经典的《E.T》，真实的感动。

我总喜欢的看一些老电影，尽管时下好片不断大片云集，但我就是钟情与那些曾经让我感动而现在依旧震撼我心灵的一段段童话和故事，就像《剪刀手爱德华》里的园艺和冰雕、就像《2001太空漫游》里的黑色石碑、又像今天要说到《E.T》里的温暖画面，很简单的一部影片，干净但不苍白，像是一种童话散在手心里的感觉，天真得让人抑制不住哭泣。

很固执地认为这是大导演斯皮尔伯格最杰出的一部作品，尽管它的场面、特级并不是那么壮观，尽管它的故事并不是那么曲折复杂。但它，却真的以一种实实在在的的极“童话”的方式抓住了人们的心。

19xx年的《E.T》无疑是让我们充满惊喜和无限美好回忆的，这依旧是一个关于童话的电影，而这次的对象成了人类至今仍在探寻的外太空生物也就是外星人。斯皮尔伯格展现给我们的不仅仅是一个看似有些笨拙的外星人，更重要的是通过主人公Elliot和E.T之间建立的纯真友谊来向世人表达在导演自己童年心里所想像的一幅关于外星人的美好画卷。一个四口之家，单身的母亲带着和丈夫离异后的三个孩子，艰辛的同时却也有着其乐融融的温暖，而主人公Elliot由于得不到大家的支持而有些压抑，据说这和导演斯皮尔伯格的童年极其相似，在现实生活中，导演有两个爱大惊小怪妹妹，表现在影片中则全部集中到由年幼的巴里.摩尔扮演的妹妹身上，小巴里.摩尔在电影中可爱而充满了好奇，每次出现的时候我都惊讶这么小个丫头怎么就能在当时表现出这么深厚的“演技”功底呢，完全看不出一点胆怯和生疏，这也是至今我喜欢这个好莱坞魔女的缘故，如今已经贵为好莱坞大姐大的巴里.摩尔有了自己个电影公司，当上了老板，曾经的叛逆都已积淀为不老的传说。

《E.T》从出场到亮相，让我们在想像属于自己内心深处的外星人的同时，又不得不把目光投向这个万众瞩目的家伙，说实话，会有很多人不喜欢这个造型，但在19xx年的时候，你能要求把这个惹火的家伙打扮成什么个样子呢，全金属还是零部件多到让你眼花缭乱呢。那样会失去很多生命的特性，也很难让人接近，而最终出炉E.T却完美的完成了他的任务，让影片充满了人性的温暖，从开始的胆怯到最后的拥抱，依依不舍的是那份留在彼此心里的感激，就像影片中从开始一直寻找E.T的腰间挂着铁链的家伙说的，感谢让Elliot先遇到了E.T，要不然这可能就是悲剧的电影。

经典的镜头当数海报中的那一段了，人类梦想已久的超越自身和自然的飞翔，在这里变成了现实，当Elliot和E.T一起划过月亮的时候，我们心中童话被无限的复活了，谁都想成为穿越天地的那个人，梦想随着这一幅画面一起飞了起来。这就是电影的力量，可以实现梦想的方式。Elliot的一家和E.T建立的真情是电影的主旨，通过食物、玩具让E.T变的更生动，从开始的糖豆到后来的自己去冰箱找吃的，喝的东倒西歪，我们在会心一笑的同时，更加体会到了自由和关怀的氛围。怕被妈妈发现而躲在一堆玩具中的E.T，是那么的可爱和逼真，我真的被感动了，我们不缺少想像但却缺少由外界带来的温暖。小巴里.摩尔在其中的作用很重要，总是扯着嗓门大叫的她，其实是个古灵精怪的小家伙，电视里的文字游戏她对答如流，不厌其烦的跟E.T罗嗦，结果就是让E.T学会了说话，这就更拉近了人类和E.T之间的关系，不再是许多电影里那些长相丑陋又具有超能力只会滥杀无辜或干脆就是机械杀手模样并且始终说着莫名其妙的外星语言的可恶家伙了。所有这些，大概就是《E.T》24年来一直被奉为经典的缘故了。

这个曾经被评为最感人电影的童话故事，让我们领略到了真实可以触摸的多彩画面。喜欢E.T、喜欢斯皮尔伯格、喜欢巴里.摩尔、喜欢那些给了我们童话的人，让我们在需要童话的时候不至于没有所想。

像童话一样的电影。画面精致美好得让人甚至发不出一丝惊叹。爱略亚骑着单车，载着E.T.飞翔在满天的繁星中，孩子惊异的表情，E.T.嘴角的弧度，夜幕里大片大片碧绿的树林，银色的月光。如天堂一般华丽，像是一种飞扬的银白色，充盈了每个人的眼睛，像是一个童话故事里无穷无尽的梦幻，我们伸出手来想要触及这种令人惊叹的无法自拔的沉沦，永远永远地期盼这场梦境将长长久久。像是微笑着遇见了童话。童话里写满了偶然、飞翔、相信、理解、珍惜、简单、干净，和一种，纯粹的爱。只有童话才会这样美好吧。美好得，让我们不忍心去怀疑它的真实，不忍心去寻找幸福的来路和渐行渐远的临界点。像是一种梦魇。一种永远永远不愿清醒的梦魇，和一场永不永不到来的必然一生的离散。

You could be happy here,I can take good care of you.I would’t let anybody hurt you.We could grow up together,ET!Please,stay…

经典的《E.T》，真实的感动。

材料成型及控制工程

1001班

201002131016 董洋

第二篇：电影剧本外星人 E.T. the Extra-Terrestrial

------------------Www.K555.Cn 光影时代 -专业英文剧本下载-影评基地 收集制作 转载请注明出处，谢谢！ ------------------"E.T."Commentary by Richard MichaelsTITLES: "E.T. - THE EXTRA-TERRESTIAL"--------------------------------------------------------------------------------[The letters are in soft-purple against a black background. Purple istraditionally the color of that which is sacred.]EXT: NIGHT SKY: NIGHTThe black screen becomes a night sky. The camera angles lowers to show aforest against the night sky.EXT: LANDING SITE: NIGHTIn an opening in the forest stands a spacecraft. The view of the craft isobscured by tree branches. The atmosphere is misty, with blue lights comingfrom the spacecraft.[The opening scene is misty and diffused. This forces the audience to payclose attention to the images on the screen. The characters are not clearlyseen. This engages the audience, as they attempt to see what the aliensreally look like.]One creature walks up the gang blank and into the ship.INSERT: ALIEN HANDA strange hand, with two long and slender fingers protruding, move aside abranch that obstructs the view.[This concentrates the audience's attention. The creature going into theship is being observed by another creature. Who are they? What's going on?This is another technique that forces the audience to focus on the action.]INT: SPACECRAFT'S GREENHOUSE: NIGHTThe inside of the ship appears to be a greenhouse. There are sounds ofwater dripping. Cone shaped objects (possibly alien plants) sit among earthplants. Vapors flow up from the plants.[These images all appear non-threatening. The aliens are inferred to becollecting vegetation, and are thereby inferred to be harmless.][Like many of Spielberg's other films, the opening sequences contain almostno dialogue. The story is told without verbal exposition. He forces theaudience to become engaged in the storytelling process by giving them justbits of information that they have to piece together into the story. Hedoesn't insult their intelligence.]EXT: SPACECRAFT: NIGHTA group of the aliens work in front of the spacecraft. Suddenly, they heara dog howl, and they all stop working. Red lights begin to glow in theirchests. It appears as if their hearts have lit up at the sign of danger, asthe red glow seeps through their translucent skin. After a moment the redlights dim and they return to their work.[This sets up the prop of the red-lights signifying danger. These smallcreatures are endearing and non-threatening. They are like children, whichis immediate grounds for audience empathy. The thought that they may be indanger from wild creatures in the forest, also creates empathy for them.]EXT: FOREST: NIGHTA small fern grows on the forest floor. An alien hand, with two fingersprotruding, reaches out for the fern. The alien groans.

A rabbit turns andlistens. The fingers dig up the plant as the rabbit watches. The alien thencarefully uproots the plant. A small wayward alien walks alone among thegigantic redwood trees. He's dwarfed by the huge trees.[The awesome towering trees psychologically creates audience empathy forthe creature. The audience identifies with him because they too feel smallwhen confronted by these trees.]EXT: HILLTOP: NIGHTThe creature stands alone on a hilltop as he stares down at the city lightsbelow. Suddenly he lets out a moan of fright. A truck, with headlightsglaring, pulls up next to him.[The quiet, peaceful alien is now in jeopardy.]The creature runs from the lights. Several other trucks with head- lightsglaring drive up. Smoke flows from their exhaust pipes. Men's legs are seenas they walk among the trucks. They step into a mud puddle as E.T. watchesfrom behind a shrub. A man with keys jangling from his waist walks past aheadlight. He carries a flashlight in his hands.[Keys have now become a prop which identifies the antagonist of the story:the faceless government agent. Like the antagonist of many other fantasyfilms, his face is not initially revealed in order to hold the audiencesattention.]The man with keys walks to a truck where he and two other men review a mapthat's placed on the hood of the truck. The man with keys holds theflashlight up and points it at the hood. E.T watches them from the bushes.[The fact that E.T. is observing the actions of the men also creates apsychological bond between the audience and him, since they are alsoobserving these characters.][While the audience doesn't actually see a map, they presume its existencegiven the actions of the characters. This style of story telling engagesthe audience, and gets them guessing about the characters' actions. Theythen create expectations, which are later often proved to be wrong. Thismakes the story both unpredictable and exciting.]EXT: SPACESHIP: NIGHTAn alien stands in front of a round light and transmits a homing signal,presumably to call the other aliens back to the ship.[These characters are all in jeopardy.]EXT: FOREST: NIGHTWhen E.T hears the sound, his red heart lights up. The homing signalreverberates in his chest.[This establishes that his heart is used as a communication device, i.e.,these aliens communicate with their hearts.]"Keys" hears this sound and quickly turns around. He points his flashlighttowards the sounds. The other men join him as they walk towards the sound.E.T. screams and runs away, which is indicated by the shaking bushes. Themen with flashlights chase after him.[So, like Dorothy in the WIZARD OF OZ, the opening scene has theprotagonist being pursued by an unknown antagonist.]EXT: SPACECRAFT: NIGHTThe lights dim on the footings of the spacecraft, presumably because thespacecraft is preparing to takeoff.[The protago

nist has the added jeopardy of being abandoned.]EXT: FOREST: NIGHTE.T. screams as he races for the spacecraft. The glow from his red-heartreflects off the bushes as he runs towards the white light of thespacecraft.[The audience still hasn't seen the face of the protagonist.]EXT: SPACECRAFT: NIGHTA lone alien stands before a large round white light, as he signals for theother aliens to return to the ship.EXT: FOREST: NIGHTMen with flashlights run through the forest, as they pursue the red glowinglight racing towards the spacecraft. One of the pursuers is the man wearingthe keys on his waist.EXT: SPACECRAFT: NIGHTThe grated gangplank lifts up, blocking the entrance to the ship. Behindthe grate stands the alien against the large round white light. The redlight of the aliens heart lights up as he stands behind the barrier.[This image exhibits an obstacle to E.T. returning to his ship.]EXT: FOREST: NIGHTThe men reach the edge of the clearing and stop as they watch thespacecraft lift off.One red lighted heart races along an old country fence towards thedeparting spacecraft. Men with flashlights are still in pursuit. They stopat a wooden gate as they watch the spacecraft fly away.E.T., with face obstructed by a branch, and with red-heart aglow, watchesthe spacecraft fly away into the night. He utters a sorrowful moan.[He has been abandoned in a hostile alien world. This situation isguaranteed to generate audience empathy.]The men with flashlights pointed up towards the sky watch the space- craftfly away. They hear E.T.'s groan, and in unison point their flashlights inhis direction.[Not only is the small childlike creature abandoned, but he is still injeopardy of being captured by those who pursue him.][This is the inciting event in E.T.'s story: his spacecraft has desertedhim.]EXT: HILLTOP: NIGHTBelow lies the city, lit up against the dark night sky. E.T slowly makeshis way down the slope.Men with flashlights follow. They reach the hilltop, search the underbrushfor the alien, then start down the slope after him.[This concludes the prelude to the story. Both the protagonist andantagonist have been introduced, and audience empathy has been establishedfor the protagonist. The protagonist's primary objective is to survive andfind a way home, while the antagonist's primary objective is to capture thealien.]EXT: SUBURBAN HOUSE: NIGHT[This is an establishing shot.]INT: ELLIOTT'S HOUSE: NIGHTA group of boys are sitting around a table playing a DUNGEONS AND DRAGONSgame. One boy is on the telephone ordering a pizza. They throw wads ofpaper at each other as they play.Elliott, the youngest boy, sits behind the counter. He's separated from theother boys. After a few moments he yells that he's ready to play the game.[The character's positions are structured to emphasize Elliott's separationfrom the others.

]One of the boys tells Elliott that he can't join when they are in themiddle of the game.[Audience empathy is generated for the young child who is being excludedfrom the game.]Elliott walks up to the table and yells at his brother, Mike. Michael saysthat Elliott has to ask Steve, who is the Game Master, and who has absolutepower.[The notion of "absolute power" is set up here, for a "payoff" later whenElliott uses it to keep Michael silent about E.T.][Elliott's objective here is to play the game, but also to be accepted bythe group and gain the respect of the older boys.]Steve tells Elliott that first he has to wait for the pizza, then when hebrings it back he can play. Steve gives him money for the pizza. Elliottpicks up his baseball and glove, then leaves the room.[The ball and glove are props that will be used in the story.][Elliott's sub-objective is to get the pizza. Once this is accomplished,he'll be able to play the game.]EXT: ELLIOTT'S HOUSE: NIGHTIt's a rainy, misty night. Elliott, with ball and glove in hand wait at thebottom of the driveway for the pizza. A car pulls up and parks in thedriveway. Elliott pays the driver, then takes the pizza box from him as thecar pulls out of the driveway.Elliott walks up the driveway and into the garage. He hears a noise in thebackyard, then calls out the name "HARVEY," presumably his dogs name.INT: ELLIOTT'S HOUSE: NIGHTElliott's mother wears an orange outfit as she works in the kitchen. Shebends over to put dishes into the dishwasher. When she does this one of theyoung boys reaches out to put his finger on her rear. Mike yells for him tostop. He pulls his finger away.INT: PATIO: NIGHTElliot walks past the ping pong table when he hears more noises in thebackyard. Again he calls out the name "Harvey."[This generates tension and suspense in the audience.]With the pizza box in hand, Elliot walks past the patio table and towardsthe shed in the backyard. A bright crescent moon hangs in the night sky.[This adds enchantment to the scene.]There is a mist in the air, and a bright light shines in the shed. Elliottplaces the pizza box on the ground as he approaches the shed. He's stillcarrying the baseball and glove as he stands in front of the shed'sentrance. He tosses the ball into the shed. After a few seconds the ball istossed back out at him and hits him on the foot.[This is the payoff to the setup of the baseball prop. This event surprisesboth Elliott and the audience.]Elliott becomes frightened, turns and steps on the pizza box as he runstowards the house.[This is the inciting event in Elliott's story: there is some creaturehiding out in his shed that will change his whole life.]INT: ELLIOTT'S HOUSE: NIGHTElliott's mother is talking to the boys when Elliott runs into the housescreaming that there's something in the tool shed. He tells them that itthrew a bal

l at him, but they continue to ignore him until he screams"QUIET!" "Nobody go out there," says Elliott. The boys immediately jump upfrom the table. Two boys grab kitchen knives as Michael tells his mother tostay inside. He and his friends will check it out. She yells at them to putthe knives back as she follows them outside.EXT: SHED: NIGHTThe light is still on in the shed.EXT: PATIO: NIGHTElliott's mother walks into the yard with a flashlight in her hand. She issurrounded by the boys as they approach the shed. The mother says thatthere's nothing in there as Michael walks through the entrance. Michaelbends down and finds tracks on the dirt floor. "The coyote's come backagain, Ma." he says. His mother becomes frightened and orders them all backinto the house.[Jeopardy is introduced into the situation. Even though the audience knowsthat it is probably the alien in the shed, the scene increases thetension.]On his way back to the house, Michael sees the pizza box. He bends down,opens the box, then takes out a piece. He's angry at Elliott. Elliott triesto explain that it was just an accident, but his brother is still angry.When the mother asks who ordered the pizza, Elliott points to one of Mike'sfriends. This makes the friend mad at Elliott. Elliot tries to persuade hismother that there is a creature in the shed, but she doesn't believe him.They walk into the house.[Empathy is generated for Elliott because the two boys are unfairly angryat him and his mother doesn't believe him.]INT: SHED: NIGHTThe alien's fingers point out into the shed entrance, then wrap around theside of the door. The sound of his heavy breathing is heard.[This establishes for the audience that he really is in the shed. They feelsorry for Elliott because he was telling the truth and no one believedhim.]INT: ELLIOTT'S BEDROOM: NIGHTThe clock on the end table indicates 2:00. Next to the clock is a pictureof a dog, presumably Harvey. This same dog lies asleep in the bed. He hearsa noise and picks up his head. He is in the lower half of a bunk bed. Onthe top bunk sits Elliott. He is awake as he listens to the noise outside.[Elliott's objective is to prove there's a creature in the shed.]EXT: BACKYARD: NIGHTElliott opens a gate and walks into the backyard. He carries a flashlightin his hand and shines it into the cornfield next to his house. He walksinto the field.EXT: CORNFIELD: NIGHTElliott walks into the cornfield. He whistles, and gets entangled in thecornstalks as he walks. He sees tracks in the dirt with his baseballnearby. He continues to walk through the field.[The stalks are obstacles that obstruct both his path and his vision. Italso clutters the visuals and forces the audience to pay closer attention.The suspense increases because they aren't sure whether he'll meet up withthe alien or the coyote.]Elliott pushes aside some stalks and shin

es the light into the face of E.T.Together, in unison, the scream. Elliot drops his light, then continues toscream as he looks around the field. E.T. cries out and runs away throughthe cornfield.[Their reactions upon seeing each other were identical. This is the firstinstance of a series of situations which will "merge" their characters tosuch an extent that whatever empathy the audience has for one they willalso have for the other.]EXT: BACKYARD: NIGHTElliott runs into his backyard. His play swings sway back and forth in theair, as if someone had just bumped into them. Two garbage pails fall overnear an open metal gate at the top of a stone stairway. The garbage rollsout of the cans and down the stone stairs. A red light by the gate lightsthe stone stairway.[The audience psychologically associates this red light with E.T.'s redlighted heart, and makes the inference that he had run up the staircase andout the gate.]Elliott has an expression of wonderment and gratification on his face as helooks up the staircase, for he has just established the existence of thecreature in the shed.]EXT: GARAGE: DAYElliott rides down the driveway on his bicycle. He next rides down a dirtroad that overlooks the suburban community.[Elliott's new objective is to locate the creature.]EXT: FOREST ROAD: DAYElliott holds a bag of candy in one hand as he pours some into the otherhand. He tosses candy onto the round as he walks through the woods callingout for the creature.In another part of the woods Elliott lays his bike down, then continues totoss candy and yell out "hello!" He sees a man on the road below andquickly hides behind a tree.["Keys," the faceless antagonist, is still pursuing the alien.]Elliott runs back to his bike, then rides down the forest road past a wirefence. The alien's fingers side down the side to the tree. He was watchingElliott.[Elliott is in jeopardy both from the faceless man and the faceless alien.]INT: ELLIOTT'S HOUSE: DAYElliott's mother sits at the tale with the dog, Harvey, at her side.Elliott, Michael and Gertie are eating supper.[This is a home without a father, which creates more empathy for theprotagonist.]Gertie asks Elliott what he's going as for Halloween. He's depressed, andreplies that he's not going. Mike mocks him by suggesting that he go as agoblin. Elliott snaps back, telling Mike to shut up. The mother tries toexplain that it's not that they don't believe him, but Elliott cries outthat the creature was real.[The audience also knows that the creature is real. This generates moreempathy for the protagonist, because he is mocked and not believed when heis expressing the truth.]Mike offers other suggestions: perhaps it was an iguana, a deformed child,or maybe an Elf or a Leprechaun. Elliott gets angry and shouts "It wasnothing like that, penis breath." Mary, his mother shouts at him to sit

down. Elliott responds with "Dad would believe me." Mary replies "Maybe youought to call your father and tell him about it." "I can't. He's in Mexicowith Sally" says Elliott. Both Mary and Mike are upset, while Gertie asks"Where's Mexico?" Mary excuses herself and leaves the table. She walks tothe window as Mike tells Elliott that he's going to kill him. "If you eversee it again, don't touch it. Just call me and we'll have someone come andtake it away," says Mary. "Like the dog catcher?" says Gertie. "But they'llgive it a lobotomy, or do experiments on it or something," says Elliott.[This sets up the audience's expectations about the harm that will befallthe alien when he is captured.]After a bit of dialogue concerning who should be doing the dishes, Maryleaves the room saying "He hates Mexico."[This scene explores the emotional relationships between the family membersin greater detail. Empathy is also generated for Mary who was abandoned byher husband. She is left with the responsibility of raising the childrenwhile he's traveling with his new girlfriend to Mexico, a country which hehates.]Elliott takes some dishes to the sink, turns on the faucet and gazes outthe kitchen window as water steams up from the sink.EXT: BACKYARD: NIGHTA crescent moon floats in the sky. A bright light is on in the shed. Infront of the shed Elliott lies inside a sleeping bag on a folding chairwith a flashlight in his hand. He hears the sound of feet walking in theunderbrush.Elliott sits up to see the alien standing in front of the shed. The aliengroans as Elliott freezes from fear in his chair. He tries to call out forhis mother, but can't get the words out of his mouth. He next tries to callMike, but fear makes him choke on his words.The alien approaches Elliott. The bright light from the shed makes itimpossible to see his face: only the outline of his form is visible. Thealien walks right up to the edge of the lawn chair.[The scene is filled with suspense because Elliott may be in jeopardy fromthe creature.]The alien slowly moves its hand over the chair, then drops candies onto theblanket. Elliott relaxes.[This non-verbal gesture by E.T. demonstrates that he is harmless. Thetension in the scene is thereby released. Elliott has achieved hisobjective: he established contact with the alien.]INT: ELLIOTT'S HOUSE: NIGHTElliott places candy on the carpet, then walks backwards down the hallwaytowards his room. E.T. walks up the stairs and reaches out for the candy,which he then takes into his hand and eats.[Elliott's new objective is to get the alien into his room. His mainobstacles are to somehow persuade the alien to come into the house, whilenot waking his family.][This scene also is a good example of how to structure a scene's beginning.In real life, the scene would have started in the backyard, tracked throughthe kitchen, the living room and then

up the stairs. But since all of thatinformation would have been redundant, picking the action up from the topof the stairs was sufficient.]INT: ELLIOTT'S ROOM: NIGHTElliott places candy on the floor by the entrance to his room. A sign onhis door contains the word "ENTER." E.T picks up the candy.Elliott has run out of candy. He goes to his desk in search for more. Heopens some drawers, but doesn't find any. When he returns to the doorway,E.T. has already entered the room. E.T. pulls a box down from the table,then knocks a can filled with pens onto the floor. This makes a loud noise,and forces Elliott to quickly close the door to his room.[The audience still does not have a clear view of E.T.'s face nor body.This holds their attention during the scene. They are waiting for thatwonderful moment.]Elliott throws a blanket over E.T. as they stare at each other. E.T. isfinally revealed to the audience.Elliott moves his hand in front of his face, a gesture indicatingbewilderment. E.T. mimics this action.[This is the beginning of their efforts to communicate, but also the startof the audience emotionally identifying the two characters as one object ofempathy.]Elliott places his fingers to his lips to see if E.T. will respond in thesame manner, which he does. Elliott then places one finger to his ear,which E.T. also mimics. Elliott smiles, then holds his left hand up withall five fingers spread apart. E.T. raises his left hand with three fingersspread apart. Elliott closes his fingers until there is only one remainingup. E.T. does the same. They both wiggle this one finger. A poster on thewall between Elliott and E.T. has the word "SUPERSTAR" printed on it.[These actions help the audience to conceive of these two characters as"mirror images" of one another, worthy of equal empathy. It also bonds theyoung children in the audience to them, because the characters are speakingin a language they too can understand. All the children in the audiencehave just been through the experience of learning a language. They caneasily identify with the problems that that two characters in the story arehaving in communicating with each other. This forges a bond between thechildren and both Elliott and E.T. This also forms the basis for the repeatviewing of this film which was essential for its phenomenal box-officesuccess.]Suddenly, Elliott becomes tired and yawns, then sways as if in a trance. Heslowly walks backwards and sits down in a chair. Elliott seems asleep asthe camera moves up for a closeup of Elliott's face.[Presumably, E.T. has used his telepathic powers to place Elliott into atrance in order to merge their minds and feelings.][This is the end of the first act. Elliott has succeeded in gainingpossession of the dramatic objective E.T.), and has him in his room. ButE.T. has also taken possession of Elliott by merging their feelings, sothat they both

become one protagonist. The second act will end when theyare both captured by the antagonist.]EXT: FOREST: DAYMist envelops the fence and gate in the section of the forest where E.Toriginally landed. Men with flashlights and floodlights search throughoutthe area. "Keys" walks into the forefront, holding a flashlight in hishand. He bends to the ground and finds some candy.[The objective of the faceless antagonist is to capture the alien. Thecandy is a prop that will lead them to Elliott's house just as Elliott usedthem to lead E.T. into his room. This scene shows that the protagonist isin jeopardy, because he is still being pursued.]INT: ELLIOTT'S ROOM: DAYElliott lies in bed with a thermometer in his mouth. His head rests on anorange pillow (same color as his mother's dress in the first scene) whilehis mother sits besides him. She takes out the thermometer, reads it, thensays "Okay, you're hot." She then leaves the room. Elliott quickly swings alamp back over his head and heats the thermometer. He also places a blueheating pad over his face, to heat himself. He then places the thermometerback into his mouth, swings the lamp away, and places the heating pad underthe covers as his mother enters the room. She opens his closet andseparates the hanging clothes as she walks into the closet. Elliott sits upin bed and intensely watches her.[Elliott's objective is to stay home from school in order to be with E.T.His obstacle is his mother, who wants him to go to school. To overcome thisobstacle he must persuade her that he's sick. A crisis occurs when sheenters the closet in which E.T. is hiding. This creates jeopardy for theprotagonist.]EXT: DRIVEWAY: DAYMike backs the car down the driveway.INTERCUT: ELLIOTT'S ROOMMary walks out of the closet carrying a blue sleeping bag. Elliott istense, then relieved, once he realizes that she didn't find E.T. He fallsback into bed.INTERCUT: DRIVEWAYMike backs the car over part of the lawn.[This scene functions not only as comic relief, but also as a set up forthe scene here Mike has to drive the van during E.T.'s escape sequence.This demonstrates both his incompetence, and that he is only allowed todrive the car backwards down the driveway.]INTERCUT: ELLIOTT'S ROOMMary covers Elliott with the blue sleeping bag as Elliott puts thethermometer back into his mouth (first backwards, then he corrects it).[Humor is generated because the audience knows that he is fooling hismother.]INTERCUT: DRIVEWAYMike continues to back the car down the driveway. He overshoots the edgeand goes out into the street. He then pulls forward across the sidewalk.INTERCUT: ELLIOTT'S ROOM"You were outside waiting for that thing?" says Mary. Elliott nods.[Elliott is covered in blue-white colors, which traditionally signifyinnocence, and which generates audience empathy for him.]She tells him not to watch TV

, kisses him, then leaves the room. Elliottquickly closes the blinds.EXT: DRIVEWAY: DAYMary runs down the driveway towards the car. Gertie points out the patchesof lawn that Mike pulled onto the driveway as he was driving the car. Marypulls her into the car.INT: ELLIOTT'S ROOM: DAYElliott gestures for E.T. to walk out of the closet, which he does. He iswearing Elliott's robe. Elliott asks him if he talks.[Elliott's objective is to communicate with E.T., his obstacle is that E.T.does not speak the English language.]"Me Human. Boy. Elliott, Elliott, Elliott" says Elliott.E.T. turns away and walks towards the work table. Elliott picks up objects,such as a can of coke and toy soldiers, from the table then names them forE.T. Elliott points to the fish and explains how the fish eat the fishfood. He places a wooden toy shark into the fishbowl, then states that theshark eats the fish but nobody eats the shark.[In his effort to communicate with E.T., Elliott tries to teach him thelanguage by showing him objects that are used in everyday life. Thisprocess is similar to that experienced by the children and parents in theaudience everyday as they also learn and attempt to communicate with eachother. This type of scene solidifies the audience's emotional bonding withElliott and E.T.]E.T. takes a toy car into his mouth on chews on it.[Like many a child would.]Elliott takes this to mean that E.T. is hungry. Elliott tells E.T. to staywhere he is.[Elliott's new objective is to get food for E.T. and himself.]Elliott opens the door and Harvey tries to run into the room. E.T. groanswith fear and backs into a corner as Elliott pulls Harvey out of the room.[This introduces jeopardy into the scene, for Harvey could harm E.T.]INT: KITCHEN: DAYElliott, dressed only in white underwear, opens the refrigerator door andtakes out some food.INTERCUT: ELLIOTT'S ROOME.T. walks around the room.INTERCUT: KITCHENElliott opens up a jar of peanut butter.INTERCUT: ELLIOTT'S ROOME.T. touches a tennis racket.INTERCUT: KITCHENElliott picks up cheese and tomatoes.INTERCUT: ELLIOTT'S ROOME.T. picks up an umbrella.INTERCUT: KITCHENElliott takes a carton of milk out of the refrigerator.INTERCUT: ELLIOTT'S ROOME.T. accidentally opens up the umbrella.INTERCUT: KITCHENElliott screams with fright and drops the milk carton onto the floor.INTERCUT: ELLIOTT'S ROOME.T. screams with fright, drops the umbrella, then runs into the closet.[This further establishes the merging of E.T. and Elliott into one being.Elliott shares E.T.'s feelings and simultaneously experiences what heexperiences. The audience also experiences this surprise with them, whichfurther tightens the bonds.]Milk flows from the open carton onto the floor, as Elliott leans into theopen refrigerator. He clutches his chest and looks up towards the ceiling

as he ponders his experience.INT: ELLIOTT'S ROOM: DAYElliott carries a plate of food into the room. He walks past the openumbrella and looks into the closet. Stuffed animals line the back of thecloset wall. E.T. pushes the animals forward. He was hiding behind them. Heis still shaking from the fright experience. "Are you okay? Too muchexcitement, huh? You want a coke?"[This is the resolution of the last scene sequence. We see both characters'reactions to the events that have occurred.]EXT: DRIVEWAY: DAYMichael runs up the driveway towards his house. He's wearing a red footballblazer.INT: ELLIOTT'S HOUSE: DAYMichael opens the front door and runs into the house. He takes off his redshirt to reveal the blue shirt he's wearing underneath. He picks up amagazine then opens the refrigerator. "Nothing but health shit," he says,as he takes out a can and shakes it.[The audience tenses up because jeopardy has just been introduced into thestory. They wonder what will happen when Mike discovers E.T. in Elliott'sbedroom.]INT: ELLIOTT'S ROOM: DAYElliott walks away from his closet and opens the door to his room. He tellsMike to come in. Both boys are dressed in blue and white colors. Mike callsElliott a faker, then starts to tell him about scores on an asteroid game,when Elliott interrupts, to tell him about the goblin. Michael makes fun ofElliott and his belief that the goblin has returned. But Elliott persists,and makes Mike promise to give Elliott "absolute power."[This is the payoff to the "absolute power" concept as set up during theDUNGEON AND DRAGONS scene.][Elliott's objective is to vindicate himself to his brother and sister byproving that "the Goblin-E.T." really does exist.]Ellott makes Mike close his eyes, then he retrieves E.T. from the closetand leads him to the center of the room. Mike has a silly grin on his faceas he opens his eyes and turns around to look at E.T. A sickening look ofterror comes over his face.Suddenly Gertie opens the door and walks into the room with her doll underher arm, saying "Elliott, look what I made for you." E.T. sees her thenstretches his neck to raise his head high. Gertie walks right up to him andscreams. E.T. screams back at her. Elliott screams for both of them tostop. Mike falls back against the wall and knocks down the bookcase. Theyall scream together. Elliott grabs Gertie's mouth and pushes her back toMike."Kids, I'm home," shouts Mary from downstairs.[Jeopardy! The mother, an adult, is about to discover E.T. Even though theyare terrified, the children all band together against the threat. They'drather sit in the closet with the "monster" than have their mother discoverhim.]Mike quickly shuts the door, then they all run to the closet. Gertiescreams again. Mike grabs her by the mouth and pulls her away as E.T. runsacross the room with his arms raised. Elliott shuts the closet door

just ashis mother walks into his room. Mary notices the fallen bookcase. She looksaround and then comments, "This is no room, this is an accident." Elliottries to cover by saying he was "reorganizing."INT: CLOSET: DAYE.T.'s head appears among the stuffed animals. Mike has his hand overGertie's mouth as she tries to scream. Mary walks past the closet door.[This creates suspense in the audience: will E.T. be discovered by Mary?]Mary asks Elliot to keep an eye on Gertie while she takes a shower. Shekisses him on the head then leaves the room. Elliott opens the closet door.Michael, in awe with mouth open wide, watches as Elliott approaches E.T."Elliott," whispers Mike. "I'm keeping him," says Elliott.E.T. sits behind the stuffed animals as if he was one of them.[The use of stuffed animals as props around E.T helps to transfer positivefeelings that the audience has for them to E.T.]Gertie asks what it is as she and Michael approach E.T. Elliott tells herthat it won't hurt her. When asked if it's a boy or girl, Elliott repliesthat it's a boy. He then tells her that she can't tell Mom about thecreature. When asked why not, he explains that "grownups can't see him.Only little kids can see him." Gertie snaps back, "Give me a break."[The charm in Gertie's character lies in the contradictory attributes ofbeing a sophisticated child. Humor is generated by this incongruity.]Elliott then goes into his Dracula voice: "Then do you know what willhappen if you do tell?" He grabs Gertie's doll, tosses it to Mike and tellshim to "Do it!." Mike "tortures" the doll by twisting its arm. Gertie criesas she runs to it. E.T. watches the scene with wonderment in his eyes.Gertie finally promises not to tell about E.T. They all watch him as hestretches his neck and lifts up his head.EXT: COMMUNITY: DAYOn the hilltop overlooking the neighborhood stands a man with a camera ashe takes photos of the houses below. The man with keys on his waist walksinto the area, as other men comb the ground with electronic equipment.[Jeopardy is introduced in the scene in order to maintain tension in theaudience. The antagonist is getting closer to the home of the protagonist.]EXT: ELLIOTT`S HOUSE: NIGHT[This is an establishing shot.]INT: ELLIOTT`S HOUSE: NIGHTMary, carrying a yellow watering pail, walks across the room and waters alarge plant. Gertie pulls a little red wagon into the hallway. When askedby Mary what she's doing, Gertie replies that she's going to play inElliott's room. "Okay, don't let them torture you," says the mother. "Iwon't, Mary," replies Gertie.[This generates humor because the child deals with the mother as if theyare equals.]Gertie picks up a pot containing a sickly geranium plant and places it intothe wagon. The phone rings and Mary answers it off screen.[The plant becomes an important prop because in the story it will representthe hea

lth and well-being of E.T.]INT: ELLIOTT'S ROOM: NIGHTGertie knocks on the door. Mike lets her and Harvey into the room. Theywalk to the table where E.T. and Elliott are sitting. Gertie puts thesickly plant n the table. E.T. puts his finger into the plant. Elliottopens up an encyclopedia and points to California on a map of the UnitedStates. "We are here," Elliott says as E.T. munches on celery. Michaelhands Elliott a globe and tells him to use this instead of the map. Elliottpoints to the globe, then asks E.T. where he's from. E.T. points out thewindow.[Elliott's objective is to discover more about the alien.]Elliott opens the book to a page that has the map of a galaxy. He points tothe planet earth, touches the globe, then says "HOME, HOME." E.T. makes asoft noise that sounds similar to the word "home." Gertie watches him as hepicks up round objects and places them on the map: three small pieces offruit and two eggs. E.T.'s eyes concentrate on the table, which then startsto shake. The two eggs and three small pieces of fruit then lift off thetable and float in the air. The children watch with awe.[This introduction of "magical" powers that E.T. possesses was unexpectedand thereby helps to make the story unpredictable.]Elliott screams with fright and the floating objects drop to the floor. Hewalks to a lamp and stares into it. Mike asks what is wrong. "I don't know.Something scary," says Elliott as E.T. places his finger on Elliott'sshoulder.[Jeopardy is introduced into the scene with this comment. Yet it is notE.T. who is to be feared, as indicated by his comforting gesture of placinghis finger on Elliott's shoulder.]EXT: BACKYARD: NIGHTElliott runs by the shed, past a swaying swing, up the stairs to the redlamppost and to the wire gate. He strains to hear the sounds of mentalking.[The antagonist is getting closer to the home of the protagonist.]INT: ELLIOTT'S ROOM: NIGHTE.T. sits next to a lamp as he reads a child's ABC book. He sits next to aRaggedy Ann doll.][Another image of E.T. learning the language which helps to forge a bondbetween him and children in the audience. Good feelings for the doll arealso transferred to the alien.]On the floor next to E.T. is the pot containing the sickly flowers. Helooks at the flowers, makes a moaning sound, and suddenly they becomehealthy and transform into full bloom.[This establishes the magical healing powers of E.T.]EXT: ELLIOTT'S HOUSE: DAYElliott and Mike walk down the driveway. They are on their way to school.They discuss E.T., arguing about how smart he is.[This is just a transition scene.]EXT: STREET: DAYMike and Elliot walk towards a bus stop where a group of children arewaiting. Mike's friends torment Elliott about his "goblin."[This generates more audience empathy for Elliott, who is unfairly mockedby the ignorant boys. Elliott still has not earned the res

pect of Mike'sfriends, which is one of his dreams.]They finally get on the bus as Elliott walks away, followed by a prettyblonde girl who seems to have a crush on him. Michael appears worried as hesits on the bus among the other children who are throw- ing objects at eachother.INT: ELLIOTT'S HOUSE: DAYGertie stands on the stairway looking up, presumably thinking about E.T. inElliott's room. Mary comes running downstairs and tells Gertie that theyhave to get into the car, otherwise they'll be late. Suddenly, Mary hears anoise upstairs. She goes up to see what caused the sound.[Jeopardy: E.T. is in danger of being discovered by an adult. Theaudience's expectations were shaped in the earlier dinner scene, where Marytold the children she would call to have the creature taken away if he camearound the house again. This is what the audience expects her to do if shefinds E.T.]INT: ELLIOTT'S BEDROOM: DAYMary walks into the closet and looks around. The camera pans across thelarge faces of all the stuffed dolls: Raggedy Ann, a Bear, a Monkey, E.T.'sFace, a Lion, etc. Mary doesn't notice E.T., then closes the closet doorand leaves.[Humor is generated because of the incongruity of a living creature amongthe dolls, and the inability of Mary to distinguish between them. Thelaughter releases the tension that was created in the previous scene. Thisalso reinforces the audience's emotional ties to E.T., since he is so"doll-like."]INT: SCHOOL: DAYA teacher walks down the aisle and announces to the class that today theywill perform the frog dissection for which they have been preparing. As hepasses Elliott's desk, he starts to say "frogs similar to," then he noticesthe drawing of E.T. The teacher picks it up. Elliott turns to see thepretty blonde girl staring at him. Realizing she's been caught, she quicklyturns and looks away.[This attraction to Elliott is set up in order to payoff before the end ofthe school sequence.]INT: ELLIOTT'S ROOM: DAYE.T. opens the door to Elliott's room and walks out into the hallway.Harvey sees and quickly approaches.[Jeopardy: will the dog attack E.T.? At there last encounter E.T. wasfrightened by Harvey.]INTERCUT: CLASSROOMThe teacher continues his instructions, telling the students that thescalpel is very sharp, and that they should use discretion when cutting.There should be very little blood, and maybe a little body fluids.[This exposition of the plans sets up the audience's expectations, whichlater will not be fulfilled. This is a standard structure used to generatedexcitement and unpredictability in a story.]INT: KITCHEN: DAYE.T., wearing a blue-flannel shirt, walks into the kitchen with Harvey athis side. He opens the refrigerator. Harvey licks his lips as he watches inanticipation of getting something to eat. E.T. takes out a plasticcontainer of potato salad, opens it, then sticks his tongue i

nto the salad.He hates the taste and throws it onto the floor. Harvey licks it up. E.T.then picks up a can of beer and drinks it as Harvey barks.INTERCUT: SCHOOLElliott sits at his desk as he listens to the teacher speak. Elliott burps.All the children in the classroom stare at him.[This again shows the merging of Elliott and E.T.]INTERCUT: KITCHENE.T., drunk, wobbles across the kitchen floor and walks into a counter.INTERCUT: SCHOOLElliott places his fingers to his head. He is also becoming drunk. Theteacher tells the class that in this bisection they should locate the heartand notice that it is still beating.[The red-lit heart is the most prominent feature of E.T. Having the teacherfocus on the frog's heart starts the identification in the audience's mindof the frogs and E.T.]INTERCUT: KITCHENE.T. turns and walks into another wall as Harvey continues to eat thepotato salad on the floor.INTERCUT: SCHOOLElliott, now drunk, slides down in his chair.INTERCUT: KITCHENE.T. turns, walks, then collapses head first onto the floor.INTERCUT: SCHOOLElliott slides under his desk and falls onto the floor. The teacher doesn'thear this because at that moment he pulls down a wall hanging whichcontains pictures of a frog's anatomy.INTERCUT: KITCHENE.T. opens another can of beer.INTERCUT: SCHOOLElliott pulls himself up off the floor with a drunken smile on his face.INTERCUT: KITCHENE.T. gulps down another can of beer.INTERCUT: SCHOOLElliott, drunk, sits at his desk. He turns and smiles at the pretty blondegirl across the aisle. She turns away from him with disgust.INTERCUT: LIVING ROOME.T. plays on the keys of a voice generating language game. He next pressesa button on a remote control which activates the TV set. A cartoon appearswith a cat getting its tail caught on fire. The cat screams and E.T reactswith horror. He throws the beer can at the TV set.[Laughter is generated, for while this under normal circumstances would beinappropriate behavior, he makes sense given E.T.'s point of view.]He then presses another button on the remote, and the image of a flyingplane appears on the screen. A spaceship next appears, and pulls the planeup towards it.INTERCUT: SCHOOLThe teacher carries a jar of cotton balls soaked in chloroform, which hedrops into the jars containing frogs. He tells the children to immediatelyput the lids on the jars. After telling the children that this won't hurtthe frogs, he places a cotton ball into the last two jars, one of whichbelongs to Elliott. Elliott doesn't place the cover on his jar, but insteadsadly watches as the frog tries to escape. Slowly he places to lid on it,as he gazes at the frog."Say hi. Can you talk? Can you talk? Can you say hi?" says Elliott.[Elliott is making an emotional identification of the frog with E.T. byattempting the same process of communica

tion. The situation also createsexpectations in the audience that similar things will happen to E.T. oncehe is captured.]CLOSEUP: FROG'S FACECLOSEUP: E.T.'S FACE[A cinematic technique which reinforces the identification of the frog withE.T. This sets up the audience for E.T.'s operation. They expect the frogto die, and they project these expectations to E.T. later in the story.]INTERCUT: LIVING ROOME.T. has a hangover as he hiccups and puts his hand on his head. He thenpicks up the cartoon section of a newspaper. One cartoon strip has apicture of a communication device with a caption stating "HELP, HELP."On the TV monitor a woman is talking long distance n her telephone to herUncle Ralph in California. E.T. hears the sounds coming from the TV, thenturns to look at the monitor, where he sees a man talking into a phone inhis hand. The camera pans to a phone near E.T. A child in the TV programpicks up the phone, says hello to his uncle, then hangs up.[This generates laughter because it's inappropriate behavior to just sayhello, then hang up.]E.T. looks closer at the Buck Rogers cartoon. One cell has an image of aman in a spacesuit setting up a transmitter. The next cell has him saying"It works" as the communication device transmits "help, help!" E.T. liftsup his head from the newspaper.INTERCUT: SCHOOL"Save him" shouts Elliott. Elliott picks up his jar, unscrews the top, thenlets out his frog, screaming "Run for your life. Back to the forest! Run!"[Another merging of E.T. and Elliott's feelings and thoughts. E.T.presumably had the feeling of wanting to be saved by his friends, and thisfeeling prompted Elliott to cry out.]He next opens the jar of the girl besides him. Elliott struggles with onestudent, then proceeds to turn over many of the other jars as he frees thefrogs. Some of the other children also free their frogs.INTERCUT: LIVINGROOME.T. studies the electronic circuitry of the language game. Suddenly JohnWayne comes on the screen. E.T. is fascinated with his image. It's a scenefrom the movie "QUIET MAN." Maureen O'Sullivan huddles in a corner of theroom.INTERCUT: SCHOOLA pile of frogs gather at the feet of a terrified little girl with blondebraids. Elliott, drunk, staggers by her.INTERCUT: LIVINGROOME.T. continues to watch the TV monitor as the woman in the movie screams.INTERCUT: SCHOOLA blonde girl who has a crush on Elliott screams when a frog is placed onher shoes.INTERCUT: LIVINGROOMThe woman in the movie runs out the door. John Wayne grabs hold of her arm.INTERCUT: SCHOOLElliott grabs hold of the blonde girl as she runs out the door.INTERCUT: LIVINGROOMJohn Wayne pulls the woman back.INTERCUT: SCHOOLElliott pulls the blonde girl back.INTERCUT: LIVINGROOMJohn Wayne takes the woman into his arms.INTERCUT: SCHOOLElliott takes the blonde girl into his arms.INTERCU

T: LIVINGROOMJohn Wayne kisses the woman.INTERCUT: SCHOOLElliott, too short to kiss her, stands on the back of a student who wascrawling on the floor after a frog. Elliott kisses the girl.INTERCUT: LIVINGROOME.T., filled with fascination, watches the TV monitor.INTERCUT: SCHOOLThe children's hands poke through the windows and free the frogs bythrowing them out onto the grass.[Elliott was able to accomplish his objective of freeing the frogs. Thissequence was structured to run in parallel in order to emphasize themerging of Elliott and E.T.]INT: LIVING ROOM: DAYA blanket containing aluminum foil, electrical toys and appliances ispulled across the floor.Mary opens the door and yells hello. Harvey runs tothe front door. E.T walks out from behind the TV and kicks beer cans acrossthe floor.[The alien quickly learns the appropriate behavior for drinking at home.]Mary, with her arms filled with grocery bags and clothes from the cleaners,walks into the kitchen. She is followed by Gertie, who sees E.T standingnear the refrigerator. Mary opens the refrigerator door, and knocks E.T. inthe head. He falls backwards onto the floor. Gertie helps E.T. up off thefloor. He walks past Mary as he goes back to the refrigerator. Mary stilldoesn't see him.[This increases the audience's tension. They are expecting E.T. to bediscovered by Mary, and they are expecting her to scream.]Gertie keeps telling her that she wants Mary to meet somebody, but Maryignores her as she talks about how much the price of food has gone up inone week. E.T. grabs a can of coffee from the kitchen table, then againwalks past Mary as she goes in the opposite direction. He goes back intothe TV room.[The laughter's produced by Mary's failure to see the reality of the alienwho's right under her nose.]Gertie is watching a language teaching program for children on the TV. Theprogram is teaching words that begin with the letter "B". The phone ringsas Mary accidentally kicks a can of beer across the floor. She answers thephone with the beer can in her hand. The person on the phone tells Marythat Elliott is intoxicated.Gertie, watching the TV monitor, responds to the program by practicing the"B" words. E.T. pokes his head up from behind the monitor and says"BBBBBBB." Gertie stares at him as he repeats the "B" sound, then lowershis head back down below the TV."You said 'B'," says Gertie. "B," repeats E.T. "You said 'B,' good," saysGertie. "B...GOOD," repeats E.T.[This is a set up for the closing communication between E.T. and Gertiebefore he flies away in the spacecraft. This is also the first moment thathe spoke an English word. Many children and parents in the audience canidentify with this moment, and the first moral precept usually taught to achild: be good.]Mary hangs up the phone and tells Gertie that she has to pick up Elliott.She asks Gertie to be a good g

irl. "Mommy, he can talk," says Gertie. "Ofcourse he can talk," says Mary, referring to the TV program.[The humor is generated from Mary's misunderstanding of Gertie'sstatement.]As Mary leaves, E.T. walks out from behind the TV. He walks to a phone andstares. "Phone," says Mary. "Phone," says E.T. E.T. presses the numbers ofthe phone. "You want to call somebody?" asks Gertie.[This establishes E.T.'s objective: to communicate with his fellowcreatures so that he can return home.]INT: HOUSE: DAYElliott walks up the stairs to his room. Mary's voice can be heard frombelow saying she refuses to pay for frogs.[This is a fine example of the point of attack for a scene: Instead ofshowing what would happen in real life (Mary's discussions with the teacherabout Elliott's behavior in the classroom), the scene picks up with what isimportant for the audience: Elliott's discovery that E.T. can now talk. Ascene showing Mary in school would be redundant and dramaticallyirrelevant.]Elliott is walking towards his room when he hears Gertie talking to E.T. inher room. He drops his bags on the floor, and quickly enters her room."Be good, be good," says Gertie as she closes the doors to her closet.Elliott pushes Gertie away from the closet and opens it. Inside is E.T.dressed up in girl clothes with a blonde wig on his head. He has a rabbitfur around his neck and wears a black hat with flowers.[This is completely inappropriate attire for an alien, whether male orfemale. The visual incongruity of E.T. in girl's clothes generates thelaughter.]"Oh God!" says Elliott. "Elliott," says E.T. "What?" says Elliott, not yetrealizing that it was E.T. who spoke. "Elliott, Elliott," repeats E.T. "Itaught him how to talk. He can talk now," says Gertie.[Elliott, with the help of Gertie and the TV program, has completed one ofElliott's objectives: communicating with E.T.]Gertie points out the things that E.T. has brought upstairs: electricaltoys and the plant. She wonders what he needs this for. E.T. holds thecartoon page of the newspaper out to Elliott. "E.T., can you say that? Canyou say E.T.?" asks Elliott. "E.T.," repeats E.T. Elliott laughs with joy.E.T keeps repeating his name as he turns and walks through the closet intoElliott's room."E.T., be good," says E.T. "Be good," I taught him that too," says Gertie.["Be good" is a fundamental value taught children, as basic as theprinciple "There's no place like home," taught in the WIZARD OF OZ.]"You should give him his dignity. This is the most ridiculous thing I'veever seen," says Elliott.E.T. hands Elliott the newspaper, and points to the Buck Rodgers comicstrip. He then says "PHONE". Elliott is amazed at this. E.T. walks into thecloset and says "HOME." Elliott confirms that this is E.T.'s home. E.T.then turns, walks to the window, points to the sky, and says "E.T. HOMEPHONE.""E.T. PHONE HOME" says Gertie

. "E.T. PHONE HOME" says Elliott."He wants to call somebody," says Gertie.[This reconfirms E.T.'s objective.]Mike walks into the room and laughs at E.T.'s attire."E.T. Phone Home," says E.T."Oh my God, he's talking now," says Mike.E.T. once again points out the window and repeats that he wants to callhome."And they'll come?, says Elliott."Come?" responds E.T. "Home, home" he repeats.EXT: STREET: NIGHTA truck drives down the street. Inside a man with earphones listens to theconversations in the neighborhood homes, as he fine tunes his electroniceavesdropping equipment. He focuses in on Elliott's voice.[Jeopardy: the forces of the antagonist are getting closer and closer. Theyare now inside the privacy of the protagonist's home, listening to theirmost intimate conversations.]INT: GARAGE: NIGHTElliott, Mike and Harvey are in the garage searching for objects that E.T.could use in building his communications device. Elliott restates that hehas "absolute power" and that E.T. belongs to him.[Elliott's objective is to possess E.T., not set him free. Freeing the onehe loves is the lesson he will have to learn in this story.]EXT: STREET: NIGHTThe van containing electronic eavesdropping equipment drives past Elliott'shouse.[They are still in jeopardy: their actions and words are being monitored.]INT: GARAGE: DAYMike tells Elliott that E.T. doesn't look too good anymore."Don't say that, we're fine!" says Elliott."What's all this we stuff. You say we all the time now. Look Elliott,I think he might be getting sick," replies Michael.[This confirms Elliott's belief that he considers himself and E.T. to beone being. It also introduces further jeopardy for E.T. Besides beingtracked by the antagonist, he is also becoming sick.]INT: VAN: NIGHTThe man with the earphones is listening to Elliott and Michael'sconversation as they discuss E.T.'s sickness.INT: GARAGE: DAYMike tells Elliott to grab the fuzzbuster. Elliott pulls his father's blueshirt out from the shelf. They reminisce about the days when he used totake them to baseball games and the movies, where they would have baseballfights. Mike says that they'll do that again, but Elliott doesn't reallybelieve him. They each smell their father's shirt."Old Spice," says Mike."Sea Breeze," says Elliott.[Here a prop (their father's shirt) is used to reveal the emotionalrelationships between the two boys and their father. Audience empathy isgenerated for them because they have been abandoned by their father. Theaudience's anger is transferred from the father to the antagonist who iseavesdropping on this private intimate moment.]INT: VAN: NIGHTThe man in the van continues to listen to Elliott and Michael'sconversation. Only the listener's eye is clearly visible.[This is a cinematic technique to signify the "ever-watching eye" of thefaceless antagonist.]INT: GE

RTIE'S ROOM: NIGHTMary lies in bed next to Gertie as she reads her the Peter Pan story. Maryreads that Peter has defeated the Indians, but Wendy and the boys have beencaptured by the pirates. He vows to rescue her. E.T. watches them from thecloset.[Here the notion of "a rescue" is introduced, and visually associated withE.T. as he watches them from the closet. This is an emotional set up forthe audience, so that they will later be supportive of Elliott and theboy's efforts to rescue E.T.]Mary reads the section of the Peter Pan story where Tinker Bell becomespoisoned. Elliott comes into the closet, stands next to E.T., then closesthe door behind them."Tinkerbell swallows the draft as Peter's hand reaches for it," reads Mary."Why T, you have drunk my medicine."Elliott pulls E.T. away from the door, then shifts through a box of itemsthat he brought up from the garage. He cuts his finger on the blade of apower saw, then says "OUCH," as he holds his bleeding finger up into theair. E.T. points his own finger towards Elliott. E.T.'s finger glows like alaser light as he says "ouch." He then presses this lit finger on Elliott'scut and heals it.[This establishes the fundamental goodness and healing power of E.T.]E.T. opens the slit in the closet door and continues to watch Mary read toGertie the part where Tinker Bell is dying."She says she thinks she can get well again if children believe in fairies.Do you believe in fairies? Say quick that you believe.""I DO! I DO! I DO!" says Gertie."If you believe, clap your hands."Both Gertie and Mary clap their hands. Elliott places a blanket aroundE.T.'s shoulders and a scarf around his neck, as they listen to the rest ofthe story."Thank you, thank you. And now to rescue Wendy," reads Mary. Elliott placeshis arm around E.T.[The Peter Pan story is used to set up the audience's emotional reactionsto a fairy tale concerning near death and rescue. This emotional empathywill then be transferred to E.T., another "fairy-like creature" when hebecomes sick and is rescued. Just as the audience felt like clapping forTinker Bell, they will applaud the children's efforts to save E.T.]EXT: HOUSE: NIGHTExhaust flows from the tailpipe of a van. This is the same type ofpoisonous exhaust image that the audience saw when vans drove into theforest at the beginning of the movie.[Jeopardy: the forces of the antagonist are still nearby.]INT: BEDROOM: NIGHTElliott, dressed in white long-johns, sits on his bunkbed as he watchesE.T. Michael stands next to him. Elliott comments that E.T. is puttingtogether his instrument, while Mike fears that it might blow up the house.He also comments on the irregularity of E.T.'s breathing.[More jeopardy, both in Mike's fears of his family and home beingdestroyed, and in E.T.'s illness becoming progressively worse.]E.T places his communication device over the Buck Rodgers comic

strip.[This movement establishes a mental association between the device and thespaceman's communication efforts in the comic strip.]Petals drop off the flower in the pot.[This represents E.T.'s failing health.]E.T. lifts up his head (which indicates he's using his telekinetic powers),then lifts part of his communication device into the air. He next lifts upthe umbrella and opens it. Both objects float in the air in front of him.[E.T's primary objective is to go home. To accomplish this he must create acommunication device. This is his sub-objective, which appears to becompleted. He next must activate this device from the landing site and callhome. The obstacles he has to overcome are Mary, the community, and thedistance to the forest. These obstacles will be confronted in the nextscenes.]INT: ELLIOTT'S ROOM: DAYPreparing for Halloween, Elliott paints his lips with makeup. He talks toGertie about her going out that night as a ghost. They review the eveningplans. She will meet them at the lookout.[This is an example of incomplete exposition which engages the audience.They only talk about part of the plan: the meeting at the lookout. Theydon't discuss anymore details, such as deceiving Mary into thinking thatGertie is with them instead of E.T. The partial information forces theaudience to stay involved with the action and to create their ownconjectures about what will happen.]INT: CLOSET: DAYMike helps Elliot put on his knapsack. Elliott then places a sheet overE.T.INT: STAIRCASE: DAYE.T., covered with a sheet and clown shoes, walks down the staircase. Theclown shoes cover his three-toed feet.INT: HOUSE: DAYMary walks through the house dressed in a tight fitting leopard skin dresswith facial makeup that makes her look like a cat. Mike tells his mother towait and not peek, as he and Elliott lead E.T. into the room. Finally, Maryturns and shrieks with glee. She runs to get a camera.[The tension in the situation is caused by their fear that E.T. will bediscovered by Mary. Mike and Elliott's objective is to get him out of thehouse undiscovered.]E.T. looks through holes cut out for his eyes and sees Michael with a fakebutcher knife through his head. He lights up his finger in an attempt toheal Mike's wound. Mike grab's E.T.'s hand and puts it back under thesheet. "Ouch, ouch" says E.T, as he tries once again to heal Mike. "It's afake knife, it's fake," says Mike.[Laughter is generated because while E.T.'s behavior would be appropriateif Mike was really wounded, it is inappropriate in this situation since theknife is fake.]Mary comes back with a camera and prepares to photograph them."You look great," says Mary."Thank you," says Mike."Thank you," says Elliott."Thank you," says E.T.Mary doesn't notice that E.T. has spoken.[Laughter is generated by the "rule of three" humor structure and Mary'signorance.]When

Mary takes the photo, the flash shocks E.T. and knocks him onto thefloor. Mike and Elliott quickly pull him up before Mary notices and leadhim out of the house.[They succeed in their objective with the help of their "not so smart"mother.]EXT: STREET: DAYMary walks down the driveway as she orders them to be home no later thanone-hour after sundown. E.T., dressed in the sheet, turns and looks atMary, then continues down the driveway with Mike and Elliott.[This creates a "timelock", a sense of urgency, and the expectation of anupset mother if they haven't returned by the assigned time.]EXT: COMMUNITY: DAYEstablishing shot of the neighborhood. On a hilltop by a fence standsanother person in a white sheet (presumably Gertie). She kicks dirt at thebicycle near the fence.[This is the end objective of Mike, Elliot and E.T.: to connect up withGertie at the lookout. Their obstacle is to get E.T past all the childrenon the streets.]EXT: STREET: DAYThe sun is setting. Children in Halloween costumes walk through thestreets. E.T. walks between Mike and Elliott, as he watches the otherchildren parade by. One child dressed as YODA from RETURN OF THE JEDI walksby. E.T. turns and walks after him saying "HOME,HOME."[The laughter is obviously the result of E.T. misinterpreting the situationby believing that the child is another alien.]They walk towards the setting sun as Mike reminds Elliott that he must beback by one hour after sunset. Elliott promises to try, but he wants Miketo cover for him.[This creates jeopardy for the characters, because if they don't completetheir mission within the time frame, they will have trouble with Mary.]EXT: HILLTOP: DAYThe sun is setting as Mike, Elliott, and two small characters covered withsheets stand on the hilltop overlooking the city. Elliott asks Mike to helphim lift E.T. onto the bike. Mike does and then tells Elliott that theywill be waiting for him.[They have reached this objective. The next objective for Elliott and E.Tis to get to the landing site in the forest.]EXT: FOREST: DAYElliott, with E.T sitting in the front basket, rides his bicycle throughthe forest. The road becomes very bumpy. Elliott tells E.T. that they willhave to walk from there. Suddenly, E.T. takes control of the bike throughthe use of his telekinetic powers and speeds it forward. Eliott becomesfrightened as E.T. speeds the bike towards a cliff and then drives it overthe edge. E.T. then makes the bike up through the air.[The audience gulps from suspense and then goes into elation by thissurprising and magical turn of events.]They continue to fly over the tree tops. Elliott yells "Not so high, not sohigh."[E.T and Elliott both have white hoods over their heads, which furthervisually reinforces their identification.]They ride across the front of the moon, the guiding light of magic. Elliottlaughs with glee. When

they start their descent he begs E.T. not to crash.They hit the ground. The bike turns over, and both E.T. and Elliott arethrown to the ground.INT: ELLIOTT'S HOUSE: NIGHTThe grandfather clock indicates 9:45. Mary watches the clock as she sits infront of lighted candles. The time has long passed when Elliott wassupposed to be home. The lighted candles give a church like effect as ifMary was praying for the safety of her children. She is upset that theyhaven't returned. She blows out the candles, then taps out another candlewith her wand.[There is jeopardy for the children as Mary and the audience wonder if theyare okay. Empathy is generated for Mary who is truly concerned for thesafety of her children.]EXT: FOREST: NIGHTThe sun has set. It's nighttime in the forest. E.T opens a box whichcontains the saw blade brought to him by Elliott. Elliott ties a rope up toa tree branch. He then opens the umbrella which is lined with aluminum foiland points it towards the star-filled sky. It will function as atransmitter. E.T. places a coat hanger with nails above the saw blade,plugs a cable into a battery, then activates the toy language teachingdevice.[They succeeded in completing their objective to reach the landing site.Their new objective is to communicate with E.T.'s fellow aliens in order toaccomplish E.T.'s primary objective, which is to return home.]INT: ELLIOTT'S HOUSE: NIGHTMary, still dressed in her leopard outfit, leaves the house. She is veryupset that her children have not yet returned home. She mumbles to herself,sticks the wand in her mouth, and shakes the car keys. She gets into thecar and mumbles that their father is going to hear about this one."Mexico!" she says. She drives down the driveway and into the street tosearch for her children.[This creates more empathy for Mary, who is very upset that her smallchildren are out this late. The parents in the audience can easily identifywith her. But the real function of this scene is to get her out of thehouse so that the antagonist can invade their home. She could have stayedinside, we never see her in the car searching for the children, and thenext time we do see her is by the refrigerator in the kitchen.]Men get out of a parked car as Mary drives away. They take suitcases out ofa second car, then walk up the driveway to Elliott's house.EXT: FOREST: NIGHTElliott watches the treetops sway. He scratches his face, as does E.T.Together they stare at the stars. The wind causes the branch to sway, whichthen pulls the rope, which, in turn, pulls a fork across the saw blade.This drags the nails in the hanger across the flat surface of the blade,and sends signals out into space. Elliott is overjoyed and shouts that itworks, while E.T. repeats the word "Home." Together they gaze up to thestars.[They have accomplished their objective of sending a message into space.Now, they wait to rec

eive a signal back.]INT: ELLIOTT'S HOUSE: NIGHTThe light from a flashlight crosses in front of a pumpkin's face. Morelight floods through the slits of Gertie's door. A hand holding aflashlight opens Gertie's door, and shines the light into the face of ablack doll.[This has an irritating and frightening effect on anyone in the audiencewho has ever had the experience of having a light shined into their face.]Light from the flashlight searches around Gertie's room.INT: HALLWAY: NIGHTA pile of yellow electrical cord is stacked on the floor near a chair. Itslowly unwinds as it is pulled by someone in Elliott's room. The door toElliott's room is shut, with a poster sign hanging on it saying "DO NOTENTER." The silhouette of a man passes behind the door, as sounds of aGeiger counter filter into the air. Muffled voices are heard as the cord ispulled to its fullest extent. It forces a chair to slam against the wall.[This last action has a jarring effect on the audience. Emotionally, theaudience is outraged at the invasion of the children's rooms, and thiscreates hatred for the antagonist and his cohorts. They are still facelessso the audience can project the face of the persons they most hate ontothese characters. This personalizes the story for them and gets them moreintensely involved on an emotional basis. They also become intellectuallyinvolved, because the sounds of the Geiger counter and the extension of thecord to its maximum length forces them to infer that the antagonist hasfound E.T.'s "home" in the closet. This involves the audience in the storymuch more than if the filmmaker had shown the antagonist poking around inthe closet.]EXT: FOREST: NIGHT"We have to go now E.T. It's so late already," Elliott says as both he andE.T. sadly gaze into the sky.[Their objective of receiving a return signal has not been achieved. Theirsadness at failure creates empathy for them in the audience.]Elliott coughs from being out in the cold, damp air.[This is a setup for the later scenes when both Elliott and E.T. aredeathly ill.]Elliott repeats that they really have to go home, but E.T. ignores him andhas a sad expression on his face as he stares up to the sky. Elliott tellsthem that he has to give them some time. E.T. responds by saying "ouch,"signifying that he feels pain. A small fawn watches them from a distance.[The jeopardy in the scene is due to their being so late. Mary will be veryangry and they face the obstacle of getting E.T. back into the housewithout being discovered. The fawn generates feelings of sympathy in theaudience which is transferred to E.T. The audience also empathizes with thesadness they feel at failing to make contact. For now, supposedly, E.T.won't be able to go home.]"You could be happy here. I could take care of you," says Elliotttearfully. I wouldn't let anybody hurt you. We could grow up together,E.T."[Ellio

tt states his primary objective: to always have E.T. with him.]"Home, Home," says E.T.[E.T. states his primary objective: to go home.]Elliott sits down and cries. E.T. touches one of his tears.[The audience empathizes with the sadness of both characters.]EXT: FOREST: NIGHTIt's morning. Elliott is asleep as he leans against a large rock. He iscovered with a blanket as the wet forest mist surrounds him. Next to himlies E.T.'s communication device.Elliott coughs, gets up, tugs on the rope which activates the device, thenlooks around for E.T. but can't find him.[The new objective: where is E.T. and what has happened to him? This isalso the new question that will maintain the audience's interest.]INT: ELLIOTT'S HOUSE: DAYMary opens the refrigerator door and puts back a carton of milk. Mike andGertie sit besides her. A policeman asks Mary how Elliott was dressed whenshe last saw him. Mary tells him that he was dressed as a hunchback. Thepoliceman, whose face is not shown (I suppose so that the audience willassociate him as "one of them"), asks Mary if there is any indication thathe might have run away? Were there any family problems or recent arguments?Mary explains that she and her husband had just separated and that this hasnot been easy on the kids."My father is in Mexico," says Gertie.[This scene generates empathy for the whole family.]Mary slams the refrigerator door shut, thereby revealing Elliott standingbehind it. White light floods onto him making him look ghastly. Mary hugshim as Mike and Gertie join them.[The audience is relieved and overjoyed with Elliott's safe return.]"Oh Elliott," she says as she hugs him. "Don't ever do this again, Elliott.You're so hot."Elliott is feverish from spending the night outside. Mary tells Gertie togo upstairs and draw him a bath. Mary walks over to the policeman (whoseface is still unseen) and thanks him for his concern.Elliott asks Mike if E.T. is in the house. Mike shakes his head, indicatingno. Elliot pleads with Mike to find him. He's somewhere in the forest nearthe bald spot.[This is the new objective: find E.T. and bring him back.]EXT: STREET: DAYMike rides the bicycle with the basket in front down the driveway and intothe street, past a car filled with waiting men. The car starts and followsMike. He looks behind and realizes that he is being pursued.[This is a standard chase scene, with a friend who is trying to save thelife of the protagonist being pursued. Both he and the protagonist are injeopardy. Mike's new sub-objective is to lose those who are following him.]Mike cuts through a backyard and into an alley behind some houses. The carfollows him. Mike then rides up an embankment and drives off in theopposite direction, leaving the car stranded behind.[He successfully accomplished his subobjective.]EXT: FOREST: DAYMike rides through the forest as he cal

ls out E.T.'s name. He stops andsearches for E.T. Mike finds the abandoned communication device, then runsup a path and discovers E.T.'s white sheet hanging from the open gate.[The blue-orange colors of E.T.'s communication device are the same colorsthat Spielberg chose the logo of his production company, AMBLINENTERTAINMENT.][This is the same gate near the landing site that the characters ran pastin the opening sequence.]In another part of the forest, Mike rides his bike on a ridge above astream. E.T lies in the water below, is skin discolored to that of sicklywhite. Mike sees him, grabs the sheet, then runs down the embankment. Araccoon wanders near E.T. Mike shouts him away, then covers E.T. Mike hearsthe sounds of a helicopter above him and looks up at the sky.[Mike has achieved his objective: he has found E.T. But, danger hoversabove him in the unseen presence of the ever observing antagonist.]EXT: ELLIOTT'S HOUSE: DAYThe shadow of a man falls on the driveway. The sound of keys jangling isheard.[High jeopardy: the antagonist is about to invade the home of theprotagonist.]INT: ELLIOTT'S HOUSE: DAYMike is in the hallway as Mary walks up the stairs. She has a cup of coffeein her hand.[The cup is a prop which will be used to reveal Mary's emotions.]He wants her to come with him. He asks her if she remembers the goblin. Hetries to get her to make a promise, but she is annoyed with him.INT: BATHROOM: DAYMichael then opens the door to the bathroom. Elliott is sitting on thefloor as Gertie sits on the counter. They are both looking into thebathtub. Mary smiles as she walks into the bathroom with the cup of coffeein her hand. Then she sees E.T. on the floor. He is a sickly white. Heextends his arms out towards her. Mary is stunned, as she turns the cupover and coffee pours out onto the floor.[Here a character's non-verbal action with a prop reveals her trueemotional state. She has lost it.]"He's sick. I think we're dying," says Elliott. Mary covers her mouth. Miketries to tell her that E.T. won't harm them, but she orders him to takeGertie downstairs. Gertie cries that he's the man from the moon as Mikepicks her up and carries her downstairs.[Elliott, clothed only in white long-john underwear, is visually almostidentical to the ghastly white-colored E.T.]Mary picks up Elliott and carries him out of the room as E.T. groans andreaches out for them.[Mary's objective is to save her family from the alien in her home.]INT: ELLIOTT'S HOUSE: DAYMary carries Elliott down the stairs. He protests that she can't leave E.T.alone. Michael runs down the stairs with Gertie on his back. He opens thedoor, freezes, then backs away. Mary, with Elliott in her arms, approachesthe door and is confronted by a man in a spacesuit.Mary backs into the living room as the spaceman enters and reaches out forher. She goes in the opposite dire

ction, only to run into another man in aspacesuit. She runs into the kitchen, followed by Mike carrying Gertie. Theare blocked by still another spaceman with outstretched arms. Mary and herchildren are backed into a corner. Another man in a spacesuit opens up thewindow blinds from the outside. Mary shouts "THIS IS MY HOME."EXT: STREET: DAYDawn. The sun rises as a line of men wearing helmets and uniforms march upthe street.INT: BATHROOM: DAYE.T., his skin discolored to a grey-white hue, lies on the floor as a manin a space suit enters the room. "Home," says E.T.[This is the end of act two. The antagonist and his forces have invaded thehome of the protagonist and taken them into possession. This terrifyinginvasion of the privacy of their home generates more empathy for Mary andher children.]EXT: STREET: DAYMen in helmets walk up a street as they push a large plastic tunnel. Policecars slowly drive up the street, as faceless men march to a drumbeat.[This is the beginning of the third act with the forces of the antagonistin complete control.]EXT: STREET: NIGHTMen with welding torches work on a truck. The plastic tunnel leads up thedriveway to Elliott's house. The faces of the men are still not shown. Theyare either wearing helmets or are silhouettes.CLOSEUPThe man with keys jangling on his side is putting on a pair of light-bluepants.INTERCUT: STREETMen are working outside. Large bright lights flood the area.INTERCUT: "KEYS"The man in the blue suit puts on a white pair of plastic gloves. Red andblack colors on his cuff are associated with his keys as ominous musicfills the soundtrack.[This is the only instance in this film where the traditional colors of theantagonist (red and black) are associated with the antagonist ("keys").Putting on a light-blue outfit starts the transformation of the antagonistinto a character worthy of audience empathy, for blue-white is thetraditional production design colors signifying "innocence."]The man in the light-blue suit gets up walks through the plastic tunneltowards Elliott's house. He exits the tunnel and walks into the house whichhas been completely enclosed by plastic.Finally, the antagonist's face is shown. His head is covered by a blue hoodwhile a light under his face mask accentuates his white shirt.Mary stands in the middle of the room with Gertie at her side. A doctorasks her questions about E.T., but Mary is more concerned with Elliott'sstate. A nurse cuts a lock from Gertie's hair (presumably for analysis),while both Elliott and E.T. can be seen on a video monitor. This nursewalks to Mike and cuts a piece of his hair while a doctor asks himquestions about E.T. A video monitor shows Elliott and E.T. "Elliott thinkshis thoughts," asks the doctor. "No, Elliott feels his feelings," answersMichael.[This is the first time in the film that the merging of Elliott and E.T.

has been explicitly stated. Yet, this condition has been revealed to theaudience non-verbally throughout the story. The verbalization seemsredundant and not necessary, but does make sense as an explanatory commentto a character new to the story.]INT: CHAMBER: DAYA man stands in what appears to be a decontamination chamber.INTERCUT: MEDICAL INSTRUMENTSHands push buttons on electronic equipment used to gather medicalinformation about Elliott and E.T. Graphs representing E.T. and Elliott runin exact parallel.[This is another representation of the fact that E.T. and Elliott havemerged and are to be considered as one being.]INT: MEDICAL ROOM: DAYTwo people in white suits zip open a plastic covering and enter the roomwhere Elliot and E.T. are being examined.[The color white traditionally signifying purity. A transition in theaudience's emotional alliances is being manipulated at this stage of thestory. Their hatred will be transferred from "keys" who will become muchmore sympathetic to "death itself" which threatens the life of E.T. Itwould be too much to ask of the adult audience to remain sympathetic to theemotional pleadings of a child when space scientists are trying to save thelife of a sick alien.]"You're scaring him," cries Elliott, as the doctors examine both Elliottand E.T. as they lie on adjacent tables. E.T's head rests on a blue pieceof cloth."Leave him alone, leave him alone. I can take care of him," moans Elliott.[Which, of course, he can't. But this is something that both he, andprobably most of the children in the audience, really believe.]Elliott looks up into the face of "Keys," who says that he's been to theforest. He wants to know what the machine does. Elliott says that it's acommunication machine, and asks if it's still working. He then states that"He came to me. He came to me." "Keys" explains that he's been wishing forthis too, ever since he was ten years old. He doesn't want the alien todie. He asks what more can they do that they are not already doing.Elliott's image reflects in "Keys" face gear. Elliott tells him that E.T.was calling his people because he needs to go home.["Keys" is no longer the threat. He has been transformed into a friend whoalso wants to help the alien. A new antagonist must now be created in orderto maintain conflict in the story. In this scene DEATH will serve thatfunction. For the rest of the film the forces of the United StatesGovernment, who attempt to block E.T.'s escape, will function as theantagonist.]Another Doctor dressed in white enters the room and announces that E.T. hasDNA. Suddenly, a display screen shows a drop in E.T. and Elliott's graphs.One doctor says there's a drop in the creature's blood temperature, whileanother states that Elliott's condition is stabilizing: his blood pressureis coming back up.E.T. calls Elliott's name, and the medical personnel become awa

re that hecan talk. Elliott pleads with him to stay. E.T. repeats the words "stay,stay," then slowly turns his head away.Their graphs separate. One doctor announces that the boy is coming back,but they are losing E.T.INT: CLOSET: NIGHTMichael enters the closet space where E.T. stayed. He looks at the objects,including the cartoon page from the newspaper, then huddles down amongE.T.'s possessions.[These actions create more empathy for Michael who suffers at the thoughtof losing E.T.]The is a time transition, for Michael is asleep in E.T.'s space when themorning sun shines on his face. Michael wakes up, then watches the plant(which represents E.T.'s life force) wilt. He screams.INT: MEDICAL ROOM: DAY"E.T., don't go" screams Elliott.Doctors state that he has no blood pressure and there is no pulse orrespiration. A bell rings, which signifies a life and death situation.Doctors run into the room and tear down the plastic coverings surroundingE.T."Leave him alone. You're killing him," says Elliott. They wheel Elliott outof the room as he continues to scream. The medical staff frantically triesto revive E.T. They try electrical shocks, but that fails. Gertie holds herdoll as she watches. She reacts by jumping when the electrical shocks areapplied to E.T.[Showing one character's reactions to a situation help to create theintended reaction in the audience.]The doctors are losing him. Elliott watches and cries. Mary goes to him andthey hug each other. Gertie cries as she holds her doll. Mike walks intothe room, as "Keys" watches, then turns away.[This provides the audience with each character's reaction to the death ofE.T. This is a surprising event for the audience: the protagonist has died.Emotionally, it was designed to sadden the audience so that they willbecome overjoyed when he is brought back to life.]EXT: ELLIOTT'S HOUSE: DAYA white van awaits at the bottom of the driveway.[Previously, the vans and cars associated with the antagonist were of darkcolors. The color changes allows the filmmaker to use culturally determinedcolor associations to manipulate the audience's emotional responses.]Police and other officials walk past a white van, white truck, police carsand other white vehicles towards a tan colored car. Mike's friends sit ontheir bikes behind police barriers. They make comments that something hasjust happened inside the house.[This establishes the existence of Mike's friends who will play a crucialrole in the last chase scene.]INT: MEDICAL ROOM: DAYThe medical staff gives up on E.T. and decide to pack him in ice. Mikewatches as the staff of E.T. slowly walks away. "Keys" removes his headgearand walks to Elliott who is standing vigil over E.T.'s body. "Keys" thenapproaches E.T. Mike watches and cries as a man behind him removes hisheadgear. The faces of several medical attendants are shown.[This humaniz

es the forces of the antagonist and makes them much lessthreatening. That's why they had to be faceless for so long throughout thestory.]"Keys" kneels besides E.T. and with gloved hand closes his eyes. Mary holdsGertie. When Gerite asks if he's dead, Mary replies that she thinks so.Gertie then says she wishes him back.[The interchange between Gertie and Mary reminds the audience of the TinkerBell situation when Mary read to her from Peter Pan. Those same feelingsare reintroduced here: the clapping of hands to save the fairy and then thedesire to rescue the children. This is the payoff to the emotionalreactions set up in that earlier scene.]"Keys" looks up to see two attendants roll in a metal casing filled withice into which they will place E.T.'s body.Mary picks up Gertie and carries her out of the room. Medical techniciansprepare the casing as Elliott watches. Keys approaches Elliot and tells himthat they will be taking E.T. away. "They are just going to cut him allup," replies Elliott.[This is the payoff to the frog sequence. The audience believes thatElliott is correct, given the scientific mind as demonstrated by theteacher. They also now remember the joy they felt when Elliott freed thefrogs, and wish they could experience that again now.]"Do you want to spend some time alone with him?" asks "Keys," as he putshis arm around Elliott and walks him to the casing. He tells the medicalattendants to leave the room.[This generates empathy for "Keys" who is shown to be concerned forElliott's feelings.]The attendants walk out of the room past Michael who is watching Elliott."Keys" leaves Elliott alone with the body of E.T., which is covered in aplastic bag as it lies on dry ice. Elliott stares down at E.T."Look at what they've done to you. I'm so sorry. You must be dead. I... Ididn't know how to feel. I can't feel anything anymore. You've gonesomeplace else now. E.T., I love you."[Elliott wears a partially open white-jacket. He is framed within an ovalshaped glass.]Elliott places the cover down over E.T. and walks away from the oval glass.A red-light flashes from inside the casing, but Elliott doesn't notice thisas he walks away. He passes the pot of wilted flowers. The flowers slowlystart to regain strength. Elliott notices this, then quickly returns thecasing.[This is the payoff for the pot-of-wilted-flowers prop.]He opens the casing, sees the red-light flashing from E.T.'s heart, thenzips open the plastic bag. The alien looks up and says "E.T. phone home."Elliott screams with joy."Home, home, home, home," says E.T."Does this mean they are coming?" asks Elliott."Yes," answers E.T.[E.T. has finally succeeded in his objective of communicating home.]Elliott tells him to stay and shut up, as he places his hand over E.T.'smouth. Elliott zips him back up, then places a cloth over his flashingred-heart, as "KEYS" re-enters the r

oom. Elliott slams down the cover."KEYS" pulls Elliott away from the case as two attendants prepare for itsremoval. Elliott cries out with feigned sorrow to conceal his glee when hesees the wilted flowers regain their health. The attendants lock the case.INT: DECONTAMINATION CHAMBER: DAYElliott tells Mike that E.T. is alive. Mike's also overjoyed. Mike andElliott rejoice as the wilted flowers continue to bloom.INT: ELLIOTT'S HOUSE: DAYMary is talking to "KEYS" as Gertie runs up with the pot of flowers in herhands. He asks Mary if the boys have gone because she's sup- posed to giveher a note when they have gone. Mary takes the note from Gertie and readsit.[This note provides the crisis to which Mary must react, yet the audienceis kept in suspense.]EXT: PLASTIC TUNNEL: DAYElliott runs down the tunnel past two men dressed in blue, then enters theback of the van. Elliott then pulls aside the white curtains that separatethe drivers compartment from the back of the van to reveal Michael in thedriver's seat. He to is wearing a blue jacket. Elliott yells at Mike fornot wearing his mask. Suddenly, a black official walks by the van, spotsMike in the driver's seat, and knocks on the window. He holds awalkie-talkie in his hand as he asks Mike who he is. Mike responds thathe's driving. The official tells Mike to open the door. When Mike looks toElliott for advice, Elliott tells him to drive away.[Elliott and Mike's objective is to escape with E.T.]A group of men approach the van. Mike screams that he's never drivenforward before, shifts into first gear, and drives away.[This is the payoff to the scene of Mike incompetently backing the car downthe driveway.]As Mike drives away he drags along the plastic tunnel with the two menstill inside. Mike briefly stops by his friends and tells them to meet himat the playground at the top of he hill. He then drives away, pursued by agroup of men. Mike's friends put on their hats and sun- glasses, and jointhe fray.[The chase is on. Suspense is created because the audience wonders whetherthey will get E.T. back to the forest before the are stopped. They faceimpossible odds, yet Mike's friends display loyalty as they join the fight.Mike and Elliott's first objective is to reach the park. Their majorobstacle is the men trying to capture them.]Mike drives the van down the street. The two men still in the plastictunnel try to climb back towards the van. Elliott starts to disconnect thetunnel by pulling out metal braces.[Jeopardy: If these men get into the van, they will overpower Elliott andMike, and prevent E.T. from getting home.]EXT: ELLIOTT'S HOUSE: DAYMary backs her car out of the garage. Gertie is sitting next to her in thefront seat holding onto the flower pot. "Keys" runs up to Mary and askswhere she's going. Gertie blunts out "to the spaceship."["Keys" now realizes that the aliens are return

ing for E.T. This is his"crisis" information, that spurns him into action.]EXT: STREET: DAYThe van continues down the road, still pulling the plastic tunnel behindit. The two men have almost made it to the back of the van as Elliott pullsout the final stake. He tosses it to one of the men. When Mike turns asharp corner the plastic tunnel disconnects, leaving the two men behind.[They have overcome their immediate obstacle. Humor is generated whenElliott tosses the nail to one of the men, because it is the reversal of alife saving situation. Instead of catching something (like a rope) thatwill save him, he catches the object that is his undoing.]EXT: STREET: DAYA convoy of police cars drive up a street.[The chase is still on. Even though one obstacle has been overcome, theantagonist brings more formidable forces into the fight. The protagonist isstill in jeopardy.]EXT: PARK: DAYThe white van drives up over the sidewalk and into the park. It swervesbetween the children's rides, then finally stops. Smoke pours out of thevan, whose back two doors are still open.[They have reached their sub-objective: the park where they are to meet upwith Mike's friends and continue on their bikes.]Mike's friends wait on their bikes. Between them they also have bikes forElliott and Mike. E.T. is revealed to the boys. He stands among the smokefrom the dry-ice with his red-heart light flashing. "Okay, he's a man fromouter space and we're taking him to his spaceship," says Elliott, nowdressed in blue pants, white shirt, and red jacket."Why can't he just beam up?" asks Greg."This is reality, Greg," says Elliott.[Of course, the joke is that it isn't reality. It is a fantasy movie with arealistic response to a fantastic situation. Right?][Elliott finally wins the respect and admiration of Mike's friends,something he's desired from his introduction scene when they wouldn't allowhim to play DUNGEONS & DRAGONS with them.]EXT: PARK: DAYMary, along with a crowd of plain clothes police, run towards the van."Don't shoot, they're only children," screams Mary.[This introduces a life and death jeopardy into the scene. It alsocharacterizes the forces of the antagonist as characters who would shootchildren.]They reach the back of the van only to find it empty.EXT: STREET: DAYElliott and friends ride down the street. E.T., covered with a whiteblanket, rides in Elliott's basket. Elliott, with the red hood over hishead, shouts that they are to ride to the forest.[To cloth a character in red is effective in chase scenes. This helps theaudience to visually pick out the scenes important character when the paceis fast and the action intense. Spielberg used this technique for Elliot inthis scene and for Marion in RAIDERS OF THE LOST ARK when she runs throughthe market chased by Arabs.]Cars chase them. Elliott rides up the alley and tells the others to foll

owhim. Police cars encircle them and try to cut them off. The bikers turn offthe main road and ride into a dirt field. A tan car with "UNITED STATESGOVERNMENT" written on the driver's door rides parallel to the bikers.Two men ride inside the tan car. One speaks into the car radio saying thatthey'll get them at the bottom of the hill. The tan car pulls into the baseof the hill and stops. One man gets out and starts to climb up theembankment. The bikers almost run him over. They ride over the hood of thecar, then continue down the street, now pursued by a blue police car.The bikers cycle down a dirt road of a section of the community that isstill under development. E.T., with the white blanket covering his head,sits in the basket of Elliott's bike. A blue car trails them. The bikersdecide to split up. Two ride down an embankment. They are followed byanother police car. The bikers then escape from their pursuers by ridingdown steep embankments. The cars cannot follow and must stop on differentlevels. The bikers unite and ride away.[It seems that the chase is over and they have eluded the antagonist.]The biker's are overjoyed by their victory. One takes off his hat, waves itin the air, and shouts "We've made it!" Suddenly, he quickly ducks to avoidbeing grabbed by a man. A group of men continue the chase. Several carspull up ahead and form a blockade in the road.Elliott and E.T. ride forward. Horror grows on Elliott's face as he staresat the enemy in front of him.[This final confrontation between the protagonist (Elliott and E.T.) andthe antagonist.]The antagonist is explicitly revealed at this moment. On the side panel ofa car is a sign stating:FOR OFFICIAL USE ONLYU.S. GOVERNMENTINTERAGENCY MOTOR POOLGSAThe shadow of a shotgun covers the sign. Next, two shotguns are raisedagainst E.T. and Elliott.Elliott shuts his eyes with fear. There is a closeup of E.T.'s face. Withshotguns drawn, government agents gesture for them to stop.[This is the life and death final moment before the climax. The audiencehas been set up to expect that the government agents would shoot at theprotagonist by Mary's comments in the park scene.]Suddenly, E.T. saves the day with his telekinetic powers. He lifts all ofthe bikers up into the air as they fly above the blockade.[The climax is over E.T. has saved himself and his friends]E.T. then flies the bikers over the housetops, and across the setting sun.Finally they float down onto a path in the forest.EXT: FOREST: DAYElliott has reached the landing site. He brushes the leaves away from theturntable of the communication device. A blue-light floods Elliott's face.He looks up into the, along with the other bikers. E.T., with red-hearthappily flashing, also gazes into the sky as his spaces

hip descends."Home," says E.T.The spaceship continues its descent as E.T.'s red-heart flutters. Thespaceship finally lands in a golden glowing light.A car pulls into the forest, and Gertie's voice can be heard pointing outthe location of the boys. The ramp to the spaceship lowers. Gertie runs upto Mike and E.T. She gives E.T. the plant and says that she just wanted tosay goodbye. Michael responds that E.T. doesn't know goodbye."Be good," says E.T."Yes," says Gertie, as she kisses him on the nose.Mike places his hand on E.T.'s head.[This is a basic gesture of trust. The fact that E.T. allows Mike to dothis indicates that he considers him a friend.]E.T. puts the plant on the ground, as Mary and "Keys" run up to the edge ofthe site. Mike picks up Gertie and carries her away as Elliott approachesE.T."Come," says E.T"Stay," says Elliott.[The two characters that had merged into one protagonist must split apartbecause they now have different primary objectives. E.T. want's to returnhome, and Elliott wants him to remain.]E.T. lifts his finger to his lips and says "ouch."[Of course, this indicates the pain he feels in their separation.]Elliott tearfully lifts his finger to his lips and says "ouch."[The symmetry of his movements indicate that in some sense, they still areone.]E.T. and Elliott hug each other as the are visually surrounded by blue andwhite lights. Then Elliott and Mary exchange glances as Mike and Gertiestand by and watch. E.T. lifts his finger to Elliott's forehead. It lightsup, then he says: "I'll be right here."[The resolution of the dilemma. Though E.T. leaves, he will still remain,perhaps telepathically, or perhaps only within Elliott's thoughts.]"Bye," says Elliott..E.T. picks up the potted plant and carries it up the gangplank. Elliottwatches from below as Harvey starts up the plank, then returns to Elliott'sside.[E.T. leaves with what he really came for, a sample of the earth'svegetative life form. But now he has much more in the flowers that willserve as a memorial of all that he has experienced with his new friends.]The gangplank lifts up and separates E.T. from Elliott. The ships circularentrance closes. The spaceship lifts off. Elliott watches it float up intothe sky. It then speeds away, leaving an orange-blue rainbow behind againstthe blue-morning sky.[Orange and blue were also the colors of E.T.'s makeshift communicationdevice as found by Mike in the forest.]Mary watches and laughs with happiness. The other boys also watch, as Mikeholds Gertie in his arms. The film ends with a shot of Elliott gazing upinto the sky.THE END------------------Www.K555.Cn 光影时代 -专业英文剧本下载-影评基地 收集制作 转载请注明出处，谢谢！ ------------------