The Theory of Everything

Synopsis: The Theory of Everything is the story of the most brilliant and celebrated physicist of our time, Stephen Hawking, and Jane Wilde the arts student he fell in love with whilst studying at Cambridge in the 1960s. Little was expected from Stephen Hawking, a bright but shiftless student of cosmology, given just two years to live following the diagnosis of a fatal illness at 21 years of age. He became galvanized, however, by the love of fellow Cambridge student, Jane Wilde, and he went on to be called the successor to Einstein, as well as a husband and father to their three children. Over the course of their marriage as Stephen's body collapsed and his academic renown soared, fault lines were exposed that tested the lineaments of their relationship and dramatically altered the course of both of their lives.
Director(s): James Marsh
Production: Focus Features
  Won 1 Oscar. Another 24 wins & 121 nominations.
 
IMDB:
7.7
Metacritic:
72
Rotten Tomatoes:
78%
PG-13
Year:
2014
123 min
$35,887,263
Website
104 Views


RUN OPENING TITLES OVER:

INT. EMPIRE ROOM, BUCKINGHAM PALACE - DAY (LATE 1980'S)

TWO BESPECTACLED EYES. Blinking. Alert. Male. Middle-aged.

Reflected in his shiny GLASSES - a WOMAN, middle-aged, (JANE

HAWKING) removing the glasses from his nose.

CUT TO:

The MAN's POV, as -

- his vision goes from FOCUSED to BLURRY as the GLASSES are

removed.

- his BLURRY POV of the WOMAN's hands POLISHING his glasses

with a cloth.

- his BLURRY POV then shifts (as she steps aside) onto a

SMALL PERSON in the distance jumping up and down.

- his BLURRY POV of the GLASSES then being replaced on his

nose, and -

- with this, his VISION comes abruptly into FOCUS, and the

SMALL PERSON is revealed to be -- a BOY (10) playing

HOPSCOTCH in the RED-CARPETED CORRIDOR.

- Beyond the BOY, TWO RED-COATED EQUERRIES begin

(unceremoniously) to prepare the HALLWAY for a ceremony. They

lay out potted-plants and drape velvet ropes. One blows his

nose.

TIGHT ON:
The eyes behind the glasses watching, his eyes

finally looking downward...as we hear a metallic CLICKING

sound - "CLICK, CLICK, CLICK..."

- ANGLE ON:
HIS HAND, which is clicking a CLICKER-PLATE...

- then on a COMPUTER MONITOR (mounted to the CHAIR), words

form out of a streaming alphabet with each 'CLICK'. The man

is at work, selecting LETTERS, then WHOLE WORDS from a MENU

...making sentences by these means.

- OTHER PARTIAL VIEWS (ECUs) of this MAN in his WHEELCHAIR.

We see...a TUFT of BROWN HAIR...his HAND on chair arm-rest

...his FEET on a wheelchair's foot-rests...JANE's HANDS

arrange the BROWN HAIR...adjust his THIN ARMS...but never do

we see the full man, as -

- the TWO EQUERRIES open TWO LARGE ORNATE DOORS and motion

the PARTY forward.

(CONTINUED)

THE THEORY of EVERYTHING 2

CONTINUED:

TIGHT ON:
the MAN's HAND, pushing a TOGGLE-STICK CONTROLLER,

putting the CHAIR in motion, to the sound of a small electric

motor.

END OPENING TITLES -

TIGHT ON:
The WHEELS of the WHEELCHAIR, turning...

MATCH CUT TO:

EXT. CAMBRIDGE STREETS - DAY (EARLY-MID 1960's)

...the FRONT WHEEL of STEPHEN's BICYCLE, SPINNING VERY VERY

FAST...

STEPHEN HAWKING (in his early 20s) and his friend, BRIAN

(same age), race each other recklessly through the NARROW,

WINDING LANES. It looks VERY DANGEROUS. They are neck and

neck. And they are loving it.

STEPHEN HAWKING, his face almost entirely covered with

spectacles and floppy hair, slight of frame, a velvet jacket

and velvet bow tie, eccentric-looking. STEPHEN is a fun-

loving, playful, active, young student.

BRIAN, STEPHEN's best friend. More interested in life than

studies, as we shall see.

EXT. STUDENT PARTY,CAMBRIDGE - DUSK

STEPHEN and BRIAN arrive at the party, dismount at speed and,

running to a walk, crash their BIKES into a HEDGE. BRIAN wins

the race, raises arms aloft as - they enter the PARTY. We

follow them in...(CONTINUOUS SHOT)

INT. STUDENT PARTY,CAMBRIDGE - NIGHT - CONTINUOUS

...STEPHEN and BRIAN enter, and the CAMERA finally follows

them into the main room of the PARTY.

STEPHEN and BRIAN come to a halt in the doorway as they

OBSERVE -

- a CROWDED ROOM engaged in lively bubbly conversation. In

the background suitably elegant music plays.

BRIAN:

First to find a drink.

STEPHEN and BRIAN make their way through the GUESTS, looking

for the BAR. BRIAN eyes the PRETTY GIRLS he passes...

(CONTINUED)

THE THEORY of EVERYTHING 3

CONTINUED:

BRIAN (CONT'D)

I'm sure the secret of the universe

has something to do with sex. There

you go--why don't you do your

doctorate on that? The physics of

love.

STEPHEN:

More your field, I think.

BRIAN:

You'd better decide on your

subject. I'm serious--they'll boot

you out.

They reach the PUNCH-BOWL. BRIAN tastes the PUNCH with his

finger, and UNIMPRESSED, fills TWO GLASSES.

CUT TO:

A YOUNG WOMAN, JANE WILDE, (18) arrives at the door with her

friend DIANA. DIANA is unimpressed by the party.

JANE, shy, has her hair up in a fashionable bouffant roll.

DIANA is more vivacious, and touches up her lipstick.

DIANA:

Scientists! Don't worry. We don't

have to stay long. Looks

mortifyingly dull.

(seeing a boy)

Oh, hang on--

(waves to the boy)

Be right back, okay? Okay?

JANE nods, as DIANA goes over to GREET the boy and then walk

off together with him into the crowd.

ANGLE ON:
JANE, marooned.

CUT TO:

At the PUNCH-BOWL, drinking punch.

STEPHEN:

I applied for a job.

BRIAN:

Did you?

STEPHEN:

Civil Service.

BRIAN:

Well, it's a back-up plan--in your

case not a bad idea. Did they

accept you?

(CONTINUED)

THE THEORY of EVERYTHING 4

CONTINUED:
(2)

ANGLE ON:
STEPHEN's POV of JANE, standing across the room,

now holding a WINE-GLASS.

STEPHEN:

Unfortunately, that I'll never

know. Morning of their exam,

I...(smiles)

BRIAN:

- slept in. Well, thank Christ,

the world has lost a promising pay-

clerk.

BRIAN holds out a FULL PUNCH GLASS for STEPHEN but STEPHEN

still has his eye on JANE. BRIAN follows STEPHEN's GAZE as -

- STEPHEN and JANE's eyes meet. They hold this look, until

she shyly looks away.

BRIAN has observed this exchange.

BRIAN (CONT'D)

(LATIN)

Quo est femella?

STEPHEN:

I was going to ask you.

BRIAN:

Actually--I think she's--yes--

Basil's sister. Wilde--Jane Wilde.

(RUSSIAN ACCENT)

"So. You like for me I introduce?"

STEPHEN contemplates this, as we -

CUT TO:

DIANA changes the RECORD - to BOP JAZZ. GUESTS immediately

take the DANCE-FLOOR and start DANCING.

DIANA returns to JANE.

DIANA:

That's better.

JANE:

Who is that guy?

DIANA:

(looking at Stephen)

Oh. He's strange, clever, goes on

Ban The Bomb marches.

(spying another boy)

Oh, there's David. Come on.

(CONTINUED)

THE THEORY of EVERYTHING 5

CONTINUED:
(3)

DIANA goes over to DAVID, but JANE stays where she is.

CUT TO:

BRIAN walks off to talk to another GIRL, while -

- STEPHEN, left alone, decides to slowly approach JANE. JANE

has hardly touched her wine. STEPHEN has a beer.

They look around the room together, and then -

STEPHEN:

Hello.

JANE:

Hello.

STEPHEN:

Science?

JANE:

Arts.

More silence. They look elsewhere.

JANE (CONT'D)

So what do you-?

STEPHEN:

Cosmologist. I'm a cosmologist.

JANE:

What's a cosmologist?

STEPHEN:

It's a kind of religion--for

intelligent atheists.

(SUSPICIOUSLY)

You're not religious, are you?

JANE:

C of E. Church of England.

STEPHEN:

(SIMULTANEOUSLY)

- England.

(SMILES CHEEKILY)

I suppose someone has to be.

JANE is not sure whether to take offence.

JANE:

So--what do cosmologists worship

then?

(CONTINUED)

THE THEORY of EVERYTHING 6

CONTINUED:
(4)

STEPHEN:

(GRINS)

A single unifying equation that

explains everything in the

universe.

JANE:

(AMUSED)

Really? So what's the equation?

STEPHEN smiles.

STEPHEN:

That is the question.

CUT TO:

The NEEDLE on the RECORD PLAYER now drops onto a ROLLING

STONES record - "TIME IS ON OUR SIDE"

Few people remain at the party now. The tables are empty -

the food is gone. The punch bowl is drained dry.

DIANA is still talking to DAVID, laughing.

ANGLE ON:
JANE, now listening intently to STEPHEN.

JANE:

Why didn't you stay at Oxford?

STEPHEN:

My finals papers were such a

shambles the examiners called me in

for a 'Viva' and I told them -

JANE:

What's a viva?

STEPHEN:

A mildly terrifying face-to-face

thingy. An interrogation.

So I told them that if they gave me

a 2nd class degree I'd stay with

them and do my research at Oxford,

but if they gave me the 1st I

needed to get into Cambridge, then

they'd never have to see me again.

JANE:

They gave you the 1st.

STEPHEN:

They gave me the 1st.

JANE laughs. STEPHEN grins - it's a GREAT GRIN, as -

- DIANA approaches.

(CONTINUED)

THE THEORY of EVERYTHING 7

CONTINUED:
(5)

DIANA:

This party is officially deceased!

Come on--I've fixed you up a ride

home.

DAVID and DAVID's HANDSOME FRIEND wait by the door. JANE

barely has time to speak before she is dragged away by DIANA.

JANE:

Well, I hope you find your

equation.

STEPHEN stands there, forlorn. But then JANE returns, stuffs

something in his hand, and then runs away.

It's a NAPKIN. On it - a PHONE NUMBER. He stares at it,

delighted, so much so that he taps one foot.

INT. SEMINAR ROOM/TRINITY HALL/CAMBRIDGE - DAY

STEPHEN reads a CHESS BOOK that lies on his LAP out of sight

under the table, while the professor, DR. DENNIS SCIAMA,

(LATE 30s), with a wicked smirk on his face, passes out a set

of mathematical problems to BRIAN, CARTER, ELLIS, REES and

several other YOUNG PHYSICISTS.

SCIAMA:

A little challenge for you all, as

you embark on your separate

doctoral journeys -

(handing paper to STEPHEN)

- whatever they may be, Mr Hawking -

STEPHEN looks up, winces, knowing he's way behind schedule.

SCIAMA (CONT'D)

Something to sort--the men from the

boys--the wheat from the chaff--

the mesons from the pi-mesons--the

quarks from the quacks--ten

questions--each more impregnable

than the last. Good luck. You'll

need it. Shall we say, Friday 3

o'clock?

BRIAN:

(aside, gloomy,to STEPHEN)

This is going to hospitalize me.

STEPHEN crumples the paper in his pocket and continues to

read the CHESS BOOK as he shuffles out of the tutorial.

EXT. QUAD/ TRINITY HALL / CAMBRIDGE UNI. - DAY

BRIAN runs across the QUAD.

THE THEORY of EVERYTHING 8

INT. STEPHEN'S ROOM/DORM, CAMBRIDGE UNIVERSITY - DAY (1963)

BRIAN knocks, enters, finds STEPHEN asleep in bed.

BRIAN:

Oh come on, get up. How many have

you got?

BRIAN goes to STEPHEN's desk, looking through papers to find

his answers. How many have you done?

STEPHEN:

Morning, Brian.

BRIAN:

Afternoon, Stephen. Where are they?

Where are you hiding them? Your

answers.

STEPHEN:

Brian, I have no idea what you're

talking about.

BRIAN:

How many of Sciama's questions have

you done?

STEPHEN:

None.

BRIAN:

You liar!

STEPHEN:

I was going do them later.

BRIAN:

Later? You mean you haven't even

started?

Beat.

BRIAN (CONT'D)

Stephen, are you aware you have

voluntarily embarked on a PHD in

physics at one of the most

prestigious colleges in England?

STEPHEN:

Yes.

BRIAN:

Oh, good. Thought maybe you'd slept

through the induction or something.

BRIAN starts to leave

(CONTINUED)

THE THEORY of EVERYTHING 9

CONTINUED:

STEPHEN:

(to Brian at the door)

Bri-?

BRIAN:

What?

STEPHEN:

Can you whip on some Wagner?

BRIAN:

Sod off.

BRIAN exits, giving up on his pal. STEPHEN, hung-over, sits

on his bed and yawns.

He gets out of bed and turns on his ANCIENT TAPE-MACHINE.

WAGNER starts to play, loudly.

Later. Pouring milk into a cup of TEA, while listening to a

TAPED RECORDING of "THE RING CYCLE" by Wagner, and still in

his pyjamas, the dishevelled STEPHEN digs out the QUESTIONS

from a pile of TRASH on his desk. First he finds all manner

of chocolate wrappers, concert tickets, etc, until he finally

settles down with a clean pad and a pencil. He looks at the

clock. It reads -- 1:00PM. He sighs and looks out his window

at teeming university life, as he ponders.

He then starts to WRITE on a PAD, rapidly, effortlessly, the

CALCULATIONS pouring out of him, his writing hand adroit and

swift.

Distracted, he then reaches for his TEA and clumsily KNOCKS

THE CUP OVER. The tea washes over his only pad.

He hurriedly wipes it off, but it's too late. He looks around

for another pad, but to no avail.

INT. SEMINAR ROOM, TRINITY COLLEGE - DAY

The PhD STUDENTS are gathered, minus STEPHEN as SCIAMA hands

back the classes answers.

SCIAMA:

(PASSING PAPER)

John, this so illegible I'm not

quite sure how wrong it is--I

suspect very--and Brian...

(TOSSING PAPERS)

...that's just--baffling.

STEPHEN arrives late -

SCIAMA (CONT'D)

Stephen, glad you could join us.

(CONTINUED)

THE THEORY of EVERYTHING 10

CONTINUED:

STEPHEN:

Sorry.

STEPHEN sets TWO TRAIN TIMETABLES on the table. Others push

the TIME-TABLES down the desk to SCIAMA, who picks them up.

SCIAMA:

Train timetables?

Stephen, these are totally

unacceptable--they expired a month

ago.

Laughter.

STEPHEN:

Sorry. It's on the back. Had a

little accident.

SCIAMA turns them over and looks at them.

TIGHT ON:
the TIMETABLES, then are filled with tiny formulas

and calculations.

SCIAMA registers growing amazement, then looks up at STEPHEN -

STEPHEN (CONT'D)

I could only do nine.

End on SCIAMA and fellow students reaction - startled,

speechless, everyone staring at STEPHEN.

SCIAMA:

Well...I see...well thank God. Well

done Stephen.

BRIAN:

(SILENTLY MOUTHS)

Nine?

EXT. RIVER - DAY

OARS powerfully cut the WATER as a TWO-BOAT PRACTICE RACE

unfolds. The TWO CREWS are from the same CLUB.

PAN DOWN one BOAT: EIGHT LARGE POWERFUL ROWERS, culminating

in PETE, DAN, RAFF, BRIAN and finally the thin, boyish,

STEPHEN, in the role of COX, facing the rowers, calling out

the stroke-rate using a coxswain's loud-hailer.

STEPHEN:

Full, give me twenty - One, drive! -

Two, drive! - Three, big legs! -

Four, press! - Five, boom! - Hook,

send! - Catch, big send! - Hold at

32! - Big legs, Brian! - Big legs!

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 11

CONTINUED:

STEPHEN (CONT'D)

- Stay long, Brian! - Stay long

Brian!!!...

BRIAN:

(exhausted, speaks one

word on each stroke)

You! - complete! - and! - utter!

bastard!

INT. PUB ON RIVER - DAY

Rowdy tables of graduates and undergraduates and rowers,

males and females. Beer flows.

Playing PINBALL are BRIAN, REES, ELLIS and CARTER. STEPHEN

watches, drinking a beer, distracted.

CARTER:

No, no, listen, listen, pay

attention. A man enters a lift,

wanting to go to the fiftieth

floor but only gets as far as the

46th. Why?

BRIAN:

(EXHAUSTED)

Erm - there was a naked girl in

the lift.

Collective groan. BRIAN is clipped around the ears.

BRIAN (CONT'D)

Hey--it's the closest I'll get to

a unifying theory, leave me

alone.

ALL then silently ponder the RIDDLE. BRIAN, deep in thought

himself, finally notices STEPHEN, bursting to provide the

answer. BRIAN acts to SILENCE STEPHEN -

BRIAN (CONT'D)

(raising a finger)

Uh!!!

ELLIS:

No--we give up. No idea.

STEPHEN:

He was too short to reach the

button for the fiftieth floor.

STEPHEN rises, triumphant, as the others groan.

BRIAN:

Okay, I've got one. Okay, okay--

A naked girl enters a lift -

(CONTINUED)

THE THEORY of EVERYTHING 12

CONTINUED:

STEPHEN, at the bar, opens JANE's NAPKIN. Looks at the

number.

STEPHEN:

(TO BARMAN)

Do you have change for the pay-

phone?

BARMAN:

Sure.

The BARMAN takes STEPHEN's POUND and glances at the NAPKIN.

BARMAN (CONT'D)

I'd commit that number to memory if

I were you.

STEPHEN smiles - then glances at the mirror-backed bar.

Reflected - a WOMAN who looks like JANE. Is he imagining

this?

TIGHT ON:
STEPHEN's face: we see JANE's reflection appear and

disappear in the glass of his glasses as she crosses the

room.

The BARMAN's voice is distant...

BARMAN (CONT'D)

Here you go...

STEPHEN snaps out of it - stares at the BARMAN holding out

CHANGE - a smile DAWNING.

BARMAN (CONT'D)

Sir? Are you okay?

STEPHEN:

Uh - my napkin just walked in.

CUT TO:

JANE and DIANA and two other FRIENDS sit with TWO OTHER YOUNG

MEN at a table. She looks reluctant and unhappy to be with

them. As one YOUNG MAN pours them beers she hands her beer to

someone else. And then -

STEPHEN (CONT'D)

Hi.

STEPHEN is not afraid to stand in front of this crowd of

Girls and Jocks and stare straight at JANE. The others fall

silent and stare at STEPHEN, but JANE's eyes light up.

JANE:

Hello.

REACTION:
DIANA: Not impressed.

(CONTINUED)

THE THEORY of EVERYTHING 13

CONTINUED:
(2)

STEPHEN:

What's the probability?

JANE:

Reasonably low.

(TO OTHERS)

Uh - this is - Stephen.

He smiles at her. The OTHERS look back and forth between JANE

and STEPHEN. JANE perks up, interested.

STEPHEN:

Croquet. Do you play croquet?

JANE:

(INTERESTED)

Um. Not recently.

STEPHEN:

Sunday morning?

JANE:

I'm actually busy Sunday mornings.

STEPHEN:

Oh. Of course.

(POINTING HEAVEN-WARD)

Him.

STEPHEN turns and just walks away. JANE is perplexed,

disappointed - stares at him, as do the others.

INT. CORRIDOR/DEPARTMENT OF APPLIED MATHEMATICS AND

THEORETICAL PHYSICS (DAMTP), CAMBRIDGE - DAY

STEPHEN approaches SCIAMA's office, plucks up his courage,

and knocks -

INT. SCIAMA'S OFFICE/DEPARTMENT OF APPLIED MATHEMATICS AND

THEORETICAL PHYSICS (DAMTP), CAMBRIDGE - DAY

SCIAMA:

Stephen, come in. Sit down. Now--

we're all rather concerned--about

your choice of subject. What it's

going to be.

STEPHEN:

I can't decide.

SCIAMA:

Any ideas?

One of SCIAMA's PENS sits precariously on the edge of the

desk, and in shuffling papers, knocks it off.

(CONTINUED)

THE THEORY of EVERYTHING 14

CONTINUED:

The PEN rolls off the DESK and falls on the FLOOR in front of

STEPHEN. STEPHEN stares at the PEN as it comes to a STOP.

STEPHEN:

Umm-- No.

SCIAMA studies him, rises, take a BIG OLD KEY from the desk

drawer.

SCIAMA:

Come with me.

INT. CAVENDISH LAB, CAMBRIDGE UNIVERSITY - DAY

SCIAMA shows STEPHEN the famous lab.

SCIAMA:

This lab is where JJ Thomson

discovered the electron, where

Rutherford split the atom. One of

the great rewards of this job is

that you never know from where the

next great leap forward is going to

come, or from whom.

SCIAMA takes out a pen and writes on a pad, tears it off and

gives it to STEPHEN.

SCIAMA (CONT'D)

Next Friday. I'm taking a few

graduates of merit to London, to

attend a talk by the mathematician

Roger Penrose. Come along if you're

interested.

(EXITING)

Oh, and close the door as you

leave.

SCIAMA exits. STEPHEN looks around at the empty LAB. He goes

to the BLACKBOARD, picks up a piece of CHALK, looks at the

BLANK BOARD, but then puts the CHALK back down and then

begins to study, with RAPT AWE, the ancient LABORATORY

EQUIPMENT.

EXT. ANGLICAN CHURCH STEPS - DAY

STEPHEN is now sitting on a STONE WALL, waiting as -

- the WILDES emerge, in the SUNDAY FINERY. JANE peels off

from her family to talk to STEPHEN. She is pleased to see

him.

JANE:

So I gather you've never been to

church?

(CONTINUED)

THE THEORY of EVERYTHING 15

CONTINUED:

STEPHEN:

Once upon a time.

He smiles wryly at this Fairy Tale reference.

JANE:

Tempted to convert?

He thinks about this.

STEPHEN:

I have a problem with the whole

Celestial Dictator premise. What

are you doing for lunch? Ma makes a

cracking roast.

INT. DINING ROOM, HAWKING FAMILY HOME - DAY

Sunday family lunch. A noisy, eccentric, bohemian

atmosphere. STEPHEN's father, FRANK opens his HOME-MADE

WINE. His sister PHILIPPA (17) passes the plates. MARY (20)

reads a BOOK.

FRANK HAWKING:

And Jane? What are you studying?

JANE:

Arts. Languages, poetry. I'm

thinking of doing a PhD eventually.

FRANK HAWKING:

Oh? What in?

The HAWKINGS, impressed, nod approvingly at STEPHEN.

JANE:

(ENCOURAGED)

Medieval poetry of the Iberian

Peninsula.

PHILIPPA snorts back laughter, whilst the other HAWKINGS

stare blankly at JANE for a moment, before silently returning

to setting the table. FRANK rescues the mood -

FRANK HAWKING:

Arts. So, what painters do you

like?

JANE:

Well, I like--Turner...

FRANK HAWKING:

Really? Turner? To me they all

look as if they've been left out

in the rain.

(CONTINUED)

THE THEORY of EVERYTHING 16

CONTINUED:

STEPHEN laughs. JANE shoots him a surprised look, as FRANK

pours a glass of wine.

JANE:

And...William Blake.

PHILLIPA:

Good heavens. Surely not!

FRANK HAWKING:

(TO JANE)

Will you try my elderflower wine?

JANE:

Yes, please.

STEPHEN:

(TO JANE)

Don't touch it, don't touch it

Jane.

Enter ISOBEL, STEPHEN's mother, with a ROAST CHICKEN.

As FRANK passes wine, JANE looks nervously at STEPHEN, who

smiles at her. FRANK picks up the CARVING KNIFE and starts

to SHARPEN it.

FRANK HAWKING:

Stephen doesn't like my homemade

wine. Philistine.

(TO STEPHEN)

If you don't watch out I'll send

you back with a couple of bottles.

PHILLIPA:

So Stephen, you've been to church

with a good woman. Are you feeling

holier than thou?

STEPHEN:

Positively saintly, thank you.

JANE:

(TO STEPHEN)

You've never said why you don't

believe in God.

STEPHEN:

A physicist can't allow his

calculations to be muddled by a

belief in a supernatural creator.

STEPHEN smiles, pleased with himself, and his mother and

father seem pleased with it too. JANE notices -

(CONTINUED)

THE THEORY of EVERYTHING 17

CONTINUED:
(2)

JANE:

Sounds less of an argument

against God than against

physicists.

JANE 1, STEPHEN O. She eats her food.

FRANK HAWKING:

(IMPRESSED)

Light or dark?

(Re:
the chicken)

Jane? Light meat or dark?

JANE:

Er - light, please.

STEPHEN:

I'll wing it. As usual.

The old family PUNNING game has begun.

PHILLIPA:

Boooo.

FRANK HAWKING:

How plucky of you.

PHILLIPA:

Ohh, fowl play! Fowl play.

STEPHEN:

Stop egging him on!

FRANK HAWKING:

It's so nicely cocked.

Hawking laughter. Ha! Ha! JANE is bemused.

ISOBEL:

(sympathetic, to JANE)

Don't worry about them. They're

pun mad.

FRANK is about to place a slice of CHICKEN BREAST on JANE's

PLATE -

JANE:

That's okay -

(TENTATIVELY)

- the breast is yet to come.

FRANK guffaws, as he plates her chicken.

FRANK HAWKING:

HA! Marvelous! Very good. "The

breast is yet to come!" Indeed it

is! Well done.

(CONTINUED)

THE THEORY of EVERYTHING 18

CONTINUED:
(3)

STEPHEN:

Oh! - I'm inviting Jane to be my

partner for the May Ball.

It's news to JANE: shocked - but then pleased as he shoots

her a quick look and mouths...

STEPHEN (CONT'D)

(SILENTLY MOUTHING)

Will you?

She SMILES and NODS, delighted.

EXT. WILDE HOUSE - NIGHT

Standing by his PARENT's CAR, STEPHEN watches (SMITTEN) as -

- JANE, in a GORGEOUS GOWN, walks down the path toward him.

EXT. COUNTRY ROADS - NIGHT

To the blaring strains of WAGNER, the HAWKING car careens

across the countryside.

EXT. GONVILLE & CAIUS COLLEGE/MAY BALL - NIGHT

On the GRAND FRONT LAWN of the COLLEGE, a fairy-tale party -

LIGHTS IN THE TREES, a throng of GOWNED YOUNG WOMEN, and

YOUNG MEN IN BLACK TIE and TAILS, all sip CHAMPAGNE on the

sequestered CROQUET LAWNS, as if from a by-gone age. A

BATHTUB is full of CHAMPAGNE BOTTLES ON ICE. Through this

STEPHEN and JANE drift.

INT. GONVILLE & CAIUS COLLEGE/ MAY BALL - NIGHT

STEPHEN and JANE stand and watch the swirling couples on the

dance-floor, sipping PUNCH.

The MAY BALL is now in full and magical swing, as couples

float across the lawns before the great facade of the

college.

JANE:

Should we dance, do you think?

STEPHEN:

Oh, no, no. Happy to observe the

phenomenon--but I can't possibly

imagine participating.

JANE:

I absolutely agree. I mean, who

would want to dance?

(CONTINUED)

THE THEORY of EVERYTHING 19

CONTINUED:

STEPHEN:

No, I'm quite serious. I don't

dance.

JANE has a wistful look of disappointment. AWKWARD SILENCE.

Just then - A BLUE UV LIGHT comes on. This causes great

excitement on the dance-floor. All the other couples "ooh"

and "ahh" and even more people take to the floor - not so,

STEPHEN and JANE.

STEPHEN (CONT'D)

(SOFTLY)

Do you see how the men's cuffs and

shirt-fronts, how they glow more

than the dresses?

JANE:

(smiles, expectant)

Yes...

STEPHEN:

Do you know why?

JANE:

Why?

STEPHEN:

"TIDE."

JANE:

The washing powder?

STEPHEN:

The fluorescence in the washing

powder is caught by the UV light.

JANE:

Why do you know that?

STEPHEN:

(GRINS)

When stars are born and when they

die, they emit UV radiation. So if

we could see the night sky in

ultraviolet light, almost all the

stars would disappear--and all we'd

see would be these spectacular

births and deaths. And I reckon--

it would look a little -

JANE stares at the glowing swirling people with STEPHEN's

eyes.

JANE:

- like that.

(CONTINUED)

THE THEORY of EVERYTHING 20

CONTINUED:
(2)

They watch, impressed, as - FIREWORKS are suddenly heard,

EXPLODING LOUDLY.

EXT. TERRACE/LAWNS/RIVERBANK - G&C COLLEGE - NIGHT (1963)

MONTAGE:

A) A FIRE-WORK DISPLAY - STEPHEN and JANE watch as SKY-

ROCKETS light up the sky.

B) A CAROUSEL - JANE and STEPHEN ride the CAROUSEL. STEPHEN

watches JANE, captivated by her happiness in this moment.

C) A CHAMPAGNE TENT - JANE selects a FLUTE OF CHAMPAGNE and

takes a BIG SIP, to the sound of a NEARBY 1920's CHICAGO JAZZ

SWING band. The GATSBY-THEMED BAR-STAFF are dressed in 1920's

TUXEDOS and FLAPPER-DRESSES.

STEPHEN:

So why...

(PASSING CHAMPAGNE)

...why...

JANE:

Why?

STEPHEN:

Why medieval Spanish poetry?

JANE surveys the gay party, sipping her champagne -

JANE:

(HAPPILY)

I suppose I like to time travel.

STEPHEN:

And what particular time periods do

you visit?

JANE takes the CHAMPAGNE STEPHEN has just chosen and pours

half of his into her glass.

JANE:

The Twenties is always fun.

STEPHEN:

The roaring twenties!

Cheers!

They CLINK GLASSES and sip their champagne, laughing.

STEPHEN (CONT'D)

So--The 1920's. A good time for

poetry was it?

(CONTINUED)

THE THEORY of EVERYTHING 21

CONTINUED:

JANE:

"Seek then/ No learning/ from

Starry Men!/ Who follow with Optic

Glass/ The Whirling Ways of Stars

that Pass."

STEPHEN:

Ouch.

JANE:

Was it -

They move off across the NEARBY DANCE-FLOOR, and PASS the

JAZZ BAND en route to the LIGHTED FOOT-BRIDGE spanning a

river under which LIGHTED PUNTS drift by.

JANE (CONT'D)

- was it a good time for science?

STEPHEN:

A smashing time actually. Spacetime

was born.

JANE:

Spacetime...

STEPHEN:

Space and Time finally got

together. People always thought

they were too dissimilar, couldn't

possibly work out. But then along

comes Einstein, the ultimate match-

maker, and decided that space and

time, not only had a future, but

had been married all along.

JANE:

The perfect couple!

They arrive at the FOOT-BRIDGE, with its view of the BRIDGE

OF SIGHS. PUNTS with CATHERINE WHEELS are moored nearby.

D) FOOT-BRIDGE.

JANE and STEPHEN stop in the middle of the bridge. STEPHEN

looks up at the STARS, bright, sparkling. JANE does the same.

STEPHEN:

Well that's astonishing, isn't it?

Silence, then -

(CONTINUED)

THE THEORY of EVERYTHING 22

CONTINUED:
(2)

JANE:

(SERIOUSLY)

"In the beginning was the heaven

and the earth, and the earth was

without form, and darkness--

darkness was upon the face of the

deep."

STEPHEN, moved, looks at her.

STEPHEN:

Would you dance with me?

He takes her hand and starts to DANCE with her to the music,

and then tilts his head and KISSES her.

CAMERA pulls back to reveal the couple kissing on the

FOOTBRIDGE, the punts floating underneath, the night magical,

the lovely slow jazz drifting over the scene.

EXT. FRONT DOOR / WILDE FAMILY HOUSE - DAY

MORNING LIGHT on the WILDE FRONT DOOR. JANE, in bathrobe,

opens the door to get the MILK. Looks down. PAN down to - a

BOX of "TIDE" WASHING POWDER. She picks it up - looks around

for STEPHEN - smiles, delighted - IN LOVE.

EXT. PLATFORM, CAMBRIDGE TRAIN STATION - DAY

SCIAMA and STEPHEN and PHYSICISTS 1,2 and 3 arrive late on

the platform. The train is already pulling in. SCIAMA, and

the OTHER THREE all run for it. But STEPHEN is making his way

up the steps, not running - putting on a brave face. When

STEPHEN arrives, just in time, the PHYSICISTS 1,2,3, pull

STEPHEN on to the train.

INT. MOVING TRAIN COMPARTMENT - DAY

As they whistle along, English countryside in the background.

SCIAMA studies STEPHEN then returns his attention to his

newspaper when he meets his eyes.

INT. KING'S COLLEGE CLASSROOM - LONDON - DAY

ROGER PENROSE, MATHEMATICIAN, gives a passionate talk

before a small audience in a small room. The blackboard is

crammed with calculations and diagrams.

ROGER PENROSE:

So what do we know? Let me

rephrase that--what do the

equations tell us, finally?

(CONTINUED)

THE THEORY of EVERYTHING 23

CONTINUED:

He turns the blackboard over. A blank board.

ROGER PENROSE (CONT'D)

How about a simple diagram?

Smiles, small laughter from the audience. STEPHEN looks

especially relieved.

ROGER PENROSE (CONT'D)

A star, more than three times the

size of our sun...

He draws a circle on the board.

ROGER PENROSE (CONT'D)

...ought to end its life, how? With

a collapse, the gravitational

forces of the entire mass

overcoming the electromagnetic

forces of individual atoms, and so

collapsing inwards. If the star is

massive enough, it will continue

this collapse, creating a black

hole - where the warping of

spacetime is so great that nothing

can escape... not even light. It

gets...

He draws a smaller circle, inside the first.

ROGER PENROSE (CONT'D)

Smaller, smaller...

An even smaller circle.

ROGER PENROSE (CONT'D)

The star, in fact, gets denser as

atoms--even subatomic particles--

get literally crushed, smashed into

smaller and smaller space. And at

its end point what are we left

with?

He draws a point.

ROGER PENROSE (CONT'D)

A point. A spacetime

singularity...

STEPHEN is captivated.

ROGER PENROSE (CONT'D)

With extraordinary properties!

Infinite density. Space and time

come to a stop. All of the known

laws of science--they just stop

working.

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 24

CONTINUED:
(2)

ROGER PENROSE (CONT'D)

What I've just shown is that this

happens in every black hole. Its

really happening, out there. To

real stars--and its happening right

now!

STEPHEN smiles - seeing his future revealed.

INT. MOVING TRAIN COMPARTMENT - NIGHT

SCIAMA and his students, returning home.

As his friends talk excitedly, STEPHEN is silently staring

down at the CIRCULATING COFFEE in front of him, into which

he pours CREAM...

SLOWLY, CLOCKWISE - the cream is spread outward by the

circulating coffee until it looks like a SPIRAL GALAXY.

As he stares, deep in thought, the SPIRAL of CREAM pulses

with LIGHT - he is having an epiphany here - a major

insight...

...and then TIME GOES INTO REVERSE. As it does so, the CREAM

CHANGES DIRECTION, goes ANTI-CLOCKWISE now, the SPIRAL once

more returning to its original central dollop, and then

vanishing. The coffee creamless. STEPHEN looks up...

STEPHEN:

(TO SCIAMA)

I wonder what would happen--if--I

wonder what would happen--

Sensing his protege is on to something, perhaps even a small

smile.

SCIAMA:

Go on. If?

STEPHEN:

If you applied Penrose's theory

about black holes to--the entire

universe?

SCIAMA stares at him.

EXT. RIVERBANK, CAMBRIDGE - SUNSET

STEPHEN excitedly expands on his new idea to a DELIGHTED,

SMILING JANE as they WALK side by side.

(CONTINUED)

THE THEORY of EVERYTHING 25

CONTINUED:

STEPHEN:

If--if--so--If--Einstein is right,

if--general relativity is correct,

then the universe is expanding,

yes? -

JANE:

- Alright -

STEPHEN:

- which means - that--if you

reverse time, the universe would

get smaller and smaller.

So what if--if I reverse the

process all the way to see what

happened at the beginning of Time

itself? The universe, smaller and

smaller, denser and denser, hotter

and hotter as we approach its

birth. Wind back the clock...

JANE grabs his hands and begins to SWIRL him around.

STEPHEN (CONT'D)

What are you doing?

JANE:

Winding back the clock!

STEPHEN:

(LAUGHING)

Is that what you're doing?

JANE:

That's what I'm doing.

STEPHEN:

Well keep winding! You've got quite

a way to go. Keep winding, Jane!

Keep winding...back to the

beginning of Time...Keep winding...

They SPIN faster and faster until they almost trip and only

save themselves by clasping each other closely...

STEPHEN (CONT'D)

(SUDDENLY SERIOUS)

...until you get -

INT. SCIAMA'S OFFICE/DAMTP, CAMBRIDGE - DAY

STEPHEN at the blackboard makes a DOT on the blackboard.

SCIAMA:

A singularity.

(CONTINUED)

THE THEORY of EVERYTHING 26

CONTINUED:

STEPHEN:

A spacetime singularity. At the

beginning of time.

SCIAMA stares at him. STEPHEN smiles.

STEPHEN (CONT'D)

The universe born from a black

hole exploding.

SCIAMA:

(FINALLY)

Keep going.

STEPHEN:

Keep going? You mean go further

back, Professor? Before the

universe began?

SCIAMA:

Keep going. Develop the

mathematics.

STEPHEN:

I don't know how.

SCIAMA takes the KEY for the RUTHERFORD LAB out of the drawer

and hands it to him.

INT. RUTHERFORD LAB LECTURE HALL

STEPHEN writes, inspired, formula on the famous blackboard.

He stops, thinks, continues, then deletes a bit, and writes

again, faster, faster, his mind racing, even as his fingers

begin to betray him, growing weaker, weaker...

EXT. TRINITY HALL, CAMBRIDGE UNIVERSITY - DAY

The swirl of CAMBRIDGE UNIVERSITY life. Dons on bicycles.

Purposeful students. Every building looking like a STATELY

HOME.

STEPHEN walks quickly and excitedly, with still CHALKY

FINGERS, across campus but then suddenly, trips - FALLS -

falls hard. His head smashing onto the hard paving stones.

His GLASSES fly off his face. He is unconscious immediately.

STUDENTS rush to his aid.

MONTAGE:

A) X-RAY DEPARTMENT. STEPHEN, his face GRAZED and BRUISED,

lies on a tilting bed as X-rays are taken.

(CONTINUED)

THE THEORY of EVERYTHING 27

CONTINUED:

B) Blood is taken from his arm.

C) In a PUBLIC WARD, STEPHEN, sitting on the edge of a bed

in a HOSPITAL SMOCK, turns and looks at a SICK YOUNG MAN in

the next bed, who looks GRAVELY ILL.

D) Dexterity Test - Stephen struggles to bring his little

finger to meet his thumb. Stephen, lying down, as the doctor

violently jerks his knee up. Stephen lying prone in foetal

postion as a doctor performs a lumbar puncture and extracts

fluid from his spine.

STEPHEN:

What is it? What's wrong with me?

E) STEPHEN lies in the PUBLIC WARD while the SICK YOUNG MAN

in the next bed is discovered DEAD. Nurses rush the SICK

YOUNG MAN away, as STEPHEN watches. He is very moved by this.

F) INT. WARD/ HOSPITAL - DAY

The DOCTOR is dismissive and unsentimental.

SENIOR DOCTOR:

It's called motor neuron disease.

STEPHEN:

What's that?

The DOCTOR, despite his unsentimental nature, draws a deep

breath. This is not the speech he wants to make...

SENIOR DOCTOR:

It's a progressive neurological

disorder that destroys the cells

in the brain that control

essential muscle activity such as

speaking, walking--breathing--

swallowing. The signals that

muscles must receive in order to

move are disrupted, cut off. The

result is--gradual muscle decay,

a wasting away. Eventually, the

ability to control voluntary

movement is--lost--entirely.

SHOCK sets in as STEPHEN watches other patients taking

EXERCISE, stretching - walking.

STEPHEN:

Is--is--is there a cure? Some--?

Is--can you--?

SENIOR DOCTOR:

Improvement should not be

expected.

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 28

CONTINUED:

SENIOR DOCTOR (CONT'D)

(PAUSE)

I'm afraid average life

expectancy is two years.

STEPHEN is rocked to the core by this news -

SENIOR DOCTOR (CONT'D)

There's nothing I can do for you,

I'm terribly sorry.

Silence. The SENIOR DOCTOR rises to go -

STEPHEN:

Wait! What about--what about the

brain?

SENIOR DOCTOR:

The brain isn't affected. Your

thoughts won't change--it's just-

STEPHEN:

What?

SENIOR DOCTOR:

Eventually--no-one will know what

they are.

(BEAT)

Ever so sorry.

The DOCTOR walks away.

REACTION:
STEPHEN, devastated. Frozen. People walk past him

and he doesn't move, doesn't react.

INT. BATHROOM, TRINITY HALL - DAY

WATER drips in SLOW MO from an old TAP.

STEPHEN lies in a bath, in a TRANCE, knees drawn up, hair

wet, not moving, in a STATE OF SHOCK, as he stares at the

DRIPPING TAP, until -

- his eyes are drawn to his ARM where he sees a weird

PHENOMENON - it's called FASCICULATION - a visible throbbing

that travels underneath the skin.

INT. COLLEGE STAIR-WELL - DAY

BRIAN rushes up the SPIRAL STAIRS, past the "BEDDER" - a

woman who looks after the STUDENTS domestic needs.

BRIAN:

(TO BEDDER)

Is he up yet?

THE THEORY of EVERYTHING 29

INT. STEPHEN'S DORM ROOM/CAMBRIDGE UNI - DAY (EM60'S)

Suddenly, a pounding on his door, and then BRIAN enters

STEPHEN's room.

WAGNER is playing INCREDIBLY LOUDLY on an old TAPE-DECK.

BRIAN shuts it off and looks at -

- STEPHEN, in the corner, in his pyjamas, his MATRESS now on

the floor (rather than on the HIGH BUNK as before) legs drawn

up, reading a book of CHESS.

BRIAN:

"Welcome--to this week's episode

of The Natural World, where we

explain the extraordinary

hibernation patterns of the rare

Cambridge Physicist--seen here in

his wonderful plumage..."

Silence. BRIAN waits for STEPHEN to speak.

BRIAN (CONT'D)

So? What did they say? Your

wrist. What did they say?

STEPHEN:

I have a disease, Bri.

BRIAN:

(WHISPERS)

Is it--venereal, Stephen?

STEPHEN:

No. Motor neuron disease. Lou

Gehrig's Disease. He was a

baseball player.

BRIAN:

Motor what? Sorry, I'm lagging

behind in my pioneering work on

rare automotive and baseball

diseases. Come on, let's go to

the pub.

BRIAN tries to pull STEPHEN to his feet.

STEPHEN:

(IMPASSIVELY)

I have two years to live.

(PAUSE)

Sounds strange, doesn't it, when

you say it out loud.

BRIAN:

What? I--I don't understand. It's

not possible! It's ridiculous!

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 30

CONTINUED:

BRIAN (CONT'D)

You were fine a couple of days

ago.

(SILENCE)

Steve? You're fine. What did they

say...?

STEPHEN:

Will you leave me Brian?

BRIAN:

I'm sorry, look, I was just being a

berk...I'm so...

The BEDDER knocks and enters.

BEDDER:

Stephen! Phone for you! It's a

girl.

BRIAN has no choice. He is badly shaken by the news.

BRIAN:

Right. OK. So--see you soon, yeah?

STEPHEN does his best to smile. Brian exits.

BEDDER:

(TO STEPHEN)

She's waiting.

INT. HALLWAY, WILDE FAMILY HOME - DAY

JANE on phone.

JANE:

Stephen? Hi. It's me.

(CLICK!)

Stephen?

She holds the DEAD RECEIVER in her hand.

EXT. TRINITY HALL, CAMBRIDGE UNIVERSITY - DAY

Through the swirl of UNIVERSITY life comes - JANE WILDE.

INT. HALLWAY/STEPHEN'S DORM ROOM - DAY

JANE knocks - gets no answer.

JANE:

STEPHEN?!

(KNOCKS)

STEPHEN!

THE THEORY of EVERYTHING 31

INT. STEPHEN'S ROOM / OXFORD UNIVERSITY - DAY

STEPHEN, huddled against the door, refused to answer it.

EXT. CROQUET LAWN, CAMBRIDGE - DAY

JANE walks past the empty lawn.

INT. PUB ON THE RIVER, CAMBRIDGE - DAY

Full of undergraduates.

JANE enters, looks around for STEPHEN. Can't see him.

BRIAN, seated with the other YOUNG PHYSICISTS, spots her.

BRIAN:

Jane!

JANE comes up the young men.

JANE:

Brian--have you seen Stephen?

BRIAN:

Jane, have a seat.

JANE sits.

JANE:

What is it?

BRIAN:

I understand you saw him. You know

he was in hospital...

JANE nods, as the CAMERA pulls back from the scene, leaving

BRIAN (sensitively) to pass the terrible news to JANE.

INT. COMBINATION ROOM/TRINITY HALL/CAMBRIDGE - DAY

JANE walks in, sees STEPHEN, slumped in an armchair

watching TV in the common room.

At a distance, JANE stops, shocked. He looks woebegone,

depressed, physically reduced already. She summons up a

cheerful demeanor, however, and advances.

JANE:

Something educational?

STEPHEN:

(without looking at her)

Very.

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 32

CONTINUED:

STEPHEN (CONT'D)

John is having an affair with

Martha. But Martha is in love

with Alan. And I think Alan is

homosexual by the look of his

shirts. I'm trying to work out

the mathematical probability of

happiness.

JANE:

Are you close?

STEPHEN:

It's some integer of zero, but

I'm not there yet.

JANE:

STEPHEN?

STEPHEN:

You just missed him. He was here

earlier.

JANE:

Don't do this.

STEPHEN:

What?

JANE:

Cut me off.

STEPHEN:

Go.

JANE:

Teach me croquet.

(PAUSE)

Come on. Teach me.

(PAUSE)

What is this?

STEPHEN:

I believe you poetry under-

graduate types call it..."a

slough of despond."

JANE:

If you don't get up and play a

game with me I won't come back

here again. Ever.

Silence. He finally looks at her. ANGRILY he rises. And

walks off ahead of her. She watches him.

THE THEORY of EVERYTHING 33

EXT. CROQUET LAWN -

JANE AIMS, STRIKES, hits a FEEBLE SHOT.

STEPHEN:

My turn.

STEPHEN AIMS, HITS his BALL through the FIRST HOOP, then

walks, as best he can, off toward his BALL, using his MALLET

as a WALKING STICK. With his second shot he hits her BALL. He

then picks up his BALL, places it beside hers so that it

touches, puts his foot on his ball, then smacks his BALL HARD

with his MALLET, blasting her ball down to the next hoop.

He proceeds to play a MASTER GAME that will not allow JANE

another shot, enlisting her ball to advance his own from HOOP

to HOOP, until -

- he knocks his ball and hits the finishing peg.

JANE has been watching all this, her eyes FLOODING WITH

TEARS, until she can bear it no longer, and walks up to him

and picks up his ball, stopping the game. They stare into

each others eyes, until he can bear it no longer and he walks

off (as best he can) back to his room.

She watches him, then follows determinedly.

INT. STEPHEN'S DORM ROOM/CAMBRIDGE UNI - DAY

He enters ANGRILY, SLAMS the door behind him, then tries to

break a CHAIR by throwing it against the wall - just as JANE

enters.

STEPHEN:

Go away.

More knocks.

JANE (O.S.)

STEPHEN? Let me in. Please.

Please let me in.

INT. HALLWAY/STEPHEN'S DORM/CAMBRIDGE UNI - DAY

STEPHEN (O.S.)

Go away!

JANE:

Are you going to talk about this

or not?

Silence.

(CONTINUED)

THE THEORY of EVERYTHING 34

CONTINUED:

STEPHEN:

There's nothing to say--

just...(go)

JANE:

Is that what you want?

STEPHEN:

That's what I want. I haven't got

time for you. So - if you care

about me at all - go.

JANE moves closer and closer to STEPHEN during this whole

interchange - almost trapping STEPHEN, who is gallantly

trying to resist being taken into her life.

JANE:

I can't.

STEPHEN:

I've got two years. I need to

work.

JANE:

I can't.

His eyes widen. He can't believe his ears. He looks at her.

JANE (CONT'D)

I think--I've fallen in love with

you.

He can't speak now. This STUNS him.

JANE (CONT'D)

I know. Strange. Inexplicable.

STEPHEN:

You've--you've leapt to--a false

conclusion...

JANE:

My chances are probably -

(SHRUGS)

- well, some "integer of zero",

but I think we can make a go of

this. I want us to be together,

for as long as we've got. And if

that's not very long then - well,

that's just how it is. It will

have to do.

STEPHEN:

You don't realise what's coming.

It'll affect everything.

(CONTINUED)

THE THEORY of EVERYTHING 35

CONTINUED:
(2)

She advances, and kisses him on the lips. He is still

speechless. She stares into his eyes, with love --

JANE:

Your glasses are always dirty.

She takes them off, cleans them on her dress. His heart is

exploding with joy and hope. She slips his GLASSES gently

back on his nose.

JANE (CONT'D)

There. That's better. Isn't it?

STEPHEN:

(POWERFULLY MOVED)

Yes. It is.

INT. SCIAMA'S OFFICE, DAMTP/CAMBRIDGE - DAY

SCIAMA is giving a TUTORIAL to FOUR UNDERGRADS -

SCIAMA:

...the solutions to the Schrodinger

equation must vanish at the

boundary of the box, so we have...

STEPHEN enters -

STEPHEN:

(cutting him off)

Time!

SCIAMA:

Time. That's your subject? Any

aspect of it, in particular?

STEPHEN:

Time.

STEPHEN exits.

INT. KITCHEN - HAWKING FAMILY HOME - NIGHT

JANE is seated, watching FRANK as he ominously shuts the

door.

FRANK HAWKING:

You don't realize what lies ahead.

His life is going to be very short.

So. Be careful. Science is against

you. And it's not going to be a

fight, Jane. It's going to be a

very heavy defeat. For all of us.

(CONTINUED)

THE THEORY of EVERYTHING 36

CONTINUED:

JANE:

I know--I know what you all think.

That I don't look a terribly strong

person. But I love him. And he

loves me. We're going to fight this

illness--all of us.

EXT. TRINITY HALL - CAMBRIDGE UNI- DAY

SUPER-8 FOOTAGE (MONTAGE) of -

- STEPHEN and JANE are married. They pose for their WEDDING

PHOTO, STEPHEN in black suit, tie, leaning on a SINGLE

WALKING STICK; JANE in white, happy, as -

- FLOWER PETALS drift down on them.

Supered on BLUE sky: "TWO YEARS LATER"

_____________________________________________________________

EXT. STEPHEN & JANE'S HOUSE, LITTLE ST MARY'S LANE,

CAMBRIDGE - DAY

SUPER-8 FOOTAGE (MONTAGE) of -

- a small terrace house - a MINI parked outside.

INT. DINING ROOM/LITTLE ST MARY'S LANE - DAY

SUPER-8 FOOTAGE (MONTAGE) of -

- a ONE YEAR-OLD BABY (ROBERT) is set into STEPHEN's arms. He

is delighted.

INT. LOUNGE, LITTLE ST MARY'S LANE - DAY

STEPHEN SLIDES ON HIS BACK, down the STAIRS, dressed in a

SUIT. He laughs at how ridiculous this is.

JANE is there to meet him, to help him to his feet, to

straighten his bow-tie. Both look nervous. Tenderly, she

touches his face.

JANE:

Ready. Good luck. Are you sure I

can't drive you?

STEPHEN smiles, gently shakes his head. She gives him his TWO

WALKING STICKS.

THE THEORY of EVERYTHING 37

INT. CAMBRIDGE CLOISTER - DAY

STEPHEN walks with great difficulty up the hallway, using

(for the first time) TWO WALKING STICKS.

INT. HALLWAY, DAMTP - DAY

STEPHEN stops outside SCIAMA's office. Knocks with a stick.

INT. SEMINAR ROOM,TRINITY HALL,CAMBRIDGE - DAY

SCIAMA and ROGER PENROSE and an American, KIP THORNE, face

STEPHEN.

SCIAMA:

Come in Stephen.

STEPHEN makes his way slowly, laboriously, to stand in front

of the three examiners.

SCIAMA (CONT'D)

How are you?

STEPHEN:

(his speech has worsened)

Fine.

SCIAMA:

Would you like to sit down?

STEPHEN:

No thankyou.

SCIAMA:

So. Chapters One--full of holes and

lacks mathematical support.

(to KIP THORNE)

Professor Thorne?

KIP THORNE:

Chapter Two--not really original--

uses a lot of Roger's ideas.

PENROSE:

Well at least you run with them.

Chapter Three? Too many unanswered

questions.

SCIAMA:

But Four?

Silence. STEPHEN waits, as the PANEL turn the pages of his

thesis. STEPHEN grows WORRIED.

(CONTINUED)

THE THEORY of EVERYTHING 38

CONTINUED:

SCIAMA (CONT'D)

A black hole at the beginning of

Time.

KIP THORNE:

A spacetime singularity?

SCIAMA and PENROSE and KIP THORNE look at each other. STEPHEN

can't breath for the tension.

SCIAMA:

Brilliant. It's brilliant Stephen.

So all that remains to be said

is...well done. Or should I say,

well done Doctor. And extraordinary

theory.

STEPHEN:

Thankyou.

STEPHEN sighs with RELIEF, and smiles.

SCIAMA:

So, what now?

STEPHEN:

Prove it. Prove...with a single

equation, that Time has a

beginning. Wouldn't that be nice

Professor? One single elegant

equation to explain everything?

SCIAMA:

Yes. It would. It would indeed.

INT. LOUNGE, LITTLE ST MARY'S LANE - EVENING

CHAMPAGNE is OPENED and POURED.

A celebrational dinner party, attended by JANE, BRIAN, ELLIS,

REES, CARTER and two of their GIRLFRIENDS. JANE rises to give

a TOAST.

JANE:

TO DOCTOR-

BRIAN:

-Who?

Over laughter -

JANE:

To Doctor Stephen Hawking.

CUT TO:

(CONTINUED)

THE THEORY of EVERYTHING 39

CONTINUED:

BRIAN holds forth on a funny story about him and Stephen, as

he uncorks a bottle of wine -

BRIAN:

What's astonishing is that for

Stephen and I, "work" was the worst

four-letter word, the worst.

(LAUGHTER)

Stephen probably averaged, what was

it?--an hour a day your entire

university career?

(LAUGHTER)

Unbelievable levels of sloth!

As the conversation turns into a HUBBUB of chatter, STEPHEN,

smiling, drops his FORK. JANE, in conversation now with one

of the GIRLFRIENDS, picks up the fork without barely looking

at STEPHEN and put it back in front of him.

STEPHEN watches everybody talking, eating, drinking, being

wonderfully, effortlessly dextrous. FRUSTRATED, ENVIOUS, and

saddened, STEPHEN watches closely then, before emotion breaks

through, rises, grabs his TWO WALKING STICKS and starts to

leave.

JANE:

(CONCERNED)

Stephen?

STEPHEN:

I'm sorry.

Everyone watches him go with concern. It's a painful sight to

see how hard it is for him to walk now.

When he is gone only a few seconds, the guests stop their

chatter when they hear a huge THUMP. Several men are about to

rise to his aid when JANE signals for everyone to remain in

their place. Everyone understands and settles again.

INT. HALL, LITTLE ST MARY'S LANE - EVENING

STEPHEN tries to pull himself up the stairs by the spokes of

the balustrade. It takes him many seconds just to get up the

first stairs but we see his determination.

INT. LOUNGE, LITTLE ST MARY'S LANE - EVENING

The DINNER guests are now eating DESSERT, and talking

quietly.

THE THEORY of EVERYTHING 40

INT. HALL, LITTLE ST MARY'S LANE - NIGHT

STEPHEN is only halfway up the STAIRS, using his last heroic

energies. Finally, he STOPS, EXHAUSTED. Hearing something, he

looks up -

The TWO YEAR-OLD ROBERT has woken, and stands in his pajamas

at the BABY-GATE at the top of the stairs, looking down at

his father.

STEPHEN:

It's okay Robert.

For the first time - with his head resting on the step, and

with his eyes turning back to look through the balusters at

the REFLECTION in a DINING ROOM mirror of the dinner party

(his POV:
tilted at 90 degrees) TEARS fall out of his eyes. A

PRIVATE MOMENT of great despair.

FADE TO BLACK.

INT. KITCHEN, LITTLE ST MARY'S LANE - DAY

JANE and STEPHEN sip tea. Holding a cup is extremely

difficult for him. A new tension exists between them. She

watches him.

Finally - she gets up, goes into the kitchen and then

returns with...

A WHEELCHAIR. She sets it before him. He stares at it. Is

this his future? Is it an aid, or an enemy? She returns to

the kitchen to wash some dishes while he stares at the

chair...eventually rising, turning, poising above it, and

then falling with a CRASH into it.

JANE comes back to his side, realising the momentousness of

this moment.

STEPHEN:

This--is--temporary.

JANE:

Of course.

INT. DINING ROOM,LITTLE ST MARY'S LANE - NIGHT

JANE comes down the stairs, in her NIGHTIE, dressed for bed,

carrying pillows.

The MASTER BED now is erected in the little DINING ROOM, and

STEPHEN is propped up in it, smiling, waiting...(STEPHEN can

no longer manage the stair-climb.)

(CONTINUED)

THE THEORY of EVERYTHING 41

CONTINUED:

STEPHEN:

Well, it's convenient for

breakfast!

She puts an extra pillow behind him, then they look into each

other's faces.

STEPHEN (CONT'D)

Thank you.

JANE:

(PLAYFULLY)

Excuse me, did you say something?

STEPHEN:

I said--thankyou.

They smile at each other. They kiss...

INT. POST-NATAL WARD - DAY

A NEW-BORN BABY is put into STEPHEN's LAP for him to hold.

INT. DINING ROOM,LITTLE ST MARY'S LANE - NIGHT

The NEW BABY'S CRIES carry (from UPSTAIRS) as JANE helps

STEPHEN on with his PYJAMA TOP. She struggles to pull it down

over his head when the BABY's cries grow too urgent.

STEPHEN:

Go Jane.

JANE:

One second.

JANE runs out to go to the baby, runs up the stairs.

STEPHEN struggles to pull on the PYJAMA himself.

CUT TO:

INSIDE HIS PYJAMA. It's dark. STEPHEN, helpless. His eyes

are wide open, looking through the grain in the fabric at

the OPEN FIRE, burning in the FIREPLACE.

STEPHEN:

JANE?

Silence. He waits...

The pin points of fire-light through the fabric, SLOWLY

MORPH into STARS and a NIGHT SKY. This is what STEPHEN is

visualizing. We see what he sees --

(CONTINUED)

THE THEORY of EVERYTHING 42

CONTINUED:

The LIFE OF THE UNIVERSE IN REVERSE...STARS being pulled

back together, toward a single POINT, a SINGULARITY. As the

SINGULARITY takes SHAPE, a DARK CIRCLE FORMS AROUND IT,

rimmed by a GLOWING CIRCULAR HORIZON.

FINALLY - A BLACK HOLE has FORMED. A POINT IN SPACE,

GOBBLING STARS, ILLUMINATED ONLY AT ITS EDGES (EVENT

HORIZON) BY AN AMBIENT GLOW - A RING of LIGHT.

The REVERIE ends as JANE eases the PYJAMA down over his

head, returning STEPHEN back into the real world. He stares

at his wife, AWESTRUCK.

JANE:

Are you alright?

STEPHEN:

(breathless, stunned)

I've got an idea. I've got an idea

Jane!

INT. DAMTP, STAIRS/TUTORIAL ROOM - DAY

SCIAMA runs, in great excitement, past KIP THORNE.

SCIAMA:

Kip! He's done it, Kip! He's -

KIP THORNE:

What is it?

SCIAMA:

Stephen! He's changed everything!

SCIAMA runs on, informing a mopping JANITOR -

SCIAMA (CONT'D)

(TO JANITOR)

Black Holes aren't black! And

they explode!

(RUNNING OFF)

They explode!!...

REACTION:
KIP THORNE, confusion.

INT. LOBBY, RUTHERFORD LAB - DAY

STEPHEN is about to present his ideas to the conference. He

is SURROUNDED by his PEERS.

SCIAMA:

All set?

STEPHEN nods - nervous.

(CONTINUED)

THE THEORY of EVERYTHING 43

CONTINUED:

SCIAMA (CONT'D)

You'll do fine.

AT A DISTANCE - at a TEA TABLE - excluded, and looking

EXHAUSTED after a LONG NIGHT - JANE sits near TWO CLEANERS IN

WHITE, and overhears the female gossip about STEPHEN's

condition.

CHAR 1

Look at him. It's awful, in't it?

He's falling apart at the seams.

JANE reacts, says nothing but bites her lips and frowns

indignantly, as the CLEANERS walk away.

JANE then approaches STEPHEN, nervously. But when he looks up

at her, his EYES are BLAZING WITH LIGHT and passion - this

pulls her out of her SADNESS.

JANE:

(LOVINGLY)

Good luck!

He SMILES back at her, as the ENTRY DOORS to the HALL open,

and REVEAL a PACKED EXPECTANT ROOM. It's daunting!

SCIAMA:

Ready or not.

SCIAMA PUSHES STEPHEN into the HALL, as -

- JANE hurries to gather STEPHEN's NOTES, his WATER-BOTTLE,

his BLANKET and her HANDBAG, only just slipping through the

CLOSING DOORS.

INT. LECTURE HALL/RUTHERFORD LAB/CAMBRIDGE - DAY

Before his peers, STEPHEN finishes his address. SCIAMA sits

with JOHN TAYLOR in the front row. JANE sits toward the BACK.

STEPHEN:

(SLURRING SLIGHTLY)

...allowing us to predict that

some particles can in fact escape a

black hole. Black holes aren't

black at all, but glow with heat

radiation.

Stony, sceptical faces greet this outrageous idea. As STEPHEN

continues his speech, ANGLE ON SCIAMA and TAYLOR.

SCIAMA:

(aside, to TAYLOR)

He's unifying Relativity--plus

Quantum Mechanics and

Thermodynamics. For the first time.

(CONTINUED)

THE THEORY of EVERYTHING 44

CONTINUED:

JOHN TAYLOR:

(shakes head, to SCIAMA)

Thermodynamics? Last used to

describe the steam engine.

During this exchange (O.S) STEPHEN has been saying:

STEPHEN:

In other words--the steady emission

of heat energy causes black holes

to slowly lose mass, they

evaporate, eventually disappearing

in a spectacular explosion. So...

INTERCUT THIS LECTURE SCENE (as necessary) with the FOLLOWING

SCENE:

INT. PUB ON RIVER, CAMBRIDGE - NIGHT

BRIAN and REES, CARTER and ELLIS discuss STEPHEN's theory.

BRIAN:

No,no! What he's saying is--just as

a hot body loses heat--right? -

REES:

Second law of thermodynamics.

BRIAN:

- that a black hole -

BRIAN dips a finger in the FROTH of REES's BEER and draws a

CIRCLE on the TABLETOP.

REES:

- thanks -

BRIAN:

- that if it is losing particles,

then, then over time -

INT. LECTURE HALL/RUTHERFORD LAB/CAMBRIDGE - DAY

STEPHEN:

- it must eventually disappear.

No applause at all as STEPHEN shuffles his notes. JANE looks

nervous. SCIAMA also. The general reaction is guarded.

STEPHEN (CONT'D)

First a star vanishes into a black

hole, but then the black hole must

itself--vanish.

THE THEORY of EVERYTHING 45

INT. PUB ON RIVER - CAMBRIDGE - NIGHT

BRIAN:

Gone! From nothing--into nothing.

REES:

You owe me another beer.

CARTER:

Me too.

BRIAN:

He's just told us that -

(eating REES's CRISPS)

- Time! Had a beginning! He shown

us how -

ELLIS:

(GETTING IT)

- the universe was born and how it

will end.

REES:

Bang.

BRIAN crushes the precious bag of crisps.

BRIAN:

Crunch!

(ENTRAPTURED)

It's beautiful! It's racy! It's

totally, totally -

SMASHCUT TO:

INT. LECTURE HALL/RUTHERFORD LAB/CAMBRIDGE - DAY

CLOSE ON:
The stoney faces of the ACADEMIC AUDIENCE, all

silent and unconvinced.

STEPHEN on stage - looks at these blank faces.

JANE and SCIAMA appear as nervous as JOHN TAYLOR, who rises

then to his feet...

JOHN TAYLOR:

I'm afraid--this is complete

nonsense. It's preposterous.

TAYLOR drags a fellow colleague to his feet and WALKS OUT.

STEPHEN:

Was it something I said?

SCIAMA rises to his feet, to defend STEPHEN -

(CONTINUED)

THE THEORY of EVERYTHING 46

CONTINUED:

SCIAMA:

I-

But then a BIG VOICE booms out - and stops TAYLOR and co in

their tracks.

KHALATNIKOV:

STOP! Please.

KHALATNIKOV makes his way to the STAGE, stopping beside

STEPHEN. He addresses the audience gravely...

KHALATNIKOV (CONT'D)

My name--is Professor Khalatnikov,

from Soviet Academy of Sciences. My

field is evolution of the hot

universe--the properties of

microwave background radiation, and

theory of the black holes. To be

honest, I came here today expecting

to hear a lot of nonsense. I go

home disappointed.

(pause, points)

The little one here, has done it.

(HE SMILES)

He has done it!

Applause finally begins, small, then grows large.

KHALATNIKOV (CONT'D)

HE!- HAS DONE IT! Ha! Ha! Ha! Ya

Ya! He has done it! (Shakes

Stephen's hand.) He has done it!

REACTION JANE:
Relief.

REACTION STEPHEN: the famous grin appearing, as -

STEPHEN is swamped by WELL-WISHERS. The AUDITORIUM empties on

to the stage, where STEPHEN is SURROUNDED.

ANGLE ON:
JANE, alone suddenly in the AUDITORIUM, trying to

see STEPHEN, as he is borne out of the room on a tide of

fame.

EXT. CAMBRIDGE STREETS - NIGHT

STEPHEN is being pushed by BRIAN over the cobbled streets

while REES, CARTER and ELLIS cavort around them. They are in

a PARTY/CELEBRATORY MOOD, singing as they go. GREAT FUN.

CUT TO:

At the base of a large flight of STEPS, the YOUNG PHYSICISTS

all RACE EACH OTHER up the STEPS and disappear. BRIAN is left

alone with STEPHEN and the WHEELCHAIR.

(CONTINUED)

THE THEORY of EVERYTHING 47

CONTINUED:

BRIAN:

BASTARDS!

BRIAN lifts STEPHEN out of his chair. He's heavy.

BRIAN (CONT'D)

Jeez!--uhhhh!--how the hell does

Jane manage?

He starts to carry STEPHEN up...up...up...

STEPHEN:

Big legs! Big legs Brian!

BRIAN:

So, tell me, this Motor Neuron

Disease, does it effect, y'know...

STEPHEN:

What?

BRIAN:

Everything..?

BRIAN indicates 'down there'.

STEPHEN:

Different system. Automatic.

BRIAN:

That's kinda wonderful, actually.

And it explains a great deal about

men.

BRIAN and STEPHEN then disappears over the top of the STEPS.

After a few beats BRIAN reappears and runs down the steps to

reclaim the wheelchair. He picks it up and starts up the

steps with it.

CUT TO:

STEPHEN, cradled in the giant arms of a seated MARBLE

STATUE!!! (maybe Queen Victoria) - cradled like a baby,

waiting for BRIAN to return.

INT. UNIVERSITY BOOKSHOP - DAY

The SHELVES are being restocked. The latest issue of "NATURE"

MAGAZINE is set on the stand by a STOCKIST. The COVER reads:

"HAWKING RADIATION"

_____________________________________________________________

THE THEORY of EVERYTHING 48

EXT. WEST ROAD FLAT, CAMBRIDGE - DAY

CLOSE ON:
STEPHEN. Waiting in his WHEELCHAIR on the front

LAWN. About 8 YEARS have passed since we last saw him. His

physical deterioration is marked. His body is thinner and

powerless. His legs are bent and his face is slightly

asymmetric.

WIDE:
Beside him is STACKED a mountain of FAMILY HOLIDAY

LUGGAGE (umbrellas, beach balls, plastic cricket set, tent

etc.)

In the Background, the NEW WEST ROAD FLAT - a LARGE VICTORIAN

HOUSE. The sign in front reads "GONVILLE and CAIUS COLLEGE".

On the LAWN the children (ROBERT, now 9 - and LUCY, now 5)

PLAY with BEACH TOYS, until -

- JANE (with a new haircut and fashion befitting the LATE

1970's) yells -

JANE:

Get in the car! Get! In! The Car!

Come on! Let's go see Gran and

Grandad!

The CHILDREN obey, and jump into the now OLD MINI parked at

the kerb, as -

- JANE confronts the MOUNTAIN OF STUFF, including STEPHEN,

that must somehow be stowed. No way.

LATER - back and forth JANE goes between LUGGAGE and MINI.

STEPHEN can only watch her load the stuff into the car and

onto the ROOF-RACK. Finally - REVEAL the LOADED MINI - it

looks ridiculously burdened!

JANE takes a deep, exhausted, breath, then turns back for

STEPHEN. He sits there in his wheelchair, looking at her...

ROBERT and JANE together, with GREAT DIFFICULTY, get STEPHEN

into the front seat and shut the door. ROBERT struggles to

COLLAPSE the WHEELCHAIR, until JANE comes and together they

muscle it onto the ROOF-RACK.

EXT. WELSH COTTAGE - WALES - DAY

FRANK & ISOBEL HAWKING's tumble-down WELSH COTTAGE high above

on a STEEP HILLSIDE, only reached by an ENORMOUS FLIGHT of

STEPS.

REACTION JANE:
Exasperation!

ISOBEL descends to greet them, followed by FRANK.

(CONTINUED)

THE THEORY of EVERYTHING 49

CONTINUED:

ISOBEL:

Isn't it marvellous? We can rent it

every year!

JANE:

Yes. I see. But what about all the

steps, Frank?

FRANK HAWKING:

Oh, it's nothing. The climb is

absolutely worth it. You get the

luggage.

FRANK backs STEPHEN (in his wheelchair) up the STEPS, one at

a time, while ISOBEL runs up ahead with the CHILDREN, leaving

JANE, alone, with ALL THE LUGGAGE.

REACTION, JANE:
Speechless in defeat, she sighs deeply.

Finally, she slowly starts to unload the MINI.

EXT. PATIO - WELSH COTTAGE - DAY

TEA and CAKES al fresco. The CHILDREN play CHARADES. FRANK is

feeding STPHEN, but his attention is on...ROBERT, whose turn

it is...ROBERT acts being cold, that it's snowing...

FRANK HAWKING:

Oh--Rain?--Falling?--Rain Falling

Down?--Shivering?--Uhhhrrrrr---

ISOBEL:

Very cold...

STEPHEN suffers an horrendous CHOKING FIT, which cannot be

staunched. STEPHEN's parents, and little ROBERT watch in

horror, as JANE tries in vain to subdue it, banging his back

roughly, loosening his tie.

JANE:

He needs to see a doctor. This

keeps happening!

STEPHEN:

No doctors!

FRANK HAWKING:

Very well, no doctors.

JANE, stressed, looks ready to break-down, and turns away,

hiding her frailty, a little angry also at the lack of

support.

THE THEORY of EVERYTHING 50

EXT. COUNTRYSIDE - DAY

JANE walks slowly along path to the WOOD and sits down on a

STONE. Head in hands. She WEEPS.

INT. MINI - TRAVELLING - DAY

JANE is driving them home.

JANE:

I need help.

I keep--I keep looking for a way--

to make this work--but I can't find

it.

STEPHEN:

(forcefully, but with a

SLURRED VOICE)

We're fine--we're just a normal

family.

JANE:

(UPSET)

WE'RE NOT A NORMAL FAMILY!!! We're

not a normal family.

STEPHEN:

(turns to ROBERT)

Robert--your mother's very angry at

me.

(SMILES)

JANE:

(TEARFUL)

Thanks.

INT. MASTER BEDROOM - WEST ROAD FLAT/ CAMBRIDGE - DAY

A worried JANE cradles and sooths STEPHEN to sleep.

INT. KITCHEN/HALLWAY/WEST ROAD FLAT/CAMBRIDGE - DAY

STEPHEN in his old wheelchair is pushed from the KITCHEN by

JANE up to the doors to the LIVING ROOM. She has a surprise

for him.

JANE:

Ready?

The doors then burst open and it's ROBERT and LUCY aboard- AN

ELECTRIC MOTORIZED WHEELCHAIR.

ROBERT:

Surprise! Look Daddy Look!

(CONTINUED)

THE THEORY of EVERYTHING 51

CONTINUED:

STEPHEN stares as ROBERT makes the CHAIR turn by pulling and

pushing a toggle.

JANE:

It's an electric wheelchair.

We can take it back--if you don't

like it.

STEPHEN stares at it, unsure at first...

INT. KITCHEN - WEST ROAD FLAT/CAMBRIDGE - NIGHT

While making dinner, JANE hears happy screams from the other

end of the house. She goes through to discover --

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - NIGHT

STEPHEN, in his motorized wheelchair, chasing ROBERT and LUCY

from room to room at full speed! He looks extremely thrilled

with the chair as he smashes into furniture.

JANE, at the table, trying to work on her THESIS, tries to

smile. STEPHEN motors away, chasing the squealing children.

JANE WINCES as she hears - the sound (O.S.) of a SMASHING

VASE.

EXT. TRINITY LANE FOOT-BRIDGE - DAY

STEPHEN happily MOTORS at speed over the FOOT-BRIDGE,

grinning.

INT. CORRIDOR, DAMTP, CAMBRIDGE UNI - DAY (L70-M80'S)

STEPHEN is motoring along with SCIAMA. CAMBRIDGE DONS and

STUDENTS step aside to make way.

SCIAMA:

I don't get it. You've spent years

assuming Black Holes exist--you

believe Cygnus X-1 will turn out to

be the first black hole we can

actually observe==and yet you bet

Kip Thorne that it isn't a black

hole?

STEPHEN:

(SLURRING)

Yes, a magazine subscription.

SCIAMA:

Why would you bet against yourself?

(PAUSE)

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 52

CONTINUED:

SCIAMA (CONT'D)

A subscription to what? Nature

magazine?

STEPHEN:

Pent-house. That way even if I'm

wrong, I still win!

SCIAMA laughs heartily as -

- STEPHEN grins, at the same time SPYING - up ahead, TWO

ATTRACTIVE UNDER-GRADUATE GIRLS about to enter the LIFT.

STEPHEN hits the GAS! - and SPEEDS toward the LIFT...

SCIAMA:

Penthouse?

STEPHEN SPEEDS toward the LIFT, whose DOORS ARE READY TO

CLOSE.

SCIAMA winces in expectation of a horrible accident.

WIDE:
it looks suicidal but the chair just flies through the

GAP in the last split second before the DOORS CLOSE - the

doors shaving the wheels, with a small spark.

INT. LIFT, DAMTP, G&C COLLEGE - DAY

STEPHEN, in there with the TWO UNDERGRADUATE GIRLS, SMILES at

them.

INT. LIVING ROOM,WEST ROAD FLAT/CAMBRIDGE - DAY

JANE picks up pieces of a BROKEN POTTED PLANT, dirt spilled

over the carpet, then violently VACUUMES as BERYL comes in

with a tea-tray.

BERYL:

Jane--Jane? Jane? Jane! STOP!

JANE keeps VACUUMING. BERYL pulls the PLUG on the VACUUM

CLEANER. JANE stares at her Mum.

BERYL (CONT'D)

Sit down. Sit.

BERYL pours TEA for the exhausted JANE. JANE sits.

BERYL (CONT'D)

Now--I'd like to make a suggestion--

it might sound unusual--but I've

seen it work wonders.

I think--you should consider -

(BEAT)

- joining the church choir.

(CONTINUED)

THE THEORY of EVERYTHING 53

CONTINUED:

REACTION JANE:
Momentarily SPEECHLESS -

JANE:

Mum--I think that is possibly the

most English thing anyone has ever

said.

BERYL:

Maybe so.

JANE:

I used to love singing.

BERYL:

You're very good at it.

JANE:

I don't know about that.

BERYL:

Go. (pause) It's one hour a week.

They sip tea in silence.

INT. CHURCH - EVENING (LATE 70'S-M80'S)

JANE walks in - and up the AISLE - as we hear CHORAL MUSIC.

JANE takes a pew, and then her eyes widen slightly as she

recognizes the CHOIR MASTER. It's the BEARDED MAN from the

supermarket car-park. She studies him, as he gently

instructs and then conducts the CHOIR.

CUT TO:

After the rehearsal, the CHOIR file past JANE. JONATHAN

recognizes her at once.

JONATHAN:

Oh, hello.

JANE:

Hello.

JONATHAN:

Are you here to sing?

JANE:

I um--I just came to--

JONATHAN:

Soprano? Soprano.

JANE:

I wish.

(CONTINUED)

THE THEORY of EVERYTHING 54

CONTINUED:

JONATHAN:

Mezzo?

JANE:

(POINTING DOWNWARDS)

Alto.

JONATHAN:

Well--Just what we need.

(to last departing

CHORISTER)

'Bye, Kate.

(TO JANE)

Where have you been hiding?

JANE:

Good question.

JONATHAN:

Well, you're here now. And just in

time.

JANE:

(SMILES)

Am I?

JONATHAN:

Yes. So tell me.

(squints, thinking)

Chopin! Yes? Your repertoire.

JANE:

I wouldn't call it a repertoire.

Brahms--I know a little-

JONATHAN:

Brahms! Wonderful. Perfect. We -

JONATHAN gets an idea, he moves then stops...

JONATHAN (CONT'D)

Okay. Which...?

JANE:

Well, I have sung--"Immer leiser."

JONATHAN:

Ah! "My sleep grows evermore

peaceful." Come on. Follow me. Come

on. Let me hear you. Come on.

He sets off up to the front of the church. She turns,

smiling, as he WAVES for her to follow him. She follows.

THE THEORY of EVERYTHING 55

INT. FRONT AREA, CHURCH - EVENING

At the front of the church she sees that he is already

sitting at the piano. Without sheet music he begins to play

"Immer leiser wird mein Schlummer"...

JONATHAN:

(over the music)

Jonathan. Jonathan Hellyer Jones.

She gingerly approaches.

JANE:

Jane. Jane Hawking.

JONATHAN:

In C-sharp minor? The introduction,

so lovely. From the top?

JANE:

Now?

JONATHAN:

"Living on the edge."

(SMILES)

Ready?

(BEAT)

If you're not in the mood we could

absolutely forget -

JANE:

No, no. No, no. Just let me

remember the lyrics. In English.

JONATHAN:

Fabulous.

JANE:

Okay.

JONATHAN:

Okay?

(BEAT)

Two, three...

JANE:

(SINGS)

My sleep grows ever quieter

only my grief, like a veil,

lies trembling over me.

I often hear you in my dreams

calling outside my door...(etc)

THE THEORY of EVERYTHING 56

EXT. CHURCH - NIGHT

JANE and JONATHAN emerge from the church - JONATHAN locks the

doors.

JONATHAN:

Actually, no, I go for the Gospel

of St. Mark.

JANE:

None of that wishy-washy do-gooder

stuff--Matthew, Luke.

JONATHAN:

Exactly. With Mark you roll up your

sleeves and get stuck in. No

standing on the sidelines.

They shake hands. JANE stares into his face - realizing she

has found a friend.

JANE:

Well I should be going.

JONATHAN:

Well met. Oh, and if your daughter

would like those piano lessons.

JANE:

Absolutely. My husband loves music

too.

JONATHAN:

I could teach him as well.

JANE:

Well, that's a long story. 'Night.

EXT. WEST ROAD FLAT, CAMBRIDGE - DAY

STEPHEN motors down the street, fast, and swings up the

ramp in front of the door. He BANGS into the front door.

Then waits. He hears PIANO music - a lesson in progress.

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

As STEPHEN and JANE watch - JONATHAN gives ROBERT (11) a

piano lesson.

JANE smiles at STEPHEN, who remains cautious.

THE THEORY of EVERYTHING 57

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - NIGHT

JONATHAN is eating dinner with JANE and STEPHEN. JANE feeds

STEPHEN a forkful of food. STEPHEN chews slowly.

STEPHEN sneaks glances at JONATHAN.

JONATHAN shoots a SMILE at JANE. She smiles back in return.

STEPHEN catches sight of both these smiles, and sees the

GROWING INTIMACY.

JANE:

Water.

She exits. JONATHAN smiles at STEPHEN who is staring back at

him.

JONATHAN:

(TO STEPHEN)

So - Stephen. Er - Jane tells

me...

JONATHAN picks up STEPHEN's fork, spears a cube of steak.

JONATHAN (CONT'D)

...you have a beautiful theorem

that proves that...

JONATHAN offers up the steak, but STEPHEN's glare makes him

aware this isn't welcome. He lowers the fork again.

JONATHAN (CONT'D)

...that--that the universe had a

beginning?

JANE returns with the a JUG OF WATER and GLASSES on a TRAY.

STEPHEN:

(testily, his slurring

not easily understood)

That was my - PhD thesis.

JONATHAN looks to JANE for a translation.

JONATHAN:

Your...?

JANE:

PhD thesis.

STEPHEN:

My new project - disproves it.

JONATHAN:

Disproves it? Really?

(as JANE nods)

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 58

CONTINUED:

JONATHAN (CONT'D)

You no longer believe in the

Creation?

STEPHEN:

What one believes -

- is irrelevant--in physics.

JANE JONATHAN

...is irrelevant ...is irrelevant

JANE:

...in physics.

JONATHAN looks to JANE, hoping he has not caused offence.

JONATHAN:

Oh, is that so?

JANE:

(ANNOYANCE SHOWING)

Stephen's done a U-turn. The big

new idea is that the universe has

no boundaries at all. No

boundaries, no beginning. No

BEGINNING -

JONATHAN:

- no God? Really?

(TO STEPHEN)

Fascinating. Because I'd

understood you'd proven the need

for a Creator. My mistake.

STEPHEN:

No. Mine.

JONATHAN:

(UNDERSTANDING THIS)

Yours. Your mistake?

JONATHAN is surprised by this sharp reply. (He also sees

that this matter is a CAUSE OF DIVISION between JANE and

STEPHEN.)

JANE:

Stephen is looking for a single

law that governs all the forces

in the universe. So God must die.

JONATHAN:

Why must God die? I don't see.

STEPHEN doesn't react, so JANE spears a PEA on her FORK,

then picks up a SECOND FORK and spears a LARGE BOILED

POTATO with the other.

(CONTINUED)

THE THEORY of EVERYTHING 59

CONTINUED:
(2)

JANE:

The two great pillars of physics

ARE -

(THE PEA)

- Quantum Theory, the laws that

govern the very small--electrons,

particles so on--and General

Relativity...

JONATHAN:

Oh, yes - Einstein.

JANE:

...Einstein's theory.

(THE POTATO)

Which governs the very large,

planets and such--but Quantum -

(raises the PEA)

AND -

(raises the POTATO)

Relativity...

JONATHAN:

They're--different?

JANE:

They don't remotely play by the

same rules. Peas are chaotic, and

don't behave predictably at all -

With her 'pea' fork she stirs some more peas on her plate -

creates 'chaos'.

JONATHAN:

UNLIKE--POTATOES -

JANE:

Which you can set your watch by.

STEPHEN:

(SMILING)

Very good.

Even STEPHEN has begun to begrudgingly enjoy this, even as

he starts COUGHING.

JANE gets up and goes to pat STEPHEN's back over the

FOLLOWING:

JANE:

If the world were all potatoes,

easy--you could trace a precise

beginning, as Stephen once did, a

moment of Creation. Hallelujah,

God lives.

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 60

CONTINUED:
(3)

JANE (CONT'D)

But if you want to incorporate

peas into the menu, which Stephen

now wants to do, then it all goes

-

STEPHEN:

Tits up.

JONATHAN looks to JANE for translation again -

JANE:

Tits up. Haywire. Becomes a

Godless mess.

JONATHAN:

Oh, dear.

JANE:

Einstein hated peas, Quantum

Theory. "God doesn't play dice

with the universe", he said.

STEPHEN:

Seems he not only plays dice -

JANE:

Seems he not only plays dice -

STEPHEN:

- he throws them - where we can't

find them.

(SMILES)

JANE:

- he throws them -

JONATHAN:

- where we can't find them. How

inconvenient!

JANE:

Stephen's swapped his telescope

(un-spears the spud)

- for a microscope.

(eats the pea)

Order for chaos--hoping to find a

law to cover both.

JONATHAN, impressed, looks at STEPHEN.

JONATHAN:

Looking for "the world in a grain

of sand."

JANE:

God is back on the endangered

species list.

(CONTINUED)

THE THEORY of EVERYTHING 61

CONTINUED:
(4)

JONATHAN:

I expect he'll cope.

STEPHEN:

But physics--is back in business.

JANE:

Physics is back in business.

Stephen thinks it a fair

exchange.

STEPHEN:

(TO JANE)

It's the final--challenge. We'll

know everything.

JONATHAN:

The final challenge?

JANE:

(to JONATHAN, ignoring

STEPHEN)

More wine?

JONATHAN declines, troubled by the tension between the

couple.

JONATHAN:

No, thank you.

JANE:

(RESIGNED)

We'll know everything.

EXT. GARDEN/WEST ROAD FLAT/CAMBRIDGE - NIGHT

Under a STARRY sky - JONATHAN helps STEPHEN sip his coffee.

STEPHEN accepts this now.

JONATHAN:

It was leukaemia. Coming up on a

year ago. She fought it, I nursed

her, but in the end... Music is my

salvation. Teaching and playing.

I've struggled with loneliness, of

course. Tyranny of the empty room,

all that. Music is a consolation,

although my career... Well, I'm not

very ambitious.

(SMILES)

Is that a sin?

STEPHEN:

Wrong guy to ask.

THE THEORY of EVERYTHING 62

INT. HALLWAY, WEST ROAD FLAT, CAMBRIDGE - NIGHT

JONATHAN puts on his JACKET to go - JANE and STEPHEN see him

off.

JANE:

Thank you for coming.

JONATHAN:

No. Thank you. It was wonderful.

(starts to go, then stops)

And if--if there was anything I can

do. To be of service. To you, your

family. I have no children, no

commitments. If I could help you, I

believe I would find a purpose that

would alleviate my own situation.

It would be a privilege.

STEPHEN looks to JANE for her reaction. JANE senses

EMOTIONAL DANGER and, frightened, merely smiles.

JONATHAN (CONT'D)

Night then.

He exits. JANE shuts the door.

INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - NIGHT

JANE puts PILLOWS behind STEPHEN, who now sleeps almost

upright in bed. She then takes off her BATHROBE and gets

into bed herself.

STEPHEN:

I understand you need more help.

And if there is - someone - who

is prepared to offer it - I won't

object, as long - as long as you

continue to love me.

JANE:

Of course. For infinity.

Beside him in bed, she kisses his cheek and then lays her

head on his frail chest.

MUSIC UP:
BACH PRELUDE, as played by JONATHAN on PIANO, over -

MONTAGE:

A) (MOVED TO:
POSITION "G" in MONTAGE)

A1) The CAM RIVER. A PUNT on a SUNNY DAY drifts under the

BRIDGE OF SIGHS - in the front of the PUNT, JANE cradles

STEPHEN and ROBERT and LUCY. JANE smiles at -

(CONTINUED)

THE THEORY of EVERYTHING 63

CONTINUED:

- JONATHAN, who is POLING them. He smiles back at her.

B) HAWKING FRONT ROOM. JONATHAN plays the BACH PRELUDE

divinely on JANE's PIANO, as - JANE, BESIDE HIM on the piano

stool, turns the pages. STEPHEN watches without jealousy and

with enjoyment.

C) HAWKING BATHROOM. JONATHAN takes STEPHEN to the TOILET.

D) When JONATHAN and JANE pass each other in the KITCHEN,

and JONATHAN quite naturally takes her hand. JANE,

surprised, looks at him. He SMILES at her. Their FIRST

TOUCH!

We can see that the temptation to act further on their

feelings is now HUGE for both of them, but they do nothing.

JANE forces herself to break away, hurries into the next

room to be with STEPHEN, the kids and a train set. JONATHAN

is left to deal with his feelings. He sighs, sublimates

them, then returns to his domestics.

E) BRANCASTER BEACH. SUPER-8 FOOTAGE of their day at the

beach...

STEPHEN's wheelchair sits on the sand at the water's edge,

his trousers rolled up, water lapping his naked feet. STEPHEN

helplessly watches from his wheelchair as JONATHAN engages in

some playful rough and tumble with ROBERT and LUCY, kicking a

FOOTBALL back and forth. JANE watches on.

JONATHAN cradles STEPHEN as they sit there and look out to

sea, both men carefree and happy, STEPHEN accepting of

JONATHAN's care now. They appear as FRIENDS now.

INT. CHURCH - NIGHT

The CHOIR sings a beautiful CAROL. The CAMERA finds JANE -

singing nervously - the only SINGER NOT LOOKING at JONATHAN -

her eyes are glued on her hymn sheet. In DENIAL.

CUT TO:

After the Rehearsal, the CHOIR leaves. JANE and JONATHAN

clear up the hymn sheets. She passes her pile to him. He puts

his hand on hers. She withdraws her hand.

JANE:

I have to tell you something.

JONATHAN:

Is anything the matter?

She looks at him for the first time that evening -

JANE:

I'm um--I'm pregnant.

(CONTINUED)

THE THEORY of EVERYTHING 64

CONTINUED:

JONATHAN:

Oh.

(WOUNDED)

I see. I presumed--stupid really--

that you and Stephen...

(COURAGEOUSLY)

Well, then...

(AWKWARDLY)

Congratulations are in order.

JANE:

Does it make a difference?

JONATHAN:

(NOBLY)

Of course not.

He takes her by the arm, and leads her out of the church.

EXT. GARDEN - WEST ROAD FLAT - CAMBRIDGE - DAY

Everyone is gathered for the CHRISTENING PARTY - STEPHEN,

JANE, their PARENTS, ROBERT, LUCY. BRIAN takes PHOTOS of

EVERYONE.

JANE places the new BABY (TIMOTHY) into STEPHEN's LAP (and

carefully holds TIM there as STEPHEN can no longer hold a

baby) as -

- JONATHAN takes a PHOTO of the MOMENT.

ANGLE ON:
FRANK HAWKING, scowling at JONATHAN.

EXT. GARDEN - WEST ROAD FLAT - CAMBRIDGE - DAY

LATER. As the party continues, FRANK sits with STEPHEN. FRANK

glances at JONATHAN, who brings drinks for the ladies. He

turns to his son.

FRANK HAWKING:

I've always supported you in your

choice not to have home help, but

now, you need a permanent solution.

This--this current 'situation'

can't go on. You need a proper live-

in nurse immediately.

STEPHEN:

We have help.

FRANK HAWKING:

You know what I'm talking about.

STEPHEN glances at JONATHAN.

(CONTINUED)

THE THEORY of EVERYTHING 65

CONTINUED:

STEPHEN:

(SLURRED SPEECH)

Can't afford--live-in nurse.

FRANK HAWKING:

You can't afford to--

(STOPS HIMSELF)

There must be a way. You need to

find a way. For your family's sake.

You're world famous -

STEPHEN:

For black holes--not rock concerts.

FRANK HAWKING:

I believe it's urgent.

INT. KITCHEN/WEST ROAD FLAT/CAMBRIDGE - DAY

ISOBEL HAWKING follows JANE into the kitchen.

ISOBEL:

You know very well what I'm talking

about.

JANE:

No. I don't.

ISOBEL:

We do have a right to know. We

have a right to know, Jane.

JANE:

Know what?!

ISOBEL:

Whose child Timothy is. Stephen's,

or Jonathan's?

JANE, turning, wheeling on ISOBEL, shocked.

JANE:

That's what you think of me?

ANGLE ON JONATHAN, appearing at the door, unseen by the

WOMEN. He overhears the following.

JANE (CONT'D)

There is no way that Timothy could

have any other father than Stephen.

None. And for the record--I will

never leave Stephen.

JANE turns - sees that JONATHAN is standing in the DOORWAY.

JONATHAN exits...

THE THEORY of EVERYTHING 66

EXT. WEST ROAD FLAT - CAMBRIDGE - DAY

JANE chases JONATHAN - stops him.

JONATHAN:

I need to go. I can't...

JANE:

Please don't go.

JONATHAN:

Everyone's talking. It's -

JANE:

So. What does it matter?

JONATHAN:

Well, there are other things too. I

- I - just -

(BEAT)

I have feelings for you.

JANE:

I have feelings for you, too.

JONATHAN JANE

It's - it's difficult for me! I know, I know.

JONATHAN JANE

You have no - It's so wonderful, for me,

for the children.

JONATHAN JANE

I have to go. I don't think I Please, please -

CAN -

JONATHAN:

Perhaps the right thing is for me

to just--step back.

He walks off.

REACTION JANE:
Distressed.

ANGLE ON:
STEPHEN, at the WINDOW, watching this - CONCERNED.

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

JANE does her daily NURSE chores, among these applying hand

lotion quickly to STEPHEN's hands - she does this

ROUTINELY. (This will contrast, later, with how Elaine

applies the hand lotion.)

STEPHEN:

I've just been invited -

(CONTINUED)

THE THEORY of EVERYTHING 67

CONTINUED:

JANE:

Invited? Where?

STEPHEN:

Geneva.

JANE:

Geneva?

STEPHEN:

Students can accompany me.

JANE:

What students?

STEPHEN:

I know how much you hate -

JANE:

You know how much I hate -

STEPHEN:

- to fly.

JANE nods, sensing they are at a crossroads. She looks

away, on the verge of tears.

JANE:

To fly. Yes.

STEPHEN:

I was thinking - that you and the

CHILDREN -

JANE:

- Me and the children--go on?

STEPHEN:

could bring the car -

JANE:

- bring the car -

STEPHEN:

- meet me in Bayreuth -

JANE:

Bayreuth? How can I manage that? On

my own?

STEPHEN:

Bring Jonathan.

JANE looks up at him. Her thoughts racing.

(CONTINUED)

THE THEORY of EVERYTHING 68

CONTINUED:
(2)

BOTH understand the significance of this. She looks into his

eyes to establish if he is sure. The look he gives her

confirms this.

JANE:

I doubt he would be willing.

INT. CHURCH - NIGHT

STEPHEN motors up the CHURCH AISLE with TWO BOTTLES OF BEER

in a PAPER BAG at his side going "CLINK,CLINK,CLINK".

JONATHAN clearing up after a CHOIR PRACTICE turns - stares at

STEPHEN.

CUT TO:

FRONT ROW of the PEWS. JONATHAN and STEPHEN, side-by-side,

stare at the ALTAR. JONATHAN spots the BEER BOTTLES in

STEPHEN's LAP.

STEPHEN:

Is--this okay?

JONATHAN:

Well--I won't tell if you don't.

JONATHAN opens the TWO BEER BOTTLES, tucks his handkerchief

under STEPHEN's chin, and then tips the beer into STEPHEN's

mouth.

JONATHON:

Not too much--bearing in mind you

have to drive.

STEPHEN grins.

The two men stare at the ALTAR, aware of the significance of

this moment. STEPHEN sneaks a glance at JONATHAN. And then -

STEPHEN:

Jane--needs--help.

JONATHAN sighs deeply.

EXT. WEST ROAD FLAT, CAMBRIDGE - DAY

A YOUNG MALE STUDENT CARER, loads the last of STEPHEN's

LUGGAGE into a TAXI. STEPHEN is already in the back of the

TAXI with SARAH, a carer. JANE supervises, worried.

JANE:

And please please remember, 5

milligrams of Riluzole before and

after the flight.

(CONTINUED)

THE THEORY of EVERYTHING 69

CONTINUED:

She then goes to STEPHEN's open window.

STEPHEN:

(JAUNTY)

See you - in Bayreuth.

JANE:

Travel safely.

She kisses his cheek. The MALE STUDENT and SARAH get in the

cab, which DRIVES OFF. JANE smiles and waves till the cab has

gone. She slowly turns and re-enters her home.

EXT. BACK GARDEN - WEST ROAD FLAT - DAY

JANE, the two youngest CHILDREN and JONATHAN play hide-and-

seek in the college garden.

JANE:

Forty-nine...Fifty. Coming

ready or not!

JANE searches for the CHILDREN...she instead sees - through

the undergrowth - MEN's SHOES!

She rises. It's JONATHAN standing there. They look into each

other's eyes. What will they do now?

EXT. FRENCH HIGHWAY - DAY

JONATHAN drives, ROBERT is in the PASSENGER SEAT. JANE is

in the BACK SEAT with LUCY - (TIMOTHY is absent). JANE and

JONATHAN make eye-contact via the rear-view mirror.

INT. THEATRE, BAYREUTH - DAY

Before the show starts, STEPHEN in his WHEELCHAIR in the

AISLE, happy, as we hear the ORCHESTRA tuning. He is flanked

by SARAH and the MALE STUDENT.

EXT. GERMAN CAMP SITE - DAY

They erect TWO TENTS. Jane and the kids one, Jonathan the

other.

EXT. GERMAN CAMP SITE - NIGHT

LATER - JANE creeps out of the tent in which LUCY and TIM are

sleeping. There is a third sleeping bag in there - her own.

JANE then goes to the adjoining tent - JONATHAN's.

(CONTINUED)

THE THEORY of EVERYTHING 70

CONTINUED:

JANE PAUSES for a moment, bites her lip, breathless, unable

to make herself enter the TENT.

Just then, JONATHAN unzips his tent and emerges.

They LOCK EYES on each other - an incredibly charged

attraction between them. He reaches for her HAND. She is

shaking. TOGETHER they go into JONATHAN's tent. END ON: the

zip being closed again.

INT. THEATRE, BAYREUTH - NIGHT

STEPHEN coughs a few times as he listens to the PRELUDE of

the RING CYCLE.

HIS POV of:
The DARKENED STAGE, a black void, but for a

BURNING RING at its centre.

STEPHEN begins to cough a little harder, then a little

harder. The CARER, SARAH, at his side, finally takes note and

holds a WHITE HANDKERCHIEF up to his MOUTH.

He SUDDENLY COUGHS BLOOD!

INT. THEATRE, BAYREUTH - LATER

STEPHEN's POV of the THEATRE CEILING as he is stretchered out

of there.

EXT. PHONEBOX - GERMAN CAMPSITE - MORNING

JANE stands in a phonebox, then slams down the PHONE and

rushes back to the CAMPSITE in panic.

EXT. AUTOBAHN - NIGHT

The VOLVO drives through the night. Takes an exit marked

"GENEVA".

INT. INTENSIVE CARE UNIT/GENEVA HOSPITAL - DAY

STEPHEN lies quiet and still, his eyes closed. JANE looks

down on him. She has GUILTY tears in her eyes.

The SWISS DOCTOR enters, speaks with JANE...Tout en

Francais...with ENGLISH SUBTLTLES.

SWISS DOCTOR:

(IN FRENCH)

He has pneumonia. He is on a life-

support machine. I am not certain

how long he will live.

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 71

CONTINUED:

SWISS DOCTOR (CONT'D)

I need to know whether my staff

should disconnect the ventilator?

JANE switches to ENGLISH -

JANE:

(IN ENGLISH)

What are you talking about?

SWISS DOCTOR:

(IN ENGLISH)

If we try to bring him round from

the anaesthetic it is not sure he

will survive resuscitation.

JANE:

Stephen must live! You have to

bring him round from the

anaesthetic!

SWISS DOCTOR:

Are you sure this is what you

want? The only way of weaning him

off the ventilator would be to

give him a tracheotomy, a hole in

the neck, by-passing the throat.

He will never speak again.

JANE stares at him - deeply upset but finally manages to

SAY -

JANE:

There's no question. Stephen must

live. I will see he gets everything

he needs. I will have him

transferred back to Cambridge.

SWISS DOCTOR:

He may not survive the journey.

JANE looks pale and weaker than we have ever seen her.

EXT. AIRPORT, GENEVA - DAY

On the tarmac, the two HAWKING children are led toward a BA

FLIGHT (in the far distance) by an AIR-HOSTESS.

Meanwhile, A small AIR-RESCUE PLANE nearby awaits JANE and

STEPHEN. STEPHEN is just then being loaded on board.

JANE turns and faces JONATHAN. A private moment. Her LOOK

OF SADNESS speaks volumes. He NODS - he KNOWS.

JONATHAN:

I'll step back.

(CONTINUED)

THE THEORY of EVERYTHING 72

CONTINUED:

She NODS, SADLY. Her eyes start to well up. His too. It's a

break-up. Turning to look back to the plane...

JANE:

Drive--safely, yes? Did you get

everything in the car? His chair,

equipment...

JONATHAN nods.

She KISSES him on the cheek and he presses his cheek against

hers. They both hold onto each other for a moment, knowing

it's their final embrace, and then she hurries, tearfully,

toward the WAITING PLANE, leaving him standing there.

INT. OBSERVATION ROOM/SURGICAL THEATRE/ADDENBROOKES - DAY

JANE, is gowned for theatre. With an ENGLISH DOCTOR she

watches the OP through a window.

ENGLISH DOCTOR:

It'll take a miracle.

ANGLE ON:
JANE's POV - of the surgeon picking up a MARKER-

PEN...

INT. SURGICAL THEATRE/ADDENBROOKES HOSP. - DAY

...A SURGEON prepares to perform a TRACHEOTOMY on STEPHEN -

marking the spot on his neck with the MARKER PEN, and then

picks up the SCALPEL...about to make the INCISION...

INT. OBSERVATION ROOM/ADDENBROOKES - DAY

REACTION JANE:
as - she WINCES, then GASPS in horror.

INT. RECOVERY ROOM - ADDENBROOKES HOSPITAL - DAY

STEPHEN opens his eyes, looks around him. He is alone. He

opens his mouth to speak. We hear only a slow exhale of

air, through the off-screen tracheotomy hole. He PANICS,

and has to be soothed by a NURSE.

INT. RECOVERY ROOM, ADDENBROOKES HOSPITAL - DAY

LATER. STEPHEN is turned on his side, his back to camera.

JANE enters. APPROACHES.

ANGLE ON:
Her POV of STEPHEN as she approaches, revealing

the side of his face, and then finally, his neck with the

TRACHEOTOMY HOLE.

(CONTINUED)

THE THEORY of EVERYTHING 73

CONTINUED:

She can't help it. Her hand JUMPS UP to cover her mouth as

she gasps.

INT. DAY-ROOM - ADDENBROOKES HOSPITAL - DAY

Recuperating in his chair in the sun, staring out of the

window at - a BIRD PERCHED which alights a branch.

STEPHEN has never looked more depressed. Or alone. There is a

plastic FLANGE over the TRACHEOTOMY HOLE.

ANGLE ON the FINGERS of his right hand, resting on the arm

of the wheelchair. These, at least, can still move.

JANE (O.S.)

Stephen?

JANE moves into STEPHEN's limited POV - holding a CLEAR

PLASTIC SCREEN - an E-TRAN "SPELLING" BOARD, on which 6

groups of characters are arranged.

JANE (CONT'D)

This is a Spelling Board. First,

you tell me what letter you want by

blinking when I say the colour of

the group that contains that

letter. Once I know the group, you

can choose the character inside

that group by blinking again when I

go through the colours of each

letter in that group. Apparently.

Okay? Let's just try.

STEPHEN says nothing.

JANE (CONT'D)

So...Green, Yellow, Blue, White,

Black, Red.

(SILENCE)

Blink to choose the group that

contains the letter you want?

Green? Yellow? Blue? White? Black?

Red?

As JANE's eyes fill with TEARS...STEPHEN just keeps looking

at her...then TRIES TO SPEAK. His mouth moves...but nothing -

nothing ever again! - will ever come out!

It's a heart-breaking moment-- for both of them--and when

TEARS appear in his eyes, she can't stop her own TEARS from

falling.

THE THEORY of EVERYTHING 74

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

STEPHEN gloomily reads a newspaper with the help of a READING

FRAME, when -

JANE enters.

JANE:

She's here. Okay. Promise not to

eat her alive...

Enter:
ELAINE MASON. She is attractive.

Exit:
JANE, touching ELAINE supportively on the shoulder.

ELAINE:

So then - Professor. How are you?

My name is Elaine. I'm going to be

your nurse, would you like that?

No? Well- we'll work it out.

He stares at her, as -

- ELAINE goes and gets a CHAIR, taking an interest in her,

UNTIL -

- ELAINE turns and catches him look at her.

Swiftly, STEPHEN turns his eyes back to the NEWSPAPER. ELAINE

looks at him a moment longer, surprises to see that STEPHEN

is not unlike any other man in this regard. A faint smile

appears. She sits in front of him.

ELAINE (CONT'D)

So then...

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

ELAINE holds the E-TRAN BOARD and writes down a letter, then

looks up at STEPHEN - sees through the clear perspex

immediately what group he is looking at. She doesn't have to

call out the colours - knows them. (See her POV of him

through the board so we establish the eye-line principle.)

She is BRILLIANT at this.

STEPHEN's eyes FLICK from GROUP to GROUP, no BLINKING going

on.

ELAINE:

(RAPIDLY)

Red group--Yellow letter. T. Green

group--Black letter. E. Green--

Green. A....T.E.A. Tea.

(SMILES)

You're good. You want tea. What

type of tea?

(CONTINUED)

THE THEORY of EVERYTHING 75

CONTINUED:

They look at each other. And then she has an IDEA. She PUTS

DOWN THE BOARD. They look at each other...

ELAINE (CONT'D)

You've memorised the board. Of

course you have. What kind of tea?

Blink when I say the group that has

the letter you want. Green, Yellow,

Blue, White, Black, Red...

(BEAT)

I haven't got all day. Green-

(HE BLINKS)

Green group. And the letter in that

group? You know their colours, I

know you do. Green, Yellow -

He BLINKS. She has MEMORISED the BOARD too -

ELAINE (CONT'D)

Yellow? Green,yellow--that's B.

A breakthrough. They are both EXPERT.

ELAINE (CONT'D)

A tea beginning with B? Builder's

tea! Right?

He GRINS. She SMILES. She goes to get him some TEA.

INT. HALLWAY/WEST ROAD FLAT/CAMBRIDGE - DAY

ELAINE, smiling, enters hall (from the LIVING ROOM) and bumps

into JANE, who has just arrived home with GROCERIES. They

stop in front of each other.

ELAINE:

(CHUCKLING)

I think he's the most brilliant man

I've ever met. You're very lucky.

JANE:

Thank you.

ELAINE:

You must worship the ground beneath

HIS -

JANE:

- wheels.

JANE can't fail to see how enthralled ELAINE is.

ELAINE:

And he's the perfect patient.

Looking after him is so much easier

than other patients I've had.

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 76

CONTINUED:

ELAINE (CONT'D)

And sooo funny, oh my God. When you

read about him people don't tell

YOU -

JANE:

(cutting her off)

You only do two shifts a week,

Elaine.

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

STEPHEN sits in the armchair, propped up by cushions, while a

TECHNICIAN bolts the NEW COMPUTER SCREEN onto STEPHEN's

WHEELCHAIR. JANE watches.

TECHNICIAN:

Almost there!

JANE:

How does it work?

TECHNICIAN:

A guy called Walt Woltosz invented

the software. Uses a very simple

interface that scans through the

alphabet and allows each letter to

be selected one by one. Using this

technique, the Professor can expect

to write at about four words per

minute.

ELAINE enters -

JANE:

(After initial dismay)

Better than one a minute.

TECHNICIAN:

What I've done is--use components

from a telephone answering system

actually-- to convert the written

text into synthesized speech. The

voice sounds a bit robotic, but...

(IT'S READY)

Okay. Shall we give it a try?

CUT TO:

JANE and ELAINE hoist STEPHEN into the new chair.

TECHNICIAN (CONT'D)

There we go.

(GRANDLY)

Welcome to the future!

(CONTINUED)

THE THEORY of EVERYTHING 77

CONTINUED:

The TECHNICIAN sets a pressure-sensitive 'clicker' in

STEPHEN's hand. The SCREEN suddenly floods with COMPUTER

CODE. REFLECTED in the glass is the WIDE-EYED FACE OF

STEPHEN.

JANE and ELAINE sit on the couch together watching -

The TECHNICIAN demonstrates - builds a sentence for

STEPHEN, selecting one LETTER at a time. STEPHEN is all

concentration, observing how it is done.

TECHNICIAN (CONT'D)

All set. Then you just click

'PLAY', like this -

STEPHEN looks back at the screen, then CLICKS ONCE. The

COMPUTER comes to life and says STEPHEN's first words in

months.

STEPHEN:

(electronic voice,

strong American accent)

My--name--is--Stee--ven--Hawking.

STEPHEN stares at JANE - incredulous. JANE stares back at

STEPHEN - horrified.

JANE:

It's American! Oh, my Goodness.

(TO TECHNICIAN)

Are there any other voices?

TECHNICIAN:

That's all they have at the

moment. Is that a problem?

ELAINE:

I think it's great!

STEPHEN looks bewildered.

INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - NIGHT

In a quiet moment, STEPHEN sits alone, trying out the new

device. His face shows SADNESS, BLEAKNESS. His eyes move back

to the COMPUTER SCREEN. His fingers CLICK-CLICK-CLICK on the

monitor. And finally we hear - his sadly moving homage (to

"2001:
A Space Odyssey").

STEPHEN:

Daisy. Daisy.

(BEAT)

Give Me Your Answer Do.

Finally - he SMILES. He has cheered himself up.

THE THEORY of EVERYTHING 78

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

STEPHEN motors through the house, as we hear -

STEPHEN:

Frankly my dear, I don't give a

damn.

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

Through the OPEN DOORS into the LIVING ROOM we hear TIMOTHY

squealing with joyous delight, then see him run out -

As TIM passes out of shot we hear then see STEPHEN slowly

motor out of the LIVING ROOM, chasing him, with -

- a LARGE BROWN PAPER GROCERY BAG OVER HIS HEAD (TWO EYE-

HOLES cut in it, a SMILE DRAWN over the mouth) as STEPHEN's

voice-synthesizer loudly proclaims the DALEK war-cry from

DOCTOR WHO as STEPHEN chases his son around:

STEPHEN:

Ex-terminate..! Ex-terminate..!

Ex-terminate..!

INT. LIVING ROOM/WEST ROAD /CAMBRIDGE - NIGHT

JANE approaches as STEPHEN writes, CLICK,CLICK,CLICK. His

eyes turn to her as she hears:

STEPHEN:

I will write. A Book.

JANE:

At four words a minute? About what?

STEPHEN clicks. She moves to look at his SCREEN.

TIGHT ON SCREEN as he selects: T I M E.

JANE (CONT'D)

TIME.

STEPHEN:

Time...

She smiles at him.

MONTAGE:

A) The HANDS ON A CLOCK turn very quickly, TIME running fast.

B) STEPHEN motors down the cloisters of his college.

(CONTINUED)

THE THEORY of EVERYTHING 79

CONTINUED:

STEPHEN (V.O.)

What is the nature of Time?

C) His PALSIED RIGHT HAND clicks the CLICKER, as he works at

home at night.

STEPHEN (V.O.)

Will it ever come to an end?

D) A PRINTER prints out the text we hear in V/O -

STEPHEN (V.O.)

Can we go back in time?

E) He works in office at DAMPTP.

STEPHEN (V.O.)

Some day these answers may seem as

obvious to us as the earth orbiting

the sun, or perhaps as ridiculous

as a tower of tortoises.

He SMILES.

F) He motors by the college at sunset.

STEPHEN:

Only Time, whatever that may be,

will tell.

INT. DAMTP, CAMBRIDGE - NIGHT

ELAINE opens his LETTERS, and looks at him.

STEPHEN works on his book - it's slow laborious work. CLICK,

CLICK, CLICk...

ELAINE picks up, from the mail, a SEALED COPY of PENTHOUSE

MAGAZINE (Addressed to: "KIP THORNE c/- PROF.S.HAWKING").

ELAINE:

(SURPRISED)

Professor?

STEPHEN looks over at her - sees the MAGAZINE, that ELAINE,

smiling, is starting to UNWRAP. He urgently types a voice

message - click, click, click - but he isn't fast enough -

she has opened it. Too late he clicks "PLAY" -

STEPHEN:

It is for a friend.

ELAINE:

'Course it is. That's what they all

say.

(CONTINUED)

THE THEORY of EVERYTHING 80

CONTINUED:

She surprises him by crossing the room and opening the PAGES

of the MAGAZINE for him.

ELAINE (CONT'D)

You don't have to be embarrassed

around me, Professor. I know what

men are like.

SURPRISED, STEPHEN finds himself with the PENTHOUSE open

before him. He looks at the MAGAZINE, then at ELAINE, then at

the MAGAZINE.

Just then - office DOOR OPENS. Enter, SCIAMA. He stops when

he sees the MAGAZINE.

SCIAMA:

Oh. I'm sorry.

He exits, blushing. STEPHEN grins. ELAINE bursts out

laughing.

ELAINE:

Next one?

He SMILES at her - falling in love with her. She detects

this, happily.

ELAINE (CONT'D)

What?

INT. WEST ROAD FLAT/ CAMBRIDGE - NIGHT

STEPHEN, alone, continues to write, one painstaking word at

a time.

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

JANE, exhausted, rubbing her eyes as she PROOF-READS

STEPHEN's text, like the old days. She pauses, looks up, into

the next room, at -

- ELAINE laughing at something the grinning STEPHEN has said.

JANE resumes work on STEPHEN's BOOK.

INT. DAMTP, CAMBRIDGE - DAY

STEPHEN still working - CLICK, CLICK, CLICK...

TIGHT ON SCREEN:
"A HISTORY OF TIME"

He ponders this. Then has an idea. CLICK, CLICK, CLICK. He

inserts "BRIEF" into the title. He stares at the screen.

THE THEORY of EVERYTHING 81

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

TITLE PAGE is spat out of PRINTER: "A BRIEF HISTORY OF

TIME."

While reading the LAST PAGE manuscript for his book, JANE

stops and is stunned by something she reads. She rises, and

rushes - with the LAST PAGE - into the next room where -

INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - DAY

CLOSE ON:
A PHOTO of STEPHEN and a MARILYN MONROE LOOK-A-

LIKE, hangs on the wall.

STEPHEN (O.S.)

So I said - I have long been

looking for a model of the

universe. I finally found her.

Beside the PHOTO, ELAINE finishes SHAVING STEPHEN - then

steps away to pick up some HAND LOTION. She inadvertently

show him some LEG. STEPHEN notices.

ELAINE laughs, and starts to massage LOTION, almost

lovingly, into his HAND. JANE announce her presence.

JANE:

Elaine? Can we - ?

ELAINE comes over to JANE, still chuckling.

JANE (CONT'D)

Would you mind if I spoke with

Stephen alone for a moment?

ELAINE:

We're not quite finished--can you

come back in ten minutes?

REACTION JANE:
Slightly ruffled feathers. She exits.

INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - DAY

JANE walks in, holding a page from the MANUSCRIPT. STEPHEN

is 'typing' a message.

JANE:

(READS)

"Who are we? Why are we here? If

we ever learn this, it would be

the ultimate triumph of human

reason, for then we would know

the mind of God."

(TO HIM)

'GOD'? Do you really mean this?

(CONTINUED)

THE THEORY of EVERYTHING 82

CONTINUED:

STEPHEN types his reply.

STEPHEN:

Yes.

(TYPES)

Of course.

JANE:

So you're acknowledging him?

But as he continues to CLICK, feverishly, she excitedly

exits, before he can add another word. He tries to generate

the next word before she disappears but he is alone again

by the time his computer belatedly spits out -

STEPHEN:

HOWEVER --

He sags, frustrated that he was not fast enough to set her

straight - but then she comes back in -

JANE:

Did you just say something?

STEPHEN decides not to respond.

JANE (CONT'D)

So you're actually going to let me

have this moment.

STEPHEN click-click-clicks, then -

STEPHEN:

You - are - welcome.

She smiles. She kisses him on the cheek, and then as she

starts to leave -

- on his SCREEN - STEPHEN selects the message he was

writing earlier...clicks "PLAY." We hear -

STEPHEN (CONT'D)

E-laine has offered to travel

with me to A-merica. She will

look after me.

JANE:

(IMMENSELY HURT)

Will she?

STEPHEN:

Don't worry.

He clicks "STOP".

She nods, sadly. He smiles, sweetly. Both accept what is

happening, but sadly.

(CONTINUED)

THE THEORY of EVERYTHING 83

CONTINUED:
(2)

JANE:

America?

(BEAT)

You always used to tell me when an

invitation came in.

CLICKS 'PLAY.'

STEPHEN:

(the old grin)

A-nother a-ward. What can you do?

JANE smiles, warmly. STEPHEN writes.

STEPHEN (CONT'D)

Everything will be okay.

She tries to smile.

STEPHEN (CONT'D)

How many years?

STEPHEN writes. She waits. His eyes flick between his

screen and her.

JANE:

They said - two.

We've had so many.

The look in his eyes is his eloquent reply. Emotion overcomes

JANE. Can this really be how it ends?

It's so sad and bizarre and they both realise it in this

moment. She tries to hide her tears by walking away from

him and turning her back, hiding her face.

STEPHEN watches her, as aware of the enormous significance of

this moment as she - then slowly - slowly - motors toward

her. He stops just behind her, then nudges her leg, ever so

gently, with his own lifeless foot, the way a pony will nudge

its familiar rider.

He clicks "PLAY" -

STEPHEN:

Be. Happy.

She turns back, CROUCHES, comes down to his level - right in

front of him, eye to eye -

JANE:

I have loved you.

(BEAT)

I did my best.

(CONTINUED)

THE THEORY of EVERYTHING 84

CONTINUED:
(3)

As TEARS form in his own eyes, he BLINKS ONCE at her - the

only form of communication that feels right in that moment,

and she understands all that it means.

She smiles through her tears as she SMOOTHS HIS HAIR.

Finally - words are not needed.

INT. WEST ROAD FLAT - DAY

TWO MOVERS pack STEPHEN's PRIZES and MEDALS, lifting them

from the SIDEBOARD, as - JANE watches, hiding her emotions.

EXT. BOOKSHOP - DAY

The window is dominated by a single display for STEPHEN's

book - A Brief History Of Time.

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

CLOSE ON:
The SUNDAY TIMES NEWSPAPER. The BEST-SELLER LIST.

ECU on:
A BRIEF HISTORY OF TIME, at NUMBER 1. Weeks: 8

WIDE. JANE and her MOTHER, BERYL, at the dining table, the

PAPER spread out before them.

BERYL:

Remarkable. How is he?

JANE:

He wants to marry her.

BERYL:

Don't blame yourself. We're proud

of you.

JANE is touched.

JANE:

I'm trying hard not to think of

this as a failure.

BERYL:

But it wasn't a failure.

JANE:

But it feels like it! It feels like

it, Mum.

(BEAT)

Was it inevitable?

BERYL doesn't know what to say. Yes it was.

(CONTINUED)

THE THEORY of EVERYTHING 85

CONTINUED:

BERYL:

Perhaps too many people were drawn

in?

(SILENCE)

What will Stephen do next?

JANE:

(SHRUGS)

He's gone back to looking for his

Theory Of Everything, his single

equation. Well, it'll have to

explain human relationships too.

BERYL ponders this:

JANE (CONT'D)

It's going to have to be a

wonderful piece of mathematics.

(PONDERS)

All the accidents...

BERYL:

All the unexpected forces...

attractions...

JANE looks at her mother quickly - "attractions"?

BERYL (CONT'D)

(wistful, dreamy)

A attracts B --

JANE:

And vice versa.

BERYL:

Of course.

JANE:

Then add Time - Adversity -

BERYL:

Yes. Adversity over time --

JANE:

- until the situation becomes

unstable, heats up.

BERYL:

Bang!

JANE:

And the whole thing starts over.

Whole new galaxies.

BERYL gently grabs JANE's wrist -

(CONTINUED)

THE THEORY of EVERYTHING 86

CONTINUED:
(2)

BERYL:

Darling, I think we've cracked it.

Shall we phone the Nobel committee

now or shall we have another cup of

tea first?

JANE, wipes her eyes, smiles sadly.

EXT. CHURCH - DAY

The CHURCH in winter - a dusting of snow on everything. To

the sound of ORGAN, SINGING CHOIR and CONGREGATION, the front

doors open, and the VICAR appears to shake the hands of the

first departing church-goers.

INT. CHURCH - DAY

The SERVICE is over. The congregation departs, revealing -

- JANE in her seat, still reading a prayer book, as -

- JONATHAN walks up the nave, toward her, chatting with the

departing CHORISTERS. It seems that he hasn't noticed JANE

and he passes close by, seemingly without seeing her. She

averts her eyes.

Then suddenly she feels a HAND brush her shoulder. When she

turns to look, JONATHAN has walked past, and is still avidly

talking to the CHORISTERS, heading for the main doors.

JANE, with a beating heart, turns forward again and hears -

- the FRONT DOORS of the church close. She is alone. She

starts to cry in the empty church - thinking she has lost him

forever, but then --

-- she hears SOFT PIANO MUSIC. She turns. Yes, music is

coming from above. She rises, and moves toward the sound.

INT. FRONT OF CHURCH - DAY (LATE 1970'S - MID 1980'S)

JANE slowly walks TOWARD THE SOUND OF THE PIANO, which slowly

grows louder, louder, until -

- with a pounding heart, she discovers JONATHAN, at the

piano, gently playing his beloved Bach. Only eventually does

he raise his eyes and smile at her, a smile which expresses

his hope that she would come to him. She smiles back, her

heart ready to burst.

_____________________________________________________________

THE THEORY of EVERYTHING 87

INT. HALLWAY/COCKCROFT LECTURE ROOM/CAMBRIDGE UNIVERSITY

- DAY (LATE 1980'S )

STEPHEN, accompanied by ELAINE, motors down the HALLWAY/LOBBY

TOWARD -

- FANS and PRESS, waiting at the DOORWAY to the AUDITORIUM.

Some FANS, autograph hunters, hold copies of "BRIEF HISTORY"

for STEPHEN to sign. Others just want to take PHOTOS. The

general impression? STEPHEN is now a ROCK STAR.

After a MALE FAN gets his PHOTO taken with STEPHEN - a FEMALE

FAN (at the head of a sudden queue of FANS bearing copies of

"BRIEF HISTORY") holds out a PEN to STEPHEN...

FEMALE FAN:

Professor? Could you please sign a

copy for me?

ELAINE, gestures for STEPHEN to give his standard reply. He

mouse-clicks once.

STEPHEN:

I cannot sign copies of my book--

but if you like--I could drive over

it.

The FANS all laugh and all say "YES,YES,YES!"

INT. COCKCROFT LECTURE ROOM/CAMBRIDGE UNIVERSITY - DAY

AUDIENCE APPLAUSE, continues over - a CU on the blackboard

of the word:

"TIME."

WIDE:
A packed lecture hall.

ANGLE ON:
ELAINE, watching from the side of the stage.

ANGLE ON:
SCIAMA and a COLLEAGUE.

SCIAMA now steps forward, to applause.

SCIAMA:

Thankyou. I first met--the

Professor--was it really 1963? Time-

-where does it go? Back then, he

was kind of annoying.

(LAUGHTER)

He knew things that his woeful work

ethic should not have allowed him

to know.

(LAUGHTER)

(MORE)

(CONTINUED)

THE THEORY of EVERYTHING 88

CONTINUED:

SCIAMA (CONT'D)

But it's been--really--one of the

great joys of my life to watch this

man defy every expectation, both

scientific and personal. So it's

with no small pride that I ask him

to return to the stage once more,

to continue to do what he has

always done - answer your

questions. My most irritating

student, my esteemed colleague, my

good friend--Professor Hawking.

As STEPHEN motors onto the stage, to applause -

SCIAMA (CONT'D)

The first pre-selected question,

please!

GUEST 1, stands and reads her question from a SLIP OF PAPER.

(All the Questioners will do the same.)

GUEST 1

How have you been able to deal

with all the physical challenges

you face?

STEPHEN stares at the AUDIENCE, who wait awkwardly for a

reply. It's as if STEPHEN wishes to speak with his own

voice, and is struggling to do so. In failure his eyes turn

sadly to his screen, and then clicks the pad in his hand.

WE HEAR:

STEPHEN:

Can you hear me?

(AUDIENCE LAUGHTER)

There are some things I cannot

do. But. They are mostly the

things I don't particularly want

to do anyway.

GUEST 2

Now you are recognized

everywhere, how do you deal with

all the attention?

STEPHEN:

I was stopped recently by a

tourist in Cambridge who asked if

I was 'the real Stephen Hawking.'

I replied that I was not, and

said the real one was--much

better looking.

Laughter.

STEPHEN (CONT'D)

He believed me.

(CONTINUED)

THE THEORY of EVERYTHING 89

CONTINUED:
(2)

Even bigger LAUGH. APPLAUSE.

GUEST 3

In 1979 you talked about the

possibility of a theory of

everything being discovered

before the end of the century.

STEPHEN:

I now predict -- that I was

wrong.

LAUGHTER.

GUEST 4

Is Time Travel possible?

LAUGHTER.

STEPHEN:

I have experimental evidence that

Time Travel is not possible. I gave

a party for Time-Travellers but no-

one came.

LAUGHTER. As GUEST 5 rises and starts to speak, the volume

goes down on this question...

GUEST 5

Professor Hawking, you have said

you don't believe in God...

CLOSE ON STEPHEN, slipping into a reverie as - he notices

the CAP of a YOUNG LADY's PEN falls off the front lecture

bench and drops to the floor...(in SLO MO). STEPHEN stares

at the fallen CAP.

ANGLE ON:
GUEST 5, MUTED, his mouth still moving...

ANGLE ON STEPHEN gets an idea. He wants to go and pick up

that fallen CAP...Miraculously, the muscles in his

slackened face start to stir...slowly his distorted

expression straightens...his slumped head stirs and

moves...his fingers stir...his feet ...his legs...he

slowly, slowly straightens in his wheelchair, and not only

this...he even begins to rise painfully out of it, at last

standing on his own... Standing, he crosses the floor,

picks up the fallen CAP, and holds it out the pretty YOUNG

LADY. She smiles at him, not at all astonished!

CUT TO:

GUEST 5 - we can hear him now.

(CONTINUED)

THE THEORY of EVERYTHING 90

CONTINUED:
(3)

GUEST 5 (CONT'D)

You have said you do not believe

in God. Do you have a philosophy

of life that helps you?

ANGLE ON:
STEPHEN - back in his chair, as at the start of

the scene, heart-breakingly unable to do what he wishes.

STEPHEN:

It is clear that we are just an

advanced breed of monkeys on a

minor planet orbiting around a

very average star in the outer

suburb of one among a hundred

billion galaxies...

ANGLE ON:
The CAP on the floor, just where it had fallen.

ANGLE ON:
STEPHEN, in his chair - then on MEMBERS of the

AUDIENCE, being greatly stirred by the following words -

STEPHEN (CONT'D)

...but--ever since the dawn of

civilisation, people have craved

for an understanding of the

underlying order of the world.

There ought to be something very

special about the boundary

conditions of the universe - and

what can be more special than that

there is no boundary? And there

should be no boundary to

human endeavour. We are all

different. There is no such thing

as a standard or run of the mill

human being--but we share the same

human spirit. However bad life may

seem, there is always something you

can do, and succeed at. While

there's life, there is hope.

APPLAUSE, STANDING OVATION.

ANGLE ON:
ELAINE, clapping - proud.

ANGLE ON:
STEPHEN, in his chair, on the stage, sees ELAINE.

Smiles.

ANGLE ON:
BRIAN and SCIAMA clapping.

ANGLE ON:
STEPHEN, surprised by the reaction.

THE THEORY of EVERYTHING 91

INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY

JANE is studying again, going through her IBERIAN POEMS, when

JONATHAN walks in with the MAIL, and sets one LETTER in front

of her. JANE opens it.

JANE:

It's from Stephen.

(READING)

He's--he has invited--the children

and I--to accompany him.

JONATHAN reads her card, and then look at her, surprised.

JONATHAN:

Gosh.

EXT. BUCKINGHAM PALACE, LONDON - DAY

The PALACE.

INT. EMPIRE ROOM, BUCKINGHAM PALACE - DAY

We are BACK in the FIRST SCENE OF THE MOVIE.

JANE moves close to STEPHEN. They look at each other in the

eyes for the first time in a long while. They finally SMILE

tenderly, and then -

JANE:

Your glasses are always dirty.

STEPHEN'S POV as - his glasses are removed from his nose by

JANE, cleaned, and then replaced on his nose. He is moved by

this old ritual.

The HAWKINGS then sit silently, but happily, surrounded by

exquisite paintings and furniture.

INT. GRAND HALLWAY/BUCKINGHAM PALACE - DAY - LATER

STEPHEN and family - JANE, ROBERT (23), LUCY (19) and TIM

(10) - roll up past pillars toward a SET OF ORNATE DOORS

which open magically to reveal -

QUEEN ELIZABETH II standing by a distant mantelpiece.

EXT. QUEEN'S PRIVATE GARDEN,BUCKINGHAM PALACE - DAY

In the garden, the HAWKING children play as freely as in

their own, while STEPHEN is lifted to the bottom of a set of

steps by two EQUERRIES.

(CONTINUED)

THE THEORY of EVERYTHING 92

CONTINUED:

Left unattended, he motors forward a short distance and stops

to watch his children. Fulfillment floods into his

expression. A moment of deep satisfaction. He then looks

around for JANE, finally making his CHAIR turn around.

He sees her - some distance away. She has detained one of the

EQUERRIES.

JANE:

(TO EQUERRY)

I'll leave a card. There's a

number you can call. They can

install ramps in a day. It really

would be helpful.

JANE hands the EQUERRY a card, and smiles. The EQUERRY nods,

retires.

JANE sees STEPHEN. She walks up to him. Together they watch

their children.

TIGHT ON STEPHEN: His eyes move from the kids, playing in

this paradise, to the screen, where he types something...

JANE sees he is writing something. She crouches beside his

wheel-chair as the LETTERS FORM.

JANE (CONT'D)

CONGRATULATIONS--MY COMPANION--OF

Honour. Not bad for an old liberal

SOCIALIST--

(WHISPERS)

Don't worry, you can decline the

knighthood.

He smiles, stops writing, looks at her with warmth, and she

at him. She KISSES him on the cheek.

JANE (CONT'D)

Thank you. For today. It's been

extraordinary. It's all just been

rather extraordinary though, hasn't

it?

They look into each other's eyes, and then starts writing

AGAIN -

JANE (CONT'D)

What are you writing?

ANGLE ON SCREEN:
as he chooses letters from the streaming

alphabet. As each word forms it drops onto the line where

he builds this following sentence -

"L O O K WHAT WE MADE"

(CONTINUED)

THE THEORY of EVERYTHING 93

CONTINUED:
(2)

On his next click - "PLAY" - we -

SNAP TO:

EXT. GRAPHIC/UNIVERSE

A BIG CRUNCH galactic moment - a supernova in reverse, from

explosion to reconstituted star, then cut to - A CG MODEL

OF THE UNIVERSE contracting - the stars converging, moving

back together, toward the universe's first moment.

TIME'S ARROW has been REVERSED...

MONTAGE - sweeping us backward through TIME, a series of

scenes from the film in reverse chronology...

A) REWIND FLASHBACK TO: STEPHEN's silent, wheelchair-bound

tender look of love after JANE has said "I have loved you"

B) Where before the doctors marked Stephen's throat for the

tracheotomy operation, in reverse we now see the mark

DISAPPEAR.

C) Where before Jane supported the new born baby Timothy in

Stephen's lap then scooped the baby up and out of frame -- in

reverse we see the baby magically land in Stephen's lap.

D) Where before Lucy and Robert are sat on Stephen's lap and

then jumped off and ran away as Stephen chased them in his

electric wheel chair -- in reverse, they run backwards into

his lap.

E) In reverse, we see STEPHEN walk backwards and first sit

down into the wheel chair.

F) Where before Stephen dropped his fork during the dinner

party -- in reverse, the fork leaps from the table and back

into Stephen's hand.

G) The wedding tableaux with ROSE PETALS now in reverse, the

petals travel upwards.

I) Where before STEPHEN stumbled and fell hard in the quad

-- in reverse, he is lifted off the ground.

J) Where before STEPHEN and JANE beheld the fireworks at the

May Ball -- in reverse the fireworks implode into black

holes.

K) Where before STEPHEN knocked over a cup of tea whilst

working at his desk -- in reverse, the liquid leaps back into

his cup.

L) At the MAY-BALL, they KISS, then DANCE on the BRIDGE.

(CONTINUED)

THE THEORY of EVERYTHING 94

CONTINUED:

M) At their first meeting at the party, JANE stands at the

door, and SEES STEPHEN for the FIRST TIME. He SMILES at her.

FREEZE-FRAME on this....and then -

N) We JUMP INTO SPACE - TRAVEL FORWARD THROUGH SPACE, through

the NEBULAE and COSMIC MATTER, travelling at the speed of

LIGHT, approaching a single point in space, a SINGULARITY, a

BLACK HOLE.

As we disappear into it...

SNAP TO BLACK.

INSERT TWO CARDS:

CARD ONE:

A BRIEF HISTORY OF TIME HAS SOLD MORE THAN 10 MILLION COPIES

WORLDWIDE.

AT 72 YEARS OLD, STEPHEN HAS NO PLANS TO RETIRE AND CONTINUES

TO SEEK A THEORY OF EVERYTHING.

HE DECLINED THE OFFER OF A KNIGHTHOOD FROM THE QUEEN.

CARD TWO:

JANE HAS HER PHD IN MEDIEVAL SPANISH POETRY.

SHE AND JONATHAN ARE HAPPILY MARRIED.

JANE AND STEPHEN REMAIN FRIENDS AND NOW HAVE 3 GRANDCHILDREN

ROLL END CREDITS.

ENDS:

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Anthony McCarten

Anthony McCarten (born 1961) is a New Zealand-born novelist, filmmaker, and playwright. He is best known for producing and writing the screenplays for The Theory of Everything (2014), which earned him Academy Award nominations for Best Picture and Best Adapted Screenplay, and Darkest Hour (2017), which earned him another Best Picture nomination. He divides his time between London and Los Angeles. more…

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Submitted on August 05, 2018

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"The Theory of Everything" Scripts.com. STANDS4 LLC, 2020. Web. 28 Feb. 2020. <https://www.scripts.com/script/the_theory_of_everything_21458>.

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