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"UNTITLED BEATLES MUSI@

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
Revolu. tion studios 2005. All rights reserved. This material is~he exclusive property of
Revolution Studios and is intended solely for the use of its pe:zr.e9nnel. Distribution to
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t the written consent of
Revolution Studios is strictly prohibited. This material
ot
sold and must be
returned to Revolution Studios at any time upon demand.

FADE IN:
E~T.

COUNTRY ROAD - DAY

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
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 back-pa~ his feet and runs
to the cab. Something is said and he cli~in the back.

EXT. PICK-UP TRUCK

{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

The MUSIC is a jangly, nerve-tingling


'Helter Skelter'.

~hrash

3
version of

The images are violent and confrontati~l he screen filled


with p~otest and anger: Demonstrators

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

baton charge to the left, tear gas explod~ to the right.


Students are repulsed by rifle-butts, ~ bodies bruised
and bloodied.

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~

We're looking down the long barrel of~ ~nnon as it


swivels, parting the crowd, who run f~r. Ahead is a
phone booth, with a figure trapped in~CLOSER.
Through the broken gl~ss we ~it's a girl.
LUCY wears thrift store clothes and a ~'f1 hat.
VOICES
Look out, helter skelter
Helter helter!
CAMERA moves in tighter on her
4

\_( ~
~ll
\.( ~

petrifi~.--

INT. HIGH SCHOOL GYMNASIUM - NIGHT

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

to: not Jude,

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.

DANCE HALL (LIVERPOOL) - NIGHT

CLOSE on another girl, MOLLY, on


the same song to her sweetheart:

anoth~r

MOLLY
Hold. me tight,
Let me go on loving you,
To-night to-night,
.
lave to on1 y you ...
Ma k ing

dance floor, singing

IJ~

lY_J ()

:)

She's dancing with Jude, but his hair ~thes tell us


it's sonie time earlier than the openi~.

So hold me tight,
to-night,
It's you, you you you ...

Tq~night,

of~es;

The ballroom is packed with couples


smoke, sweat
an? cheap_perfum~. The old school D~~d, i~ tuxes and
frilly sh1rts1. will soon be swept asi~BY '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
clingers cling, the jivers jive.

~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)

A Buick .station Wagon cruises past


leafy lawns.
VOICES

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:

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
It feels so right now . ..
7

_wi~

;=~

EXT. LIVERPOOL STREET - NIGHT

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 stopfor another embrace.


LUCY

(V~

0.)

Hold me tight,
Let me go on loving you,
To-night, 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.

JUDE
Better not be Phil Scully.
VOICES

So hold.me tight,
To-night, to-night ...
8

EXT. SUBURBAN STREET (BROOKLINE,


RESUME Lucy and Daniel.
as her eyes tear up.

~
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:

Daniel can't answer that one.


VOICES
It's you? you you you
Oo-oo - 00-00

You -

00-00.

nm

The last chord of the song is drowned~a 6;Jactory siren.


9

EXT. SHIPYARD (LIVERPOOL) - DAY

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.
10

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
Move it along! Some of us
thirsty and the pubs
five minutes!

haveb~

11

EXT. DOCK GATES - DAY

11

A huddle of wives wait outside the gat~. ung women in


head-scarves, 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
head home. The men make for the pub.
i

()

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

EXT. JUDE'S STREET - DAY

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 ou~rd times.

13

13

~Tl

INT. KITCHEN JUDE'S HOUSE - DAY

Jude's mother, MARTHA FEENY, is pr~ssi~- 2!-Jthes on


ironing board in the kitchen.
She's n~t forty,
life's not been easy and it shows.
Th~e
k
en has
stove, a sink and no fridge,
Through
dew is
yard with clothes drying on a line.
Her face

lig~ts

an
but
an old
a small

up when Jude enters.

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

JUDE'S HOUSE - DAY

Jude puts the clothes into a backpack ~:3:::EF:::~n his bed.


1 team. Another
it is a poster of the Liverpool
wall is covered in charcoal and pencil rL~"'""1- gs: work-mates,
ent.
street scenes, his mother. He's got s

~ove

He moves onto the landing, listens to his mother moving

around downstairs-for a moment, then ducks @Jietly into her


room.

7.

15

(')
~/

16

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~hto
raph: a younger
Martha in the arms of a young man in
'form of the U.S.
Air Force . . He take~ it and carefully
s
the drawer.

3-

EXT. ALLEY LIVERPOOL - NIGHT

16

CLOSE on Jude as he kisses Molly good~against the back


door of her house: She breaks away. ~

~ ~

MOLLY
I

--- .

still don't get it ...

JUDE

MOLLY

\(v ~

need a break from the yar~


Molly. Be back __ before y~u ~
I

sometimes feel you're not telling


:me everything.
I

He tries to reassure her, singing 'All My Loving' softly and


slowly:

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,.
.
I'll write home every day,.
And I'll send all my l9ving to ou.

c:=J

17

EXT. DOCKSIDE -- DAY

f(~1

17

The song picks up tempo.


jud~ stands ~ doc"l~side 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;maway,.


I' 11 write home 'every day,
()
And I' 11 send all my loving to yol:r"

[L

.r";.

.,._1.

8.

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.
JUDE (V. 0. )
All my loving I. will send
All my loving,
Darling I'll be true.

19

INT. ENGINE ROOM

FREIGHTER - DAY.

wit~

19

~s

coal into the


Jude, his body glistening
sweat,
furnace during the instrumental break.~Tl.

20

INT. GA~LEY

FREIGHTER ~ DAY

\_,,

20

~s

The c.rew are sprawled around, playing


Jude sit.s alone, writing a .letter.
~
JUDE

and cards.

(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

Sc~

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,
And I' 11 send all my :Loving

22

EXT~ PERSONNEL

CARRIER

rr

~l

(TRAVELLING) ~

CLOSE on Lucy's letter with


her scrawled signature.

stick~on

22
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)

9.

22

22

CONTINUED:

JUDE

{V. 0.)

All my loving
All my loving . ..

.. .::~ \,.:.

\--:
..... -,.:.,.

CLOSE on the last page of the letter:


JUDE

{V.O.)

All my loving, Lucy 1

n~

All my loving, I will send tJl:}oi()

Daniel sighs as he ~hinks of Lucy and~he letter away.


The transport passes a High School -spo~~ld, where
Cheerleaders are . going t]:lrough their ~e. Sweethearts
are forgotten as the young guys whistle an
olle:t": -.
23

EXT.

SPORTS FIELD - DAY

23

The girls respond with good-natured w~ the truck moves


away and the soldiers whistles fade o~h~eeze. They
continue their practice while the foot~guad wor~_9n
their own drills.
.
_

~CE

One girl sits alone in the bleachers.


is an AsianAmerican. She looks at the world with anxious, startled eyes
and starts to sing 'I Want To Hold Your Hand':
PRUDENCE
Oh yeah, I' 11 tell you something,
I think you'll understand
When I'll say that somethin~
I want to hqld your hand,
I want to hold your hand,
I want to hold your hand.
~

Up to this point we assume the object


of the football players, probably the
PRUDENCE
Oh please, say to me
You' 11 let me be your man

f
r affection is one
uarte back .....

f~on

...

Now we realize that her.attention is


a blonde,
willowy Cheerleader . . Prudence leaves th
eachers and walks
past the squad.. She might as well be
. le.
.

.,

.,..

.
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.

EXT. ROAD OUTSDIDE SPORTS FIELD - DAY


Prudence goes through the gates and t"akes a wistful glance
back at the blonde Cheerleader. All she gets is a languid
toss of her head..

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.
~

. She holds out her _thumb to an


25

app+,oact~~~-

EXT. HIGHWAY - DAY

25 ..

Jude is also thumbing a ride, on some other highway.


eyes light up as .a big Chevvy stops for him ...
EXT~

PRINCETON UNIVERSITY

DAY

CAMERA PANS across the tree lined

.:::

His
26

~
walk~owers,

spires

::~:G~ :::sc~:u:~ a Frat House.~neakers are

unlaced .and he's tucking his shirt int

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

collides with Judeas he.rounds a

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:

. 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?.

Wes checks ot J1;1de. w:i th his longe_r c . .


donkey jacket he doesn't: look like a s .

) nd

seaman Is

WES

r:::::::~,Jl

JUDE

~- ~

If you' re looking for work, .\i.id~


you gotta check with Admin. ~Tl

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

Wes is stunned for a moment.


WES
I don't think

Then he

My mother's Martha

Fe~ny.

fath~r.

THE SAME

(LATER). -

it off.

The smile fades from.Wes's face and


found his

EXT.

so..

JUDE

27

I believe I'm your son.

DAY

Ju~.~~
s
~

for sure he's

~~T

27

CLOSE on the phcitogr:S of the young. Wrr~ir. Jude's mother.


How did you track me down?
JUDE

Through army records.

H
0

~
(CONTINUED)

....... :

'

... ~

27

L.. f

Jude. and Wes sit on a bench under the .shad~ of .trees.


Students crisscross the lawns around themr on their way to
classes. Wes hands the photograph back to Jude.

WES
If I'd known about you.:.

nf?\

JUDE

What? You'd have come back~he(}


says it ~ouldn't have prove~
loved her~
Only that you f
obligated.

WESIt can't have been easy for ~Tl


Being single with a kid to ~s~

t~.

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?
.
c;?_:("':J

1.~;b

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 -

~
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

EXT. COLLEGE CAMPUS

NIGHT

28

The caIIJP.US is still. . The clock tower. shows ten after twelve.
29.

EXT. LABORATORY ROOF - NIGHT .

29

Max and thr~e Frat Bouse buddies are


the flat roof; whacking the:ip into the
is a building about a hundred yards

golf balls from


Their objective

EXT. FRATERNITY HOUSE - NIGHT

30

A Palladian

villa with columns and ta~~ws. Above the


double doors the sign of Beta Theta C~ ~f balls ping off
the portico ~nd roof and bounce into~
t e r d. Bulls-eye - a
window is broken! A ch~er from the d"s
_ooftop.
.

.
.

..

Lights go on, angry faces appear .on t~d story_~~lcony .


.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.

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

fr'~~

EXT. COLLEGE CAMPUS - NIGHT

32

Max and his friends come down a fire esc


taking separate routes ... The jocks are

nd fan out,
ously close.
as

Max angles off and shoots through the door -dust before his
pursuers come into view.

1.4.

INT .. MAINTENANCE BUILDING

33

.NIGHT

.Max catches his breath as Jude bolts the door and


footsteps receding outsid~.

~hey

hear

MAX

Shit, I'm out of shape ...

Jud~

ro~~riitor's

opens the door of an adjacent


office
with a make-shift bed in one corner, ~of lockers and
faded posters with safety regulations. ~small ..9~sk light
is. burning. Max rec:-zes Jude from ~. that day.
You're the guy.who was. aski~tl
the janitor, right? So wha\(a~
you, an a~.sistant janitor? ~:
JUDE

I'm just.bunking down.here.


Temporarily.

011 .

MAX

Why?
JUDE
Why d'you need to know?
MAX

You wanted by the cops?

JUDE
I'm English.
MAX

Interpol!

FB~

Did you kill

~om.efP~1

JUDE
~
jumped ship~- I came here~
see ... a distant relative.

MAX

n 1 you have a name?


JUDE
MAX
I '.m Max.

Where's that accent


JUDE

Same place as me.

fro~

LiVerpooi~
(CONTINUED)

15.
33

CONTINUED:

33
MAX

As a.stranger to our shorei, Jude,


the least I can do is off er you
some Princeton hospita11ty.
.

pocket~fers

He pulls the hip flask from his


34

.
it.

EXT. FRATERNITYHOUSE - NIGHT

34

Max and Jude approach the steps of hi~amshackle


Fraternity HoUse. -Th: can hear m u s i c N ughteL_

ll

Welcpme to Del ta Sigma Chi~~

The noise increases as Max opeps the ~r~


35

-~

INT. FRATERNITY HOUSE - NIGHT

35

~g

Bo.oks and bottles everywhere, springs


out -of sofa.s,
a moose head and a dart board.
Pennan~l~~~pin-up posters
of Julie Christie, Michelle Phillips. Max strums an out-oftune guitar, ~urrounded by hi~ bu~diesdrinking beer and
smoking dope. He welcomes Jude with 'A Little Help From. My
Friends':
MAX

What would you.think i f I san


of tune,
me?
Lend me your ears and I'll
a song,
And I'll try not to sin~ ou

ou

key.
~
I' 11- get by with a little h 1
r
my friends.

THE GUYS
Get high with a lit.tle
his friends.

They clapJude on the back. and someon


MAX

I'm gonna try with a


from my friends.

off er

litrle~

him a joint.

What do I do when my love is awa:f)

. THE GUYS

rr~1

Does it worry you to be ala~

(CONTINUED)

35

16.
35

CONTINUED:
MAX

~::n.

How do I feel by .the end of the


day?

<.: \.__...,

THE GUYS
Are you sad because you're Pf~
own?
lY.._J ()
MAX

No; I get by with a little


from my friends ...

36

INT. TAVERN - .NIGHT

@J.
~
~n

36

The local off-carnpus hot spot. A lon~~~r~f 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.
~,~o
.. .
'-'

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

rm

ce~~Jn

the time..

that

it.ha~~")!,

MAX

What do.you. see when you tur~ outD


the light?

.~

(CONTINUED)

36

17.
36

CONTINUED:
JUDE
you~

I can't tell
mine.
37

EXT. LABORATORY ROOF

but I know it's

NIGHT

37

Jude takes his turn on the 'golf ran.ge[lUJing balls toward


the Beta Theta Chis.

MAX

oh I get by with a little


my friends

The hip flask is passed around.


I

get high

.(0JJ

~th little.he.~
~
a

my friends...
38

h~m

011.

EXT. COLLEGE CAMPUS.- NIGHT

38

.The guys run full tilt across the lawn, pursued by the jocks.
MAX.

ob I-'m gonna try with a little help

frbm my friends .. .
INT. FRATERNITY HOUSE - NIGHT

:The guys break open more beers and

~
pla~rs

. THE GUYS

Do you need anybody?

MAx
I

just need somebody to

. ~-.

want somebpdy to love.

- EXT. COLLEGE CAMPUS

DAY

8'1.
H
~

Could it b::;nybody?

40

and bongos .

.love!{~)1

THE GUYS

39

~
. ~

40
.

Max drives Jude and a couple of buddie rounathe campus in a


battle~scarred Pontiac Bonneville conv rtibl .
MAX

Oh I get by with a little


my friends

hel~

(CON"TINUED)

40

18.
40

CONTINUED:
we~ -~~act~ ~s the car diivesbf.

those

~allege

What's his son doing with

.... :

~-;

.:

kids?
MAX

I'm gonna try with a little


. help from my friends . ...
Mmm,

JUDE
Oh I get high with a
from my friends ...

41

little~

EXT. QUADRANGLE - DAY

t~e

:~

The guys stand in


hallowed heartcloistered ivy-covered square. They
col~ege Gl~e Club.

~-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

... .,. ...,,,...

EXT. LUCY'S HOUSE - DAY

42

Lucy comes home from school to find her mother, BARBARA,


standing in the doorwayof their high-end suburban home.
She's holding a Western Union telegram. Lucy runs down the
path, tear~ it open and screams~with joy.

43

INT. LUCY'S HOUSE - DAY


Lucy runs excitedly through the house
LUCY (V.O.),

It won ,.t be long - yeah yea


It won't be long - yeah.yea
It won't .be -long
. Till I belong to you!

up the

sta~rs

to

0 .
[T~)l

~.

__

Her litt],.e sister, JULIA, looks at her~she's crazy.


44

...

44

INT. LUCY'S BEDROOM - NIGHT


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.

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
Yeah, yeah . . ~
LUCY
It won't be long

LUCY
It won't.be long

JULIA/EMILY
Yeah yeah
LUCY
Till I belong to you.

0
45

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.

EXT. HIGH SCHOOL - DAY


Lucy is among girls arrivin~ in cars
of another day_.

a~.
. s

at thestart

LUCY {V.O.) .
Every night, the tears come own
from my eyes

. Every day, .I've done nothing~


cry...

A girl-friend falls in step.with her


GIRL-FRIEND
When?

LUCY
Next weekend. .He got a pass before
his outfit ships out . _ _

45

20.
.. :.
.

:':;-.

:
t.

46

INT. HIGH SCHOOL GYMNASIUM - DAY

46

--:c~

r )
~. "':"'~--/

Lucy plays a fast, physical game of basketball.


LUCY/THE GIRLS
It won't be long yeah~ yeah
It won't be long yeah, yeah fl~
It won't be long yeah_; yea.h}JJ.j ()
Till I belong

i)

to you:

47

EXT. BONNEVILLE

(TRAVELLING) - DAY

Bonn~ville

bar~elsown

TRACKING with the


as it
Max is at the wheel, Jude beside.him.
.

LUCY

(V. 0. )

47

the Highway.

r:::~:>:n.

Since you left me, I'm stil~~~

~~~1y::::0:o::::,~::~~eic~oh:ng n

You' re coming home, you re


home

.g

They pass a figure hitching in the other direction and we


recognize Prudence. . .
INT. CORRIDOR
L1;JCY

~ut-:'

picture

HIGH SCHOOL -DAY

48

r .

her thing~ awa~


her. lo~ke~ Daniel's
taped to the .:i..ns1de of the

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,

Till I belong to you.

She takes. a last li>Ok at his picture

49

EXT .. HIGH SCHOOL.- DAY

a~es
~

the door.

49

The Bonneville pulls up at the curb, g~ admi.'ring. looks


from girls coming out of school.
MAX

Spring break, Jude, is a fine


tradition of alcohol, depravity ac:J
debauchery. Sadly we won't find
any .of that in my parents' h~

(CONTINUED)

-'. -~j
49

21.
49

CON T.JNUE D:

He takes a hit from the hip flask and hands it to Jude.

.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

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


Yes I'm gonna be a star
~3
Baby yoq.can drive my car
.

And maybe I love you


t::::::::::-.._
Beep beep'm beep beep yeah! ~

He hits the horn in. syn.ch with the


teachers give. disapproving look_s.

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

Lucy is driving with. Max beside her an~1 on his knee.


Jude is squeezed in the back with four g
fu.1,1 of teenage
s
giggles and high-spirits.
.
.

. MAXwhat she wante ~ e


Asked agirl
She said baby/ can't you se
I wanna be famous/
A.star on the screen
~~~
But you can do something in_

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

Their voices shatter the peace.of the


why should they care?
.. MAX

I told that girl that my pro. spects.


0
were good
\.

'

. :..

{MORE)

0
(CONTINUED}

..

22.

50

50

CONTINUED:
MAX

(CONT ID)

And she said baby~ it's understood


Working "for peanuts is all very
fine
But I can show ypu a better time
. THE" GIRLS
f'l ~
Baby you can drive my car l!:!.J ()
Yes I'm gonna .be a star
Baby you can drive my car c . )
And maybe I' 11 Jove you
Beep beep'm beep beep yeah_~

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

.Hope my drivingdoesn't sea~


Hey, I don't drive at alL

~ v

()

MAX
This is Jude, he's from Liverp0ol.
LUCY
Wh_at brough:t you. to Brookli~?
JUDE
Your brother.

The car moves off again.


MAX/THE GIRLS

Baby you can drive my car .


Yes I'm gonna be a star
~Baby yqu can drive my car
And.maybe.I'll love you
Beep beep'm beep beep yeah ~The remaining girls are dropped off duri
THE GIRLS
Beep beep'm beep 'beep yeah
Beep beep'm beep beep yeah
Beep beep 'm beep beep yeah

. EXT. LUCY Is

51

HOUSE -

.
51

DAY

Lucy parks the Bonneville in the driveway.

}.c.
_11
?f

THE GIRLS

(V.O.}

Beep beep'm beep beep yeah!

rt~1

-~

.....

23.

~t

._

:::

INT .. DINING ROOM

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

. ..
.;.

I went to the closet under the~

stairs and my clubs. weren't ~t"J


you'd asked me.-
~ ~

~f

. MAX
You'd have said no.

BARBARA
.
I never knew Princeton .had
program~

ALAN
They don't.

()

MAX

.. _:

_.

It's just my way .of unwinding . .


Whack a few balls at the en~te
day. Those lectures can fry

brains.

Lucy and Julia gig.gle.

The pa. ~ent. s.

do~
~

.ALAN

. ~~~;s;:~-tures?

You dropped

BARBARA
(staring
at Max}
Is that
f.ashioriable?

rf~. .

~. .

MAX

Is what fashionable?

.ju.st[[~1

Your hair. BA:A.::ve y.ou


out of shampoo? rcan send~
_shampoo.
-LUCY

I like it. longer.

.~

(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.

I'm fine, thanks

-~

UNCLE TEDDY
Do you have ariy idea what Y~ll
father pays for those_ tuiti~ ~?

(casua~)

-~

. ., .

He won't have to P?Y the~ m~


longer.
I'm dropping out.
~
Barbara puts down her fork. and. stares

~-

BARBARA
Don't be ridiculous.
-MAX

I'm not cut otit for this collegiate

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

I was. hopi:Xto .borrow your.


Dad, it's got A/C_and stere~

Lucy and Julia suppress giggles . . Ala


table rattling the silverware.
UNCLE TEDDY
If you find colleg~ such a
why on earth did. you go in
first place?
.MAX

,'

Because, Uncle Teddy, I thqught the


cocoon of academia was preferablD
to going to Vietnam and getT~~
bayonet up my ass.
.
~

(CONTINUED)

52

CONTINUED:

25.
. 52

( 2)

.:.. ,.. '.

A. shocked.silence.

All eyes flick to Lucy to see how she


reacts. Her mother puts a comforting hand on her a_rm, but
she doesn't need it.
LUCY.

Oh come on.

nm

Don't take ever~irf.cj


I ntr

3.!

Mh says so serfously.
53

EXT.

REAR GARDEN

LUCY'S HOUSE- -

NIGHT~

..

53

Jude sits on a s_wing chair., enjoying ~Tftte. ,Raised


voices. continue from inside. Lucy co,,\! ~and joins him.
LUCY

~
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

Where did you go to school?

. JUDE.
.
The Dingle Street School. fo~
. Wayward Boys.
I le_ft at fi
e
.

She looks at him, curious. Takes the


f ing_ers and puffs expe.rirnentally.
.

~
ar te

O.

from his

LUCY

When I asked Max about you ~a


very evasive.
I think he w
to be his mystery.
JUDE

I'm flattered you asked.

LUCY

How did you two meet?

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

His deadpan humor makes her smile.

.~
{CONTINUED)

-53

26.
53

CONTJ;N_UED:

JUDE

You have perfect teeth. People in


Liverpool seldom do. They point in
all different directions.
LUCY

Haven't you heard cif

braces~

JUDE
.'
Yeah. We use them to keep
trousers up.

Max comes out of the house.


MAX

What do-they talk about


not here?

MAX

Jude, shit, I'm sorry-, man. _C'mon-,


Lucy, we've got to do somethingwith him. It's Friday night and
he's a sailor. He needs a bar, a
brawl and a brothel. Right~
54

INT. BOWLING ALLEY - NIGHT

54

- A bowling ball_ shatters the pins. Al~he an~s are taken.


Jude and Max occupy one of them. Lucy '_9-Il.E t ree gir~ friends
are two lanes away. The girls glance @.:.tj u e and giggle.
They question Lucy about him.
She tu
his direction and
he catches her looking at him.-_ -~_ _
He watches her and all he _hears is th
singing: 'I've Just Seen A Face-'.
JUDE

in his head

(V.O.)

I've just seen a face,


I can't forget the time or Where we justmet
.
~he's just the girl "form~_ -And I want -all -the world to
. We 1ve met,- .Mmm-mmm-mmm-m'
-mmm. .

Had it been another day


I_ might have looked the other wa_()And I'd have never been awa~re
But as it is I'll dream of
Tonight, di-di-:di-di 'n 'di.

(CONTINUED)

,::

27.
54-

(~ .
'--___/

: CONTINUED:

~4

Jude and Lucy step up to bowl simultaneously, catch each


other's eye in the run-up and smile. _.His is a gutter ball;
hers scatters the pins.
JUDE

Falling, yes I am falling,


And. she keeps calling
Me back again

. I have never known the like Cot


).
This, I've been alone and I
Missed things and kept out ~t
But other .girls were. never ~
Quite like this,

Da~da-da-da'n'da.

~Tl
~. -~
~

Falling, yes I am falling


And she keeps calling
Me back again.

Du.ring the i-nstrumental break Max appr~. Jude.JUDE

\_( V_ (}

What will you do if you don't go


back to college?
MAX

.o

Wh_at any i.rresponsible, unmotivated


kid of
age -would do - go~o
New
York! Like tomorrow.

my

JUDE

.What's the rush?

like it~

MAX

.Jude, the :most exciting thi


.
happene~ he7e was ..~hen they~_t
.
automatic pin-setting.
I'm
g
t
. the Village., man! Free lov ,
He goes to

d:::l -a::;:d:eg:a:::~ acro-~an_es


juoE

Falling, yes I am fa.lling,


And she keeps calling
~
."Me back again.

I've just seen a face,


I can't forget the t:une or
ace
Where _we just met
She's just the -girl for me
.Q
And.I want al~ the world to~see
We've met, mmm-mmm-mmm-da-.d

.
. .

. :

again.

:.. ;

':

28.

EXT. BONNEVILLE

(TRAVELLING) - DAY

55

Max is d;r-iving with Jude beside him..


JUDE/MAX .
(in ha~ony)
Falling, yes I am falling,
And she keeps calling.
Me back again.
Falling,
MAX
-~es,

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

APARTMENT BUILDING - DAY

~- .

56

Jude and Max enter .a shabby lobby, pas


. lo<:=ke.d bicycle
and a pram. They climb.stairs with p

allpaper. Jazz
comes fr.om one apartment, a crying ba9f~, another.

57

INT. HALLWAY

APAARTMENT BUILDING - -D~

57

A door is open~d by. a ~~xy, leggy Texa~n


a silk kaftan over
tight bluejeans. SADIE appraises Jud
d ax in the
doorway.. She's a few years older than
nd speaks in a
husky nicotine voice.

. SADIE
You the two who called?

[("~~

MAX

Yeah. We saw your ad in 'Rat'


magazine.

~u

~
(CONTINUED)

29.

57

o.
58

CONTINUED;

57
::

She gestures them inside and sashays ahead. The two guys
exchange looks. What a babe!

INT. LOFT APARTMENT - DAY

58

Sadie leads them into a large open pl~ ace wi ~h rooms


off. Worn sofas~ Easte.rn ottomans an
a
ag chairs. Silk
scarves drapeq over la:r:np shades. Joss~s burning near a
lava lamp_
~
.

SADIE

'

Real bUmmer losing my last ~ten~


Re played sa~ at the Gaslig t
h
meant he was out all night
d
slept all day.
~Jl

\.l

JUDE..
We could do tha.t.

.SADIE'

You'd have to, 'cos I'm a s~~ ~


and I don't want no-one screwing up
my beauty sleep before t~o o'clock.
And when I'm on the road y'all.have
to feed Rocky.

she picks

:v:

::::~=by
. .

with a

SADIE

racc~r
.

from the sofa .

~..

Trouble wit.h this neighborh Po'\


it's fille~ with freaks, po ~an

gonJ1a wa ~

~~~k~e~~s~:~c!'.m
No problem.

He pulls out his wallet and finds soine


SADIE

You look kinda clean-cut. B~t


again~ you could've murdered
Granny with an harmner. .
.
.

JUDE
j

We're students.
Max.

I'm Jude, he ' s

~
(CONTINUED)

.... ..

30.
58

ss

. CONTINUED:
SADIE
Max, Jude ...
(she smiles seductively)
I'm Sadie.

001

JUDE
Are you famous, Sadie?
Not yet.

SADIE

..

.
~ar

She po:iJ1.ts to a door at the far end ;d

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

LOFT APARTMENT - DAY

59.

The guys enter the bedroom: two rnattre~es


with Indian
bedspreads and scatter cushions; an ad
"nin bathroom.
MAX

I mean, for an~

lilhat a fox!
woman.

. 0

JUDE
Listen,. I '11 pay my share o . the
rent. Soo:::s I get a,job. ~

Don't worry about it.

He cracks open the window and they

the rooftops.

MAX

Look where we are!


own freak, man!

60

EXT. LOFT APARTMENT

DAY

We can

ffi;)

CAMERA p~lls back from the two yo~ng fac~s,cfilled with


expectat10n for what the future might
.

OLVE TO: .

,..

31.

EXT. SUBURBAN STREET - DAY

61

Back in Brookline, Lucy and Emily are cycling home on a hot


summer 1 s day, tennis rackets slung over- their shoulders.
They round a corner and see something .a hundred yards ahead:
. two Sold,iers getting out of a militarf]V;<fy~le. The -color
drains from ~he girls' fa_ces.
They s~ p~dling fast.
Neighbors appear on the next door law~eone restrains a
bar.king. d9g. The girls ;Leap off thei~ which clatter to
the groun9, wheels spinning.
-~

. -Di:miei' s mot;_her opens the front door ~~s the Soldiers


carrying a carefully folded America:r; ~g">)JThe ~irls stand
by the front gate, . frozen, not w_antin~~rmatl.on of what
they- already know. They don't hear t.~s exchanged~
Lucy and Emily run forward to
soprano sings ., Let It Be'

YOUN~

-0
62

comfort~as

BOY

When I find myself


In times of .trouble
Mother Mary comes to mf;
Speaking words. of wisdom
Let it be ...

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

The YOUNG BOY is black, about


in what
could be a war zone itself, the bligh
dscape of the
inner city-. The street.$ are covered
ro en. glass from
smashed store fronts. Billows -of bla~srno e spiral - above
the roof tops. Flames lick from the
a e carcass
a
car ..
.
..

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

EXT. SUBURBAN STREET .- DAY

63

A convoy of black limousines makeE?. its way slowly through the


tre~ lined streets.
The song is tak~n over by a soaring,
soulful voice of a GOSPEL SINGER.
~

GOSPEL SINGER

And when the broken hearted~


Living-in the world agree, ~
There will be an answer,
t:::::::::-__ .
Let it be.
~

(BROOKLINE) -DAY

EXT. CEMETARY

64

Family, relat~ves and friends.are gro~und an open_.


g:i:ave. . .Everyone is white including L~~ ~ ~-he"r parents 1
Emil:( with hers. The _coffin is lowere~eq in the
American flag.
.

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:

mourners are all black. A 23 year old


the arm of a weeping -mother. The ..GOSP .

GOSPEL SINGER
Let it be, let it be.

There will .be an answer,


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

I wake up to the sound of music


0
Mother Mary comes to me
Speaking words of wisdom,
Let it be_
Let it be, let it be.

two funerals as

.:

..
. 33.

66

EXT. GRAVEYARD

INNER CITY - DAY

66

. The graveyard adjoins a housing projects and a basketball


The mourn~rs now surround a. frrf~ave.

court.

GOSPEL CHOIR
There will be an answer,
Let it bef let it be,

lYJ cJ

le~-

~-

The open casket at the.black funeral i~aled. Only now


do we realize t~at.it contains the bod
f
e Young. ~oy who
sang at the beginning.

Jo-Jo leans down to give his


67

INT. LUCY'S BEDROOM


Lu~y

li~tle br~41one l~st

NIGHT

kiss.

67

lies. on her bed, staring up at t~~.


ing.
GOSPEL CHOIR
\_( V (}
Whisper words of wisdom, let it be.
FADE TO BLACK.

CJ
69

EXT .. BUS

STATIO~

. (DETROIT) - DAY

68

Jo-Jo walks through lines of travelle~,


a uitar slung over
his back, a duffel bag over one shoul
.
e climbs on board
a sleek silver long-haul.

EXT. HIGHWAY - NIGHT

69

The Greyhound barrels through the nigiHstination: New


York.
70

INT. GREYHOUND - TRAVELLING

NIGHT

70

CLOSE on the DRIVER. He taps the whe~starts to


vocalize the instrumental intro to 'C
ether' ...
71

EXT. PORT AUTHORITY BUS TERMINAL (NEW

- DAY

71

Jo-Jo heads east out of the bus stati~i the early


mori;iing light. The st;:reets_are .empty
for winos and
office cleaners. But hey, it's New Y r , i 's where he was
meant to be.
.
.

STREET PERSON
Here come old flattop he
Grooving up slowly

He got joo-joo eyeball


He one holy roller. __

()
com~e

."

..

-.~:....:.J

34.

EXT. MID-TOWN - DAY

72

Jo-Jo walks. past -pimps, hookers and street hustlers in the


Times Square area.
.

II .!A

STREET PERSON

He got.hair down to his kne~ ()


Got to be a joker he just d~
h_e please.
. . ~'
73

EXT.- BROAD~AY - DAY

.~ .

He passes theater marquees:

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

You know me.


EXT. MADISON AVENUE - DAY

74

Jo-Jo looks around at the skyscrapers~i g above him.


Concrete monoliths, undulating reflec i
s f traffic in the
glas_s and chrome.

STREET PERSON

. One thing I can tell you is

You got to be.free!


JO-JO
Come together right -now
Over me!

~.
h~ el

From time to. time Passers-by give a


step in time to the music. Even straig
flannel suits and wall Street Journal .
.

75 .

or a shuffle
rrow guys in grey

+he instrumental break takes us to:

[('"'\?'.~.

~NT.

JuDE 1 S. STUDIO - DAY

75

.A room in the apartment has become a studio for Jude. His


hair is longer than when we saw him last atj he's swapped his
seaman's clothes for hipster velvet pants ~d a rock 'n roll
T-shirt. He's working on a pop-art Pf{51=~~illed with
psychedelic swirls and rainbow colors~
-

(CONTINUED)
..... -

....

75

0
76

35.
75

CONTINUED:

Sadie walks past him in her underwear, Rocky in one hand, a


cigarette in the other.
~XT.

WASHINGTON SQUARE - DAY

76

Jo-Jo crosses Washington Square. Couphk~ under the


'trees. Hippies strum guitars andmen ~-tbe old country

::~ ::; ~IliliAGE


5

. 77

- DAY

77

He I s in the heart of the East v i l l a g e e i ter of the


counter-culture. He angles down the
ich contains an
eclectic mixture of people, style and . ate nts.

sticker~ns

Slogans: everywhere, on. bumper


'America Has Gone To Pot.'; 'LSD not L
'We Shall overcome' and 'Ban the Bra'.

and De-cals:
g not Fight',

'

A cab comes round a corner too.fast ~~ails ~cross the


street. Jo-Jo has to jump out of the~\kY.-Gl.rhe driver is.
Max.

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.

He got walrus gumboot


~
He got Ono sideboard
He one spinal cracker
He got feet down below his
Hold y~u i~ his armchair yo[1ua
feel his disease.
come together right now
over me.
Jo-Jo passes Jude, carrying bis
the entrance to a club, the .c. afe
1
Guitarist Wanted'.

78

_INT.

CAFE WHA'? - DAY

rolle~ster.
w_

He reaches
read_s a sign:

h. a 1 ?, . .

78

The club is empty, chairs stacked on a es.


Jo-Jo stands on .
the small stage and plays .his guitar
a e utiful, fluent
s.olo, watched by Sadie and the rest of her band.

..
...
~-

~=

36.

EXT.

79

BUTCHER SHOP- DAY

Jude enters a shop with a sign 'Strictly kosher' in Hebrew on


the window. He looks at a pi~ce of paper in his hand and
-wonders if he's got the right add~ess" .
INT. BUTCHER_ SHOP - DAY

80

A kosher butcher points him to a room~e back, the


headquarters of a magazine called 'Th
: The solo
continues as Jude spreads his poster f
t
appraisal of
several young men with wi.spy beards. ~oom is filled with
the clutter of copy and art work and the-'C::fa:tter 0- -old
typewriters . . The editor, DESMOND, g~v~pprovin~ n~d ..

81

EXT.

EAST VILLAGE - NIGHT

~windows

81 .

The streets are crowded, lights blaze


of
stores and coffee houses - an9 there' s~ne outside the
Cafe Wha' .
-~

.82

INT.

CAFE WHA'?

CLOSE

on-S~die

NIGHT.

82

as she wails into:


SADIE

He roller-coaster hegot
Early warning ..
He got muddy water
~
He one mojo filter, he. say ~

:::::d ::w a::d ::e :r:::~e~'


0

Jo-Jo's ill
them Jude and Max, who've hitch~d up w~
.

o n away, among
ouple of girls.

SADIE

Got to J::e goo_d looking 'caugge


So hard to see
Come together right now

Over me ...
83

INT.

83

LOFT APARTMENT - NIGHT.

Jo-Jo's spacey guitar continues


the cl~b into the apartment. The
lamp. He takes her in his arms SADIE

(V .o.)

Come together . ..

..

37.

EXT. EAST VILLAGE -.DAY

84

.. .
! . . .

The sun '.s first rays glow over rooftops and fire escapes ...
SADIE {V. 0.)

QC;1

Come together . . .
85

INT. LOFT APARTMENT.- DAY

o~oft.

..:

85

. The sun filters t.hrough the w.indows


. It 1 s a mess
1
of clothes, . books. and albums; Jude s ~rt . posters on the
walls. A girl stirs next to the sleepin~e. Whep she
ra_ises her head we r~alize it 1.s not th~ girl.
~Jl

SADIE (V.O.)

Come together. . .

At. the other side of the loft, Max is ~ing on a mattress


under a tangle of sheets.- The girl he 1 s W'fE::h is t:l}e one Jude
brought back from the club. .
~
SADIE (V. 0.)

Come together ...


86

o.

Thunder in the sky and rain bouncing off the sidewalk. A


figure runs across the road, ignor1ng ~ho ks of cars.
Under th~ glow of a street ltght we reco
Prudence. She
climbs a fire escape, reaches a window
is s it open and
squeezes through.
~
o,rne t
thSADIE (V. 0. )
C ,,,
oge
er . ..

87

86

EXT. _VILLAGE STREET - NIGHT

:INT. LOFT APARTMENT - NIGHT

87

A group :ls sprawled around, smoking an'-1'"~_,_,__,_._,......._~ing _9heap wine:


Max, Sadie, Jo-Jo, strumming his guita
another couple.
D~smond, the magazine editor and PAM,
ace and streetwise.
SADIE . (V. 0. )-

Come together ...

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

Who are you?

PRUDENCE
Prudence.

fl~

JUDE

Where are you from,

Prudenc~

PRUDENCE
Nowhere.

-~

JUDE
Before nowhere?

()

PRUDENCE

Ohio. Then I was living


guy across the street.

wi~
~

Jude registers a bruise below her eye~


JUDE .

Did he do that to you?

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~
~

:::~ ::::h~::: m::::~s.:o::: :e::: h~.

88

wer.s.

BARBARA

[:Z

I can understand you needin~t


away. But why not .come to u
e
with your father and me?.
.
LUCY
I'd rather be with Max.

~
(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

Look who's here!


They squeeze in beside theITi.

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:

Lucy is stunned by the rawsexual energy on stage,


particularly between Sadie and Jo-Jo. And this whole place
with its smoke and sweat - it's a long way from.Brookline.
Prudence leans in to talk to her, ye11141~be heard above
the music.
l!:!.j (_)

PRUDENCE
Isn't she fantastic?

LUCY

N.
N

Amazing.

PRUDENCE
She's our landlady.

LUCY

You live with my brother t.oo? ~-

PRUDENCE .

~
.fJ

Yes. Him and Jude adopted ~.v


don't sleep with them, a~ymore.
love Sadie.

It's a lot for Lucy.to take in, in one day.


SADIE

. ~
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

Why don't we do it in the ~? .


..
Why don '~ ~e do it if! the . a .
No one will be watching us
Why don't we do it in the. oad?
90

EXT. VILLAGE STREET - NIGHT

90
Music

JUDE

You mean the hair?


my air of mystery?

Does it enhMce

~
(CONTJNUED)

90

41.
90

CONTINUED:

LUCY

I thought you'd be back in England.


JUDE
There's less. there for me than
here.
'Course, I don't off~ci
y
exist not having any ID.
I .
strange, but exhilarating i
w .
-.A kind of freedom.

)_

LUCY

Max said you came to Arneric~


find your father.
~Tl

\..

JUDE

Yeah. When I got a Princet~


address I tnought he was an
Einstein or-something. But~
just a blue collar stiff like~
myself..
.
~

\l

LUCY

(}

Did you l.:j..ke him?


JUDE

Tricky question. I've spent most


of my life trying to hate him. He
walked out on my Mam when
bun in the oven.

I.~

She nods.

He

notices she seems

subdu~

JUDE

Are you okay?


happened.

mean, I

LUCY

It's not that, it's ...


He.waits for her to explain.

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.

INT. RATNERS' RESTAURANT - NIGHT

91

Max stares at the envelope in his .hand. He's at a "booth,


crowded together with Jude, Lucy, SadMre,
-Jo, Prudence; Pam
and Desmond.
It's two in the morning,
e placeis
crowded with hippies, freaks and muso ,
c to the
.
displeasure of_ the old-schciol; bad-t_egaiters.
.

LUCY
..
You shouldn't have dropped ~
college, Max.
~'fl

~ ~

PAM

Your sister's right. You h~h


whole. Iyy League thing goin
you. And your father's a la er
.
an' shit.

~
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.

Lot of guys tried


my time.
SADIE
You were in the military?
JO-JO

Went in when Iwas seventeen


'
not some rich kid with an al
on his shirt.
~

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

Say you're psychotic


kill, kill, kill!
Max shakes his head as the advice
calls .to a pas_sing Waiter.

him ..

He

MAX
Could we order -

WAITER
A minute!
~T:l

JO-Jo

Some cats used to swallow a~;~f


c nottthon wool.
Shows up as -a~
0
e .x-ray.
~
I'm not go:;:; do any of

tha~

He-takes out a Zippo lighter and sets fire to the envelope.


At .least this gets a Waiter to their table.
WAITER

Hell ya think you're doing?


clear that mess up yourself
.

m-JO

you still gotta show.

92

You

INT. INDUCTION CENTER - DAY

92

CLOSE on the Uncle Sam Poster with it~-ing finger. The


mouth animates and words erupt. The

s Max's through
the entire song, . s_ometimes multi-trac
.
he- .song is 'I

-~

Want You'.
1

UNCLE SAM '


I want you!
I want you so bad
1 _want you-00-00
1 want you so bad
-It's driving me mad
Driving me mad . ..
.

_ ~ .

WIDER ANGLE reveals Max in a line of

naked,

Nail-hard SERGEANTS runs

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:

The song continues over a montage of


weight
scales, eye chart, reflexes, urine s_a~d the obligatory
cough while Medic cups his balls.
~Tl
93

EXT. INDUCTION CENTER - DAY


Jude and Lucy are walting outside.
protesting the war. Their leader is
chari_smatic.
.

.PACO

93

A~f

activ~sts

is

P~O-~, intense arid


~
~

This war is unjust and irnrno~~J-Y ()


Either fight on the side of the
oppressed or be on the side of the
oppressors! ..
LUCY
Daniel couldn 1 t wait to go.
thought.it was his duty. I
proud of him, I guess.

He

Paco
PACO
Peace march next week on Fi
Avenue. Be there!
.94

INT. INDUCTION CENTER

r-\
't11

DAY

94

Max, in his underpants, stands at a ta le a oss from the


Sergeant checking over his papers.
1.......t::.L-J..>~" 1 up a paperweight
of the Statue of Liberty as if i t was a
weight.
MAX
She's so heavjr! !

The Sergeant gives him a look and he

~back.

SERGEANT
Any reason you shouldn 1 t be_ in

t~s

man's army,_. son?

(CONTINUED)

~'.

94

45.
94

CONTINUED:

MAX

I'm a psychotic, ~ross-dressing


homosexual pacifist with a spot on
the lung.
SERGEANT
Just as long as you don't
feet.

[lif?)

hE3t
~

He stamps 'Al' across his papers.

95

INT. LOFT APARTMENT - NIGHT

95

The room is packed - it 1 s party-centraae loft tonight.


About thirty people hav~ gathered to
s
Max. The booze
and pot have gone a long way to~ards ~~ ~at - _he's pretty
far gone.
~
.. .
Sadie an_d Jo-Jo are dancing. It's li ~ they 1 re on stage
together. The sexual chemistry betwe~~
is so hot it's a
wonder the apartment doesn 1 t burst -into flames.

fh;fui

Prudence is staring at them with conflicted em0tions. Lucy


is watching Prudence as Jude brings her a glass of wine.

JUDE

I can't figure Prudence out~


Sometimes she's fearless, s
t~
s
the world terrifies her.
.
.

LUCY

.~o
H

She's in love.

I know, butJUDE
I don't think M~

interested.
LUCY

It's not Max:

Jude reacts ...: what does she know that

.e

o sn 't?

Sadie takes Jo-Jo's hand, leads him t~the dancing


couples into her room and closes the 0

.
~rudence

96

looks.stricken.

EXT. FIRE ESCAPE - NIGHT

0
t~the

:i?rud~nce drops onto the fire escape


as before. The sounds of the party c
She starts to sing 'You'ye Got To Hid

96

same yindow
from within.
Love Away'.

. (CONTINUED)

4 6.

96

CONTINUED:

.96
_- ..
_:.

.':

.-":;:

PRUDENCE

Here I stand head in hand


Turn my face to the wall
If she 's gone I can.' t go _on
Feelin' two-foot small
Everywhere people stare
Each and every day
fn
I cansee them laugh at me l..1LJ ()
And I hear them say
.

..; -.

Prude~c~~~his

Sadie's cat, Rocky, stares .at.


_eyes, as if he's.thinking.what she's
PRUDENCE

Hey you've got .to hide

elliptical

~:.

~
your~o~

a~ay

Hey you.'ve g<Dt to hide.your~Tl


away...
.
~ ~
97

~-

EXT. ALLEY - NIGHT

97

passin~g

Prudence walks down the alley,.


ano kitchen crews bringing out the gar.Dage.

steam vents.

PRUDENCE

Again

your~
got to hide your love
98

INT. LOFT APARTMENT


RESUME-.the party.

98

NIGHT

Desmond and Pam ar

to reassure

Max.
DESMOND

You have options, man.


MAX

. Yeah.

~o

Jail or Canada.

.Q

(CONTINUED)

47.
98.

i.

DESMOND

Montreal's cool.

PAM.

So? Learn French.


die.

Learn

F~
~

~f

At the door, Jude greets new arrivals.


them is an
ear lier sexual conquest of his from thr:::se'fif Together' days.
She kisses him warmly on the mouth.
~ ~
.

CLOSE ON Lucy as she wa.tches. It's he~hl to feel the


insecurity of young love. Why does sh~f~jealous? The
dancers around her become shadows of m~and light and
she sings the wi.stful introduction to ~ell~: ~ .
LUCY.
\l V
If I fell in love with you
Would you promise to be true?
And help me understand

'Cause I've been in love before


And I found that love was more
-Than just holding hands ...

()

fro~

The other girl breaks away angrily


her cigarette in a wine glass. .
.

;~c~eart

stubbing out

~(\

If I give
to you

must be sure

From the very start that you .


.
Would love me more than- her ~
If I trust in you
.
Oh please
Don't run and hide
If I love you too
Oh please
Don't hurt my pride like her
'Cause I couldn't stand the
And I would be sad i f our ne love
Was in vain
~
I

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

LOFT APARTMENT -.NIGHT

~.

99

The music is.instrumental as Jude and ~tf.ss ~n- ehe,,.


darken~d .bedroom. . .
\( ~-

LUCY
~
If I fell in love with you...

~OLVE TO:

.
100

INT. THE SAME -. DAY

100

Moonlight becomes sunshine as the CAMERA reveals the two


lciver~ coil~d together under a tangle of sheets.
The door
opens and Max enters, waking them both~
MAX.

Oh.

So that 1 s the way it i


JUDE

That's the way it is.


MAX

Speaking as .a bro.ther, I
could do better~
Get out

of

th~

LUCY
here, Max.
MAX

Look, as blissful as you


throes.of young love, we
problem with Prudence.
: 101

ha~

rNT .. LOFT APARTMENT - DAY

101

Sadie raps her knuckles on a locked door.


stand behind her.

,Max, Jude and Lucy

~
(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

I think she's hung up on me.~ll


Sadie and Lucy exchange looks -men!
the door and sings Dear Prudence':

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

Prudence sits in a walk-in closet stuf e wi h everyone's


spare stuff - cardboard boxes, guitar ~ases, luggage and an
old vacuum cleaner. She reacts as Jud
o
nues:
.

JUDE

INT. LOIT

A::T:::o:r:;es. ..

The others harmonize with

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

Look a round round


Look around round round
Look around ...
SADIE
I gotta rehearse.

n~

Prude::~;~

bear
Let me see you smile
~
Dear Prudence,
~
Like a little child

The clouds will be a daisy c in


So let me see you smile aga~ll
Dear Prudence
.'J.~~
Won't you let me see you sm~
The closet.door opens and
.

..:: ...
.

lJd_j {)_

She picks up her bag and leaves.

Prudence.bli~

the lrght.

ALL

Won't you come out to'play?


And Prudence smiles at last .. :

FIFTH AVENUE - DAY

104

The march makes its way .up the Avenue.


te the chants
and the anti-war protests, i t 1 s good-n
and mellow.
Some people are here just to have a go~ti . Prudence _is
with Jude, Lucy and Max.

c=J

MAX/JUDE/LUCY

Dear Prudence,
Greet the brand new day

The sun is up, the sky is b ue


It's beautiful and so are y u
Dear Prudence
~
Won't you come out t~ play?
The marchers around them join in:
ALL

Look around round


Look around round round
Look around . ..

..,

Dear Prudence

EXT.

The march is patr.olled by 'Peace Marshals' ,(Yearing arm


bands.

(CONTINUED)

51.

.104

CONTINUED:

104

The Avenue is flanked by New York's finest, bull-necked and


bemused, especially when cute hippie girls hand them flowers.
.Home-made placards and banners exclaim: 'Withdraw US
Troops!~; 'America Awake - It's Later Than You Think';
r

Students for Change I:

Prudence _sees something ahead of them~ ze puppets loom


above the crowd, with Vietnamese face
t
ook a lot like
she doe"s ... Th_ey I re part of a Bread an~t Theater troupe Prudence is .entranced and runs forwar
closer look.
The crowd react as hundreds of black
oons are released .
. . into the air. Lucy recognizes Paco as he
ds his- -group in
a chant: 'Hell.r NoJ_. We Won.'t Go! Hell,
e Won't Go!-'
Lucy reacts, catching Max's troubled ex
his arm, but his bravado has returned.

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

It at least makes Lucy smile.


Jude
shoulder and pulls her face to his.

arm round her

EXT. VILLAGE STREET - DAY

105

Sadie sits with Bill at an outside

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:

Tie-died Hippies wave from the roof. A sign on the side


reads: 'Doctor Robert and his Travelling Medicine Show. '

SADIE
He's a long way from California.

What's he : : : in the vrnTI11


Spreadi~

Plugging his book.


word..

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

The party js in an enormous apartment


Perspex ceilings, ~alls and 16ors melding into an undulating
reflective cocoon of.,. color and sensation. Sadie is among the
guests with Bill. She's brought the gang along: Jude, Lucy,
Max and Jo-Jo.

LUCY
Whose place is this?

Sadie nods to a woman who's .much too o

or the clothes

she's wearing; a face like a prune undaarban.


Wanda's.

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 .

He's about forty, in unassuming clothes, open neck shirt and


baggy pants . . He has an air of quiet assurance, bolstered by
the respect and admiration qf his audience.
p~t~~eaks and sun-

His entourage is an eclectic mix of


tanned hippie girls.
Some of them
recorders and movie cam.eras..
.

ca~eCJ1

to reel tape

. -~
)

Wanda leads t;he applause as he makes 11 s wa to a chrome and


glass Albrizzi table where copies of -~ook- are stacked.
He speaks with quiet authority as one of~ followe~s
switches on the tape recorder to play ~Sjftange, trippy
introduction to 'I Am The Walrus'.
~ ~
.
DOCTOR ROBERT
~Jl
These ar'e strange days. Da~ o:r.(J
.love, days of rage.
Illusi~
c~nfusion.
It's getting harde~
transcend the bullshit. Jus~
remember, there's no point ~:l:Mn@)
your heads, bucking the system.
Let them get all snarled up in
their dreary high. But never knock
the way the other cat s~ings. No
disrespect to New York butwe're
about two years ahead of you on the
Coast. We've already gradua~
from what's been going on tow
it's going.

He holds up a copy of his book,


to sing:

'I Am ~rus' and starts

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~

Jude stands on the sidelines, the spectator, painting


pictures in his head. His eyes are the camera as he scopes
the puls_ing, throbbing roorri.
0

(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!

).

Faces we know swim into view. . .

Lucy, mesmerized by these new sensati~ x, hitting on


the hippie hand-maidens, wanting. to d
n their gentle
beauty; Sadie and Bill sharing.some se et ke; Jo-Jo
-wondering.-what the jo.ke is Ci.nd why he'~a.rt .of ~!=.

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

They are the Eggmen


I am the Walrus
Goo go~ g'joob

Li.ghts are flashing, images .are projec


the walls. The
Music becomes weirder and more distort

he trip starts
..to affect everyone's s.enses and perception ..

0
.

l'

~
(CONTINUED)

106

CONTINUED:

55.
106

( 3)

DOCTOR ROBERT

Sitting in an English garden


Waiting-for the sun.
If the sun don't comer
You get a tan
From standing in the Englist,~

Jude holds .on to Lucy as they let. go, ~e6,6ering to this


cosmic energy - just as Max has, -spaci~, thought? of the
. Army forgotten.
.
~-

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

The. city is left behind. The Magic Bu~ls pa~t trees


and fields. A sign on the back reads:\Swe~rt,j}Load'.
.

Expert textpert choking smokers,


D9n't you thing the joker laughs at
you?
See how they smile
Like pigs in a sty,
See how they snied.
I'm -crying.

0
108

DOCTOR R.OBERT . (V. 0. )

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

Climbing up the Eiffel Tower


Elementary penguin
~Singing Bari Krishna.
Man r you should have seen th
Kicking Edgar Allan Pde.
I am the Eggman,
They are the Eggmen.
0
I am the -Walrus!

56.

<-,~109
.. I

. \ .

_EXT.

HIGHWAY - DAY

109

-~/

The bus ,levitates magically! It float$ above the highway and


finally disappears behind the trees.
DOCTOR ROBERT

Goo goo g'joob g 1 goo goo


Goo goo g'joob g 1 goo goo
g 1 goo .. ..

~SOLVE_~~-:
110

EXT. MANSION

(NEW ENGLAND)

DAY

~Tl

110

A rambling, Nineteenth Century turret~~ma~on. The


multicolored bus is parked in the. roa
conspicuous in
this bucolic et ting. Two: of Doctor .
er ' Hippies are at
the front door, the others are sprawl~e grass around
the bus. Our group isLUt:;ing to orient0t1 mselves.
Where are we?
MAX

I don't know and I don't know how


we got here.

JUDE
What is that
place?
SADIE

Sign says the Headquarters~


o
of Spiritual Deliver
.

Leagu~

Doctor Robert gets off the bus. The o ers


looks groomed, freshandrested in a M

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 .

plane or any other.

He smiles expectantly as the Hippies return from the mansion.

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

.....

::::: :::: J;~;~::g1:::~bal~


SADIE
D'you think he'd at least
use his bathroom?.

..

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

EXT. -THE SAME

fT~,E

.
(LATER) -

DAY

CU.T
111

Our group watch as thebus recedes do~o-ad, its tail


pipe belching black smoke.
MAX
My last blow-out before the
and I'm stuck in the middle~
where. is it?"
.

They shake their heads - no one knows:.


Luc seems the least
concrned. Maybe she 1 s still a little trippy.

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.

Bit deep for a cat from


Listen!

lY.j ()

Det~

LUCY
Do you hear the.

~-

mu:~

They cock their ears'but hear nothing~:i;i the buzzing of


grasshoppers. She points across a me\t~

LUCY
It's that way.

Ji-Yo i,klls.into step

She sets off and the.others follow.


with Jude.
JO-JO

Think she's still


"~1~

~: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

going _to: get: a tap on the s~e .


Someone's gonna say, 'Time~

son. Back to.the shipyard.'

JO-JO

dig what you're saying. I'm


cat ~rom_t~e projects .. But . w
m
playing guitar I got rich w

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

Take the ride, Jo-Jo. For


as it lasts.

as~
(CONTINUED)

lil

CONTINUED:

59.
111

( 2)

Jo.-Jo nods in Lucy's direction.


JO-JO
Is she part of your ride? .
JUDE
God, I hope so.

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

EXT. AGRICULTURAL FAIR - DAY

cr~J

112

Our group strol.l thrqugh the fair. T~h like aliens


.contrasted to the local people: fresh
nd apple
cheeked, as if they 1 d stepped out of a ran Wood painting.
They walk past the produce stalls, che~out the prize
zucchinis and the baked pies offered.by f
rs 1 wiv~s.
Max and Jude. we3:ik along pig-pen fences as e others imitate
the sounds of farmyard animals. It attracts the attention of
two pretty young local .girls - just what Max needs.
Jude, Lucy and Max goof off in a photo booth, taking cra_zy
pictures of themselves, singly and together.
EXT. FAIRGROUND - NIGHT

~-

Day dissolves into night. The lights o


h
bright against.the sky. Music booms
t fr
Max is on the Ferris wheel, his arm

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:

The crowd grows, following the Ringmaster as if he was the


Pied Piper.
Jude, Lucy, Sadie, Jo-Jo, Max and the two girls
go with the flow.
RINGMASTER/PERFORMERS

The celebrated Mister K


~
Performs his feat on Saturd
At Bishopsgate

The Hend~rsons.will dance a~


As Mr. Kite flies through tn;~::!::::::J
Don't be late.!
.
Messrs. Kand H. assure the~
Their production will be s e N
d
none
And of course Henry The Hor

dances the waltz!


~
The music change~ to waltz-time as th
by the tide. into:
1.14

rou

1s

swept along

INT, CIRCUS TENT - NIGHT

114

.The local population fills the canvas amphitheater, with its


sawdust floor and tum}:)ling acrobats. clowns bounce from a
trampoline. A brass band in Ruritanian uniforms plays.

A Bread

and Puppet Theater group is performing ?nd Prudence


is part of the act! They can hardly b~ieve their eyes_
MAX

Am I still 'high or is that

~- .

Prudence?
They wave and call her name.
her face lights up .

She spot

. The Ringma_ster brings the song to its


RINGMASTER

in. the crowd and

!(".~.~ion_=_

The band begins at ten to s~


When Mr: K. performs his. tr
.
Without a sound
And Mr. H. will demonstrate
Ten somersets he'll underta
On solid ground
~
Having been some days in
preparation
A splendid time is guarante
o:i;
all
And tonight Mr. Kite is topping_ ~e
bill!

.~

61.

115

.()

EXT. LAKESIDE - DAY

115

An idyllic summer morning.

The whole group is spread-eagled


on the grass at the side of a lake, including Prudence and
the two girls Max picked up.
They start to sing an a cappella vers2fp~'Because' the
soaring_ nine-part harmonies filling tJ~r()

ALL
~
Aaaahhhh-ahhhhhh
~Bee.a use th.e world is round I:::::::::--_
It turns me on
~
Because. the world is round ~\l
Aaaahhhh-ahhhhhh
\. ~

Because the wind is high


It blows my mind
Because the wind is high
Aaaahhhhhh-aaahhhhhh

di.rect~-J~de ~nd

Prudence looks enviously in the


who look ~nto each other's eyes as a
.surface of the lake.

b~~~~Gtuffles

Lucy,
the

ALL
is old, love is.new
Love is. all, love is you
~ave

Because the sky is blue,


It makes me cry
.CLOSE on Max's face with sadness in is
he's come to the end of the days of in
UP.to the cloudless blue sky.

ALL
Because the sky is blue
Ah-ah-ah-ah-ah-aaahhhhhh ...

e .as_ e rea izes


CAMERA PANS
. .
.

The voices fade away and are replaced ~-thing much more
ominous - the CHUG CHUG CHUG of ~mili
licopter ...
116

EXT. JUNGLE

(VIETNAM) - DAY

116

A-. CH-47B Chinook helicopter comes into ~- As i t lands we.

find ourselves in the jungle landscape


disembark, ducking thei_r heads under th
run towards us. One of them.is Max ...

.
nam.
Soldiers
whir ing rotors and

.62 .

.INT. JUDE Is .STUDIO - DAY

117

Snow crusts the skylight windows. Jude sits


behind a draftsman's drawing board.
posters - the board is covered with i 1
Crumb-like cartoons. The walls feature
contemporary a.:r;:-tists_: Rauschenberg, Jqr,;i+.u;::.i..._-J..ll'
118

a. stool
on from
Robert

INT. SCHRAFT'S RESTAURANT-- PAY

118

Lucy is working as a waitress.


The c~ look as if they
are retired. A table of old ladies p
t
heck.
They pool
their money adding fifty cents for Luc .

119

INT. OFFICE - DAY

119

Bil~

Sadie signs a contract, watched by


couple o:f
suits. He shakes her hand, smiles al~.
120

EXT. SDR

HEADQUARTERS-~

NIGHT

120

A rundown Brownstone in a shabby street. Lights burn in the


downstairs windows. . A sign over the. door reads: 1 STUDENTS
FOR DEMOCRATIC REFORM'.
INT. SDR HEADQUARTERS - NIGHT

121

The room is filled with young people,


g pamphlets,
working the phones, typing. One wall
red in press
clippings and photographs of the group~a vities: Marches,
rallies and demonstrations.

c=J

Lucy is working a Gest.etner machine, r


leaflet annourrc:ing. an. anti-war rally.

off copies of a

Paco says something that makes her lau~~~~ 1 e looks up to


see Jude through the window, pointing
watcb.
She
shrugs 'I don't know how long.'
122

INT. LOFT APARTMENT - DAY

122

Lucy has fallen asleep onthe sofa.


behind his drawing board, sketching
starts to sing 'Something':
JUDE

Something in the _way sh_e moves


Attracts me like no other lover 0
Something in the way she woo~.
I don't want to leave her no
You know I believe in how

(CONTINUED)

122
~
'-.__../

63.
122

CONTINUED:

The sketch on the drawing board animates, stretching, pushing


hair from her eyes and smiling at him ...
JUDE

Somewhere in her smile she ~ow


That I don't need no other
e
Something in her style that
w
me

Don't want to leave her now (


)
You know I believe in how...
.

pictures~
.f L
:

He turns to a corkbo.ard with.


the loft, Brookline, the trip.with Do
undertowof insecurity is revealed as

the.streets,
ert.
An
inues:

e c

~Tl

JUDE

You' re asking me, will my


~w
I don 't know 1 don 't know 1::::::::::::-.
Y~u stick ar~und now it; may~
I don't know, I don't know.. \( V c'J
123

O
124

1Ue

MONTAGE

123

During the guitar break Jude replays images of moments


they've shared: talking in the village street on Lucy's .first
night in N~w York; walking through the fairground; lying at .
the lakeside as the sun comes up thro~h
the trees; Lucy.
~orking at SDR ~hile .Ju~e watches fro .e tieet outside ...
INT.LOFT APARTMENT - DAY
RESUME Lucy's sleeping figure as
JUDE

124

Jude~ ues

to sing:

Something in .the way.. she kn ws


And all I have to do is thi~f
her
Something in the things she

~~~'t .want. to ~eave

now~

her
You know I believe in now.

She

w.a~es

up and smiles at him.

LUCY
What time is it?
JUDE

Almost eleven.

~
0

She scrambles off the sofa and hads ~ bathroom.

(CONTINUED}

-.-

64.
124

124

CONTINUED:

JUDE
You didn't get in till half
two.

pa~t

kn;;~c;ome Columb~

Did you

of

scientists are working for


Defence Department?

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

EXT. FILLMORE EAST - NIGHT

The landmark rock venue in the ~ast_V~a


e a former rnov~e
house. Lines .are ~utside, .~naking in o
.w~ hear Sadie
singing 'Ob,Darling'~
.
. ..
.

SADIE (V.O.}

Oh, ~arling, please believe m


I'll never do you no harm
126

INT. FILLMORE EAST - NIGHT

rr~~ans

.The venue is packed:. three thousand r


and her band
they're hitting the bi~

126
for Sadie

SADIE

Believe me when I tell you


I' 11 never do you no harm

rr 1

()

""'\?

Jude is in the audience, with Dave an~ The seat beside


him is conspicuously empty.

( 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-

Some strange vibe is happening-betwee~~ad~ and Jo-~o.


Her
voice is slurred from alcohol and his
ac d with heavy
sarcasm as -he repeats the lyrics afte
er,
nder his breath.

SADIE
when you told me
JO-JO

When you told me ...

:0

SADIE
You didn't .need

me

anymore

JO-JO

Didn't need me anymore ...

. ~

.. ::

SADIE
.
Well 'you know I nearly brok~
and died
JO-JO

Oh yeah, you nearly broke d


.died.
Sadie shoots him a venomous look: wha
band would like to know too.

---~~~,

The

right.

In the stalls, Jude also knows

SADIE

laying at?

. _Oh! Darling, if you leave m~


I' 11 never :make i t alone .
Believe me when I tell you

I' 11 never do you no harm! .


JO-JO

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

INT. DRESSING ROOM

127

FILLMORE EAST ..- Nift1m .

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~

he.'s got them

in~h

e~

- and he

Darlin:~-;fease believe~
H

Oh!
I' 11 never let; you down
129

Sadie bangs out of the fire door


town car waits for her. The. rear door
under the interior light.

--=~~~

wn an alley. A
and Bill sits

JO-JO . (V. 0. )
Believe me when I tell you
130

130

INT. FILLMORE EAST - NIGHT


_Jq-Jo give it everything he's got for

finish.

JO-JO
I'll never do you no harm!

{CONTINUED)

130

67.
130

CONTINUED:

The audience applaud with mixed feelings - what just


happened? As Jo~Jo walks off stage the Fillmor.e Manager gets
in his face, but his angry words are drowned by the stomping
feet of the crowd - and Jo-Jo couldn't give a shit._

0
131

INT. LOFT APARTMENT - NIGHT

!:;~ouldering

a-?h~ The

cLOSE on. a jo.int


in an
sp~rals lazily pa;:;t a bowl of fruit ..

Jude is at the kitchen table,

131
smoke

_doodling~hasn't

three days and it's been a while since ,,~gged


across his head.
~ll

shaved for

--~--:comb

He picks up 9 greenapple, cuts it .in ~l~d stares at it.


In. a. TIME LAPSE SEQUENCE, it rots in f~ him.

He picks up a banana and stares at tha .


happens._ He's running out of inspirat1

same thing

Lucy and Paco arrive, carrying a telev~et between them,


trying to catch their breath from the ~;f~.tJ
LU.CY

.Jude, this is Paco.

PACO

Heard a lot about you. .Hope~e


're
not -interrup.ting 'the creati v
ow
LUCY

(looking at his doodle)


.still life?

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~

Through the snow a black and white im.::i~ars or:i.the TV:


the face of Walter Cronkite, anchorin~~~x o'clock News.
PACO

~)

There you go. You should t


.
get an outside aerial .. I go
split. You'll be there late~n
She nods.
132

He leaves.

Lucy hesitates

INT. JUDE'S STUDIO - NIGHT

~t~

Jude's door.
132

Jude rem()ves. a pear and reveals a big,~ ~trawber-Ly~ He


takes a roach pin and impales it to hi~e bulletin board ..
_The red juice trickles down.
\( v ~

Lucy opens the door. He turns to her with a smile and starts
to sing: 1 Strawbe_rry Fields Forever 1
Jl]DE

Let me take you down,.


'cause I'm going to...
~
Strawberry Fields
Nothing.is real

And nothing to get hung abou


Strawberry Fields forever. ~
he television
'

Lucy stands in the doorway as the imag s


become live pictures from Vietnam.

.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

Let me tak~ you down,.


'Cause I'm going to
Strawberry Fields.
O
Nothing i:s real
.
And nothing to get hung aboutff~
Strawberry Fields_ foreve+ . ._. ~

(CONTINUED}

69.
132

CONTINUED:

.132

CAMERA closes in on the television images.of conflict and


violence. Black and white turns to color~
EXT. KILLING FIELDS

(VIETNAM) - DAY

:A Soldier turns to f a : us.

133

It's Max.~ings:

No one I think is in my tre~,


I mean it :must be high or 1
.
,
That is you can't you know ~n
But it's all right,
~
That is, I think it's not to~tfl
Let .me take you down,
_'Cause I'm going to
Strawberry Fields...

\(

Jl

~
~

The song continu-es as a due.t :between J~ Max, the


overlapping. images incongruously jux~a
with the words. of
the song. Jude.continues to paint as
. e
bob and weave
across a clearing, heading for the cov
of rees, billowing
black smoke behind them ...

JUDE/MAX
Nothing is real
And nothing to get hung about.
Strawberry Fields forever.:.-~

A plane strafes paddy.fields and villa


turns into a huge, grotesque giant str

Always no !':etimes, thiiik


But you know I know when

~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

Let me. take you down,


1
Cause I'm going to
Strawberry Fields.
Nothing is real
And 1 nothing to get hung about

.~
0

Max stands in a clearing, screaming fo~ but the:orily


voice we hear is Jude's:

(CONTINUED)

133

70.
133

CONTINUED:

JUDE (V .0.}
Strawberry Fields forever
Strawberry Fields forever
Strawberry Fields forever ...
134

INT. LAUNDROMAT - NIGHT

134

CLOSE on red, spinning in a washin.g


chords of the music fade away.

s thelast

The color. bleeds away as Lucy is revea


machine. Bored customers sit on plastic c.
rs.
clothes from.the drier.during the foll~

at the
.Jude takes

JUDE
.

Look, I got a job... . You_ kno~


1
We 1 ll pay you to do.it'. ~u~
you'd be pleased.
~

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

to him . . He's got a.good mi .


He's committed, passionate.~ .
wants" to.mobilize the movem r::=.Jo a
national level. - .

LUCY.

A what?
JUDE
A shagger. A Dori Juan.
young vulnerable' women.
LUCY

f('~~

.se~
~

(angrily)
Oh come on! You. know nothing about
him!

The other customers are getting caughMthe argument.

(CONTINUED)

134

71.
134

CONTINUED:

JUDE

Every.time I go to your place


there's about fifty people there one bloke licking stamps and the
other forty-nine are.female.

LUCY

This is a hideous war, J u d e @


we've all got to get involv
stop it. And what are you n ?
Doodles and cartoons. I su~
that I$ because YOU know you I~
never be drafted.
~ ~

C01J . .

JUDE

Nor will.

you~

Lucy.

LUCY

Precisely, but I'm out th er~:


_do]:l
something! I'd lie down in f
of a tank if it would stop
i
and bring Max home!
She drops a plastic. basket full of folded clothes and walks
.out into the street.
EXT_ VILLAGE STREET - NIGHT

It's starting to snow. Jude catches


to sing: 'We Can Work It Out-'.

}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

While you see lt your way, ~


Run the risk of knowing
~
That our love.may soon be g
JUDE

We can work it out,


we can work it out
The argument continues as they weave

t~passers-by:

LUCY

()

Think of what you' re saying_


0
You can get it wrong .and still
You think that it's alright~

(CONTINUED)

:::

135

72.
135

CONTINUED.~

JUDE

Think of what I'm saying,.


We can work it out and get it
straight, or say good night.
We can work it out,
We can work it out
lld_J

nf7=\()

Lucy stops for a moment to give


old Army jacket and a bl~nket.

chang'5_~~~anhandler

LUCY
Life is very short,
And there's no.time
For fussing and fighting,
friend.

m(rJJ
~

JUDE

I have always .thought


That it's a crime,
So I will ask you once

in an

agai~

Try to.see it my way,


Only time will tell if I. am right
or I am wrong
LUCY

While you see it your way


-There's a chance that we
May.fa~] apart before- too
JUDE

We can work it out,


We can work it out
sign.

They reach an intersection and wait


BOTH

Life is very short,


And there's no time
For fussing and fighting,
I have always thought
That it's. a . crime,
So I will ask you once

JUDE

Try to see it my way


Only time will tell
If I am right or I am wrong

.~
(CONTINUED}

135

CONTINUED:

73.
135

(2)

LUCY

While you see it your way


There's a chance. that we might. fall
apart before too long

.0

She lea~es him, crossing the road,

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

Jude watches as snowflakessettle in


136
.

~Tl

h~~'

that they haven't worked it out...

\,

INT. SDR HEADQUARTERS - NIGHT

and

frustrated

136

Lucy moves. through a hive of a c t i v i t y , e . g off-her coat.


Through an open doorway she sees Paco
l
in conversation
with two of his chief COHORTS and a new ome , a bearded BLACK
.RADICAL. A poster on the wall shows the outline of a rifle
with the words : 1 P.IECE NOW! '

BLACK .RADICAL

Listen, man, we're with you on


this. But if you're plannin on
taking over buildings, they air>-~-=-J
gonna open the door and offe
cup of coffee and a bagel.
ey're
gonna break heads.
.
~ .

. COHORT

We don't resist.
to non-violence.

We're corran
Right?

BLACK.RADICAL

..

That don tt work no more. .No


the most violent country in -~"""-=--~~,
world.
PACO

If we push the pigs to use f rce,

that will bring sentiment ov~~~


our side.
~

A blast of cold air as the front door opens.


what does Jude want now?
\
.
He wants to vent his feelings, singing
caustic derision:

Lucy reacts -

~tion'

with

(CONTINUED)

74.

136

1_36.

CONTINUED:

JUDE

;,n~.
.

You say you want a revolution


Well you know
.
We all want to change the world ...
You tell me that it's evolumno
Well you know

.
We all want to change the w
.

-.:..:~~/

Paco and the others come ou.t of the i r m .


.

JUDE.
~
Butwhen you talk about des~jjn
Don't you know you can coun \("~ t
LUCY

~n.
\.,,
~

PACO.

. Jude, don't do this.


Get him out of here!

JUDE

Don-' t you know it 's gonna be a 11

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

You say you'll change the


consti tu ti on
Well you know
We all want to change your h ad
a

table~

.. kicking over piles of freshly

JUDE

~~~ 1 t;~~ ~~ 0 ~t's

the

.-

institu~-

They grab him and . hustle his ass toward


JUDE

ramphlets.

. .

You better free. your mind inste

..
Blit

i f you go carrying pictu


Chairman Mao

.
You a.in 't gonna make it with anyone
anyhow!
. O

oor~

75.

EXT. SDR HEADQUARTERS - NIGHT

137

Jude is muscled outside.

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

groin and goes

~he w~

Jude picks himself up, looks at her fo~~ent, wipes blood


from hi_s lip and walks. down the _block-\_( ~ : .
Huddled a~ound a TV appliance store; b~rs watch stunned
.as news flashes on multiple screens of~ssassination of
Martin Luther King.
\\. v ()
.
OVER, we HEAR the intro to 'While My Guitar Gently .Weeps'.

138

138

INT. CAFE-WHA'? - NIGHT


It's two in the morning. Very few people are left in the
club_ A lone Jo-Jo is. on stage perfor 'ng.
JO-JO
I look at you all,

Whil.e my guitar g_ently weep { )


I look at the floor and I s E._i1
.. needs. sweeping .

.
Still my guitar gently weep~
.
CAMERA finds Jude sitting at a table,
fourth drink.

139

EXT~

SUNSET BOULEVARD

(LOS ANGELES)

on his third or

-~

Sadie and Bill cruise the Strip in a-p y_


They pass the Whisky and he points som

It's a billboard of Sadie advertising

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.

INT. CAFE WHA'? - NIGHT

140

RESUME Jo-Jo on stage.

JO-JO
I look at the world and I nrt~
it's turning
};JJJ. ()
Wliile my gz;iitar gently weeps

.Jude sings along with him:

JO-JO/JUDE:
With every mistake we must
be learning

JO'-JO
Still my guitar gently
141

~3.).
.-~

weep~

INT. JUDE'S STUDIO - NIGHT

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 ..

INT. CAFE WHA'? - NIGHT

142

RESUME go-Jo as he finishes the

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

EXT. FULTON FISH MARKET. - DAWN

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

gonn~ find Sadie there.

JUDE
She left Rocky with us
him?

you want

Cl((?)

JO-JO
That cat never liked me.

JUDE

I don It think he. likes an yo~

JO-JO
r::::~,Jl
You 1 d better get-home to Luh&, ~.

~ll

JUDE
She might be out fighting
cause.

f ~~

Jo-Jo look_s. at Jude's swollen, _eye and

~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

INT. SUBWAY TRAIN (TRAVELLING) - DAY


Lights. flicker off the. walls of the
rattles down the tracks.

145

1\ls .the train

t$~

-~

Jude sits watching the faces of his fellow travellers, a


cross section of the world, all ages :and raers: STUDENTS,
WORKMEN, HOUSEWIVES, BUMS.

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.)

Words are flowing out


Like endles-s rain into a panmr
They .slithe:r; while they pas

They slip away -a cross the u


r
~

He

wat.che_s. a group of saffron-robed


sing and dance down the aisle.
.

JUDE

(V .Q . .)

H~hnas
~

as they

Pools of sorrow, waves . of j ~


Are drifting through my ope~iriRJ
Possessing and caressing me ~

BARI KRISHNAS_

Jai guru deva om.

\l ~

-~

JUDE

Nothing's gonna change my wo011


Nothing's gonna change my world ...
Ncthing's gonna change my world .. .
At the front of the train, Jude stares at the flashing lights
as the subway hurtles through the dark tunnel.

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

.SUBWAY STATION - .DAY

Jude comes -into the daylight moving pa~ents. carrying


home-made banners stapled to sticks, o
way.to the
Columbia campus to join- the demonstrat
.
. ..

.

147

JUDE

Thoughts meander.like a restle


Wind inside a letter box
They tumble blindly as they
Their way across the universl{7~)I

EXT. -COLUMBIA UNIVERSITY C:::AMPUS ~ DAY. ~

147

The Demonstrators are a diverse coalition of students, .


pacifists, Vietnam vets,-radicals and hippi~. They're
surrounded by cynical, seen-it-all COPt?9ing for a_ fight.

,_.
--r-,,

(CONTINUED)

79.

147

147

CONTINUED:

.. .
- ., .

JUDE
Jai guru deva om ....

Jude is jostled as he pushes his way through the c.:r;:owd, past


TV crews training their cameras on the confrontatjon.
Cops carry Students out of the lib~arD ~ kids don't
struggle, their bodies limp, showing
resistance.
They're bundled into police vans. A D~~scorted from the
library, surrounded by a protective h~ teachers.

mJi:;?;/

COPS
Nothing's gonna change my

STUDENTS

w~

\(

Jl

Nothing's gonna change my w~

DEAN/TEACHERS
Nothing! s gonna change my

.........

JUDE

Nothing's gonna change my


.

~
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

Limitless undying love whic


hines
Around me like. a million su~.
.

Jude spots Lucy, in the front lines,


o shouting .
through a. loud hailer, .alongside the
dical and his.
followers.
~
Someon.e - tosses a smoke bomb. Cops li
an_ticipating a
charge. Out come tht;! night sticks.
~-

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

Nothing's gonna change my world


Nothing's gonna change my world
Jude sees this happening and getting ~s the only thing
in his mind. He grabs ~old of one of
e C s, trying to
drag him off Lucy. Bad idea - he goes
nder a hail of
flailing fists and night sticks ...
JUDE

Nothing's gonna change my


.EXT. AVENUE

UP-TOWN -

148

DAY

A convoy of police vans,

sirens

blarin~.
,Eijlfel

up-town streets.

\(
.

JUDE

....

-~

(V. 0. )

Nothing' s gonna change my


Jai guru deva om .. .
Jai guru deva om . . .
149

through the

w~

INT. POLICE VAN (TRAVELLING) - DAY

149

About eight Demonstrators are sprawled around the van. Most


of them are nursing bruises and cuts. 0ude seems the most
dazed. Lucy mops. blood from his fore~h.d.
LUCY

You're going to need stitch s n


this head.
~
STUDENT

They just lock us up overnig


man. And tomo~row we get ou~.
picture in the papers.
.
Jude nods, but he knows his. problem is
cut - and so does Lucy.

;@.
.

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

Your father's American.


call him.

p~

sible:

Her face

You~

(CONTINUED)

--.~

BL
149

CONTINUED:

149

JUDE
No, I can't do that.

.....

The van pulls to a halt and the doors are


150

EXT.

PRECINCT HOUSE

UP-TOWN -

unlocked~

nfn

DAY

150

Cops haul out the Demons~rators, none~ gdntly.


Jude hugs
Lucy for a moment before they; re pull~t. and. :their only
contact is their eyes~
~
151

INT. MAINTENANCE BUILDING

C?LLEGE

CAM~AY

.-

151

Wes is in the janitor's office - the a x : e Jude spent


the night. He's on : : phone, his exp~ssi serious.
5
How did this happen? ... Yeah
caught it on the news...
He listens somernore,his face

confli~.

WES

I'll get a train.


152

INT. PRECINCT HOUSE

UP-TOWN - DAY

152

Several of the arrested Demonstrators ~it


in line for the
pay phone. A uniformed COP pushes thr
em.

cop_
~

Time's up!
Her .s

153

talking to the person on .the. p h o n H s Lucy.

INT. HOLDING TANK

PRECINCT HOUSE -

NI~

153

A dejected Jude is in a crowded tank.

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

I'm a member of the A. C. L. U. .


a junior partner with Weinbe~
Weinstock and Weinstock, so.
I know my constitutional rig ts.
Everyone here has been denie
.
access to legal counsel -

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.

A tie-died HIPPIE in an Easy Rider T-~ries it his way:

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?

The holding tank responds, wind.ing up the Sergeant as they


sing throug~_the bars:
DETAINEES

We're Sergeant Pepper's Lon


Hearts Club Band,
We.hope yo will enjoythe

Hearts Club Band,


Sit back and let the evenin g
Sergeant Pepper's lonely,
Sergeant Pepper's lonely,
Sergeant Pepper's Lonely He~~~
Club Band.
.
~

..

Sgt. Pepper is not.amused.


Other Cop~e and they're
pissed too. What's going on?

SGT. PEPPER
Keep it down, weirdos!
DETAINEES

It 's wonderful .to be here, .


It's'certainly a thrill.
You're such a lovely audience,
We'd like to take you home with ~,
We'd love to take you home.
lJ
r!

~(j

.~
{CONTINUED}

.
I

:
-::

153

83.
153

CONTINUED: . (.2)
CAPTAIN
Get their asses out of here!

.A series of shots intercut between the street and the holding


tank as one by one the disparate bunclfl~leased to their
friends and the waiting press .. The sd:d:gjcqfjtinues over:

Weshow,don't r~:J:JN!:;t to sto~

mig~

But we thought that you


to know,
That the singer's going to
song,
.
. . .
~-.
And he wants you a~l to sin
.
So let me introduce to you

The one and only Billy Sbeaf.s:::::::::..And Sergeant Pepper's Lonely~s


Club Band.

. .
. \(\! ()

~J

The last guy to be released is Jewish Afro.


He glances back
to the lonely figure of Jude and flashes him the peace sign.

154

INT. INTERVIEW ROOM

PRECINCT HOUSE - DAY

154

A door is unlocked and Sergeant Pepper~steps aside to let


Jude enter.
SGT. PEPPER
You got five minutes, I'm 1 ~
the door open'.
Jude reacts in shock. Wes sits at the o~
abl-e, which is
bolted to the floor .. Peeling posters f fir regulations on
the wall. . Jude take~. t?.e chair ~pposi ~~}"

lf

JUDE

What are

y~sdoing

here?

I got a call from a friend


yours. A girl.

~.

Jude realizes he means Lucy.

WES
Said you were in trouble.
So I
came down. Told the cops I'm a

U.S.

Citiz~~E That

you're

m~~~

What did they say?

(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.

Silence fills the space between them.


es
ashtray as he tries to find the right wor
WES
-Have you told your mother
me?
Not yet.

-~

yo~ ;;et()

JUDE
But I will.

Wes seems to take some comfort from

155

'ngers the metal


'

EXT. PRECINCT HOUSE - DAY

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

~::: ::i::hi:t::: :::kt:n:h::::. Wh:~.'h:::hb:::


0

grilled window, slams shut.

TO BLACK.
15E) .: ..

EXT. SHIPYARD (LIVERPOOL) - DAY

f('~~

o~

156

sky. The dock


Se.agulls wheel in the air against an
workers stream out of the gates at the end of another week's
graft. The same line of women wait for the0 husbands' pay
packets.
~

lJ.
(CONTINUED)

,;"

as.
1"56

()

CONTINUED:

156

One of them is Molly and she's very pregnant.


and smiles. He'walks up to her.

-She sees Jude

MOLLY
How's it going, Jude?
JUDE

Not so bad.

He glances-in the direction of red-ha'(


some work-mates.

)il, talking to

JUDE

~Tl

MOLLY

~
p.ed

So when did.you and Phil hit\fb ~


About two weeks .after you s
writing.
JUDE

I'm pleased for you though.


kid on the way.

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

Is this real enough for you?


to be back?
JUDE

(flatly)
Couldn't be happier.

He watchesMolly as she walks away as we

he~Max's

voice

singing: Happiness Is A Warm Gun '.

0
(CONTINUED)

8 6.

156

CONTINUED:

"156

(2)

MAX

(V. 0.)

She's not a girl who misses much


Do do do do do do - oh yeah

157

EXT . STREET

(LIVERPOOL)

071

DAY

..

157

Jude walks through the wintry streetsewomen with heads


bent down, pushing pra~s; workers lik

f, heading home;
kids kicking a football. He seems dis anc . from everything ..
MAX

:~

(V .0.)

She's well acquainted


~ll
. Wi ~h the tau.ch of the velve~ha~
Like a lizard on a window p~ll

158

INT. VETERANS' HOSPITAL WARD - DAY

\(

spac~f

Max lies in his bed, si.nging into


rambling and incoherent.

158
his~mind

is

MAX

The man jn the crowd


With the multicolored mirrors
On his hobnail boots ...

Lucy sits beside him, holding on to his hand. The ward is


filled with other casual ties of the w~Sa e are physically
hurt; others, like Max, mentally damaged

MAX

Lying with his eyes.while h~. s


Are busy working overtime
A soap impression of his wi e
Which he ate and donated
To the National Trust
1/7~")1

It's hard for Lucy to keep her f


over and kisses Max.
I'll be
okay?

ba~~C~ext

eelin~eck.o:.
~

week, same
.

She leans

It's hard to tell if he understands he~t. Shewalks


away, passing broken minds and bodies.
"est sits beside
one bed administering last rites to ~
.
ATIENT.

As she leaves the ward, Max calls out to a 5assing Nurse:


::-.

-~,...----

..

~-)
(CONTINUED}

158

87.
158

CONTINUED:
MAX

I need a fix 'cause I'm going down


Down to the bits that I left uptown
I need a fix 'cause I'm going down
The patient in the bed with the Pries
:Si ts 'bolt upright! -The other vets re
a bizarre expression of their twisted

e him suddenly
The song becomes
s.

MAX

Mother Superior jumped the ~


.Mother Superior jumped the gun~
Mother-superior jumped the ~TI.
As the patients hallucinate, the Prie~"'M-s and tw.lrls
like a dervish, between the beds and ~-he door.
PATIENTS
~
Mother :Superior jumped "the giin~
Mother $uperior jumped the ~n
Mother .Superior ].umped the ~nv ()
MAX

Happiness is a wa.rm gun

Sexy centerfold NURSES, in white starched uniforms, become


back-up singers, syringes in their hands a promise of comfort
to come.

NURSES

Bang bang shoot shoot

.MAX

Happiness is a wa.rm gun


NURSES
Bang bang shoot shoot
A grizzled AMPUTEE in a wheelchair
AMPUTEE
When I hold you in my a.rms
And I feel my finger onyou
trigger
I know nobody can do me no
.Because . ..

h~

. NURSES
Happiness!
MAX

... is a warm gun 7 Mama.

~
(CONTINUED)

88.
158

CONTINUED:

(.2)

.158

f. ~

---=n
:;<\.___,....,..

NURSES
Bang bang shoot shoot

ohm

MAX/PATIENTS
Happiness is a wann gun,

NURSES

Ba.ng bang shoot shoot

MAX/PATIENTS
Happiness is a wann yes
Gu-uh-un!

iti~

NURSES
Bang bang shoot shoot

N
~
011 .

MAX

Well don't you know that


. Happiness is a wa.nn gun!
Applause, cheering and whistles ...

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

INT. DRESSING ROOM

AUDITORIUM - NIGHT~

Bill gets to his feet to greet Sadie

SADIE

iGO

a~nters.

The sound sucked. How .many imes .


do I have to.tell you?: Get~r
ass out there and tell.Tony o 1
it or I don' t go on t_omorrow

le~es
. . Sadie

Bill knqws better than to argue and


chair in front of the make-up mirror an
drink. A Dresser appears behind her: P
PRUDENCE

You don't treat people nice.


used to.

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.

Sadie swivels round in her chair.


SADIE
You want to leave?
PRUDENCE

You're the one who leaves


161

INT.

LUCY'S HOUSE - DAY

161

tel~n

Lucy's mother, Barbara, is on the


room with its_ sunlight and fresh flow
the words come tumbling out in a :"Lush

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.)

Well they should.be radical,


should be radical, we shoul

1 b

all fucked up. This war jus


e
on and on and nobody's liste in .
BARBARA
I'm listening

LUCY. (V.O.)
No you're not listening!

IT~'11

-~

BARBARA
.
I just. don't want my beautif
daughter to get hurt.

f{7"'\?"~

She starts to cry.


162-

EXT. PHONE BOOTH

(WASHINGTON D. C. ) -

CLOSE on Lucy in a phone booth.


mother.

-~

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.

....
'-~(

The crying won't stop at the other en41

LUCY
The cherry blosso~s are on
trees ... shhh, shhh...

~.

lJ1J {)

~-

Her eyes widen. as we REPRISE the SHOT~ long barrel of a


tank's gun swivelling in her direction~

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.

We realize w~'re at the same place as the beginning of the


film, near the Pentagon. Demonstrators railing against the
Police and the Feds. Tear gas and rifle butts. Shouts of
rage and bloodied heads.

~.
olu ion'.
stunned state, she can barely sing t h e r

She hears an instrumental refr:ain of

goingL~;ybe

In her

right.-~

It's
all
It's going to be all.right .. ~
It's going to be all right ...
163

INT. VETERANSi HOSPITAL.WARD - N!GHT

l("~")l

163

Max and the a group of other vets sit ~a TV- watch.i'.ng


news footage of the Pentagon March. O~ HEAR an
instrumental guitar version of 'A Day
Life'. It plays
for several. seconds over their faces: cur
, angry,
indifferent, vacant ...
164

EXr. SDR HEADQUARTERS -.NIGHT


The guitar continues as a yellow cab p
Headquarters.

164

. outside the SDR

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.

INT. SDR HEADQUARTERS - NIGHT

165

Lucy enters, surprised to find the place empty.


voices above her and heads upstairs.

She hears

She reaches a door and pushes it open


Paco and two colleagues. They 1 re start-..--~~
expected. Her eyes go to the table an1-'1::ei:H:I
paraphernalia spread out:
fuse wire,
e ies,
They look at.her shocked face.
~

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~

Silence between them as she w~its


resumes his work and she turns to leave.
166

0
167

He
166 .

EXT. FERRY (LIVERPOOL) - DAY

'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. .

EXT. LIVER BUILDING

(LIVERPOOL) - DA

167

clock~~e
s of Liverpool's
per 'Liver Bird'

CAMERA looks down past the twin


landmar.k building.
On top of each si
keeping a hawkish watch on the city b

ow.

ancI?:~"SJ.q

Jude walks past the Liver Building


a NewsVendor
selling the Evening .Gazette. He toss~ple.. of coins
down and takes one.
.

The headline screams at him:


HOME-MADE B"OMB BLAST I .

"S KILLED IN

~he MUSIC builds into the attenuated,


scala ing chord,
perfectly attuned to Jude's numbed se1f?~~ he takes in what
he's reading, his mind reeling.
~

168

-MONTAGE

168

Rapid-fire images of .Jude and Lucy 1 s time -Aether: the


garden in Brookline, the bowlin~ alle~,
th . i~lage streets,.
the party, the bus trip, the fairgrou ,
.field by~the
lake, the apartment, the laundromat a
the iot at Columbia.

(CONTINUED)

.. -~

168

92.
168

CONTINUED:

.;

... :.

It cuts off abruptly as the chord finishes and the newspaper


photograph explodes into millions of pieces of paper that
fall like confetti filling a white void
169

LIMBO

169

JJ~re

Jude, Lucy and Max face CAMERA. The


carnival
photographs fill in their faces like ~~ Close painting
as they sinQ in unison the beginning ~~erday':
..
JUDE/LUC~/MAX

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

By making his world a li ttl~aer


Da da da na na na na
~

Jude gets the message.


171

INT. BEDROOM

He pays for

hi~ and
~

JUDE'S HOUSE - DAY

Jude flings clothesinto his

leaves.
171

back-pac~

-...:-

PIANO PLAYER (V.~.


Hey, Jude, don't let me do
You have found her
Now go and get her ...
172

172

EXT. JUDE'S STREET - DAY

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

He passes an old TRAMP, .who rattles ou


the lids of garbag.e cans an.d iron railf9~

173

INT. RAILWAY TERMINAL

(LIVERPOOL) - D~

cussion break on
173

Jude hurries across Lime Street Statiom~-::m-n-~hows his ticket


to the Inspector on the gate. Now it'
ngers and
Porters who provide the harmonies ...
PIANO PLAYER (V.O.
So let it out and let i t in ~
Hey, Jude, begin
.
You're waiting for someone t
perform with . ..
Jude runs down the platform towards a hissil(g steam train .

.94.

.~~
.: !

~01174
\ /

INT. ARRIVALS HALL

(NEW YORK) - DAY

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

Jude has a moment of panic as a


his passport.

Immigr~orOo~ficial

examines

~
PIANO PLAYER (V.O C . )_

And don 't you know


That's it's just you
Hey, Jude, you' 11 do.
The movement you need
I~ on your shoulder

. ~Tl

His passport. is stamped and he breath~~ as he moves


through. The whole line of Innnigration ~ials and--wai ting
passengers join in with:
~
PIANO PLAYER (V. O~ v
Na na. na na na na na na na ....

175

EXT~

()

SDR HEADQUARTERS - NIGHT

175

Jude stands outside what used to be the SDR Headquarters.


. ~

Now it's a burned out shell.

PIANO PLAYER (V.O


Hey, Jude, don't make it ba
Take a sad song and make it ~
176

EXT. CAFE WHA'? - DAY

176

J-~e passes the Caf~ ~ha'?, closed at ~


s
~me of the .day_.
The streets are familiar but the faces
' .

PIANO PLAYER (V.O


Remember to let her under y~
Then.you'll.begin to make i
177 .

EXT. BUTCHER SHOP - DAY

177

Jude is with Desmond and o~her staff~r~ro '.Rat' magazine.


Whatever they' re tel.;Ling hDn makes his
. ight up ...
PIANO PLAYER (V.O.)
Better better better better
Better betterohhhhhhh ....
'.O., -,

. ''-'----..

(_J

.,

95.

. ;*~
. . ii:~

.....

178

EXT. ONE HORSE TOWN - DAY

Jude gets off a Greyhound and.the doors hiss closed. Nothing


much here but a hardware store, a diner and a gas p:ump. But
the locals tell him the same thing:
Na
Na
Na
Na

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 ...

EXT. COUNTRY ROAD - DAY

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

-EXT. PICK-UP TRUCK

~ v

(]

{TRAVELLING) - DAY

180

Jude sits on the sacks of produce, but he's been joined by


several other young people sharing the ride, incl~ding a
young couple with a baby in a papoose. A light rain is
fal~ing but nothing damps their spirit~s
they sing along ...
ALL

Na na na na na na na na
Na na na na - Hey, Jude...

181

EXT. COUNTRY ROAD - DAY

181

The truck drives between columns of yo~uple all heading


in the same direction. Back-packs and
s, kaftans and
faded jeans, bangles, beads and bed-ro
.
heir eyes all

turn to

Ju~~ ~~ :~ ~~~~~~~:~:~.sin~

PIANO PLAYER {V .o~


Ju-de Ju-de ~u-de Ju-de Ju- .

EXT. FIELD - DAY


C~ERA

182

CRANES UP to reveal where everyone i()heading:


ro~~ountryside

thousands of people spread out over

facing an open stage, flanked by light

.
.

ers.

(CONTINUED)

.. .

'

,;.

r,.~

96.
182.

(?---\
'~.\ )
'-___/

182

CONTINUED:

: .....
. . ;{~~~
!

. . ./ ..

.:

):

~: ~-;:.:~

....

ALL
Na na na na na na na na
Nana na na - Sey, Jude ...

:--

183

183

n~

EXT. EDGE OF MUSIC FESTIVAL-. DAY

.:

The farmer stops his pick-up truck whe~ri6les of young


people are s~reaming across the fields~ clambers out,
holding the baby in his arms. He hand~hild back to its
y"oung mother.
~
.
YOUNG MOTHER
"
This girl of yours - is she
foot tall with a green Afro?

JUDE
No, why?.
YOUNG MOTHER
It might be kinda hard to

:. .
.,

f~"--. \f'e(J

Everyone wishes Jude good luck and flashes peace signs ..


._:

184

EXT. MUSIC FESTIVAL - DAY

184

Jude finds himself on the edge of the festival and gets a


sense of its mammoth scale. It's bee~oing on for two days
and legions of young people are sprawl
b t on blankets
and bedrolls.
Some have set up tents
-pees, washinglines, trestle tables and barbecues.
.
Announcements boom out over the P.A.

S~

P.A.

A guy in the First Aid ten~t

claims he's Jesus.


His dri
licence says he 1 s Joel Hard
can someone come and get h' .

This gets laughs.

~'s

The crowd react with good humor. Then


Jake?
okay?

'

voice:

GIRL (OVER P.A)


It 1 s Lori.
I didn't
I swear!
1/7~~
A guy handing out

BUTTON GUY
Don 1 t listen to her, Jake!
balled your best buddy!

~ buttons yells:

She Q

~
(CONTINUED)

. . .

~-

184

97.
184

CONTINUED:

--_:ii~

... ... .. :
~.

.0

Ju.de .reaches food stalls and sees the Information Booth. A


home-made sign reads: 'Lost a Friend? Record Your Message
Here. ' Trouble is, about fifty people wait in line. He moves
away in frustration as another me~sage is heard:
VOICE
f'l(/==\
Listen up, people, some wac~olf!j
there are dealing purple a c i d
This is not good shit, don'
it, man.

m~om

Naked couples slide down a bank made


therecent
rain. The sun breaks through the clo~lAJt the same moment
a giant roar goes up from the crowd.a~ ~act takes the
distant stage.
~n

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

MUSIC FESTIVAL - DAY

185

Sadie's b_and includes Jo-Jo and three ~CK-U SINGERS.


SADIE
.
Lend me your ears and I'll ~u
a song,
And I' 11 try not to. sing ou B
key.

I'll get by with a little h p rm


my friends..
~
Get high with a little help fr
y
friends.

Howl-back from Jo-Jo's guitar. A roa~e


due s across the
stage and re-connects a lead.
Prudence .
es from the
wings .between amp stacks.
SADIE
I'm gonna try with a litt. le_rf~
from his friends.
~

What do I do when my love is away?

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

Off-stage, Prudence mouths the words


186

EXT. MUSIC FESTIVAL - DAY

Sadie ...

186

The crowd is grooving to the music. ~tlde has other


things on his mind.
\.. ~

SADIE (V. 0. }

I get_ high with a little he~


my friends
~ ~v <]
Gonna try with a little help from
_my friends

187

EXT. STAGE

MUSIC. FESTIVAL - DAY

187

RESUME the song as Jo-Jo joins Sadie

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

EXT. BACKSTAGE AREA

MUSIC FESTIVAL -

188

The area is enclosed by a chicken-'wir


and guarded by
an army of security guys. They're cl~rina path fo~ a flathed truck containing ten Andy Gump-st e mo le toilets.

EXT. STAGE

MUSIC FESTIVAL - DAY

RESUME Sadieand Jo-Jo

189

(CONTINUED)

189

99.
189

CONTINUED:
BACK-UP SINGERS

~-~.

SADIE

Yes I'm certain it happens cf1J~


time

LJJJ

BACK-UP SINGERS

SADIE

~Tl

What do you feel when you t~


the light?
~
I can't tell.you, but I
mine

190

EXT.

B~CKSTAGE AREA

kno~t~

MUSIC. FESTIVAL -

190

and~

The trl?ck rumbles across the grass .


behin<J a
catering tent. Vehicles everywhere - ~gs and
generators, vans and station wagons an\l r'oweJ of trailers ..
SADIE (V. 0.)

Oh I get by with a li ttl~ help from


my friends

I get high with a little help from


my frifZ!nds
Oh I'm gonna try with a lit
hep
from my friends.
.

A moment
with the masses
dies and riggers.

later Jude jumps onto the grass and.mi g


of people backstage - arti?~s, manage ~

191

EXT.

STAGE

MUSIC FESTIVAL -

DAY

. RESUME Sadie and Jo-Jo as they move

whipping up the audience.

iJfo~
1igh~-~_
,~
~
~

BACK-UP SINGERS
Do you

ne~A:::ody?

I need somebody to love!


BACK-UP SINGERS.

Could it be anybody?
SADIE

C>

I want somebody to love!


Oh I get by with a. little
my friends

- ~.

/= .. :-:,

Would you b~lieve in a love at


first sight?

rr~
~1_
0

h~

191
gear,

100.

EXT. BACKSTAGE AREA

MUSIC FESTIVAL - DAY

192

Jude picks up a snake of cable and sli~gs it over his


shoulder. Now he looks like a roadie. He makes his way to
the ramp at the rear of the stage.
SADIE (V. 0.)

Mmm, I'm gonna try with a


help from my friends ...
193

.EXT. STAGE

liwa
,

MUSIC FESTIVAL - DAY

Sadie and Jo-Jo bring the audience to


concl ud_e the song:

~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.

He looks out, facing that awesome mult' ude of people. Their


shouts for more fade as he taps the mi~riosity ripples
through the crowd. Who is this guy?

c=J

194

EXT. BACK OF THE STAGE - DAY

194

[("~~

The STAGE MANAGER. reacts:


STAGE MANAGER
Get that bum out of there!

But Sadie and Jo-Jo recognize Jude with


SADIE
No, he's cool, man.
195

. EXT. STAGE

He's

MUSIC FESTIVAL - DAY

ment.

afr4,_
~

195

RESUME Jude as he sings the opening lines of 'All You Need Is


Love':
0

:-,,u
})~

~
(CONTINUED)

101~

195

195

CONTINUED:

JUDE

There's nothing you can do that


can 't be done
Nothing you can sing that can 't be .
sung
Nothing you can say but you
learn how to play the game
It'.$ easy . ..

0
196

lJU1

EXT.

CROWD

MUS.IC FESTIVAL -

DAY

196

~ucy with Max. He ha~tch, but looks


recovered, with color in his cheeks a~~ down to his
shoulders. They can't believe their ~ears.

CAMERA discovers

JUDE

(V.O.)

Nothing you can make that c .


made
Nothing you can save that c~
saved
They start to push their way through

t~ng.

JUDE (V. 0.)

Nothing you can do but you can


learn how to be in time
It's easy
All you need is love

0
197

EXT. STAGE

MUSIC FESTIVAL -

197

DAY

Sadie, Jo-Jo and the band wave the


back on stage behind Jude.
JUDE

All you need is love.


All you need is love, love
Love is all you need

as they come

Sadie joins Jude at the mike as the ba~ in:


. JUDE/SADIE

Love, love, love


Love, love, love
Love; love, love

~
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 and Sadie share the next verse:

'.:'.

JUDE

Nothing you can know that isn't


known

. :....

..... ~

SADIE
Nothing you can see that isil((?)
shown

~~

..

JUDE
Nothing you can be that isn~e
you're meant to be

JUDE/SADIE

It's easy ...

leave~ th~

"

Jude spots Lucy and Max. He


and jumps down
into the crowd; which parts like the ~-

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

All together now!


The whole crowd joins in:

All you.. need. is love


Everybody!
ALL

All yo need is love, love


Love is all you
. Love is all you

~==~

CAMERA pulls back, further and

f("'\?")l

further~

it seems the.

whole world is singing this anthem:

{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

the FINAL TITLES.

Until, at the very end, we HEAR from ~TLES th ems elves:

And in. t.he THE


end BEATLES
The love you take
Is equal to the loveyou

.): .

. :

ma~

~E TO BLACK.

~
-~

.~

,.