Bruce Lee: His Life and Legend Screenplay by Robert Clouse Rewrite by Tue D. Nguyen

Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:09 pm #1

LITTLE DRAGON
The Life of Bruce Lee


(Formerly, Bruce Lee: His Life and Legend)
Screenplay by
Robert Clouse
Rewrite by Tue D. Nguyen


Based on Works associated and related to Bruce Lee
Events: Real & Imagined


4th Draft


08-21-2017



Created Quote:

" There are levels within from
the start of mv life to the
final end that I know I will die. "
Bruce Lee


(1) - Scenes written in Bruce's early life (1940 ' s-1950 ' s)

will be spoken in Cantonese with Superimposed English Subtitles.

(2) - Scene written in Bruce's later life (I960's-1973) will be spoken
in English, Cantonese & Mandarin with Superimposed English Subtitles.


Keys :

V.O. - Voice

M.S. - Medium Shot

EST - Establishing Shot

C.U. - Close-up

O.S. - Off-Screen

E.C.U - Extreme Close-Up



LITTLE DRAGON


BLACK SCREEN
Silence.

SUPER: FRIDAY - JULY 20, 1973

JUMP CUT TO:

EST SHOT - EXT. HONG KONG - NIGHT

CUT TO:

EST SHOT - EXT. BEVERLY HEIGHTS - NIGHT

CUT TO:

INT. BETTY TING PEI'S APARTMENT - NIGHT

Inside this apartment. A well nice detailed to it's texture, not a
huge mess, but very good. CAMERA PANS left slowly as the telephone
rings.

It gets picked up and answered.

BETTY (O.S.)

Hello?

George Lazenby's voice appears on the phone.

LAZENBY (V.O.)

Hi, Betty, It's George.

I was wondering to check on Bruce...

How is he, Betty?

As we PAN, we stop by revealing BETTY TING PEI, 26.

C.U. - BETTY'S EYES
It widens in terror.


BETTY

I...can't wake him up, George.


M.S .


BETTY



2


LAZENBY (V.O.)

What do you mean by that?

BETTY

(quick)

I don't know, I can't.

(beat)

I need to talk to Raymond, please?


CUT TO:

INT. RESTAURANT - NIGHT

GEORGE LAZENBY, 33, standing inside the phone booth.

RAYMOND CHOW, 46, standing behind the booth.

EXT. PHONE BOOTH

George nods, and he turns to knock the door with trying to get
Raymond's attention.

Raymond turns and backs away a bit.

George opens the door.


LAZENBY

Hey, Raymond, I think Betty
who wants to speak to you.

RAYMOND

Alright.

George steps out, letting Raymond steps in and closes the door.
INT. PHONE BOOTH

Raymond puts the phone up to his ear and starts with a question.
(NOTE: This will be spoken in Cantonese from between Raymond and
Betty)


RAYMOND

(Okay, Betty, What's going on?)

BETTY (V.O.)

(I DON'T KNOW, I CAN'T WAKE HIM UP!)


Raymond frowns.



3


He then blocks the phone with his hand.

He turns to look Lazenby with a curious expression, as the same goes
to Lazenby.

Raymond looking down.

Then, he goes back to the phone.

RAYMOND

(Okay, Betty.

I'll come to your place).

BETTY (V.O.)

(Thanks.)

Raymond hangs up the phone, and exits the booth.

RAYMOND

Excuse me, now, George.

I have to go now.

LAZENBY

Alright, Raymond.

Raymond walks to exit the building.

CUT TO:

EXT. RESTAURANT - NIGHT

CAMERA focuses on RAYMOND, PANNING LEFT, running with a approach to
his car.

He opens the door, enters in, and closes the door.

INT. CAR

E.C.U. of Raymond's hand starts the key.

The engine starts.


CUT TO:



4


EXT. CAR - NIGHT

The car moves backwards a little more bit, and turns backwards on the
right more slightly, and it takes off as we PAN, focusing on CAR
driving off.

CUT TO:

EST SHOT - EXT. BEVERLY HEIGHTS - NIGHT

CUT TO:

INT. BETTY TING PEI'S APARTMENT - NIGHT
Betty waiting by the door.

CUT TO:

EXT. PARKING LOT - NIGHT

The car enters in the parking lot and finds a parking spot.

The car parks

Raymond emerges out of the car and closes the door and rushes to the
entrance door of Beverly Heights.

CUT TO:

INT. BETTY TING PEI'S APARTMENT - NIGHT
C.U. - BETTY

Waiting on a expressionless face.

The door bell rings, her eyes move at an instant, staring at the door.
DOOR

She unlocks it, opens the door.

It's RAYMOND.


CUT TO:



5


INT. BETTY'S ROOM

The door opens, the light switch is turned on.

Betty standing by the door as Raymond approaches to Bruce's body.
RAYMOND & BRUCE

Raymond gets close from his ear on Bruce's chest, trying to figure out
something. A beat. Until.


His eye widens.


(Betty?)
(Yes?)


RAYMOND

BETTY


RAYMOND

(Get the ambulance.)


CAMERA ZOOMS on Raymond as we
CUT TO:


EXT. STREETS - NIGHT (SERIES OF SHOTS)
The Ambulance driving.


DISSOLVE TO:


EXT. QUEEN ELIZABETH HOSPITAL - NIGHT
The Ambulance parks.

We PAN up focusing on the building.


CUT TO:



6


INT. QUEEN ELIZABETH HOSPITAL
Silence. Until.

Noise starts to appear, and emerging in is DOCTORS & NURSES rushing
the stretcher to a patient room where Bruce will be at.

TIME-CUT

INT. HALLWAY
M.S. - RAYMOND

Seated on a chair, as We ZOOM in on him.

A beat.

We then hear (in O.S.) sounds of shoes walking, Raymond turns to look,
and silently gasps and emerges from his seat as we PAN quickly to
revealing the person walking with shoes is in-fact to be LINDA LEE
CADWELL aka LINDA EMERY, 28, Bruce's wife.

LINDA

What happened, Raymond?

Raymond doesn't speak, but is very nervous to tell her.

LINDA (afraid)

Well?

Still, he doesn't speak, until the door to Bruce's room opens.

Emerging out is a DOCTOR, named CHRISTOPHER FORD, he steps out of the
room slowly and closes the door gently, and he walks a little bit
slowly in a disappointed look on his face.

Linda calls.


Doctor?

He turns facing Linda.


LINDA


Doctor?

Is he...alive?


LINDA

(beat) (nervous)



7


He slowly shakes his head (No) in a depressive manner.

M.S. - LINDA

Her reaction freezes on herself being stunned by the statement.
M.S. - FORD

Disappointed, but depressed.

He says one last thing to her.

FORD

I'm sorry, Mrs. Emery.

(beat)

It's all we can do.


M.S. SHOT

Linda, still stunned, but she then faints down on the floor with the
sound of a head hits on the floor with an echoing sound.

Raymond approaches, kneeling down, carrying Linda up, and trying to
wake her up.

RAYMOND

Linda...Linda...?

Wake up...Linda?

As he is trying to wake her up.

CUT TO:

BLACK SCREEN

Chow's last word with a desperate scream.

RAYMOND (V.O.)

LINDA!

Pause. Until.

SUPER: THURSDAY - JULY, 31, 1973


JUMP CUT TO:



8


EXT. HONG KONG - DAY
WIDE VIEW:

The eyes of a bird in the lens of it's P.O.V. on top of the highest
building in Hong Kong, focusing on a variety of a crowd with
barricades blocking them, as well as Policemen also.

The noise of the whole entire crowd is disastrous and it will give you
nightmares like the "Mass Suicide at Jonestown".

CUT TO:

EXT. STREETS - DAY

CAMERA PANS RIGHT with focusing on the Crowd and Policemen.

CUT TO:

EST SHOT - EXT. KOWLOON FUNERAL PARLOUR - DAY

CUT TO:

EXT. KOWLOON FUNERAL PARLOUR - DAY

M.S. SHOT of several people walking into the parlour.

CUT TO:

INT. KOWLOON FUNERAL PARLOUR - DAY

1 - A big rectangular shape of a Chinese sign.

2 - WIDE VIEW of the Crowd. There are camera light flashes about 3-4
times.

3 - M.S. SHOT: Three Men escorting the casket slowly, but slightly a
bit fast.

4 - WIDE VIEW of the Large Crowd, we can see a little bit of the three
men escorting the casket slightly. But they stop.

5 - M.S. ANGLE: As the shot is in place, we see the person opening the
casket, we then PAN by circling around by handheld and we see BRUCE in
the casket, motionless, not a single bit of movement from him. We then
hear (in O.S.) an outcry from the crowd, some male, some female.


CUT TO:



EXT. KOWLOON FUNERAL PARLOUR - DAY

The crowd is backing away as LIMO parks by.

The doors open, emerging out are 2 people, LINDA & RAYMOND.


9


Raymond escorts Linda to the inside of the parlour.

CUT TO:

INT. KOWLOON FUNERAL PARLOUR - DAY
PULLING BACK as Raymond is escorting Linda.

Camera light flashes appear about 5 times.

DISSOLVE TO:

We see Linda dressed in a traditional funeral robe.

CUT TO:

We see Linda's helper with BRANDON (Bruce's son), who is bowing about
the amount of 3-5 times, including SHANNON (Bruce's daughter).

The helper then escorts the two kids to their mother who's holding the
traditional robes.

DISSOLVE TO:

CAMERA ANGLE - STANDING STILL

Linda holding Shannon, looking over the casket at Bruce inside the
casket.

TIME-CUT to match the same shot but Linda is there only.

LINDA'S P.O.V.

She is looking at Bruce.



10


M.S. - LINDA

She is looking, still, but then transitions to cry.

The helper escorts the sobering Linda to where she is.

CUT TO:

A MONTAGE OF BRUCE'S FRIENDS, CO-STARS APPROACH TO BOW TO HIM,
INCLUDING LEE'S FAMILY

1 - GEORGE LAZENBY

2 - PHOEBE LEE

3 - RAYMOND CHOW

4 - NORA MIAO

5 - PETER LEE & AGNES LEE

6 - LO WEI

7 - SHIH KIEN with a Friend, they bow and CAMERA PANS TO THE LEFT AND
STOPS FOCUSING ON THE LEE FAMILY as well as LINDA, bow.

CAMERA PANS right focusing on Kien and his friend turn and walk away.


DISSOLVE TO:

M.S. SHOT

Linda, expressionless, with her 2 children sitting as the crowd stands
with the noise in the background.

DISSOLVE TO:

EST SHOT - EXT. KAI TAK AIRPORT - DAY
WIDE VIEW of the building.

CUT TO:

EXT. KAI TAK AIRPORT - DAY
WIDE VIEW - AIRPLANE
It starts to take off.

DISSOLVE TO:

EST SHOT - EXT. LAKEVIEW CEMETERY - ENTRANCE
SUPER: SEATTLE


CUT TO:



11


EXT. LAKEVIEW CEMETERY - DAY

M.S. - BETWEEN TWO BUSHES

We see a limousine driving to park.

DISSOLVE TO:

M.S. SHOT

The car parking.


CUT TO:

BACK OF CAR - INTERIOR
The trunk opens.


CUT TO:


BACK OF CAR - EXTERIOR
Bruce's students:

1 - JAMES COBURN

2 - STEVE McQUEEN

3 - TAKY KIMURA

4 - DAN INOSANTO

5 - PETER CHIN

They lift the casket out of the car and they hold on it as they walk.
CUT TO:


M.S. SHOT - MOURNERS

There are ones that stand and there are ones that sit.


ONES that sit:

1 - LINDA with BRANDON and SHANNON.

2 - PETER & AGNES LEE, as well including PHOEBE LEE.

3 - ROBERT LEE (Bruce's Younger Brother, 24).

4 - GRACE HO (Bruce's mother), who is weeping tears a bit, holding a
tissue.


CUT TO:



12


C.U. - COBURN

COBURN

Thank you...

May be peace upon you...

CAMERA PULLS BACK as COBURN leans over throwing a rose at Bruce's
casket, including McQUEEN, KIMURA, INOSANTO, as well as ROBERT.

We PULL BACK MORE as we then DISSOLVE TO:

M.S. - BRUCE'S TOMBSTONE

SUPER: " There are levels within

from the start of my life
to the final end that I
know I will die."

Bruce Lee

Hold on a long beat until the text fades out, as we hear a traditional
oriental music fading in.
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:13 pm #2

CUT TO:

EXT. SAN FRANCISCO CIVIC AUDITORIUM - NIGHT
It's snowing outside. A cold night.

A few people are loitering about the wide steps slowly leading to the
auditorium and a NEWSBOY is standing with a handful of newspaper,
customer-less, he shifts his weight from foot to foot, while a thin
squeal of the traditional oriental music drifts out of from the
building.

SUPER: SAN FRANCISCO - NOVEMBER 27, 1940


CUT TO:



13


INT. OPERA HOUSE - NIGHT

A TROUPE is performing on the stage. The actors move stiffly about,
almost immobile, in their heavy costumes. They peer out of slits in
their large, grotesque masks, singing to the strange dissonant music.
ONE MAN (LEE HOI CHUEN), he has his eyes set within a hideous mask of
an avenging warrior. He turns his head, every few seconds to look
towards one wing of the stage. His eyes blink nervously.

CHUEN'S P.O.V.

A WOMAN (LEUNG KAM) is waving at him with a gesture to come.

M.S. - BACK TO CHUEN
He nods.

The act then is drawing to a close, almost unnoticed by Chuen, and the
curtain is descending.

The APPLAUSE builds as Chuen rushes off-stage, followed by the others
in the TROUPE, though some hold their positions to take their bows.

CUT TO:

EXT. SAN FRANCISCO CIVIC AUDITORIUM - NIGHT
A CAR drives off as the TROUPE waves a goodbye.

CUT TO:

INT. CAR

C.U. - CHUEN'S EYES

Widen in terror, as if experienced he had a baby once, but
lost to it, dying.

DISSOLVE TO:

EST SHOT - EXT. SAN FRANCISCO CHINESE HOSPITAL - NIGHT

CUT TO:

INT. SAN FRANCISCO CHINESE HOSPITAL - NIGHT
M.S. - CHUEN

Sitting and waiting.



14


Push!


NURSE (O.S.)


We hear moaning from a WOMAN with intense screaming.

QUICK CUT MONTAGE
C.U. - CHUEN

Lighting a cigarette and blowing a smoke out of his mouth.
CUT TO:


M.S. - CHUEN

Still smoking from his cigarette. Until.

The doors open, Leung emerges out to call Chuen.

LEUNG

(Chuen! Come!)


CUT TO:

INT. GRACE'S ROOM

Chuen enters the room and approaches towards to GRACE HO, his wife.
He starts asking.


CHUEN

(Grace? Grace?

Is it a boy or girl?)

GRACE

(A. . . (beat) A. . .Boy.)

Chuen stunned but is happy by what his wife is saying.

CHUEN

(A boy. )

He looks up with a smile on his face.

CHUEN

(Thank you, God. Thank you.)



As he is still in excitement, a another NURSE with a clipboard
attached with paper to it.


15


NURSE

Excuse me? Sir? Sir?


Leung taps Chuen 2 times on the shoulder, he turns to Leung and she
nods her head as a gesture movement to the nurse in response to Chuen.


NURSE

Sir, we need the boy's name
for the registration.

CHUEN


Oh.


He turns to Grace.


CHUEN


(Grace?
Grace is exhausted


What's the baby's name?)
and is about to sleep.


GRACE

Push, Push, Push.

CHUEN (turns to face the NURSE)

Ah...Pu,Pu,Pu.

(beat)


Push Lee.

Ah, Bruce Lee.
No. Push Lee.


NURSE

CHUEN


C.U. - CLIPBOARD

She writes on the section that says "Name" (of course):

"BRUCE LEE"


FADE OUT



16


BLACK SCREEN

SUPERIMPOSE TITLE: LITTLE DRAGON: THE LIFE OF BRUCE LEE

FADE WHITE TO and DISSOLVE:

C.U. - LIGHT PROP
A beat. Until.

A sound of a switch appears as the light shines on the lens of the
camera.

C.U. - CAMERA

The sounds of a projector are within the old fashion camera rolling.
We then hear the director's voice.

DIRECTOR (O.S.)

Okay...Action!


INT. STUDIO

1 - SUPER: FILMING OF GOLDEN GATE GIRL

2 - Music is fading in. This is however, of course, still the filming
of the Golden Gate Girl.

3-1 Actor and 1 Actress who is holding Bruce, who is the age of an
infant. With the music still playing, we don't hear what they're
saying neither their voices.

4 - The Director (KWAN MAN CHING) approaches to face Chuen and Grace
who is holding Bruce.


CHING

(Thank you for having him for use for the film.)

CHUEN

(Your welcome, Kwan.)

Kwan pulls out of his jacket pocket, a red envelope (now what this
will be explained that is when you get this on "Chinese New Year",
it's good luck, but what's inside the envelope is money inside), he
gives to Bruce, but Chuen refuses with a attempt with shaking his head
(No) .



17


CHING

(No?)

(beat)

(He must. It's good luck for him.
CHUEN

(Okay...Thanks.)

GRACE

(Thank you.)


Grace puts the red envelope in her purse.


CHING


(Oh, I hear you both are going
back to Hong Kong.)

CHUEN


(Yes.)


CHING


(You musn't, it's not safe there.
Stay here.)


GRACE


(We have to.

We have a family to raise there, including him.)


Ching smiles, nodding that he tried his best of having them staying
here in America.


CHING

(Alright.)

(beat)

(Oh, I have to go now.)

Grace and Chuen nod, as well as Ching.

He leaves.

CUT TO:

66 EST SHOT - EXT. HONG KONG - HARBOR - DAY 66
SUPER: HONG KONG


CUT TO:



18


EXT. STREETS - DAY
SHOTS:

1 - CAMERA P.O.V. - CAR DRIVING

2 - BACK OF CAR - WINDOW

3 - C.U. - SIDE OF CAR with a silhouette silver shiny cleanish of
itself.

CUT TO:

EXT. LEE RESIDENCE - DAY
The car is parked.

Chuen and Grace with Bruce emerge out of the car, as one of the
helpers (SALLY) approaches to Chuen.

SALLY

(Ah, Master Chuen.)


CUT TO:

INT. LEE RESIDENCE - ALTAR - DAY
M.S. SHOT

CAMERA PANNING UP a little bit slow.

We see an elderly woman in either her 60's or 70's. It's Chuen's
mother.

She is kowtowing to her ancestors at the altar slowly.

As she is doing that, The O.S. BACKGROUND NOISE appears.

She turns, senses it, and knows it.

CHUEN'S MOTHER

(Ah-Chuen?)

M.S. - CHUEN


(Ah-Ma.)


CHUEN



19

M.S. - CHUEN & HIS MOTHER

Both approach with hugging, and they pull back.

She smiles at him.


CHUEN'S MOTHER
(Glad, you're back, son.)

CHUEN

(Thank you.)

As she smiles, she turns her attention to something else.

CHUEN'S MOTHER
(Ah, it's the baby.)

She approaches to Grace, who is holding the baby. She is looking at
Bruce, then turns her attention to Grace and the family members.

CHUEN'S MOTHER

(Hey.

Let's name the baby "Sai-Fon" (Little Phoenix)
a girl's name to fool those damn spirits.)

The family nods as Chuen sense in a dreadful look on him, as he is
still kowtowing his ancestors and says.

CHUEN

(Sai-Fon.)


WIDE VIEW

Chuen turns and stares for a moment.

CUT TO:

EST SHOT - EXT. LEE RESIDENCE - NIGHT
A WORM'S EYE OF VIEW of the house.



20


INT. CHUEN & GRACE'S ROOM.

GRACE

She unlocks a safe, and puts money in the safe.
CHUEN

He is painting his own son, who is whimpering.


CHUEN


(Hey?)


(beat)

(Does he look like me or not?)


He holds up his son up and

Suddenly, A QUICK BRIGHT FLASH appears and dissolving showing us a
photo of Chuen holding his own son with his face painted.

FADE OUT


BLACK SCREEN

The door bell rings.

EXT. LEE RESIDENCE

A man in his 30's, FUNG-FUNG, he is wearing a fancy light grey suit,
he is waiting.

The door is answered by one of the helpers, ANITA.


ANITA

(Oh, Mr. Fung...)

FUNG


(Hello.)


ANITA


(Come in, come in.)

FUNG

(Thank you.)


Fung enters.

Anita closes the door.



21


INT. LEE RESIDENCE


ANITA

(Please. Sit down,

Master Chuen is not here but will be in for a moment.
He's at work.)

FUNG

(Okay, thanks.)

Anita exits (from the scene).

Fung is seated on a chair.

He sighs, and fumbles with his fingers.

CUT TO:


LATER

Still fumbling with his fingers
In O.S. - The door opens.

Fung turns to look.

It's Chuen, coming home from work.


CHUEN

(Oh...Fung.)

(I never you knew you would come here.)
FUNG


(Of course, I would.)

(But I need to talk to you for a moment.)
CHUEN

(Okay.)


Chuen is seated on a chair.

He pours tea on his cup and pours it on a another cup, and gives it to
Fung.


FUNG


(Thanks.)

CHUEN

(Your welcome.)

(Say. How it's going in the film industry, today?)

FUNG

(It's going fine, but now, I'm directing a new picture.)



22


CHUEN

(Really?)

FUNG

(Yes, and it's based on a comic book by
Po Wan Yuen, and Kea Tso has written a
wonderful script.)

CHUEN

(Ah, that's nice. What's the story?)
FUNG


(It's about a ten year old male child, who is
raised by his uncle, and groomed by a skilled
thief, and becomes involved in trouble around
a factory.)


Chuen, impressed with what Fung is saying.


CHUEN

(Hmmm...

Found any kids to play the ten year old?)
FUNG

(We did, but they were not good.

But I was figuring if your son "Phoenix"
could play the role.)

Chuen stares at Fung for a moment.


(My son?)
(Nah.)


CHUEN

(snorts)


Chuen turns his look away.


FUNG

(We'd love to have him in it.)


Chuen turns to Fung again.



23


CHUEN

(What's the title?)


CUT TO:

INT. FILM STUDIO - DAY

Fung talking to the script supervisor.

C.U. - FILM CAMERA
It starts filming.

FUNG (O.S.)

(Alright...) ACTION!

THE FILM BEGINS (SCENE RE-CREATION):

SUPER: 1950 - MY SON, AH CHUNG

A - Chuen as HUNG PAK HO, 49. He gives a speech in Cantonese.

B - Bruce as CHUNG, 10, approaches to his uncle. UNCLE HO is sleeping
and Chung calls him to wake him up. Ho is awaken and sees who it is.
It's his nephew, dressed like a gangster like Flash Knife Lee.

HO

(Oh, Ah-Chung.)

Ho is surprised, but looks at his nephew in a curious expression.
CAMERA PANS UP as it stops, focusing on CHUNG, having the meanest
look, until he rubs his nose a bit.

CAMERA M.S.

Ah-Chung sits on a small sized stool, and starts talking to Ho.

CHUNG

(Uncle. Long time, no see.

How are you?)

(beat)

(I came to visit you.)

HO

(Thanks. You seemed to have prospered.)



24


CHUNG

(Well, sort of. )

HO


(Look at you! . . . )

(beat)

(I can't stand the sight of you...)
You, you, sided with the bad guys!)
(beat)

(You've turned bad. You're a bad guy!)
CHUNG


(Huh!)
(Uncle,


(beat)

you look like a rich guy!)
HO


(Huh?...

Oh, yeah! Rich guy! Hmph!)

CHUNG


(Rich guys sneer upon poor guys.)


Chung in a sarcastic expression, says.


CHUNG

(Bad guy, Bad guy, Bad guy...)

Chung emerges from the stool and walks away as Ho looks at him.
MUSIC starts (Montage music from the late 40's).


CUT TO:


INT. FACTORY

Chung in the orphanage, as he approaches a MAN, wearing glasses,
mid-50's. Chung bumps his head on the Man's stomach and stomps his
foot and he exits a bit and looks at the Man, moaning.

Chung smiles and claps his hands and he then turns to run away.


CUT TO:



25


EXT. FACTORY - NIGHT

Chung in his gangster outfit, hiding from the Man, who is looking
around, and Chung sneaks quietly from him, but, abruptly, The Man
grabs Chung, who is now trying to escape from the man, but is
struggling. For a moment, he pushes himself away, and stomp the Man's
foot, and starts to grope the Man's stomach, who he moans and slaps
Chung who hits his head on a stack of wooden sealed boxes. Chung turns
to open his suit, grabbing a medium sized knife and threatens.

CHUNG

(I'll kill you!)

MAN

(freaked out)

(Oh!!)

The Man runs away as Chung runs a bit but stops, and for a moment
until he runs with the knife.

C.U. - FILM CAMERA
A beat.

The filming stops.

FUNG-FUNG


FUNG

(Ok...Cut!

That's a good take.

You're magnificent, Lee Siu Long!)

M.S. - CHUEN & GRACE

They smile as CAMERA ZOOMS in on them.

M.S. - BRUCE

He also smiles, CAMERA ZOOMS IN and as we do that.

DISSOLVE TO:
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:16 pm #3

EXT. SUN - DAY.

SUPER: 1956

CAMERA PANS DOWN to see the busy streets in Hong Kong.



26


EXT. HONG KONG - STREETS #1 - DAY

BRUCE LEE (Lei Siu Long), 16, is moving swiftly through the crowds on
the sidewalk. He shows a certain joy and confidence as he threads
himself between PEOPLE, demonstrating a great agility.

INT. CAFE #1 - DAY

Bruce enters the big sized restaurant and quickly sees the GROUP OF
YOUNG PEOPLE, he is there to meet. He starts forward to join them,
passing by a table where SEVERAL TOUGH LOOKING BOYS watch him walk
away. ONE BOY taps his teacup with one figure as if alerting the
others. ANOTHER BOY nods almost imperceptibly.

ANOTHER TABLE IN RESTAURANT

Bruce joins the group and kisses a lovely beautiful girl named
MARGARET SING (around the same age as Bruce), as he slides, being
seated on a chair. There are three boys with the girl and one of them,
JIMMY, turns a cup upright and begins to pour for Bruce.

JIMMY

(We have to keep your energy up.

Use plenty of sugar.)

BRUCE

(I'll drink it, but I don't need it.)

Bruce turns to face Margaret.

BRUCE

(How about you?)

MARGARET

(Not me, I'm ready to go, now.

I just wish it was eight o'clock.)

Bruce turns his attention away from her, smiling, and then his gaze
catches the sight of something across the room and his grin fades.



27


REVERSE ANGLE

The ROUGH YOUNG MAN #1, that we had seen a few moments earlier is
front of him, but when he is in front of him, but when he is seen
again, he is still staring.

BACK TO BRUCE

His eyes show a terrible concentration, unmoving and not even
blinking.


JIMMY

(You know him, Bruce?)

Bruce's gaze doesn't drift a bit and when he answers, his lips hardly
move.


(No. )


BRUCE


JIMMY

(Well, I think we're just about
to know him.)

BRUCE

(Unicorn!)


One of the boys, UNICORN CHAN, he looks at Bruce with a stare.

BRUCE

(You get Margaret out of here, now.)

UNICORN
(to Margaret)

(Alright, let's go.)


She nods.

They emerge from their seats and start to leave at the door.

CLOSE ON THUG

The young man's stoic expression slowly shows a small dirty grin, the
corners of his mouth turning to demonstrate a certain sarcasm.

BACK TO BRUCE

The affront infuriates him and he catapults out of his chair and
rushes.



28


ANGLE - FAVORING BRUCE

He is plunging headlong bumping into WAITERS, dropping trays as he
goes berserk in appearance. He closes with his challenger and little
finesse is shown by either of them for the fight is more of a brawl,
smashing glass, one of the Boys are thrown out crashing through the
window of the building, hitting themselves on the ground.

INT. KITCHEN

The battle spills into the kitchen as the Other Boys join in to
devastate the restaurant. Several ENGLISH POLICEMEN who hold medium
sized black wielding sticks, come to put a stop to this mess.

CUT TO:

INT. POLICE STATION - DAY

A long wooden bench set against one plastered wall holds all of the
boys, who took in the fight. They stare sullenly, unyieldingly.

CAMERA PANS to the opposite side of the room to find a matching bench
holding all of the PARENTS OF THE BOYS, all of them staring hard and a
very threatening expression across their offspring.

A CHINESE POLICE OFFICER (WONG) carrying a stack of folders, walks
between the opposing forces and goes through the door at the far end.

INT. INSPECTOR'S OFFICE

A starched, BRITISH INSPECTOR (HENRY CHARLES), mid-40's, is staring at
Bruce across from the desk, glancing periodically to Bruce's mother,
who sits beside her son.

Wong moves to the Inspector's desk and begins fingering through the
folders. Henry has not paused in his speech.

HENRY

...and the damages were considerable
when it is completely assessed, we'll
divide the total replacement value by
the number of boys, who have participated
and their parents will have to pay the amount
to the owner.


Wong has found the folder that he has been looking for.



29


Sir?

Henry turns.


WONG


WONG

Here it is, sir.

HENRY

Thanks, Wong.

Henry gets the folder from Wong's hands and he opens it.

He scans the report as Grace glances to her son nervously, as for
Bruce. Well, he holds his gaze pretty solidly on Henry.

HENRY
(nods)

I thought your name was known to us.

(beat)

Bruce Lee.

(nods again, then)

You've been in a number of scrapes that require
interference from the Police Department. Though
minor until today.

(turns to Grace)

But a pattern is being established.

We see it very often.

(turns to Bruce)

Surely, Bruce, you must have interests that will
help occupy your time.


A beat.


BRUCE

I'm a cha-cha dancer, Mr. Charles.
HENRY


Ah!

How good of a


(surprised)

(beat)

dancer are you,
BRUCE


Mr. Lee?


Very talented



30


HENRY

Ah...Yes.

I hear there is a championship is coming up.
BRUCE

Yes, at the British Dance Pavilion.

HENRY

You'll be a contestant?

BRUCE


Yes .


HENRY

See !

Now, there's something you can get away from a
mess like this.


Bruce staring at Henry for a moment.

BRUCE

I might... I might. . .

Henry still smiles, though, Bruce's assurance is giving him a pause
and then.


HENRY

Well...

Self-confidence is the way to success, Bruce.
Grace, Henry, and Bruce emerge out of their seats.


Good luck.

I will...


HENRY

BRUCE


Bruce follows his mother out of the office.


CUT TO:



31


EST SHOT - EXT. LEE RESIDENCE - DAY
An aerial view (CAMERA PANNING) of the home.

A voice appears.

MARGARET (O.S.)

(Ok, Bruce, ready?)

BRUCE (O.S.)

(Ready!)

A push of a button on the radio appears as we start to hear music from
the 1950's.

INT. LEE RESIDENCE

1 - START of Bruce and Margaret practicing.

2 - END MONTAGE (including with music with INTERCUT this shot to end
the music transitioning to the next shot.

EST SHOT - EXT. COFFEE SHOP - DAY

M.S. SHOT of the building, a little bit of worm's eye of view, as we
see people walk in the sidewalk, cars drive by, and bicycles move by
also.

INT. COFFEE SHOP - DAY

The music playing in the background is "MR. SANDMAN" by The
Chordettes.

Inside the shop, its a bit crowded, not that bad here. People serving
coffee or drinks.

Bruce, Margaret, and his sisters Phoebe and Agnes have drinks, while
Bruce's younger brother, Robert, drinks a root beer float, as he
drinks it, he suddenly burps.

ROBERT

(Excuse me.)

Margaret stops drinking and faces Bruce by asking.

MARGARET

(So, Bruce?)


Bruce faces her.



32


MARGARET

(So, who are you going to choose
to dance for you in the Championships.)

Bruce still looking at her for a moment, and he emerges from his seat
and starts to do a bit of a cha-cha movement with a spin, as his
finger points at Robert, who is confused.


(Wait?)
(Me?...)


ROBERT

(beat)


Bruce nods.

Suddenly from an awkward beat, the 3 girls start to cheer, as well as
some people also, and the waiter smiles.

DISSOLVE TO:

EST SHOT - EXT. DANCE PAVILION - NIGHT

There are most people are loitering about the steps leading to the
building.

INT. DANCE PAVILION - NIGHT

The place is crammed with crowds of people. The spotlights move all
down showing us six young people, one of them is Bruce and his brother
Robert.

They are in the middle section.

Suddenly but abrupt.

NOW!

The music starts with the young people start to dance.

The band on a signal from one of the judges who are seated within
front of them is a long platform of a table, suddenly switches to a
raucous number with an even faster tempo and one of the judges at the
contestants with a microphone.

JUDGE #1

(Improvise! Show what you can do!

Improvise.)



33


The dancers are being driven faster and a frenzy shows itself in the
crowd as well as the dancers. Now, Bruce and Robert remain, they put
on an incredible performance. Their agility and inventiveness is a
remarkable moments to watch; the band slams to a close and Robert
falls in Bruce's arms, completely spent. The crowd/audience brings a
roaring cheering. He steadies Robert down slowly, until the judges
wave for Bruce to come up, Robert stands, as Bruce approaches to one
of the judges. One of the judges hands Bruce, a high two-foot gold
trophy, and a beat of a moment until he holds the trophy up.

We FREEZE FRAME on him until.

DISSOLVE TO:

EXT. DANCE PAVILION - NIGHT

It is a warm mist falling and the streets glisten under the car lights
are turned on. Cars drive away.

CAMERA ANGLE - BRUCE

PULLING BACK as Bruce, walking.

We PAN UP to him, still smiling, holding the trophy as he is
accompanied by not only his brother, but his 2 friends, Jimmy and
Margaret.

As they are walking, a young handsome male (WEI CHUNG), early 20's,
stands, who is smoking a cigarette and hails it out and looks around,
until, he sees the group passing by walking to the car, he takes a sip
of his cigarette and then throws it on the ground.

WEI

(The big champion winner.)

The group stops and turns to look, facing Wei, who starts to walk to
them. He looks to Bruce.


WEI


(Are you Lei Siu Long?)

BRUCE

(beat, until)
(he nods)


(Yeah.)



34


WEI


(Would you be interested in a fight
challenge?)

BRUCE


(Why?)


WEI


(Just saying as someone in the crowd
called you, "a wasted shit to dance".)


The group except Bruce start to gasp.
A beat. Until. Bruce asks.


BRUCE

(Where is he?)


CUT TO:


EXT. HILLS ABOVE HONG KONG

A line of a dozen or more automobiles is making its way up the hairpin
turns in the growing, then past the last of the houses and into the
overgrown, grass covered hills. Bruce pulls off the road and onto a
wide, flat, topped hill. He parks the car at the perimeter, facing in
towards the center and leaves the car running its engine and the
lights are still on. The OTHERS take a similar position until a large
circle is formed. BRUCE honks the horn twice and for a moment...

Bruce and Wei emerge out of the car. Both of them walk from the
adjoining cars. Some carrying short clubs and chains, they take
position that gives him a fine view, a person in black steel jacket
steps out of the front of his car, showing himself.


WEI

(That's him.)

BRUCE

(Who's the shrink?)

WEI

(Danny Cheng.)


Cheng is followed by several people in his group.
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:18 pm #4

35


THE FIGHT BEGINS

They begin gauge at each other across the expanse of the soaked grass
and then they start forward, along with Cheng's gang is about to beat
the shit out of Wei, but he stops one of the gangs (MEMBER #1) with a
roundhouse kick and grabs his arm and breaks it with a chop with snap
of the bone, causing him to scream. Wei throws him on the ground.
MEMBER #2 runs and does a jump kick to Wei's face, causing Wei to fall
on the ground, Wei gets back on his stance, and MEMBER #2 starts to
run with an approach to Wei, who's already prepared, he grabs the
Member's face by his chin, SNAPPING A BONE FROM LEFT TO RIGHT TO DOWN,
causing him not to speak, not even a bit. Wei, then, smacks with a
punch to the Member's face, spitting a vast of blood out of his mouth.
A WIDE SHOT of Member #2 being sent to the ground and a another 2
members of the gang run up to Wei, and He stops them by grabbing them
and smacking both of their heads together, and causing them to fall on
the ground.

BRUCE AND CHENG

Bruce momentarily losing contact with Cheng. Bruce eliminates one of
the members with a kick to his knee and roundhouse kick to his face
sending the member flying away and a thud to the ground. Cheng, with
more great agility and more style than Bruce, back-kicks him in the
chest and spins to take out another with a foot that nearly almost
severing his head off. The grass is being torn under foot and the
going is getting more slippery and muddy. At times, the fighters with
binding spears of light, poking out past moving and falling bodies.
More casualties can be seen, crawling away and clutching aggrieved
parts of their anatomies. What Bruce lacks is finesse, he overcomes
with speed and agility. The ranks of both sides are thinning rapidly
and suddenly, Bruce and Cheng confronting one another. Bruce attacks
as his nature, only sent sprawling headlong in the mud. There is a
certain surprise to Bruce's expression, but he is on his feet again,
showing more caution. Though, their battle moves from one side of the
circle to the other. Bruce's quickness saves him after, but Cheng
finally is able to catch Bruce in the stomach with a smack from his
foot, then another foot to the face to drop him face down in the mud.
Lightning strikes in the background. Bruce isn't stirring as Cheng
stands in front of Bruce, looking at him with a grin, with it being
dark, a finger taps behind Cheng.



36


Cheng turns his expression on a very cautious and very curious mood in
himself turns around and stops. His eyes widen and he starts to gasp.

CHENG'S P.O.V.

It's Wei, expressionless.

Who grabs Cheng with a strict expression.

M.S. - CHENG

He is afraid with looking at Wei, until, he looks another way and
transitions his look to a grin, looking away from Wei.

CHENG'S P.O.V.

Wei, still expressionless, but in the background is a Member of the
gang holds a club, a very neat sharp one, he walks slowly in a quiet
position. Wei sighs knowing what's he going to expect. As he is still
grabbing Cheng, he throws Cheng away on the ground as the Member with
the club is about to slam it on Wei, but Wei kicks the back of the
Member's knee who kneels down, and grunts in pain, as Wei grabs the
club and slams it on the member's knee, who screams in pain of agony.

M.S. - CHENG

Horrified as we hear the Member still screaming, but a sound of a
smack appears, as we also hear a thud in seconds.

Cheng looks up.

M.S. - WEI
Walks to Cheng.

M.S. - CHENG


CHENG

(You... are sick. You sick bastard!...)


M.S. - WEI


WEI

(cold)


(You want more.)



M.S. - CHENG
Still horrified.


37


WEI (O.S.)

(GET OUT! NOW!. . . )

Cheng gets up and gets back quickly to his car.

Starting the engine and drives away.

BRUCE AND WEI

Bruce struggles to get up, but Wei helps him up.

WIDE VIEW

Cheng's gang on the ground of the grass, sounds in pain.
Bruce and Wei walk.


BRUCE

(So, who taught you this?)

WEI


(My teacher, Master Yip Man.
Why you ask?)

BRUCE

(Just wondering.)

WEI

(Why?

You want to learn from him?)

BRUCE


(Yeah.)


WEI


(Well, buddy.

You're just about to be my friend.
When you're in there and learn.)


CUT TO:



38


BEGIN MONTAGE:

EXT. CROWDED STREET #2 - DAY

Bruce running easily along the crowded street.

EXT. CROWDED CITY STREET #3 - DAY
Bruce running.

EXT. CONSTRUCTION SITE - STREET #4 - DAY
Bruce runs past the construction site.

EXT. CONSTRUCTION SITE - STREET #5 - DAY
Bruce runs past an another construction site.

EXT. STREET #6 - DAY

Bruce runs by St. John's school.

EXT. RESIDENT STREET #7 - DAY
Bruce runs a bit slower.

EXT. WATERLOO ROAD - DAY

Bruce has finally got himself to slow down, although its a exercise
treatment for him. He wipes the sweat from his eyes and moves out to
the curb to look down to the corner where a street sign shows.


END MONTAGE



39


INT. MASTER'S OFFICE - DAY
M.S. SHOT

We see a OLD MAN, 65, a wise aged person, but we only see the back of
his head, we don't see his face, he's nearly but almost a bit bald.

He is seated on a chair, facing Bruce.

OLD MAN

(Waterloo Road. I did not
believe you would get as
far as Castlerock. You can
begin today.)

Bruce hesitates and the Man gauges him, surprised that he isn't quick
to take the opportunity.


OLD MAN

(Nothing is ever started tomorrow.

But never wait for the light of day.)

(beat)

(That is not at hand.)

BRUCE

(I have to go home, now.)

OLD MAN
(beat) (nods)

(Very well.)

Bruce turns to leave as the CAMERA CIRCLES AROUND, REVEALING the Old
Man as YIP MAN, himself. He reacts in disappointment, quietly.

EST SHOT - EXT. LEE RESIDENCE - DAY
WIDE VIEW of the building.

INT. LEE RESIDENCE - DAY

Bruce, who is sitting on a stool, facing his father, is sitting where
he is reading a newspaper and his mother is quietly sewing.

CHUEN

(You've been thrown out of three
schools in two years.)

He then slaps the newspaper on his lap, looking strict.



40


CHUEN

(A ANOTHER SCHOOL?!)

GRACE

(It isn't as if he has been thrown
out again. He wants to go to this one.)

Chuen looks at his wife for a moment and then turns to Bruce.


BRUCE


(Well, I need to know how to defend
myself.)

CHUEN


(Hmmm...)


(beat)

(Has your conduct been anything else?)
GRACE


(Maybe...

He could use the discipline.)


The group is silent for a bit while Chuen, with great flourish, shakes
out of his newspaper and tries to concentrate on it.

He glances to his son, then turns on a page to disappear on it.


CHUEN

(How much will it cost?)


M.S. - BRUCE AND GRACE

A small smile appears from both of them.



41


INT. YIP MAN'S SCHOOL - DAY

A large room hold a couple of dozen YOUNG STUDENTS, all bare to the
waist and sitting cross-legged on the floor with cups of tea on the
floor before them. They are holding pamphlets in their hands and
reading the words that are spoken to them in Chinese by Yip Man, who
sits facing in front of them.

CLOSE ON YIP MAN

He stops and looks over his class, then lats something in Cantonese
that causes them to slowly lower the pamphlets and take their cups of
tea and drink silently.

CLOSE ON BRUCE

He drinks it silently from the cup and he peers out over the rim, then
sidelong to Wei, who is sitting beside him.

BRUCE

(whispers)

(When does he start the lesson?)

Wei glances out to see Yip isn't looking at their way.

WEI

(whispers)

(Soon.)

INT. EXERCISE ROOM - DAY
CLOSE ON BRUCE

Bruce attempts to take a swing at someone from our view, but is
instantly kicked in the face and knocked against the wall.

Wei approaches to Bruce and helps him up.



41A


REVERSE ANGLE

The entire class has been watching, as well as Yip, who is approaching
facing Bruce.


YIP MAN

(Like most of my students, Bruce.)

(beat)

(You have learned only fighting in the streets.
But you will be fine, but that will be
many sufferable bruises from now.)

He draws a smile at Bruce.



42


START MONTAGE:

INT. YIP MAN'S EXERCISE ROOM - DAY

He shows Bruce learning to use his physical gifts, we see him,
progress from someone who has squandered his strength to a fighter of
a definitive moves and growing artistry.

INT. YIP MAN'S OFFICE - DAY

Bruce is reading many books that Yip has in his school and Bruce has
absorbed in all of it.

INT. YIP MAN'S OFFICE - LATER - DAY

Short scenes consisting showing a master with a perfect pupil,
polishing and repolishing moves and countermoves working Yip Man's
intricate style into the grace of all ballet. Then there are moments
when they are simply talking quietly.

END MONTAGE



43


INT. YIP MAN'S SCHOOL - DAY
CLOSE ON WEI

He passes by several fellow Students and crosses where Yip is
standing. He bows, then hands a small bouquet of flowers to Yip.

There is a kind of amused patience about Yip.

YIP MAN
(nods)

(Thank you, Wei.)

Wei nods and steps back and takes the flowers to a table where there
are a number of other bouquets.

An OLD WOMAN at the table is getting all of the flowers into the
vases.

Yip takes a step back before the class and his gaze stops for a moment
on one of his pupils, a certain tolerance and even admiration showing
itself.

YIP MAN'S P.O.V.

Bruce is staring at Yip, his expression is one, a virtue and more
innocent.

BACK TO YIP

He nods to Bruce, almost imperceptibly, then he scans his seated
pupi1s.


YIP MAN

(Today.

Instead of flexing our bodies.

We shall refresh our minds with the orderliness
and wisdom of Taoism.)


DISSOLVE TO:



44


EXT. SKY - AFTERNOON
WIDE VIEW

As YIP continues in V.O., our view dissolves to a view of the sky.


YIP MAN (V.O.)

(The natural world is a mass of drifting
forces, though they are working together
Complementary to one another.

Ebb and Flow, one force moves and another
recedes. Do not set yourself against a natural
flow. Do not take a position to a force that is
moving against you.

EXT. ABERDEEN HARBOR - CANOE - AFTERNOON
M.S. - BRUCE

He is laying on a medium sized canoe. Huge ocean going through junk
rumble by, rocking him in their wake. He is staring upward, pensive
and thoughtful, unconcerned with the immense activity around him.

YIP MAN (V.O.)

(Water is an example of this.

It can be irresistible force, crushing everything...

Yet, if one deals with obliquely, giving it little
to resist, it is quite soft and pliable. But attacking
it straight ahead it, becomes tough and yielding.)

Bruce puts his hand on the ocean water at an angle and hardly shows a
ripple itself, then with a flat of his hand, he slams it against the
surface of a dull impact and a sudden resistance. He leans back to
stare up at the sky.

A half smile shows itself, then we hear the ship's horn sets off close
by gets him up and moving.


DISSOLVE TO:



45


EXT. HONG KONG - STREETS - AFTERNOON

Bruce walking on the sidewalk as we still hear Yip's voice.

YIP MAN (V.O.)

(A man is different that is the water.

It is his nature to resist more fully that
which confronts him head on. One must deal with
a man as he would deal with a man as he would
deal with the force of water indirectly.)


CUT TO:

EST SHOT - EXT. LEE RESIDENCE - NIGHT
M.S. CRANE VIEW of the building.

CAMERA ZOOMS in on the window of a certain room.

DISSOLVE TO:

INT. LEE RESIDENCE - BRUCE'S ROOM

Bruce, shirtless, only has his underwear on.

He is lying on a hammock that is tied against the wall on both sides
inside his room and he stares up the ceiling.

He, then, slips off the side of the hammock and slips on a pair of
pants and a shirt to wear and makes his way out of his room to the
kitchen.

INT. KITCHEN

Bruce enters and finds his mother sitting at the table, sipping a cup
of tea.

She is surprised to see him.

GRACE

(You could not sleep?)

He shakes his head (No.).

He sits on a chair.


BRUCE

(Why are you up?)



46


GRACE

(beat) (sighs)

(I'm waiting for your father to get
home from the theater.)

Bruce nods and stares glumly into his cup.

INT. BRUCE'S ROOM

He sits on the edge of his hammock for a moment and then gets up and
starts to exit.

EXT. HONG KONG - STREETS - NIGHT
Bruce, jogging a deserted avenue.

EXT. NARROW SIDE STREET - NIGHT

Bruce turns into the street and arrives at.

EXT. TEMPLE STREET - NIGHT

This is an area that is barricaded at night allowing people to set up
tables and tent-like structures for the sale of their wares, along
with instant restaurants. Mahjong parlors line the street and DOZEN OF
FORTUNE TELLERS squat beside their weird trappings, all of it,
seen in the dim light of alcohol lamps. Bruce slows his pace and winds
his way through the MOB. WRINKLED FACES look up to him, nodding
invitations to stop and learn of what fate they may discover for him.
Bruce finds himself staring at an OLD MAN (SHEK), in his early 80's,
long grayed bearded. His right eye is represented with no pupil (as it
resembles Keye Luke as Master Po from Kung-Fu). Shek is seated on a
medium sized chair. He gives Bruce, the most creepiest smile that a
oriental could do. Bruce steps over to face him, as Shek gestures to a
chair.

Bruce sits, as he sets a few coins on the table. Shek starts to speak
to him.


SHEK

(You... are anxious about yourself?)
Bruce slowly nods.


SHEK

(You are too young to worry.)



SHEK (CONT'D)

(One is very young should be
more confident.)

BRUCE

(I... like to hear what you know.)
SHEK

(Everything?)

Bruce nods, one more time.


SHEK


(Alright.)

(beat)

(You are ambitious...

That is bad. )

(looks at him)
(People want too much.)


He looks at Bruce's hands, frowning.


SHEK

(It is not an easy hand like this to read.

It is empty.)

He drops Bruce's hand on the table.

Shek takes a handful of narrow paper packets. He spreads them out on
the table, he opens the door to the bird cage, a Bird hops out and
selects one of the packets, clutching it in it's beak and holding it
for its owner. He takes it from the bird, and the bird hops back into
its cage, Shek closes the door, and locks it. He goes back to where he
was. He pulls a paper out of the packet and unfolds it. He adjusts his
glasses to study the message. Shek nods as Bruce grows more
apprehensive.


SHEK

(Pain. . .

Much of it.)


He pauses with a stare to him and then looks back down at the paper.



48


SHEK

(Many... of your friends... will live longer
than you.)

Bruce stares more concerned and afraid in a expression.

BRUCE

(How much will I live?)

SHEK

(Not long.)


CUT TO:
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:21 pm #5

EXT. APARTMENT BUILDING - ROOFTOP - DAY
SUPER: 1959

Bruce, shirtless, stripped to the waist is doing pushups off of a mat.
In O.S. - The door is opened by a Person, and is closed as Bruce is
still doing his push-ups.

M.S. SHOT

The Person walking is Margaret.

What she's wearing is sunglasses and a bikini.

MARGARET

(Hi, Bruce.)

BRUCE

(not looking)

(Hi, Margaret. )

(beat)

(What's up.)

She smirks.

MARGARET

(You tell me.)

BRUCE

(What?... Just exercising.)

MARGARET
(soft)


(Ok.)



49


He then slows down as he is doing push-ups, and then transitions
himself with a flipback jump.

CUT TO:


LATER - BRUCE AND MARGARET
They relax on 2 chair cots.

A table in the middle between them.

They grab each of their cups filled with coffee and drinks it at the
same time and puts it back on the table. Margaret turns to Bruce.

MARGARET

(So...How are you?)

BRUCE

(Fine. Nothing much.

Just learning Taoism.)

MARGARET

(nods)

(Hmmm...)


She turns to look at the sky.
Bruce turns to Margaret.


BRUCE

(Uh, Margaret...?)

MARGARET

(Yes, Bruce?)


BRUCE

(You wanna go somewhere?)

MARGARET

(Nah. But, thanks for the offer.)
BRUCE

(Alright. Gotta go now.)

MARGARET


(Where?)


(Meeting Dad.)


BRUCE



4 9A


Bruce emerges from his seat and starts to leave.


(Ok. Bye.)


(Bye.)


MARGARET

BRUCE


She transitions to sitting on the cot and breathing one time and
sighing slowly, showing by expressing her mood that there's a
possibility that she has a loving affection for Bruce.



NIGHT


50


EST SHOT - EXT. CHINESE OPERA AUDITORIUM -
A beautiful clear view of the building.


INT. CHINESE OPERA AUDITORIUM - NIGHT
CLOSE ON BRUCE

He is standing backstage and looking out to a performance at progress.
He's smiling and we can hear the raucous cheer from the audience out
front.


M.S. SHOT

His father, Chuen, is playing a buffoon in a comic skit with a COUPLE
OF OTHER PLAYERS. A fake paper butterfly is being dangled over and
around the players and only Chuen is confused as to its precise
location. The other players are making sport of his bumbling. Chuen
turns and twists but the butterfly lands on his nose and sticks there
as THE CROWD starts to laugh, he then looks in the pockets of his coat
and up in his trouser legs, but cannot find it. Finally the players
dismiss him and go on with the skit as Chuen walks off-stage, shaking
his head, still unaware of the butterfly's proximity, while the crowd
cheers. Chuen then smiles as he sees his son.


CHUEN

(Bruce.

I didn't know you were here.

Come.)

He wraps his arms around Bruce, leading him towards a small dressing
room across the backstage area.



51


INT. DRESSING ROOM


CHUEN

(I haven't seen much of you.

What have you been learning?)

He closes the door and starts to get out his baggy jacket.

BRUCE

(Studying the philosophy of Taoism.)

Chuen looks over to Bruce, very surprised.

CHUEN

(So there is more to this school
than fighting?)

BRUCE

(There is Martial Arts also.)

Chuen bends in towards a small flavor to remove the paper butterfly
from the nose.


(Wait.)


BRUCE


Chuen stares at Bruce.


BRUCE

(I'll take care of it.)

CHUEN

(Wait, What?)

Bruce takes a step back and then gets into his stance and then...

He starts to whip out with a foot sweep that crosses his father's face
at an incredible speed removing the paper butterfly.

A long beat until Chuen blinks once then gingerly touches at the end
of his nose.



52


CHUEN

(All I felt was a little wind, but fast.)

Bruce grins proudly and bends to pick up the butterfly, handing it to
his father.


CHUEN

(You are very quick!)

BRUCE

(And accurate.)


Chuen sits, facing the mirror to remove his make-up.


CHUEN

(Indeed.)

(glances to Bruce in the mirror)
(What can you do with that?)

BRUCE

(The kicking?)

CHUEN

(Yeah. )

BRUCE

(shrugs)

(Defend myself.)

CHUEN

(Is there a great need for that?)

BRUCE

(Sometimes. )

CHUEN


(When you leave school.

How are you going to support yourself
with this kind of skill?...

How much are you going to defend yourself?
Will you get a job defending yourself?)
BRUCE


(You don't believe it has value!)
CHUEN


(Look, Bruce.)

(beat)

(I'm trying to understand what
you do with this.)



53


BRUCE

(Maybe...I could become a teacher.)

Chuen nods, not convinced with this thought.
Then he says.


CHUEN

(Say.

Have you seen your mother lately?)
BRUCE

(Just last night yesterday.)

CHUEN

(I see.)

He turns to the mirror.


CHUEN

(Do not neglect us.)

CLOSE ON BRUCE

We can see his love for his father, and.

CHUEN

(The family loves you, Bruce.

Me and your mother love you too.)


A beat.


DISSOLVE TO:



54


EXT. YIP MAN'S SCHOOL - COURTYARD - DAY

Looking across the courtyard, a DOZEN BOYS can be seen at the gate
handing Wei, a rolled scroll.

They back away and leave as the boys start slowly back to the school,
unrolling the scroll to read it.

EXT. SCHOOL WINDOWS - DAY

SEVERAL STUDENTS including Bruce stare down from the windows,

one of the Boys gestures down into the courtyard, speaking to Bruce.

They quickly disappear from view.

BACK TO COURTYARD

Wei is starting up the steps, still reading the scroll, as Bruce and
the Students block his way.


WEI

(It's a challenge from the
Lin Po School.)

The students start to chatter in muttering while Bruce goes in a
curious expression.

CUT TO:

INT. LEE RESIDENCE - ENTRANCE - DAY

The doorbell rings, Grace answers the door.

It's Margaret.


GRACE

(Oh, Margaret.)

MARGARET

(Hi, Mrs. Ho.

Is Bruce at home?)

GRACE

(No, I'm sorry, he's at the school.)
MARGARET

(Oh..., shoot.)

GRACE

(But you can come in.)



55


(Thanks.)


MARGARET


CUT TO:

INT. KITCHEN

Both Grace and Margaret have a cup of tea, separately as Grace pours
on one of each cup.


MARGARET


(Thank you.)

GRACE

(Your welcome.)


(beat, then asks)

(So, Margaret,

how is it been lately for you?)


(It's been fine
(Same.)


MARGARET

You?)

GRACE


Margaret has a downer expression on herself, as Grace is very curious.

GRACE

(What's with the long face?

You know it's not like it's the
end of the world.)

MARGARET

(I don't know how to say this. But.)

Grace picks up her tea cup to drink it slowly as Margaret says this.

MARGARET

(I think i'm in love with your son.)



56


GRACE

Stunned and very silent, drops the tea cup, shattering it on the floor
into pieces.

MARGARET

Emerging from her seat, about to clean up the mess,

but is stopped by Grace who holds her hand and Margaret looks at it
and looks at Grace who is smiling at her.


GRACE

(I think...it's wonderful.)

MARGARET


(Do you think so?)

GRACE


(Yes.)


MARGARET
(beat)

(Oh, shoot. I'm sorry for the mess.)
GRACE


(It's alright.)
(Ah...Liu?)


(turns to call for a helper)
LIU (O.S.)


(Yes, Mrs. Ho?)


GRACE


(I was wondering if you can please clean
up this mess?)

LIU (O.S.)


(Yes, Mrs. Ho.)


Both are seated while Liu comes and cleans up the mess.


GRACE

(Thank you, Liu.)



57


As Liu is gathering up the mess and she rises up and walks to put the
shattered pieces into the trash. She leaves as we are left with

GRACE AND MARGARET


MARGARET

(I want to ask this.)

GRACE

(Go ahead.)


MARGARET

(So, what is it with Bruce's obsessions with
Martial Arts?)


GRACE


(To tell you the truth, Margaret.

I don't know, I really don't know.)


CUT TO:


EXT. BUILDING - ROOFTOP - DAY

The 2 separate groups from Yip Man's school and Lin Po School.

They fan our across the width of the roof and one of the challengers
is the same.

Man, when it comes to it. It is in-fact "Danny Cheng", again.

CHENG

(So it's you two again.)

Bruce and Wei don't speak a word, but only stare at Cheng.


CHENG


(Hmmph.)


(beat, nodding)

(When you two and your group on this side.
It will be us, winning and you'll be the
sore losing bastards)


The two look at each other for a moment and then stare at Cheng.


The 2 groups get into their stance. A beat. Until.
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:23 pm #6

58


THE FIGHT BEGINS

The two groups converge and the fight is one of the classic Oriental
styles with rapid acrobatics and added threat of going over a wall to
street below.

BRUCE & CHENG

They start with a roundhouse kick at the same time and Bruce uses a
fist jab against Cheng in the face and in the stomach, who backs away
from the powerful fighting from Bruce and he looks at Bruce for a
moment until he runs with a approach to spit a vast of blood at Bruce
but Cheng is stopped by Bruce, who uses his hand on Cheng's chin to
snap a bone from the left to right and down causing Cheng not to
speak, and pushes him with full force and Bruce runs by approaching to
Cheng with a jump kick to the face sending him, flying on the hard
concrete ground making him to pass out very fast.

WEI

For him, it's not easy when he deals with 4 members of Cheng's new
gang, they circle around him for a moment a little far away from Wei.

MEMBER #1

(Alright...GO!)

2 Members approach to Wei by running about to fight him, but Wei
slashes with his foot on 2 members's legs, sending them up and Wei
kicks their chest each at a time, sending them on the ground. Another
Member and Member #1 run towards with an attempt trying to injure Wei,
but they are grabbed by him and Wei grabbing them and hits both of
their heads each other and throwing them on the ground, also.

BRUCE

Two Members with clubs running with approach to Bruce and he back
aways to a window to an empty office building. He avoids the hitting
of the clubs to the windows, shattering it, and Bruce uses his fists
against the 2 Members with an approaching scream, sending the two
Members on the ground.



59


Another Member approaches with a jump kick to Bruce's head, causing
him to fall, the Member grabs a flash knife and is about to kill Lee,
but a foot kicks quickly injuring the Member's face, causing him to
fall on the ground with a THUD. Wei helps Bruce up and the other
students gather up and approach to Bruce and Wei, they look at the
injured members and for a moment until they hear muttering sounds
appear, it is a another group from the runs up to the stairs, they
stare very cold and they have weapons with them.

Bruce and Wei stare at each other sighing like.


BRUCE & WEI

(Shit!)

WEI

(Guys, you wanna go in that empty office in
the back and stay there as possible.)
STUDENT #1

(You sure, Wei?)

WEI


(Yeah.)


The students go to the empty office, while Bruce and Wei get into
their stance and then the Group starts to roar with rage, starting to
run as well as Bruce and Wei.


As they run in all together, Bruce uses his kick on three members by
kicking two in the stomach, and the other with a roundhouse kick on
the other member, Wei slashes two members legs with his foot and the
Members fly up a bit, Wei kicks them, sending them to the ground.

M.S. SHOT

On the doorway, YIP MAN and his STUDENT, LING, they run up to the
rooftop and they stare in shock and they are very quiet of seeing
Students from the Lin Po School reacting in pain, then they glance up
to Bruce and Wei attacking the members.

Yip waves his arms trying to stop the fight.

YIP MAN

Bruce, Wei, STOP!



60


He tries to intercede, but no one hears or wants to hear.

Suddenly the sound of police whistles is heard and SEVERAL POLICEMEN
run onto the roof and the fight slowly comes to a stop as a ENGLISH
POLICEMAN grabs his gun from his holster and points it up in the air.

"BANG, BANG"

Everybody stops.


ENGLISH POLICEMAN

Alright, everyone, downstairs. NOW!

He puts his gun back in his holster.

STUDENTS

They open the door, and walk as well as the Lin Po students, Bruce and
Wei .

YIP MAN, LING, ENGLISH POLICEMAN
The Policeman approaches to Yip.

ENGLISH POLICEMAN

Let's go, sir.

A moment for Yip as he reacts in disappointment.

He nods.


YIP MAN


Alright.


(in fluent english)
(in Cantonese)


(Let's go. Ling.)

The Policeman, Yip, and Ling go downstairs.


CUT TO:


LATER - INT. KITCHEN

Grace and Margaret are chatting, smiling expressions on their faces.
A beat. Until.

"DING-DONG". The doorbell rings.



61


INT. ENTRANCE - DOOR

CAMERA ZOOMS in on the DOOR KNOB.

INT. KITCHEN

They turn with a quiet expression for a moment, their smile fades. The
doorbell rings again.


CHUEN (O.S.)

(I'll get it. )

INT. ENTRANCE

Chuen walks to the door and answers it.

It is a English Policeman, CHARLES ROBINSON, early 50's.


ROBINSON

Lee Hoi Chuen?

CHUEN

Yes .

ROBINSON
I need to chat with you.


Chuen, curious, turns to glance Grace and Margaret, who have the same
look, and Chuen turns to stare at Robinson.


CUT TO:


INT. POLICE STATION - DAY
ROWS OF JAIL CELLS

All of the boys including Wei are behind bars, tending to their
wounds.

Bruce is seated on a adjacent cell, when he is called to the barred
door that is being open.

INT. CORRIDOR & WAITING ROOM

Bruce is escorted down the corridor and through the waiting room.



62


M.S. - BRUCE

CAMERA ZOOMS IN slowly on Bruce sitting with his head down for a
moment. Until.

A knock on the door with his head rising up and turns to look at the
door.

The door is opened by the English Policeman.

ENGLISH POLICEMAN

Let's go.

Bruce emerges and follows the Policeman.

INT. INSPECTOR'S OFFICE


HENRY

Sit down, Bruce.

Henry stares at Bruce until he is seated.

HENRY

I'm going to be short on you.

Because there are a quite number of boys
to be seen. We consider you to be a
dangerous person...

Why?

Henry hesitates to stare at Bruce. He snickers.

HENRY

Because you are a borderline delinquent
and you're very bright, you're the type
who could well become a leader of delinquents...

(beat)

I'm releasing you in custody from myself.

(beat)

Bruce...

If you come here again...

It will be a jail term...Believe me.

(beat)

This non-sense has to stop, Bruce.



63


EXT. MOON - NIGHT
A beat.

CAMERA PANS DOWN, focusing on a police car parking by the Lee
Residence.

EXT. LEE RESIDENCE - NIGHT

Bruce emerges out of the car and closes the door.

ENGLISH POLICEMAN
Seeya, Bruce.

Bruce nods and waves a goodbye as the car drives away.

INT. LEE RESIDENCE - NIGHT
The door opens as we are on:

BRUCE'S P.O.V.

He is walking as his family and Margaret are staring at him.

Chuen approaches to him and stares at him with disappointment.

CHUEN

(beat)

(I was very wrong about you.)

(beat) (sighs)

(You should be ashamed of yourself.)

Chuen turns to walk to the altar and stares at the frame photos of his
ancestors including his mother.

CHUEN

(Come, Bruce.)

Bruce walks, as he looks to his mother and looks at Margaret, who has
a depressing mood on herself, very deep. Then he turns to face his
father.


CHUEN

(Kneel down...

Kowtow to your ancestors.)



64


Bruce stares at his father for a moment, and he drops on his knees and
starts kowtowing.


CHUEN

(Lt. Robinson came to my house
we had a little chat. He told
me about this incident, you were
Involved in.)

(beat)

(Now...

It's either of these choices, I
will beat you to death or spend
for the rest of your life in jail.)

(beat)

(And that's why I'm sending you to America.)

REACTION SHOTS:

PETER - Stunned.

GRACE - Same as Peter.

MARGARET - Quiet but shocked.

BRUCE

He reacts quietly, stunned as he hits his forehead on the floor about
three times and then clenches his fist in sheer of anger.

GRACE AND MARGARET

They approach with a hug and start to cry.

CHUEN

He stands as CAMERA ZOOMS slowly on him, still staring at his
ancestors.


CUT TO:



65


EST SHOT - EXT. RESTAURANT VERDANA - DAY
WIDE VIEW of it.

EXT. RESTAURANT VERDANA - DAY

Bruce, Margaret, Grace are seated staring at their cups.

Margaret and Bruce sigh.

Still staring, and Grace sighs and asks.

GRACE

(Bruce?)

He looks up with a glance to his mother.

GRACE

(Your father does well...

You have a good advantage, but...

Why do you fight?)

Bruce turns his hand over the table and then turns them back, staring
at them thoughtfully.


BRUCE

(To test myself, to see what I am...)

(beat)

(To see, if I'm a coward or not.)

GRACE

(You are not a coward.)

(beat)

(How many times do you have to prove it?)
BRUCE

(I don't know if a person can ever stop
testing that.)

Grace looks away and her eyes start to fill with tears.

GRACE

(Down there in the harbor, Bruce.

A freighter...)

(beat)

(Your father and I have already purchased
you a ticket for you.)



66


Bruce then glances up to stare at her, unwillingly, or unable to
speak.

EXT. HARBOR - DAY

CAMERA (CRANE) PANNING DOWN focusing on Bruce walking and stops to
look at the freighter called "THE HENRY KING", he turns to face his
mother.


(Mom.)

(I'll try.)


BRUCE

(beat)


She nods and both of them put their foreheads at each other for a
moment and then they back away and staring for a beat.

Bruce nods. He approaches to Margaret.


MARGARET AND BRUCE

They stare at each other. Until.

She stares at him for a moment until tears fill from her eyes and
closes her eyes and approaches towards to hug Bruce, as he does the
same thing.


MARGARET

(I love you, Bruce.)

BRUCE

(I love you, Margaret.)

MARGARET
(beat, until)

(Good luck.)


GRACE

Staring at both of them, smiling.



67


MARGARET AND BRUCE

They pull themselves away slowly and Bruce looks at Margaret who waves
a goodbye at Bruce who does the same and he turns to leave

Still sad as Grace approaches behind her. They look at Bruce getting
onto the freighter.

DISSOLVE TO:

EXT. FREIGHTER - DAY

The ship makes a horn sound in the air, as it slowly leaves from the
harbor and set into the ocean.

CLOSE ON BRUCE

He watches it, pass his expression one of sorrow, yet, he turns to
look forward and the wind whips his hair about his head.

DISSOLVE TO:
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:25 pm #7

EST SHOT - EXT. SEATTLE - DAY
WIDE VIEW of the CITY.

SUPER: The 1960's

CUT TO:

EXT. RUBY CHOW'S RESTAURANT - DAY

Bruce looking at the sign and then he enters in the building.

INT. RUBY CHOW'S RESTAURANT - DAY

Its early in the day and there is no one but a MAN mopping the floor.
Bruce stands in the middle of the place, uncharacteristically unsure
of himself, when a Oriental lady, RUBY CHOW, late 30's, comes out from
the kitchen and she takes him in and the suitcases that he is carrying
and starts towards him, smiling.

RUBY

I know who you are.

Your father, Lee Hoi Chuen wrote me a letter to
expect you.


He nods as she embraces him and plants a kiss on his cheek.



68


RUBY

I just think you're solid enough for
the job around here.

Bruce smiles and nods.


INT. KITCHEN - NIGHT

He's washing a load of dishes, and sweat running on his face.

A WAITRESS enters in the kitchen and past him, carrying a tray.



Bruce turns off the sink and exits the kitchen.


INT. DINING ROOM & KITCHEN

Bruce working in the dining room and over the sink. He is scrubbing
and exercising on a mat that he has set up and the rear of the
kitchen.


BACK OF RESTAURANT

Bruce in the back. He is shirtless. He is kicking at a water-filled
bag. SEVERAL PEOPLE are staring, they are stunned by his technique.

C.U. - WATER FILLED BAG

As he kicks more of the bag, the bag then shreds with water explodes
out of the bag.

M.S. - BRUCE

The water rains down on him.


INT. RESTAURANT - BASEMENT

He is seen teaching a group of TEENAGE BOYS.



INT. ATTIC - NIGHT
A medium sized attic.

We see him seated, writing a letter on the table.


69


Mom...Dad...


BRUCE (V.O.)


(beat)

I have done well enough in high school to be
admitted to the University of Washington, where
I am teaching a group of students, some of my
skills.


He smiles with this for a moment.



70


EXT. UNIVERSITY OF WASHINGTON - CAMPUS - DAY
Bruce walks past a fountain and a quadrangle.

A COUPLE OF GIRLS watch him go by and nod appreciatively.

INT. CLASSROOM - DAY

He is seen standing behind his desk in a class of students of
different race:

1 - Caucasian

2 - Oriental

3 - African American.

His manner is more serious as he explains his beliefs.

BRUCE

Gung-Fu is just more than the fighting.

It is part of Philosophy of Taoism and Buddhism.

It is the natural system of fighting where the
movement of the mind wills the body to behave.

The mind of a gung-fu man becomes one with
everything around him. He is alone, but he is
at the same time with everything around him.

The gung-fu man does not blindly follow what
is propaganda and organized truth, it is
the state of no mindedness...

It is --

Bruce is then interrupted by a beautiful girl laughing,

NANCY LARIMER, early 20's, light colored hair, smart but not perfect.
After making the laugh, Bruce turns and facing her by staring as well
as the classroom, she's a little embarrassed after she shuts her mouth
that the fact her laugh has popped out of her mouth in the entire
classroom.

Although, an INSTRUCTOR, BARRY BERNARDI, mid 50's, he is not amused.

BERNARDI

Miss Larimer...

Maybe you can tell us why you have laughed.


Nancy is flustered and refuses by shaking her head.



71


LARIMER

I don't know.

(beat)

I think he just sounded very funny.

Bruce, still staring for a moment at Nancy and he goes back to his
desk and does a facepalm on his face and breathing in and out with a
sigh that of a reaction he's hiding is a burning side of anger.

BERNARDI

If you find that funny.

Maybe you'll find Socrates to be funny.

The class for a moment of a beat then starts to snicker and then
starts to roar with laughter along with a beautiful girl, willowy.

So who is this girl?...

Guys, this is in-fact to be Linda at a young age.


CUT TO:
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:29 pm #8

72


EST SHOT - EXT. UNIVERSITY OF WASHINGTON - SUNSET
CRANE SHOT of the building.

INT. CLASSROOM

Bruce packing up his stuff and stands for a moment to glance up at the
board and he sighs.

He turns to leave as Nancy appears in front of Bruce, startling him.

BRUCE

(in cantonese)

(Jesus Christ.)

(beat) (in English)

What do you want, Larimer?

NANCY

Well, I just want to come in and apologize.

(beat) (Bruce waiting.)

I'm sorry that I laughed at you, Mr. Lee.


He sighs.


BRUCE

It's alright.

NANCY
(beat)

I hope if you don't mind, if I walk out with you?

Bruce, surprised, and reacts awkwardly.

BRUCE

Uh, sure.

INT. HALLWAY
The door opens,

comes out, Nancy exiting the classroom as well as Bruce who closes the
door and locks it. They start walking.



73


BRUCE AND NANCY

BRUCE

Got any plans for the weekend?

NANCY

Going to the movies with friends.

BRUCE

That's fun, what film?

NANCY

Breakfast at Tiffany's.

BRUCE

Heard from Bernardi that it's a great film.
NANCY

Same as well.


CUT TO:


EXT. UNIVERSITY OF WASHINGTON - SUNSET

Nancy opens the door and holds it for Bruce who exits the building.


Thanks.

Your welcome.


BRUCE

NANCY


Both of them glance up and stare for a moment.

BRUCE

Well...Goodbye.

NANCY

Goodbye, Mr. Lee.

BRUCE

Just call me Bruce, if you want to.

NANCY

Ok... Goodbye, Bruce.

He smiles as well she does the same, and starts to snicker and turns
to leave with walking 3-4 steps, until, she stops for a moment and
turns back to walk up, approaching to Bruce and reaches to kiss him in
the cheek.



74


Seeya later,
Bye .


NANCY
Bruce.

BRUCE


She walks away, excited and smiling.


BRUCE

He shakes his head and sighs, walking off-screen.


Woman.


BRUCE



75


MONTAGE BEGINS:

INT. ATTIC - DAY
SUPER: SATURDAY

Bruce in the attic, lying on a hammock, reading a book by
Krishnamurti. We don't see him speak, but just reading it as then
Bruce's voice appears.


BRUCE (V.O.)

You have to be light to yourself.

Not the light of a professor, a analyst or a
psychologist or the light of Jesus or the light of
a good heart.

The light of a good heart.

(beat)

You have to be light to yourself in a world that's
utterly becoming dark.


CUT TO:

INT. ATTIC - NIGHT

He is seated on a chair, reading a book by Hemingway.

BRUCE (V.O.)

The world breaks everyone and afterwards.

Some are strong at the broken places.

(beat)

Happiness in intelligent people is the rarest thing
I know.

(beat)

Courage is grace under pressure.

He flips a page of the book.

BRUCE

Every man's life ends the same way. It is only the
details of how he lived and how he died that distinguish
one man to another.



75A


INT. UNIVERSITY OF WASHINGTON - LECTURE HALL - LOBBY - DAY

Bruce tacks up his last menus. A lecture is in progress, PROFESSOR

WALLACE'S words audible in the hallway.


WALLACE (O.S.)

Elements of style. Words. How they're put together.
That's what we want to get at. Hemingway's style.
Let's define it...Jack. Define it.

JACK (O.S.)

Heroic code.

WALLACE (O.S.)

Stop reading Lionel Trilling.

Hemingway's style -- the key. Bruce. Define it.

BRUCE


Simplicity.

WALLACE (O.S.)

That's right. It's Simplicity! The approach to
language without frills, rooted in journalism,
spareness and truth. Good, Bruce.


Bruce leans back against the bulletin board, awarding himself,
smiling.


MONTAGE ENDS



76


EST SHOT - EXT. UNIVERSITY OF WASHINGTON - CAMPUS - DAY
WIDE VIEW - AERIAL VIEW

Bruce is conducting a class on a secluded tree-lined dawn behind the
tennis courts.

M.S. SHOT

There about 4-6 students, one of the students is Nancy, who the
students are listening to Bruce's talk in a serious type of matter of
an expression. The students are following Bruce's moves, an exercise
that is as much as a form of a dance as anything. They take a step and
kick high and then turn and repeat the movement with the other leg.

BRUCE

Get it high. Does it hurt?

If it doesn't, you're not kicking high enough.

Bruce then turns to look from right to left as he sees Linda
approaching to him.


Hello.


BRUCE


Hi .


LINDA


(beat)

I see you have some students in your group.
I hope you don't mind me joining.

BRUCE


Sure.

There's plenty of room for everyone to join.


She smiles and she sets her medium sized satchel on the ground next to
other bags that belong to the students. She joins in beside to Nancy.




LINDA

Hi,

Nancy.

NANCY

Hi,

Linda.

LINDA


How it's going?



77


NANCY


Not much.


(grunts)

Saw a movie with a couple of friends.


CLOSE ON BRUCE

He's still leading the kicking exercise while his gaze follows her
practicing while his gaze follows her practicing like the rows of
students. His interest grows.


CUT TO:


EST SHOT - EXT. EMERY HOME - SUNSET
WIDE VIEW of the home.

We see Linda with her satchel bag, approaches to unlock the door,
enters inside and closes it and locks it.


INT. EMERY HOME

Linda takes off her shoes, sets it, and then walks to the living room.

LINDA

Hi, mom.

Linda's mother, VIVIAN, she is knitting, like Bruce's mother, what she
is knitting is a beautiful pink sweater. As she is knitting, she is
listening to the radio.


VIVIAN

That you, Linda?

LINDA

Yes, mom.

VIVIAN

So...How was your day?


Vivian, glances up to her daughter and stares at her for a moment of
studying her expression which Linda is excited of a smile.


VIVIAN

Well, Linda.

I never seen you smile like that.



78


LINDA

I'm going on a date, mom.


Vivian gasps, surprised, and sets her knitting stuff on the table and
approaches to Linda with smile.


VIVIAN

That's wonderful, Linda.

LINDA

Thanks.

VIVIAN

At what time is he going to be here?

LINDA

Somewhere around at 7:00 PM at night.
VIVIAN


Wonderful. Where are you going --

LINDA

To a restaurant. Bruce will take me to it.
VIVIAN


Great.


CUT TO:


EXT. EMERY HOME - NIGHT
WIDE VIEW of the home.

A "Ford" parks by next to the sidewalk.

Someone emerges out of the car. It's Bruce, wearing a short sleeve
gray flannel shirt with tan khakis. He closes the door and stands
there looking up in the sky for a moment. He sighs.


INT. EMERY HOME
LIVING ROOM

Vivian listening to the radio. She laughs, as Linda calls.


Mom?

Yeah, Linda.


LINDA (O.S.)

VIVIAN


She emerges out of her seat, approaching to the entrance.



79


INT. ENTRANCE

Vivian is there while Linda comes out of her room with a short sleeve
flannel shirt, also wearing a another shirt is sleeveless as well as
long white khakis, she holds a purse.


LINDA

What do you think?

VIVIAN


My, my.

You look great.

LINDA


Thanks.


She walks downstairs.

The doorbell rings.

VIVIAN

That must be him.

She goes for the door, answers it.

She glances to Bruce and for a moment, she is curious and then in a
dreadful mood and then goes back to normal in a polite voice in
herself .


VIVIAN

So you must be Mr. Bruce Lee.

BRUCE

Yes, Mrs. Emery.

Linda approaches to the door as Vivian backs away a little bit, with
Linda getting her shoes on, then she glances up to Bruce.


Hi .


Hi .


LINDA

BRUCE


Linda exits with Bruce.


VIVIAN

Be careful, you two.



80


BRUCE & LINDA

We will.

Surprising for Vivian and she closes the door.

CUT TO:

INT. RUBY CHOW'S RESTAURANT - NIGHT
CLOSE ON BRUCE AND LINDA

Over coffee, Bruce is explaining what it is he sees in the future, and
he waves his arms about, excited and animated, a glow to his features.

BRUCE

There could be a whole string of schools

all over the country. People are here just to learn

Gung-Fu. But Seattle isn't just the place to start.

San Francisco is the place to continue. More people.

More teaching.

Linda, fascinated with his enthusiasm and energy.

CUT TO:

EXT. BEACH - NIGHT

It is a beautiful clear night.

The sea of lights and the moon itself.

Bruce and Linda sitting on the sand, relaxing.

BRUCE

I believe anybody can think their self to their
goal, if he has a real purpose in mind.

He must have a desire that burns to be made
into reality.



81


M.S. - MOON


BRUCE (O.S.)

There is a saying...

Knowing is not enough, we must do.

Willing is not enough, we must apply.

A person must use the principle of Yin and Yang
and The Law of Harmony.

It states that one should in Harmony with, not
rebellious and strength.

In our culture...

Yin represent the woman...

That which is soft and passive and Yang represents
the man who is aggressive.


LINDA

She turns with a glance at Bruce.

LINDA

Speaking of aggression.

BRUCE

Yin must always yield to Yang.

It is an undeniable principal.

This leads to a very close related law...

The law of Non-Intervention of Nature.

CUT TO:

EXT. EMERY HOUSE - NIGHT
WIDE VIEW

Linda and Bruce are sitting in the parked Ford.

M.S. - FORD - EXTERIOR

She moves a little closer to Bruce, He turns with a glance at her with
a swell expression. Linda is around his arm, hugging her.

EXT. EMERY HOUSE - PORCH - NIGHT

The light is turned on. There is no movement at the window.



82


BACK TO CAR


LINDA

My mother is saying something with that light.

BRUCE

(sarcastic)

What?. . .

With awareness comes illumination, that comes another
law that cannot be denied.

Both for a moment, until, they start snickering and then they start
laugh for a another moment and they stop laughing. They slowly turn
and stare for a mere beat, and then they lean over to kiss.

She feels a very little resistance, but until she feels something. We
don't know, but its the principle of Yin and Yang at work.

EST SHOT - EXT. UNIVERSITY OF WASHINGTON - DAY
WIDE VIEW of the building.

EXT. CAMPUS - DAY

Bruce teaching the variety of students including Nancy and Linda. The
art of Gung-Fu, The art of Jeet Kune Do.

They get into their stance as the studnets get into a casual open
stance. He does a crane and then does a jump kick as the students look
in awe and impressed.

Bruce lands on the ground with emerging up in the position of a
praying mantis.

BRUCE AND NANCY

They put their hands at a side as they walk in circles, staring at
each other, Bruce at a hit that makes Nancy flustered and her vision
kind of goes in a blur, and it gets back into view. They circle around
more. Nancy then, wipes at Bruce who backs away a bit.

M.S. LEGS

Nancy's leg wraps around Bruce's and pulls with a grunt from her, in
which causing Bruce to fall on the grass.



83


M.S. - NANCY

In O.S. - Everybody gasps and it goes silent for a moment.

She looks at Bruce for a second.

C.U. - BRUCE

An unconscious reaction from him laying there and he rises to stare at
Nancy who is worried and nervous, holding it, until he smiles with a
nod to Nancy.

M.S. - NANCY AND STUDENTS

Surprised, as well the students
The students start to clap.

TIME-CUT

M.S. - LINDA AND BRUCE

Bruce is trying to maneuver attempt with a foot sweep but Linda
counters in with a reverse punch which he backs away with a roundhouse
kick against Bruce, on his face which backs him away fast and he gets
back into view and into his stance.

He looks at Linda with a grin on his face. He puts a thumbs up at
Linda.


Good.


BRUCE


She smiles.


CUT TO:
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:32 pm #9

84


EST SHOT - EXT. CHURCH - DAY

SUPER: AUGUST 1964

WIDE VIEW of the building.

INT. CHURCH

M.S. - CRUCIFIX CROSS

Hold on it. Until.

CAMERA PANS DOWN to a Father Priest, KELLY, mid 50's, reading the
bible as Bruce and Linda are between Kelly as he is in the middle.

BRUCE AND LINDA


KELLY (O.S.)

Now...Do you Bruce Lee, take Linda Emery as your
lovely wife?

BRUCE


I do.


KELLY (O.S.)


Okay.


(beat) (to Linda)

Do you, Linda Emery, take Bruce Lee as your
lovely husband?


LINDA


I do.


KELLY

I now pronounce you both, husband and wife.


Bruce and Linda kiss with approach and they back away slowly and they
look at each other with a smile.


CUT TO:


EXT. CHURCH - DAY
The doors open.

Comes out, Bruce and Linda, leaving the church, surrounded by WELL
WISHERS, who have been married.



85


INT. BRUCE'S STUDIO - DAY

Bruce is seated on a chair and with a typewriter, starts to type on
the paper:


"JEET KUNE DO

... towards personal liberation!
by Bruce Lee ."

As he is typing. In O.S. - The door opens, he glances up with a smile.


Hi, Linda.


Hi, honey.


BRUCE


LINDA


She closes the door and turns to with an approach to Bruce.


LINDA

Look.

I created flyers to advertise for our school.

Bruce and Linda look at the flyer. He nods, liking it.
There is a knock on the door, they glance up.


LINDA

I'll answer it.


She approaches to the door and answers it.

As she opens the door, revealing an African American who's holding the
Ad Flyer, JESSE GLOVER.


GLOVER

Hi, you open?

LINDA

I guess, since it's early.

GLOVER


Ok.

Well, I can just introduce myself...
I'm Jesse Glover.



86


Hi, Jesse.


LINDA

(shaking hands)


They stop shaking hands.


GLOVER

I found a flyer about your Martial Arts school here.
LINDA


Yes .

GLOVER

I'd thought I'd like to learn it.

BRUCE (O.S.)

Sure.


Glover and Linda glance a look at Bruce.

BRUCE
Staring.

LINDA AND GLOVER

They stare at each other. Glover is curious.

GLOVER

May I come in?

LINDA

Yes. Come in.


She lets Jesse enter.
She closes the door.


GLOVER

You are?...

BRUCE


Bruce Lee.

I sense you're going to be my new student?
GLOVER


I guess so.

Now you know I'm not asian.

BRUCE


I can see that.



87


GLOVER

Now, every school has rejected me.

But I assume you're about to do the same to me.

BRUCE

Why should I?

You're always welcome to learn here.

GLOVER

Oh...Thanks.

Music appears.

CUT TO:

INT. BRUCE'S STUDIO - DAY
Bruce teaching Jesse a technique.

EXT. STREETS - SIDEWALK - DAY

We see people walking as a ORIENTAL BOY, 14, running, avoiding bumping
into people.

He has a scroll. CAMERA PANS LEFT focusing on the boy approaching to
the building.

INT. BUILDING - STAIRS

The boy runs up the steps very quickly.

CUT TO:

INT/EXT. BUILDING - JUN FAN GUNG FU INSTITUTE - DAY

He is breathing rapidly in order to get back where he was.

Then he approaches to the door. Knocks on it.

A beat. Until.

It's answered. By Linda. The boy gives the scroll to Linda.


Thanks.


LINDA


The boy, still breathing, tired, nods.

He starts heading downstairs slowly by walking.

Linda opens the scroll, reading it, but all of its writings are in
Chinese. She can't understand it. She then closes the scroll, goes
back inside and closes the door.



88


INT. BAR CLUB - DAY
C.U. - TABLE

The scroll is thrown on the table. There is muttering and complaining
from a group of Elders, but it is interrupted to take care of the
interference, YEN TSANG, mid 50's, who did the interruption.

TSANG

Bruce...Look.

I know you want to teach. But, you've been violating
the rules of the Martial Arts community.

We've been getting complaints from Elders for it.

(beat)

But, for the sake of cause, Bruce.

We do things different here!

The Elders agree with this and this leaves Bruce disappointed.

BRUCE

I'll teach whatever I want.

TSANG

I'm sorry.

You have been ordered to stop teaching.

And that's final!

The Elders nod.


Or what?


BRUCE


TSANG

Or we'll settle it by combat.

(beat)

Prepare yourself, Bruce.


Bruce exits.


CUT TO:



EXT. BUILDING - NIGHT

Bruce is shaking hands with his students as they leave.


89


EXT. STREETS - NIGHT

Three men. Two of them are suited in traditional clothing, as for the
middle, WONG JACK MAN, 24, he has a cold stubborn expression in
himself knowing what his task is.

WONG

(Let's go.)

They start walking.

DISSOLVE SLOWLY TO:

INT. BRUCE'S STUDIO
Bruce and Wong stand.

SUPER: 1965

BRUCE AND WONG

They get into their stance.

BRUCE

His eyes filled with a cold expression, already prepared.

WONG

A man, already prepared and ready with the same expression as Bruce.
WIDE VIEW - BRUCE AND WONG

They are still standing in their own casual stance.



90


THE FIGHT BEGINS

(NOTE: It has to be about 3 minutes or more if any reason to keep it
longer.)

Wong begins to lunge Bruce with a classical Mae-Geri (Front Kick)

Bruce forcefully knocks the kick aside, returns his own front snap
kick and follows with a Gyaku-Zuki (Reverse Punch). Wong lunges with a
Yoko-Geri (Counter Side Snap Kick), with a counter punch to the
mid-section, followed instantaneously with a controlled face punch.
Wong sneaks in with a front snap kick, but Bruce blocks it with a
flashing speed and counters with a Mawashi-Geri (Roundhouse kick),

Wong retreats, but Bruce pursues him with a Kekomi (Cross-Over Side
Thrust Kick which Bruce evades.

The two men separate and stalk at each other.

Bruce begins to initiate an attack, but sensing Wong's poised
counter-attack, but aborts it, shuffles into a new position, with Wong
instantly compensating.

Bruce snaps out a high front kick, following with a reverse thrust
punch, Wong retreating from the kick, blocking the punch and
preparing to launch his reverse punch, but Bruce frustrates the blow
by stepping back into stance. Wong's face remains wooden throughout,
and Bruce's features mirror his growing impatience, his hunger to
attack without regard.

Wong attempts a foot sweep, but Bruce counters with a roundhouse kick.
Again, there is no contact.

Hold on a long beat. Until.

Bruce screams with all of the power in his lungs, lunges forward with
a leg obstruction, causing Wong's counter-lick to crash unfeeling
against the out-thrust bottom of Bruce's foot.

Wong suddenly for no reason, gets himself and starts to run around the
studio while Bruce is chasing him. Until. Bruce does a jump kick at
the back of Wong's head causing him to fall hitting his face on the
floor. It is silent for a moment.



91


BRUCE

(Do you give up?)

Wong still moaning.


(DO YOU?)


BRUCE

(screams)


A beat.
Wong says.


WONG

(I give up...I give up...)

Bruce stares at him, cold, and lets Wong rest on the floor and he
rises up.

The 2 men approaches to Wong. Bruce lays his hand on his face and he
sighs.


BRUCE

(God, help me.)

Linda approaches to Bruce, staring at him.

Until she puts her hand on his shoulder.

LINDA

It's over now. Do you want to move on?
Bruce, stares at Linda, and then nods.


CUT TO:
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Joined: July 16th, 2003, 11:43 am

June 26th, 2018, 6:34 pm #10

92


EST SHOT - EXT. HOSPITAL - DAY
WIDE VIEW of the building.

A car parks in the parking lot.

SUPER: FEBURARY 1st

INT. ROOM #227
DOOR

Bruce opens it and closes it slowly.

LINDA

Sleeping, holding the baby.

BRUCE AND LINDA
He approaches to her.

He stares at her, until, she wakes up and yawns and blinks about two
times.

She then looks at Bruce.



LINDA

Hi .

BRUCE

Hi .

(beat)

Is it a boy

or a girl?


LINDA

A boy.

BRUCE

Do you have

a name for


LINDA

Yeah.

(beat)

Brandon.



He smiles.


CUT TO:



INT. CAR

Bruce driving, moving along the San Francisco street.


93


BRUCE

So...I've been invited to give a demonstration
in L.A.

LINDA

Do you want to go to it?

BRUCE

No. I don't think it will help us.

(beat)

I don't know what tournaments are for?

(beat)

They are fighting for the judges, not for
themselves.

Linda shows a little smile.


LINDA

But you'd like to show what you can do.
BRUCE


Maybe.


CUT TO:



94


EXT. SHRINE AUDITORIUM
SUPER: LOS ANGELES

There are several spotlights turning slowly in the street before the
auditorium.

A huge banner has been stretched across the front of the building
announcing the tournament.


EXT. BOX OFFICE

There is a line of people waiting to buy tickets and an immaculately
dressed man about to take his turn at the window, JAY SEBRING, early
30's, a another well dressed man, MARTIN HAMILTON, mid 50's, a
production assistant and a healthy man with a look like John Goodman.


JAY

(smiles)

Glad you could make it, Marty.

The brass has been running me out of the country.
HAMILTON


(spits on the ground)

Maybe I oughta teach some shitters a fucking lesson.

(sighs) (shaking his head)


Goddamn.


(beat)

Maybe get him trained.

JAY


Maybe or he's already trained.

But, Dozier is looking for a guy to be Charlie Chan's No. 1
Son. Some of them are not good, the fact they have good
faces, but they can't act like shitheads.

(turns to face the Box Office)

Two, please.


A beat. Until, two tickets pops up and the CASHIER is making Jay's
change.



95


INT. SHRINE AUDITORIUM
WIDE SHOT

A HUGE CROWD OF PEOPLE seated on bleachers that surround a fighting
area that is defined with thick gym mats.

An ANNOUNCER, mid 40's, whose resemblance is like Gene Wilder, is out
in the seat, in front of the table that is behind of the gym mats

ANGLE - JAY & HAMILTON

They are seated and look around.

M.S. - ANNOUNCER


ANNOUNCER

At least we have Robert Wall and Chuck Norris.

But we would like to introduce a young man
from Hong Kong, who would like to demonstrate
his own technique of a form called " Gung-Fu "

(beat)

It's Chinese... rather than Japanese, and we think
you will enjoy it.

There is clattering of applause as Bruce walks out smiling.

A microphone is raised down.

BRUCE

Standing and waiting.

The microphone raises down in front of him.

He pokes at it about two times that it makes sounds, and Bruce starts
to speak.


BRUCE

I will demonstrate some of my technique of
Gung-Fu that rare in many ways superior to
Karate.

There is murmur of oppositions to this thought.

BRUCE

I have asked this gentleman who is
a karate black belt to simply to try to hit me.



96


With this, he grins, and pulling the audience back with him again. He
gestures to someone at the edge of the crowd, PAT JOHNSON, dressed in
a karate uniform, comes forward. There is a round of applause at the
sight of someone they recognize.

BRUCE

Every time, he hits me, it is a point for him,
every time, I hit him, it's a point for me.

The first one gets 25 points, wins!

The microphone raises up.

Johnson nods and starts to circle around and Pat lashes out to graze
Bruce on the shoulder.

M.S. - ANNOUNCER


ANNOUNCER

One for Johnson.

BRUCE & JOHNSON

Suddenly, there is a blur of action that drowns Johnson under a
blizzard of jabs and hits that totally bewilder Johnson, the last one,
a kick in the ass. The crowd applauses with each hit, standing now to
roar with the finale. It's all over in a dozen seconds as Bruce smiles
and turns to walk off.

ANGLE - JAY & HAMILTON
Their reactions are in awe.

CUT TO:

INT. LEE HOME - DAY
SUPER: 2 DAYS LATER

As Linda is cuddling and taking care of Brandon. The telephone rings.
She answers it.


LINDA

Hello...Yes...Yes.

(beat) (frowns)


Okay...


CUT TO:



97


INT. DINING ROOM - DUSK

Bruce and Linda eat, as she is feeding Brandon with baby food.
Linda goes back to eat her food. Then, she speaks to Bruce.

LINDA

I got a phone call today.

Bruce looks at her.


Yes?

It was


BRUCE

LINDA

from a television producer.


Really?


BRUCE


LINDA


Yes .


(beat)

His name was William Dozier,
you a role for a series.

BRUCE


Seriously?


and he's offering


She nods.


LINDA

You should call him, this could be a big
chance for your career.

A moment for Bruce. Until.

He nods in agreement.


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