Académique Documents
Professionnel Documents
Culture Documents
Screenplay by
Story by
Dick Clement, Ian La Frenais
'\c vJuQie
Tayrnor
-,
Pr0perty of:
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FADE IN:
E~T.
{TRAVELLING). -
DA~
Jude sits on sacks of produce with his~'l1gainst the tailgate. 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
much it makes you sorry;
Still? you don't regret a s~e
day ... Ah girl ...
0
MONTAGE
~hrash
3
version of
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
\
}~--,
, __ /
)
(CONTINUED)
2.
3
CONTINUED:
VOICES
Helter skelter, helter skelter
Helter skelter! Look out Helter skelter, helter skelter
Screams of panic as a tank rumbles infr~
\_( ~
~ll
\.( ~
petrifi~.--
011
. 4
.SHOCK CUT to the same girl - another year, another time: the
mid sixties, a time of innocence, at a High School Dance as
Lucy Carrigan sings 'Bold Me Tight' into somebody s eyes:
LUCY
It feels so right now,
Hold me tight,
Tell me I'm the only one ...
The SHOT devel9ps to reveal who she's
but a pink-cheeked crew-cut boy named
LUCY
And then I mi_ght,.
Never be the lonely one,
WIDER ANGLE reveals the dance, the flo r
ed with other
couples holding each other tight. The 1"""'-..-'!--'1-=_-.i:11owers stand
around the edge holding glasses of
h and wondering
when someone will ask them. . .
The four man band on stage are only a
e older than the
students and look li_ke they play bar m1fr.~
va1J. as well as High
School hops~
-~
SINGER
So hold me tight,
To-night, to-night,
It's you, you you you
3.
CJ
INT.
anoth~r
MOLLY
Hold. me tight,
Let me go on loving you,
To-night to-night,
.
lave to on1 y you ...
Ma k ing
IJ~
lY_J ()
:)
So hold me tight,
to-night,
It's you, you you you ...
Tq~night,
of~es;
~nger_
The song be.comes a mixture of voices Molly and the harmonizing of the other~
on. stage,
VOICES
~
Don't know
(\
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,
Never be the lonely one
The distinctively English voices
. '6
EXT.
SUBURBAN ST~EET
r:
(BROOKLINE, MASS)
So hold me tight,
To-night, to-night,
It's you, you you you
- NIG T-
whiJ?:'~1.et
~
fences and
'
'
~~l~f~
{CONTINUED)
4.
6
CONTINUED:
_wi~
;=~
(V~
0.)
Hold me tight,
Let me go on loving you,
To-night, to-night,
Making love to only you
JUDE
Better not be Phil Scully.
VOICES
So hold.me tight,
To-night, to-night ...
8
~
MASS)~T
She breaks aw
DANIEL
I'll be back in a couple of
They give you a furlough
camp.
Daniel reacts
rr~1_
af~t
LUCY
And after that?
(CONTINUED)
5.
8
CONTINUED:
You -
00-00.
nm
INT. SHED
DOCKS - DAY
10
JUDE
Last one ever, Cyril.
CYRIL
I el~ the same at your age.
ind him:
PHIL
Move it along! Some of us
thirsty and the pubs
five minutes!
haveb~
11
11
()
PHIL
You're gonna miss this
place~
(CONTINUED)
6.
11
CONTINUED:
11
JUDE
Don't count on it, Phil.
Jude takes a last long look at the shirly~.rd
.. _ That was the
past. What lies ahead?
(j
lJJ
12
12
13
13
~Tl
lig~ts
an
but
an old
a small
MARTHA
I've-ironed your best shirts.
when will I hear from you?
So
JUDE
I'll write from Lisbon. Th n e
to Trinidad. And then Amer~ca!
MAUREEN
. ("\
If you wanted a seafaring l~Mersey ferry? Least yQu-'.d
for your.supper every night.
She hands him a pile of clean
14
INT.
BEDROO~
h()m
clothes. 1 .._~~~ 1
14
~ove
7.
15
(')
~/
16
15
3-
16
~ ~
MOLLY
I
--- .
JUDE
MOLLY
\(v ~
c:=J
17
f(~1
17
JUDE
[L
.r";.
.,._1.
8.
BROOKLINE - DAY
18
19
FREIGHTER - DAY.
wit~
19
~s
20
INT. GA~LEY
FREIGHTER ~ DAY
\_,,
20
~s
and cards.
(V.O.)
21
Sc~
22
EXT~ PERSONNEL
CARRIER
rr
~l
(TRAVELLING) ~
stick~on
22
ither side of
All my
All my
{CONTINUED)
9.
22
22
CONTINUED:
JUDE
{V. 0.)
All my loving
All my loving . ..
.. .::~ \,.:.
\--:
..... -,.:.,.
{V.O.)
n~
EXT.
23
~CE
f
r affection is one
uarte back .....
f~on
...
.,
.,..
.
PRUDENCE
-
.
. And please, sayto me
-~
You' 11 let me hold your hand
. .
Now' let me hold your hand,
.
I want to hold your hand.
10.
nin
9
'
.
PRUDENCE
l!l...j_ ()
And when I touch you
~
:r feel happy inside.
C
)_
It's such a feeling that_ my o e
I can't hide, I can't hide, I
't
hide.
~
Yeah~ you've got that som_et 'n
I think you'll understand.
When I' 11 say tha.t somethin~Tl
I want to hold your hand, \., ~
I want to. hold your b~nd,
1:::::::::::::I want to hold your hand.
~
app+,oact~~~-
25 ..
PRINCETON UNIVERSITY
DAY
.:::
His
26
~
walk~owers,
spires
ants.
Papers
fly out of a folder but there's no ti..m
trieve them. He
runs across the lawn past stands of a~~~rees and almost
Corn~
Excus~
me, ~?:ouknow where~
find Professor Huber?
MAX
No such person.
JUDE
Professor Wesley Huber.
MAX
Buddy, P ve pissed off every Prof()
in Princeton and he's not on~f
them ... Wait, there's a Wes
.
That's him over there.
(CONTINUED)
26
11.
26
CONTINUED:
lJlj {)
JUDE
~-.
) nd
seaman Is
WES
r:::::::~,Jl
JUDE
~- ~
.0
Then he
My mother's Martha
Fe~ny.
fath~r.
THE SAME
(LATER). -
it off.
EXT.
so..
JUDE
27
DAY
Ju~.~~
s
~
~~T
27
H
0
~
(CONTINUED)
....... :
'
... ~
27
L.. f
WES
If I'd known about you.:.
nf?\
JUDE
t~.
JUDE
WES
Did she find someone else?
.
c;?_:("':J
1.~;b
JUDE
WES
Look, kid JUDE
.Jude.
WES
Jude, I have a family .
.kids -
~
Wie,~
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.
.
..:;
13.
28
NIGHT
28
The caIIJP.US is still. . The clock tower. shows ten after twelve.
29.
29
30
A Palladian
.
.
..
31
v_ ()
31
Aw shit.
:DY
VOICE
32
fr'~~
32
nd fan out,
ously close.
as
Max angles off and shoots through the door -dust before his
pursuers come into view.
1.4.
33
.NIGHT
~hey
hear
MAX
Jud~
ro~~riitor's
011 .
MAX
Why?
JUDE
Why d'you need to know?
MAX
JUDE
I'm English.
MAX
Interpol!
FB~
~om.efP~1
JUDE
~
jumped ship~- I came here~
see ... a distant relative.
MAX
fro~
LiVerpooi~
(CONTINUED)
15.
33
CONTINUED:
33
MAX
pocket~fers
.
it.
34
ll
-~
35
~g
ou
key.
~
I' 11- get by with a little h 1
r
my friends.
THE GUYS
Get high with a lit.tle
his friends.
off er
litrle~
him a joint.
. THE GUYS
rr~1
(CONTINUED)
35
16.
35
CONTINUED:
MAX
~::n.
<.: \.__...,
THE GUYS
Are you sad because you're Pf~
own?
lY.._J ()
MAX
36
@J.
~
~n
36
MAX.
WAITRESS
Do you need anybody?
MAX
I
WAITRESS
Could it be anybody?
MAX.
I
want somebody
to
love.
Yes
rm
ce~~Jn
the time..
that
it.ha~~")!,
MAX
.~
(CONTINUED)
36
17.
36
CONTINUED:
JUDE
you~
I can't tell
mine.
37
NIGHT
37
MAX
get high
.(0JJ
~th little.he.~
~
a
my friends...
38
h~m
011.
38
.The guys run full tilt across the lawn, pursued by the jocks.
MAX.
frbm my friends .. .
INT. FRATERNITY HOUSE - NIGHT
~
pla~rs
. THE GUYS
MAx
I
. ~-.
DAY
8'1.
H
~
Could it b::;nybody?
40
and bongos .
.love!{~)1
THE GUYS
39
~
. ~
40
.
hel~
(CON"TINUED)
40
18.
40
CONTINUED:
we~ -~~act~ ~s the car diivesbf.
those
~allege
.... :
~-;
.:
kids?
MAX
JUDE
Oh I get high with a
from my friends ...
41
little~
t~e
:~
~-f
Pr ceton,
i
a
the song like a
ALL
~n
Yes I get -by with a little Ulp~
from my friends,
~
~ith a little help from. my fri
s!.
42
42
43
up the
sta~rs
to
0 .
[T~)l
~.
__
...
44
LUCY
Every night when everybody has fun,.
Here am I si rting all on my own . . 0
(CONTINUED}
19.
44
0.
CONTINUED:
44
LUCY
It won't.be long
JULIA/EMILY
Yeah yeah
LUCY
Till I belong to you.
0
45
a~.
. s
at thestart
LUCY {V.O.) .
Every night, the tears come own
from my eyes
LUCY
Next weekend. .He got a pass before
his outfit ships out . _ _
45
20.
.. :.
.
:':;-.
:
t.
46
46
--:c~
r )
~. "':"'~--/
i)
to you:
47
EXT. BONNEVILLE
(TRAVELLING) - DAY
Bonn~ville
bar~elsown
LUCY
(V. 0. )
47
the Highway.
r:::~:>:n.
~~~1y::::0:o::::,~::~~eic~oh:ng n
.g
~ut-:'
picture
48
r .
iz:
lS.
"{;~~Jl
_I~-r
B
Every day
be happy,
Now I know that you won't 1
no inore.
It won't be.. 1.:ong yeah r yeah,
It won't be long yeah, yeah,~
It won't be long yeah, y~ah,
49
a~es
~
the door.
49
(CONTINUED)
-'. -~j
49
21.
49
CON T.JNUE D:
.0
~:
Lucy, Emily and other girls come out of school. Lucy's face
lights up as -she sees Max. He stands .up on the car seat and
la~.
Parents and
~Tl
\i. "ZJ
TEACHER
Who is.that?
0?2).
LUCY.
(with a smile)
My brother's back.
Max tosses her the car keys and she catches them.
50
INT. BONNEVILLE
(TRAVELLING)
50
DAY
i:::::=:::l
THE GIRLS
you can drive my car
Yes I'm gonna be a star
Baby you- can drive my car
. And maybe I' 11 love you
~aby
'
. :..
{MORE)
0
(CONTINUED}
..
22.
50
50
CONTINUED:
MAX
(CONT ID)
Lucy pulls the car _up outside a house -~~f the girls get
out and .wave good-bye. Lucy angles th~d~ng mirror so it
refleCtS Jude IS face
..~
n.
LUCY
~ ~
JUDE
~ v
()
MAX
This is Jude, he's from Liverp0ol.
LUCY
Wh_at brough:t you. to Brookli~?
JUDE
Your brother.
. EXT. LUCY Is
51
HOUSE -
.
51
DAY
}.c.
_11
?f
THE GIRLS
(V.O.}
rt~1
-~
.....
23.
~t
._
:::
LUCY'S HOUSE
52'
NIGHT
.::
The family is. seated round an ova~ table in the middle of the
main course. The ones we h~ven't met ~re Max's father, ALAN
. CARRIGAN, a. lawyer just turned fifty, lar~CLE TEDDY,
Barbara's btton-down older brother., ~-~ts opposite Lucy
- and Julia as' the conversation whirls a~him and dishes
are offered and passed on. .
.
. ~.
ALAN
. ..
.;.
~f
. MAX
You'd have said no.
BARBARA
.
I never knew Princeton .had
program~
ALAN
They don't.
()
MAX
.. _:
_.
brains.
do~
~
.ALAN
. ~~~;s;:~-tures?
You dropped
BARBARA
(staring
at Max}
Is that
f.ashioriable?
rf~. .
~. .
MAX
Is what fashionable?
.ju.st[[~1
.~
(CONTINUED)
....
.,
52
.
24.
52
CONTINUED:
'
ALAN
I washed dishes to put myself
through college: ..
.
BARBARA
You've .never washecl one
More pot roast, Jude?
...
:--.
sinft~
LJJ._J ()
t ..
JUDE.
-~
UNCLE TEDDY
Do you have ariy idea what Y~ll
father pays for those_ tuiti~ ~?
(casua~)
-~
. ., .
~-
BARBARA
Don't be ridiculous.
-MAX
trip.
Sometimes I eel I'm~
drowning _in a sea of corduroy.
..
.
ALAN
What would you do if you dr~o.
Buy a hippie wagon and driv ~r ss
America?
.
.
h~1
,'
(CONTINUED)
52
CONTINUED:
25.
. 52
( 2)
A. shocked.silence.
Oh come on.
nm
3.!
Mh says so serfously.
53
EXT.
REAR GARDEN
LUCY'S HOUSE- -
NIGHT~
..
53
~
Sorry.you had.to sit throug tti .
Is it like this at your hou_~
JUDE
~
Not really.
It's just me ~
Marn. And my education is ra ly_
topic of conversation.
LUCY
. JUDE.
.
The Dingle Street School. fo~
. Wayward Boys.
I le_ft at fi
e
.
~
ar te
O.
from his
LUCY
LUCY
He found meJUDE
in a.boiler roo an
moved me into his Fraternit Hous .
Delta Tango X-Ray or something.
It's all Greek to me.
0
.~
{CONTINUED)
-53
26.
53
CONTJ;N_UED:
JUDE
braces~
JUDE
.'
Yeah. We use them to keep
trousers up.
MAX
54
in his head
(V.O.)
(CONTINUED)
,::
27.
54-
(~ .
'--___/
: CONTINUED:
~4
Da~da-da-da'n'da.
~Tl
~. -~
~
\_( V_ (}
.o
my
JUDE
like it~
MAX
.
. .
. :
again.
:.. ;
':
28.
EXT. BONNEVILLE
(TRAVELLING) - DAY
55
he's falling
JUDE
An.d she. keeps calling
Me back a gain ...
1
MAX
(turning to him)
She's got a boy friend.
JUDE
(with a gr-.:Ln)
That's okay. .I've got a girl
friend ...
The car approaches a junction . . One wa~eads to New Jersey,
one to New York. Max lets out a rebel y
s he takes the
New York road.
.
56"
. INT. LOBBY
~- .
56
allpaper. Jazz
comes fr.om one apartment, a crying ba9f~, another.
57
INT. HALLWAY
57
. SADIE
You the two who called?
[("~~
MAX
~u
~
(CONTINUED)
29.
57
o.
58
CONTINUED;
57
::
She gestures them inside and sashays ahead. The two guys
exchange looks. What a babe!
58
SADIE
'
\.l
JUDE..
We could do tha.t.
.SADIE'
she picks
:v:
::::~=by
. .
with a
SADIE
racc~r
.
~..
gonJ1a wa ~
~~~k~e~~s~:~c!'.m
No problem.
JUDE
j
We're students.
Max.
~
(CONTINUED)
.... ..
30.
58
ss
. CONTINUED:
SADIE
Max, Jude ...
(she smiles seductively)
I'm Sadie.
001
JUDE
Are you famous, Sadie?
Not yet.
SADIE
..
.
~ar
on it.
SADIE
~ ~
That's me. Out of bounds. ~'
through here. _D~yo have .a
.
memory for .faces?
MAX
I think so.
Why?
~-
SADIE
There's no mirror in your bathroom.
INT. BEDROOM
59.
lilhat a fox!
woman.
. 0
JUDE
Listen,. I '11 pay my share o . the
rent. Soo:::s I get a,job. ~
the rooftops.
MAX
60
DAY
We can
ffi;)
OLVE TO: .
,..
31.
61
YOUN~
-0
62
comfort~as
BOY
a young boy
Daniel's dog tags fall. from the mothe~and onto the front
door step.
EXT. INNER CITY (DETROIT) - DAY
62
eleven.~ands
of
. _ YOUNG BOY
~And in my hour of darkness .
She is standing righ_t in fro
o
me
.
.
.
Speak.ing words of wisdom
-~
Let it be.
.
Let it be, let it be~
.
Whisper words of wisdom,
.
Let it be.
The SHOT develops to reveal a street sign _()'Eight Mile'_
This is Detroit in the aft.erroath of i
~~ riots.
Looters
run behind the boy as gunfire crackle~--
; .:
32.
. l
.:
. : . 63
63
GOSPEL SINGER
(BROOKLINE) -DAY
EXT. CEMETARY
64
GOSPEL SINGER
For though they may be parted
There. is stilla chance that they
will see
There' will be an answer, let it be.
The CAMERA PANS up to the treetops and blue sky ..
INT. CHURCH
65
(DETROIT} - DAY
65
0-JO, supports
ER sings:
GOSPEL SINGER
Let it be, let it be.
INTERCUT
the last
betwee~
v~rse
.
. -~
.
gri~ving. families~.
the
is sung by a full gospel
r.
GOSPEL CHOIR
And when the night is cloudy,
There is still a light that ~
on me,
Shine on until tomorrow
Let it be
two funerals as
.:
..
. 33.
66
EXT. GRAVEYARD
66
court.
GOSPEL CHOIR
There will be an answer,
Let it bef let it be,
lYJ cJ
le~-
~-
NIGHT
kiss.
67
CJ
69
EXT .. BUS
STATIO~
. (DETROIT) - DAY
68
69
NIGHT
70
- DAY
71
STREET PERSON
Here come old flattop he
Grooving up slowly
()
com~e
."
..
-.~:....:.J
34.
72
II .!A
STREET PERSON
.~ .
Mancha'
He.
He
He
He
He.
73
'The Lion~ter',
STREET PERSON
wear no shoeshine
got toe-jam football
got monkey finger
shoot Coca-cola
say ".I know you .. . "
'Man of La
-~
JO-JO
74
STREET PERSON
~.
h~ el
75 .
or a shuffle
rrow guys in grey
[('"'\?'.~.
~NT.
75
(CONTINUED)
..... -
....
75
0
76
35.
75
CONTINUED:
76
. 77
- DAY
77
sticker~ns
and De-cals:
g not Fight',
'
Different denizens of the vill.ag~ share. out the. li:q.es as JoJo ~alks past.a coffee hous~, a head shop, aBlack Muslim
bookstore and record shops. Someone bands him a. leaflet for
a 'Be-In' in the park.
~
VOICES
He bag production.
78
_INT.
rolle~ster.
w_
He reaches
read_s a sign:
h. a 1 ?, . .
78
..
...
~-
~=
36.
EXT.
79
80
81
EXT.
~windows
81 .
.82
INT.
CAFE WHA'?
CLOSE
on-S~die
NIGHT.
82
He roller-coaster hegot
Early warning ..
He got muddy water
~
He one mojo filter, he. say ~
Jo-Jo's ill
them Jude and Max, who've hitch~d up w~
.
o n away, among
ouple of girls.
SADIE
Over me ...
83
INT.
83
(V .o.)
Come together . ..
..
37.
84
.. .
! . . .
The sun '.s first rays glow over rooftops and fire escapes ...
SADIE {V. 0.)
QC;1
Come together . . .
85
o~oft.
..:
85
SADIE (V.O.)
Come together. . .
o.
87
86
87
rJC:~1~ng
Polaroids of
Jude is across the other side of the
the group. The bathroom door bursts o~Prudence steps
.into the room, water pouring off her clothes onto the floor .
Jude stares at her. ~hey don't know each otoer.
SADIE {V. 0. )
Come together . ..
. {CONTINUED)
:..
~.....
87
38.
87
CONTINUED:
JUDE
PRUDENCE
Prudence.
fl~
JUDE
Prudenc~
PRUDENCE
Nowhere.
-~
JUDE
Before nowhere?
()
PRUDENCE
wi~
~
PRUDENCE
He was a mistake.
Sadie wanders over, curious about the~wcome~.
SADIE
Where did she come from?
JUDE
She-came
window.
in through the
SADIE
(V. 0.)
Come together . ..
88
bat~
~
88
wer.s.
BARBARA
[:Z
~
(CONTINUED)
39.
88
CONTINUED:
88
BARBARA
In New York?
LUCY
(/=\
It's just for the slimmer, t~I I.Jo
to college.
~
BARBARA
~I shudder to think how Max ~or
what he's getting up to. Y~~
he always attracts the most~s
people.
LlJCY
He makes me laugh.
BARBARA.
Hes probably surrounded
promiscuous dope fiends.
0.
89
~
by~
LUCY
l don 1 t even smoke, Mom. The
city 1 s not going to change me.
know who I am and so do you.
Barbara doesn't look convinced.
INT. CAFE WHA'? - NIGHT
SMASH CUT to Sadie singing a full-on
.. 'Why Don't We Do It In The Road?'.
~
.;~esque
89
version of
SADIE
Why don't we do it in the r~~")l
Why don't we do it in the r~
Max enters with Lucy.
Prudence are.sitting.
He takes he.r . t~
a bo. h where Jude and
MAX
SADIE
Why don't we do it in the road?
Why don't we do it in the road? ()
No one will be watching us
Why don't we do it in the r~
(CONT:fNUED)
.. 89
40 .
89
CONTINUED:
PRUDENCE
Isn't she fantastic?
LUCY
N.
N
Amazing.
PRUDENCE
She's our landlady.
LUCY
PRUDENCE .
~
.fJ
. ~
Why don't we do ~t ~n the _roa . . .
Why don-'t we do -it in the
a .
Someone else is watching Sadie. intent~LL is in his
thirties. He must be cool, he has a e
.and a trim beard.
SADIE
90
Music
JUDE
Does it enhMce
~
(CONTJNUED)
90
41.
90
CONTINUED:
LUCY
)_
LUCY
\..
JUDE
\l
LUCY
(}
I.~
She nods.
He
subdu~
JUDE
mean, I
LUCY
kn~
~
~
LUCY
A letter came for Max bef or
eft
home. I couldn't bring mys
.
give it to him yet.
~
She digs into her shoulder bag and bi
with the ominous inscription, 'Depart en
.t an envelope
Defence'.
42.
91
LUCY
..
You shouldn't have dropped ~
college, Max.
~'fl
~ ~
PAM
~
JUDE
What exactly does it say?
-~
\., v
(}
MAX
Says I' have to report to an
induction center on the seventh.
PRUDENCE
Bummer.
SADIE
So you have a week, ho~ey, t
contract some fatal disease .
JO-JO
.
.
o.
DESMOND
Say you're a homo, Max.
take homos.
JUDE
Or show up wearing a
The
o
woman's~
(CONTINUED)
. 91
. 43 .
91
CONTINUED~
PRUDENCE
you want to
him ..
He
MAX
Could we order -
WAITER
A minute!
~T:l
JO-Jo
tha~
m-JO
92
You
92
s Max's through
the entire song, . s_ometimes multi-trac
.
he- .song is 'I
-~
Want You'.
1
_ ~ .
naked,
scare~recruits,
tbei~over
butt-
them.
0
(CONTINUED)
92
.4 4.
92
CONTINUED:
'SERGEANTS'
I want you!
~.want you so bad
I want you-00-00
I want you so bad
It's driving me mad
Drivi-ng me mad
fl(/=\
l.!fj "Q
~
M~y-sical:
.PACO
93
A~f
activ~sts
is
He
Paco
PACO
Peace march next week on Fi
Avenue. Be there!
.94
r-\
't11
DAY
94
~back.
SERGEANT
Any reason you shouldn 1 t be_ in
t~s
(CONTINUED)
~'.
94
45.
94
CONTINUED:
MAX
[lif?)
hE3t
~
95
95
fh;fui
JUDE
LUCY
.~o
H
She's in love.
I know, butJUDE
I don't think M~
interested.
LUCY
.e
o sn 't?
.
~rudence
96
looks.stricken.
0
t~the
96
same yindow
from within.
Love Away'.
. (CONTINUED)
4 6.
96
CONTINUED:
.96
_- ..
_:.
.':
.-":;:
PRUDENCE
..; -.
Prude~c~~~his
elliptical
~:.
~
your~o~
a~ay
~-
97
passin~g
steam vents.
PRUDENCE
Again
your~
got to hide your love
98
98
NIGHT
to reassure
Max.
DESMOND
. Yeah.
~o
Jail or Canada.
.Q
(CONTINUED)
47.
98.
i.
DESMOND
Montreal's cool.
PAM.
Learn
F~
~
~f
()
fro~
;~c~eart
stubbing out
~(\
If I give
to you
must be sure
an~ s~es
rr 1
~les,
Jude turns
her gazing at him.
knowing
he'. s in her thoughts. He joins her and they dance together,
slowly, cheeks touching.
It's the most intiJQ.ate they've
been.
Lucy sings. over his shoulder.
U
()
.~
(CONTINUED)
:.
;
. ::.J
98
CONTINUED:
MAX
They speak French there;
~,,,
;,k~
98
48.
98
CONTINUED: -( 2 )
; .~,: ::_
:- ~!;. ::~
LUCY
So I hope you see
That I would love to love you
And that_ she will cry
When she learns- we are two
'Cause I couldn't stand the
And I would be sad if our
Was in vain
f.:. .-
~SOLVE_!,?=
99
INT. BEDROOM
~.
99
LUCY
~
If I fell in love with you...
~OLVE TO:
.
100
100
Oh.
Speaking as .a bro.ther, I
could do better~
Get out
of
th~
LUCY
here, Max.
MAX
ha~
101
~
(CONTINUED)
.. ....
-~
.101
49 .
101
.CONTINUED:
SADIE
Prudence, come on, sweet-pea, we
all love you.
()
\'
LUCY
How long has she been in
'SADIE
(with a shrug)
. She was there when I ~oke
.MAX
S~-~nocks
gently on
SADIE
Dear Prudence
Won't yo~ come out to play?~
Dear Prudence,
~ v ()
Greet the brand new day
The sun is up, the sky is blue
It's beautiful and so are you
Dear Prudence
Won't you come out to play?
INT. CLOSET
APARTMENT - DAY
102
JUDE
INT. LOIT
A::T:::o:r:;es. ..
Dear Prudence,
103
., .
. ~~~
Jude~
. ,
~.
103
JUDE
Dear Prudence,
See the sunny skies
. The wind is low
The birds will sing
That you are part of
Dear Prudence
Won't you open up your eyes?
everyt~
0
~
(CONTINUED)
.JU.
103
CONTINUED:
103
. -~\:
: I:'
::~; :
ALL
n~
Prude::~;~
bear
Let me see you smile
~
Dear Prudence,
~
Like a little child
..:: ...
.
lJd_j {)_
Prudence.bli~
the lrght.
ALL
104
c=J
MAX/JUDE/LUCY
Dear Prudence,
Greet the brand new day
..,
Dear Prudence
EXT.
(CONTINUED)
51.
.104
CONTINUED:
104
worry~,
She grips
Stop
sis. Maybe
talk to his.lawyer friends,~n
tal~ to their lawyer friend
i
D. C. Who knows? Or I might go J.:
the army and not get shipped
anywhere~
I'll play a lot of cards
and learn to box .
.!
0
105
105
coffee house.
BILL
Sign with my label, Sadie.
put you in a studio within ~~~
and get you. a publishing ~e
H.
SJl,DIE
~ounds fantastic,
Bill. Ju
talk it over with the guys.~~-=-~,,
BILL
You don't have to talk it o er wi
the guys.
1/7~)1
His inference troubles Sadie.
She's d~ed by the sound
. of high-decibel rock music drifting down the street.
Heads turn, attention shifts as people read8 to a strange
vehicle barreling down.Houston; an old'175~~f bus, custom
painted in vivid rainbow swirls.
~ .
(CONTINUED)
.:;;
..
105
:.:~~
.
.I
:/\"---,
52.
105
CONTINUED:
SADIE
He's a long way from California.
SADIE
What's the word?
106
INT~
BILL
'Drop Out, Drop In, Drop Aci~' .
There's a party for .him ton
want to come?
DOWN-TOWN LOFT APARTMENT -
NIG~T ~
~sluce~t
106
LUCY
Whose place is this?
or the clothes
BILL
She's his publishe .
SADIE
Isn't it wild?
Where's
th:~::~al nroormoma?l'? ~
What do you.mean,
~o~~
JUDE
Well, like when you come
'the end of the day.after
day's graft and you want to kick
. off your shoes and watch the 'tell~ .
Where's that room?
(CONTINUED)
.~
..
106
.o
53.
106
CONTINUED:
The crowd parts like the Red Sea as DOCTOR ROBERT enters .
ca~eCJ1
to reel tape
. -~
)
DOCTOR ROBERT
I am he, as you are he,
~
As you are me and we are all
together.
.
The party guests nod sagely, digging
DOCTOR ROBERT
See how they run,
Like pigs from a gun,
See how they fly.
I'm crying.
.
it~
(CONTINUED)
.:.;
'f.:-:;.
...
..
54.
106
CONTINUED: ( 2}
106
DOCTOR ROBERT
Sitting on a corn-flake,
Waiting for the van to come.
Corporation tee-shirt,
$tupid bloody Tuesday.
Man, you been a naughty boy~
You let your face grow long
.
I am the Egg-man!
They are the Egg-men.
I am the Walrus,
Goo goo g'joob!
).
DOCTOR ROBERT
~
Mister City P~liceman sitti~ v. ()
Pretty little policemen in a row.
See how they fly
.
.
Like Lucy -in the Sky ...
Jude and Lucy take cup-cakes from an offered tray.
They're
topped with multi-colored sprinkles a~s
they bite into
them they become a kaleidoscope of co
.
.
DOCTOR ROBERT
See how they run.
I'm crying, I'm crying .
. I'm crying, I'm crying.
Yellow matter custard
..
Crabal,ocker fishwife
.
Pornograp.[li.c priestess
Boy, you been a naught girl
;o:l::ey:;:::ickerS down
he trip starts
..to affect everyone's s.enses and perception ..
0
.
l'
~
(CONTINUED)
106
CONTINUED:
55.
106
( 3)
DOCTOR ROBERT
DOCTOR ROBERT
I am the Eggman,
They a re the Eggmen.
I am the Walrus,
Goo goo g'joob
G' goo" .goo g 'joob.
107
EXT. HIGHWAY -
~
~
~-
DAY
107
0
108
INT. BUS
(TRAVELLING) -
DAY
108
The party has spilled over into this mGle leasure palace.
It's packed with an assorted gypsy b a n e s f nstrels and
.
misfits, including Jude, Lucy, -Max, Sa
.
Jo-Jo. The
customized interior contains bunk and
, a fridge.and a
sink. Speakers and microphones everyw
d a .hole ih the
roof"for easy access.
~
DOCTOR ROBERT
Semolina pilchardr
56.
<-,~109
.. I
. \ .
_EXT.
HIGHWAY - DAY
109
-~/
~SOLVE_~~-:
110
EXT. MANSION
(NEW ENGLAND)
DAY
~Tl
110
JUDE
What is that
place?
SADIE
Leagu~
ook wasted. He
otton -shirt.
DOCTOR ROBERT
It's the home of DoGtor Gear
and I have a lot in common. i--..---.~~i
both outlaws, navigators of
uncharted domains~ Cosmic
explorers who've pushed the
frontiers of transcendental
perception . . The extraordina~
thing is, we've never met, .o .
HIPPIE
He says he won't see you.
~
(CONTINUED}
:...-.-
5 7..
110
110
CONTINUED:
.. ~i;:
-~t: .:~...::
Why?
DOCTOR ROBERT
Is he sick?
HIPPIE
Just s-aid he's busy.
DOCTOR ROBERT
n~
Did you tell the sonovabitc~ {)
drove three thousand-miles?~
Rob~rt
gro~~nfer.
Doctor
huddles up with his
move apart to talk among th ems elves.
JUDE
Our group
.....
..
l~
DOCTOR ROBERT
All right, everyone on the bus!
We're going home to California.
.o
~lifornia isn't~o
Hey, Doc!
some of us.
DOCTOR ROBERT
~
What can I say? You're eit ,~
.
the bus or off the bus.
{__j
.
111
fT~,E
.
(LATER) -
DAY
CU.T
111
0
J
~--
\__j
,.-.~-
~
{CONTINUED)
58.
111
CONTINUED:
111
..
LUCY
It doesn 1 t matter! Don 1 t you get
it? I am me as you are he a~ you
are me and we are all together.
n
..
':: ..~------
JUDE
Bit profound for a lad
Liverpool .
fro~nf?\_
.
F)
.JO-JO.
lY.j ()
Det~
LUCY
Do you hear the.
~-
mu:~
LUCY
It's that way.
~:t--
tr~ppin
?
I
JUDE
-~
Maybe.
JO-JO
. ,I
Are you?
JUDE
.
My whole life's a trip sine I hi
New York. Sometimes I feel I'm
JO-JO
1
chick. s from Vassar askin m~to t
g-alleries and homes in the
s
an' shit .. That can mess wi
head, right?
.
.
I
JUDE
as~
(CONTINUED)
lil
CONTINUED:
59.
111
( 2)
They come over a rise - and .now they. ~.hear. the musiC.
It 1 s coming from a small fairground, s
next to an
agricultural Fair in a field.
~----~
112
cr~J
112
~-
113
fairground are
the carousel.
h the girls.
RINGMASTER
For the benefit of Mr. Kite
-There will.be a show tonigh
On trampoline
The Hendersons will all .be ~er
Late of Pablo Fanques Fair
What a scene! .
.
Over men and horses hoops a
garters
.
Lastly through a hogshead.of rea.1-..
fire!
U
In this way Mr. K~ will cha-ff'~.~n~
the world!
~
(CONTINUED)
- ..... .:
.. -:.-:
113
((~
'"----/
60.
113
CONTINUED:
rou
1s
swept along
114
A Bread
~- .
Prudence?
They wave and call her name.
her face lights up .
She spot
!(".~.~ion_=_
.~
61.
115
.()
115
ALL
~
Aaaahhhh-ahhhhhh
~Bee.a use th.e world is round I:::::::::--_
It turns me on
~
Because. the world is round ~\l
Aaaahhhh-ahhhhhh
\. ~
di.rect~-J~de ~nd
b~~~~Gtuffles
Lucy,
the
ALL
is old, love is.new
Love is. all, love is you
~ave
ALL
Because the sky is blue
Ah-ah-ah-ah-ah-aaahhhhhh ...
The voices fade away and are replaced ~-thing much more
ominous - the CHUG CHUG CHUG of ~mili
licopter ...
116
EXT. JUNGLE
(VIETNAM) - DAY
116
.
nam.
Soldiers
whir ing rotors and
.62 .
117
a. stool
on from
Robert
118
119
119
Bil~
EXT. SDR
HEADQUARTERS-~
NIGHT
120
121
c=J
off copies of a
122
(CONTINUED)
122
~
'-.__../
63.
122
CONTINUED:
pictures~
.f L
:
the.streets,
ert.
An
inues:
e c
~Tl
JUDE
O
124
1Ue
MONTAGE
123
124
Jude~ ues
to sing:
now~
her
You know I believe in now.
She
w.a~es
LUCY
What time is it?
JUDE
Almost eleven.
~
0
(CONTINUED}
-.-
64.
124
124
CONTINUED:
JUDE
You didn't get in till half
two.
pa~t
kn;;~c;ome Columb~
Did you
of
JUDE
I didn't, no.
LUCY
There's going to be a huge ~
on the campus to protest it~-p~
says" we need to radicalize. ~
not enough to hand out leaf~lets
lie down in the street and i
flowers to cops.
JUDE
Will he give you time off to go to
Sadie's gig tonight? It's the
biggest she's ever had.
LUCY
I'll try.
JUDE
Try harder. I miss you:
125
125
SADIE (V.O.}
rr~~ans
126
for Sadie
SADIE
rr 1
()
""'\?
( CONTINl}ED)
65 .
. 126
CONTINUED:
126
SADIE
Oh.Darling, if you leave me
I'll never make it alone
Believe me when I beg you
Don't ever leave me alone.
Bill watches from the wings., behind a 1E5P~f speakers.
Jo s.ee-? him there and shoots him a ;sou~oe
SADIE
~
When you told me
. ~You didn't need me anymore t:::::::::::--_
Well you know I nearly
~
Broke down and cried...
~D
Jo-
SADIE
when you told me
JO-JO
:0
SADIE
You didn't .need
me
anymore
JO-JO
. ~
.. ::
SADIE
.
Well 'you know I nearly brok~
and died
JO-JO
---~~~,
The
right.
SADIE
laying at?
No harm ...
(CONTINUED)
126
66.
.126
CONTINUED: ( 2) .
Sa'die. breaks off singing, pushes the mike away. and walks off.
Jo-Jo quickly fills with a guitar solo, allo~ing the band to
get their groove back.
127
127
Sadie slams into the room, her face ta~.i-'h tension, and
something else. Guilt? She takes a l~ from a bottle
of.Jack Daniels. The guitar solo cont
ver the _P.A .
System. She throws make-up and cloth~t.o_a bag, then
freezes as she hears .Jo-Jo 1 s. voice: ~
~
~
JO-JO (V.O.)
When you told me
You.didn't need me anymore
Well you know I nearly
Broke down and cried ...
128
~-
.((<!1
CLOSE on Jo-Jo singing into the mike:
INT. FILLMORE EAST - NIGHT
128
JO-JO
-When you told me
You didn't need me anymore
Well you know I nearly
Broke down and.died
~The audi~nce
wails on:
roar~
in~h
e~
- and he
Darlin:~-;fease believe~
H
Oh!
I' 11 never let; you down
129
--=~~~
wn an alley. A
and Bill sits
JO-JO . (V. 0. )
Believe me when I tell you
130
130
finish.
JO-JO
I'll never do you no harm!
{CONTINUED)
130
67.
130
CONTINUED:
0
131
!:;~ouldering
a-?h~ The
131
smoke
_doodling~hasn't
shaved for
--~--:comb
same thing
PACO
C=:J
j{JDE
It's
He means the TV, which Paco is pluggin
::.;~
You don't
one, I had a
They're transmitting live from
Vietnam now. It'll ~ake a h
a
difference, bringing the war
1
into people s living rooms.- ~
JUDE
This isn 1 t a living room, i t s
where I work.
He picks up the bowl of fruit, moves
,closes the door.
studio and
0
(CONTINUED)-
'
131
68.
131.
CONTINUED:
LUCY
(emba:rrassed)
Sorry. I guess he's kind of caught
up with what he's doing~
~)
He leaves.
Lucy hesitates
~t~
Jude's door.
132
Lucy opens the door. He turns to her with a smile and starts
to sing: 1 Strawbe_rry Fields Forever 1
Jl]DE
.JUDE
Living is easy with eyes c.:0
,.
Misunderstanding all you see .
It's getting har9 to be some~
But it all works out,
. . It doesn't matter much to me.
Lucy starts to i~agine Ma~ in Vi.etnam.
d of the
strawbe;r:-ry bleeds into layers of red e l g
. .t from the TV.
JUDE
(CONTINUED}
69.
132
CONTINUED:
.132
(VIETNAM) - DAY
133
It's Max.~ings:
\(
Jl
~
~
JUDE/MAX
Nothing is real
And nothing to get hung about.
Strawberry Fields forever.:.-~
~r~~~~k
:.:-
.._-._:_
ach.explosion
erry ball of fire ...
~,
it~
'Ye~ .
I know I mean . a
But it's all wrong,
That is I think I disagree
Lucy is frozen, caught between these
the song..
a~ ical
versions of
JUDE/MAX
.~
0
(CONTINUED)
133
70.
133
CONTINUED:
JUDE (V .0.}
Strawberry Fields forever
Strawberry Fields forever
Strawberry Fields forever ...
134
134
s thelast
at the
.Jude takes
JUDE
.
lih
LUCY
What job?
(072),
JUDE
A logo. For Sadie's record
company. A strawberry. Red,
juicy, sexy -:- get it?
y~~c;o
Pac~?
JUDE
He's a shagger.
.~
.why were
rude to
It wouldn't have hurt you t
LUCY.
A what?
JUDE
A shagger. A Dori Juan.
young vulnerable' women.
LUCY
f('~~
.se~
~
(angrily)
Oh come on! You. know nothing about
him!
(CONTINUED)
134
71.
134
CONTINUED:
JUDE
LUCY
C01J . .
JUDE
Nor will.
you~
Lucy.
LUCY
}1~Emy
u~Lucy
~
Try to see
way,
Do I have to.keep on talkin
can't go on?
LUCY
135
and starts
~I
i
IT~1
t~passers-by:
LUCY
()
(CONTINUED)
:::
135
72.
135
CONTINUED.~
JUDE
nf7=\()
chang'5_~~~anhandler
LUCY
Life is very short,
And there's no.time
For fussing and fighting,
friend.
m(rJJ
~
JUDE
in an
agai~
JUDE
.~
(CONTINUED}
135
CONTINUED:
73.
135
(2)
LUCY
.0
traffic.
JUDE
We can.work it out,
We can. work it out . ..
Across the street, Lucy walks into
closes the door behind her.
the~adqua-rters
~Tl
h~~'
\,
and
frustrated
136
BLACK .RADICAL
. COHORT
We don't resist.
to non-violence.
We're corran
Right?
BLACK.RADICAL
..
Lucy reacts -
~tion'
with
(CONTINUED)
74.
136
1_36.
CONTINUED:
JUDE
;,n~.
.
.
We all want to change the w
.
-.:..:~~/
JUDE.
~
Butwhen you talk about des~jjn
Don't you know you can coun \("~ t
LUCY
~n.
\.,,
~
PACO.
JUDE
right
All right, all right!
Paco signals two of the biggest guys, who try to grab hold of
Jude, but he jumps on a desk and sings~ccusingly at Lucy.
JUDE
table~
JUDE
the
.-
institu~-
ramphlets.
. .
..
Blit
.
You a.in 't gonna make it with anyone
anyhow!
. O
oor~
75.
137
ALL
Don't you know it's gonna
right
All right, all right...
~u-nch
He gets a
in the mouth and a .
sprawling . in t_he gut_ter.
Lucy ;eacts with
_di.~may
through
b~
~
ki~he
~he w~
138
138
.
Still my guitar gently weep~
.
CAMERA finds Jude sitting at a table,
fourth drink.
139
EXT~
SUNSET BOULEVARD
(LOS ANGELES)
on his third or
-~
139
ed lie Porsche_
out:
~ontlng
JO-JO ( V . 0. )
I don't know why nobody told you
How to unfold your love
0
I don't know how
Someone controlled you
ff'~")l
They bought and sold you_
~
album ...
. :-
'
76.
140
JO-JO
I look at the world and I nrt~
it's turning
};JJJ. ()
Wliile my gz;iitar gently weeps
JO-JO/JUDE:
With every mistake we must
be learning
JO'-JO
Still my guitar gently
141
~3.).
.-~
weep~
Jo~Jo g~itar
141
en~e~ lo.ok~
During
s
sqlo, Lucy
around.
Jude's cluttered art space and his wo~~;i~~d tothe walls.
Among the collages, clippings and sketches is the three-strip.
photo of Jude, Lucy.and Max taken at the fair.
The bowl .of
fruit is broken and smashed on the floor ..
142
song:~
JO-JO
I don't know how you were d~i
t
r-'\
You were perverted too
I don 't know how you were i ~
No one alerted you
I look at you all
See the love the.re that's s
While my guitar gently weep
Look at you all...
Still my guitar gently
~~-----
1
~-~ 1
143
A-s the last bars of the song fade, the~o unken friends
-walk through the market, weaving throu li or ers off-loading
pallets of fish from trucks onto waiti
s:
JUDE
Want 9ne more at my place?
()
~
(CONTINUED)
...' ; .,.
~=~
:~
143
77 ..
143
CONTINUED:
~ ain
JO-JO
JUDE
She left Rocky with us
him?
you want
Cl((?)
JO-JO
That cat never liked me.
JUDE
JO-JO
r::::~,Jl
You 1 d better get-home to Luh&, ~.
~ll
JUDE
She might be out fighting
cause.
f ~~
~d
lip.
JO-JO
- Looks like you been fighting for i_t
too.
JUDE
144
144
JUDE
Lucy?
. He goes into the bedroom to find
empty hangers in the open closet.
-145.
ope;~-
and . a row of
gutted.
He lo
145
t$~
-~
0
. (CONTINUED)
~~:
145
78.
145
CONTINUED:
The. wor.ds of the subway ads start to animate with the faces.
He sings 'Across the Universe', accompanied by choruses of
-EXTRAS in each location.
JUDE- (V. 0.)
He
JUDE
(V .Q . .)
H~hnas
~
as they
BARI KRISHNAS_
\l ~
-~
JUDE
t~~:en
whic:,i.,~
Images. of
light
me like a million
They call me on and on
Across the universe
B~fore
146
EXT.
ey~
0
146
147
JUDE
147
,_.
--r-,,
(CONTINUED)
79.
147
147
CONTINUED:
.. .
- ., .
JUDE
Jai guru deva om ....
mJi:;?;/
COPS
Nothing's gonna change my
STUDENTS
w~
\(
Jl
DEAN/TEACHERS
Nothing! s gonna change my
.........
JUDE
~
wor~
w~ld
()
Waving placards, chants and anger surround Jude, but it's not
what he's here for as he geti nearer to Lucy.
JUDE
Sounds of laughter~ shades ~arth
Through. my open views invi t n
And inciting. me
JUDE
It calls me ori and on
Across the universe
Jai guru deva om ...
Lucy.see~
p~shing
~es
Jude,
towards.her.
toward him,
but the Cops have.had-enough - they wa t to reak some heads.
A couple of them grab Lucy by her arms and f et. No passive
resistance from her. She kicks, gouges and shouts.
~
(CONTINUED)
147
CONTINUED:
80.
147
( 2)
JUDE
UP-TOWN -
148
DAY
sirens
blarin~.
,Eijlfel
up-town streets.
\(
.
JUDE
....
-~
(V. 0. )
through the
w~
149
;@.
.
erioos than a
LUCY
My Dad's an attorney. I'll
him. He'll. call someone in
Manhattan.
~
Jude just shakes .his head, knowing it' ..
clouds over - then a thought strikes h r.
LUCY
p~
sible:
Her face
You~
(CONTINUED)
--.~
BL
149
CONTINUED:
149
JUDE
No, I can't do that.
.....
EXT.
PRECINCT HOUSE
UP-TOWN -
unlocked~
nfn
DAY
150
C?LLEGE
CAM~AY
.-
151
confli~.
WES
UP-TOWN - DAY
152
cop_
~
Time's up!
Her .s
153
PRECINCT HOUSE -
NI~
153
her DETAINEES
are up-beat - a night in the can .is li e a m rit""badge. A
guy in his thirties with a JEWISH AFRO~s the Desk
Sergeant on night duty, whose name tag
a s PE~PER.
JEWISH AFRO
0
)
>
i~~~i
(CONTINUED)
153
CONTINUED: .
82.
153
SGT. PEPPER
I'll give you some legal counsel.
Speaking as an officer of th~ l~w.
...
.,~--n
,. ;:._.'--._-/
JEWISH AFRO
.QO?)
Yes?
.
SGT. PEPPER
Shut the. fuck up!
.g.
t~I::;:le
tha~
You talk
like
you put out those negative v e
it's. going to spook your ka
Know what J.'m saying?
SGT. PEPPER
No o~e knows what you're sa~
Bunch o' freaks.
Who the h8.tl v. ()
d'you think you are?
..
SGT. PEPPER
Keep it down, weirdos!
DETAINEES
~(j
.~
{CONTINUED}
.
I
:
-::
153
83.
153
CONTINUED: . (.2)
CAPTAIN
Get their asses out of here!
mig~
. .
. \(\! ()
~J
154
154
lf
JUDE
What are
y~sdoing
here?
~.
WES
Said you were in trouble.
So I
came down. Told the cops I'm a
U.S.
Citiz~~E That
you're
m~~~
(CONTINUED}
154
84.
154.
CONTINUED:
WES
They wanted proof.
I didn't have.
any. I talked them out of pressing
charges, for the riot and stuff.
But the bottom line is, this is an
immigration issue.
JUDE
Meaning they're kicking me
country?
WES
'Fraid so.
JUDE
Thanks for trying.
-~
yo~ ;;et()
JUDE
But I will.
155
th~
155
Lucy comes out into the early morning ~ht ith the rest of
the FEMALE DETAINEES. Several reunion
place handshakes and 'Right On's.
Paco is t
greet her and
some of the others. But her attention
tracted.
Jude ~s be~ng escorted to .a wait~ng va#.~~ma~es a move in
her direction, but a Cop holds him bac~ they can do is
TO BLACK.
15E) .: ..
f('~~
o~
156
lJ.
(CONTINUED)
,;"
as.
1"56
()
CONTINUED:
156
MOLLY
How's it going, Jude?
JUDE
Not so bad.
)il, talking to
JUDE
~Tl
MOLLY
~
p.ed
MOLLY
What was her name?
Jl)DE
Who?
MOLLY.
The reason you st_opped
JUDE
(after a beat)
Ber name was Lucy. It was g~od
a while. But it was all a b'
unreal.
Phil arrives, gives her a kiss and han~ the pay packet.
MOLLY
G
(flatly)
Couldn't be happier.
he~Max's
voice
0
(CONTINUED)
8 6.
156
CONTINUED:
"156
(2)
MAX
(V. 0.)
157
EXT . STREET
(LIVERPOOL)
071
DAY
..
157
f, heading home;
kids kicking a football. He seems dis anc . from everything ..
MAX
:~
(V .0.)
158
\(
spac~f
158
his~mind
is
MAX
MAX
ba~~C~ext
eelin~eck.o:.
~
week, same
.
She leans
-~,...----
..
~-)
(CONTINUED}
158
87.
158
CONTINUED:
MAX
e him suddenly
The song becomes
s.
MAX
NURSES
.MAX
h~
. NURSES
Happiness!
MAX
~
(CONTINUED)
88.
158
CONTINUED:
(.2)
.158
f. ~
---=n
:;<\.___,....,..
NURSES
Bang bang shoot shoot
ohm
MAX/PATIENTS
Happiness is a wann gun,
NURSES
MAX/PATIENTS
Happiness is a wann yes
Gu-uh-un!
iti~
NURSES
Bang bang shoot shoot
N
~
011 .
MAX
INT. STAGE
AUDITORIUM - NIGHT
159
The applause is for Sadie as she comes off stage at the end
of a concert. But she looks pissed arid brushes past people
standingin the wings.
160
AUDITORIUM - NIGHT~
SADIE
iGO
a~nters.
le~es
. . Sadie
flops in
u s herself a
e!
SADIE
Or would you .
I treat you nice!
sooner be in that pissant circus ()
getting banged by the Bearde~
(CONTINUED)
160
89.
160
CONTINUED:
PRUDENCE
I loved the circus. And I love
you, that's why I'm here. But
maybe it was another mistake.
INT.
161
tel~n
th.e living
e's agitated and
ion ..
BARBARA
.
~
Stop telling me this i~ a pe\k~tuiJ
march, it's much worse than that, the dogs and.the violence and you
know the people you're with and
much more radical than you want me
to believe.
LUCY
(V.O.)
1 b
LUCY. (V.O.)
No you're not listening!
IT~'11
-~
BARBARA
.
I just. don't want my beautif
daughter to get hurt.
f{7"'\?"~
(WASHINGTON D. C. ) -
-~
She tries
- 162
reassure her
(CONTINUED)
90.
162 .
c.r-~,,,---.._
..
_CONTINUED:
162
LUCY
Mom, Mom, Mom, Mom ... it's really
okay, everything' s cool .here.
....
'-~(
LUCY
The cherry blosso~s are on
trees ... shhh, shhh...
~.
lJ1J {)
~-
ll
-~ ~
LUCY
It's gonna be alright
got
~'fl
She slams down the" recei ver. A large ~c~ashes into the
booth Is glass wall, shattering it. Th~e falls off. the
hook. She pushes against the door. ~t'
s rrrrned. -She
watches, terrified,_ as the violent de o
ion explodes all
around her.
~.
olu ion'.
stunned state, she can barely sing t h e r
goingL~;ybe
In her
right.-~
It's
all
It's going to be all.right .. ~
It's going to be all right ...
163
l("~")l
163
164
Lucy gets out. She has cuts on her face anc;l)her hand is
crudely bandaged. The building is in darkn~s except for a
light burning in the secondfloor. Sh1{7~~ks the door and
goes inside.
~
91.
165
She hears
takes in
wasn't
the
gasoline.
crJ]
PACO
Close the door ..
Ith~t
LUCY
can't believe this.
was the other side who drop~
bombs.
I
for~ponse~
0
167
He
166 .
'A Day In The Life' continues over Jude, standing in the bows
of the Mersey ferry as it heads back toLiverpool from the
Birkenhead shipyard. The wind is in ~hair, his thoughts
could be anywhere. .
(LIVERPOOL) - DA
167
clock~~e
s of Liverpool's
per 'Liver Bird'
ow.
ancI?:~"SJ.q
"S KILLED IN
168
-MONTAGE
168
(CONTINUED)
.. -~
168
92.
168
CONTINUED:
.;
... :.
LIMBO
169
JJ~re
Yesterday
All my troubles
Now it looks as
They're here to
Oh I believe in
~.
. ~
seemed so f~
though
stay
.
Yesterday .. ~
~E. TO
170
INT. PUB
(LIVERPOOL) - DAY
BLACK.
-
170
Jude sits alone at the bar, his face ~~le~ed in the stained
glass of the old Victorian mirror.
It's Saturtjay lunchtime
and the other customers are THREE OLD LADIES with glasses of
Guinness and FOOTBALL FANS in red Liverpool scarves.
Jude finishes his pint of beer and signals for another.
Across the room, a man in a raincoat ~a
flat.cap sits down
at the upright piano. He runs his finge
ross the
nicotine yellow keys and starts to si . .
.
PIANO PLAYER
~
Hey, Jude,. don't make it ba r--\
Take a sad song and make it \9e-t
Jude looks into the mirror above the
PIANO PLAYER' s back.
stares at the
PIANO PLAYER
.
Remember to let her into yo~t
Then you can start to make i
better.
.
Jude turns to watch the piano player.
ow
e man looks him
in the eye as he continues.
Jude doesrr~~-w the man
how
does he know him?
~PIANO PLAYER
Hey, Jude, don't be afraid
You were made to go out and get J@r
The ~inute you let her under.~u
skin
.
Then you begin to make i t b
{CONTINUED)
..:.
170
93.
170
CONTINUED:
The old ladies and the football fans start to harmonize
behind the singer:
PIANO PLAYER
And anytime you feel the pain
Hey, Jude, refrain
~
Don't carry the world upon
shoulders
For well you know that it's ~
Who plays it cool
INT. BEDROOM
He pays for
hi~ and
~
leaves.
171
back-pac~
-...:-
172
Jude kisses his mother good-bye and heads down the street.
The neighbors provide the harmonizing~ind:
PIANO PLAYER (V.O.
Remember to let her into yo
heart
Then you can start
~
To make it better
c=J
173
(LIVERPOOL) - D~
cussion break on
173
.94.
.~~
.: !
~01174
\ /
174
CAMERA PANS down from the Stars and Stripes and a ~roiling
photograph of President Nixon with the words: "Welcome to the
United States"
(,7\
ll
Immigr~orOo~ficial
examines
~
PIANO PLAYER (V.O C . )_
. ~Tl
175
EXT~
()
175
176
177
. ''-'----..
(_J
.,
95.
. ;*~
. . ii:~
.....
178
179
178
na
na
na
na
~
.
ALL
na na na na na na
flp na -Hey, Jude ...
na na na na na na
na na - Hey, Jude ...
o~ening
~
~n
179
Jude s\&o~igure
1
A reprise of the
scene:
on the
country road __ surrounded by green field~~utch barns. He
raises his thumb as the pick~up slows ~w~d-stops.
~
ALL {V.O .. )
Na na na na na na na na
Nana na na - Hey, Jude ...
180
~ v
(]
{TRAVELLING) - DAY
180
Na na na na na na na na
Na na na na - Hey, Jude...
181
181
turn to
Ju~~ ~~ :~ ~~~~~~~:~:~.sin~
182
.
.
ers.
(CONTINUED)
.. .
'
,;.
r,.~
96.
182.
(?---\
'~.\ )
'-___/
182
CONTINUED:
: .....
. . ;{~~~
!
. . ./ ..
.:
):
~: ~-;:.:~
....
ALL
Na na na na na na na na
Nana na na - Sey, Jude ...
:--
183
183
n~
.:
JUDE
No, why?.
YOUNG MOTHER
It might be kinda hard to
:. .
.,
f~"--. \f'e(J
184
184
S~
P.A.
~'s
'
voice:
BUTTON GUY
Don 1 t listen to her, Jake!
balled your best buddy!
~ buttons yells:
She Q
~
(CONTINUED)
. . .
~-
184
97.
184
CONTINUED:
--_:ii~
... ... .. :
~.
.0
m~om
From this distance Jude can't see who~~ but the voi9e he
hears over the speakers he'd know any~
SADIE
~
What would you think i f I s~gVolf!j
of tune,
.
Would you stand up and walk out on
me?
rl85
EXT. STAGE
185
JO-JO
Does it worry you to be
alo~
(CONTINUED}
:-:...~ :~--:
\. . .
_;
- ::J ts
185
CONTINUED:
185
.~ -~-
SADIE
How do I feel by the end of the
day?
er~~)
-~/
JO-JO
Are you sad because you're on your
own?
~
SADIE
No, I get by
with a little
from my friends ...
a~th
Sadie ...
186
SADIE (V. 0. }
187
EXT. STAGE
187
and asks:
JO-JO
Do you need anybody?
SADIE
I need s?mebody, to love
JO-JO
Could it be anybody?
SADIE
I want somebody to 1 ove.
188
MUSIC FESTIVAL -
188
EXT. STAGE
189
(CONTINUED)
189
99.
189
CONTINUED:
BACK-UP SINGERS
~-~.
SADIE
LJJJ
BACK-UP SINGERS
SADIE
~Tl
190
EXT.
B~CKSTAGE AREA
kno~t~
MUSIC. FESTIVAL -
190
and~
A moment
with the masses
dies and riggers.
191
EXT.
STAGE
MUSIC FESTIVAL -
DAY
iJfo~
1igh~-~_
,~
~
~
BACK-UP SINGERS
Do you
ne~A:::ody?
Could it be anybody?
SADIE
C>
- ~.
/= .. :-:,
rr~
~1_
0
h~
191
gear,
100.
192
.EXT. STAGE
liwa
,
~i)l=eet
~ ~
193
as they
SADIE
~'fl
Oh I get high with a little \(iel~
from my friends...
t::::::::::-__
Yes I get by with a little hel~
from my friends,
~
With a little help from my ~MndtJ!
.Sadie and the band acknowledge the tumultuous applause. They
move to the wings, to enjoy cold drinks and compliments,
enjoying the thousands of_ voices clamoring for more.
Jude 1 s at.the opposite side of the stage. He sees his
chance. He joins. the road crew on st~then drops his
cable snake as he reaches the mike.
c=J
194
194
[("~~
. EXT. STAGE
He's
ment.
afr4,_
~
195
:-,,u
})~
~
(CONTINUED)
101~
195
195
CONTINUED:
JUDE
0
196
lJU1
EXT.
CROWD
MUS.IC FESTIVAL -
DAY
196
CAMERA discovers
JUDE
(V.O.)
t~ng.
0
197
EXT. STAGE
MUSIC FESTIVAL -
197
DAY
as they come
~
All.you need is love
All you need is. love, love
Love is all you need
!he crowd is into this now, as Lucy and Maxcjceep moving
forward through the tightly packed bod~
(CONTINUED)
.L0.2.
197
CONTINUED:
197
..
;.
~~t~~t
-~ .i~(:
'.:'.
JUDE
. :....
..... ~
SADIE
Nothing you can see that isil((?)
shown
~~
..
JUDE
Nothing you can be that isn~e
you're meant to be
JUDE/SADIE
leave~ th~
"
SADIE/JO-JO.
.~
All you need is love
\.&,, v ()
All you need is love, love
Love is all you need
:..
...
The two lovers embrace and half a million voices roar their
approval.
~
~
JO-JO
All you need is love
SADIE
~==~
f("'\?")l
further~
it seems the.
{CONTINUED)
l:J I
CONTINUED:
( 2)
197
ALL
All you need is love, love
Love is all you need
Love is all you need . ..
The song continues for.a while
ov~r
.): .
. :
ma~
~E TO BLACK.
~
-~
.~
,.