Across The Universe Movie Script 701i6i

)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~--

y

.

~

O

; .:

.

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 still·a 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, s 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.

0

66

EXT. GRAVEYARD

INNER CITY - DAY

66

. The graveyard ads 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

0

- 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. · . · .

0

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 es 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

~

-~

M

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!

~

0

~··. h~· el

From time to. time ers-by give a step in time to the music. Even straig flannel suits and w·all 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 aµtj 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 and·men ~-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'.

,

a·nd 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.

0

Different denizens of the vill.ag~ share. out the. li:q.es as JoJo ~alks past.a coffee hous~, a head shop, a·Black 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 es 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 res·t of her band.

0

0

~

.. ··.·.. ~-

~=

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 cof·fe·e houses - an9 there·' s~ne out·side the Cafe Wha' . -~

.82

INT.

CAFE WHA'?

CLOSE

on-S~die

~

NIGHT.

82

as she wails into: SADIE

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

·:::::d ::w a::d ::e :r:::~e~' 0

0

1

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 . ..

0

~

..

.

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

.

0

: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. )

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 s 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.

0

~ (CONTINUED)

39.

88

0

CONTINUED:

88

BARBARA In New York?

n

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. He•s 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?'.

I

~· .;~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 raw·sexual 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.

I

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

0

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.

§c

)_

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

v

(}

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.

0

I.~

She nods.

He

notices she seems

subdu~

JUDE

Are you okay? happened.

I

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

o

.t an envelope Defence'.

0

0

··~

42.

INT. RATNERS' RESTAURANT - NIGHT

91

Max stares at the envelope in his .hand. He's at a "booth, crowded together with Jude, Lucy, ·Sre, -Jo, Prudence; Pam and Desmond. It's two in the morning, e place·is 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 I·was 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

0

,

.

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 µMedic 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:

0

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

N

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.·

0

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

0

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 can·see them laugh at me l..1LJ () And I hear them say .

n

..; ·-.

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

~:.

n

~ your~o~

a~ay

Hey you.'ve g

~-

EXT. ALLEY - NIGHT

97

in~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.

0

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 s 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·;

0

.

·~,,,

;··,·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

u

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

0

.

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 smil·e 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 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

0

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.

0

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 vrnTI£11 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,

0

~

~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 iration 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~ , there's no point ~:l:Mn@) your heads, bucking the system. Let them get all snarled up in their dreary high. But never knoc·k the way the other cat s~ings. No· disrespect to New York but·we're about two years ahead of you on the Coast. We've already gradua~ from what's been going on tow it's going. ·

0

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!

C

).

~

N

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

0 · ·

;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 .hol·e 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!

0

~

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 gras·s 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, fresh·and·rested 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.

0

HIPPIE He says he won't see you.

~ • (CONTINUED}

.·

.

:..·.-.-

5 7..

110

110

CONTINUED:

.. ~i;:·· -~t: .:~...::

·O

· 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

I

~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

H

CU.T 111

Our group watch as the·bus 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 conc€rned. 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~

···u

~:t--

tr~ppin

1

? I

JUDE

I

-~

Maybe. JO-JO

. ,I

~

Are you?

0

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

0

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

0

.

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 i·s 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

t

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 ~n·d

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

0

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

0

0

~

.62 .

.INT. JUDE Is .·STUDIO - DAY

117

Snow crusts the skylight windows.· Jude sits behind a draftsman's drawing board. posters - the bo·ard 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 on·the 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 undertow·of 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 ·

0

.

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

~ 0

She scrambles off the sofa and h€ads ~ bathroom.

(CONTINUED}

-·.-

64. 124

u

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 lea·f~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

0

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 bro·k~ 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 ...

0

~

(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

~-

·.((
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.

1

--=~~~

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 green·apple, 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

T

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.

0

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,~ ~trawbe·r-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+ . .·_. ~

1

(CONTINUED}

69. 132

CONTINUED:

.132

CAMERA closes in on the television images.of conflict and vi·olence. 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.:.-~

0

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

s

:.:-

.._-._:·_

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

·.~ 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 the·last

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, ionate.~ . 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!

0

The other customers are getting caughMthe argument.

(CONTINUED)

~

134

0

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. · ~ ~

n

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~ers-by:

LUCY

()

Think of wha·t 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

d

JUDE

Try to see it my way · Only time will tell If I am right or I am wrong

0

.·~ (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 snowflakes·settle 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

0

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. . ~ .

0

. 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 evolumn·o Well you know · . We all want to ·change the w .

·-.:..:~~/

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

JUDE.· ~ But·when 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

0

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 the Whisky and he points som

It's a billboard of Sadie advertising

0

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 a·long 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 to·the 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

1

i

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 f·ind 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

~

n

Pools of sorrow, waves . of j ~ Are drifting through my ope~iriRJ Possessing and caressing me ~

n

BARI KRISHNAS_

Jai guru deva om.

\l ~

-~

JUDE

Nothing's gonna change my wo011 Nothing's gonna change my world ... · Nc»thing'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 - the demonstrat . . ·.. · · .

147

.

JUDE

.

~

Thoughts meander.like a restle Wind inside a letter box They tumble blindly as they Their way ac·ross 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.

u

,_. --·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~. .

·

W

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 ive resistance from her. She kicks, gouges and shouts.

·O

0

~ (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

0

You~

(CONTINUED)

--.~

.

BL 149

CONTINUED:

149

JUDE No, I can't do that.

0

.....

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 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 some·rnore,·his face

· .

confli~.

WES

I'll get a train. 152

·O

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 )

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· yoµ will enjoy·the

,

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

0

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

0

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.

0

·

~

~.

~

Jude realizes he means Lucy.

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

U.S.

0

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?

0

Jl)DE

Who? MOLLY. The reason you st_opped JUDE

.

0

(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 watches·Molly 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)

-

0£71

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 casu·al 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. She·walks away, ing broken minds and bodies.· "est sits beside one bed istering last rites to ~ . ATIENT. · As she leaves the ward, Max calls out to a 5assing Nurse: ·::-.

·-~,...----

..

~-) (CONTINUED}

158

87. 158

CONTINUED: MAX

0

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

0

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 on·you trigger I know nobody can do me no .Because . ..

h~

. NURSES Happiness! MAX

0

... is a warm gun 7 Mama.

0

··~ (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~

N

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 standing·in the wings. · ~

160

INT. DRESSING ROOM

AUDITORIUM - NIGHT~

Bill gets to his feet to greet Sadie

SADIE

.

iGO

a~·nters.

·o

·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!

a

~ ·

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.

0

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

0

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 oka·y, 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" r·ecei 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 second·floor. 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 an£1-'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 to·Liverpool 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 News·Vendor 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

0

-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 · . 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:

0

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 clothes·into 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

6

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. to let her into yo heart Then you can start ~ To make it better

c=J

He es an old TRAMP, ·.who rattles ou the lids of garbag.e cans an.d iron railf9~

1

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 a·nd 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 port.

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

N

. ~Tl

His port. is stamped and he breath~~ as he moves through. The whole line of Innnigration ~ials and--wai ting engers 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-µ~e es the · Caf~ ~ha'?, closed at ~· s ~me of the .day_. The streets are familiar but the faces ' .

PIANO PLAYER (V.O 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 better·ohhhhhhh .... '.O·., -,

. ''-'----..

(_J

0

·~

.,

95.

. ;*~ . . ii:~

.....

178

0

EXT. ONE HORSE TOWN - DAY

1··

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

0

-EXT. PICK-UP TRUCK

~

~ v

(]

{TRAVELLING) - DAY

180

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

0

. .

.

.

.

ers.

_

.

(CONTINUED)

\·

•. ·

.. ·.

·'

,;.

r,.~ ••

96. 182.

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

182

CONTINUED:

r

··: ..... . ·. ;{~~~ !

. . ./ ..

.:

):

·~: ~-;:·.:~

....

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~

H

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!

1

~ 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 the··recent 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

0

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. ~

1

What do I do when my love is away?

·o

JO-JO Does it worry you to be

0

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

N

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 s 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


RESUME Sadie·and Jo-Jo

.

·

189

0

~

(CONTINUED)

189

99. 189

CONTINUED: BACK-UP SINGERS

~-~.

SADIE

Yes I'm certain it happens cf1J~ time

LJJJ

a

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. .

0

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


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 §,


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 s. 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


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

0

~·

Sadie s 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

N

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 s in:

All you.. need. is love Everybody! ALL

All yoµ 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:

0

~

{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 love·you

§.): .

. :

ma~

~E TO BLACK.

~

~ -~

·O

·o

0

·.~

,.

Across The Universe Movie Script 701i6i

Overview 3e4r5l

More details w3441

Related Documents 3m3m1z

Across The Universe Movie Script 701i6i

Across The Universe Movie Script 701i6i

Across The Universe 2p1iw

Across The Universe 2p1iw

Across The Universe Songbook 1ge6h

Across The Universe Lyrics 2n4t4z

More Documents from "Vinnie Rattolle" 73x1i

We Are The World 3k2g63

Making Of Indiana Jones And The Temple Of Doom 1x553z

Across The Universe Movie Script 701i6i

The Sound Of Music (marie Osmond) 1994 Program 46419

American Film Magazine - June 1982 352e5a

Fox Kids Club - Totally Kids Magazine #20 622l4p