO (1B) Page 11
5: Continued. WINSTON v.o. JONES

Thoughtcrime is ideath. My agents forged documents
WINSTON places a broken Thoughtcrime does not and gained entry to the
off remnant of a cigarette entail death. Ministry of Truth, where
between his lips and Thoughtcrime is death. they falsified production
lights it with a match. I have committed, even figures. I deliberately passed
be fore... four thousand faulty truck
axles with the result.that
many soldiers...
6 : ,122.3
MS WINSTON smoking as he WINSTON v.o. JONES

looks reflectingly out ...setting pen to paper, ...were killed and many others
of the large oblong windows. the essential crime that were wounded in vehicle
contains all others in itself, accidents. I also spent many
hours of my free time
encouraging my agents to
deface Party posters and
hoarding announcements.
7:142.0
CU JONES relating his crimes JONES

on. the telescreen. I read and memorized
Goldstein’s book. For thirty
years I have plotted to
bring down the Party. I was
sick in mind and body.
8:158.3
MCS WINSTON easing a brick MUSIC IN AT: 160.0 JONES

¯out. of the wall with meticulous Together with my colleagues,
care Aaronson and Rutherford, I
did...
9:165.12 JONES
...counterfeit important
CU WINSTON’S hands pulling Party documents, including
the brick out of the wall. ex-London permits and travel
As he sets this down, the passes, and that by use of
cam. tilts up to his face. these documents my agents
travelled freely throughout
Airstrip One, encouraging
insurrection and organising
a massive counterplot to
destroy the innermost
faction...
I0 : 195.1
CS from behind WINSTON as he JONES

takes a notebook out of the ...of the Oceanian leadership.
space behind the missing brick. Furthermore...
1984 REEL TWO (IB) Page 12
ii: 202.15
CU WINSTON donning his JONES

spectacles as he prepares to ...I used my position of
write. privilege within the Inner
Party to pervert and betray
the truth at all times and
to suggest wherever possible
that our traditional allies
in Eastasia were, in...
12:226.3
CU WINSTON’S hand penning WINSTON v.o. JONES

in his entry: April the fourth, nineteen ...fact, our deadly enemies.
"APRIL 4th 1984" eighty-four... In my position as Chief
Factory...
13: 237.4
CU WINSTON rapt in WINSTON v.o. JONES

concentration. ...I think. ...Planner, I stole military
plans and at vast financial
profit...
14:245.14
MCS WINSTON, bent over WINSTON v.o. JONES

the notebook, scrupulously To the past, or to the ...s------~ld them to the Eurasian
recording his thoughts. future, to an age when leadership. I was the
The cam. pulls slowly back thought is free. From the ringleader of an attempt to
to take in the telescreen age of Big Brother, from subvert the artificial
depicting JONES. .the age of the Thought Police.insemination programme, and
from a dead man, greetings, so I became open to the evil
influence of Goldstein.
Under his direction, I
assassinated a number of
trusted colleagues, organising
false evidence so as to
implicate a faithful...
15:282.14
DREAM SEQUENCE:
MS WINSTON as he is tracked
from behind to the end of a
dank corridor, where a door
swings open, giving onto an
idyllic landscape. (GOLDEN COUNTRY)
16 : 317.9
DREAMSEQUENCE: EXT. RUINS. DAY.

A frontal, tracking slow-motion
MS YOUNGWINSTON running among
the debris of flattened buildings.
1984 HEEL TWO (IB) Page 13
17:330.0
INT. WINSTON’S FLAT. DAY.

CS WINSTON in bed. He opens
his eyes.
18: 333.5
CU BIG BROTHER’S sepia-toned

portrait on.the telescreen.
19 : 338.5
MS WINSTON throwing back the MUSIC OUT AT: 342.9

blankets & sitting up on the
edge of his bed. He crosses WINSTON
his arms over his chest & is COUGHS
seized by a coughing fit.
¯ 20 : 348.6
CU BIG BROTHER’S portrait; it WINSTON o.s.

is replaced by the moving. INSTRUCTRESS
COUGHS
image, of the. matronly Thlrty-to-forty group, take
INSTRUCTRESS. your places, please.
Right, let’s see which one
WINSTON obediently steps
of us can touch his toes.
before the telescreen.
21:365.8
MCS WINSTON raising his

IINSTRUCTRESS
arms. and alternately bending
Right over from the hips,
and straightening in time WINSTON brothers and sisters, please.
to the counting. COUGHS One, two. One, two. One, two.
One, two.
WINSTON pauses to be
Smith. Six-O-seven-nlne,
reprimanded.
Smith, W.
22:396.10
CS INSTRUCTRESS glaring WINSTON

INSTRUCTHESS
at. WINSTONfrom the telescreen.EFFORT
yes, you! Bend lower.
WINSTON obeys her
You’re not trying.
unquestloningly.
Watch me.
INSTRUCTRESS steps back
to illustrate the exercise. IN~ALES & EXHALES DEEPLY
’ WHILE BENDING & STRAIGHTENING
She comes back up close" to There, brother. That’s what
I want.
the screen.
Anyone under forty-five is
perfectly capable of touching
his toes. I’m thirty-nine
and I’ve had four children.
We don’t all have the
privilege of fighting in the
front line.
23:438.5
MCS WINSTON holding his INSTRUCTRESS

arms up. Remember our boys on the
He crosses his wrists in Malabar Front. Just think
what they have to put up with.
the customary salute.
24:448.9
EXT~ LANDING OUTSIDE WINSTON’S ANNOUNCER(female)

FLAT. DAY. Production of water-heaters
MLS PARSONS closing the door is up one point five per cent.
to his flat & advancing to the Switchgear, four point five
llft, f.g. He presses the WINSTON o.s. per cent. Electrical wiring,
’summon’ button, then waits. COUGHS ten per cent. Cigarettes,
WINSTON arrives from cam. R eighteen per cent. Bricks,
to Join him. PARSONS three per cent. Card and
Morning, Smith. paper, six per cent.
Resistors and capacitors,
WINSTON four point five per cent~
Parsons. Receiving Vacuum and
oscillator tubes, one per
PARSONS cent. Waldie carbonisation
Heard the rumour? rods, three per cent.
Rough diamonds, two per cent.
WINSTON Asbestos, seven per cent.
No. Good news, is it? Speakwrites, fourteen per
cent. Vibra-aging castings,
PARSONS nine per cent. Light bulbs...
Oh, I should say so, yes.
Chocoration’s going up.
WINSTON
Really?
They give up waiting for PARSONS

the lift and take the Twenty-flve grammes next week.
Double plus good, eh?
stairs instead. Cam. swings
L with PARSONS. By the way, Smith, I seem...
25:512.4
INT. STAIRS AT VICTORY PARSONS ANNOUNCER

MANSIONS. DAY. ...to have run out of ...four per cent. Macadam,
MS PARSONS & WINSTON razor blades for some reason. six per cent. Tyres, five
descending the stairs. Er, you wouldn’t happen to per cent. Pencils and
have any spare, would you? inkpencils, ten per cent.
Bandages, nine per cent.
WINSTON
I’m sorry, brother. I’m on
the last one.
1984 KEEL TWO (IB) Page 15
26:528.8
INT. CANTEEN. DAY. PARTY WORKERS: ANNOUNCER (female)

CU BIG BROTHER’S FACE & .a SUBDUED BABBLE OF VOICES In nineteen eighty-three,
flapping INGSOC flap
Oceania, s coal output reached
stiperlmposed over it. MUSIC IN AT: 529.0
six hundred and thirty
Cam. pans R to the crowd
mi11ion tons. In nineteen
of WORKERS either sitting
at or taking their places seventy-slx, coal output
was six hundred and five
¯ at the spartan tables.
million tons - an increase
of four point one per cent.
Five point three milllon
tractors were produced - an
increase of seventeen point
MUSIC OUT AT: 558.0 six per cent.
27:559.7
MCS WINSTON & SYME in

the food queue. -ANNOUNCER
I wanted to ask you if Six point one million trucks
you’ve got any razor blades. were produced - an increase
of thirty-three point five
WINSTON per’cent ...
I’ve tried all over the
place.
28:569.5
CS SYME & WINSTON from WINSTON

behind as they move ANNOUNCER
I’ve been using the same one ...four hundred and eighty-
along the queue, past the
for six weeks. two million tonsof crude oil
shabbily-dressed waiting
- a staggering increase of
staffdoling out the food. SYME ¯ nlnety-three point four per
Oh. Did you see the
cent. One hundred and three
prisoners hanged yesterday?
million tons of cast iron;
five point three mi11ion
WINSTON six...
No, I was working. But I
shall see it on the screens.
29:589.13
MCS SYME & WINSTON moving

along the line as a ANNOUNCER
DINNER LADY ladles food ¯ ..point five calibre clip-
into a worker’s plate. loaded magazine...
30:593.15
CS DINNER LADY, cam. tilting

down as she slops stew into ANNOUNCER
a metal pan, which is promptly ¯ ..Victory rifles; two point
Slld away to the. R along the seven million carbine model
counter. thlrty-eights...
31:602.7
MCS WINSTON & SYME, now ANNOUNCER

next in line for food. ...three point...
32:
CS WINSTON & SYME from SYME ANNOUNCER

behind as they are waved We’ll pick up a gin on the ...nine million point thirty
on by the DINNER LADY. way. MV four-nine-five...
33:610.14
MCS WOMAN moving away

SYME ANNOUNCER
from serving hatch.
Er, I’ll have two. ...automatic rifles; four
SYME takes her place & point four million MP forty-
leans forward to ask for three McCallum machine
some gin, while WINSTON pistols; two’polnt nine
stands by and waits. million...
Suddenly, his eyes llght
on somebody.
34:625.12
MS JULIA looking towards the ANNOUNCER

cam., then turning her head
...Airstrip One mark five
away. She is surrounded by sub-machine guns ; three point
WORKERS busy eating & drinking one...
at their respective tables.
35:633.3
MCS SYME withdrawing clutching 1st MAN IN QUEUE ANNOUNCER

a gin bottle. WINSTON .follows Give me a gin. ...million Grenville gas-
hlm o.s.L. operated light machine guns;
The next MAN In the queue
two point two...
approaches the hatch.
36:641.1
CS GIN being. Poured into

ANNOUNCER
two cups. The camera tilts
...million point five Victory
up to WINSTON as he raises
recoil-operated heavy machine
one of the cups to his lips
guns:six million rifle
&.drinks from it. He then WINSTON grenades; nine million Perry
sets the cup down again.
How’s the Newspeak pineapple pin grenades and
Committee? one point four million light-
weight spigot-launching
SYMEo. s. anti-tank rocket projectors.
Working overtime. The Food production is also up.
WINSTON raises a spoon full plusbig wastage is in Eggs, three point five per
of food to his llps, adjectives. The plusbig cent; butter, two per cent;
stares at it, and then problem is timing the milk, six per cent; cheese,
returns it to his plate language to scientific eight per cent; mutton, three
to discard the unappetising advance. per cent; beef, four point
pinkish solld. five per cent; pork, three
WINSTON per cent; poultry, nine per
cent...
Yes.
1984 REEL TWO (1B) Page 17
37:699.14
CS SY~ speaking while he SYM~

eats the runny, gruel-like ANNOUNCER
It’s a beautiful thing, :.:fish, eleven per cent;
substance before him. the destruction of words. sugar, two point four per
TILLOTSON, b.g., observes & You won’t have seen the
listens. cent; lard, twelve per cent;
dictionary tenth edltlon margarine, seven point five
yet, Smith. per cent...
SYME indicates the It’s that thick.
dictionary’s size with
a thumb and index finger.
38:715.5
CS WINSTON; behind him, SYME o.s.

the telescreen. ANNOUNCER
The eleventh edition ¯ ..coffee, eight per cent;
will be. that... tea...
39:719.8
CS SY~E Indicating an
eleventh edition dictionary SYME ANNOUNCER
that’s smaller than the ... thick. ...six per cent; bread...
tenth..
40:722.7
CS WINSTON; behind him, WINSTON

the telescreen. ANNOUNCER
So the revolution w111 be ¯ ..seven per cent. Overall
complete when the language food production ls up forty-
is perfect.
five per cent. The results of
the fourth quarter of the
SYME o.s. ninth three-year plan show
The secret is to move from industrial output rising by
translation to direct twenty-four per...
thought to automatic response.
No need for self dlscipllne.
41:741.4
CS SYME pointing flrst

to his throat & then ANNOUNCER
Language coming from here,
to his forehead. ...cent.
not from here. Overall industrial heavy
TILLOTSON, b.g., interrupts.
.production is up twenty per
TILLOTSON cent. Munitions production
Excuse me for intruding,
has...
but what you’re saying is
that we shall be rid of the
last vestiges of Goldsteinism
when the language has been
cleaned.
42:754.6
CS WINSTON. He nods in TILLOTSON o.s. ANNOUNCER

agreement with what’s I couldn’t be more in ...exceeded the ninth three-
being said. agreement with you, brother. year plan. Truly staggering
results!
TILLOTSON’S FRIEND o.s.
Absolutely.
43:762.5
CS TILLOTSON & SYME

turning thei.r heads in reaction
to the sudden burst of
applause.
44:765.14
MLS WOMENapplauding the ANNOUNCER

the production figures Just Praise be to our leader and
announced. Their male the Party workers!
colleagues, f.g., turn
their heads & stare at them.
45:770.12
CS WINSTON looking round at

the telescreen behind him.
46:775.9
MCS SYME & TILLOTSON directing ANNOUNCER

their gazes at the telescreen, Other munitions production
o.s. behind WINSTON, f.g.L. figures are as follows:
Theysoon resume their meal,
with SYME & TILLOTSON making PARSONS Seventy thousand M-twenty
way for PARSONS & his food tray~ mith’ Syme. tank destroyers with seventy-
six milllmetre cannon; one
point five mllllon...
47:794.13
CU WINSTON drinking from SYME o.s.

his cup. ANNOUNCER
It’s an encouraging... ...Cameron seventy .millimetre
grenade launchers; three
hundred and...
48:802.14
MS KITCHEN STAFF from SYME o.s.

WINSTON’S viewpoint. ANNOUNCER
¯ ..thought that by two ¯ ..forty thousand Big Brother
thousand and fifty, not a ninety millimetre...
slngle person will be able
to have a...
19 84 REEL TWO (IB) Page 19
49:807.1
CU WINSTON. SYME o.s. ANNOUNCER

...conversation like this. ...heavy mortars; one point
two million pot mines;
WINSTON six hundred and forty
Except the Proles. thousand...
SYME o.s.
The Proletariat don’t count;
they’ re animals.
50:817.3
MCS .PARSONS, his face alive PARSONS ANNOUNCER

with enthusiasm as he See the hanging? Missed it ...Pardo mark twelve anti-
stirs his food with gusto. myself - bloodycommittees. tank mines; five hundred and
forty thousand...
51:827.11
CU WINSTON pensively sipping

ANNOUNCER
more gin. His eyes f.licker
...heavy Victory rocket bombs;
surreptitiously to the R.
thirty-five thousand Black
Eagle five hundred c.c.
motorbicycles...
52:840.0
MS JULIA engaged in deep

ANNOUNCER
conversation with her
colleagues. ...three hundred thousand...
53:843.4
CU WINSTON dropping his gaze.

PARSONS o.s. ANNOUNCER
Double plus good, this. ¯ ..fifteen hundredweight
army trucks;..
54:847.2
CS PARSONS praising the food PARSONS ANNOUNCER

& stabbing his fork into a Do you know, huh, I don’t ¯ ..four hundred and five
synthetic meat cube which he think there’s a single thousand three ton army trucks
then holds up for all to see. piece of meat in this stew. six hundred and thirty thousan~
Hmm, looks like meat, tastes gas masks.
like meat, isn’t meat at all. Aeroplane production at the
He pops the specimen into
Double plus good. end of the ninth three-year
his mouth.
plan has...
55:867.8
CU WINSTON reacting to the

PARSONS o.s.
question. ANNOUNCER
Not like it, Smith? .... also been a great success.
In every department, norms...
WINSTON
Yeh, oh, yes ¯ It’s
, er, too
rich for me.
56:873.11
MS PARSONS leaning across PARSONS ANNOUNCER

to take WINSTON’S pannikin Do you mind if I, erm...? ...have been exceeded.
& emptying its contents into Brothers and sisters,
his own. the battle for production
has been won~ Completed
WINSTON pours himself more returns show that the standard
gin. of living has risen by no
All eyes return to the less than...
telescreen as the report
reaches its climax.
57:889.15
MCS JULIA chewing her food ANNOUNCER

while taking in the message ...twenty per cent over the
of the commentary. last year!
58:892.13
CS WINSTON staring at Big ANNOUNCER

Brother’s face on the All over Oceania there have
telescreen. been...
59 : 896.12
MCS JULIA as in 57. Her ANNOUNCER

gaze travels to the R. ...spontaneous demonstrations
of Party workers...
60:900.6
CS WINSTON watching as
ANNOUNCER
Big Brother’s face dissolves
....voicing their gratitude
to amultitude of cheering, and joy! Inhonour of this
waving PARTY WORKERS & TANKS. massive over-fulfilment of
the ninth three-year plan,
it has been announced that the
chocolate ration is to be
increased to twenty-...
61:917.4
CS PARSONS & others greeting

ANNOUNCER
the news with applause.
...five grammes per week!
REEL TWO (IB) ENDS AT: 925.6

19 84 REEL THREE (2A) Page 21
SCENE No. & ACTION: DIALOGUE ~ MUSIC: TELESCREEN:
I: 000.00
INT. WINSTON’S FLAT. NIGHT. MUSICIN AT: 1.6

CS TELESCREEN over WINSTON
before it. SOLDIERS are WINSTON v.o.
seen securing PROLE PRISONERS If there is hope, it lles in
to a gallows. the Proles. If they could
become conscious of their own
strength, they would have no
need to conspire. History does
not matter to them.
2:36.1
CS WINSTON’S hands as he WINSTON v.o. CROWD : CHEER

writes more dissenting It was three years ago,
accounts In the notebook. on a dark evening, easy to
The cam. slowly tilts up slip the patrols, and I’d
to his face. gone into the Proletarian areas.
3:60.13
¯ FLASHBACK: WINSTON v.o.

EXT. PROLETARIAN AREA. NIGHT. There was no one else in
MS WHORE as the cam. tracks the Street, and no telescreens.
slowly towards her.
She nods, then starts to WHORE
walk, leading the way, Two dollars.
the cam. tagging along
behind her. In the half-llght WINSTON v.o.
she pauses & turns. She said, ,"Two dollars;" and
so I went with her. She had a
young face...
4:97.14
INT. WINSTON’S FLAT. NIGHT. ¯ WINSTON v.o.

Slow zoom-ln to WINSTON as ...painted very thick.
he reflects.
5:101.12
FLASHBACK: WHORE (faint)

INT. WHORE’S ROOM. NIGHT. Come on. Come on. Come on.
MS WHORE sitting down on
her bed. The cam. tracks WINSTON v.o.
in towards her craggy, It was really the paint that
careworn face. appealed to me. The whiteness
of it, like a mask, and the
bright red lips.
WHORE
Come on.
1984 ¯ REEL THREE (2A) Page 22
6:129.0
FLASHBACK:
CS WINSTON grimacing.
7:133.4
FLASHBACK: WHORE
CS WHORE lying back & hitching Come on.
up her dress.
Cam. tilts down to her WINSTON v.o.
naked, bruised thighs., There were no preliminaries.
then back up to her face. Standing there with the
scent of dead insects and
cheap per(fume.)...
8~ 156.15
FLASHBACK: WINSTON v.o.

CS WINSTON stepping slowly ...I went ahead and did
forward. it just the same.
9:164.13
INT. RECORDS OFFICE. DAY. MUSIC OUT AT: 167.0

MCS WINSTON, his back to
(lost in the bustle)
the cam., consulting the
Party News~shee~.
i0:176.4
CU PICTURE depicting
RUTHERFORD & accompanying
caption:
"INNER PARTY BROTHER
RUTHERFORDAFTER RECEIVING
ORDER OF CONSPICUOUS MERIT
2nd CLASS"
The cam. tilts up to
WINSTON’S face studying the
photograph with deliberation.
11:188.2
MCS WINSTON dlalllng a number

on the unit before him.
12:206.9
CS TELESCREEN over WINSTON’S

shoulder flashingup pictures
of fallen soldiers:
PRIVATE S.C.R. SMITH
INGSOC TANK CORPS
DIED 14.1.71 CAMEROONS
1984 REEL THREE (2A) Page 23
12: Continued.
PRIVATE A. SNAEFEL
PILOTED MISSILE SECTION
¯ .DIED 14.1.71 MALAYAN PENINSULAR
13:215.14
MCS WINSTON staring at the

telescreen in front of him.
A fellow-worker moves about
in the adjoining cublcle, b.g.
14:~ 222.0
CS TELESCREEN as in 12, flashing

up more images of dead fighters:
PRIVATE S. RUTTER
FLOATING FORTRESS
DIED 14.1.71. MAGELLANSTRAITS
SUB-LIEUT. N. OGILVY
12th ARMY
DIED 15.1.71. ARTIC FRONT
15:228.15
PROFILE CU WINSTON.
He turns full face to the cam.
& raises his fingers to his
cheek as he ponders what to do.
16 : 246 .I
CS RUTHERFORD pictured on
the news-sheet.
17:250.12
CU WINSTON raising the WINSTON into speakwrite

speakwrite & dictating his Rutherford unperson, substitute
amendment into it. Ogilvy.
18:262.4
CS OGILVY’S image on the WINSTON into speakwrite

telescreen over WINSTON. Ogilvy biog details as follows:
War hero, recently killed
Malabar Front, today awarded
posthumous order of
conspicuous merit, second class.
1984 REEL THREE (2A) Ps.~e 24
19:280.15
CU WINSTON’S hands masking

RUTHERFORD’S picture with tape.
20:292.8
EXT. CHESTNUT TREE CAFE. DAY. RUTHERFORD

LS WINSTON picking his way I accuse myself of
through the rubbish-strewn
sabotage, embezzlement of
street as an army truck Party funds, sale oZ
drives past behind him.
military secrets, of being
in the pay of the government
of Eurasia, of being a
sexual pervert...
21:313.15
INT. CHESTNUT TREE CAFE. DAY.

RUTHERFORD
~LS WINDOW with writing on
...and a thought criminal.
it reading: "CHESTNUT TREE I exploited my trusted
CAFE". WINSTON walks into view
position at the. Ministry of
& looks inside.
Peace...
22:323.14
MS RUTHERFORD, JONES & MUSIC IN AT: 326.0 RUTHERFORD

AARONSON sitting round a.
...to mislead our allies in
table surmounted by a chess- WAITER Eastasia, and also to
board as a WAITER.poursgin It’s on the house. corrupt youth by means of
into AARONSON’S glass.
seditious literature and
The cam. pans slightly R
drugs. I am guilty on all
as the WAITER withdraws to
counts. I stand here...
Include the giant telescreen
featuring RUTHERFORD
confessing to his ’crimes’
23:348.5
CU WINSTON peering through WINSTON v.o. RUTHERFORD

the window. "Under the spreading ...a victim of the influence
chestnut tree, of Emmanuel Goldsteln. I
I sold you, you sold me..." implore you once again to
shoot me while my mind is
clean.
24:363.13
CS TELESCREEN depicting
RUTHERFORD
RUTHERFORD as the WAITER, f.g.,
And I ask only for you to
moves aside.
accept...
19 84 REEL THREE (2A) Page 25
25:370.13
CU RUTHERFORD with tears RUTHERFORD

coursing down his cheeks. ...my love of our leader.
Behind him sits AARONSON.
26:378.5
CS WINSTON looklng .through

the cafe’s front window.
A tank trundles past behind
him.
He walks o.s.L.
27:393.1
EXT. STREETS OF PROLETARIAN MUSIC OUT AT: 396.0

AREA. NIGHT.
Atracking. CS FEET pacing the PROLES: BABBLE FAINTLY
streets filled with the
roar of distant explosions.
28:401.13
EXT. DRINKING HOUSE. NIGHT. PHOLES: BABBLE

MS FIGURES seen throug~ a
murky window supping gin.
¯ .WINSTON walks into view &
. looks past the two black
silhouetted shapes of men
at the activity within.
The cam. then tracks him
to the door, R.
29:432.8 PROLES: BABBLE
INT. DRINKING HOUSE. NIGHT.

MCS MAN pushing psst the
crowds of PROLES to the
table surmounted by lottery
tickets. (Cam. pans him R)
30 : 440.9 PHOLES: BABBLE
MCS WINSTON in the doorway,

over 2 PROLES.
31:446.12 PROLES : BABBLE
MCS MAN & WOMAN kissing.

32:453.5
EXT. PROLETARIAN BAR/STREETS. PROLES: BABBLE

NIGHT.
MCS WINSTON withdrawing as
two POLICE PATROLMEN push
their way to the door.
33:466.12
¯ . EXT. PROLETARIAN STREET.

NIGHT.
MS LITTLE GIRL as an army
vehicle chugs past.
The road clear, the girl
crosses to the middle.
34:481.11
EXT. CHARRINGTON’S SHOP. NIGHT.

MS WINSTON, briefcase in hand,
walking into the shop, R.
The LITTLE GIRL wanders back
towards the kerb.
35:496.15
INT. CHARRINGTON’S SHOP. NIGHT.

MCS WINSTON looking up at
the assortment of Junk placed
on shelves.
36:509.4
MCS CHARRINGTON coming forwardCHARRINGTON

& pausing. Can I help you?
37:518.15
MCS WINSTON straightening up

stepping forward.
38: 524.3
CS CHARRINGTON staring CHARRINGTON

inquisitively. Hmm? Anything special?
39:529.5
CS WINSTON. WINSTON
I was here before.
40 : 533.14
CS CHARRINGTON nodding as
CHARRINGTON
he recollects. Ah.
40 : Continued. WINSTON o.s.

Razor blades.
CHARRINGTON
Ah-ah-ah.
41:539.5
CS WINSTON, wanting to WINSTON

ellcit a more positive You Sold me the notebook.
response.
42:543.13
CS CHARRINGTONnodding. CHARRINGTON
Yes. Yes. Well, please
look round.
43:552.15
MS WINSTON over CHARRINGTON’S CHARRINGTON

.shoulder & back. Hmm?
WINSTON sets his
briefcase down on the
counter & starts to
scrutinize several objects
on display.
44:578.8
MCS CHARRINGTONover CHARRINGTON

WINSTON. CHARRINGTONnods Ah.
at.the object
in his customer’s hands.
45:580.13
CS WINSTON turning the

object (a shoe) over
his hands before putting
it down.
46:586.7 MUSIC IN AT: 588.0

CU WINSTON’S hands WINSTON o.s.
selecting’ a round, smooth What’s this?
piece of glass with an
anemone-llke object sealed CHARRINGTONo.s.
within. The cam. tilts up Oh, it’s a,..
to his face.
47:597.13
CS CHARRINGTON. CHARRINGTON
¯ ..beautiful thing. Over
a hundred years old.
48:603.15
CU WINSTON looking up.
49:606.14
~CS CHARRINGTONover WINSTON. CHARRINGTON

Cost you four dollars..
50 : 612.14
CU WINSTON’S hands holding the

glass ball.
51:615.12
CU WINSTON turning his

head to the L.
52:619.10
MS WINSTON’over CHARRINGTON
as he delves into his
pocket for money & steps CHARRINGTON
forward to pay him. There’s another room
upstairs you might like to
see. Yes, it’s, er, not much
CHARRINGTON unhooks the in it, Just a few-things.
old-fashloned oll lamp
hanging from the wall &
moves away to the R..
WINSTON follows.
53:659.5
INT. STAIRS OF CHARRINGTON’S

SHOP. NIGHT.
MCS CHARRINGTON shuffling up
the stairs with WINSTON
close behind him.
54:.664.8
INT. UPSTAIRS ROOM. NIGHT.

MCS door opening revealing
CHARRINGTONlighting the
way. Both he & WINSTON
pause to survey the room.
CHARRINGTONmoves off, CHARRINGTON
while WINSTON lingers
behind.
55:687.11
Cam. pans across the room

from the window to a MCS
CHARRINGTON standing by
an old bed..He prods the
CHARR INGTON
mattress with his fist. My woman’s dead. I’m just
trying to sell the
WINSTON steps into view, f.g. furniture.
Mmm, it’s a beautlful bed,
if you can get the bugs out
WINSTON withdraws from of it.
the scene; CHARRINGTON looks
on.
56:730.12
MCS WINSTON looking out

of the window as a flash
from an explosion lights
the night sky. He turns CHARRINGTON o.s.
.round. Interested in old prints
at all?
57:744.5
MCS CHARRINGTON approaching

an old print of a church
hanging on the wall.
He raises his arm to CHARRINGTON
Illuminate it with the The frame’s fixed to the wall,
lamp. WINSTON draws nearer but I daresay I could unscrew
to inspect it. it.
WINSTON
How did this escape? I know
what it is. It’s the museum
in the street outside the
Palace of Justice.
’CHARRINGTON
"Oranges and lemons say
the bells of St. Clement’s..."
WINSTON
What was that?
CHARRINGTON
Something old.
58:795.1 MUSIC 0UT AT: 794.0
EXT. CHARRINGTON’S SHOP.

NIGHT.
MS WINSTON leaving the shop.
He. pauses on the threshold
then ventures forward a step.
59 : 806.15
MCS GIRL sticking an ARTSEM

poster to wall. The cam.
pans R to her two COLLEAGUES,
one of whom is JULIA. She
looks round.
60:817.5
MCS WINSTON staring towards MUSIC IN AT: 820.8

the cam.
61:821.13
CU JULIA staring back.
62:825.9
MCS WINSTON walking off.
63:829.13
INT. WINSTON’S FLAT. NIGHT. ANNOUNCER (female)

CU WINSTON’S hand pouring War is peace!
gin into a cup. The cam.
Freedom is slavery!
follows the cup to his WINSTON Ignorance is strength!
llps as he raises it to GULPS
drink.
64:846.6
CU TELESCREEN showing ANNOUNCER

ranks of marching ANTI-SEX A triumph of willpower
LEAGUE WOMEN, ending in over the orgasm.
the traditional crossed-wrist
salute. WOMEN
The cam. pans L to WINSTON CH~.ER
writing in his notebook.
ANNOUNCER
At a rally of the Anti-Sex
League in Victory Square
tonight, held to celebrate
a fifty per cent decrease in
clvil marriages, over ten
thousand Party women took a
vow of cellbacy and pledged
themselves as...
65:872.0
CU WINSTON’S hand penning WINSTON v.o. ANNOUNCER

in another entry: I HATE HER I hate her. ...vessels for the
artificial insemination
programme ....
66:875.15
CS WINSTON. WINSTON v.o. ANNOUNCER

He takes off his I¯ should kill her before ¯ . .Artsem Three, designed
glasses & rubs his she denounces me. I have
tired eyes. to coincide with the
disliked her from the first breakthrough recently
moment of seeing her. announced by Party
neurologists in the search
to eradicate the orgasm.
67:892.8
DREAM~SEQUENCE: EXT.
COUNTRYSIDE. DAY.
CS YOUNG WINSTON, his face
twitching as he witnesses
a gruesome sight.
68:899.13
DREAM SEQUENCE:
CS WINSTON’S MOTHER lying
in the grass, a line of
blood running from the
corner of her mouth down
her chin.
69:902.14
DREAM SEQUENCE:
CS YOUNG WINSTON as in 67.
O’BRIEN rests a fatherly
..arm on the boy’s shoulders¯
70:911.1
DREAM.SEQUENCE:
MS WINSTON’S MOTHER’S
rat-infested body over
YOUNG WINSTON, O’BRIEN’S
hand gripping his shoulder.
71:913.7
~REAM SEQUENCE:
MCS YOUNG WINSTON & O’BRIEN
looking at each other,
then turning their faces
to the macabre scene before
them.
72:921.4
DREAM SEQUENCE:
MCS RATS crawling over
MUSIC OUT AT: 930.7
WINSTON’S MOTHER’S body..
REEL THREE (2A) ENDS AT: 930.7

1984 REEL FOUR (2B) Page 32
SCENE No. & ACTION: DIALOGUE & MUSIC: TELESCREEN :
I: 000.00

CU WINSTON’S hands carefully
removing the wrapper from
a razor blade. (The blade MUSIC IN AT: 8.7
is old and rusted). He
theninserts it in his
razor.
2 : 13.0
CS WINSTON staring at
’himself in the m~rror.
Also captured in the mirror
is the reflection of a
helicopter flying past
the Window.
The cam. pans slowly L to MUSIC OUT AT: 44.0
the window as the aircraft (lost in the throbbing
hoversinstrusively outside. of the helicopter’s engine)
3:. 56.0
INT. MINISTRY CORRIDOR. DAY.

ANNOUNCER (female)
~
MLS WINSTON approachlng. Sector Forty-Three: nine
He passes a group of men
hundred and twenty-nine
going the opposite way.
male...
4:63.7
MS JULIA approaching.
ANNOUNCER
Her arm in a sling, she
....seven hundred and fifty-
carries a bag of tools.
three female; Sector...
5:.68.11
MCS WINSTON continuing

ANNOUNCER
towards the cam.
¯ ..Forty-Four: four hundred
and thirty-seven...
6:73.1
MCS WINSTON witnessing JULIA JULIA ANNOUNCER

sllp and fall as they’re Ow! Uh... GASPS
about.to pass each other. ...male, six hundred and nine
WINSTON pauses beside her female; Sector Forty-Five:
WINSTON two hundred and twenty-two
& inquires: Are you hurt? male, two hundred and twenty
female;
6 : Continued. JULIA ANNOUNCER

Oh, it’s nothing. It’s Sector Forty-Six: one
JULIA raises her arm my arm. I’ll-be all right thousand seven hundred and
for assistance. in a second. Brother, twenty-four male, one
could you...? thousand eight hundred and
seventy-five female;
Sector Forty-Seven:
7:108.11
MCS WINSTON stooping. ANNOUNCER

forty-three male...
8:111.14
~CS JULIA being helped JULIA: SIGHS AS SHE RISES ANNOUNCER

to her feet by WINSTON. ..~one hundred and seventy-
nine female;
9:116.13
CS WINSTON watching as WINSTON ANNOUNCER

JULIA rises into view Are you all right? Sector Forty-Eight: five
in front of him, f.g. hundred and siXty-nine male...
10:123.13
~CS JULIA over WINSTON. JULIA ANNOUNCER

She makes light of her It’s nothing. I only gave C
.... five hundred and fifty
fall, then turns to my wrist a bit of a bang. four female; Sector Forty-
recover her bag. Nine: two....
ii: 133.5
CS WINSTON as JULIA, f.g., JULIA ANNOUNCER

straightens up. Thank you, brother. ...hundred and elghty-elght
male, two hundred...
12:137.9
MS WINSTON & JULIA

ANNOUNCER
parting company & going
...and ninety-four female;
their separate ways.
Sector Fifty: one thousand
two...
13:146.12

MCS WINSTON at his work
station.
14:151.9
.CU WINSTON’S hands

MUSIC IN AT: 152.0
surreptitiously unfolding a
message conveyed to him
by JULIA, reading: I LOVE YOU
15:163.9
CU WINSTON reading the

note.
16:168.1
CU WINSTON’S hands turning

over the notepaper, revealing
a further message: VICTORY SQUARE
17:177.6
CU WINSTON as in 15.
18:181.2
CU WINSTON’S hand tossing

the note into the
incinerator.
19:186.14

MS spying HELICOPTER
hovering up close to the
window. It pauses, then
climbs out of sight.
Cam. pans L to WINSTON, WINSTON v.o.
smoking & drinking as Who is she? All I know is
he observes it. that she works in the
Porno Section.. Probably on
the Proletarian novel-writing
machines.
20:251.3
INT. PARSON’S FLAT. NIGHT. WINSTON o.s. CROWDS : CHEER

CS SUSAN PARSON watching EFFORT
the hanging of prisoners
on the telescreen. MUSIC OUT AT: 255,0
,21:258.0
MCS WINSTON lying underneath WINSTON

the sink. He fumbles to Mrs. Parsons, a spanner?
find the spanner to help
him complete the repair. ~fRS PARSONSo.s.
Oh, er, under the sink,
beside you.
22:269.14
CS MRS PARSONS turning her

head to. the L.
23: 273.11-
CS WILLIAM PARSONS
staring fixedly.
24:276.2
MCS WINSTON draining WINSTON

water from the sink into COUGHS
a bucket. The Job complete,
he draws his head
out of the confined space.
25:287.13
CS WILLIAM PARSONS
¯ staring as before.
26:291.12
CS WINSTON’S hand clearing

blocked sink.
27:296.5
~CS WINSTON drying his MRS PARSONS o.s.

hands in a cloth. Oh, thank you, brother.
I wouldn’t have had to
bother you~ but my...
28:303.1
CS WILLIAM, his eyes MRS PARSONS o.s.

still, flxed in a stare. ...husband’s out late:
29:305.10
CS WINSTON returning MRS PARSONS o.s. CROWD : CHEER

the stare. committees. You know
¯ what us Parsons are like.
30:310.14
CS WILLIAM, passing ~WILLIAM

Judgement. You’re a thought criminal.
31:314.13
MCS WINSTON forcing a MRS PARSONS o.s.

smile-as he dries himself. They...
32:321.9
CS WILLIAM looklng daggers MRS PARSONS o.s.

at cam. R. SUSAN, b.g. turns ...they haven’t been
her head. out much. But...
¯ 33:325.15
MCS MRS PARSONS over MRS PARSONS

WINSTON. ...thank you, brother.
MUSIC IN AT: 327.0

(fanfare)
34:327.7
CS WINSTON, impassive. MUSIC OUT AT: 330.12 ANNOUNCER (female)

Attention!
Your attention, please!
35:330.12
MCS WILLIAM turning to

ANNOUNCER
the telescreen; JULIA is A newsflash has this moment
already fixed to it.
arrived from the Malabar
Front.
36:337.5
MS WILLIAM SUSAN, MRS ANNOUNCER

PARSONS & WINSTON, all The forces of Oceania in
facing the cam. South India have won a
glorious victory. I am
authorized to say that the
war against...
37:349.1
CU TELESCREEN & images

ANNOUNCER
of PRISONERS marching along ...Eurasia is within
with their hands behind
measurable distance of its
their heads. end. Forty thousand Eurasian
soldiers have been killed or
captured.
38:360.3
EXT. VICTORY SQUARE. NIGHT. CROWD

MLS TRUCKS carrying PRISONERS Kill, kill, kill, kill,
advancing past a chanting mob, kill, kill...
punching the air with their
fists as they shout.
The cam. pans L.
39:369.1
MLS PRISONERS being CROWD

conveyed by truck past the ...kill, kill, kill, kill,
chanting CROWD. kill, kill, kill, kill,
kill, kill, kill...
40:376.1
CS TELESCREEN televising CROWD

the machine gunexecution
...kill, kill, kill, kill,
of a prisoner. kill, kill! CHEER
The cam. tilts down to Kill, kill, kill, kill, kill,
WINSTON among the kill, kill, kill, kill, kill!
¯ applauding the crowd. cHEER
41:391.9
A MS,.panning along the CROWD

line of bedraggled PRISONERS, Hate, hate., hate, hate
glimpsed between the hate, hate...
heads of people in the
crowd, f.g.
42:397.11 CROWD
...hate, hate, hate, hate,
A MCS, panning along hate...
the throng of chanting
PEOPLE.
43:401.2
MS TRUCK carrying PRISONERS

CROWD
through the CROWDS lining ¯ ..hate, hate, hate, hate,
both sides of the road, hate, hate, hate, hate, hate,
who cheer each time a shot hate, hate, hate, hate, hate,
rings out. hate, hate, hate! CHEER
As another truck passes,
the cam.. tilts up to
¯ include the giant TELESCREEN
in the b.g. depicting a
SOLDIER shooting hooded
PRISONERS in the head.
44:420.2
MLS Jubilant CROWD applauding CROWD

the executions. Beyond them,
CHEER
PRISONERS are seen tied to
stakes.
45:423.5
MCS PRISONERS parading past

on a truck.
46:429.9
CS PARSONS participating CROWD

in the frenzied applause. CHEER
Cam. pans R & focuses on
WINSTON, b.g. JULIA
JULIA sidles up to him. Can you hear me?
WINSTON
Yes.
JULIA
Do you have an ex-London
permit?
WINSTON
Yes.
47:456.6
MCS ORIENTAL PRISONERS CROWD

being ferried past. CHEER
JULIA o.s.
Can you get Sunday afternoon
off?
48:461.7
MCS WINSTON & JULIA CROWD

in.the midst of the CHEER
crowd.
WINSTON
Yes.
JULIA
Take this.
49:466.13
CU JULIA’S hand slipping CROWD

a note into WINSTON’S hand. CHEER
She gives ~he hand a
reassuring squeeze.
50 473/0
CS JULIA & WINSTON. CROWD

CHEER
JULIA
It’s quite precise. I rely
JULIA withdraws. on you to destroy it. Are
you sure you can come?
WINSTON
Yes .
50 : Continued. CROWD
Kill, kill, kill, kill...
51:489.8
MS WINSTON looking CROWD

about him as JULIA ...kill, kill, kill,
squeezes past the kill! CHEER
crush of people as she
withdraws.
52:497.5
EXT. BATTERSEA POWER STATION. MUSIC IN AT: 497.5

DAY.
MS POWER STATION BUILDING.
The cam. cranes down &
pans R to a dilapidated
RAILWAY STATION & a
TELESCREEN showing dissolving
images of battle scenes.
53:525.14
EXT. PLATFORM. DAY.

MLS WINSTON standing on
the platform ~aiting for a
train. A grQup of YOUTH
LEAGUE.CHILDREN & their
LEADER march past behind
him.
54:546.7
CS WINSTON, his head turned

to %he R.
55:552.15
MS ~L%N over WINSTON ~AN

.~approachlng in a casual On your own, brother?
m anne r.
WINSTON
NO, I’m Joining the Vicmans
Community Hiking Group.
56:575.15
CS WINSTON. WINSTON
I was held up on urgent
Minrec business.
57:580.9
MCS MAN over WINSTON

looking away. MUSIC OUT AT: 591.2
58:591.3
EXT. TRAIN. DAY. CHILDREN (singing)

MS TRAIN, drawn by a Sing to the sailors on the
steam engine, Crawling Floating Fortress
along laboriously. Sing to the soldiers on
~he battlefields
59:609.14
INT. TRAIN. DAY. CHILDREN (singing)

CS WOMAN,& other Sing to the airmen in
sad-faced.PASSENGERS. the burning azure
Sing to the farmers’...
60:619.11
CS YOUTH LEAGUE CHILDREN CHILDREN (singing)

in full voice. The cam. ¯ ..rising ylelds
pans L. We are the children,
builders of the future
And we the children swear
The cam. tilts up to to thee
include an OLD WOMAN Loyal devotion, fearless
& the MAN who formerly devotion
stood on the station platform.
61:643.11
MCS WINSTON & a group of CHILDREN (singing)

PASSENGERS. And to die with dignity
Sing to the faithful...
62:653.12
EXT. TRAIN. DAY. CHILDREN (singing)

ANNOUNCER (female)
MS CARRIAGES, old & crumbling, ...members of the Party. A daring and resourceful
Clattering as they move o.s. Sing to the Party policy
manoeuvre...
63:663.3
..EXT. COUNTRYSIDE. DAY.
LS WINSTON walking along

a path past an electricity ANNOUNCER
pylon~ ...under the personal
direction of BB himself,
ensuring the total
annihilation of the
Eurasian heavy armoured
divisions...
64:673.9
EXT. WOODS. DAY. MUSIC ¯IN AT: 673.9

CS TREE-TOPS, tilting
down to ground level &
WINSTON strolling through
the leafy surroundings.
He turns as he hears a
twig snap behind him &
sees it’s JULIA. She lays
a finger on her lips to
enjoin silence & walks
on ahead. WINSTON follows.
65:721.3
CS JULIA’S bandaged wrist

parting the branches as
she & WINSTON make their
way to the edge of the wood, JULIA
where they pause & take Look.
in the green undulating
slope beyond: the Golden WINSTON
Country in Winston’s dreams. It’s a dream.
WINSTON looks at JULIA. I want you.
JULIA
Not here. Come back to
They exit, cam. R. the woods, it’s safer.
66:779.4
MLS JULIA & WINSTON WINSTON o.s.

walking among the trees. Have you done this before?
67:793.12
CS JULIA. JULIA
Of course. Hundreds of
times.
WINSTON o.s.
With Party members?
JULIA
Yes.
68:806.8
CS WINSTON. WINSTON
Inner Party members?
¯ 19 84 REEL FOUR (2B) Pa~e 42
69 : 809.11
CS JULIA. JULIA
Not with those bastards.
Though there’s plenty who
would.
WINSTON o.s.
.Look...
70:815.7
CS WINSTON. WINSTON
...I hate purity. I
hate goodness.
71:822.5
CS JULIA. WINSTON o.s.

I don’t want virtue
to exist anywhere.
72:827.6
CS WINSTON. WINSTON
I want everyone corrupt.
73:830.3
CS JULIA. JULIA
Well, I ought to suit
you then. I’m corrupt to
.the core.
74:836.14
CS WINSTON. WINSTON
DO you llke doing this?
I don’t mean Just me.
75:845.15
CS JULIA, with relish. JULIA

I adore it.
MUSIC OUT AT: 849.0
REEL FOUR (2B) ENDS AT: 851.0

1984 REEL FIVE (3A) Page 43
1:000~00
EXT. WOODS. DAY.

CU WINSTON, expressionless
& staring.
2:7.9
DREAM SEQUENCE: EXT.

UNDULATING GREEN HILLS.
/GOLDEN COUNTRY). DAY.
A slow-motlon MLS JULIA
MUSIC IN AT: 11.0
walklng towards the cam.
As she does so, she pulls
off the red sash about her
waist & unbuttons her
overalls .to~ reveal, her
breasts.
3:28-.14
EXT. WOODS. DAY.

CU WINSTON staring
intensely.
4:32.12
A ~slow-motlon MS JULIA
discarding her overalls
entirely & .baring the
rest of her body.
DIssoLvE TO:
5:37.4
CS JULIA & WINSTON

engaged in love-making.
(Slow-motion)
DISSOLVE TO:
6:45.8
CS WINSTON rellnqulshing
his embrace; JULIA still
ecstatic. (Slow-motion)
~DISSOLVE TO:
7:58.12
CS WINSTON looking down

at JULIA, asleep, as
the. cam. ~ans L.
8:81.0
DREAM SEQUENCE: EXT. RUINS. DAY.

A frontal, tracking, slow-motion
MS YOUNG WINSTON running
among the debris of flattened
buildings.
9:96.3
DREAM SEQUENCE: INT. CORRIDOR. O’BRIEN v.o.

DAY. Winston, we shall meet in
MCS O’BRIEN escorting WINSTON the place where there is no
to the end of a corridor, darkness.
where a door swings open onto
¯ the undulating green hills
witnessed earller.(GOLDEN COUNTRY)
(Cam. tracks them from behind)
I0:130.9
INT. WINSTON’S FLAT. NIGHT.

MS VIEW from window, panning ANNOUNCER (female)
L across the war-torn buildings, Adult literacy amongst the
mingling with the reflection Proletariat has risen by
fifty-six per cent. The
of the INGSOC FLAG from the
telescreen. WINSTON steps into Proletarian infant mortality
rate has dropped by twelve
shot & scans the desolation.
per cent. Incidences of
leukaemia, tuberculosis and...
ii: 150.7
MS VIEW from window, panning

L from the ragged INGSOC FLAG ANNOUNCER
to the tall dimly-lit windows ¯ ..meningitis have dropped
of the bullding opposite. considerably. Improved diet
has been responslble for a
dramatic decrease in rickets.
Eye diseases show a steep
drop, so too do deaths from
pneumonia and smallpox. The
improvement in sewerage...
12:174.0
CS WINSTON contemplating the

.view. ANNOUNCER
Re bltes into a hunk of bread. ...drainage systems has
resulted in better health
overall. State rodent
operatives report a fifty
per cent reduction in the
number of vermin in the
MUSIC OUT AT: 193.11 central Proletarian zones.
13:193.12
INT. COMMUNITYCENTRE. DAY. ~ARTSEMLECTURER

MS ARTSEM LECTURER, his back I Just want to finish by
to the cam., addressing the saying a few words about
congregation of MEN & WOMEN. the impact of this imminent
neurological breakthrough.
When the orgasm has been
finally eradicated, the
last remaining obstacle
to the psychological
acceptance of the principles
of Ingsoc, as applied to
Artsem, will be overcome.
14:224.15
MLS ARTSEM LECTURER over ARTSEM LECTURER

the heads of members of In other words, the
the AUDIENCE. unorthodox tendencies towards
ownllfe, which constantly
threaten the natural erosion
of the family unit...
15:236.13
CS WINSTON listening intently ARTSEM LECTURER o.s.

to the lecture. ...will no longer have the
He takes a puff from his biological support of the
cigarette as.the cam. organism. As we all know,
starts to pan R, past the biological and social
PARSONS,~to JULIA in stimulation of the family
female section of the leads to private¯ reflection
audience. outside Party needs and to
the establishment of
unorthodox loyalties, which
can only...
16:263.1
CS ARTSEM LECTURER. ¯ ARTSEMLECTURER

...lead to thoughtcrime.
The introduction of Artsem...
17:269.7
MCS female section of the ARTSEM LECTURER o.s.

AUDIENCE including JULIA. ...combined with the
neu~ralisatlon of the orgasm,
will effectively render
obsolete the family until...
18:278.11
CS ARTSEM LECTURER. ARTSEM LECTURER

¯ ..~t becomes
impossible to conceptualize.
Thank you.
19 i 285.15
CS PARSONS, Joining in
the ensuing applause.
20:290.9
CS JULIA applauding.
21:293.15
CS WINSTON applauding.
22:297.11
CS TILLOTSON applauding,
then rising with other
members of the audience.
23:304.3
MS MEN & WOMEN leaving the

lecture hall. The ARTSEM
LECTURER & .the two men
flanking him, f.g., watch
the departing audience.
24:307.12
MCS JULIA stooping to JULIA

pick up an ink pencil which
Excuse me, brother. You
she hands to WINSTON. dropped your ink pencil.
They exit L & R of shot
respectively. WINSTON
Thank you, sister.
25: 325.1
INT. WINSTON’S FLAT.NIGHT.

ANNOUNCER (female)
CU WINSTON’S HANDS removing
A pincer movement has
message concealed within
ink pencil. He unrolls the developed, involving the
Floating Fortresses of the
notebearing the word "YES"
written in bold capltals. Eurasian Seventeenth Fleet,
which have disembarked over
three hundred thousand
armed...
1984 REEL FIVE (3A) Page ~7
26 342.2
INT. CHARRINGTON’S SHOP. DUSK.

CS WINSTON’S hands unwrapping
a piece of cloth from round CHARRINGTON
an old machine part. The cam. Hmm. Not much.
tilts up as CHARRINGTON appears
& pauses in the doorway, b.g. WINSTON
WINSTON looks up at him. No.
CHARRINGTON
Not much left at all these
days. The wars. Police don’t
llke us much.
27: 387.9 MUSIC IN AT: 386.0
CS WINSTON. WINSTON
That room, how much?
28:392.11
MCS CHARRINGTON with a CHARRINGTON

resigned air. Four dollars a week
29:398.11
CS WINSTON lowering his

gaze.
30:402.9
MCS WINSTON approaching

CHARRINGTON to pay him the
stlpulated sum, then
retracing his steps &
withdrawing from shot. MUSICOUT AT: 434.0
31:434.4
¯ .INT. MINISTRY.HALL. DAY. PARTY MEMBER(behind Winston)

MCS WINSTON Joining in the- Traitor! Traitor!
chanting during a ’hate’ Hate, hate, hate, hate,
ritual. hate !
WINSTON
Traitor, traitor, traitor!
The cam. pans L. to JULIA CROWD
Death! Traitor! Etc.
JULIA
Death! Traitor! You criminal!
32:453.7
MCS O’BRIEN & other INNER JULIA (over bawling crowd)

PARTY MEMBERS sitting No! No! No!
sedately as JULIA, in soft
focus f.g.; shouts out.
33:459.12
MCS JULIA rising when the JULIA

music sounds & crossing Criminal! No! No! Ah...
her wrists.
MUSIC IN AT: 459.12
The cam. pans R to PARTY MEMBERS CBANTING

WINSTON, his attention B-B-B-B-B-B-B-B-B-B-B-B-B
drifting to where Julia -B-B-B! (rising to
sits. crescendo)
MUSIC OUT AT: 506.10
34:506.11
INT. CANTEEN. DAY. ANNOUNCER (female)

..PARTY WORKERS:
CU WINSTON directing his A vast military build-up
SUBDUED BABBLE OF VOICES
gaze to the R. Behind him of armoured divisions,
the telescreen displays the mlssiles and Floatlng,..
flapping iNGSOC FLAG
superimposed over BIG BROTHER’S
portrait.
35:513.11
MCS JULIA popping a morsel

ANNOUNCER
of food into her mouth,
...Fortresses, accompanied
her eyes fixed in a stare.
by a four-fold increase...
36:518.14
MCS WINSTON shifting his

ANNOUNCER
gaze & nodding gently.
...in the number of radio-
controlled rocket bombs,
directed at the most densely
populated areas of Airstrip
One.
37:529.5
INT. CHARRINGTON’S ROOM. DUSK.

WINSTON v.o.
MS WINSTON-:smokin@ a
cigarette as he sits, lost It is folly. As though
in thought, on the bed. deliberately we move one
step nearer the grave. I.
can’t understand why she
He rises in reaction to accepted the idea. She who
the sound of approaching is so careful.
footsteps.
1984 REEL FIVE
Page 49
38:557.12
MS JULIA entering. She closes JULIA

the door behind her & Hello.
stands still, gripping her
toolbag.
39:571.13
MS WINSTON standing by
WINSTON
the bed. Hello.
40.’. 576.7
MS JULIA s~epping forward.

JULIA
She squats & unfastens Let me show you what
her toolbag. I’ve brought.
WINSTON shuffles up &
squats down in front of
Look.
her, watching as she cas~s
aside her tools & produces
WINSTON
a bag containing sugar. What is it?
Next, she pulls out a JULIA

loaf of bread, followed Real sugar. Not saccharin.
by an assortment of other And I’ve got a loaf of bread
food items. proper white bread. And Jam.
A real tin of milk. And look ....
41:634.1
MCS WINSTON as he takes WINSTON

a paper bag from JULIA. He
Coffee.
sniffs it, then.looks inside. Real coffee.
JULIA
Inner Party; half a kilo.
42:652.15
MCS WINSTON over JULIA.

WINSTON
How did you manage to get hold
of all this?
JULIA
Oh, there’s nothing those
bastards don’t have.
Aren’t you pleased?
WINSTON picks up the bag

WINSTON
of tea.
Yes. Yes, of course.
1984 REEL FIVE (3A) Pa~e 50
43:682.9
MCS WINSTON over JULIA. WINSTON

He sniffs the bag of tea. Real tea.
JULIA
Mmm. There’s been a lot of
tea about lately. They’ve
captured India or something.
WINSTON
I want you.
44:701.7
CS JULIA. JULIA
I want you, too.
45:705.11
CU WINSTON. He bends JULIA o.s.

forward slightly, then Wait.
stops short.
46:710.15
CS JULIA. JULIA
Turn round and don’t look
until I tell you.
47:716.1
MCS JULIA & WINSTON rising. WASHERWOMAN.(singSng)

JULIA exits, R, while ...but a look and a word
WINSTON is drawn to the And the dreams they stirred
window by the mellifluous They’ve stolen my...
sound of singing.
48:732.4
MLS WASHERWOMAN at work WASHERWOMAN(singing)

in the yard below WINSTON’S ...heart away.
window. WINSTON steps into
shot & observes.
49:741.14
MS WINSTON by the window, WASHERWOMAN (singing)

looking out. They say time heals all...
WINSTON (overlapping song)

Listen to that.
19 84 REEL FIVE (3A) Page 51
50: 749.7
CU WINSTON looking down. WASHERWOMAN (singing)

¯.. things
They say you can always
forget
But the smiles, and the
tears across the years

How can she make a song written
by a machine sound so
beautiful? ~
WINSTON turns round. JULIA o.s. (overlapping song)

You can turn round now.
51:776.13
MS JULIA, her face painted, WASHERWOMAN (singing)

wearing a Proletarlan dress They twist...
with a floral pattern¯
52:780.7
CU WINSTON, speechless WASHERWOMAN (singing)

& staring. ...my heartstrings yet
53:786.6
CS JULIA. MUSIC IN AT: 789.0
54:790.11
~CU WINSTON at a loss for WINSTON
words.
55:793.5
MS JULIA stepping forth JULIA

towards WINSTON ~ placing Winston... do you like me?
her hands on his shoulders.
JULIA now hugs WINSTON’S WINSTON
neck & draws him close. More than ever.
DISSOLVE TO:
56:814.0
LATER:
MS WINSTON & JULIA in bed.
57:828.0
CU WINSTON, panning L with WINSTON v.o.

his hand as he runs it over Was there ever a time
JULIA’S arm down to her thigh, when this seemed ordinary?
1984 REEL FI~/E (3A) Page 52
58:851.1
INT. WINSTON’S FLAT. NIGHT.

ANNOUNCER (female)
MLS WINSTON writing another
Attention! Your attention,
entry in his notebook as please! A vast mllltary
the telescreen behind him build-up has been reported
shows tanks advancing
in the Sahara Desert, sectors
menaclngly. seventeen and eighteen of
The cam. tracks slowly WINSTON v.o. the war zone. Fourteen
towards WINSTON. There is truth, and there heavy tank divisions,
is untruth. Freedom ls the supported by a strike force
freedom to say, two plus of some nine hundred piloted
two equals four. If that missiles, have been sighted
is granted... proceeding in convoy in a
northerly direction from
Wakadubu. It has been
estimated that they should
reach the Oceanic llne of
defence on the northern
coast by...
59: 895.15
CU WINSTON’S hand penning WINSTON v.o. ANNOUNCER

~n his latest entry, ...all else follows. ...noon on Thursday.
dated 12th MAY 1984.
That is the end of the
MUSIC OUT AT: 900.0 announcement. "
REEL FIVE (3A) ENDS AT: 902.4

1984 REEL SIX (3B)
I: 000.00
INT. RECORDS OFFICE. DAY. WORKER: (into speakwrite)

MS WINSTON at work in UNINTELLIGIBLE/IN NEWSPEAK
his cubicle over WORKER
dictating into a speakwrlte,
2:18.0
INT. WINSTON’S CUBICLE. DAY.

MS WINSTON folding a newspaper
& placing it on his lap.
3:26.15
CS SYME’S PHOTOGRAPH in
the newspaper with the
caption: "MINREC BROTHER WINS
MINI CHESS CHAMPIONSHIP
HAROLD SYME"
The cam. pans up to WINSTON’S
face. He removes his glasses.
4:41.14
CS HEADLINE, dated 31 OCTOBER

198____[1, "’ . ...... " "
"INGSOC IN RELATION TO CHESS
BROTHER WINS"
The cam. tilts down to
SYME’S PHOTOGRAPH.
5:50.12
CU WINSTON transferring his
gaze. SYME o.s. (into speakwrite)
FAINT, UNINTELLIGIBLE
6:56.13
MCS SYME dictating into SYME (into speakwrite)

his speakwrite.
¯ ..Eurasians take Brazzaville.
7:60.14
CU WINSTON donning his

glasses.
1984 REEL SIX (3B)
Page 54
8:76.11
CU NOTE in WINSTON’S
hands. Typed across it are
the words : "MINREC SECTION
HISTORY 6079
TIMES 31.10.81 RECTIFY
REF UNPERSON"
9:81.0
CU WINSTON picking up his

WINSTON (into speakwrite)
speakwrite & dictating Re Times, thirty-one ten
into it. elghty-one. Brother Tillotson
wins minichess~ Request photo.
Biog follows.
I0:112.9
CU WiNSTON’S hands masking

SYME’S photograph with
brown tape.
11:123.12
CS CYLINDER shooting out

.of pneumatic tube.
~WINSTON’S hands are seen
picking it up, opening it
& extracting a black &
whitephoto of TILLOTSON.
12:144.1

MUSIC IN AT: 144.0
CS WINSTON’S hands uncorking A_NNOUNCER (female)
a bottle of gin & pouring Attention! Your attention,
some into a cup. He then sets please! Will all Outer
the bottle down & lifts the Party members of Ways and
cup. Means committees please...
13:154.11
CS WINSTON gulping down

WINSTON v.o.
the gin.. ANNOUNCER (female)
"Under the spreading
...attend their local
chestnut tree,
community centres for
I sold you, you sold
discussions and seminars,
me.. "
concerning the upgrading of
the war effort and the
continual vigilance against
saboteurs working in direct...
1984 REEL SIX (3B) Page 55
¯ 14:170.0
CU LABEL on gin bottle. ANNOUNCER

WINSTON scratches off ...contact with the enemy.
RUTHERFORD’S picture with The meetings begin at
his thumbnail. twenty hundred hours.
15:178.10 MUSIC OUT AT: 179.0
INT. MINISTRY CORRIDOR. DAY. O’BRIEN.o.s.

A MCS, tracking WINSTON from Smith.
behind ss he follows other PARTY
WORKERSdown the dingy corridor.
A hand suddenly comes down
on his shoulder. It’s O’BRIEN.
16:189.11
MCS O’BRIEN, wearing Inner O’BRIEN

Party black overalls, as I have been reading your
he & WINSTON begin to Newspeak srticles in The
stroll along side by side Times.
in a frontal tracking shot.
WINSTON
Yes .
O’BRIEN
YOU write very elegantly.
That is not my own opinion.
I was recently talking to
a friend of yours who is
an expert. His name has
slipped my memory for a moment.
What I wanted to say was that
there were one or two unw0rds.
Only very recent. Have you
seen the tenth edition of
the Newspeak Dictionary?
WINSTON
NO. We’re, we’re still using
the ninth edition in Minrec.
O’BRIEN
A few advance copies have
been circulated. I have one
.myself. You might be interested.
WINSTON
Yes.
They pause, O’BRIEN

There are some plus skilful
new developments.
17:252.12
CS O’BRIEN handing WINSTON O,BRIEN

his address card. Let me give you my address.
I’m usually at home in the
evenings. If not, my servant
O’ BRIEN withdraws. will give you the dictionary.
18~ 273.15
CS WINSTON. Entranced, he MUSIC IN AT: 273.15

places the card in his
top pocket.
19 : 288.0
INT. WINSTON’S FLAT. NIGHT. ANNOUNCER (female)

CS TELESCREEN showing Fourteen thousand Victory
tanks.ln the. varlousstages Vampires; six thousand
of production,.dissolving seven hundred Ingsoc cadets;
to fleets-of war planes. four thousand six hundred
The cam. pans slowly L Ingsoc sea cadets; twelve
to WINSTON writing in his thousand three hundred
Journal. WINSTON v.o. Porteous piloted missiles;
It has happened at last. thirty-one thousand Victory
The call has come. fighter bombers; twenty-
It seems that all my life three thousand Big Brother
I’ve been waiting for it. heavy bombers.
It has been announced that
the new thirty-seven
millimetre light multi-
turreted tank, of which
The cam. pulls back & forty-two thousand have been
produced is to be named
pans .R to the TELESCREEN
after Sub-lleutenant Ogilvy,
again, where OGILVY’S
picture is superimposed hero of the State of Oceania,
recently awarded,
over film of battlefield
posthumously, the Order of
s cenes.
Conspicuous Gallantry for
his actions in the recent
glorious victory over the
forces of Eastasia on the
Malabar Front in South
India.
20:365.4

CS WINSTON’S hand deleting
in pencil the headline:
"BB ANNOUNCES IMMINENT
EURASIAN ATTACK NORTH AFRICA
FRONT"
!,
21:373.2
CU WINSTON pressing his glasses

against his face & then looking
Up.
22:378.9
MCS TILLOTSON glancing up TILLOTSON

as he dictates a message UNINTELLIGIBLE, FAINT
into the speakwrlte.
He now occupies the post
formerly held by Symes.
23:386.1
CU WINSTON. He looks down

& turns over the page of
the newspaper before him. MUSIC OUT AT: 393.10
24:393.11
INT. CHARRINGTON’S ROOM. DUSK. JULIA

MS JULIA, naked, biting into Half the water’s boiled
a piece, of bread and jam. away. What does the clock
She turns & walks over to s ay?
the stove, stoops, picks up
a coffee pot & pours some WINSTON o.s.
into her mug. Behind her It says twenty-one hours.
stands an old-fashioned clock.
JULIA
Julia returns to where What time do they cut the
she formerly stood. light in your flats?
25:432.9
CS WINSTON sitting up in bed. WINSTON

Twenty-three thirty.
JULIA o.s.
In the hostel it’s twenty-
three.
26:441.12
MCS JULIA picking up the JULIA

paperweight inquisitively. What is it?
WINSTON o.s.
I don’t know. A little chunk
of history that they’ve
forgotten to alter.
19 84 KEEL SIX (3B) Page 58
27:459.0
CS WINSTON. WINSTON
A message from a hundred
years ago.
28:464.9
MCS JULIA stepping forward,

the paperweight in one
hand & her coffee mug in
the other.
29:468.13
CS WINSTON, watching JULIA WINSTON

settle down beside him. "Oranges and lemons say
the bells of St. Clement’s...
JULIA
"You owe me three farthings
say the bells of St. Martin’s...
WINSTON
~ho taught you that?
What is it?
JULIA
I don’t know. I Just know It.
WINSTON
You know, the only thing to
do is to walk out of here
before it’s too late; never
see one another again.
JULIA
Yes.
WINSTON
Our luck can’t last.
You’re young, look normal,
you’re innocent. If you keep
Clear of people llke.me,
then you might stay alive.
JULIA
What you do, I do. I’ve
thought it out.
30:559.13
MS JULIA & WINSTON lying JULIA

on the bed. JULIA gives KISS
WINSTON a kiss, then rises I’m good at staying alive.
& exits from shot.
31:583.14
MCS JULIA pulling on her

overalls.
32:585.14
CS WINSTON. WINSTON
When shall we meet again?
33;’ 588.14
MCS JULIA sweepin~ back JULIA

her hair, then walking Not for several weeks.
over to a chest of drawers, It’s not safe.
L, & putting away her
Proletarian dress.
34:597.9
CS WINSTON as the drawer

thuds shut.
35:601.3
MS JULIA fastening the JULIA

red sash around her waist. Give me half an hour.
She picks up her toolbag. I love you
36:619.7
CS WINSTON, making no reply.
37:623.4
MSJULIA turning &~alking WINSTON o.s.

over tothe door~ She opens Julia...
it, stops & looks round.
38:630.11
CS WINSTON. WINSTON
Do you think the
resistance is real?
39:635.1
MS JULIA exttlng, closing JULIA

the door after her. No. None of it’s real.
19 84 REEL SIX (3B) Page 60
40:648.8
CS WINSTON.-The cam. pans

L as he extends his arm to pick
up the round glass paperweight,
then R to.hls face as he MUSIC IN AT: 666.0
looks at it, rolling it between
his fingers.
41:675.8
EXT. STREETS IN TRE PROLE-

TARIAN AREA. NIGHT.
Afrontal tracking MCS
WINSTON advancing with caution.
He moves o.s., R.
42:687.6
A frontal tracking MS WINSTON

rounding a corner.
43:696.5
LS PROLETARIAN MAN running MAN

past WINSTON & shouting a Steamer! Dead overhead!
warning to him. Get down, get down!
An exploslon rocks the silence
& WINSTON is thrown to
the ground.
44:705.15
CS billowing clouds of
SMOKE & SPARKS mixed with
flying debris.
4~: 711.1 WOMEN o.s.: DISTANT SCREAMS
MCS WINSTON lifting himself

up into a sitting position.
46:720.15
MS EXPLOSION, then flames

engulfing a leaning structure.
47:727.10
INT MINISTRY OF RECORDS. DAY.

MS PEOPLE hurrying back
& forth, stepping over their
colleagues, asleep on the floor.
Everywhere there is sign of
frenetic activity.
,i
19 84 REEL SIX (3B) Pa~e 61
48:743.5
MS, tracking past the WORKER: (into speakwrite)

long line of individual UNINTELLIGIBLE/IN NEWSPEAK
cubicles, all of which are
are a hive of activity.
The tracking stops on ~INSTON: (into speakwrite)
WINSTON. UNINTELLIGIBLE
49:779.1
CS WINSTON holding a WINSTON (into speakwrite)

newspaper before him as Round the clock plus a one
he talks into the speakwrite. hundred and fifty-three sets
in eyes top a P.M.A.
He pauses briefly to Willmer, and...aaah...
rub his eye.
WINSTON v.o.
Oceania is at war with
Eastasia. Oceania has always
been at war with Eastasia.
Eurasia is our ally. Eurasia
has always been our ally.
50:805.7
INT. WINSTON’S FLAT. NIGHT. WINSTON v.o.

CU WINSTON’S face expressing Everything fades into mist.
concentration as he writes. The past is erased, the
erasure forgotten. The lle
He removes his glasses &
becomes truth and then
sucks the tip of their frame becomes a lie again.
thouEhtfully.
51:834.0
DREAM SEQUENCE: INT. CORRIDOR.

MS WINSTON in darkness, slowly
opening the door as.the cam.
tracks.towards him. Lig/It
floods in from the undulating
hills of the GOLDEN COUNTRY
beyond.
52:857.5
DREAM SEQUENCE: INT. ROOM. DAY.

MCS WINSTON’S MOTHER gazing
out of a window. YOUNG
WINSTON walks up to her &
she responds by putting
her arm around his shoulders.
53:876.3
INT. CHARRINGTON’S ROOM. DUSK. WINSTON o.s.

CS JULIA looking round at SOBS FAINTLY
WINSTON.as the cam. pulls
back..to.hiK tearful face. JULIA
What is it?
The cam. moves in close WINSTON

to WINSTON. I dreamt.., about
my mother.
JULIA
What, darling?
MUSIC OUT AT: 916.8
REEL SIX (3B) ENDS AT: 918.3

1984 REEL SEVEN (4A) Page 63
SCENE No. & ACTION: DIALOGUE& MUSIC: TELESCREEN:
i: 000.00
DREAM SEQUENCE: INT. ROOM. :MUSIC IN AT: 2.0

DAY.
MS YOUNG WINSTON entering
& coming forward. He pauses
in a CS.& stares, his face
covered in smudged grime.
11.8
DREAM SEQUENCE: WINSTON v.o.

CS WINSTON’S MOTHER. It was during the wars,
The cam. tilts down to a ~ before the Party.
GIRL in her arms: WINSTON’S
SISTER, clutching a piece of
chocolate. Both wear a frozen,
deathly expression.
3:31.5
DREAM SEQUENCE:
CS YOUNG WINSTON leaning
forward.
4:36.10
DREAM SEQUENCE:
MS YOUNG WINSTON snatching
the chocolate from his
SISTER’S grasp & making
off. wlth it.
(Slow-motlon, with the
cam. panning him L to
the door)
5:44.14
DREAM SEQUENCE: EXT. DEVASTATED

BUILDING. DAY.
MS YOUNG WINSTON running
away from the gutted ruins.
He pauses & turns at the WINSTON’S MOTHER v.o.
sound of his mother’s Winston, Winston!
voice calllng-to him &
bites deflantly into the
stolen chocolate.
6:56.5
.DREAM SEQUENCE: INT. ROOM. DAY.

MCS WINSTON’S MOTHER gazing
out of a window.
7:61.14
DREAM SEQUENCE: EXT. RUINED WINSTON v.o.

BUILDINGS. DAY. I couldn’t help myself.
CS WINSTON eating the I knew...
chocolate.
8:72.5

LS YOUNG WINSTON running ...what I had done, and
towards the cam, which I couldn’t help myself.
tracks R, past the
smouldering rubble.
(YOUNG WINSTON runs out
of shot, L.)
9:85.2
DREAM SEQUENCE :
Tracking L with YOUNG
WINSTON in a LS as he
runs through scenes of
devas’tation & off to the L.
¯ 10 : 103.6
DREAM SEQUENCE: INT. ROOM. WINSTON v.o.

DAY. When I went back...
CS YOUNG WINSTON opening
the door & looking into
the room.
11:110.13

MS RAT-INFESTED ROOM, ...hours later, my mother
deserted but for the and sister...
rodents crawling over what
little furniture there is.
12:119.0

CS YOUNG WINSTON in the ...were gone. I never
doorway. He leans his saw them again.
head on the Jamb.
13:127.5
DREAM SEQUENCE :
CS RATS in a group on the
table.
The cam. pans L to a RAT
sniffing the edge of the table.
14:136.1
DREAM SEQUENCE:
CS YOUNG WINSTON contemplating
thescene.
15:140.13
INT. CHARRINGTON’S ROOM. DUSK. WINSTON

MCS WINSTON recounting his It’s not so much staying
experience to JULIA. alive as staying human that’s
¯ important. What counts is
that we don’t betray each other.
JULIA
If you mean confessing, we’re
bound to do that.
Everybody does. You can’t
help it.
WINSTON
I don’t mean confessing.
Confessing isn’t betrayal.
I mean feelings. If they can
make me change my feelings, if they
can stop me from loving you,
that would be real betrayal.
JULIA
They can’t do that.
It’s the one thing they can’t
do. They can torture you and make
you say anything, but they
can’t make you belleve it. They
can’t get inside you. They
can’t get to your heart.
WINSTON
I’m going to see O’Brien.
JULIA
I know.
MUSIC OUT AT: 261.1

16:261.2
EXT. INNER PARTY APARTMENTS. ANNOUNCER (female)

DUSK¯ Outer Party ~ember five-
MS FACADE of the monolithic three-nine-two-two...
structure displaying an
.enormous picture of Big
Brother.
17:266.10
INT. LIFT. NIGHT. ANNOUNCER

CS ’MARTIN standing erect & ¯..Hicks, Minirec,
panning R to WINSTON beside Proletarian Affairs Section;
him. In the b.g. a telescreen Outer Party Member two-two-
flashes up pictures of the three-one-flVe Howard,
persons mentioned in the Miniprod, Hospital Section;
comment ary. Outer Party...
18:285.4
MCS WINSTON & MARTIN as a ANNOUNCER

shaft of light moves over ..~Member nine-four-seven-
the latter’s white Jacket. seven-four-three Bolgar,
Minitrue, Records Section;
Outer Party Member five-
seven-...
19:297.1
INT. CORRIDOR. NIGHT. ANNOUNCER

MCS.MARTIN leading WINSTON ...three-nlne Brady, Minitrue,
down the immaculate, dark Records Section; Outer Party
wood-pannelled passage to Member nine-elght-four-two-
the door of O’BRIEN’S one-three Devereux, Minltrue,
apartment. The-cam. tracks Records Section; Outer Party
along behind them,, pausing~with ~ember nlne-one-0-slx Dodds,
them as.th~ door-is opened Minitrue Porno...
to reveal. O’BRIEN sitting
behind his desk. In the
background, on the wall, is
the ever-present telescreen.
20:320.5
INT. O’BRIEN’S APARTMENT.

ANNOUNCER
NIGHT.
...Section; Outer Party
MLS WINSTON entering by the
Member three-elght-O-nine-one
door held open for him
Ware, Minitrue, Pox-no
by MARTIN, who withdraws
Section; Outer Party Member
on closing it.
one-one-seven-¯¯.
O’BRIEN, at his desk, f.g.,
is busy writing & fails to
react to WINSTON’S presence.
19 84 REEL SEVEN (4A) Page 67
21:336.7
~LS O’BRIEN at his desk, ANNOUNCER

over WINSTON. ...nine-two Bigland, Minitrue,
¯ O’BRIEN lifts his speakwrite O’BRIEN (into speakwrite) News Section; Outer Party
& dictates into it, still Items one comma five comma Member three-two-seven-one-
seemingly oblivious to seven approved fullwise four Herbert, Miniprod,
WINSTON. stop. Suggestion contained Munitions Section; Outer
item six double plus Party Member four-seven-six-
ridiculous, verging six-...
crimethink...
22:358.11
MLS WINSTON looking down O’BRIEN (into speakwrite) ANNOUNCER

at O’BRIEN, sitting at. ...cancelled stop. ...six Craven, Miniprod
his desk, f.g., who puts End message. Heavy Turbine Section;
down the speakwrite.
’23:367.1
MCS O’BRIEN removing his

ANNOUNCER
glasses as he looks uu
Outer Party Member four-
from his desk. He makes three-nine-two Rosenblum,
abeckoning gesture. Miniprod, Light Industry
Section; Outer Party Member
six-six-seven-...
24:383.7
M~S MARTIN bringing O’BRIEN ANNOUNCER

a glass of wine as.WINSTON, ...five-five Davies,
f.g., approaches the desk. Miniprod, Women’s Section.
That concludes the list of
WINSTON is also served with O’BRIEN known agents of Goldstein
a glass of wine. Not much of this gets actively engaged in the
to the Outer Party, I’m latest conspiracy tO subvert
O’BRIEN toasts Big Brother. afraid..To our leader. the war effort by means of
sabotage, and seditious
propaganda to the effect...
25:412.9
~CS WINSTON & O’BRIEN ANNOUNCER

raising their glasses. ...that our eternal allies
Only WINSTON drinks; in Eurasia are turning against
O’BRIEN sets his down. us. More nests of...
26:422.10
MLS O’BRIEN turning to ANNOUNCER

look at GOLDSTEIN.’S picture ...conspirators and saboteurs
on the telescreen behind him. have been uncovered and
WINSTON, looks on subserviently. further arrests are expected
shortly.
1984 REEL SEVEN (4A) Page 6 8
27:434.5
MCS WINSTON holding his

glass of wine. Behind him, R,
is MARTIN.
28:436.0
~MCS. O’BRIEN walking up

to GOLDSTEIN’S picture on
the telescreen.
He turns a knob on the
control panel & the image
recedes, leaving the
screen blank.
29:442.6
MCS WINSTON as in 27, WINSTON

expressing surprise. You can...
30:444.5
MCS O’BRIEN turning O ’ BRIEN

to WINSTON, standing before Yes. We’re allowed that
him in the f.g. ¯ privilege.
O’BRIEN points to the
glass in WINSTON’S hand
and inquires: Some more of this?
It is called wine
O’BRIEN sits down, SIGHS GENTLY AS RE SITS
.thenmotions to a chair. DOWN
31:469.5
MCS WINSTON moving across

to the indicated chair &
sitting down on it.
0’BRIAN, f.g., watches.
32:475.11
MCS O’BRIEN over WINSTON. 0 ’ BRIEN

There are thought criminals
who maintain that the
resistance is not real.
Believe me, Winston, it is
very real.. Perhaps you’re
not familiar with how it
operates.
!.
33:500.6
MCS WINSTON over O’BRIEN. WINSTON

I’m, er, attentive to the
news.
O’ BRIEN
Indeed. Then perhaps you
imagine a huge network
of conspirators prepared
to commit any. atrocity
to demoralize and weaken
the order of our society.
34:.521.15
MCS O’BRIEN over WINSTON. O’BRIEN

The reality is infinitely
more subtle. If Goldstein
himself fell into the hands
of the Thought Pollce, he
could not give them a llst
of his agents. Such a list
does not exist. They are
not an organisation in the
sense we know. Nothing holds
it together but an idea.
35:557.12
MCS WINSTON over O’BRIEN. 0 ’ BR IEN

There is no possibility of
.change in their lifetime.
In the face of the Thought
Police...
36:569.0
MCS O’BRIEN over WINSTON. O’BRIEN

...they cannot act
collectively. Individually,
they cheat, forge, blackmail,
corrupt children, spread
disease and prostitution
in the name of spreading
knowledge from generation to
generation, until, in a
thousand years.., uh...
OtBRIEN consults his watch,
then points to the tenth You may find this of
edition of the Newspeak interest.
Dictionary lylng in front
of him.
37:~619.4

WINSTON rises & picks the Thank you.
dictionary up off the desk,
after first setting down
his glass.
38:637.4
MCS O’BRIEN swivelling

his chair round &
rising.
39 : 643.3
MCS WINSTON holding the

Newspeak Dictionary.
40 : 645.15
MCS O’BRIEN turning on ANNOUNCER (female)

the telescreen. Big Brother’s ...address a rally in
portrait appears, looking Victory,Square at
down on him. twenty-one thirty hours.
announcement.
O’BRIEN turns round to O’BRIEN

face the cam. Goodbye, brother.
41:664.9
MCS WINSTON clutching WINSTON

the dictionary. Goodbye, brother.
He turns to the R.
42 : 670.0
MCS MARTIN walking away

to the L, his image
captured in the mirror, b.g.
43 : 674.6
MS MARTIN striding off to

the R with WINSTON following.
O’BRIEN, at the back of
the room, sits down at his
desk again.
44:681.3
INT. WINSTON’S FLAT. NIGHT. INNER PARTY SPEAKER (male)

CS WINSTON’S hands putting (over-.sporadiccheering)
down his briefcase & They have attacked an unarmed
taking out the NEWSPEAK village with rocket bombs
DICTIONARY. and murdered four thousand
defenceless, innocent and
peaceful...
45:694.0
CS.INNER PARTY SPEAKER INNER PARTY SPEAKER

on the telescreen as WINSTON ...citizens of Oceania.
walks into view, R, & This is no longer war, this
stands llstening to his is cold-blooded murder.
report. Until now, the war has been
MUSIC IN AT: 716.0 conducted with honour and
bravery with the ideals
of truth and justice in
After this short pause, the best traditions of
WINSTON wanders off to mankind; until this moment.
the L, the dictionary Brothers and sisters, the
still in his hands. endless catalogue of
bestial atrocities which will
inevitably ensue from this
The cam. pans L & tracks appalling act must, can,
towards WINSTON, now seated, and will be terminated.
as he puts on.his glasses The forces of...
& opens the dictionary.
46:756.3
CU WINSTON’S hand feeling INNER PARTY SPEAKER

a page marked: "DICTIONARY ...darkness and the
OF NEWSPEAKlOth Edition" treasonable maggots who...
47:761.13
CU WINSTON looking down. INNER PARTY SPEAKER

...collaborate with them,
must...
48:764.5
CS WINSTON’S hand INNER PARTY SPEAKER

continuing to feel the ...can, and will be...
texture of the page.
49 :~ 767.3
CU WINSTON looking INNERPARTY SPEAKER

down. ...wiped from the face
of the earth!
19 84 REEL SEVEN (4A) Page 72
50:771.2
CU WINSTON’S fingers INNER PARTY SPEAKER

prising apart the doubly We must crushthem!
thick paper & We must smash them!
revealing a new page We must stamp them out!
entitled: We, the people of Oceania,
"THE THEORY AND PRACTICE and our traditional allies,
OF OLIGARCHICAL COLLECTIVISM the people of Eurasia...
By Emmanuel Goldstein"
51:793.5
CU WINSTON looking down INNER PARTY SPEAKER

at the book before him. ...will not rest until the
final victory has been
achieved.
52:798.12

setting~to work on Death to the...
prising apart another
double page.
53:803.9
CU WINSTON as before (in 51). INNER PARTY SPEAKER

...eternal enemy of...
54:806.1

separating the double ...Oceania. Death, death...
page and revealing a
new.one entitled:
"CHAPTER 1
IGNORANCE IS STRENGTH’[
55:814.3
CU INNER PARTY SPEAKER INNER PARTY SPEAKER

on the telescreen, his ...death!
fist raised, shouting in
a crazed fashion. CROWD
MUSIC OUT AT: 817.3
CHEER
REEL SEVEN (4A) ENDS AT: 817.3

19 84 REEL EIGHT (4B) Page 73
SCENE No. & ACTION: DIALOGUE & ~MUSIC: TELESCREEN :
1 : 000.00
EXT. VICTORY SQUARE. NIGHT. CROWD

MLS CROWD over-INNER PARTY Death, death!
SPEAKER, who lowers his
clenched fist.. The CROWD SPEAKER
responds by chanting & by Brothers and sisters...
giving the .customary salute.
CROWD
Death!
2:8.7
MLS INNER PARTY SPEAKER SPEAKER

on the podium, flanked by. ...one week from now,
two giant telescreens in this very square,
carrying his image. .we shall...
3:18.13
MS .CROWDS of the Party SPEAKER o.s.

faithful riveted to the .~.as a demonstration of our
Speaker’ s words. resolve...
CROWD: CHEER
4:23.8
LS INNER PARTY SPEAKER .SPEAKER

over the heads of the ...and as a sure sign to
listening AUDIENCE. those who attempt to threaten
our Party and our S~ate,
execute publicly the same
number of Eastaslan prisoners...
CROWD: CHEER
5:40.9
MLS CROWD chanting CROWD: CHEER & CHANT

unceasingly as the INNER
PARTY SPEAKER, f.g., INNER PARTY SPEAKER
whips them up into a ...by hanging, drawing and
frenzy. quartering.
6:46.13
LS PODIUMs& INNER PARTY CROWD : CHEER

SPEAKER, whose.wordsare B-B-B...
c~.eered by the CROWD.
1984 REEL EIGHT (4B) Page 75
15 : 88.15
MS panning across the

CROWD as they chant &
punch the air with fervour.
i6:94.10
EXT. BATTLEFIELD. DAY.

MLS TANK appearing out of
the scudding Clouds of smoke.
17:, 98.2
EXT. DERELICT & DESTROYED

BUILDINGS. DAY.
MS advancing, saluting
SOLDIERS.
18:104.0
CS SOLDIERS marching past

ruined remains.
19:107.7
MCS INGSOC FLAGS carried

aloft by the SOLDIERS
parading past.
20:112.5
EXT. BATTLEFIELD. DAY.

MS TANK trundllng through
the burning debris.
21:115.3
CS FLAMES llcking
GOLDSTEIN’ S portrait.
22:120.15
INT. WINSTON’S FLAT. NIGHT. WINSTON v.o.

CU WINSTON’S face betokening "In accordance with the
concentration as he reads prlnciples of doublethlnk,
the subversive book. it does not matter if the war
is not real or, when it is,
that victory is not )osslble.
23:137.2
CS TELESCREEN depicting a WINSTON v.o.

dissolving montage of "The war is not meant to
fighting, burning and be won, it is meant to be
destroying. continuous. The essential
act of modern warfare is
the destruction of the
produce of human labour.
A hierarchical society is
only posslble on the basis
of poverty and ignorance.
24:165.0
INT. CHARRINGTON’S ROOM. WINSTON

DUSK~ "In principle, the war
MCS WINSTON reading as effort is always planned
he & JULIA lie together to keep society on the .brink
in bed - JULIA with her of starvation.
head nestled against his
chest.
25:174.1
INT. MINISTRY. HALL. WINSTON v.o.

A MCS tracking past the "The war is waged by the
saluting CROWD. ruling group against its own
subjects, and its object is
not victory over Eurasia
or Eastasia...
26:187.8
A LSto the front of the WINSTON v.o.

hall as the cam. tracks. L "...but to keep the very
along the CROWD to the structure of society intact."
central aisle.
27:199.7
INT CHARRINGTON’S ROOM. MUSIC OUT AT: 203.8

DUSK.
As in 24. WINSTON ceases WINSTON
to read & looks down Julia, are you awake?
.at JULIA.
He closes the book, removes Julia, there is truth and

his glasses &.puts them there is untruth. To be in
both to one side. a minority of one doesn’t make
Now he turns his attention you mad. Julia, my love, I
to JULIA. understand how, but I.don’t
’understand why.
DISSOLVE TO:
28:277.0
LATER:
CU WINSTON putting a
cigarette to his lips
’& drawing in the smoke.
The cam. pans L as JULIA
stirs from her slumber. JULIA:
She stretches & declares: I’m hungry. Let’s make
some more coffee.
JULIA rises & exits from
view. WINSTON continues WASHERWOMAN(singing)
to smoke, then he rises It was only a hopeless fancy
too, to the sound of the
WASHERWOMAN in full song.
29:338.3
MCS JULIA looking up JULIA (overlapping song)

from the stove. The water’s cold.
WASHERWOMAN(singing)
It passed like an April...
30:344.9
MS WINSTON walking naked WASHERWOMAN (singing)

to the window. ...day
But a look and a word
31:352.11
MCS JULIA picking up the WASHERWOMAN (singing)

stove & shaking it. And the dreams they stirred
JULIA_ .(overlapping song)

There’s no o11 in it.
WASRERWOMAN(singing)
They’ve stolen my heart away
JULIA (overlapping song)

That’s strange, I thought it
was full.
32:371.7
MCS WINSTON by the window, WASHERWOMAN (singing)

soon Joined by JULIA from They say that time heals all
the L. things
They put their arms round They say you can... ’
each other & gaze down into
the yard below.
33:386.9
CS WASHERWOMAN as the cam. WASHERWOMAN (singing)

zooms slowly, in on.her ...always forget
wringing & hanging her But the smiles and the tears
washing. across the years
(The view is over the They...
shoulders of WINSTON &
JULIA)
34:408.0
MCS. WINSTON&JULIA, WASHERWOMAN (singing)

their backs to the cam., ...twist my heartstrings
looking down into the Yet
yard.
She’s beautiful.
35:416.7
EXT. BACKYARD. DUSK. WASHERWOMAN (singing)

MS WASHERWOMAN, basin Now I’ve lost all my
in hand, walking slowly youth and beauty
away.
JULIA ~;s. (overlapping. song)
She’s a metre across the hips,
easily.
36:430.1
INT. CHARRINGTON’S ROOM. WASHERWOMAN (singing)

NIGHT. ..I am never the kind to complain
MCS WINSTON & JULIA as ,~I don’t care to dream
in 34. of. what might have been... (fades)
WINST.ON (over~apping song)

It’s her style of beauty.
The future is hers.
We are the dead.
JULIA
We are the dead.
They; lonk round as a VOICE (male)
s~entorian voice You are the dead!
booms from the telescreen.
37:469.2
~LS WINSTON & JULIA standing VOICE

motionless by.the window. Remain...
38:472.9
CS PICTURE of church hanging VOICE

innocently on the wall. ¯ ..exactly where you are[
39:475.7
MCS WINSTON& JULIA, awe-struck. VOICE

Make no move Until
~.
you are ordered
40:479.9
CS PICTURE crashing onto

the dressing table as it
falls from the wall.
The cam. tilts up to the
spot where it hung. A
TELESCREEN, previously
hidden by the picture,
displays Big Brother glarlng
~t his victims.
41:485.10
~CS JULIA looking round at JULIA VOICE

WINSTON. Now they can see us. Now we can see you~
A helicopter can be heard
approaching.
42:493.0
CS TELESCREEN. VOICE
Clasp your hands behind your
he ads!
43:496.4
~CS JULIA & WINSTON placing VOICE

their hands behind their Stand out in the middle of
heads, then stepping forward the room~ Stand back-to-back~
&, as instructed, .turning Do not touch one another~
back-to-back.
44:508.13
CS WINSTON with JULIA WINSTON VOICE

standing behind him, both The house is surrounded. The house is surroundedl
.with their hands clasped
behind their heads;
~n Zhe b.g.: the telescreen.
45:516.8
CS JULIA & WINSTON back-to- JULIA : VOICE

back, favouring JULIA. I suppose... I suppose we You may as well say goodbye.
may as well say goodbye. ~hile...
46:526.7
CS-WINSTON & JULIA as in 44. VOICE

...we’re on the subject:
"Here comes a candle to light
you to bed, here comes
a chopper to chop off your
head!"
47:536.6
MCS LADDER smashing

window panes as it’s placed
against the frame.
A PATROLMAN ascends into
view.
48:540.14
~ES 2nd PATROLMAN swinging

open the door.
49 : 543.11
~CS PATROLMAN climbing through

the window into the room.
50:545.7
MCS PATROLMEN walking up

to WINSTON & JULIA.
MCS JULIA.~ WINSTON as the

PATROLMEN look about them.
One of their number, b.g.,
picks up the round glass
paperweight & hurls it to
the ground.
52:577.4
CS PAPERWEIGHT smashing
In. the grate.
53:578.4
CS FRAGMENTS spllnterlng
on the floor. Among them
lies the pink piece of coral.
54:580.5
MCS WINSTON & JULIA

back-to-back, favouring
WINSTON. A PATROLMAN
moves towards JULIA.
55:589.7
MCS JULIA doubling up JULIA

& collapsing as the Aaah ! GASPS
PATROLMANpunches her hard
in the chest.
56:597.14
MCS WINSTON straightening

up.
57:600.15
MCS JULIA.agape with pain JULIA

as she is hauled into a Ash, ash...
sitting position by a Ash, ash...
heavy-handed PATROLMAN.
58:609.15
MCS PATROLMANpulling JULIA

JULIA to her feet ,.. then GASPS
slinging her over his
shoulder & carrying her
away.
The cam. tracks R to
PATROLMAN& WINSTON
standing face -to face.
The PATROLMANsprings to CHARRINGTON
attention as CHARRINGTON Pick that up.
now enters the room, then
fawningly stoops to recover
the piece of broken coral.
He hands this to CHARRINGTON, WINSTON (in a whisper)
who gives WINSTON an icy The Thought Police.
stare.
59:676.3
CS WINSTON over CHARRINGTON. WINSTON: HIS.~VOICE TREMBLES
60:682.7
CU CHARRINGTON with a
PATROLMAN standing behind
him.
FADE-OUT.
1984 KEEL EIGHT (4B) Page 82
61:690.9
INT. WHITE CELL. DAY.

FADE- IN
CU TELESCKEEN showing
Big Brother’s ubiquitous
face. The cam. pans slowly
round to WINSTON sitting on
a whlte-tiled bench, then
tracks in to a CS. He looks
VOICE (female)
up in response to his name
Six-O-seven-nine Smith!
& number being called out.
Open your eyes!
(His eyes had begun to
close wJ.th fatigue)
62:739.12
MS WINSTON looking up at
the TELESCKEEN on the wall, L.
DISSOLVE TO:
63:744.0
CS WINSTON reacting to noises

off.
64:760.5
MS PARSONS, bruised &

battered, as. GUARDS thrust him
into the cell.
Clutching his stomach with WINSTON
one hand, he eases himself Parsons.
onto the seat beside. WINSTON.
(A L pan ~o include WINSTON) PARSONS (with a quaking voice)
PARSONS suddenly shrinks K-keep away from me,
back with fear. Smith. I’m an agent of
Goldstein. I didn’t know
it myself. Thoughtcrime is
so insidious.
It Just cgeeps up on you.
He forces a smile as he My daughter found it out.
mentions his daughter. I’m very proud of her.
I’m very grateful I’ve been
discovered before it’s too
late. SOBS
They won’t shoot me, will
they, Smith? I know I could
be very useful in a labour
camp.
65:872.4
MCS WINSTON, his head bowed VOICE (female)

& PARSONS with his leant Room One-O-one.
against the tiles on the wall,
looking up as the telescreen
calls out.
The cell door clatters open: PARSONS
.PARSONS grows uneasy & focuses No. Please. You don’t
on the telescreen ahead of have to take me there.
him. Why? You see,. there’s
nothing I won’t confess.
Nothing. I’ve told you
everything already.
66:920.1
CU BIG BROTHER’S staring PARSONS

passively down from the W-W-What is it you want
telescreen. me to know? GASPS
REEL EIGHT (4B) ENDS AT: 928.9

1984 REEL NINE (SA) Page 84
.SCENE No. & ACTION: DIALOGUE & MUSIC: TELESCREEN:
i: 000.00
INT. WHITE CELL. DAY. PARSONS (his voice faltering)

MS PARSONS pointing an. Take him instead of me.
accusing finger at WINSTON, He’s the thought criminal.
fog. It’s him you want!
PARSONS rises submissively SOBS
& shuffles over to the door,
where he is seized by GUARDS,
(A L pan follows him to
the door)
2:44.0
CS WINSTON watching with

an air of resignation.
DISSOLVE TO:
3:57.8
MS WINSTON rising slowly WINSTON

from the bench as O’BRIEN They’ve got you, too.
enters the cell & stands
before him with an escort
of armed GUARDS.
4:89.1
MCS O’BRIEN & GUARDS over O’BRIEN

WINSTON. .They got me a long time ago.
You knew this would happen,
Winston. Don’t deceive
yourself.
5:104.13
MCS WINSTON over O’BRIEN. O’BRIEN

You’ve always known it.
6:112.6
MS O’BRIEN over WINSTON

.as one of the GUARDS steps
between captor & captive.
(O’BRIEN dons his glasses)
7:123.4
MCS WINSTON as he is felled WINSTON

to the floor by a blow Ow! Ooh. GASPS Ooh.
from the GUARD’S truncheon.
O’BRIEN, f.g. looks on.
.!
1984 REEL NINE (5A) Page 85
8:134.1
MCS O’BRIEN holding up O’BRIEN

a collection of incriminating The photos of you and the
photographs. A GUARD stands glrl will be recycled for
behind him. Proletarian use.
WINSTON o.s.
GASPS
9:143.11
MCS WINSTON in a kneeling WINSTON

position, holding his injured GASPS & SOBS
arm. O’BRIEN walks off.to
the R; WINSTON-~b.reaks down
& cries, his head thudding
against the tiled surface
of the bench.
i0.: 154.7 MUSIC IN AT:.154.7
CS a Black & White still

photograph of WINSTON
holding JULIA in an
intimate embrace.
DISSOLVE TO:
II: 156.12
A montage of intimate
PHOTOGRAPHS superimposed over
WINSTON, haggard & bloodied
~having his hair clipped by
a MAN IN A WHITE COAT. (A MCS).
12:187.8
DREAM SEQUENCE: EXT. GOLDEN

~COUNTRY. DAY.
MCS WINSTON from behind as
he takes, in the idyllic
scenery of undulating countryside
& scattered trees.
O’BRIEN approaches him & O’BRIEN
lays E seem/ngly avuncular Do you know where you are,
hand on his shoulder. Winston?
WINSTON
I-I don’t know. I can guess.
In the Ministry of Love?
12 : Contlnued. O’BRIEN
Do you know’how long you’ve
been here?
WINSTON
No. Weeks? Months?
O’BRIEN
DO you know why you’re here?
O’BRIEN v.o.
Shall I tell you why we’ve
brought you here? To cure
you...
13:251.10 MUSIC OUT AT: 252.0
INT. INTERROGATION CELL. O’BRIEN

NIGHT/DAY. ...to make you sane.
MCS WINSTON strapped to
a rack,_.his hands WINSTON
manacled above his head. Yes.
O’BRIEN, f.g., leans across
to activate the controls.
14:262.2
MS WINSTON’S body straining WINSTON

as his aching limbs are Aah! Aah! Aaaaaah!
forcibly stretched & strained. Aah! No, no, no!
.(This scene is. a reflection, O’BRIEN

captured, in ~mlrr0r) That was forty.
15:274.9
MCS O’BRIEN looking down 0 ’ BRIEN

at WINSTON stretched out YOU can see that. the numbers
on the rack before him. on this dial run up to one
Next to O’BRIEN is the hundred. Will you please
dial,he refers .to in the remember that during our
dialogue.
conversation I have it in my
power to Inflict pain on you
at any time...
WINSTON
PANTS
16 : 290.7
CU WINSTON looking up with O’BRIEN o.s.

frightened eyes. ...and in whatever degree I
choose.
WINSTON (panting)
Yes.
17:298.0
CS O’BRIEN removing his WINSTON o.s.

glasses PANTS
O’BRIEN
You know perfectly well
what is the matter with
you, Winston. You’ve known
it for years, though you’ve
fought against the knowledge.
You are meutally deranged.
You suffer from a defective
memory.
18:326.1
MS WINSTON tied down to. O’BRIEN

the rack, with O’BRIEN YOU never tried to cure
standing in the f.g., his yourself of it because
back turned. you did not choose to.
19: 332.10
MCS O’BRIEN gazing down O’BRIEN

at WINSTON. (As in Scene 15) There was a small effort
of will, which you were not
ready to make. For example,
which power is Oceania at
war with?
20:350.6
MCS WINSTON stammering out WINSTON (his voice trembling)

his reply. Eastasia. Oceania is at
war. with Eastasia.
O’BRIEN’S head is: visible, L. O’BRIEN

Eastasia.
21:366.5
CS O’BRIEN. O’BRIEN
GOOd. And OCeania has always
been at war with Eastasia, has
it not?
22:375.5
The same shot as in O’BRIEN

Scene 20. Tell me what you think you
remember.
19 84 REEL NINE (SA) Page 88
22: Continued. WINSTON (his voice faltering)

I remember that until only
a week before I was arrested,
we weren’t at war with
Eastasia at all. It was
Eurasia. That lasted four
years, I think.
23:417.11
CS O’BR~EN. O’BRIEN
Another example. A serious
delusion.~Photographs about
which you’ve had hallucinations,
He holds up two pictures, which you.believed you held
one of RUTHERFORD, the in your hand.
other of SY~E.
24:438.7
CS WINSTON over O’BRIEN O’BRIEN

showing him the two They never existed.
photographs, then rising
from his seat.
25:447.8
MCS O’BRIEN walking over to WINSTON o.s.:

the memory .hole-in the wall. CONTINUES TO GASP & PANT
~He lifts up the gratings&
tosses the photographs inside. O’BRIEN
They vanish, incinerated by Say what you’re about to
a flash of flame. .say, Winston.
26:458.6
CU WINSTON, resisting. WINSTON

They exist. In memory.
I remember.
27:470.11
CS O’BRIEN stepping forward. WINSTON o.s.

You remember.
O’BRIEN
I do not remember. Only the
disciplined mind can see
reallty, Winston.
It needs an act of self-
destruction, an effort of the
will.
19 84 REEL NINE (SA) Page 89
28:496.13
CU WINSTON. O’BRIEN
Do you remember writing in
your diary: "Freedom is the
freedom to say two plus
two equals four"?
WINSTON (gasping)
Yes.
29:513.11
CS O’BRIEN holding up four O’BRIEN

fingers. HOW many fingers am I
holding up, Winston?
30:517.0
CU WINSTON. WINSTON
Four.
31:520.7
CS O’BRIEN lowering his O’BRIEN

hand. And if the Party says
there are not four, but
five, then how many?
32: 5’27. ll
MCS WINSTON sheepishly WINSTON

replying to the question. Five.
O’BRIEN reaches across
and increases the tension. Aaaaaah!
WINSTON writhes & screams.
33:539.5
CS NEEDLE on DIAL showing WINSTON o.s.

a tension of sixty. Aaah! Aaah! PANTS
The cam. then pans R to
O’BRIEN. O’BRIEN
No. That’s no use.
You’re lying.
34:549.5
MCS WINSTON over O’BRIEN, O’BRIEN

holding up four fingers HOW many fingers, please?
again.
WINSTON
Huh, huh, four. Four.
What else can I say?
Five, four, anything you
llke, only please stop it.
Stop the pain!
35:578.14
CS O’BRIEN lowering WINSTON O.s.

his hand. Aaaaah!
MUSIC IN AT: 580.0
DISSOLVE TO:
36:582.0
CS O’BRIEN supporting WINSTON (sobbing)

WINSTON, weak & racked by How can I help it?
pain. How, how can I help what I
see in front of my eyes?
l~vo and two makes four.
O’BRIEN
Sometimes, Winston, Sometimes
they’re five; sometimes
they’re three; sometimes
they’re all of them at once.
WINSTON
SOBS
O’BRIEN releases WINSTON MUSIC OUT AT: 638.0

so that¯ he .can lie back
on the rack. The MAN IN THE O’BRIEN
~HITE COAT ¯secures the Neither the past, nor the
wrist-restraints in present, nor the future
readiness for further torture, exists in its own right,
.Wlns ton.
37:643.7
CS O’BRIEN. WINSTON o.s.: GASPS
O’BRIEN
Realltyis in the human mind,
not in the individual mind,
which makes mistakes and soon
perishes, but in the mind of
the Party, which is collective
and immortal. Again.
38:677.0
CS O’BRIEN’S hand reaching WINSTON (gasping)

across to the rack’s tension No. Aaah! Aaah! Aaah!
.control.box &’administering
more pain to WINSTON, whose
¯ body. convulses & contorts
in response.
19 84 REEL NINE (SA) PaRe 91
39 : 690.9
CS O’BRIEN again raising WINSTONo.s.

four fingers. Aaah!
O’BRIEN
HOW many fingers, Winston?
40:693.13
CU WINSTON’S emaciated face. WINSTON (gasping)

Four. Four; I suppose
there are four, but I’m
trying to see five. I wish
I could.
O’BRIEN o.s.
Which do you wish?
41:715.7
CS O’BRIEN with four O’BRIEN

fingers raised close To persuade me that you
to his face, his manner can see five, or really to
calm, cold. see them?
42:720.14
CS WINSTON as before in WINSTON (gasping)

Scene 40. Oh, oh, really to see them.
43:724.15
CS O’BRIEN lowering his .WINSTON o.s. : GASPS

hand, then turning to
" the tensio~ control. A pan O ’ BRIEN
to the L shows the dial Again.
shooting up the scale
when activated. WINSTON o ~s.
Aaah! Aaah!
44:734.1
MCS WINSTON screaming WINSTON

in agony as the rack Aaah! Aaah!
slowly, but painfully,
elongates. O’BRIEN, f.g.,
& TH~ MAN IN THE WHITE coat,
b.g., look on unsympathe-
¯ tlcally.
O’BRIEN shows WINSTON four 0 ’ BRIEN

fingers again. How many, Winston?
WINSTON
Aaah !
1984 KEEL NINE (5A) Pa~e 92
45:746.1
CU WINSTON open-mouthed & WINSTON

shrieking. Aaah! Aaah! Huh-huhhh...
(GASPS)
46:755.0
CU 0’BRIEN holding four WINSTON o.s.: GASPS

fingers before his face.
The fingers are suddenly

superimposed with another WINSTON o.s.
set of fingers, which
swing to and fro in a
confused image.
’47:763.3
CU WINSTON, his mind on WINSTON (gasping)

the verge of submission. ...I don’t know.
I don’t know.
REEL NINE (5A) ENDS AT: 772.3

1984 KEEL TEN (5B) Page 93
SCENE No. &ACTION: DIALOGUE & MUS IC : TELESCREEN:
i: 000.00
INT. INTERROGATION CELL. O’BRIEN

NIGHT/DAY. Better.
CS O’BRIEN turning’to
the rack control handle. WINSTON o.s.: GASPS
The cam. pans L as he
loosens the tension ~
& the dlal plummets down
the scale.
2:11.14
MSa mirror reflection of WINSTON: GASPS

WINSTON’S body. relaxing
as O’BRIEN lessens the MUSICIN AT: 14.0
tension. In the b.g. sits
the MAN IN THE WHITE COAT.
3:~ 16.0
DREAM SEQUENCE: INT. DARK

CORRIDOR. DAY.
MCS WINSTON from behind
as he gently pushes the
door open & light from
the idyllic GOLDEN COUNTRYSIDE
floods in, lighting the O’BRIEN v.o.
scene. The cam. tracks slowly No one escapes, Winston.
forward to take in the There are no martyrs here.
landscape. .All the confessions made here
are true.
4:42.7
INT. INTERROGATION CELL. MUSIC.OUT.AT: 45.0

NIGHT/DAY.
CU WINSTON on the rack; O’BRIEN o.s.
now more relaxed than before. We do not destroy the heretic
because he resists us. As
long as he resists us, we
never destroy him. We make
him one of ourselves before
we kill him. We make his brain
perfect before we blow it out.
5:68.9
CU O’BRIEN. O’BRIEN
And then, when there is nothing
left, but sorrow and love of
Big Brother, we shall lift you
clean out of history. We shall
turn you into gas and pour you
into the stra%osph?re.
.!
19 84 REEL TEN (SB) Page 94
5 : Continued. O’BRIEN
Nothing will remain of you.
Not a name in a register,
not a memory...
6:102.4
CS WINSTON looking up O’BRIEN o.s.

from the rack. ¯ ..in a living brain.
You will be iannihilated
in the past as well as in
the future. Three thousand.
7:118.3
MCS MAN IN THE WHITE COAT WINSTON

attaching two pads,.one to Huhh, huhh, huhh!
each side of WINSTON’S head.
Wires from them. lead away O’BRIEN o.s.
-to a machine. This time it won’t hurt you.
O’BRIEN,.rests an insidious
hand on his shoulder as
if to calm and soothe him;
but this is promptly Now, before we bring this
withdrawn. session to an end, I want you
to ask me your questions.
The cam. tracks slowly R. I want you to clear your mind.
WINSTON falteringly asks WINSTON

his questions¯ Julia?
O’BRIEN o.s.
She betrayed you, Winston.
The cam. turns & continues immediately, unreservedly.
to track along the head (ON) All her rebellion, deceit,
of the rack, then round folly, dirty-mindedness, has
to,the other side, where been turned out of her.
it stops, holding O’BRIEN,
WINSTON & the MAN IN THE WINSTON
WHITE COAT (f.g.) Does...does Big Brother
exist?
O’BRIEN
Of course.
WINSTON
In the same way as me?
O’BRIEN shakes his head. ’O’BRIEN

YOU do not exist. You have
not asked me the question that
is uppermost~in your mind,
Winston. You know what is in
Room One-O-one. Everyone knows
what’s in Room One-O-one.
Now, fix your eyes on mine.
1984 If.EEL TEN (5B) Page 95
7: Continued.
WINSTON turns his head

& fixes O’BRIEN with a
stare. O’BRIEN gives the
MAN IN THE WHITE COAT
a knowing look & the
latter responds by switching
on the machine & pulling
down a lever.
WINSTON’S body arches. WINSTON
Slowly, the lever is Aaa~!
returned to its original
position.
8:253.8
CS WINSTON’S body going MUSIC IN AT: 254.0

limp.
9 : 258.10
DREAM SEQUENCE: EXT. GOLDEN O’BRIEN v.o.

COUNTRY. DAY. What country is Oceania
LS WINSTON standing on at war with?
one of the undulating hills.
10:265.4
DREAM SEQUENCE:
CS WINSTON, his back turned, WINSTON v.o.
overlooking the golden I don’t remember.
landscape.
O’ BRIEN v.o.
Oceania is at war with
Eastasia. Do you remember
that now?
11:280.6
DREAMSEQUENCE:
CS WINSTON against a back- WINSTON
ground of sky; the whole Yes .
scene is suffused with a
golden light. O’ BRIEN v.o.
A smile comes to WINSTON’S How many fingers am I
lips. holding up?
WINSTON
Five.
1984 REEL TEN (SB) Page 96
12:293.14
.INT. INTERROGATION CELL. O’BRIEN o.s.

NIGHT/DAY. You see at least that
CU FOUR FINGEBS of O’BRIEN’S it is possible.
hand.
13:301.0
CU WINSTON, pads against O’BRIEN o.s.

the sides of his head, You have understood the
looking up with a mesmeric reality of the past...
stare.
FADE-OUT. MUSIC OUT AT: 310.0
14:311.0
FADE-IN. O’BRIEN
MS O’BRIEN stepping up to ...and of the present,
& looking down at-WINSTON Winston. Now, what of
on the ra~ in front of .the future?
him. (Gone are the A question: How does one
electrodes from WINSTON’s man assert power over
head) another?
WINSTON
By making him suffer.
O’BRIEN
Exactly. Obedience is not
enough..Power.is inflicting
pain and humiliation, otherwise
you cannot be sure.
15:350.14
MCS WINSTON lying on the O’BRIEN o.s.

rack. Power is tearing human minds
apart, and putting them
together again in new shapes
of your own choosing.
Power is not a means, it is
an end.
16 : 369.9 ~
MS WINSTON on the rack, f.g., O’BRIEN

as O’BRIEN, b.g., steps closer In our world, there will only
towards him. be triumph and self-abasement.
Everything else we shall
The cam. tracks slowly destroy. The past is forbidden;
forward. why? Because when we can cut
man from his own past, then
we can cut him from his family,
his children, other men.
17: Continued.
O’BRIEN leans forward, placing OtBRIEN

both hands on the rack. There is no loyalty,
except loyalty to the
Party. There is no love,
except love of Big Brother.
All competing pleasures, we
will destroy.
.If you want a vision of the
future, Winston, imagine a
The cam. has closed in boot stamping on a human
toCS of O’BRIEN. face forever.
18:436.3
CU WINSTON: drained &

emotionless, he lies on
the rack.
19 : 441.8
CS O’BRIEN sitting down. O’BRIEN

Winston, you are thinking that
my face is old and tired, that
while I talk of power, I am
unable to prevent the decay
of my o~rn body. But the
indivldual is only a cell,
Winston. And the weariness of
the cell is the vigour of the
organism.
20:476.4
MCS WINSTON over O’BRIEN, WINSTON

whom he looks up at from You’ll fail.
the rack.
0’BRIEN
~hy?
WINSTON
It’s impossible. Hatred
and fear have no llfe.
21:494.7
CS O’BRIEN. 0’BRIEN
~hy is hate less vital
than love?
WINSTON o.s. (in a whisper)

I don’t know.
22:502.5
As in Scene 20. WINSTON

But somehow you will fail.
Something will defeat you.
Life will defeat you.
23:515.0
MS O’BRIEN sitting beside 0 ’ BRIEN

WINSTON, strapped to the We control life at all
rack. levels. We create human.
nature. Men are Inflnitely
malleable. Or perhaps you’ve
returned to your old idea
that the Proletarians will
arise. Put it out of your
mind. They’re helpless animals.
Humanity is the Party.
WINSTON
I don’t care.
24:555.13

In the end, they’ll beat
you. Sooner or later, they’ll
tear you to pieces.
O’BRIEN
On what evidence?
WINSTON
Goldstein’s book.
9-5:575.10
CS O’BRIEN looking down O ’ BRIEN

at WINSTON. I wrote it. Or, at least,
I collaborated in writing it.
26:583.11
CU WINSTON on the rack. O’BRIEN o.s.

No book is individually
produced, as you know.
WINSTON
I Just believe it. I know
you’ll fail. There is something
in this world, some spirit
that you will never overcome.
27:612.7
CS 0’BRIEN looklng down O’BRIEN

at. WINSTON. What is it, this principle?
WINSTON
I don’t know. The spirit of
mS/l.
19 84 REEL TEN (5B) Page 99
27: Continued. O’ BR IEN

And do you consider
yourself a man?
28:629.15
CU WINSTON on the rack. WINSTON

Yes.
29:633.7
MS O’BRIEN sitting beside O’BRIEN

WINSTON on the rack as If you are a man,
the MAN IN THE WHITE COAT you’re the last man.
arrives to unfasten %he Your kind is extinct.
manacles binding his arms We are the inheritors.
& legs to the rack. Do you understand that you’re
alone?
WINSTON raising his right WINSTON

arm, now unshackled, &
drawing it down to his side.
O’BRIEN
You are outside history.
You unexist.
The MAN IN THE WHITE COAT Get up.
withdraws & O’BRIEN leans
forward, about to rise.
30 : 674.10
MCS WINSTON drawing his WINSTON: STRAINING

other arm down to his side
as O’BRIEN moves off to
the L.
He wriggles & struggles
to sit upright, but succeeds
only in falling off the O’BRIEN o.s.
rack, landing heavily on Come here.
the floor.
Finally, he manages to WINSTON: GASPS, SPLUTTERS
draw himself to his feet,
using the rack for support.
REEL TEN (5B) ENDS AT: 722.9

1984 REEL ELEVEN (6A) Page 100
SCENE No. & ACTION: DIALOGUE& MUSIC: TELESCREEN:
I: 000.00
INT. INTERROGATION CELL. WINSTON o.s.

NIGHT/DAY. PANTS
CS O’BRIEN seizing WINSTON
& pulling him into shot O’BRIEN
to make him stand in front ~ook at you.
of a mirror ~ gaze at his
pathetic, broken figure.
2:10.3
CS O’BRI~N’S & WINSTON’S O’BRIEN

reflection in the mirror. You’re rotting away.
O’BRIEN grips one of
WINSTON’S rotting teeth WINSTON: SOBS WITH PAIN
between his fingers &
twists it till it breaks O’BRIEN
loose. That, is the last man.
If you’re human, that is
humanity. It won’t last
for ever. You can escape
from it whenever you choose.
Everything depends on you.
WINSTON (sobbing)
Ah... You did it.
You reduced me to this.
O’BRIEN
No, Winston, you reduced
yourself to it.
WINSTON
When will you shoot me?
O’BRIEN
It might take a long time.
But don’t give up hope.
Everyone is cured sooner
or later.
3:97.8
MCS O’BRIEN & WINSTON from WINSTON: GASPS

behind, as O’BRIEN holds
his distraught victim O’BRIEN
before the mirror & pats And, in the end, we
his back in a gesture of shall shoot you.
mock friendship.
4:108.8 MUSIC IN AT: 109.0
DREAM SEQUENCE:
EXT. GOLDEN COUNTRY. DAY. O’BRIEN
MCS O’BRIEN, the teacher, The Law of Gravity is
"unlearning" his pupil, nonsense. No such law
WINSTON. exists. If I think I float,
and you think I float, then
it happens.
5 : 126.4
DREAMSEQUENCE: WINSTON
CS~WINSTON - the normal, I love you.
untortured face of the man
smiling. O’BRIEN o.s.
YOU have the strength,
Winston.
6:132.1
DREAM SEQUENCE : WINSTON

MCS O’BRI~N over WINSTON You have the whole Party.
as in Scene 4. You are the Party.
You’re one of us, one
of the chosen.
7:143.1
DREAM SEQUENCE:
WINSTON
CS WINSTON,
I love you.
with a smile.
8:146.6
DREAMSEQUENCE : JULIA
CU JULIA, returning the I love you, too.
smile.
9:152.3 MUSIC OUT AT: 153.0
DREAM SEQUENCE: WINSTON (in a Whisper)

CS WINSTON drawing JULIA Julia. Julia, my love.
close. Suddenly, a shot
rings out & her head flops
back, limp & llfeless. ~MUSIC IN AT: .1570
i0:165.8
DREAM SEQUENCE: WINSTON (in a whisper)

MCS WINSTON nestling his Julia...
head against JULIA’S neck.
Her mouth dribbles blood
from the corner.
11:173.11
DREAM SEQUENCE:
LS WINSTON kneeling WINSTON v.o.
with JULIA dead in his Julia !
arms o
12:177.14
INT. WHITE CELL. NIGHT/DAY. WINSTON

MS WINSTON sitting entranced Julia!
on an unmade dirty bed.
He rises automatically at O’BRIEN
the sound of O’BRIEN’S Get up!
command & turns to face Stand up straighter.
the telescreen behind him. MUSIC OUT AT: 181.0 Look me in the face.
Big Brother’s inanimate
portrait is replaced by
O"BRIEN’S moving image.
O’BRIEN fades & Big Brother

returns to the telescreen.
WINSTON swings round to O’BRIEN

face O’BRIEN, who now Tell me Winston - and,
approaches him from remember, no lles -
behind. what are your true feelings
towards Big Brother?
WINSTON
I hate him.
13:225.15
MCS O’BRIEN with two GUARDS O’BRIEN

in tow over WINSTON. YOU must love him. It’s
not enough to obey him;
you must love him.
14:235.13
MCS O’BRIEN turning away O’BRIEN

from WINSTON, standing at Room One-0-one.
attention.
MUSIC IN AT: 243.8
15: 246.11
CS WINSTON with Big Brother’s

face as a backdrop.
FADE-OUT
16:256.4
INT. CORRIDOR/ROOM i01. O’BRIEN

NIGHT. YOU asked me once, Winston,
A MCS tracking along behind what was in Room One-O-one.
WINSTON & the two GUARDS I told you that you knew
leading him towards ROOM 101. already. Everyone knows.
On entering the room, they The thing that is in Room
stop & watch as O’BRIEN, One-0-one is the worst
already in the room & pacing thing in the world.
the floor, walks over to
the chair in the centre of
the room, turns, pauses
a while, & then advances
towards WINSTON.
A gentle nod to the GUARDS

from O’BRIEN & WINSTON is
led to the chair & made
to sit in it. Straps are
then secured to his wrists
& to the chair arms to
restrain movement.
The MAN IN THE WHITE COAT
arrives carrying an object
- a cage -.covered by a
piece of cloth, which he
sets down on the table~
17:325.1
CS GUARD’S hands working .O’BRIEN

at securing the ligature to It goes.beyond fear of pain
WINSTON’S wrist as O’BRIEN lot death. It is unendurable
addresses the torture victim. and ft varies from individual
to Indivldual. It may be burial
alive or castration or many
other things.
The GUARDS withdraw &
In your case, it is rats.
O’BRIEN nods to the MAN
IN THE WHITE COAT, who
uncovers the cage, which
is found to contain rats.
18:362.11
CU WINSTON, his face tautens WINSTON

with fear. No!
19 : ¯ 369.8
CS two angry, fighting, WINSTON o.s.

squealing RATS inside the Rats...
cage.
20 : 372.5
CU WINSTON, submissively: WINSTON

Please, what do you
want me to do?
21:376.2
CU O’BRIEN. O’BRIEN
YOU will do what is required
of you.
WINSTON o.s.: SOBS
22:379.8
CU WINSTON paralysed by WINSTON

fear. What, what, what is it?
How can I do it if I don’t
know what it is?
23:390.7
CU O’BRIEN looking down 0’BRIEN

at the cage beside him, In the Proletarian areas,
then up again. they will attack a baby and,
within five minutes, strip it
to the bone. They also attack
the sick and dying. They Show
astonishing intelligence in
knowing when a human being is
helpless.
24:416.6
CS ~ATS squabbling in the WINSTON o.s.

cage - a slow zoom-in. Please.
25: 425.6
CU WINSTON’S terrified eyes. WINSTON

GASPS Please.
26:436.10
DREAM SEQUENCE: EXT. GOLDEN O’BRIEN v.o.

COUNTRY. DAY. The~mask fits over your head,
LS WINSTON, a solitary figure, leaving..no exit. I press the
~
standing in the midst of first lever, and the rats...
%he golden, rolling hills.
’1984 REEL ELEVEN (6A) Page 105
27:450.12
INT. ROOM i01. NIGHT. O’BRIEN

MS O’BRIEN walking over to ...move into the front
WINSTON. The mask he describes compartment.
already hangs over WINSTON’ S
WINSTON
head. Inside, the restive
Please.
rats thrash about hungrily.
0 ’ BRIEN
I press the second ’ and the
door of the cage will sllde
up.
28:462.7
CS mask enclosing the front O’BRIEN

~of WINSTON’S face. O’BRIEN, These starving brutes will
f.g., sees his body grow shoot at you like bullets.
tense in anticipation.
29: 468.~
CS RATS wrestling with O’BRIEN o.s.

each other as the cam. Have you ever seen a rat leap
tilts up to O’BRIEN. through the air?
(ON) They will leap onto your
face and bore straight into it.
Sometimes they attack the eyes
first.
30:488.8
CS hungry, fighting RATS.
31:491.14
CS.frenzied RATS from a O’BRIEN o.s.

different angle, with Sometimes they burrow through
WINSTON’S. face close the cheeks and devour the
to, almost touching the tongue.
starving creatures.
WINSTON (w~impering)
Oh, oh...
32:502.9
CU O’BHIEN. WINSTON o.s.

...oh, oh! Tell me...
33:507.15
CS RATS in the mask on WINSTON

WINSTON’S face growing ...what do you, what do
more and more vicious. you want? What do you want?
:.i
34:517.13
CS O’BRIEN pulling down WINSTON o.s.

the lever, which raises the No, no, please!
door separating the first
and second compartments
in the cage.
35:522.3
CU RATS rushing forward, WINSTON o.s.

as seen from WINSTON’S No!
viewpoint.
36 : 523.15
CS RATS, a mere whisker’s WINSTON

breadth away from WINSTON’S A aaah !
face with the second &
final door in the cage still
to be opened.
37:525.5
CU RAT clawing at the cage

door.
38:527.11
As in Scene 36.
39 : 528.14
CS O’BRIEN, panning L to JULIA (in a whisper)

JULIA, who utters the words I love you.
with tenderness, displaying
an air of detachment.
40:536.5
CU RAT baring its teeth WINSTON o.s.

through the cage wire. GASPS
41:540.0
CS RATS Jockeying to get WINSTON

close to WINSTON’S face. Do it to her! Do i¢ to Julia!
I don’t care what you do...
42:547.6
CS JULIA looking on with WINSTON o.s.

callous indifference. ...to her, but do it to her!
The cam. pans R to O’BRIEN. Tear her face off! But do
it to Julia, not to me!
43:552.13
CU WINSTON’S terrorized face WINSTON

trembling before the agitated Do it...
RAT.
44:557.5
DREAM SEQUENCE: EXT. GOLDEN WINSTON v.o.

COUNTRY. DAY. ...to Julia!
LS over the deserted Do it to Julia, not me!
landscape.
FADE~OUT MUSIC OUT AT: 570.0
REEL ELEVEN (6A) ENDS AT: 570.9

1984 REEL TWELVE (6B) Page 108
SCENE No. & ACTION: DIALOGUE & MUSIC:. TELESCREEN:
I: 000.00
FADE-IN
ANNOUNCER (female)
EXT. FIELD BORDERED BY
A vast military build-up
BUILDINGS. DAY. has been reported in the
LS’several PEOPLE filing Sahara Desert, Sectors
past the huge TELESCREEN
Seventeen and Eighteen of
dominating the scene. the War Zone.
2:11.7
INT. CHESTNUT TREE CAFE.

ANNOUNCER
DAY.
CS WINSTON’S hand raising
announcement.
the glass on the table
before him. He takes a
sip of the gin it contains, WINSTON
then sets it down again. GULPS
The same hand.thenmoves
across the chessboard &
slowly picks up one of
the pieces, hovering
indeclsively whilst judging
where to place it.
At this point, JULIA enters
& walks towards the table.
The cam. tracks round
behind WINSTON as she
settles down on the chair
opposite him.
3:66.11
MS WAITER approaching with

a bottle in one hand &
a glass in the other.
4:71.5
MCS WINSTON over JULIA JULIA

as he looks up at her. Brother.
The WAITER, R, puts down
the glass & pours gin
into it from the bottle.
To this he adds several
drops of a mysterious liquid.
5:89.11
MCS WAITER reiterating the WAITER

words he uttered in an On the house.
earlier scene in similar
circumstances.
6:94.5
MCS JULIA over WINSTON, as

she watches the WAITER
repeat the ritual with
WINSTON’S glass before
withdrawing.
7:103.7
MCS WINSTON over JULIA. WINSTON

WINSTON’S eyes remained Thank you for coming.
fixed to the chessboard,
until a trumpet fanfare & MUSIC IN AT: 110.9
the ensuing announcer’s (fanfare)
voice make..him swivel round
in his chair & direct his MUSIC OUT AT: 113.10 ANNOUNCER (female)
attention at the telescreen. You are warned to stand by
for an important announcement
The cam. pans slowly round
at fifteen-thirty. This is
to the TELESCREEN showing news of the gravest national
the face of Big Brother. consequence, concerning the
war with Eurasia.
8:127.4
MCS JULIA, as WINSTON, f.g., WINSTON ANNOUNCER

turns towards her. I’m very worried about the Fifteen-thlrty!
African Front.
9:136.7
CS WINSTON looking up. WINSTON

The news is disquieting in
the extreme
10:142.3
MCS JULIA over WINSTON, WINSTON

her expression glazed. I’ve been worrying about it
She transfers her gaze to all day. It’s not just a
WINSTON. ,
question of losing Afrlca. ,
Ii: 150.7
CS WINSTON. WINSTON
For the first time, the
territory of Oceania itself
is threatened by invasion.
12:156.8
MCS JULIA over WINSTON, JULIA

her response, automatic, It’s inconceivable.
unconsidered.
1984 REEL TWELVE (6B) Page Ii0
13:162.1
CS WINSTON shaking his head. WINSTON

The cam. tilts down to his It must have been possible
hand moving a chess piece, to out-flank them in some
then up again to his face. way. I have an instinct
there’s bad news on the way.
14:197.0
MCS JULIA over WINSTON JULIA

as she gulps down her drink. I told them all about you.
.She ~sets down the glass &
looks up at her friend.
15:209.3
MCS WINSTON over JULIA.

WINSTON gazes fixedly at the
..chessboard, as if considering
his next move.
16:213.3
MCS JULIA over WINSTON. JULIA

I’m only thankful they got
me before it was too late.
17:217.9
.As in Scene 15, WINSTON WINSTON

staring blankly at the Yes, I told them about you,
chessboard before him. too. Thoughtcrlme, sexcrlme,
all your treachery.
18:233.6
MCS JULIA over WINSTON.

JULIA
JULIA’S gaze wonders into
I have a meeting to go to.
space.
Then, almost resolutely, We must meet again.
she picks up her bag &
places it in her lap.
19:258.3
MCS WINSTON lifting his

WINSTON
gaze, then lowering it Yes. We must meet again.
again as he utters the
second half of his sentence.
JULIA moves across the
picture infront of him
as she withdraws.
TEe cam. tilts down to
the chessboard; WINSTON
makes another move.
1984 REEL TWELVE (6B) Page iii
20:296.15
EXT. FIELD BORDERED BY WINSTON

BUILDINGS. DAY. I accuse myself of the
MLS giant TELESCREEN following crimes:¯
depicting WINSTON detailing I have seduced Party members
his "crimes".
of both sexes. I’ve been
PEOPLE file past carrying
to the Proletarian areas.
briefcases.
I deliberately contracted
syphills in order to spread
the disease to my wife
and other Party members.
21:322.1
INT. CHESTNUT TREE CAFE. WINSTON

DAY. Together with other agents,
MCS WINSTON, his head I have counterfeited
bowed over the chessboard banknotes, wrecked industrial
as the telescreen behind machinery, polluted the
him displays him making water supply and guided
his "confession". Eurasian rocket bombs to
Slowly, the cam. tracks targets on Airstrip One by
round the table. means of coded radio signals.
I stand here, a victim of
the influence of Emmanuel
Goldstein, ~uilty on all
counts. I’m glad I was caught.
I was mentally deranged.
Now I am cured. I ask only
for you to accept my love of
our leader. I ask only to
be shot while my mind is
still clean.
22:388.7
CU WINSTON’S finger
writing in the dust on the
table: 2 +2 =
The sum is left without
a total, the hand drawn
back to a chess piece:
a whi~e knight.
The cam. zooms in to
a CU as the knight is
lifted, then dropped. MUSIC IN AT: 403.8
(fanfare)
MUSIC OUT AT: 407.0 ANNOUNCER (female)

A glorious victory!
23:408.14
MCS WAITER watching ANNOUNCER

the dissolving montage (over battlefield sounds)
of battlefield images A vast strategic manoeuvre
on the telescreen. to outflank the Eurasian
forces on the African
Front has been successful.
Perfectly co-ordlnated,
it has resulted in the utter
rout of the Eurasian Army.
There have been nearly a
million prisoners.
24:433.9
CS. WINSTON listening & WINSTON ANNOUNCER

:watching, then summoning Waiter. It has been an utter rout.
the waiter. A complete demoralization..¯
25:439.12
MS WAITER responding to MUSIC IN AT: 441.0 ANNOUNCER

the.call & sauntering up
...of the Eurasian enemy.
to WINSTON. The Cam. This immense victory brings
tracks with him.
the war within measurable
distance of its end.
WINSTON puts his hand WINSTON
on the WAITER’S arm Wonderful news.
& looks up at him.
The WAITER makes no
reply, but administers
more gin and a few drops
of the mysterious potion
before withdrawing to
view the telescreen.
WINSTON gulps hack the
CHEERING/CHANTING (faint)
mixture, then turns his
B-B-B-B-B-B-B-B-B-B-B-B...
face towards the ever-
changing images.
26:500.0
CU WINSTON, relaxed &

CHANTING (faint)
composed.
¯ ¯ . B-B-B-B-B-B-B-B-B-B-B-
B-B-B-B-B-B-B-B-B... (fades)
27: 511.5.
hU BIG BROTHER’S vigilant

face on the telescreen as
the cam. tracks L to WINSTON,
gazing up at him.
Suddenly WINSTON turns WINSTON v.o. (in a whisper)
away & we see tears streaming I love you.
down his face from his
reddened eyes.
19 84 REEL TWELVE (6B) Page 113
DISSOLVE TO:
28:558.8
MLS WINSTON sitting

in the care, with
the dishevelled figure of
the WAITER in the b.g.,
& BIG BROTHER’S menacing,
all-seeing portrait on
the telescreen.
The credits appear and roll: HYMN IN AT: 739.0

("Oceania, ’Tis For Thee")
ET____~I (roller)
Winston Smith JOHN HURT

0’Brien RICHARD BURTON
Julia SUZANNA HAMILTON
Charrington CYRIL CUSACK
Parsons GREGOR FISHER
Syme JAMES WALKER
Tillotson ANDREW WILDE
Tillotson’s Friend DAVID TREVENA
Martin DAVID CANN
Jones ANTHONY BENSON
Rutherford PETER FRYE
Waiter ROGER LLOYD PACK
Winston as a boy RUPERT BADERMAN
Winston’s Mother CORINNA SEDDON
’ Winston’s Sister MARTHA PARSEY
Mrs Parsons MERELINA KENDALL
William Parsons .P.J. NICHOLAS
Susan Parsons LYNNE RADFORD
Inner Party Speaker PIP DONAGHY
Whore SHIRLEY STELFOX
Instructress JANET KEy
Artsem Lecturer HUGH WALTERS
Man in white coat JOHN HUGHES
Shouting Prole ROBERT PUTT
Soup Lady CHRISTINE HARGREAVES
Guards GARRY COOPER
MATTHEW SCURFIELD
Patrolmen JOHN GOLIGHTLY
ROLF SAXON
Eurasian Soldier OLE OLDENDORP
Executioner EDDIE STACEY
Man on station NORMAN BACON
Youth Leader JOHN FOSS
Party Members CAREY WILSON
MITZI McKENZIE
ET 1 (roller) Continued:
and feat,,ring
PHYLLIS LOGAN as The Telescreen Announcer

PAM GEMS as The Washerwoman
JOSCIK BARBAROSSA as Aaronson
JOHN BOSWALL as Goldsteln
and
BOB FLAG as Big Brother
(Picture fades to black)
ET 2: Based on the novel

"NINETEEN EIGHTY-FOUR"
by George Orwell
first published in 1949
This film was photographed in and around London

during the period April-June 1984, the exact time
and setting imagined by the author.
ET3: With love and admiration

RICHARD BURTON
1925-1984
ET 4: Music of Oceania
including "Oceania, ’Tis for Thee",
"The Hiking Song", "The Washerwoman’ s Song"
composed and conducted by
DOMINIC MULDOWNEY
Lyrics by JONATHAN GEMS, GEORGE ORWELL

Singers SALLY MATES, LINDA HIRST
ET___~5: Special colour process devised by

KAY LABORATORIES
London, England
Laboratory Executive JOHN HEMMINGS

Original Research PAUL COLLARD
ET 6: Project Development
ROBIN DALTON
Special thanks to
GINA ROSENBLUM
BURTON W. KANTER
1984 KEEL TWELVE (6B) Page 115
ET 7: First Assistant Director

CHRIS ROSE
Costume Designer
EMMA PORTEOUS
Additional Script Material

JONATHAN GEMS
ET 8 (roller)
Camera Operator ROGER DEAKiNS

Sound Mixer BRUCE WHITE
Associate Editors POLLY MOSELEY
NICOLAS GASTER
Sound Editor COLIN MILLER
Art Directors MARTIN HEBERT
GRANT HICKS
Graphic Designer SID SUTTON
Casting Director REBECCA HOWARD
Te chnlcal Supervisor CHARLES STAFFELL
Special Effects Supervisor IAN SCOONES
Make-Up Supervisor MARY HILLMAN
Hairdressing Supervisor PAULA GILLESPIE
Production Accountant JACK SMITH
Production Manager GLADYS PEARCE

Second Assistant Director JOHN DODDS
Continuity ENE WATTS
Production Co-ordinator MARGARET WALDIE
Unit Manager .PAUL SHERSBY
Location Manager RICHARD CRAVEN
Production Assistant SARAH O’BRIEN
Crowd Co-ordinator JACK ROSS
Third Assistant Directors PATRICK KINNEY
DAVE KEATING
Floor Runner GERARD WALL
Production Runner SIMON CELLAN-JONES
Senior Focus Puller ANDREW SPELLER

Focus Puller JAMES AINSLIE
Clapper Loader FRASER TAGGART
Camera Grip MIKE ANDREWS
Boom Operator GUIDO REIDY
Second Assistant GERRY BATES
1984 REEL TW’ELVE (6B) Page 116
Dialogue Editor DEREK HOLDING

Effects editor BRYAN TILLING
Assistant Editors NEIL FARRELL
SIMON HARRIS
NICOLETTE BOLGAR
EVA MARTIN
Assistant Sound Editors BILL BARRINGER
JOE GALLAGHER
Cutting Room Runner SARAH RA INS
Assistant Art Director MARK RAGGETT

Art Department Assistants AMANDA GRENVILLE
EDDIE ANDRES
Matte Artist RAY CAPLE
Production Buyer PETER RUTHERFORD
Draughtsman ROYCE BAXTER
Scenic Artist TONY STRONG
Sketch Artist SIMON MURTON
Construction Manager JOHN GODFREY
Property Master JOHN ALLENBY
Wardrobe Supervisors JOHN BRADY

PHILIPPE PICKFORD
Make-Up Artists DEBBIE SCRAGG
ANNA DRYHURST
Hairdresser STEPHANIE KAYE
Wardrobe Assistants COLIN WILSON
CYNTHEA DOWLING
NOEL RADFORD
Unit Publicist ANNE TASKER

Stills Photographer SARAH QUILL
Film Researcher SUE SUDBURY
Assistant to the Producer MARY DAVIES¯
Assistant Casting Director JANE AHNELL
Chargehand Propman KIERON MACNAMAHA

Supervising Rigger PHIL ST. JOHN
Chief Electrician JOHN HIGGINS
Propman MARK FRUIN
Stand-by Crew HARRY HARRISON
PAT LYNCH
GEORGE ARNOLD
JEFF KHAN
BILL WOLOHAN
Chargehand Electricians JOHN HAYLEN
MICHAEL JAMES
19 84 REEL TWELVE (6B) Page 117
Stunt Co-ordinators BILL WESTON

TERRY WALSH
EDDIE STACEY
Special Effects Technicians CHRIS VERNER
ANDREWTHOMPSON
Special Effects Assistant DAVID SCHOLEFIELD
Rat Handler DAVID CORKE
Unit Nurse LYNNE BUCKLEY
Assistant Accountant BERYL BROWN

Cashier SANDRA NIXON
Accounts Secretary REBECCA STARR
Second Unit
Camera Operators ANDREW SPELLER

DICK POPE
Production Manager PAUL SPARROW
Continuity ~RGARET WALDIE
Wiltshlre Locations
Production Supervisor TONY HOPKINS

Assistant Directors CRISPIN REECE
STEPHEN BROWN
Acknowledgements
Anna Scher Theatre Management

Smith & Jones Catering
Eureka Location Management
The Video & Film Company
Rank Film Laboratories
Helicopter Hire
Squibb & Davies (Demolition)
Focus Transport Services
Dennis Davidson Associates
Victory Square location by courtesy of

The Alexandra Palace Trustees
Colour by EASTMANCOLOR
Processed at KAY LABORATORIES
Opticals by GENERAL SCREEN ENTERPRISES
Music recorded at CTS STUDIOS

Mixer DICK LEWZEY
Soundtrack pre-mlxed at
TWICKENHAM FILM STUDIOS
Dubbing Mixers GERRY HUMPHREYS
ROBIN O’DONOGHUE
Re-recordlng Mixer TREVOR PYKE
Filmed at Twlckenham Studios, London

and on location in England
Production Services
UMBRELLA-ROSENBLUM FILMS LTD
ET____~9:
Soundtrack album "1984 (FOR TH~ LOVE OF BIG BROTHER)"
by EURYTHMICS
- releasedby VIRGIN RECORDS (T/M)
ET 10: Made by Virgin Cinema Films Ltd

95-99 Ladbroke Grove, London Wll IPG, England
in association with Virgin Benelux and Virgin Schallplatten
© 1984 Virgin Cinema Films Limited

All rights reserved
MUSIC OUT AT: 1108.0
¯ REEL TWELVE (6B) ENDS AT: 1108.0 (musical play-out)
This Release Script was compiled by:

R.J. Lagns, B.A. (Hons).
October, 1984.

1984

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NINETEEN EIGHTY-FOUR

SCENE No. & ACTION: DIALOGUE & MUSIC: TELESCREEN:

CAPTION: (fade-in) MUSIC IN AT: 5.11

HYMN IN AT: 19.0

INT. MINISTRY HALL. DAY. COMMENTATOR (male)

CU TELESCREEN showing super- COMMENTATOR

4:120.8 TROOPS: SCREAM & SHOUT

MS section of viewing COMMENTATOR

CU TELESCREEN depicting more COMMENTATOR

5: Continued. MAN FIRING MACHINE-GUN

MS section of AUDIENCE of COMMENTATOR

CU TELESCREEN: A dead soldier

MCS FEMALE PARTY MEMBERS

CU TELESCREEN: Burning buildings,

GOLDSTEIN (overlapped, faint)

MCS cross-section of viewing PARTY MEMBERS/PARSONS

MS O’BRIEN turning his JULIA GOLDSTEIN (faint)

MCS WINSTON joining in JULIA o.s. GOLDSTEIN (faint)

PARTY. MEMBER2 (male)

CU GOLDSTEIN on telescreen. ~ARTY MEMBERS GOLDSTE IN (faint)

MCS PARSONS standing in PARSONS GOLDSTEIN (faint)

MCS TILLOTSON shouting. PARTY MEMBER 4 (male) GOLDSTEIN (faint)

CU WOMAN PARTY MEMBER PARTY MEMBERS/WOMAN GOLDSTEIN (faint)

MCS vociferous PARTY MEMBERS PARTY MEMBERS CHANTING GOLDSTEIN (faint)

CU GOLDSTEIN on telescreen, JULIA o.s. GOLDSTEIN (faint)

CS JULIA giving full vent JULIA GOLDSTE IN (faint)

MLS JULIA, amid the sea

MCS JULIA as she sits down JULIA GOLDSTEIN (faint)

24: Continued. TILLOTSON

CU GOLDSTEIN on telescreen. GOLDSTEIN (faint)

CU JULIA screaming with her JULIA

CU TELESCREEN as MACHINE- MUSIC IN :AT: 362.0

MCS JULIA rising with her

MCS SYMES following suit

MCS WINSTON rising & crossing

CS O’BRIEN, one of the

LS over saluting PARTY MEMBERS

MT I: VIRGIN FILMS PRESENTS

MCS INNER PARTY MEMBERS

MT 4: IN MICHAEL HADFORD’S FILM

LS BIG BROTHER’S still image

MCS O’BRIEN & his Inner Party

MT 6: with SUZANNA HAMILTON PARTY MEMBERS (becoming audible)

MCS WINSTON, his eyes fixed in

MT 7: CYRIL CUSACK PARTY MEMBERS/WINSTON

CS JULIA uttering the chant. PARTY MEMBERS/JULIA

MT 10: PRODUCTION DESIGNER

MCS PARSONS chanting with PARTY MEMBERS/PARSONS

CS WOMAN chanting & flanked PARTY MEMBERS

A MLS, panning over the PARTY MEMBERS

MT 12: DIRECTOR OF PHOTOGRAPHY

MT 13: MUSIC EURYTHMICS AND

MT 15: EXECUTIVE PRODUCER

INT. CORRIDOR. DAY. MUSIC OUT AT: 519.0 ANNOUNCER (female)

INT. RECORDS OFFICE. DAY.

CU TELESCREEN bearing the

MCS WINSTON at work as seen

CU NOTE in WINSTON’S hands.

CU WINSTON’S hand dialling

CU desired page emerging