All language subtitles for Back to the Future Part III (1990).Commentary 1.eng

Hello, everyone. We are here at
the University of Southern California

for the third in a series
of audio commentaries to be included

on the DVD releases of
the Back to the Future trilogy.

Again, we welcome writer-director
Robert Zemeckis

and writer-producer Bob Gale

who have joined us to answer all
of your questions about

Back to the Future Part III.

My name is Laurent Bouzereau,
and I am co-producing

the DVD of the Back to the Future trilogy
along with Universal Studios Home Video.

I will be moderating today's event

and I will be repeating
the audience's questions.

Bob Gale, was making the three movies
kind of a way for you guys

to touch upon all your favorite genres?
And I mean, of course, science fiction

in the future, but also

the Western in Part III
in a great homage to John Ford and

getting to do a Western, was that part of
the reason why you chose the Western motif?

I think we just thought it would be really
cool to do this thing with a locomotive.

The West is great.
I mean, doing a Western is great.

You know, except for having actors
on horses,

the West is great, and Bob wrote
all those Western slang words

and all that Western kind
of cliché dialogue or all that

Western slang, I guess.
I don't know if that's in Bob's

subconscious or if he researched all that,
but that was fantastic.

I kept saying,
"How do you remember all this stuff?"

"How do you remember how to say this?
This is great."

I mean, there was nothing more fun.

I think, certainly from my perspective,

Part III was the most fun
of the three movies to make.

We were on distant location.

I got to wear a cowboy hat
to the set every day, that was cool.

And it was a distant location
that was absolutely beautiful.

You woke up in the morning
and you saw this great scenery.

Everybody got to dress up like a cowboy
and it really did feel like you were

completely separated out from the world
in this wonderful re-creation of

what you wish the West might
have been, although, certainly

probably wasn't anything like that.

And the thing that I remember that was...

When we shot Back to the Future II,
I remember it was 104 days.

104 shooting days and

we took one week off
and then started Back to the Future III.

And the thing I remember is,
because we built the entire town

and it was all

period and there was all dirt and horses,

no vehicles could come near the set.

So we had these little gravel service roads
way off in the back and

base camp was two miles away
camouflaged in the trees and

people, the actors, and equipment
were shuttled up on these golf carts.

And I remembered
how incredibly quiet it was

because there were no

semis and generators and scissor lifts and

there was none of all that constant roaring
sound. It was just so unbelievably quiet.

We had hundreds of
extras, and it was quiet.

It was just... It was great.
It wasn't like that insane,

constant noise of engines running
behind your head all day long.

So, that was something I remember.

One of the things that we decided
that would be fitting

in going to the West, was to sort of

tell the origin of Hill Valley, obviously

good idea to show
the origin of the courthouse and the clock

because they became such
important characters in the movie later on.

One of the clever things that Rick Carter
came up with as a way to

get production value when we started
running out of money to build the town

is if you look at the movie, you'll see
some half-finished buildings

in the Old West and that was...

Okay, the town is still being built, but it
was a great way to save money because

we didn't have
to finish building these things and

the courthouse was never finished.
It was really just a façade.

And I remember the deal that we made
with the place that owned the land is...

We shot there because
it was the only place,

I think, in the Western United States, to
have full-scale functioning steam locomotive.

It's called Jamestown 1900.

At least it used to be,
I haven't been up there since we shot it.

But this was all their land and they said,

"We'll let you build your town here"

"and we won't charge you
for using the land"

"but you have to give us the town
when you're finished."

So we said, "Okay, but you can't have
the courthouse."

"That's the one thing that we're gonna
knock down."

We left the town standing.

I think Larry Kasdan shot some
of Silverado up there.

-A couple other movies were shot up there.
-Lot of commercials. Great Western.

Yeah, Great Western shot a lot
of commercials and then, irony of ironies,

the town burned down in 1995 or 1996

in a fire that was started
by a bolt of lightning.

I know. But what's really cool is that

both sets got burned down.

The one at Universal now
that's on the tour isn't our original set.

They rebuilt that because
the security guard went insane

and burnt the first set down

out there in the lot, and
then lightning struck the set up in Sonora.

So, that's the answer to the fourth sequel.

It's a sign, you know. Leave it alone.

Bob Zemeckis, let's talk a little bit
about the stunts, because you had

quite a lot of stunts in Part III
involving horses and I think,

Bob, you were telling me about reversing
some shots so that Michael

would be safe and things like that.

And the lady who doubled
for Mary Steenburgen also did a great job.

The thing that was great
about doing Part III,

especially as far as the stunts...
I mean every stuntman in Hollywood

wanted to work on the movie because...

-They never get a chance to do Westerns.
-...there's no place to ride horses anymore

and that's the reason they got
into the movie business was to

be able to fall off horses,

and now there is nothing for them to do.
So they loved being on the movie.

So everybody was completely into it.
Of course we had all this

history of Westerns
that we were able to do.

We did all these shots,
like the Texas Switch, where

the stunt rider runs in at full gallop,
jumps off the horse, runs into the barn

and Michael runs out.

You know, great stuff
like that. But for me,

I was like, a complete nervous wreck

because there is nothing more terrifying
to me than having

your actor on a galloping horse

riding next to a locomotive,
with a camera car

pinning him in there. And you had to do
these things that... What'll make the horse

run at full gallop alongside the train?
And how do you get the horse to

stay on a straight line and to

gain on the train, in other words,
move up onto its mark?

All the actors loved the riding
and they had fun with the horses but

they didn't know how to maneuver
a horse like that. But what you do is

you take another horse

that the stunt guy has got

basically tethered to the train,

and horses follow other horses.

So when you want the horse to move up,
he's right out of frame,

the other horse's butt is like right here,
and the camera's right there.

You want that horse to move up, you just
pull this horse up, this horse moves up.

All that great horse stuff, you know.

We had actors on ladders,
just like in the Westerns, you know.

Tom Wilson is sitting there,
supposedly on his horse,

doing his dialogue,
he's sitting on a ladder.

-He never...
-Put the saddle on the ladder.

He never fell off of his horse
but he did fall off that ladder one time.

We did all that great Western stuff.

The shot that you were talking
about, Laurent,

when we had the train
actually pushing the DeLorean,

we were concerned,

especially Lantieri. He was terrified that

what would happen if an axle broke on
the DeLorean or one of the wheels fell off

and you got a steam train right behind
the DeLorean that...

The train is just going
to run over the DeLorean.

So he developed this elaborate rig thing,
so that it would disconnect

and go off the tracks
if anything went wrong.

But we were still really concerned
about putting Michael J. Fox

in the DeLorean and having it being pushed
by this locomotive.

So for the couple of shots
when he leans out with the hoverboard

to let go of it so that Doc can get it,

those were actually filmed in reverse,

where the train was going backwards,

pulling the DeLorean. That way,
if anything happened to the DeLorean,

the train would just keep going backwards
and nothing would happen.

So Michael had to just kind of act
that backwards and that's how we did that.

Bob Gale, why did you thank
Michael Jackson at the end of the film?

We had Michael mouthing the words to
Billie Jean, so we had to get permission.

The follow-up question here
having to do with Simon Wells

who is related to H.G. Wells,
who wrote The Time Machine.

Is there a particular reason
why you thanked him

and did you use any of the material
maybe from The Time Machine?

He is a storyboard artist.

-He did, Simon Wells did...
-And an animator.

...the storyboards for the whole train
sequence, which will also be on the DVD.

We were unable to give him credit
as a production illustrator

because he wasn't in the union.

He was the main animator on Roger Rabbit.

One of the great running gags and stunts
in the movie is, of course,

Biff always ending up in manure.

What can you tell us about
the manure you used in those sequences?

What's funny is that these alfalfa pellets
that they feed horses

look exactly like manure.

It goes in the same way
and comes out looking the same way.

So he just fell into those alfalfa pellets.

We just made him look slimy
and made him wet and...

I think for the truck gags in Part I
and Part ll...

I think we got those on the first take. I
don't ever remember having to do those again.

And then, the face down into the wagon.

That wasn't such a hard thing to do
a second take of and

again, I can't remember whether we did
a second take of it, but that

would've been no big deal.

Speaking of manure,
I will tell you another interesting

little story about how something
came about. First draft of Part III,

when Marty goes into the saloon
and does the dance

where Buford now gets hit
by the tobacco spittoon.

Originally, he kicked up his foot
in the manure that he got on him

when he jumped out of the way
of the stagecoach.

That's what got on Biff
and that's what got him mad.

But our stunt coordinator, Walter Scott,
who grew up around horses,

he came over to us and he says,
"Guys, I got to tell you something."

"A cowboy would never get upset
getting horse manure on him."

"It happens all the time.
It's just a fact of life."

Something that two city boys like us
would've never known.

He said, "The fact that Buford gets manure
on him"

"in that scene isn't
going to piss him off."

He said, "What would really piss him off
is to get hit with a tobacco spittoon."

So, that was Walter's idea

and we said, "Well, yeah, that makes sense
to us." So that's how that gag came about.

How many versions of the DeLorean
did you have to build for all three movies

and how many versions
did you have to build for Part III,

for the scenes in which it is destroyed?

There was only one rig to destroy.

But I do remember this, when we decided...

Maybe it was before that,
but somebody at Universal

started buying up every DeLorean in
the United States.

I remember that happening. Somebody said,

"We got to just buy every DeLorean
we can get our hands on and..."

"Because we might make a sequel."

And, that's what...

Yeah, we had six of them
when we started the sequels.

And we did various things to different
DeLoreans so that they would...

We had one DeLorean that had the

big tires and the supercharged engine
that we used in Monument Valley.

That had a Porsche engine we put in it.
We learned our lesson on the first one.

We just put Porsche engines
in all of them when we could.

Then we had two of them, I think,
that we rigged with railroad wheels.

When we were shooting the scenes
with the DeLorean on the tracks,

that was a real working railroad track.

So we had the train schedules,
and a couple times a day or night,

the regular train would come in.
So we had a forklift standing by

and the ADs were always watching the clock
and they'd say,

"Okay, get that DeLorean off the track."

We'd bring this forklift in,
lift the DeLorean off the track

back it off, and the real freight train
would come through. And then

after it was gone, we put
the DeLorean back and keep shooting.

When we were shooting the sequels,
we always had to make sure that

all the DeLoreans were transported
in covered trailers

because as soon as they took
the canvas off that DeLorean,

people would just start, like...

-Descending.
-...descending on the set

because they realized
what we were shooting.

I thought that the way Michael Lantieri

destroyed the DeLorean, which is one
of my favorite

things that we did in the sequels,
how we destroy the DeLorean, I love that.

I just love that we were bold enough
to do that because

I think the audience, when they see
the third one, goes, "Wow",

"didn't expect that to happen."

That was all scored.

If a train actually hits a car,
it just knocks it off the track.

It doesn't crumple it like that.

So what he did is he scored the whole car

and then he filled it with wet sand

and put dynamite in there and then put

an impact switch on the rear bumper.
So, soon as the train hit it,

the wet sand just blew the car.

If you freeze frame it
on your DVD pause button,

you can see the flash of the dynamite
inside for one frame.

But that's how we did that.

I remember talking to the engineer
of the train because

we had these explosives in there.
So I'm thinking,

"Jesus, what happens
if we derail this train?"

So I asked him, "ls there any chance that
the train could derail when you hit it?"

And he just looked at me and he laughed.

He laughed and then he said,

"I've waited my whole life to do this."

Since the movies are so visual,
did you storyboard most of the scenes?

Yeah, there were a lot of things
in the sequels that you figure,

well, we should do the same thing here.
We've got sort of a continuity.

We used the same lenses, basically.

We just created the same kind
of photographic style for the sequels

that we did for the first one.

But I storyboard action sequences.

It's important when you're breaking it up
with different units, which we did.

It's much easier to show a picture
to the second unit director and say,

"Get me this image," than just try to explain
to him what the shot is that you want.

That's a shorthand and it's a better way
of communicating. Plus,

everybody needed to know, all right, which
shots is which unit responsible for.

We had the storyboards color-coded.

One color was the first unit,
one color was the second unit,

one color was for inserts,
another color was for ILM,

another color was for first unit

on the stage, first unit on location,
all kinds of stuff like that.

It's just a much better way
of trying to organize your work

and knowing exactly that you got the shots
that you need to make the sequence work.

I do shot lists
for my normal shooting day and

then storyboard, as Bob said,
the big scenes.

Even though Lea Thompson
is really quite remarkable

in all three movies, did you hesitate
to include her as a character in Part III?

People always ask about Lea Thompson in the
third one and what is she doing in there.

Bob and I just said,

"You know we can't make
Back to the Future III

"without having Lea Thompson in it."
It's just...

She's got to be in the movie somehow.

So we decided, all right, we'll have her
play this ancestor, Maggie McFly,

and, for those that want to know how,
what's the rationalization for it,

we decided, well, the McFly men
are predisposed genetically

to be attracted to women that have
certain characteristics of Lea Thompson.

But we also had to do the "Michael waking
up from getting knocked out" joke

that we'd done in all three movies

and it would have been wrong
to have another actress

sitting there at the edge of his bed.

Bob Zemeckis, how did Mary Steenburgen
come about, actually, for Part III?

I don't remember us
even considering anybody else.

There was never any second choice when

we decided that Doc Brown was going
to fall in love in Part III

or at the end of... In the sequels.

Mary Steenburgen was the only actress
that had the

sort of lovable quirkiness

that we felt would just be the right

kind of woman to fall
for Dr. Emmett L. Brown.

And when Mary wasn't sure...

She told us later, she wasn't sure
that she wanted to do the movie

but her kids said, "Mom, it's
Back to the Future! You gotta do it."

So she decided that

for the sake of her kids, she would do it
and then, of course, once she got into it

she couldn't have been happier
that she had decided to throw in with us.

One question here has
to do with Michael J. Fox

being dragged by the horse.

How much of it was Michael
and how much of it was a stuntman?

Most of it... Anytime it's a wide shot,
it's the stuntman, but in the close-ups,

it's Michael and there's
an interesting story, too.

I had built this really souped-up,

go-cart thing for Roger Rabbit
that was, like, for Benny the Car,

so that we could put Bob Hoskins and we
would spin him around on the streets

and then we would paint
the cartoon car over it.

So the same stunt guys who did
that sequence were working on

Back to the Future II and III.
This car was around and so,

you know, we had this idea.
Well, we'll put the camera on this

and that will get us
a nice low angle of Michael.

And then I kept saying, "Well,
we'll pull him with the camera car."

The stunt guy said,
"We gotta pull him with a horse."

I go, "Horse is much better, you know,
horse is better."

And they were right, camera cars, horses...
So they tied Michael to a horse.

They put a harness on him,
pad him up, and

this horse galloped along and, you know,

horses respond much better than cars do.

So anytime they needed the horse
to slow down or speed up,

they were just able do it and stop
and the horse would just stop

where a car would be much more
dangerous, actually, to drag him around.

My thinking never... How could a horse
be more responsive than a car?

But it is.

The horse didn't have reverse, though.
That was the...

No.

How did you go about getting ZZ Top
to perform in Back to the Future Part III?

We asked them.

Yeah, we thought, ZZ Top,
they were big in the early...

-Late '80s.
-In the late '80s, early '90s,

-they were big, so...
-They were great.

They were there for two nights

and in between takes they would just jam
with the local musicians.

So we had music going all the time
in between setups.

They were just a great bunch of guys.

The manager, he was kind of a handful.

He had never seen either

Back to the Future I or ll.

I think the band had seen them,
but he hadn't.

And one of the jobs of the producer
is to keep

bullshit away from the director.

So my job was to keep

ZZ Top's manager away from Bob
while ZZ Top was around.

And he had it in his head
that somehow we had to have

the ZZ Top car be the time travel vehicle.

And I swear I spent
five hours with this guy.

He was talking my ear off about

why the ZZ Top car belonged in this movie.
I couldn't...

He couldn't even understand
it was a period movie.

The next night,
the Head of Music from Universal

flew up to location because he wanted
to hang out with ZZ Top.

So I cleverly maneuvered it
so that he got to spend

his time, the second night,
with their manager

so I didn't have to hear this anymore.

Was Steven Spielberg very involved

with the productions of Back to the Future
Part II and Part III?

I don't think so. I think Steven was...

I think Steven was shooting one
of the Indiana Jones movies

Last Crusade, I think, while we were
in production on these and

I don't actually remember
him coming to the set.

Yeah, I don't remember.

I don't remember Spielberg being around...

I think George Lucas and Steven came over
to see you at one point, didn't they,

on II or III? I have pictures of the two
of them visiting you. Or George Lucas

-came to see you.
-George Lucas paid us a visit on Part III.

Because he lives right up there where you
were shooting Part III. That correct?

Yeah, he came by and visited one day
on the set, right.

But I don't remember
talking to Steven about the sequels at all.

No, me neither.

Was the romance between Doc Brown and
the Mary Steenburgen character

always part of the storyline
for Back to the Future Part III?

Yeah, the love story was part of...

Became part of the sequel
from the beginning.

We thought that what we needed
to finally have happen

at the end was for the characters
of Doc and Marty to

sort of change places.

So Marty is the one giving Doc
the scientific advice

and Doc is acting on his emotions.

Exactly the opposite of what happened
in the first movie.

Bob Zemeckis, can you discuss the

process of editing and post-production
on your movies?

I know how I intend to cut a scene
when I'm shooting all the time.

But then I always let the editors cut it.

I don't ever sit with an editor and say,

"Now you take this shot
and cut it to this shot on that line."

I never do that. I let them edit.

And a lot of times, they improve it.

So I go, "Great, wow!
I never thought of that."

Or I'll say, "That works great,
but what I intended was this."

And he said, "Wait a minute, let me
try that because that sounds great."

So I just think you have to just have
that kind of open collaboration

and take the good ideas from everybody.

Even though there was never
a Back to the Future IV,

there was a
Back to the Future The Ride, which

was designed, I think, by Doug Trumbull,
and I'm wondering if you guys

have any comments about it

on how it came about and your involvement
in it and what you think about a

movie becoming a ride, basically.

It's a great ride.

-Best thing on the tour.
-Yeah, it's a great ride.

We didn't really have
much to do with it at all.

The guy that directed the pre-show

and the lead-up to the actual ride
was Peyton Reed

and Peyton was doing
the behind the scenes stuff

for ZM Productions during Part II
and Part III.

So he did come to us at one point
with a script to just

ask, "Did I get Doc Brown right"?

And he did.

But we really didn't have...

We'd love to take credit for the ride
but we can't.

We didn't really have
anything to do with it.

One question here has to do with
the franchise of Back to the Future.

Could anyone basically,
from Universal, take it over

and do sequels or remakes
without your participation?

I think the Writers Guild protects us
from them doing that.

They own the title

but we own the characters.

They could make up Back to the Future IV
with all different characters in it,

I guess, and we wouldn't be able
to do anything about that.

They've got pretty good lawyers there.

They could do anything they wanted,
I'm sure.

Yeah.

I don't think they will, but if they do,
we're not going to be part of that.

I don't know why anybody
would want to see

a Back to the Future movie
that didn't have Michael J. Fox in it.

Someone here is wondering
if you were allowed

to keep any memorabilia from the film.

If ILM, for instance, allowed you
to keep any models of the car?

Yeah, I've got
the actual miniature DeLorean,

which is the one that drove across the
trestle just before the train went over.

I've got the time circuits
in a nice case in my office

and Michael Lantieri also made
a lamp for me out of Mr. Fusion.

Bob Zemeckis, was it always part of
the plan to have Doc Brown reappear

at the end of Back to the Future Part III?

-Yeah.
-I think we had to work on that for a while

but we just figured the end of the movie
has to resonate like the first movie and...

Plus you want to see
that the Doc Brown love story

completely paid off.
What better way to do it than that?

Someone in the audience
is wondering what

are you guys working on right now,
what do you have coming up next?

Bob's working on a screenplay
for me to direct

for my company, image Movers.
It's based on the life of

Curtis LeMay. "Bombs Away" LeMay.

And Bob Gale, you have a
movie coming out soon, I think...

I've got a movie coming out in the fall that
I wrote and directed called Interstate 60.

Hopefully, we'll bring it down to SC
in the fall,

beginning at sometime in September.

I don't know what the release date is.

It was an independent movie
I shot up in Canada and

the distributor hasn't decided exactly
how they're going to roll it out and

when and how many theaters, et cetera,
but stay tuned.

Another question here in the audience
having to do with the

Back to the Future cartoon series.

Did you have anything to do with that?

I did, yes. I was Executive Producer
of that and

I totally supervised it
and had my fingers on it at all times.

Was it a complete coincidence
that Mary Steenburgen

had played a similar role
in the movie Time After Time,

which also deals with time travel?

No, I just remember...

Actually, I think, maybe we thought that
that was something

that would've been a good resonance.

I just remember that Time After Time
was a pretty good time travel movie.

The other movie that we absolutely loved
Mary in was Melvin and Howard.

-Yeah.
-A movie that

most of you probably have never seen
before, but it's completely nuts and

I highly recommend it.

One question here from one
of our fellow students, wondering

how do we keep up with

the careers of Bob Gale and Bob Zemeckis
on the web?

Yeah, I think you can...

I think there's all those websites

put our names in them and they come out.

The guy that runs bttf.com does
a pretty good job trying to

keep up with what everybody
from Back to the Future is up to.

So I'd suggest that you check on that and

IMDb seems to be pretty good.

In closing, I'm just wondering if there is
a way for you guys to summarize about

you know, what those movies
have meant for you and

what it has meant for you guys
to talk about it.

In fact, the DVD is going
to give it another life

and I'm just wondering
if you can comment about

what it's brought to you
to make those movies.

It's great when they go.
You know, it's great when they go.

I think that this was the most thrilling

experience, watching the audiences,
the paying audiences,

respond to this movie
in the first weeks that it came out.

That was a very satisfying
and thrilling experience for me.

And the other thing
I'd say is, I think that

the screenplay
for the first Back to the Future

so far, has been the best thing that Bob
and I have written.

It might be the only one we've got
in us that's that good,

you know, in our lifetimes.

So, very proud of that.

And Bob Gale?

One of my fondest memories about the
whole Back to the Future experience was

when Back to the Future III came out,

they had a trilogy screening
at the Cinerama Dome

where they ran all three movies,
one right after the other.

And that was just a great kick, to see

an audience that was really into the movie

knew the movies really well,
and could appreciate

how all three of them work

together, and all the detail
and all the work that we did to

do all these little nuances and things,

referring back from one movie,
to the next, to the other.

And, hopefully, when people get the DVDs

and they will sit down and watch
the movies one right after the other,

they might have a similar experience
to that and

we hope that they'll
find more in the movies

watching them back to back
than they did when they came out.

Thank you Bob Zemeckis, Bob Gale,
and USC. Thanks so much.

Hey, McFly!

Thought I done told you never to come in...

You ain't Seamus McFly.

You look like him, though,
especially with that dog-ugly hat.

You kin to that hay barber?

What's your name, dude?

Marty...

Eastwood.

Clint Eastwood.

-What kind of stupid name is that?
-I'd say he's the runt of the litter.

Hey, now, boys, would you take a look-see
at these pearly whites?

Hell, I ain't seen teeth look that straight
that weren't store-bought.

Take a gander at them moccasins.
What kind of skins is them?

What's that writing mean?

"Nike"? What is that?
Some sort of injun talk or something?

Bartender, I'm looking
for that no-good, cheating blacksmith.

-You seen him?
-No, sir, Mr. Tannen. I have not.

Tannen.

You're "Mad Dog" Tannen.

"Mad Dog"?

I hate that name.

I hate it, you hear?

Nobody calls me "Mad Dog"!

Especially not some duded-up,
egg-sucking gutter trash.

Dance!

Come on!

Come on, runt!
You can dance better than that!

Shit.

You better run, squirrel.

Get him!

We got ourselves a new courthouse.
High time we had a hanging!

Look at him swing.

Yeah, haven't had a hanging in a long time!

It'll shoot the fleas off a dog's back
at 500 yards, Tannen,

and it's pointed straight at your head!

-You owe me money, blacksmith.
-How do you figure?

My horse threw a shoe.

And seeing as you was the one
that done the shoeing,

I say that makes you responsible.

Well, since you never paid me for the job,
I say that makes us even.

Wrong! See I was on my horse when it
threw the shoe, and I got throwed off!

And that caused me to bust a perfectly
good bottle of fine Kentucky red eye.

So the way I figure it, blacksmith,
you owe me $5 for the whiskey

and $75 for the horse!

That's the $80.

Look, if your horse threw a shoe,
bring him back, and I'll re-shoe him.

I done shot that horse!

Well, that's your problem, Tannen.

Wrong. That's yours.

So from now on, you better be looking
behind you when you walk.

Because one day you're gonna get
a bullet in your back.

Doc!

Marty, I gave you explicit instructions
not to come here

but to go directly back to 1985.

I know, Doc, but I had to come.

But it's good to see you, Marty.

Marty, you're gonna have to do something
about those clothes.

You walk around town dressed like that,
you're liable to get shot.

Or hanged.

What idiot dressed you in that outfit?

You did.

"September 7"?

That's this Monday!

Now I wish I'd paid him off.

And who's this beloved Clara?
I don't know anyone named Clara.

I don't know, Doc.

I thought maybe
she was a girlfriend of yours.

Marty, my involvement in such
a social relationship here in 1885

could result in a disruption
of the space-time continuum.

As a scientist, I can never take that risk.

Certainly not after what
we've already been through.

Emmett!

-Hello, Emmett.
-Hubert.

-It's the mayor.
-Excuse me, Emmett.

Do you remember last week
at the town meeting when you volunteered

to meet the new schoolteacher
at the station when she came in?

Yes, quite so.

Well, we just got word
she's coming in tomorrow.

Here are the details for you.

-Thanks for all your help.
-Anytime, Hubert.

Her name's Miss Clayton. Clara Clayton.

Well, Doc, now we know who Clara is.

Marty, it's impossible.

The idea that I could fall in love
at first sight is romantic nonsense.

There's no scientific rationale
for that concept.

Come on, Doc. It's not science.

You meet the right girl,
it just hits you. It's like lightning.

Marty, please don't say that.

That's the way it was for me and Jennifer.

I mean,
we couldn't keep our eyes off each other.

God, Jennifer, damn.
I hope she's all right, Doc.

I can't believe
we just left her there on the porch.

Don't worry, Marty. She'll be fine.

When you burned the almanac in 1955,
the normal timeline was restored.

That means once we're back in 1985,

you just have to go over to her house
to wake her up.

Marty, turn that valve over there
all the way to the right.

Yeah, pull it all the way around.

Okay. Let's go!

-Iced tea?
-No, thanks.

It's a refrigerator.

Well, I guess Miss Clayton
will have to find other transportation.

If I never meet the woman, there's no
possibility of a romantic infatuation, right?

-You're the doc, Doc.
-All right.

We'll get the DeLorean
and get ourselves back to the future.

Listen, Doc, I tore a hole in the gas tank
when I was landing,

so we're gonna have to patch it up
and get some gas.

You mean we're out of gas?

Yeah, it's no big deal.
We've got Mr. Fusion, right?

Mr. Fusion powers the time circuits
and the Flux Capacitor,

but the internal combustion engine
runs on ordinary gasoline.

It always has.

There's not gonna be
a gas station around here

until sometime in the next century.

Without gasoline, we can't get
the DeLorean up to 88 miles per hour.

So what do we do?

-Twenty-four!
-It's no use, Marty!

Even the fastest horse in the world
won't run more than 35, 40 miles an hour!

Bartender said
that's the strongest stuff they got.

Try it, Marty.

Give it more gas!

Damn!

It blew the fuel injection manifold.
Strong stuff, all right.

It will take me a month to rebuild it.

A month?

Doc, you're gonna get shot on Monday!

I know! I know! I know! I wish...

Wait. I've got it!
We can simply roll it down a steep hill!

We'd never find a smooth enough surface.
Unless...

Of course! Ice!

We'll wait until winter
when the lake freezes over.

Winter? Doc, what are you talking about?
Monday! It's three days away!

All right, all right, all right. Just
let's think this thing through logically.

We know it won't run under its own power.
We know we can't pull it.

But if we could figure out a way

to push it up to 88 miles an hour.

That's it.

How fast can she go?
Why, I've had her up to 55 myself.

I heard that Fearless Frank Fargo
got one of these up to near 70

out past Verde Junction.

Do you think it's
possible to get it up to 90?

Ninety? Tarnation, son,
who'd ever need to be in such a hurry?

It's just a little bet he
and I have, that's all.

Theoretically speaking, could it be done?

Well, I suppose, if you had a straight
stretch of track with a level grade,

and you weren't hauling no cars behind you,
and if you could get the fire hot enough.

And I'm talking about hotter than
the blazes of hell and damnation itself.

Then yes, sir, it might be possible
to get her up that fast.

Tell me, when does the next train
come through here?

Monday morning at 8:00.

Here. This spur that runs off the main line
three miles out to Clayton Ravine.

It's a long stretch of level track
that will still exist in 1985.

This is where we'll push the DeLorean
with the locomotive.

Funny. This map calls Clayton Ravine
Shonash Ravine.

That must be the old Indian name for it.
It's perfect.

A nice long run that goes
clear across the bridge over the ravine,

you know, over near that
Hilldale housing development.

Right, Doc, but according to this map,
there is no bridge.

Well, Doc, we can scratch that idea.

I mean, we can't wait a year and a half
for this thing to get finished.

Marty, it's perfect.

You're just not thinking
fourth-dimensionally.

Right. Right. I have a
real problem with that.

Don't you see? The
bridge will exist in 1985.

It's safe and still in use.

Therefore, as long as we get the DeLorean
up to 88 miles an hour

before we hit the edge of the ravine,

we'll instantaneously arrive at a point
in time where the bridge is completed.

We'll have track under us
and coast safely across the ravine.

-What about the locomotive?
-It will be a spectacular wreck.

Too bad no one will be around to see it.

Help me! Help!

Great Scott!

Hurry!

Jump!

Thank you, sir. You saved my...

...life.

Emmett Brown at your service, Miss...

Clayton.

Clara Clayton.

Clara!

What a beautiful name.

May I help you inside with these?

No, that won't be necessary.
I can take care of it.

-You've done more than enough already.
-But it's really no trouble.

Doc, she says it's fine,
and we got to get going.

Ma'am, good luck with your school teaching
and everything.

Clara, I'll straighten everything out
with Mr. Statler for the buckboard rental.

Don't worry about that.

I feel somewhat responsible
for what happened.

That would be very gentlemanly of you,
Mr. Brown. Emmett.

You know, I'm almost glad
that snake spooked those horses.

Otherwise, we might never have met.

I suppose it was destiny.

Well, thank you for everything.

You're quite welcome.

I will see you again, won't I?

Of course. You'll see lots of me. I'm sure.
I have a shop in town.

I'm the local scientist, blacksmith.

Science? What sort of science?
Astronomy? Chemistry?

Actually, I'm a student of all sciences.

Hey, Doc, we got to get going.

Yes. Well, excuse us, Clara.

We have to get going.

Toodle-oo.

What do you mean,
you're gonna be seeing lots of her, Doc?

Well, I might see her
again just in passing.

Come on, Doc. Did you see the way
she was looking at you?

She did have quite a scare, right?

After all, Miss Clayton almost ended up
at the bottom of Clayton Ravine.

Clayton Ravine.

Holy shit. Hey, Doc, Clayton Ravine
was named after a teacher.

-They say she fell in there 100 years ago.
-100 years ago! That's this year!

Every kid in school knows that story,

'cause we all have teachers
we'd like to see fall into the ravine.

Great Scott!

Then she was supposed to go over
in that wagon.

Now I may have seriously altered history.

Look, Doc, what's the worst
that can happen, huh?

So they don't name the ravine after her.

Let's just get the DeLorean ready
and get the hell out of here.

I wish I'd never invented
that infernal time machine.

It's caused nothing but disaster.

Doc, Doc, this is Marty.

Do you read me? Over.

Check, Marty.

Great, Doc. These things still work.

All right, Marty. Once more,
let's go over the entire plan and layout.

I apologize for the crudity of this model,
but I just...

Yeah, I know, Doc.
It's not to scale. It's okay, Doc.

All right. Tomorrow night, Sunday,

we'll load the DeLorean
onto the tracks here, on the spur

right by the old abandoned silver mine.

The switch track is where
the spur runs off the main line

three miles out to Clayton...
Shonash Ravine.

The train leaves the station
at 8:00 Monday morning.

We'll stop it here,
uncouple the cars from the tender,

throw the switch track,
and then we'll hijack...

Borrow the locomotive and use it
to push the time machine.

According to my calculations,
we'll reach 88 miles per hour

just before we hit the edge of the ravine,

at which point we'll be instantaneously
transported back to 1985

and coast safely
across the completed bridge.

What does this mean? "Point of no return."

That's our fail-safe point. Up until there,
we have still have enough time

to stop the locomotive
before it plunges into the ravine.

But once we pass this windmill,
it's the future or bust.

Here you go, Marty.
Connect that to the positive terminal.

-All right, Marty, you all set?
-Yeah. Yeah. Go!

Train pulling out of the station!

Coming up to the switch track!

Stop at the switch track!

Throw the switch!

Pull up to the DeLorean!

Pushing the DeLorean up
to 88 miles per hour!

It couldn't be simpler.

Emmett?

It's Clara.

Quick, cover the DeLorean!

-Hello.
-Why, hello.

This is quite a surprise.

Well, I hope I'm not disturbing anything.

No, no, we were just doing
a little model railroading.

Emmett, when my bags
were thrown from the wagon,

my telescope was damaged.

And since you mentioned
an interest in science,

I thought you might be able
to repair it for me.

I would pay you, of course.

No, no, no.
I wouldn't think of charging you for this.

Well, let's have a look at it.

I think a lens may be out of alignment,

because if you move it this way,
the image turns fuzzy. See?

But if you turn it the other way then...

Everything becomes...

...clear.

I could repair it right away
and have it for you tonight.

Tonight is the town festival.

I wouldn't dream of having
you work on my telescope

during such an important occasion.

You are planning on attending, aren't you?

-Well, actually, ma'am, I don't think...
-Yes, of course, the festival.

Well, in that case, I'll see you
this evening at the festival, Emmett.

-Mr. Eastwood.
-Ma'am.

Thank you for taking care of my telescope.

You're quite welcome.

It's a nice telescope.

Ladies and gentlemen,

as mayor of Hill Valley,
it gives me great pleasure

to dedicate this clock
to the people of Hill County!

May it stand for all time!

Tell me when, gentlemen.

Three! Two! One!

Now!

Let the festivities begin!

You know, Marty, in a way, it's fitting
that you and I are here to witness this.

It's too bad I didn't bring my camera.

Ready, gentlemen?

The only problem is
we'll never be able to show it to anybody.

Smile, Doc.

What great music!

Yeah, it's got a beat,
and you can dance to it.

Step right up gentlemen and test
your mettle with the latest products

from Colonel Samuel Colt's Patent
Firearms Manufacturing Company

of Hartford, Connecticut.

Now, take this model, for example.

The new, improved and refined
Colt Peacemaker

selling to you tonight
for the low, low price of $12.

-Good evening.
-Evening.

You look very nice.

Thank you.

Would you like...

-Would you care to...
-I'd love to.

Young man, how about you?
You want to give it a try?

No, no. No, thanks. Hey, Doc, this...

Son!

-Sonny boy!
-The Doc can dance?

Son. Son. Son!

Hey, I just told you that even a baby
could handle this weapon.

Surely you're not afraid to try something
that a baby could do.

Hey, I'm not afraid of nothing.

Come on, then.
Let's just step up here like a man.

Now, then what you do
is you just ease that hammer back there

and squeeze off a round.

No, no, no!

Right on out there and be real smooth.

That's the way you do it.

-Listen, can I try that again?
-Yeah, go ahead.

Hey, just tell me one thing.
Where did you learn to shoot like that?

7-Eleven.

Buford, you sure that blacksmith
is gonna be at this here shindig?

Sure he's here. Everybody's here tonight.

You gentlemen will have
to check your firearms

if you want to join in on the festivities.

-Who's gonna make us, tenderfoot? You?
-I am.

Marshal Strickland.
I didn't know you was back in town.

If you can't read the sign, Tannen,
I presume you can read this.

Pretty tough hombre when you're pointing
a scatter gun at a man's back.

Just like you, Tannen,
I take every advantage I can get.

Now you gonna check your iron?

I was just joking with your deputy.
Of course, I'm gonna check my iron.

-We all were. Weren't we, boys?
-Yeah, right.

Tannen.

Your knife, too.

Smile, Marshal. After all, this is a party.

Only party I'll be smiling at is the
one that sees you at the end of a rope.

Have fun!

See, that's how you handle them, Son.

Never give them an inch
and maintain discipline at all times.

Remember that word, discipline.

I will, Pa.

Swing that partner
With a right big swing

Over to the side
It's the same old thing

Thank you very much.

Why, Mr. Eastwood, nice to see you.

I see you got yourself some
respectable clothes, lad, and a fine hat.

Yeah, well, a couple people didn't like
the way the other one looked on me.

Sure, and that one suits you, Mr. Eastwood.

-It's very becoming.
-Thanks.

Hey, "Frisbie." Far out.

What was the meaning of that?

-It was right in front of him.
-Aye.

Swing that partner halfway round
Sashay back to the head of the set

All the way up to the head of the set

Now, bow to the partner
You're through

-Hey, that's mine!
-Not anymore.

-Give me that.
-There he is, Buford.

-Where?
-There.

Dancing with that piece of calico.

What are you gonna do, boss?

I figure if I bury this muzzle deep enough
in his back, nobody will hear the shot.

Careful, Buford.
You ain't got but one bullet with that.

I only need one.

I told you to watch your back, smithy.

Tannen, you're early.

It's a Derringer, smithy.
Small but effective.

The last time I used it,
fellow took two whole days to die.

Bled to death inside.
It was real, real painful.

That means you'll be dead
by about supper time Monday.

Excuse me. I don't know who you think
you are, but we're dancing.

Well, look at what we have here.

Ain't you gonna introduce me to the lady?
I'd like a dance.

I wouldn't give you the pleasure.
You'll just have to go ahead and shoot.

-All right.
-No, no. Emmett, I'll dance with him.

Boys, keep the blacksmith company
while I get acquainted with the filly!

I don't dance very well
when my partner has a gun in his hand.

You'll learn. You'll learn.

You know, smithy, maybe I'll just take
my $80 worth out of her!

Tannen, leave her alone!

Yeah, I bet there's something you can do
that's worth $80.

I believe you've underestimated me, mister.

Have I?

Stop it! Damn you, Tannen!

No, I damn you!

I damn you to hell!

You.

Hey, lighten up, jerk!

Mighty strong words, runt!

You man enough to back them up
with more than just a pie plate?

Look, just leave my friends alone.

What's wrong, dude? You yellow?

That's what I thought. A yellow belly.

Nobody calls me yellow.

Then let's finish it right now.

Not now, Buford. Marshal's got our guns.

Like I said, we'll finish this tomorrow!

Tomorrow we're robbing the Pine City stage.

What about Monday?
We doing anything Monday?

No, Monday would be fine.
You can kill him on Monday.

I'll be back this way on Monday.
We'll settle this then.

Right there out in the street
in front of the Palace Saloon.

Yeah, right. When?

-High noon?
-Noon?

I do my killing before breakfast. 7:00!

8:00. I do my killing after breakfast.

Marty!

All right, now. Break it up.

What's all this about?
You causing trouble here, Tannen?

No trouble, Marshal.

Just a little personal matter
between me and Eastwood.

This don't concern the law.

Tonight, everything concerns the law.
Now break it up.

Any brawling, it's 15
days in the county jail.

All right, folks. Come on, this is a party.
Come on! Let's have some fun!

8:00 Monday, runt.

If you ain't here, I'll hunt you
and shoot you down like a duck.

It's "dog," Buford.
Shoot him down like a dog.

Let's go, boys!
Let these sissies have their party!

Marty, what are you doing,
saying you're gonna meet Tannen?

Hey, Doc, Doc, don't worry about it.

Monday morning 8:00 a.m.
We're gonna be gone, right?

Theoretically, yes,
but what if the train's late?

-Late?
-We'll discuss this later.

No, we'll discuss it now. Late?
What do you mean?

-Thank you for your gallantry, Mr. Eastwood.
-Hey, ma'am.

Had you not interceded,
Emmett might have been shot.

Marty... Clint, I'm gonna take Clara home.

-Right. Good night, Doc. Good night, Clara.
-You sure set him straight, Mr. Eastwood.

I'm glad somebody finally got the gumption
to stand up to that son of a bitch.

You're all right in my book, Mr. Eastwood.
I'd like to buy you a drink.

Hey, listen, I don't want a drink.

-You don't have to buy me anything.
-Young man. Young man.

-It was no big deal.
-I'd like for you to have this brand-new

Colt Peacemaker and gun belt
free of charge.

-Free?
-I want everybody to know

that the gun that shot Buford Tannen
was a Colt Peacemaker!

Hey, no problem. Thanks a lot.

Of course you understand that if you lose,
I'm taking it back.

Thanks again.

You had him, Mr. Eastwood.
You could have just walked away,

and nobody would have thought
the less of you for it.

All it would have been was words,
hot air from a buffoon.

Instead, you let him rile you.

Rile you into playing his game,
his way, by his rules.

Seamus, relax. I know what I'm doing.

-He reminds me of poor Martin.
-Aye.

-Who?
-Me brother.

Wait a minute. Wait a minute.
You have a brother named Martin McFly?

Had a brother.

Martin used to let men provoke him
into fighting.

He was concerned that people
would think him a coward if he refused.

That's how he got a Bowie knife
shoved through his belly

in a saloon in Virginia City.

Never considered the future, poor Martin.
God rest his soul.

Sure, and I hope you're considering
the future, Mr. Eastwood.

I think about it all the time.

And that crater in the middle north west,

the one that's out there
all by itself like a starburst,

that one's called Copernicus.

Listen to me. I feel
like I'm teaching school.

Please, continue the lesson.

I never found lunar geography
so fascinating.

You're quite knowledgeable.

When I was 11, I had diphtheria.
I was quarantined for three months.

So my father brought this telescope,
and he put it next to my bed

so I could see everything out the window.

Emmett, do you think we'll ever be able
to travel to the moon

the way we travel across the country
on trains?

Definitely. Although not for 84 years
and not on trains.

We'll have space vehicles,
capsules sent aloft with rockets.

Devices that create giant explosions.
Explosions so powerful that they just...

That they break the pull
of the Earth's gravity

and send the projectile
through outer space.

Emmett, I read that book, too!

You're quoting Jules Verne
From the Earth to the Moon.

You've read Jules Verne?

I adore Jules Verne.

So do I.

Twenty Thousand Leagues Under the Sea.
My absolute favorite.

The first time I read that
when I was a little boy,

why, I wanted to meet Captain Nemo.

Don't tease, Emmett. You couldn't have
read that when you were a boy.

It was only first published 10 years ago.

Yes. Well, I meant it
made me feel like a boy.

I never met a woman
who liked Jules Verne before.

I never ever met a man like you before.

Doc?

Doc?

Hope you know what you're doing.

You talking to me?

You talking to me, Tannen?

Well, I'm the only one here.

Go ahead, make my day.

-Say good morning, Mr. Eastwood.
-Morning.

Have a cigar, Mr. Eastwood.

Anything I can do for you today,
Mr. Eastwood?

-No, that's fine.
-Good luck tomorrow, Mr. Eastwood.

-We'll be praying for you.
-Thanks.

Good morning, Mr. Eastwood.
Interest you in a new suit for tomorrow?

I'm fine. Thanks.

-Doc, what are you doing?
-Nothing.

I was just out enjoying the morning air.

It's really lovely here in the morning.
Don't you think?

Yeah, it's lovely, Doc.

So listen, we've got to load the DeLorean
up and get ready to roll, all right?

Hey, look at that, the tombstone.

Marty, let me see that photograph again.

My name, it's vanished.

Hey, that's great, Doc. Don't you get it?

We're going back to the future tomorrow,
so everything's being erased.

But only my name is erased.

The tombstone itself
and the date still remain.

That doesn't make sense.

We know that this photograph represents
what will happen

if the events of today continue
to run their course into tomorrow.

-Right. So?
-Excuse me, Mr. Eastwood.

-I just need to take your measurements.
-Look, pal, I don't want to buy a suit.

-No, this is for your coffin.
-My coffin?

Well, the odds are running
two to one against you.

Might as well be prepared.

So it may not be my name that's
supposed to end up on this tombstone.

It may be yours.

-Great Scott.
-I know. This is heavy.

Marty, why are you wearing that gun?

You're not considering going up
against Tannen tomorrow?

Doc, tomorrow morning
I'm going back to the future with you.

But if Buford Tannen comes looking
for trouble, I'm gonna be ready for him.

You heard what
that son of a bitch called me last night.

Marty, you can't go losing your judgment
every time someone calls you a name.

That's exactly what causes you
to get into that accident in the future.

What? What about my future?

I can't tell you. It might
make things worse.

Wait a minute.
Doc, what is wrong with my future?

Marty, we all have to make decisions
that affect the course of our lives.

You've got to do what you've got to do,
and I've got to do what I've got to do.

-Marty.
-Yeah.

I've made a decision.

I'm not going with you tomorrow.

I'm staying here.

What are you talking about, Doc?

There's no point in denying it.

-I'm in love with Clara.
-Oh, man.

Doc, we don't belong here.
Neither one of us.

You know, it could still be you
that gets shot tomorrow.

This tombstone could
still be in your future.

Marty, the future isn't written.

It can be changed. You know that.

Anyone can make their future
whatever they want it to be.

I can't let this one little photograph
determine my entire destiny.

I have to live my life according
to what I believe is right in my heart.

Doc, you're a scientist.

So you tell me.
What's the right thing to do up here?

You're right, Marty.

-Wow, that worked great.
-I've at least got to tell her goodbye.

Come on, Doc. Think about it.
What are you gonna say to her?

"I've got to go back to the future?"

I mean,
she's not gonna understand that, Doc.

Hell, I'm in it with you,
and I don't even understand it.

Doc, listen.

Maybe we...

I don't know,
maybe we can just take Clara with us.

To the future?

As you reminded me, Marty, I'm a scientist,
so I must be scientific about this.

I cautioned you
about disrupting the continuum

for your own personal benefit.
Therefore, I must do no less.

We shall proceed as planned,
and as soon as we return to 1985,

we'll destroy this infernal machine.

Traveling through time
has become much too painful.

It's Emmett, Clara.

Emmett, won't you come in?

No, I better not. I...

What's wrong?

I've come to say goodbye.

Goodbye? Well, where are you going?

I'm going away. And well, I'm
afraid I'll never see you again.

Emmett!

Clara, I want you to know
that I care about you deeply.

But I've realized that I don't belong here,
and I have to go back where I came from.

And where might that be?

I can't tell you.

Well, wherever you're going,
take me with you.

I can't, Clara.

I wish it didn't have to be this way,
but just believe me when I tell you

that I'll never forget
you and that I love you.

I don't understand
what you're trying to say.

Clara, I don't think there's any way
that you can understand it.

Please, Emmett. Please, I have to know.

If you sincerely do love me,
then tell me the truth.

All right then.

I'm from the future.

I came here in a time machine
that I invented,

and tomorrow I have to go back
to the year 1985.

Yes, Emmett.

I do understand.

I understand that because you know
I'm partial to the writings of Jules Verne,

you concocted those mendacities
in order to take advantage of me.

I've heard some whoppers in my day,

but the fact that you'd expect me
to entertain a notion like that

is so insulting and degrading!

All you had to say is, "I don't love you,
and I don't want to see you anymore."

That, at least, would have been respectful!

But that's not the truth.

Good to see you, too.

Emmett. What can I get you? The usual?

No, Chester, I'm gonna need something
a lot stronger than that tonight.

-Sarsaparilla.
-Whiskey, Chester.

Whiskey? Emmett, are you sure?

You know what happened to you
on the Fourth of July.

Whiskey.

Okay, I ain't your papa.

Just don't want to see you
do the wrong thing.

You can leave the bottle.

It's a woman, right?

I knew it.
I have seen that look on a man's face

a thousand times all across the country.

All I can tell you, friend,
is you'll get over her.

Clara was one in a million.

One in a billion. One in a googolplex.

The woman of my dreams,
and I've lost her for all time.

I can assure you, sir,
there are other women.

Why, peddling this barbed wire
all across the country

has taught me one thing for certain,

is that you never know
what the future might bring.

The future. I can tell
you about the future.

Oh, man, did I sleep.

What time is it, Doc?

Doc?

Wake up!

Get up! Let's go!

I got me a runt to kill.

It's still early, boss. What's your hurry?

I'm hungry.

And in the future, we don't need horses.

We have motorized carriages
called automobiles.

If everybody's got
one of these auto whatsits,

does anybody walk or run anymore?

Of course we run,
but for recreation, for fun.

Run for fun?
What the hell kind of fun is that?

Doc! Doc!

How much has he had?

None. That's the first one,
and he hasn't touched it yet.

He just likes to hold it.

Doc! Doc! What are you doing?

I've lost her, Marty.
There's nothing left for me here.

All right, that's why you gotta come back
with me.

-Where?
-Back to the future!

-Right! Let's get going!
-Great.

Gentlemen, excuse me,
but my friend and I have to catch a train.

Here's to you, blacksmith.

-And to the future.
-Amen.

-Amen.
-Emmett, no!

Doc! Doc! Doc!

Come on, Doc. Wake up. Wake up, Doc!

-How many did he have?
-Just the one.

Just the one? Come on, Doc.

There's a fellow that
can't hold his liquor.

-Get me some coffee. Black!
-Joey, coffee!

Ma'am?

-How far does the 8:00 train go?
-San Francisco is the end of the line.

I'll take a one-way ticket.

You want to sober him up in a hurry, son,

you're gonna have to use something
a lot stronger than coffee.

Yeah, what do you suggest?

Joey, let's make some wake-up juice.

Come on, Doc, swallow. Here we go.

In about 10 minutes, he's gonna be
as sober as a priest on Sunday.

Ten minutes!

Why do we have to cut these things
so damn close?

Here, stick this clothespin on his nose.

When he opens up his mouth,
go ahead and pour it on down his gullet.

And stand back.

-He's still out!
-That? That was just a reflex action.

It's gonna take a few more minutes
for the stuff to really clear up his head.

Perfect.

Come on, Doc. Come on, wake up, buddy.

Wake up, Doc! Come on. Come on.

Seamus, wouldn't expect
to see you here this morning.

Aye. Something inside me told me
I should be here

as if my future had
something to do with it.

He'll come around in a minute. Come on.

Come on, Doc. Let's go, Doc!
Let's wake up now, buddy. Come on.

Are you in there, Eastwood?

It's 8:00, and I'm calling you out.

It's not 8:00 yet!

It is by my watch!

Let's settle this once and for all, runt!

Or ain't you got the gumption?

Listen.

I'm not really feeling up to this today.

So I'm gonna have to forfeit.

Forfeit?

What's that mean?

-It means that you win without a fight.
-Without shooting? He can't do that.

Hey, you can't do that!

You know what I think?

I think you ain't nothing
but a gutless, yellow turd!

And I'm giving you to the count of 10
to come out here and prove I'm wrong!

One!

Doc, come on, sober up, buddy.
Let's go. Come on.

-Two!
-You better get out there, son.

I got $20 gold bet on you,
so don't let me down.

Three!

I got $30 gold bet against you,
so don't let me down.

Four!

You better face up to it, son,
because if you don't go out there...

-What?
-Five!

-What if I don't go out there?
-You're a coward.

Six!

And you'll be branded a coward
for the rest of your days!

Everybody everywhere
will say Clint Eastwood

is the biggest yellow belly in the West!

Seven!

Here!

Eight!

I already got a gun.

Nine!

Ten!

Do you hear me, runt?

I said that's 10, you gutless,
yellow pie-stinger!

He's an asshole!

I don't care what Tannen says!

And I don't care
what anybody else says either.

-Doc! Doc, you okay?
-I think so.

What a headache!

-Listen, you got a back door to this place?
-Yeah, it's in the back.

Let's go, Doc.

Are you coming out here,
or do I have to come in after you?

The thing I really miss here is Tylenol.

Hey!

Reach, blacksmith!

Yes, sir, that poor fellow last night

had the worst case of broken heart
I have ever seen.

When he said he didn't know
how he could live the rest of his life

knowing how much hurt
he'd caused that little girl.

Well, I really felt for
him. I did. Right here.

Listen up, Eastwood!

I aim to shoot somebody today,
and I prefer it'd be you.

But if you're just too damn yellow,

I guess it'll just have to be
your blacksmith friend.

Forget about me, Marty, and save yourself!

You got one minute to decide.
You hear me, runt? One minute!

I've never seen a man so broken up
over a woman.

What did he say her name was? Cara? Sara?

-Clara.
-Clara.

-Excuse me.
-Ma'am?

But was this man tall
with great big, brown puppy-dog eyes

and long silvery, flowing hair?

You know him.

Emmett!

Time's up, runt!

Prepare to meet your maker, blacksmith.

Right here, Tannen!

Draw!

No!

I thought we could settle this like men.

You thought wrong, dude.

Thank you.

That was good.

-You know what I think?
-No.

-I think Buford's going to jail.
-Yeah.

Get him out of that shit.

Get them!

Buford Tannen, you're under arrest
for robbing the Pine City stage.

You got anything to say?

I hate manure.

Look!

Yes!

-The train!
-Can we make it?

We'll have to cut them off at Coyote Pass.

Hey! Hey, mister. Mr. Eastwood.

-Here's your gun, mister.
-Thanks, kid.

Seamus!

It's worth $12. Never been used.

-Maybe I'll trade it for a new hat.
-Right, and take care of that baby!

I will!

Emmett!

Emmett!

Emmett!

"Time machine."

Come on, Marty!

-Go, Doc.
-Come on. Give me your hand!

Come on, Marty.

Come on. Let's go!

Masks on.

-Reach!
-Is this a holdup?

It's a science experiment.

Stop the train just before you hit
the switch track up ahead.

-Doc!
-Uncouple the cars from the tender!

I've wanted to do that all my life.

What are these things, anyway?

My own version of Pres-to-Logs.

Compressed wood with anthracite dust
chemically treated to burn hotter and longer.

I use them in my forge
so I don't have to stoke it.

These three in the furnace
will ignite sequentially,

make the fire burn hotter,
kick up the boiler pressure,

and make the train go faster.

Ready to roll!

Emmett!

Marty, are the time circuits on?

Check, Doc!

Input the destination time.

October 27, 1985, 11:00 a.m.

Check. Okay, we're cruising
at a steady 25 miles an hour, Doc.

I'm throwing in the Pres-to-Logs.

Marty, the new gauge on the dashboard
will tell us the boiler temperature.

It's color-coded to indicate
when each log will fire.

Green, yellow and red.

Each detonation will be accompanied
by a sudden burst of acceleration.

Hopefully, we'll hit 88 miles per hour
before the needle gets much past 2, 000.

Why? What happens after it hits 2,000?

The whole boiler explodes!

Perfect!

-Hey, Doc! We just hit 35!
-Okay, Marty. I'm coming aboard!

Emmett!

Emmett!

Come on. Come on.

You better hold onto something, Doc!
The yellow log is about to blow!

Golly.

We just passed 40, Doc!

Emmett!

Emmett!

Emmett!

We just passed 45, Doc! Go for it!

Fifty.

-Emmett!
-Clara!

I love you!

-Doc! Doc! What's happening?
-It's Clara! She's on the train!

Clara? Perfect.

She's in the cab! I'm going back for her!

The windmill!

Doc! The windmill! We're going past 50!
You'll never make it!

Then we'll have to take her back with us!
Keep calling out the speed!

Clara, climb out here to me!

-I don't know if I can!
-You can do it!

Just don't look down!

That's it!

Sixty miles an hour, Doc!

You're doing fine! Nice and steady!

Come on!

Just a little further!

I can't, Emmett! I'm scared!

Seventy!

Keep coming, Clara!

Come on! Come on! You're doing fine!

Come on! Nice and easy!

Don't look down! That's it!
You're doing fine!

Doc! The red log is about to blow!

Clara!

Emmett!

I'm trying to reach you!

-Clara, hold on!
-I can't!

Doc, I'm gonna slip you the Hoverboard!

Marty, watch out!

Emmett, help!

Hold on, Clara!

Doc, ready, Doc?

Catch it!

Yes! Yes!

Emmett!

Hold on!

Yes!

Well, Doc,

it's destroyed.

Just like you wanted.

-Hey, butthead, get away...
-Watch it, Biff!

Marty, I didn't mean to scare you.
I didn't recognize you in those clothes.

-What the hell are you doing?
-Just putting on the second coat now.

You going cowboy?

Come on, guys.
We're gonna be late for brunch.

Coming, Dave.

Come on, Dad, we're not gonna hold
your reservations all day.

I can't find my glasses.

-Lorraine, have you seen my glasses?
-They're in your suede jacket, honey.

Marty, what's wrong?
We thought you went to the lake.

-You wore that to the lake?
-Thank God you guys are all back to normal.

Marty, who are you supposed to be?
Clint Eastwood?

Right. I gotta go get Jennifer.

-I really like that hat, Marty.
-Thanks, Biff.

Jennifer.

Jen.

Jennifer.

Marty.

Marty.

I had the worst nightmare.

Marty, that dream I had is so real.

It was about the future.

About us.

And you got fired.

Wait a minute.
What do you mean I got fired?

Hilldale! This is where we live.

I mean, this is where we're going to live.

Someday.

Marty, it was a dream, wasn't it?

Hey.

The big M.

-How's it hanging, McFly?
-Hey, Needles.

Nice set of wheels.
Let's see what she can do.

-Next green light.
-No, thanks.

What's the matter? Chicken?

Chicken McFly.

-Marty, don't.
-Grab hold of something.

Come on! Get on!

Yeah, go! Go, go, go!

Did you do that on purpose?

Yeah, you think I'm stupid enough
to race that asshole?

Jeez! I would have hit that Rolls-Royce.

It erased.

You're right. There's not much left.

Doc's never coming back.

I'm sure gonna miss him, Jen.

What the hell?

Doc!

Marty!

Doc! Doc!

Marty, it runs on steam!

Meet the family. Clara, you know.

-Hi, Marty!
-Ma'am!

These are our boys.

Jules and Verne.

Boys, this is Marty and Jennifer.

Doc, I thought I'd never see you again.

You can't keep a good scientist down.

After all, I had to come back for Einstein,

and, well, I didn't want you
to be worried about me.

I brought you a little souvenir.

It's great, Doc. Thanks.

Dr. Brown, I brought this note
back from the future,

and now it's erased.

Of course it's erased.

But what does that mean?

It means your future
hasn't been written yet.

No one's has.

Your future is whatever you make it.
So make it a good one, both of you.

We will, Doc!

Stand back!

All right, boys, buckle up!

Hey, Doc, where are you going now?
Back to the future?

No, already been there.