(United States) Ro Zammicis Shige
Cheng/Translation
We believe that the American film "Back to Come" (1985) is a masterpiece of impure genre.
Since the advent of the novel "The Time Machine" by Herbert George Wells, the originator of modern British science fiction, the characters can ride on the time machine to both drive to the future and return to the past. This journey across time has become a structural model of sci-fi literary works. This structural model is bizarre and vivid, fascinating, and opens up new horizons of imagination.
The film "Back to the Future" is a fictional work based on this model. However, compared with science fiction films such as "Star Wars", "The Empire Strikes Back", and "The Third Kind of Contact" that have been famous since the 1970s, "Back to the Future" has a comedy that combines bold sci-fi and wit. The unique style of factors blending together. The film is essentially based on the "return to the past" as the structural frame, based on the real life and emotions of ordinary Americans, eliciting countless very human jokes from it.
It should be said that the integration of different ideographic systems of traditional genre films is one of the evolutionary trends of American genre films. In order to investigate this evolution, the film Back to the Future has certain research value.
This film has been well received in the United States and abroad, and its box office value is extremely impressive. ———Editor's
interior view. The
camera of the room is upside down and placed in various clocks of various sizes in the room. The ticking of the clock can be heard. Insert the lens of a clock, the hour hand points to 7:53. The camera is pulled back, and the clocks are panned. All the clocks point to the same time. Since then, the opening captions have been gradually incorporated on the screen.
Hear the sound of the radio broadcast outside the picture.
Insert a few old newspaper clippings preserved in a glass frame on the wall with the title: "Hill Valley Telegraph: Brown Building Destroyed." Brown property was auctioned to the developer", etc.
Announcer (outside the picture): October is the time to take stock. So far, Toyota 1985 has the best market this year. In Hill Valley, you will never find a car with better quality, cheaper price and more attentive service. Toyota Motor Company in the Hill Valley business district is the best.
At the same time, upon hearing a "ding", the coffee-making vessel moved into the center of the screen, dripping down, but there was no coffee pot below.
The camera pans those clocks and various equipment.
What the announcer said below is not clear.
Woman's voice (in the TV outside the picture): The Senate should have voted on this today.
Insert the footage of the news broadcast on the TV screen.
Woman (on TV screen): Other news. The head of the Pacific Nuclear Research Institute announced a refusal (insert the words "Plutonium Thief" on the screen). There were rumors that someone had indeed stolen a box of plutonium from the warehouse two weeks ago. A terrorist group once claimed that the theft was related to them. However, officials attributed the error to a mere clerical error in the transcription work.
A toaster appears on the screen, and the toasted slices of bread jump up and down in the toaster. The camera then panned various clocks and machines.
Woman's voice (on the TV, outside the picture): The FBI continues to investigate the matter, saying that it has no comment. (The following sounds are indistinct.)
I heard a beep, saw the crank of a small machine moving, and heard a can of dog food turning on a can opener. The can lid opens automatically. The canning knife stopped turning. The camera pans, the crank moves to the center of the picture, and it stops. The can is poured to one side, and the dog food is poured out of the can and out of the painting. Insert a lens of a plate with the words "Einstein" written on the plate and the words "dairy bones, dog biscuits" written on the can. The dog food bowl was too full, and some of the food that fell was spilled on the ground.
Medium shot. The crank held the can and turned it back upright. Pulling it behind the camera, the crank was seen throwing the can into the trash can. The door on the left side of the screen opened, and the camera moved up. Marty's legs and feet appeared at the door. He put the key under the doormat. He bent down, put the shackle insoles, and walked into the room.
Marty: Hi, doctor, doctor?
Pulling behind the camera, he saw Marty walk into the room with the skateboard in his hand.
Marty: Hello, is anyone home? Einstein, come here, buddy. (Whistle) What happened? Oh my goodness! Oh God!
The camera pans Marty's moving legs and feet as he puts the skateboard on the ground. Marty pushed the skateboard, and it rolled aside.
Marty: Really annoying. What happened here?
The skateboard touched the plutonium box under the table. The box says: "Plutonium, handle with care".
Close shot. See some audio equipment on the table. Insert the lens-start button. Marty reached into the screen, turned the button, and moved the other levers.
Insert the lens-band board, volume adjuster. Marty turns the button to the maximum volume.
Close shot. Regulator. Marty's hand enters the screen from the upper right, and he turns the regulator upwards.
Close shot. Marty is holding a guitar with a socket underneath, and he plugs the plug into the audio device. Shake his hand to adjust the volume of the guitar. Marty stretched the piano towards the guitar strings. Behind him is a large disk like a radar. As he walked to the device, he opened several more buttons casually. We can hear a buzzing sound from the device. Marty walked into the frame (back view), looking at the big loudspeaker, the whole room was filled with a strong hum.
The credits are over.
Close up shot from overhead. Marty holds the guitar handle in one hand and the plectrum in the other. The seven-color spectrum is reflected on the piano plectrum.
panoramic. Marty (back view) stands in front of the megaphone and plays the guitar. The loudspeaker burst out with dazzling gleaming light, and Marty soared into the air, retreating from the left side to escape the picture.
panoramic. Marty backed to the right in the air, knocking over many things on the shelves and shelves along the way.
Medium shot. Marty continued to back up, knocked down the shelf, and fell to the ground. Everything on the shelf fell on him, and finally the shelf hit him.
panoramic. Marty lay under a pile of tattered debris. The paper continued to spill on him from above. He moved his body from under the debris, shaking the camera, and saw him wearing sunglasses.
Marty: Woo! Wow! (Taking off the sunglasses)
Panorama. From Marty's point of view outside the painting, the big loudspeaker was broken.
Close up shot from overhead. Marty was sitting among the tattered debris. There was a ringing of telephone outside the picture. Marty looked up.
Marty: What a mess!
Medium and close shots. From the point of view of Marty outside the painting, the phone rang like a fire alarm bell on the pillar of the room. Ringtone masterpiece.
panoramic. Marty stood up from the debris, dropped the guitar, stepped out of the debris pile, and picked up the telephone tube from a box.
Marty: Yo!
Brown (outside the painting, voice on the phone): Marty, is that you?
Marty: Hi, hi, doctor! Where are you?
Brown (outside the painting, voice on the phone): I'm so glad I found you. Listen to me, at 1:15 tonight, can you come and meet me at the Shuangsong Forest Road? I made an important breakthrough and need your help.
Marty: Wait, wait a moment. 1:15 in the morning! (He changes his ear to listen to the phone)
Brown (outside the painting, voice on the phone): Yes.
Marty (he turned off the button of the machine): Doctor, what happened? Where have you been this whole week?
Brown (outside the painting, voice on the phone): Work.
Marty (steps over the debris on the ground, turns off the other levers on the machine): Where is Einstein? Is it with you?
Brown (outside the painting, voice on the phone): Yes, it is here.
Marty: You know, Doctor, you left your equipment for a week.
Brown (outside the painting, voice on the phone): My device? You can remind me, Marty. You'd better take off that loudspeaker, it may be a bit overloaded.
Marty (the other's words made him react): Okay. I will remember.
Brown (outside the painting, voice on the phone): Good. Meet you tonight. Don't forget, at 1:15 early in the morning, the second pine tree-lined path.
Marty (back view): Okay.
All the clocks are on. Marty heard a chime and reacted.
panoramic. From Marty's point of view outside the painting, all the clocks placed on the table in the room are pointing at 8 o'clock in the morning. The camera pans to the left and shoots into more clocks on the other wall. The clocks all point to the same time. The clocks on the wall next to the window are all 8 o'clock.
Brown (outside the painting, voice on the phone): Are those...
panning shots. Marty raised the phone base to his ear, switched the microphone to the other ear, looked around, listening to the different sounds of various bells.
Brown (outside the painting, voice on the phone): ... Did I hear the sounds of my bells?
Marty: Yes. Well, it's, uh, it's 8 o'clock.
Brown (outside the painting, voice on the phone): Exactly! My experiment worked! They are all exactly twenty-five minutes slower!
Marty: Wait a minute! Wait a minute! Botu, do you mean it's 8:25?
Brown (outside the painting, voice on the phone): Exactly correct!
Marty: Oops! (He puts the receiver back on and snaps it back) I'm going to be late for school. (Begins to get out of the screen)
Take a close-up shot from above. Photographing the box of plutonium and skateboards under the table, only seeing Marty's legs and feet, he walked to the middle, picked up his skateboard, and ran to open the door.
Panorama·Exterior view·House·Trash bin In the
middle view, there is a row of trash bins, which are all full. Marty walked out from the door behind the fence, with a skateboard in his hand and earphones for the road on his head. He kicked open the fence gate, closed the gate when he came out, and walked to the right.
Insert the lens—the number 1640 is written on the door.
Marty put the skateboard on the ground.
High-angle panoramic view. Marty pedaled on the skateboard with one foot, and glide with the other foot, and then both feet on the skateboard and slid towards the center of the screen with both feet. A truck carrying the "Meatloaf King" passed by. When the truck drove into the street, he grabbed the back plate of the truck, and just hung it behind the car and slid.
I vaguely heard the singing of "The Power of Love".
panoramic. When the truck was about to reach the corner, Mattisa opened his hand, slid into the screen, turned around and grabbed a jeep driven by a man, and slid behind the car.
Insert the lens --- street sign: Hill Street.
panoramic. Marty, who was behind the jeep, passed the aviation performance center and waved to the girls inside. Several people were chatting on the corner of the street, and Marty and the jeep outside the painting passed by them.
Insert the lens-a sign that says "Mayor Goldie Wilson welcomes you to Hill Valley City."
Medium and close shots. The camera is aimed at the back of the jeep. Marty wears headphones, grabs the car in one hand, and waves to the person driving outside the painting with a smile in the other.
Medium and close shots. The man driving the jeep looked back at Marty outside the painting.
Take a panoramic view from a low angle. At the front door of the school.
Insert the lens-Hill Valley Middle School.
The camera panned the building, and Marty slid down the steps to stop while pedaling on the skateboard.
Low-angle medium and close shots. Marty stepped on one end of the skateboard under the steps to make it tilt up. He grabbed the skateboard, climbed the steps, and met Jennifer head-on.
Marty: Oh, Jennifer.
Jennifer walked to Marty, took his arm, and they walked down the steps. The camera pans them around the house.
Jennifer: Marty, don't go from here, Strickland is staring at you. If you ask him to catch it, you will be late four times in a row.
Interior view·The corridor of the school
was empty. Jennifer walked quietly to the corner on tiptoe, looking around, then turned back and beckoned to Marty. Marty walked to her from behind the wall, and put her arms around her shoulders, while she put her arms around his waist.
Jennifer: Alright. bring it on. I don't think we are in danger anymore.
Marty: You know, it's not my fault this time. The doctor set all the clocks back for twenty-five minutes.
Strickland shot from behind the corner to grab Marty's shoulder, and Marty and Jennifer turned to look at Siberian Rickland.
Strickland: Doctor? Are you still engaged with Emmet Brown, McFly? (Marty and Jennifer bow their heads. Strickland holds the note in his hand. He hands Jennifer a note, and then passes it to Ma Luo.) Here is a late note, Miss Parker. Here is another one, McFly. I believe you were late four times in a row. Young man, I now give you a little piece of advice. This so-called Dr. Brown is a dangerous man. He is a lunatic. If you mix with him, there will be a big mess in the future.
Marty: Oh, yes, sir.
Marty looked at Strickland and smiled. Strickland pushed Marty's shoulder angrily, tapping him with his fingers.
Strickland: Your attitude is very problematic, McFly! You are a lazy person. You remind me of your father's schooling here. He is also a lazy person!
Marty (nodding): May I go now, Mr. Strickland?
Marty and Jennifer leave Strickland where the attack occurred, and walk out of the screen. Strickland grabbed Marty by the arm and pulled him back again.
Strickland: I noticed that your band will audition for the dancer after class today. Don't waste it, McFly, you can't do it. You look so much like your father. In the history of Hill Valley, there has not been a single McFly that has become a climate. (Face to face with Marty)
Marty: Yeah, well, history will change.
Interior view, gymnasium, auditorium,
close-up view during the day . A man reached for a portable electronic loudspeaker by his feet. When he pointed the electronic loudspeaker at his mouth, the lens shook up and down. This is Huey, with a man on his left and a woman on his right. The musicians walked back and forth in the background, moving the speakers.
Huey: The next group, please.
Medium shot. Pan Marty took the electric guitar and walked from left to right, standing with other modern musicians. Marty slung the guitar belt over his shoulder and walked onto the stage with a group of people around him.
Marty: Alright.
Insert the lens-there is the words "'We One People' Band Audition Battle" on the wall.
Marty: Uh, we are the "little people" band.
Panoramic, everyone's lens. Huey sat side by side with all the staff, and the rest of the students sat in the back.
Young people (outside the painting): Four, three, two, one.
panoramic. The percussion group and the pianist are on the right (back view), and Marty walks to the second guitarist on the left, and they begin to play loud rock music.
Medium shot. Everyone lens. A smiling Jennifer stood in the middle, looking at the front. Behind her were musicians waiting with musical instruments. She shook to the beat of the music.
Double medium shot. Marty and the guitarist are playing, with the drummer in the background.
Medium shot. Huey has a young man on the left, a woman and another judge on the right. They have a clipboard on their lap and a pen in their hands, listening to Marty's music. Huey looked around, bent over and picked up the electronic amplifier.
Huey: Hi, that's enough.
Medium and close shots. Marty is in the middle, with the guitarist on the left and the drummer on the back.
Huey (outside the picture): Your voice may be too loud, so stop acting. (Marty and the others stop playing) Stop acting, friends.
Close-up shot from a low angle. Huey spoke into the electronic loudspeaker.
Huey: You guys are probably too loud. Next group, please.
Medium shot. Everyone lens. Jennifer looked ahead, and the musicians behind her stood up one after another, the camera moved down, and pushed towards Jennifer.
Huey (outside the picture): Let's come to the next group, please.
The camera moved closer to Marty. He looked out of the foreground, but dropped the guitar from his shoulders.
Medium and close shots. The lens shoots the advertisement on the side of the truck in motion.
Insert shots-several advertisements on the truck, which read: "Elect Goldie Wilson again as mayor. Sincere, decent, and upright."
Voice (through the speaker): Election Goldie Wilson again as mayor. The name among him is "Development". Goldie Wilson's development agenda means more work... (Inaudible below) The
camera pans the truck in motion and Jennifer and Marty walking side by side by the tree.
Marty (outside the painting, can't hear clearly): I don't believe it. (In the painting) I will never have the opportunity to perform in public in front of anyone.
Jennifer: Marty, a setback is not the end of the world.
Marty: Now, I don't think I am a piece of music material at all.
Jennifer: But you are not bad, Marty, you are really good. The tape for your audition this time is amazing. (She stabs him in the waist with the tape, and he takes the tape) You should send it to the record company. (They stop. Marty makes a gesture) As the doctor always said...
Marty (said at the same time with her): Yeah, I know, I know. "Those who have aspirations compete for success."
Jennifer: This is good advice, Marty.
Marty: Okay, all right, Jennifer. (The camera pans them walking side by side, people coming and going in the back) But, what if I send the tape and they don't like it? I mean, what if they say I am not good enough? What if they say: "Go away, you have no future." I mean, I can't accept this setback at all. (They stop by the bench. On the left is the woman sitting at the election table. People walking up and down in the background.) Hey, I speak in a tone like my dad.
Jennifer (she lifts her foot, pedals on the bench soil, tidy up her boots): Forget it, he is not bad. At least he asked you to borrow his car tomorrow night.
Medium and close shots from a low-angle upward shot. Marty took the tape and made a gesture, and they looked at a truck with a Toyota car.
Marty: One day, Jennifer, one day.
Medium shot. Marty sat on the back of the bench, and Jennifer stepped onto it and sat beside him. His hand was on her waist.
Marty, how great it would be to drive this truck to the lake! (Jennifer pushes his hand away) Put two sleeping bags behind... lie down under the stars (He turns Jennifer in front of him, puts his hands on her waist)
Jennifer: Stop talking. (She chuckles, pushing away Marty's hand on her waist, looking at him)
Marty (laughing): What?
Jennifer: Does your mother know... about tomorrow night?
Marty: Ah, go to play outside the city. My mother thought I was going camping with (laughing) the boys. (He gestures nervously) Here, Jennifer, if my mother knows that I'm going there with you, she'll make a fuss, then I'm going to learn a standard lesson. Why she never did such a thing when she was young. I mean, look, I think women are born nuns.
Jennifer (touching his chin): She just wants you to be decent.
Marty hugged Jennifer and they kissed.
Marty: But she did a bad job.
Jennifer: It's terrible.
A woman's arms and hands reached into the screen and shook the donation box in front of them.
The woman who collected donations for the clock: Save the clock tower.
Close shot. The woman collecting donations for Zhong stood in front of Marty. She shook the donation box and looked at Marty and Jennifer outside the painting.
The woman who collected donations for the clock: save the clock tower! Mayor Wilson proposed to replace... (they looked back at the clock on the top of the building)... the clock. Thirty years ago, after thunder and lightning struck this clock, it has not passed. The Hill Valley Conservation Association believes that it should be restored as before... as our history and tradition!
Marty (puts a twenty-five cent coin in the donation box): Here it is, madam!
The woman who collected donations for Zhong: Thank you, and don't forget to get a flyer.
Marty: Okay.
When the woman walked out of the painting, Marty and Jennifer watched her. Matty Yang raised the flyer, and the two of them looked at each other.
Woman collecting donations for the clock (outside the picture): Save the clock tower!
Marty: Where did we talk?
Jennifer: Right here. (They kiss)
Mr. Parker (outside the picture): Jennifer! (Jennifer turns her head and looks to the left)
Middle shot. Mr. Parker parked the car in the middle of the screen, sat behind the steering wheel, and looked to the background.
Medium and close shots. When Jennifer turned her head to look around, Marty was holding her, she looked at Marty, and he looked to the left.
Jennifer: Here comes my father.
Marty: Not really.
Jennifer: I have to go.
Medium shot. The camera was taken from behind Marty's shoulder. Jennifer went to Mr. Parker to sit in her car. People come and go.
Marty (raising a hand): I will call you tonight.
Jennifer: Well, I'm with my grandmother. (She returns to Marty) I'll give you the phone number. (She writes a note and hands it to Marty)
Medium shot. Shoot everyone. Pat him from behind Marty and watched Jennifer write a note. Mr. Parker was in the car on Middle King Street, with people moving in the background. Marty bent over and kissed Jennifer.
Jennifer: Goodbye.
Close shot. Shot from above Jennifer's head, Marty leaned over to kiss her. I heard the singing of "The Power of Love", but I didn't hear clearly in the following scenes and dialogues.
Jennifer walked out of the painting, and Marty watched her. He looked at the note in his hand.
Insert the lens --- note that read "save the clock tower, Hill Valley telegraph office. Jihuai by lightning bell tower, the clock stopped on 10:04."
Overhead close-range. Marty holds a piece of paper in his hand.
Insert the lens-the note says: "I love you! 555-4823".
Medium and close shots. After reading the note, Marty looked up and smiled at Jennifer's back figure. He put the note in his shirt pocket, walked back to the bench, picked up the school bag, put on the skateboard, slid to the middle of the screen, grabbed a police car, hung it on the back and slid.
High-angle panoramic view·Dusk·Residential area The
car drove to the left, and the Marty hung behind it. When the car drove to the left, Marty let go and slid to the residential area.
Insert the lens-logo: "León Residential District".
panoramic. Marty slid to the middle of the lawn and stopped, and looked at the tow truck in the driveway. He checked the skateboard
panorama. A crashed car was towed behind the towing car, and the broken car was backed into the driveway. Marty ran by the tow car and looked at the car.
Marty: It's all together. (He walks out of the frame)
Medium and close shot. Marty climbed the steps and walked to the door.
Marty: This is really getting together. (He goes to the door and opens the screen door, but the door is half open. He walks into the house)
Biff (the painting goes outside the painting inside): I can’t believe that you (gesturing) borrowed the car to me without telling One part of my car broke down. I was almost killed.
Marty walked into the room, George looked at Biff, and Marty looked at the back of the two of them.
George: Alright, alright, Biff, alright. Before I used it, I never noticed, uh, where it broke. (Turning to see Marty) Hello, son. Uh...
panoramic view. Marty stood in the middle shot, with the front door behind him wide open. The camera moved to Marty, and he walked to the door, a little nervous.
Biff (outside the picture): What, are you blind? McFly. The car is there, what else can you explain to the mess?
Marty turned and put his elbow on the ledge to watch.
George: Biff, um, can we, can we take this approach... Use your, uh, insurance premium to compensate for this loss...
Biff (to George): My insurance premium? This is your car! You have to use your insurance premium to compensate! (He picks up his shirt) I have to figure out who should pay for this? When the car rushed towards me, I spilled all the beer on my clothes. Who pays for my dry cleaning?
Medium and close shots. Marty elbows on the ledge to watch, responding while listening.
Biff (outside the picture): Oh, where is my report?
George (outside the picture): Uh...oh, I haven't finished writing yet, but you know, I, I, (Biff grabbed George's tie tightly and twisted him in front of him. Biff pushed George into the foreground. ) I think since it hasn’t expired yet...
Biff (lifts a fist and slams George on the head): Hey, hello, is anyone home?
George laughed.
Biff (releasing George's tie, gesturing): Well, think about it. McFly, think about it! I have to have time to retype. (Biff nods and walks away; George also nods and walks away, with his arms akimbo) Do you understand, what will happen if I hand in your handwritten report? I will lose my job. (He walks towards George who is backing, the camera pans) You don't want this kind of thing, do you? (Biff walks over, then suddenly grabs George by the tie and pulls him to his side) Do you think?
George: Of course not, Biff, I don't want this to happen.
panoramic. Marty stood in the middle, with his hands in the pockets of his jeans. Biff walked to the middle shot, lifted the lid of the candy tank, took out a piece of candy, and Marty stared at him.
George (outside the picture): Now, I want to finish these reports... the
panorama. George stood in the middle, gesticulating, and Biff walked up to George.
George: ...just tonight, the first thing tomorrow is to deliver it, okay?
Biff (candy): Hi, don't be too early. I'm going to sleep late on Saturday.
George: That's good.
Biff lowered his head and pointed to George's shoes.
Biff: Look, McFly, your shoelaces are unraveled.
George looked down, and Biff hit George on the chin and head a few times, causing him to step back a few steps.
George: Oh. (Gege laughs)
Biff and George walk into the kitchen. Biff opened the refrigerator door and took out a can of beer.
Biff: Oh, don't be fooled so easily, McFly. Your place is very comfortable, McFly. Hi, I dragged your car all the way to your house, and you gave me a can of beer. (Laughs)
Biff looks at Marty outside the painting.
Medium and close shots. Marty was glaring at Biff outside the painting.
Panoramic, double lens. Biff smiled happily while holding a can of beer. He walked to the door and stood behind Marty.
Biff: What are you looking at...
close-up. Marty staring at him was shot from behind Biff's shoulder.
Biff: ...Papaya!
Close shot. From behind Marty, Biff stood at the door holding a can of beer.
Biff: Say hello to your mother for me. (Steps out of the picture from Marty) The
camera zooms in, George walks to Marty, Marty turns around, and George leans on the door.
George (making gestures with his hands): I know what you are going to say, son. you are right. what. you are right. But, uh... Biff happened to be my boss, I'm afraid I have no good way to deal with... quarrels.
Marty (looking at George and making gestures): Look at that car... Dad. (Marty turns and walks out of the painting, George walks to the door)
Panorama. Marty walked into the living room, the camera moved to him, shook him as he walked and gestured.
Marty: I mean, he destroyed the car. He was completely broken. I need this car tomorrow night, Dad. I mean, have you ever thought of how important it is to me? Have you thought about it a little bit?
George (outside the picture): I know, but I can only say... (He walks to the kitchen and leaned on the cupboard and gestures)... I'm sorry. Only part of George's body can be seen in the
interior, kitchen, evening, and close-up
. He was on the left side of the table, poured the peanut candy from the box into a bowl, and the peanut candy rolled onto the table. He leaned while eating. In the background, the TV was turned on, and an unclear announcement came.
George: Believe me, Marty, you'd better go away, don't worry about those... if you don't worry about... the annoying things and headaches of performing... at the dance party... that would be comfortable.
Dave (intercepting the above words): He is absolutely correct, Marty. You are the least guilty of making yourself a headache.
The two laughed, and Dave looked at George and turned to watch TV.
panoramic. Lorrain held a glass to drink water on the kitchen cupboard. She turned and walked to the foreground, holding a plate of fancy cakes in one hand and a glass in the other. She went to the place to eat.
Lorraine: Children...
mid and close shots. George was writing, his camera turned away, and Dave was watching the TV behind him, turning his head to look at Lorraine outside the painting.
Lorraine (outside the painting): Let's eat this cake by ourselves.
Medium shot. Lorraine stood and put down the plate of cakes.
Lorraine: Your uncle Joey failed this time on parole.
Insert the lens-a cake with the words "Welcome Uncle Joey Home" on it.
Middle shot, crowd scene. Several people were sitting around the table, all with their backs to the camera, George was writing, Dave was sitting on the left next to Lorrain and looking at her, she was sitting in the main seat, and Marty was on the right.
Lorraine: I think it would be great if you could write him a text message.
Marty: Uncle prisoner...
close-up shot. George and Dave looked at Marty at the same time.
Marty (outside the picture): Joey?
Dave: He is your brother, mother.
Linda (outside the painting): Yeah...
Medium and close shots. Linda was sitting on the left, looking at Lorraine. Linda removed the curls from her head.
Linda: I think having an uncle in jail is the biggest problem.
Lorraine: We all make mistakes in our lives, children.
Dave (outside the picture): God... the
middle shot. The family sat around the table, and Dave got up and walked to the door of the back view.
Dave: ...Damn it, I'm going to be late! (Turning back to look at the yelling Lorraine)
Lorraine (waves to Dave): Dave, pay attention to your mouth! Come here and kiss your mother before you leave. Come here.
Dave: Hurry up, mom, hurry up and kiss. (He walks back to Lorraine, kisses her face, she pats him on the back) I'm going to miss the bus.
Medium and close shots. George was writing on the table, and Dave walked over, leaned over, patted him on the back, and kissed the top of his head.
Dave: Okay, see you later, Dad. It's time to change your head oil.
George (looks up and smiles): Oh, he's so funny.
Linda (outside the painting): Hi, Marty...
medium and close shots. Marty was sitting at the table drinking soda, and when she heard Linda calling him, she turned towards her.
Linda: I am not your handset. When you were pouting at the car outside, Jennifer Parker called twice.
Marty put down the soda and looked at his watch.
Lorraine (outside the painting): I don't like her, Marty. (The camera turns into a close-up shot of a mother-daughter duo.) Girls calling boys are just asking for trouble.
Medium and close shots. Marty looked down at the plate and picked up the fork.
Linda (outside the picture): Oh, mom, there is nothing wrong with calling a boy.
Medium and close shots. Lorraine looked at Linda and nodded.
Lorraine: I think it is terrible. The girl chased the boy. When I was your age, I never pursued boys, didn't call boys, or talk to boys...
Marty glanced at Lorrain while spreading butter on the rolls.
Lorraine: ...Sit in the parked car.
Linda (outside the painting): So, how could I meet someone (in the painting, looking at Lorraine, Lorland patted her hand)?
Lorraine: Oh, this kind of thing is just a coincidence. It's like I met your father.
Linda (look at George and then at Lorraine): But that was stupid. The public car hit him.
Lorraine (closes her eyes and nods): That is God's will. (Pick up the glass to get up. Linda leaned back on the chair and removed the curls from her head) Anyway, if Grandpa didn't hit him, none of you would be born. (Begins to clear the table, picks up Dave's plate and walks to the kitchen in the back view)
Linda: Yeah, but I still don't understand. What is my dad doing in the street?
Lorrain walked from the kitchen sink to the cabinet and looked at George.
Lorraine: What are you doing, George?
Medium and close shots. George lowered his head to write something and looked up at her.
Lorraine (outside the painting): Watching the birds?
George: What did you say? Lorraine.
Medium and close shots. Lorrain poured some vodka into the glass, held George, and closed the bottle.
George (outside the picture): What?
Lorraine: Anyway, your grandfather's car hit him and led him into the house. He seemed helpless, like a lost puppy.
Medium and close shots. George looked down at what he was writing, and the camera panned slightly.
Lorraine (outside the painting): And my heart flew to him.
Linda (outside the picture): Yes, mother, we know that you have told us this story thousands of times. You are sorry for him, so you decide (in the painting) to dance the "Underwater Fish" dance with him.
Lorraine (shaking her head, denying it): No, no, that's the "Undersea Labyrinth" dance. That was our first date. I will never forget. There was a terrible thunderstorm that night, remember, George?
Medium and close shots. George sat in the middle, looking at Lorraine and the television outside the painting.
Medium and close shots. Linda was sitting on the left side of the table, her cheek supported. Among them was Lorraine. She looked at George and the camera slowly moved closer to her.
Lorraine: On that dance floor, your father kissed me for the first time. At the same time, I understand that I want to live with him forever. (Looking up at George)
George laughed heartily outside the painting.
Medium and close shots. George turned to look at Lorraine.
George (laughs): Oh no. (Refers to the TV, and then goes to watch TV) The
three people have a panoramic view. Marty sits on the right, Linda on the left, Lorraine in the middle. They looked at George outside the painting, and George laughed again.
Medium and close shots, radio with clock on the bedside table, interior view, bedroom, night
insert lens-the time on the clock is 12:27, and it jumps to 12:28. At this time, a vague singing was heard.
Pulled behind the camera, shooting Marty lying on the bed in clothes. He suddenly woke up and listened to the voice outside the picture. That is the phone ringing. He reached for the phone, put the receiver to his ear, and propped himself up with his elbow.
Marty: Hello?
Brown (outside the painting, voice on the phone): Marty, are you asleep?
Marty: No, doctor. Uh, no, no, no, don't be stupid. (He sits on the side of the bed, fully awake, facing his watch. The camera pans slightly)
Brown (outside the painting, voice on the phone): Listen to me, this matter is very important, I forgot the camcorder. (Marty eats a piece of candy) Can you stop by me and take it to the boulevard?
Marty: Uh, yes. I'm on the road. (He puts the earphones back on the hookswitch)
Location·Street·
Yamatti slid panting on a skateboard, he walked in the zigzag shape, and the camera panned. He stopped on the boulevard.
Insert the lens --- street sign: "Double Pine Tree-lined Road. JC Penney Company".
Marty looks out of the painting. He took the headphones off his ears.
panoramic. The dog named Einstein was sitting on the ground.
Insert the lens --- the side of the carriage of the vehicle says: "E·Brown Company, Day and Night Scientific Service".
Medium and close shots. Marty looked at the truck outside the picture on the right, picked up the skateboard, and walked around the sign to the car.
panoramic. Marty took the skateboard and walked around the street signs. The camera descends, pushes to the parking lot, and shoots into Brown's truck. Marty walked to the car.
Location·Street·Night·Panorama
Einstein sat in the middle of the road, looking at the right foreground, Marty slid over on the skateboard. Einstein turned to look at Marty. Marty walked over and patted the dog's head.
Marty: Einstein! Hi, Einstein, where is the doctor? Dude, eh? Uh?
Marty squatted beside Einstein and grabbed his head. He heard the sound of a car starting outside the picture. Marty looked up.
panoramic. The rear of the truck occupies the middle shot of the picture, and smoke is emitting from the roof. The door behind it slowly opened.
Medium shot. Einstein looked at the truck outside the painting, Marty slowly stood up, and Einstein shook his head. The camera zooms closer to Marty's lower limbs, and he is holding the camcorder.
panoramic. The door behind the carrier slowly opened towards the foreground, and the smoke overflowed.
Medium shot. Marty looked up at the car outside the painting, Einstein looked up at Marty, and Marty stroked Einstein.
panoramic. The door behind the car was fully opened, and the car was filled with gunpowder smoke. Exit a car from it.
Insert the lens --- car license plate: "untimely".
The camera zoomed in and saw that it was a stainless steel "Dlorrain" car with a chimney on it and some devices protruding from the rear of the car.
Medium shot. The car backed towards Einstein and Marty, the driver's door opened upwards, Brown walked out, the camera zoomed in, Marty walked over to meet him.
Marty: Doctor!
Brown: Marty!
Marty: Doctor.
Both of them reached out to each other.
Brown: You are here!
Marty: Yes.
Brown: Welcome to my final experiment. This is a large-scale experiment, and this is what I hope for all my life!
Marty: Ah, ah, this is a Deloraine, right? But, how did you make it like this?
Brown (almost at the same time with Marty): Be patient, Marty. All your questions will be answered. (Leading Marty to the back of the car) Prepare the videotape...
Marty: Okay, follow it.
Brown: We are about to start.
Marty: Uh, doctor, good.
Brown (at the same time): Leave it alone for now. Leave it alone for now.
Marty: Okay, that's it.
Brown (at the same time): Don't now, don't now.
Marty (takes the camcorder and points it at Brown): Okay, I'm ready.
Medium and close shots. Brown stood in the middle, looking at the right foreground. The car is on the left, and the back view is the house.
Brown: Good evening. This is Dr. Emmet Brown. I am standing in the parking lot of the Shuangsong pine tree-lined road. It's Saturday morning, October 26, 1985, Saturday, 1:18 AM...
Medium shot. Marty raised the camcorder to his eyes, looked at the watch, took the watch into the lens, and shook the wrist of the watch.
Brown (outside the picture): ...This is the first time trial.
In the middle shot, shooting Brown towards Einstein from behind Marty.
Brown: Come on, Einstein, kid. Go up there. Good boy. You go in, go. Sit down and fasten your seat belt. that's all.
Brown led the dog into the car. The dog jumped into the driver's seat. Brown bent over to the dog. As Marty walked over with the camcorder, the camera zoomed in.
Middle shot, side shot Brown tying Einstein's seat belt. The dog sits behind the steering wheel.
Brown: That's it. All right. Come on, sit down.
Medium shot. Marty (back view) photographs Brown placing the dog in the car.
Brown: Wait a minute, wait a minute.
Marty (stands in front of Brown): Okay.
Close shot. Brown leaned over and sat in the driver's seat with Einstein, fiddling with something on the belt around his neck.
Brown: Please pay attention... Einstein's clock... (raising the clock to Marty)
Close-up shot. Only part of Einstein's body and Brown's upper body were seen. He was holding an electronic clock.
Insert the lens --- clock: 1:18, changed to 1:19.
Brown: ...completely synchronized with the watch I control. do you understand?
Marty (outside the painting): I see.
Medium and close shots. Marty is aiming at Brown with a camcorder.
Marty: Stop, doctor.
Brown: Very good. (Standing up)
Medium shot. Brown got up from the front seat, with a calendar clock around the dog's neck. He reached out to Einstein's seat and picked up a device.
Brown: Have a good journey, Einstein. (Outside the picture) Watch out for your head.
Einstein looked up. Brown closed the door. The camera zooms closer to the window to shoot Einstein sitting in the front seat.
Medium and close shots. Brown turned to the side, turned on the remote control, and the car started to persuade him.
Marty (outside the painting): Put this thing... a
panoramic view. Marty and Brown stood side by side. Brown was holding the remote control, and Marty was gesturing, looking at the car with the open rear door.
Marty: ...tethered to the car?
Brown gestured to him, and Marty remained silent and looked at Brown.
Brown: Look at this.
Marty: Ah, ah.
Marty raised the camcorder to his shoulder, and Brown pressed a button.
Close up shot. Only part of Brown's figure was reached, he pressed the button on the left, the camera panned to the right, and saw the car (Einstein sitting in the front seat) reversing from the right, then turned around and drove towards the background.
Medium and close shots. Brown is controlling the car outside the picture. Marty made a video next to him, and they turned to the foreground.
Take a panoramic view from above. The car controlled by Brown turned around in the parking lot, then turned to the right, and the camera shook its heels.
panoramic. Brown stared wide, and controlled the car outside the picture with the buttons. Marty took a video on his right. From time to time he took pictures of Brown, and sometimes turned to take pictures of the car outside the picture.
Brown: Don't shoot me, shoot cars, cars.
panoramic. Brown was holding the remote control, and the car was sliding in the background.
Medium and close shots. The car slid to the front left and stopped immediately. Brown's eyes rounded, and Marty with the camcorder next to him. Brown continued to press the buttons of the remote control.
Medium and close shots. Seeing the rear part of the car, the wheels are spinning, the tires are facing the next stop, and the car is reversed. The camera panned the car around. I saw Einstein sitting in the front seat through the car window.
Medium and close shots. Brown manipulated skillfully, and Marty stood beside him with the camcorder to shoot. They crossed the parking lot. The car stopped in the back scene with the headlights on. Brown took Marty's arm and walked to the middle shot and stopped with his back to the camera. Brown started to manipulate the remote control again, and Marty photographed the car.
Brown: If my calculations are correct, when this car reaches 88 miles per hour, you will see a real strange thing happen. (Marty looks at Brown)
Close-up shot. Brown, holding the remote control, stood among them.
Insert the lens --- the gauge, the pointer is on O.
He pressed the button and the red light turned on. He presses a button and the gauge rises to 7.8.
panoramic. The tires behind the car spun and sparked, and the whole car began to tremble.
Close shot. Brown's hand is pulling the remote control.
panoramic. The car's tires spun while sparking.
Close shot. Brown's hand is manipulating the remote control. The number on the meter on the remote control is 18.9 and then rises to 24.9.
Close shot. I only saw the rear of the car, the wheels were spinning, and the camera was shaking up. Einstein was seen sitting in the front seat reacting from the windshield.
Close shot. Brown's hand turned the switch on the remote control, and the number on the meter was 31.8, which rose to 40.8.
panoramic. Marty was shooting in the middle shot, and Brown was manipulating the remote control on his left. They both look at each other. Marty moved sideways to Brown.
The number on Brown's meter rose from 54.8 to 58.8, and from 62.9 to 65.9.
Look up at the car. It drove to the left with water vapor from its tail, out of the picture.
panoramic. The car hurried over from the right and rushed towards Brown and Marty in the background. It rushed along with Brown's remote control. The camera pans.
Medium shot. Marty was carrying a video camera to film the car, and Brown stretched out his arm to grab Marty.
Brown: Looking at this, the number on the meter on the remote control in Brown's hand is 76.8, which rises to 80.8, and after a while, it rises from 86.8 to 88.03.
Close shot. Seeing Einstein sitting in the front seat through the windshield, he reacted.
panoramic. The car continued to gallop, the camera panned and pulled back to see sparks on the spinning wheels. Marty's eyes widened when he saw it. Brown was beside him. The intense fire dazzled them, and they couldn't see anything.
The car rushed from left to right, finally exploded and disappeared, leaving only the overflowing steam.
Medium and close shots. Shooting the legs and feet of Marty and Brown, the trail of the flame stretches from under their crotch to the background.
panoramic. Brown and Marty (both from back) stood side by side in the middle shot. They turned to look at the two flames rushing to the right foreground and reacted.
Close-up shot from the top. Brown was holding the remote control, and Marty was standing to his right. They couldn't believe the sight before them. The evening breeze was blowing through their hair. The camera pulls up and pushes towards them, Brown looks at the gauge, and Marty looks at the background.
Brown: Ah, what am I telling you!
Medium shot. Marty and Brown stood side by side, two flames near them. Brown turned around happily, raising his hands and dancing.
Brown: 88 mph!
Marty turned and walked towards the foreground.
Medium shot. Marty looked at the two flames outside the painting and the spinning license plate. This was the only thing left on the car. It fell on the road.
Insert the lens --- car license plate: "untimely".
Medium shot. Marty walked to the foreground, Brown looked at his watch behind him, the camera slowly panned down, Marty opened his mouth wide and stared out of the picture.
Brown: The time shift occurred at 1:20:00 in the morning.
Marty bent down, picked up the hot car license plate, and threw it away. Brown patted his forehead, then reached into his pocket for something.
Marty: Oh my god! God, doctor, you ruined Einstein!
Brown: Calm down, Marty. I didn't destroy anything. The molecular structure of Einstein and the car is completely intact.
Brown took the notebook and walked to Marty. Brown wrote the record, and Marty looked at him.
Marty (pointing to the foreground on the right): So, where did they go?
Brown: It should be asked this way: When did they go? You see, Einstein just became the world's first time traveler, and I sent it into the future.
Brown turned to the background, Marty stared at the foreground dumbfounded, and he looked at Brown again. Brown pointed to the sky, walked towards Marty while talking, pointed at the people, and was busy taking notes.
Brown: To be precise, one minute into the future, 1:21:O seconds in the morning. We have to catch up with it and the time machine. (He turns sideways, strokes his forehead, thinking)
Marty: Wait a minute. Wait a minute, doctor. Ah, did you say that you created a time machine with "Dlorrain"? (Panting)
Brown (gesturing): I think so, since you are going to build a time machine in the car, why not make it a bit stylish!
Marty: Oh.
Brown: Besides, the structure of stainless steel can also disperse particles. (He checks his watch)
Marty (back view) looks at Brown's watch. Brown suddenly pushes Marty to the right foreground and observes the reappearing car. The car came towards them from the right, they greeted them, and the camera panned the car.
Brown: Be careful!
The car brakes, rotating one hundred and eighty degrees.
Marty and Brown watched.
Brown pressed the button of the remote control, and Marty stared at him with round eyes. He finally sighed in relief and looked at Brown, who also looked at him, and they all looked at the car again.
panoramic. Marty and Brown are standing by the car. The car was covered with snow and steamed. They walked to the car, the camera circled the car, the two jet pipes at the rear of the car exhausted, and the picture was filled with steam. Brown smiled. The water vapor at the rear of the car gradually dissipated. Brown took the remote control and looked at the car with wide-eyed eyes.
The car was still steaming, and Brown walked over and looked in the window. He touched the doorknob, excited.
Brown (shrinking his hands sharply): Woo——!
Marty: What, what is hot?
Brown: It's cold.
Brown stood by the car and opened the door with his feet.
Brown: It's damned cold.
Aerial shot: Brown opened the car door with his foot, and there was snow on the door.
The door slid open. Einstein still sat firmly in the front seat, safe and sound. Brown grabbed Einstein's head affectionately.
Brown (laughing): Ah---ah! Einstein, you kid!
Brown compares his digital clock with the dog's digital clock.
Insert the lens-clock, 1:20: 1:21, the difference is one minute.
Brown: Einstein's clock is exactly one minute slower than mine... It's still going. bring it on.
panoramic. Marty watched Brown stand beside the car and unfasten Einstein's seat belt. Einstein got out of the car from the front seat and happily ran out of the picture.
Medium shot. Marty watched Einstein head towards the truck, and it jumped on the truck.
Marty: It's okay.
Brown (outside the painting): It's good.
Brown: It has no idea what happened. In terms of it, the journey was very short (he raised his watch). This is why its watch is exactly one minute slower than mine, and it skips this minute in order to arrive immediately in time.
Marty looked at him. He poked Marty's arm, who was staring at him, and pulled him to the car.
Brown: Let me tell you how.
Marty: Okay.
Interior · Car · Brown sitting in the driver's seat
Brown: First, you unscrew the time cycler...
close-up. Brown's hand pushed the joystick forward. See the words on the dashboard.
Destination time
month day year hour minute
10 26 1985 01:21
current time
month day year hour minute
10 26 1985 01:22
departure time
month day year hour minute
10 26 1985 01:20
close view. Metering table.
Insert the lens one by one meter. Plutonium cartridge, the pointer points from the 0 on the right side of the picture to the meter.
Close shot. The words on the calendar dial are as before. Brown pointed to the words on the dashboard.
Brown: This number tells you what time to go, this represents the time in front of you, and this represents the time in the past.
Marty (outside the painting): Oh.
Medium shot. Brown sat in the front seat, with a smiling Marty next to the car.
Brown: You enter the time you want to go on this launch button. (Marty shoots the dashboard) For example, you have to watch the signing ceremony of the Declaration of Independence.
Close-up shot. Seeing Brown's arm and hand uncover a cover on the board with numbers, he pressed a number.
Close shot. The first line of words on the calendar dashboard disappeared, showing July, 4th, 6 o'clock in 1776.
Brown (outside the picture): Or to witness the birth of Christ in person (he presses another key).
The first line of words on the dashboard disappeared, and it also showed: 00, December, 25th, 6 o'clock.
Close shot. Side shot Brown sitting in the front seat of the car with a big smile, looking at Marty. There is a hand of Marty holding a camcorder on the screen.
Brown: This is a festival in the history of science: November, 1955... (Hear the beep
on the dashboard ) The first line of words on the dashboard disappeared, showing other words: November, 1955, 5th, 6 o'clock.
Brown (outside the picture): ...5th.
Medium shot. Brown sits in the driver's seat, and Marty shoots him outside the car. He put down the camcorder and looked at Brown.
Brown: Yes, of course it was November 5, 1955. (Looking at Marty, touching his forehead)
Marty: What's the matter? I don't understand, what happened?
Brown (laughs): That was the day when I invented time travel.
Medium and close shots. Marty looked at Brown from outside the car.
Brown (outside the painting): I remember it clearly. I'm standing...
close shot. Brown looked at Marty outside the painting from the front seat of the car and gestured.
Brown: …There is a clock on the side of the toilet. The side of the porcelain basin is very slippery. I slipped off and hit my head against the sink. When I woke up, I made a new discovery (pointing to my head) An illusion. There is a picture in my mind. A picture like this. (Turns around and points to a device behind)
Medium and close shot. Brown pointed to the middle of the machine.
Brown. It is what makes time travel possible.
Insert the lens-the device says: "Separate the capacitive transmission device before opening"
Brown (block the light with your hand): particle capacitor.
Medium and close shots. Marty holds the camcorder to shoot Brown.
Marty: Particle capacitor?
Brown: It took me almost thirty years and all my belongings to realize my fantasy that day. My God... has it been that long?
Medium shot. Marty bowed slightly beside the car, Brown got out of the driver's seat, Marty straightened up.
Brown: The scenery here must have changed. I remember back then, here was the endless farmland. (He looks around and gestures. Marty is still photographing the interior of the car) Old Peabody is the owner of this land, and he dreams of growing pine trees here.
Marty: This, uh, this is really heavy, doctor. It’s amazing, uh, uh, is it powered like normal unleaded...gasoline?
Brown: Unfortunately, no. This car needs something more exciting. Plutonium. (He walks to the car)
Marty puts down the camcorder and turns to point to the car.
Marty: Well, plutonium. and many more. You... Did you tell me that this fool uses nuclear power?
Brown: Hi, hi, hi! Keep shooting. Go on...
Marty picked up the camcorder to shoot the left side of the picture.
Brown: ...shoot there. No, no, no. This fool is electric, but I want a nuclear-powered response to produce the 1.21 GW I need.
After shooting for a while, Marty put down the camcorder and looked at Brown.
Marty: Doctor, you can't just walk into a store and buy plutonium.
Brown turned back to the car, stopped, and gestured to Marty outside the painting.
Marty (outside the painting): Did you steal it? (The camera pulls back slightly and sees Marty walk over and stare at Brown, and continue to shoot Brown)
Brown: Of course, I got the plutonium from a group of nationalist terrorists. They asked me to make a bomb for them, so I took their plutonium and gave them a shiny bomb, stuffed with old pachinko machine parts. (Getting out of the screen)
Marty was carrying the camcorder, and was speechless.
Brown (outside the picture): Let me give you a radiation protection suit. (Marty puts down the camcorder and we have to refill it.
Close shot. Brown wears rubber gloves and bends to open the lid of the box with six bottles of plutonium. He takes out a bottle from it and carefully closes the lid. He is wearing it. White overalls, wearing a mask, lift the container and look at the liquid in the bottle.
Marty (outside the painting): Ah, my goodness!
Close-up shot. Brown's hand and arm are photographed as he opens the lid of the vaporizer. Horse Wearing a yellow overalls and overalls, he carried the camcorder to help Brown put the bottle into the open part. Something dripped from the bottle into the vaporizer. Marty shivered. Brown reached out and took the bottle away and twisted the vaporizer. Cover.
Medium and close shot. Only part of Marty’s back is seen. He shot Brown screwing on the cap of the vaporizer and removing the hood.
Brown: It’s safe now. Everything is sealed with lead.
Marty takes off the hood. Brown took the empty bottle to the box, kicked it open, and put the bottle in. Marty walked to him.
Brown: Don't lose that tape. I need it for the record. Store it here. Let’s get started.
Brown closed the lid, put down the helmet, and walked to Marty. Suddenly turned back and picked up a lightweight suitcase, Marty took it. Brown and Marty walked to the car one after another, and Brown opened the door. .
Brown: Oh, I almost forget my suitcase I mean, who knows what the future is not cotton underwear I am allergic to all synthetic fabrics (he put the suitcase on the front of the car at the side of Marty... Watch. Brown closes the cover and turns to Marty)
Marty: In the future? That's where you are going?
Brown: Right.
Marty is smiling but Brown's eyes are round.
Brown: Twenty-five cars in the future. I always dream of seeing the future, transcending my age, and witnessing the development of mankind.
Brown walked to Marty, put his arms around Marty's shoulders, and pushed him to the car. Marty looked back at Brown as he walked.
Marty (laughs): Why not?
Brown: I can also find out who will win the World Cup in the next 25 years.
Marty: Uh, doctor.
Brown: Huh? (Look at Marty)
Marty: Well, when you get there, look for me.
Brown: Of course, I will find you. Take it.
Medium and close shots. Marty picked up the camcorder to shoot. Brown opened the car door and put his hand on his throat, Marty (back view) was shooting.
Brown (clears his throat): I,...Emmett Brown, are going on a historic trip. (Laughs, puts his hand on his forehead, looks at the rear view on the right, and then at Marty) What am I thinking? I almost forgot to bring more plutonium, how can I come back. I use a small bottle for a journey, I must be foolish.
Einstein barked outside the painting.
Medium and close shots. Einstein was covered with a blanket and barked toward the foreground in the cab of the carrier. Brown leaned forward to hold on to the open door and looked at it with a smile. Einstein was still barking.
Brown: What's the matter? Einny?
Medium and close shots. Looking in through the window, Einstein looked to the right. Brown held the open car door and looked around.
Brown: Huh?
panoramic. Brown saw a car coming from outside the painting, with the car's lights shining from the back to the middle. Marty (back view), who was shooting Brown leaning over to support the car door, reacted.
Brown: Ah, my god. They found me. Somehow, but they found me. Run, Marty!
Marty was still shooting Brown in the middle shot; he turned his head and looked around.
Marty: Who? who?
Brown: Who do you think it will be? Terrorists!
Marty turned his head to look at the camcorder, and drove a big car. The soldier yelled in words that he didn't understand.
panoramic. Soldiers got their guns through the transom on the roof of the car. The big car drove from the right to after a printed photo Hengzi. Marty took the video camera, his eyes widened, and hid outside the painting.
Marty: I hate it!
panoramic. The big car drove over, fired at them with a machine gun, and the camera panned the big car.
Medium and close shots. Brown bent down, the bullets spattered and splashed outside the carrying car. He raised his hand to cover his head and lay on the back of the carrying car.
Brown: I want to hold back their firepower.
Marty stared at the big car. Brown bent down and took out the pistol from the drawer of the toolbox, aimed with both hands, and raised the trigger.
panoramic. The big car rushed from left to right. The camera panned across the parking lot and the soldiers opened fire frequently.
Brown stood, aiming at the big car with both hands, but the gun couldn't be fired, so he patted it with his hands. He looked down at the barrel of the gun, startled. With the bullets roaring from the outside of the car, he bowed to avoid and walked to the left.
Marty (eyes widened): Doctor, wait!
panoramic. The soldier who emerged from the transom of the big car shot to the left, and the camera panned.
Medium shot. Brown walked around the carrier car from the left, bullets flying around him. He was holding a gun, standing in front of the big car, looking at the soldier. The soldier looked down at Brown. Brown slowly raised his gun and looked at the soldier. Marty leaned on the carrier car and looked at the soldiers.
panoramic. Marty outside the painting saw Brown standing on the edge of the truck with his hands raised above his head and throwing the gun into the air, while the soldier's machine gun was aimed at Brown. Marty stared at the soldier. The soldier opened fire. Brown was shot and staggered back. The gnashing soldiers fired at Brown again. Brown was hit again and fell to the ground on his back. Marty was dumbfounded.
Marty (stands up): No, you bastards!
The soldier on the roof shot Marty. Marty ran, the camera panned, he hid behind the carrying car; bullets whizzed past the roof of the car, the soldiers continued to shoot down, his gun blocked and stopped. He cursed something, and the big car pulled out the picture.
Medium and close shots. Marty took the camcorder and filmed the oncoming car. The soldier in the car got through the transom, the car stopped and stopped. Marty stood in the middle of the frame, frightened and desperate, and the camera zoomed in to see him closing his eyes tightly. The soldier raised his gun to his shoulder and fired at Marty. The gun was blocked again, and he had to put it down.
Medium and close shots. Marty opened his eyes and looked around. The soldier whispered outside the painting and heard him playing with guns.
Marty ran wildly and the camera panned him jumping into the time machine car with the open door.
Medium and close shots. While the soldier fiddled with the gun, he gestured to Marty who was running away.
Soldier: Go!
Close shot, Marty sits in the driver's seat, reaches out to close the door, and catches a glimpse of Brown lying behind the carrying car. He looked up at the big car, closed the door, and pushed the start button.
· Car parking · location · Night
largest car chase near the parking lot Marty's car.
Interior·Car·Close-up
Only part of Marty is seen, and he slams the joystick.
Medium and close shots. Digital dashboard. The word code appears on the dashboard: Destination time: 1955, November 6, 6 am; current time: 1985, November 26, 1 am.
Medium and close shots. From Marty's point of view outside the painting, the soldiers exposed outside the transom of the big car were grinning and shot him. The sound of gunfire is endless.
Marty drove away, the big car drove up to him, and the soldiers shot at him again,
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