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·"UNTITLED BEATLES· MUSI@ ~ Screenplay by ~ ~ Dick Clement & Ian La ~ Story by

·"UNTITLED

BEATLES· MUSI@

~ Screenplay by ~ ~ Dick Clement & Ian La ~ Story by ~
~
Screenplay by
~
~
Dick Clement
& Ian
La
~
Story by
~

Dick Clement,

Ian La

Frenais '\c vJuQie Tayrnor

·-,

Pr0perty of:

REVOLUTION STUDIOS

2900 W. Olympic Blvd. Santa Monica, CA 90404

REVOLUTION

STUDIOS

GROSS

ENTERTAINMENT

TEAM TODD

·"UNTITLED BEATLES· MUSI@ ~ Screenplay by ~ ~ Dick Clement & Ian La ~ Story by

© Revolu. tion studios 2005. All rights reserved. This material is~he exclusive property of

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and is

intended solely

for the

use

of

its

pe:zr.e9nnel.

Distribution to

unauthorized persons or reproduction, in whole or in part~witt the written consent of

Revolution Studios

is

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This material

 

ot

sold

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FADE

IN:

 

COUNTRY ROAD -

DAY

1

 

A lone

figure

stands

on

a

country road

surrounded by green

fields

and

Dutch.barns.

A distant rumble

of thunder

and

a

threat

of

rain

in

th<=

air.

He raises his

thumb

but ·the

car

drives past,

its

tires

swishing

on

drives past, its tires swishing on

CLOSER

on

JUDE.

He's

23,

his

long

sixt'

 

aircut

curling

over

his

collar.

He

wears

faded

blue

·

nd

scuffed

sneakers.

He

thumbs

again

as

a

farmer

 

-up passes.

It

slows

and

stops.

He

grabs· the

his

feet

and

runs

to

the

cab.

Something

is

said

and

he

 

cli~in the

back.

 

2

EXT.

PICK-UP

TRUCK

{TRAVELLING). -

·2

 

Jude

sits

on

sacks

of produce with

his~'l1gainst the

tail-

gate.

As

the

truck picks

up

speed the\{;i~lows his hair

and

the

road

recedes behind him.

His ~look

directly

at

camera

and

sings

the

opening

lines

of

 

JUDE

\L V

()

 

Is

there

anybody

going

to

listen

to

my story

All

about

the ·girl

who

came

to

stay?

She~s the

kind

of girl

you

want

so

 
  • 0 Still? you don't regret a s~e

much

it makes you

sorry;

day

Ah girl ...

 
 

3

·MONTAGE

3

 

The MUSIC

is

a

jangly,

nerve-tingling ~hrash version

of

'Helter Skelter'.

The

with

images

are violent

and anger:

and confrontati~l he Demonstrators

·

screen

filled

against

Police

and

Federal

Troops;

riots

in

Detroit;

·

tnam war;

University of Columbia takeover and th~go

Days

of Rage.

 

VOICE

 

When

I

get

to

the bottom

I

go back

to

the

top

of the

When

I

stop

and

I

turn

And

I

go back

for

a

ride

Till

I

get

to

the bottom

And

I

see you

again

 

A baton

charge to

the

left,

tear gas explod~

 

to the

right.

 

\

Students

are and bloodied.

repulsed

by rifle-butts,

 

bodies

bruised

 

(

/

)

,

 

(CONTINUED)

5

CJ

3.

INT.

DANCE HALL

(LIVERPOOL)

-

NIGHT

CLOSE on another girl, MOLLY,

on anoth~r dance

floor,

the· same song to her sweetheart:

singing·

MOLLY

Hold. me

Let me

tight, loving you,

go

on

To-night

Ma

l

to-night,

to

on·

1

k

ing ·ave

.

y

you ...

IJ~

lY_J

§

c

()

:)

She's dancing with Jude, but his hair ~thes it's sonie time earlier than the openi~.

tell us

 

So

hold me

tight,

N

 

·Tq~night, to-night,

 

It's you,

you you you ...

The ballroom is packed with

couples

of~es; smoke,

sweat

an? cheap_perfum~. The old

school

 

tuxes

and

frilly

sh1rts1.

will

soon be

swept

 

'EJ1e

tide

of

pop

and discos~

.

.

The glitter ball throws patterns of light over the flushed

·faces.

The

girls. wear pencil

skirts

and black

eyeliner,

the

guys sharp three-button suits with peg-top pants. The
0 clingers cling, the jivers jive.

 
 

The

song

be.comes

a

mixture

of voices

- ~nger_ on.

stage,

Molly

and

the

harmonizing

of

the other~

 
 

Don't know

VOICES

(\

What

it means

to hold you

t

gh-t!,

Being here alone

tonight

wi

 

you,

It

feels

so right

now,

Hold me

tight,

·

 
 

.

Teil

me I'm

the

only one

And then

I -might,

the lonely

one

English voices

r:

r:

 

Never be

 

The

distinctively

. '6

EXT.

SUBURBAN

(BROOKLINE,

MASS)

-

NIG

T-

6

A Buick .station

Wagon

cruises

past whiJ?:'~1.et fences

and

leafy lawns.

VOICES

~ 0 ~ ' ~ ' ~~l~f~
~
0
~
'
~
'
~~l~f~
 

So hold me

tight,

To-night, to-night,

 

It's you,

you you you

{CONTINUED)

4.

8

6 CONTINUED: 6 The wagon stops under a street light. Daniel switches off the engine, turns
6
CONTINUED:
6
The
wagon
stops under
a
street
light.
Daniel
switches
off
the
engine,
turns
to
Lucy
and
they
embrace.
LUCY
Don't know what it means
To hold you
tight,
Being here alone
tonight
_wi~
It feels so right now
..
7
EXT.
LIVERPOOL STREET -
NIGHT
€;=~·
7
Molly
has
he.r
arm
linked
in
Jude's
as ~lks
her
home
on
a
c;:old,
win~er night.
~n· contrast
t<? wh"1ite~ket fences,
this
is
a
working
class neighborhood,
with
t
ed houses
and
empty milk
b~ttles on
the
doorsteps.
They
stop·for another embrace.
~
LUCY
(V~ 0.)
~
Hold me tight,
Let me
go
on
M
To-night,
loving you·,
to-night,
Making love
to
only you
She breaks
away,
looking
upset.
MOLLY
who'll
take me
to
the dance~next
week?
You'll be halfway
ro
th
world.
Jude
tries
to make light
of
it.
~
0
.
JUDE
Better not be
Phil
Scully.
VOICES
··~
So hold.me
tight,
To-night,
to-night ...
MASS)~T
EXT.
SUBURBAN
STREET
(BROOKLINE,
8
RESUME Lucy
and
Daniel.
She
breaks
aw
.
Daniel
reacts
as
her eyes
tear up.
DANIEL
of rr~1_
I'll
be
back in
a
couple
af~t
They
give
you
a
furlough
camp.·
0
LUCY
And
after
that?
~

(CONTINUED)

5.

8

·n

9

10

0

11

CONTINUED:

 

8

Daniel

can't answer that

one.

 
 

VOICES

 

It's you?

you you

you

Oo-oo

 

-

00-00

 

nm

 

You

-

00-00.

 

·

The

last

chord

of

 

the

song

 

is

drowned~a 6;Jactory

siren.

 

EXT.

SHIPYARD

(LIVERPOOL)

-

DAY

§.

9 ·

The bang

and

clang

of the

shipyard

fad~the siren signals

the

end

of the

day.

The

riveters

and~ds put

down their

tools.

In

a

last

 

flare

of

sparks,

a

 

urns

off his

 

acetylene torch.

 

He

pulls

off his

mas

to

veal.Jude.

INT. SHED

 

DOCKS

 

-

DAY

10

The Workers

wait

 

in

line

for

their pay~ts,

 

sealed

in

small brown envelopes.

 

Jude

reaches

clerk1

CYRIL,

 

a

gnarled

old fellow

who

speaks

with

th

·c

'Scouse'

accent

of people from the

'Pool.

 

·

.

CYRIL

 
 

Last

one

for

a

while,

eh

son?

 
 

JUDE

 
 

Last one

ever,

Cyril.

 
 

CYRIL

 
 

I

£el~ the

same

at

your

age.

.

told myself,

'When

I'm

sixty-four

 

I'll be

 

long

gone

from

this

e

'

 

But

I'm

 

still

here.

PHIL,

a

gangly lad

with

red hair

ind him:

 
 

PHIL

 

Some

us
us

of

 
 

Move

it

 

along!

thirsty and the pubs five minutes!

 

EXT.

DOCK GATES

 

-

DAY

 

11

A· huddle

of wives

 

wait

outside

the

gat~. ung women in

 

head-scarve·s,

some

of

them with

kids

i

 

h chairs.

As

their husbands arrive,

the weekly ritu

a

s

place:

the

women tear open the pay packets, give e me a pound and

i

()

·head home.

The men make

for

the pub.

You're

PHIL

gonna miss

0

this place~

(CONTINUED)

6.·

11

CONTINUED:

 
 

JUDE

 
 

Don't

count

on

it,

Phil.

 

Jude

takes

a

last

long

look

at

the

past.

What

lies

ahead?

 
  • 12 EXT.

JUDE'S

STREET

-

DAY

 

11

lJ£J (j

shirly~.rd..

_

That

was

the

~

12

Jude walks past women chatting on thei~steps. Young kids play marbles, older boys. football~ls skip rope or

 

stand

in

giggling,

chattering groups.r~~;t stree~ of

friendship

and

familiarity,

 

forged

 

times.

  • 13 INT.

KITCHEN

JUDE'S

HOUSE

-

DAY

13

 

Jude's mother,

MARTHA FEENY,

is pr~ssi~- 2!-Jthes

on

an

ironing board in

the

kitchen.

She's

forty,

but

life's not been easy

 

and

it

shows.

·k·

en has

an old

stove, ·a

sink

and

no

fridge,

 

Through

dew is

a

small

yard

with

clothes

drying

on

 

a

line.

Her

face

lig~ts up when

Jude

enters.

 
 

MARTHA I've-ironed your best

shirts.

So

when

will

I

hear

from

you?

I'll write JUDE from Lisbon.

Th

n

e

o

to Trinidad.

And then Amer~ca!

 

MAUREEN

·

. ("\ h()m ·
. ("\
h()m
·

If you wanted a seafaring

Mersey ferry?

Least

yQu-'.d

for

your.supper every night.

 

She

hands ·him a

pile

of

clean

 

14

INT. BEDROO~

JUDE'S

HOUSE

 

-

DAY

 

14

Jude

puts

the

clothes

 

into

a

backpack

~:3:::E£F:::~•n his bed.

~ove it

is

a

poster

of the Liverpool

1

team.

Another

wall

is

covered in

charcoal

 

and pencil rL~"'""1-­

gs:

work-mates,

street scenes,

his mother.

 

He's

got

s

ent.

ent.

He moves onto the landing, listens to his mother moving around downstairs-for a moment, then ducks @Jietly into her room.

~

7.

15

INT.

MARTHA'S BEDROOM -

DAY

 

15

(')

A bigger

room, .with

an

old

wardrobe

and

a

chest

of

drawers.

He

kneels

down.and

opens

the

bottom

one.

Under cardigans

and

sweaters

he

finds_ a

black

and

~hite p~htoraph: a younger

Martha

in

the

arms

of

a

young

man in

'form

of

the

U.S.

Air

Force ..

He take~

it and carefully

s

3-

the

drawer.

  • 16 ALLEY LIVERPOOL -

EXT.

NIGHT

   

16

CLOSE on

Jude

as

he

kisses Molly

good~against the

back

door

of her

house:

She breaks

away.

n

-----.

 

MOLLY

 

I

still

don't

get

it ...

 

JUDE

 

I

need

a

break

from

the

Molly.

Be

back

before

 
 

MOLLY

\(v

 
 

I

sometimes

feel

you're

not

telling

 
 

:me

everything.

 

·He

tries

to

reassure

her,

si·nging

'All My Loving'

softly

and

slowly:

0

 

C1-ose your

JUDE

eyes

and

I' 11 kiss

 

ou,.

.

Tomorrow

I' 11 miss you

.

.

Remember I'll

always be

tru

 

And then

while

I'm

away,.

·.

c:=J

·I'll write home every day,.

And I'll

send all my l9ving

to

ou.

  • 17 EXT.

DOCKSIDE -- DAY

.

f(~

1

17

The song picks up tempo.

jud~ stands

with

Molly and his mother. Behind him crew~lking up

the

ganQplan~ of. a rusty, salt-caked freig

 

Seagulls

wheel

around the stern.

 
 

JUDE

·

.

Itll pretend that I'm kissin~

. The

lips

I

a,m missing

 

And hope

that my dre_ams will

 

.

.

true.

·

And then while I;m·away,.

 

I' 11 write home 'every day,

 

()

And I' 11

send all ·my loving

to

yol:r"

 

·[L§

 

8.

···.r";.

.,

._

·1.·

 

EXT.

RAIL

STATION

BROOKLINE

-

DAY

18

 

.Lucy and

Daniel 1 s

family,

including his

sister,

EMILY,

wave·

 

to

Daniel

as

he

leans

out

of

the

~indow of

a

moving

train.

 

All

my

·

JUDE

(V. 0. )

loving I. will

All my loving,

send

Darling I'll be true.

ENGINE

ROOM

FREIGHTER -

DAY.

 
EXT. RAIL STATION BROOKLINE - DAY .Lucy and Daniel s family, including his sister, EMILY, wave·
 
  • 19 INT.

 

19

 

Jude,

his body glistening wit~ sweat, ~s

 

coal

into

the

 

furnace

during

the

instrumental break.~Tl.

 
  • 20 INT. GA~LEY

FREIGHTER

DAY

\_£,,

 

20

 

The

c.rew

are

sprawled

around,

playing ~s

 

and

cards.

Jude

sit.s

alone,

writing

a

.letter.

 

JUDE

(V.O.)

Close your

eyes

and

I'll

kiss you,

 

Tomorrow

I'll

miss you

Remember

I'll

always be

true ...

 
INT. LUCY'S BEDROOM - NIGHT 21

INT.

LUCY'S

BEDROOM

-

NIGHT

21

An

overstuffed

feminine

room ..

High

oo

nnants

and

a

 

couple

of swimming

trophies.

Pictures

o

ve McQueen and

Paul Newman.

Lucy

is

on her bed writi~tter

of her

own.

 

JUDE '(V.O.)

And then

while

I'm

away,

I'll

write home every day,

send all my :Loving rr~l

And I' 11

 
  • 22 EXT~ PERSONNEL CARRIER (TRAVELLING) ~

22

CLOSE on Lucy's letter with stick~on h her scrawled signature. ither side of All ·my All
CLOSE on Lucy's letter with stick~on h
her scrawled signature.
ither side of
All ·my
All my
The
SHOT develops
to
show that
several
soldiG.rs
are
reading
letters
from
the
girl back home.

~

{CONTINUED)

11.

26 CONTINUED: 26 : ·' . He points and runs off. Jude turns to see a
26
CONTINUED:
26
:
·'
. He
points
and
runs
off.
Jude
turns
to
see
a
man
in
coveralls
~
up
a
metal
ladder,
replacing
an
air
conditioning
unit.
Jude
walks
across
and
watches
as
he
climbs
down.
WES
is
in his
forties,
with an outdoo1fl~herbeaten face.
lJlj
{)
JUDE
Can
I
have
a
word?.
~- .
w:i th
Wes
checks
oµt
J1;1de.
his
longe_r
c
.
) nd
seaman Is
donkey
jacket he
doesn't: look
like
a
s
·
.
.
WES
r:::::::~,Jl
If you' re looking for work, .\i.id~
you gotta check with Admin. ~Tl
JUDE
~·- ~
I
got
a
job,
thanks.
Were
~
stationed near
Liverpool
dur~· e
war?
With
the
Air
Force?
.
.
WES
I
was,
yeah.
Had
a
gr~at .time
_in
jolly-old.
H6w
d'you
know that?
JUDE
.0
I
believe
I'm your
son.
·
~
Wes
is
stunned
for
a
moment.
Then
he
~
it off.
I
don't
think WES
so
..
·
0
JUDE
My mother's
Martha
Fe~ny.
and Ju~.~~ s
The
smile
fades
from.Wes's
face
for
sure
he's
fath~r.
~
found
his
~~T
27
EXT.
THE
SAME
(LATER).
-
DAY
27
CLOSE
on
the
phcitogr:S of
the young. Wrr~ir. Jude's mother.

How

did

you

track me

down?

H

 

JUDE

 

Through

army

records.

 

0

(CONTINUED)

L

..

f

L .. f 27 .. :; c;?_:("':J .·· 1.~;b Jude. and Wes sit on a bench
  • 27 ..

:;

c;?_:("':J

.··

1.~;b

Jude. and

Wes

sit

on

a

bench

 

under

 

the .shad~ of

.trees.

Students

crisscross

the

 

lawns

around

 

themr

on

their

way

classes.

Wes

hands

the photograph back to

Jude.

 

WES

 
 

If

I'd

known

 

about

 

you.:.

 
 

.

JUDE

 

nf?\

 

What?

 

You'd

have

 

come back~he(}

says it ~ouldn't have prove~

loved her~

 

Only

that

you

f

obligated.

 

·

·

·

·

.

·

 

WES-

 
 

It

can't

have

been

 

easy

 

for ~Tl

Being

single

with

 

a

kid

to ~s~

 

JUDE

 
 

She

wasn't

 

the

only one

 

in

days.

 

You

could

excuse

a ba~

e~r~aying his Dad was killed~

Wes

winces.

This

 

a

painful

conversation.

 
 

WES

 
 

Did

she

 

find

someone

else?

 
 

JUDE

 
 

There

were

 

a

few h~pefuls ov~he

years,

 

but

I

think I scar~d the

 

off.

·

.

 

WES

 
 

Look,

kid

-

 

JUDE

 
 

.Jude.

 
 

WES

 
 

Jude,

I

have

a

family .

 

.kids

-

.kids -
 

JUDE

 
 

Look.

Mr.

 

Huber, . I

didn't . cornF:::===:==:::.1

de-rail your life.

 

And

I'm

 

n

t

-here

for

your

 

love

or

approva~ .

. I'm.here.so

we

both

know

 

the

 

·one· exists.

 

.

to

0

L .. f 27 .. :; c;?_:("':J .·· 1.~;b Jude. and Wes sit on a bench

~

13.

28

EXT.

COLLEGE CAMPUS

NIGHT

28

0

The

caIIJP.US ·is

.

The

clock

tower. shows

ten

after

twelve.

29.

EXT.

LABORATORY ROOF -

NIGHT

.

 

29

Max

and

thr~e Frat Bouse buddies

are

golf

balls

from

the

flat· roof; whacking the:ip into

the

Their

objective

is

a

building

about

a

hundred

 

yards

is a building about a hundred yards

EXT.

FRATERNITY HOUSE -

NIGHT

   

30

A Palladian villa

with

columns

and

ta~~ws. · Above

the

double doors the sign of Beta Theta C~

 

balls ping

 

off

the

portico

roof

and

bounce

 

te

r

d.

Bulls-eye

-

·a

window

is

broken!

A

ch~er from

the

d"s

±

_ooftop.

·

·

·

 

.

.

.

.

.

.

.

 

Lights

go

on,

angry

faces

appear .on

 

.Bull-necked

jocks.

31

.EXT.

LABORATORY ROOF -

NIGHT

v_ ()

 

31

-RESUME Max

and

the

otfrers,

celebrating.

They pass

around· a

· silver

hip

flask.

Suddenly

a

spotlight scythes

through

the

darkness

from

the

rival

Frat

House balcony~

Their

startled

· faces

are

captrired

in

its

beam.

 

0

 

Aw shit.

:DY

.··

,

Time .for

a

tactlcal. retreat.~

 
 

They

scramble

away

as

they hear

a.v~ic~the_ darkness:

 
 

VOICE

 
 

Let's

get .those bastards!

.

32

EXT.

COLLEGE

CAMPUS

-

NIGHT

32

Max and his friends come down a fire esc nd fan out, taking separate routes The
Max
and his
friends
come
down
a
fire
esc
nd
fan
out,
taking
separate routes
The
jocks
are
ously
close.
 

as

Max angles

off

and

shoots

through

the

door

-d·ust

before

his

pursuers

come

into

view.

 

0

1.4.

INT

MAINTENANCE

BUILDING

.NIGHT

 

33

.Max

catches

his breath

as· Jude

bolts

the door
the
door

and

~hey hear

footsteps receding

 

MAX

 

Shit,

I'm out

of

shape ...

Jud~ opens

the

door

of

an

adjacent

ro~~riitor's office

 

with

a

make-shift

bed in

one

corner,

 

lockers

and

faded

posters

with

safety

regulations. ~small

9~sk light

   

is. ·burning.

Max

rec:-zes

Jude

from ~.

 

day.

You're the guy.who was. aski~tl the janitor, right? So wha\(a~ you, an a~.sistant janitor? ~:

 

JUDE

·

011· .

I'm

just.bunking down.here.

·

.

Temporarily. ·

 

MAX

Why?

 

JUDE

Why

d'you

need to

know?

 

MAX

You

wanted by

the

cops?

 

JUDE I'm English.

 
 

MAX

Interpol! Did you

kill

 
 

··JUDE

1.4. INT MAINTENANCE BUILDING .NIGHT 33 .Max catches his breath as· Jude bolts the door and

I

 

see

·n 1 you

have

I see ·n you have I '.m Max. Same place

I

'.m Max.

Same place

jumped ship~- I came here~

a distant relative.

MAX

a

name?

JUDE

MAX

Where's that

~

accent

fro~

JUDE

as

me.

·

LiVerpooi~

(CONTINUED)

15.

33

0

34

35

0

CONTINUED:

33

MAX

As

the

a.stranger

to

our

least

I

can

do

is

shorei,

Jude,

off er you

some

Princeton hospita11ty.

.

.

He pulls

the hip

flask

from

his

pocket~fers it.

EXT.

Max

FRATERNITY·HOUSE -

NIGHT

§.

and

Jude

approach

the

steps of hi~amshackle

Fraternity HoUse.

-Th: can hear musicN ughteL·_

34

Welcpme

to

Del ta

Sigma Chi~·~ll

The

noise

increases

as

Max

opeps

the

~r~

INT.

FRATERNITY HOUSE -

NIGHT

-~

35

Bo.oks

and

bottle·s

a

moose

head

and·

everywhere,

a

dart

board.

springs ~g

out -of

sofa.s,

Pennan~l~~~pin-up· posters

·of

Julie· Christie,· Michelle

Phillips.

Max

strums

an

tune guitar, ~urrounded by hi~ bu~dies·drinking beer

smoking

dope.

He welcomes

Jude

with

'A Little Help

out-of-

and

From. My

Friends':

They

ears and I'll try not to sin~ ou o
ears
and
I'll
try not
to
sin~ ou
o

MAX

if

I

san

..

~

ou

What

would you.think

of tune,·

me?

Lend me your

a song,

And I'll

·

key. I' 11- get by

my

friends.

with

a little

h

~

1

r

15. 33 0 34 35 0 CONTINUED: 33 MAX As the a.stranger to our least I

off er

THE GUYS

with

a

Get high

his

lit.tle

friends.

the

clap·Jude on

back. and

someon

him

a ·joint.

MAX··

I'm

gonna

try

with

from my

friends.

a

litrle~

What

Does

do

it

I

do

when my love

. THE

GUYS

is

awa:f)

rr~ 1

worry you

to be ala~

(CONTINUED)

16.

  • 35 CONTINUED:

35

~::n···.

.: \

.__...

,

How do

day?

I

MAX

feel

by .the

end of

the

THE

GUYS

Are you sad because you're own?

Pf~

lY

J

.._

()

No;

I

MAX

get by

with· a

from my friends ...

little @J.

  • 36 ·

..

~·,·~o··

..

'-'··

.

16. 35 CONTINUED: 35 ~::n···. .: \ .__... , How do day? I MAX feel by
~ INT. TAVERN - .NIGHT . ~n 36· A lon~~~r~f The local of·f-carnpus hot spot. stained
~
INT.
TAVERN
-
.NIGHT
.
~n
36·
A lon~~~r~f
The
local
of·f-carnpus hot
spot.
stained
wood,
a
pool
table,
pooths
and
fake
Tiff any 1
Waitress
brings.
a
pitcher of beer to
the
Delta
table;
.
~
MAX.
I
get· high
with
a little
·he~
my
friends
THE.GUYS
.Gonna
try
with
a
little
help
from
iny
friends.
WAITRESS
Do you need· anybody?
MAX
.
I
need somebody to love.
WAITRESS
Could it be anybody?
MAX.
I
want
somebody to love.
The
guys
watch
her
swaying
hips
as
.
MAX
Would you· believe in
a
love
a
first .sight?
Yes ·r•m ce~~Jn that it.ha~~")!,
the
time
..
~
MAX
What
do.you. see when you
tur~ outD
the light?
.·~
(CONTINUED)

17.

36

37

f

38

CONTINUED:

36

I

can't

mine.

JUDE

tell

you~ but

I

know it's

EXT.

LABORATORY ROOF

NIGHT

37

Jude

takes

his turn

the

Beta

Theta

Chis.

on

the

MAX

'golf

ran.ge[lUJing

§.

·oh

my

I

get by

friends

with

a

little

h~m

The

hip

flask

is passed around.

.(0JJ

balls

toward

EXT.

I

get high ~th a little.he.~

my friends

...

~

COLLEGE CAMPUS.- NIGHT

011.

.The

guys

run

full

tilt across the lawn,

pursued by

38

the

jocks.

MAX.

·ob I-'m gonna try with a little· help

40

frbm my friends

..

·

.

INT.

FRATERNITY HOUSE

-

NIGHT

~

39·

:The

guys

break

open more beers

Do you

. THE

GUYS

need anybody?

and pla~rs

8'1.

H

I

MAx

just need somebody to .love!{~)1

THE GUYS

Could it

b::;nybody?

I

want

somebpdy to

love.

~

. ~- . ~

and

bongos .

- EXT.

COLLEGE CAMPUS

DAY

·

.

.

.

~

.

Max drives

Jude

and

a

couple

of buddie

battle~scarred Pontiac Bonneville conv

rouna·the

rtibl

.

campus

40

in

a

Oh

I

MAX

get by with

my friends

a little

0

hel~

(CON"TINUED)

  • 40 CONTINUED:

18.

40

.... : ~-·; . : ··we~ -~~act~ ~s the car ·diives·bf. What's ·his son doing with
....
: ~-·; . :
··we~ -~~act~ ~s the
car ·diives·bf.
What's ·his
son
doing
with
those ~allege kids?
MAX
Mmm,
I'm
gonna
try with
a
little
· . help
from my friends
...
JUDE
little~
:~ ...
Oh
I
get high
with
a
from my friends ...
·e
41
EXT.
QUADRANGLE
-
DAY
The guys stand in t~e hallowed heart- ~-fPr ceton, a
cloistered ivy-covered square.
They
i
·
the
song
like
a
col~ege Gl~e Club.
ALL
~n
Yes
I
get -by with
a
little
Ulp ~
·
from my
friends,
·
·
~
,,,.·.·.·
~ith a
little
help from. my fri
s!.
42
EXT.
LUCY'S
HOUSE
-
DAY
42
Lucy
comes
home
from
school
to
find her mother,
BARBARA,
standing
in
the
doorway·of ·their
high-end
suburban
home.
She's holding
a
Western
Union
telegram.
Lucy
runs
down
the
path,
tear~ it open and screams~with joy.
INT.
LUCY'S HOUSE
-
DAY
43
Lucy
runs
excitedly through the
house
·
up
the
sta~rs to
0
.
·
LUCY
(V.O.),
·
It
won ,.t
be
long· -
yeah yea
It
won't be long
-
yeah.yea
[T~ )l
It won't .be -long
. Till
I
belong to
you!
~.
·
·
Her litt],.e
sister,
JULIA,
looks at her~she's
crazy.
44
INT.
LUCY'S
BEDROOM -
NIGHT
44
CLOSE
on
a
framed
photograph
of Lu~y a
el,
taken
at
that High School dance
..
Lucy is looki~"t t,
sitting
at
her dressing table.
·
·
LUCY
Every night when everybody has fun,.
Here· am I
si rting all
on my
own
0
~
(CONTINUED}

19.

44

0.

0

45

0

CONTINUED:

 

44

She

picks-up the

telegram

and

turns

to

two girls

in pajamas

. sitting

on

her bed

-

Julia

and

Daniel's

sister,

Emily.

LUCY

 

It

won't be )ong

 
 

JULIA/EMILY

 
JULIA/EMILY
 
 

Yeah,

yeah

 

LUCY

 

It

won't be long

 
 

LUCY

 

It won't.be long

 
 

JULIA/EMILY

 
 

Yeah

yeah

 

LUCY

 

Till

I

belong to

you.

· Since

yo~ left

me

I'm

so alone,

 

Now you're

coming,. you're

coming on

 

home,

.

I'll" be

good like

I

know I ·~uld/

 

You're

coming home;

you're

co

·

home.

·

 

45

EXT.

HIGH SCHOOL -

DAY

a~·

..

Lucy is

among girls

arrivin~ in

cars

 

at

the·start

of another day _.

 

LUCY

{V.O.)

.

··

 

Every night,

the

tears

come

own

 

·

from my eyes

 

·

. Every day, ...

cry

·

.I've ·done nothing~

 

A girl-friend falls

in step.with her

 

·

 

GIRL-FRIEND

 
 

When?

 
 

LUCY Next weekend.

.He got

a

pass

before

 

his outfit ships

out

 

_

·

·

0

19. 44 0. 0 45 0 CONTINUED: 44 She picks-up the telegram and turns to two
  • 49 CON T.JNUE D:

21.

49

.0

50

·O

\.

'

0

He takes

a

hit

from

the· hip

flask

and

hands

it

to

Jude.

Lucy,

Emily

and

other girls

come

out

of

school.

lights

sings 'Dri::b~y::r~;d:::et,: :rhi~e: ·

up

as -she

sees ·Max.

He

stands .up on

the

Lucy's

ca·r

seat

face

and

Yes

I'm

gonna be

a

star

Baby yoq.can

drive my car

And maybe

I

love

you

€~3

.

t::::::::::-

.._

·

·

·

Beep beep'm beep beep yeah!

~

He hits

the horn

in. syn.ch with

the

la~.

Parents

and

teachers give. disapproving look_s.

TEACHER

Who is.that?

LUCY.

·

(with

a

My· brother's

smile)

back.

~Tl

\i. ·"ZJ

~

0?2).

Max tosses

her

the ·car

keys

and

she

catches

them.

INT.

BONNEVILLE

(TRAVELLING)

-

DAY

Lucy is

Jude

is

giggles

driving with. Max beside her

squeezed in

the back with four

.

an~·1

g

s

.

and high-spirits.

50

on his knee.

fu.1,1 ·of teenage

Asked a·girl

.

MAX what

she

wante ~

She

said baby/

can't you se

I

wanna be

famous/

~

e

A.star on the screen ·

But you can do something in_ i:::::=:::l

~~~

THE GIRLS

can drive my

gonna be

a

49 CON T.JNUE D: 21. 49 .0 50 ·O \. ' 0 He takes a hit

~aby you

Yes

I'm

car

star

Baby you- c·an

drive my car

love

you

. And maybe I' 11

Their voices

shatter the peace.of the

why should

they

care?

 

MAX

 

I

told that

girl

were good

{MORE)

that my pro. spects. 0

49 CON T.JNUE D: 21. 49 .0 50 ·O \. ' 0 He takes a hit

(CONTINUED}

- . -~j

..

: ..

:

~:

.

.

  • 50 CONTINUED·:

·22.

50

..

...

 

MAX

(CONT ID)

 

And she

said baby~

it's

understood

Working "for peanuts fine