A COMPLETE UNKNOWN
Screenplay by James Mangold and Jay Cocks
1 We hear a tinny wire recording of YOUNG WOODY GUTHRIE, his 1
voice sharp and true :
..I've sung this song and I'll sing it
again. Of the people I've met and the
places I've been..
Some of the troubles that bothered my
mind and a lotta good people I've left
behind, singing..
So long, it's been good to know ya. So
long, it's been good to --
The sound of traffic and news radio hits us as we--
CUT TO:
2 INT. STATION WAGON -- WET DAY -- WINTER 1961 2
Through the rear window, marshlands of Secaucus.
Overpasses and steel rails converge and swirl.
Knees against the glass, A SLIGHT YOUNG MAN (19), stares at
the world, his back wedged on a guitar case, among luggage.
This is BOB. He holds --
A SMALL NOTEBOOK filled with scrawlings.
“Song for Woody” it says on top of one page.
Up front, A BUZZCUT MAN, 50, drives. Beside him, HIS WIFE, a
large woman, 50’s, hair net, holds a map. Through the
windshield, the Empire State Building pokes over the Lincoln
Tunnel entrance up ahead.
CUT TO:
3 EXT. 10TH AVENUE -- WET DAY -- MOMENTS LATER 3
The station wagon pulls away, leaving Bob standing at the
tunnel exit with his bag and guitar case.
Bob looks at his surroundings; Hell’s Kitchen, harsh and
gray, taller buildings looming uptown, the spire of the
Empire State towering over it all.
On the corner A COP AND A PUERTO RICAN DRIVER argue beside a
double parked truck.
Bob turns up his collar and looks at a clipping from his
notebook. He considers things and then heads southbound.
CUT TO:
ACU FINAL SHOOTING SCRIPT 2.
Genres:
["Drama","Musical"]
Ratings
Scene
2 -
Defiance in the Courtroom
4 INT. FEDERAL COURTROOM -- SOUTHERN DISTRICT -- WET DAY 4
Everyone rises to attention before A FEDERAL JUDGE WITH A
SINATRA TOUPÉE AND EYE PATCH. Among the crowd, beatniks,
hippies, academics and reporters.
At the Defendant’s table, PETE SEEGER, 41, beside a legal
team. Harvard educated, Pete is a folk missionary a
storyteller and a star. Behind him, Pete’s wife, TOSHI, 40.
JUDGE
Mr. Seeger. Do you have anything to
say before I pronounce your sentence?
PETE
Your honor, I’ve never said or done
anything subversive of my country. And
that’s not why I’m here. I’m here
because some Congressmen don’t like
some people I sang for.
JUDGE
Communist people.
PETE
I’ve sung for every type of person,
your honor. In churches, unions,
saloons and street corners. I’ve sung
for the richest richers, oldest
oldsters and the youngest youngsters.
I’ve sung for anyone; black, brown,
yellow, white, blue and red.
The gallery cheers. The Judge’s face sours.
PETE (CONT’D)
My friend Woody Guthrie, your honor,
he’s been on my mind. He’s not well.
Woody likes to say a good song can
only do good. So, might I sing a good
song for you? One he wrote?
JUDGE
No, you may not, Mr. Seeger.
Pete reaches for his Vega long neck and the gallery reacts.
The one-eyed Judge bangs his gavel.
JUDGE (CONT’D)
I said NO!
PETE
You sure? It’s free.
ACU FINAL SHOOTING SCRIPT 3.
The gallery cheers! More gavel banging.
JUDGE
Quiet! This is a courtroom, not a
damned hootenanny!
(then)
Mr. Seeger. A jury has found you
guilty of Contempt of Congress. You
refused to answer questions--
PETE
I refused to name names, sir.
JUDGE
Refused to answer questions under
Federal subpoena.
PETE
If I can’t sing, perhaps, your honor,
I could tell you a wonderful parable--
JUDGE
(bangs gavel)
Enough! Mr. Seeger, you are sentenced
to one year of confinement at a
Federal Penitentiary.
The gallery gasps. Pete looks to Toshi as Pete’s lawyer leans
over, whispers.
LAWYER
You’re not going to jail, Pete. We’re
posting bail. And Captain Hook left a
trail wide open for appeal.
PETE
Don’t make fun of his eye, Frank.
The Judge bangs his gavel again as we--
CUT TO:
Genres:
["Drama","Biographical"]
Ratings
Scene
3 -
Searching for Guthrie
5 EXT. BLEEKER AND MACDOUGAL -- SAME WET AFTERNOON 5
Carrying his guitar, Bob steps over a tattered man on the
sidewalk, then sidesteps a gaggle of bohemes laughing. Music
rises as he rounds the corner to MacDougal Street.
A circus-like atmosphere. The sidewalks buzz with folk fans,
students, beatniks, bikers, academics; prepsters and shaggy
Ginsburg-types. An Indian man on a blanket plays tambourine..
Banners hang from storefronts, coffee shops and clubs with
names like “Cafe Wa?”, “The Gaslight”, “Kettle of Fish” “Cafe
Reggio”, folk music leaking out the establishments.
ACU FINAL SHOOTING SCRIPT 4.
Bob checks his wallet. Three dollars.
CUT TO:
6 EXT. 110 MACDOUGAL STREET -- SAME 6
On a storefront window, hand painted words --
“BOOKS on FOLK-LORE, FOLK DANCE, FOLK MUSIC!
WE SEE -- BOB in reflection staring at books on the history
of Folk, Blues, Celtic music, crafts and dance. Records by
Leadbelly, Elizabeth Cotton, Woody Guthrie, Irish Balladeers,
Robeson and Pete Seeger are displayed. Photos of these
artists adorn walls beside folk instruments.
Bob glances at the sign above his head -- “FOLK-LORE CENTER”.
Bob tries the door but it’s locked. A sign says --
AT COURTHOUSE. BE THERE OR BE ! - IZZ.
CUT TO:
7 INT. THE KETTLE OF FISH BAR -- SAME 7
The place is empty except for A TABLE OF MUSICIANS holding
court. The bartender approaches Bob, who stands at the bar,
taking a fistful pretzels from a bowl.
BOB
Some water, please.
The bartender grimaces and gives him water. A bearded
musician (DAVE VAN RONK, 25) arrives at the bar to settle up
as Bob holds out a scrap of paper to the bartender.
BOB (CONT’D)
..Uh. You know where this is?
Greystone. It’s a hospital. Woody
Guthrie’s in this place. Is it uptown?
The bartender looks to Van Ronk who peers at Bob’s scrap.
DAVE VAN RONK
That’s a mental hospital, pal. In
Morris Plains.
(off Bob’s blank look)
Woody’s across the river, in New
Jersey.
BOB
I just came from New Jersey.
BARTENDER
So go back.
CUT TO:
ACU FINAL SHOOTING SCRIPT 5.
8 EXT. FEDERAL COURTHOUSE -- LATE WET AFTERNOON 8
People hold umbrellas over Pete Seeger as he stands on the
courthouse steps, his Vega banjo around his neck, surrounded
by fans, press and his legal team. A small contingent of
Birchers protest on the corner.
Pete speaks into a mic, strumming his Vega now.
PETE
I offered to sing this for the Judge
today. He didn’t want to hear it.
(boos)
But I’m gonna sing it for you.
(cheers)
Maybe you can sing too.
(sings)
As I went walking that ribbon of highway,
I saw above me the endless skyway. I saw
below me the golden valley. This land was
made for you and me.
The crowd cheers. Seeger leans in.
PETE SINGS
I roamed and rambled and followed my
footsteps. To the sparkling sands of her
diamond deserts. And all around me a
voice was sounding. This land was made
for you and me.
The crowd joins Pete for the chorus. Even the Birchers get
quiet. The sound of all these voices together is moving.
PETE SINGS W/ CROWD
This land is your land. This land is my
land. From California to the New York--
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
4 -
A Night of Inspiration at Greystone
9 EXT. GREYSTONE HOSPITAL -- NEW JERSEY -- WET NIGHT 9
A gothic institution. Smoke churns from a boiler stack. A cab
driver pulls to a stop and jerks the meter. Bob gets out and
shows his wallet to the driver. Two ones..
DRIVER
Shit. I knew it.
The driver snatches the bills and speeds off.
A distant banjo as we--
CUT TO:
ACU FINAL SHOOTING SCRIPT 6.
10A INT. HALLWAY -- GREYSTONE HOSPITAL -- SAME 10A
Bob gets to the top of the stairs and finds himself looking
down a long hall, light coming from a room at the end of the
corridor.
PETE SINGS
..A thousand friends waiting to kiss
my sweet bride.
Bob approaches the lit room. He arrives at the door through
which he sees --
A MOTIONLESS MAN in a bed is connected to a ventilator.
On the other side of the room -- PETE SEEGER, in the same
clothes from the courthouse, sits playing banjo (softly) and
singing (likewise) for another sickly man in a bed.
This man is WOODY GUTHRIE (52, looks worse). Not the vibrant
troubadour we saw in archival footage. Gaunt and weak, Woody
listens attentively as Pete sings.
AN OLD GIBSON IS PROPPED beside the bed. “This Machine Kills
Fascists” it says above the sound hole.
PETE SINGS (CONT’D)
I was so anxious I rushed her outside.
I told her.. So long, it's been good
to know ya.
Bob glances at his own reflection in a glass door.
CUT TO:
10 INT. WOODY’S ROOM -- GREYSTONE HOSPITAL -- CONTINUOUS 10
CLOSE ON -- PETE, singing, tired, but he loves this man as
one loves their father. Woody’s eyes smile, alive.
PETE SINGS
--So long, it's been good to know ya..
I've got to be driftin' along.
Pete strums a final chord. A quiet moment between them.
PETE
‘Wish you were at the court today,
Wood. Weather turned. But our friends
showed up, made themselves heard.
Woody’s eyes flick to the doorway behind Pete.
Pete turns to see -- Bob, standing there.
ACU FINAL SHOOTING SCRIPT 7.
PETE (CONT’D)
..Hello.
Bob steps into the room.
BOB
Excuse me, Mr. Guthrie.
PETE
No one calls him Mr. Guthrie ‘cept
the government.
BOB
I’m not the government.
PETE
Then take a seat.
Pete occupies the room’s only chair. He pats the foot of the
bed. Bob obeys and sits at Woody’s feet.
PETE (CONT’D)
I’m Pete, by the way.
BOB
Yes sir, no question about it.
PETE
How about you?
BOB
I’m Bobby.
PETE
Something go after that?
Like it’s the first time he said it.
BOB
..Dylan.
Woody grunts and points at the guitar case in Bob’s hands.
PETE
Woody wants to know more about that,
Bobby Dylan.
BOB
I sing and I play. Write some.
Couple of friends of mine, Paul and
Jon, out in Minneapolis..
PETE
Minnesota boy.
ACU FINAL SHOOTING SCRIPT 8.
BOB
They had a few of Woody’s records.
Folkways Records. Yours, Leadbelly. I
listened to ‘em and well, they struck
me to the ground.
(to Pete)
I liked yours too, Pete--
PETE
That’s fine.
BOB
Then, Paul, my friend, he heard you
was in the hospital, so I hitched
myself here.
PETE
Why is that?
BOB
..I wanted to meet him.
(smiles)
Maybe catch a spark.
Bob feels Woody’s hand nudging, holding a small card. Bob
takes it. Written on one side is Woody’s name.
PETE
We had ‘em made for visitors, but
it’s mostly family who comes.
Bob flips the card. The back reads -- “I AIN’T DEAD YET.”
BOB
That’s for damn sure.
Woody makes a small sound. His eyes move to Bob’s guitar.
PETE
He wants to hear something.
Bob hesitates.
PETE (CONT’D)
You shy?
BOB
Not usually.
Bob unpacks his guitar, checks the tuning. He pulls out his
notebook, thumbing for lyrics.
ACU FINAL SHOOTING SCRIPT 9.
BOB (CONT’D)
There’s one.. I wrote for him.
(to Woody)
For you.
PETE
I’ll bet you know it.
Bob pockets the notebook and plays an intro. He has their
attention already. He’s good. Then he starts to sing :
BOB SINGS
I'm out here a thousand miles from my
home. Walkin' a road other men have
gone down. I'm seein' your world of
people and things. Your paupers and
peasants and princes and kings.
As Bob continues, Pete is impressed with his intensity, his
lyrics. He looks to Woody, who blinks, thinking the same.
BOB SINGS (CONT’D)
Hey hey, Woody Guthrie, I wrote you a
song. 'Bout a funny ol' world that's a-
comin' along. Seems sick and it's
hungry, tired and it's torn. Looks
like it's dyin' and hardly been born.
Woody’s face muscles manage.. no mistaking it.. a smile.
BOB SINGS (CONT’D)
Here's to Cisco, Sonny and Leadbelly
too. To all the good people that
traveled with you. Here's to the hearts
and hands of the men. That come with
the dust ..and are gone with the wind.
CUT TO:
Genres:
["Drama","Biopic","Musical"]
Ratings
Scene
5 -
Melodies in the Rain
11 INT. / EXT. PETE SEEGER’S STATION WAGON -- SAME WET NIGHT 11
Driving slow through the night, Pete and Bob are quiet. Pete
sips coffee from a thermos, offers Bob a sip. Bob waves him
off, then realizes he’s sitting on a legal file.
PETE
..Just throw them in back.
I had a court date today.
BOB
Speeding ticket?
PETE
Sort of.
ACU FINAL SHOOTING SCRIPT 10.
Bob snaps on the radio. WE HEAR snatches of news (special
Forces sent to South Vietnam), commercials, pop, jazz..
BOB
..You mind?
Pete shakes his head. Bob finds “Slippin’ and Slidin’” by
Little Richard and settles back. Off Pete’s look.
BOB (CONT’D)
Little Richard. That’s the flip side
on “Long Tall Sally.”
PETE
You like rock and roll?
BOB
I like everything except maybe Patti
Page and that doggie in the window. Or
Vaughn Monroe. I don’t like him. But
then Monroe did “Ghost Riders in the
Sky” and I like that. I like Johnny
Cash. ‘Ever hear him? But if you’re
talking about rock and roll, you have
to be talking about Buddy Holly.
PETE
That so?
BOB
Saw him once. With his band. Not long
before he died. I watched his hands
and his face, the way he tapped his
foot, his glasses, the way he held his
guitar. He looked me in the eye.
Pete takes this in.
PETE
And you consider yourself a folk
musician now?
BOB
I’m not sure what “Folk” is, Pete.
Like, is that with a capital F?
PETE
Well, if you like Woody’s music.
That’s Folk Music. With a capital F.
BOB
Woody’s seen a thing or two. Puts it
down clear. Not fancy. I like that.
Y’gotta like that. Wakes you up.
ACU FINAL SHOOTING SCRIPT 11.
PETE
Some people like being asleep. Folk
music tells stories about real people,
working people, all over the world.
Their struggles, heartbreaks. It isn’t
dressed up, sugared-up and packaged-up
like Rice Krispies.
BOB
No snap crackle or pop.
PETE
A good song doesn’t need frills to do
the job-- drums, electrified guitars.
BOB
Sometimes they sound good..
PETE
Well they make an empty song sound
full, that’s for sure.
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
6 -
A Warm Welcome
12 INT. / EXT. WASHINGTON HEIGHTS -- SAME 12
Pete’s station wagon pulls to the curb. The city to one side
and the outline of the George Washington Bridge on the other.
Bob starts to climb out, his feet landing in slush.
PETE
Where you staying, Bobby?
BOB
..downtown.
PETE
My wife and I got a place up river.
BOB
I don’t want to be any trouble.
PETE
Is anyone expecting you downtown?
BOB
Well, friends. ..of friends.
CUT TO:
13 EXT. SEEGER CABIN -- HUDSON VALLEY -- SAME WET NIGHT 13
Pete pulls into the driveway of a log cabin home. As Bob and
he climb out, the door opens to reveal TOSHI.
ACU FINAL SHOOTING SCRIPT 12.
PETE
Tosh. This is Bobby. He came to see
Woody and didn’t have a place to stay.
TOSHI
Hello, Bobby.
Bob nods a cheeful hello, marveling at the house.
BOB
This looks like the picture on the
maple syrup bottle.
PETE
Well, we make syrup from the maples
over there.
(as they head inside)
We built this place. Stick by stick.
Added plumbing a few years ago.
Genres:
["Drama","Biopic"]
Ratings
Scene
7 -
A Night of Music and Hope
14 INT. PETE SEEGER’S HOUSE -- SAME NIGHT 14
Bob stands as Pete brings Bob a glass of water and Toshi
carries bedding to a couch as -- Bob sips the water and sees
a little girl (TINYA, 5) watching him from her loft. In
another bedroom is MIKA, 8), also watching. In another small
room, DANNY, (12) eyes Bob as he passes.
PETE
Bedtime, Danny. Everyone to bed.
Pete gestures to the couch by a window.
PETE (CONT’D)
You gonna be good here, Bobby?
BOB
A-okay.
Bob nods and flops on the sofa, taking in artifacts of folk
history all around him. He reaches for a cigarette.
TOSHI
Can you go out if you smoke?
BOB
Yes ma’am.
Toshi moves off, making sure the children are in bed.
PETE
See you in the morning, Bobby.
CUT TO:
ACU FINAL SHOOTING SCRIPT 13.
15 INT. SEEGER HOUSE -- PETE & TOSHI’S BEDROOM -- LATER 15
Toshi, sits in bed, watching --
Bob, out the window, shuffling on the plank porch, smoking.
Toshi turns to Pete as he sits on the bed.
PETE
I had to see Woody, Tosh. He was
worried. I wanted to share the good
news.
TOSHI
A year in prison is not good news.
PETE
Frank says it’s going away. You heard
him.
TOSHI
So now you want to go on tour.
Pete smiles.
PETE
Well, we can tell Town Hall we can do
the show they were pitching next
month.
Toshi takes this in, looks out to Bob on the porch as he
crosses, re-entering the house. A clatter as Bob knocks
something.
PETE (CONT’D)
He’ll go to sleep soon. He’s a little
excited. He met his hero tonight.
(then)
Not me. Woody.
(then -- opt.)
The boy played a hell of a song..
CUT TO:
16 INT. SEEGER HOUSE -- LIVING ROOM -- MORNING 16
Through windows, morning light over the Hudson River.
Bob sits, plucking guitar chords, jotting in his book.
In the kitchen, Toshi cooks and Pete’s children, in pajamas,
eat breakfast and watch the rumpled stranger :
BOB SINGS
..If you're travelin' in the north
country fair. Where the winds hit
heavy on the borderline.
ACU FINAL SHOOTING SCRIPT 14.
BOB SINGS (CONT’D)
Remember me to one who lives there.
She once was a true love of mine..
Emerging from the bathroom, Pete crosses to the kitchen.
BOB SINGS (CONTINUING) (CONT’D)
If you go when the snowflakes storm.
When the rivers freeze and summer ends.
Bob meets eyes with Pete who looks to Toshi.
BOB SINGS (CONT’D)
Please see if she's wearing a coat so
warm. To keep her from the howlin' winds.
(stops, looks up at them)
All I got. So far.
Tinya Seeger, (5), fills the silence.
TINYA
Good start.
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
8 -
A Night of Joyful Harmony
17 INT. TOWN HALL CONCERT HALL -- A MONTH LATER 17
BOB stands in the wings of the big stage, watching as --
PETE SEEGER stands in the spotlight, alone plucking his
banjo, preaching to a packed house of upscale patrons :
PETE
We got some good basses here tonight,
so.. here’s a song I’ve sung many
times before. But it needs low
voices.. and it don’t matter if
they’re male or female!
(laughter from crowd)
Low voices, this is what you sing; HEY-
UP-OHH--A-WIM-O-WEH, A WIM-O-WEH.
(crowd joins in)
Again! Imagine you’re in Africa!
(he sings with them,
making them stronger)
HEY-UP-OH--A-WIM-O-WEH, A WIM-O-WEH...
Bob looks out into the crowd, sees the smiles, young and old,
the pure joy of sing-a-long. TOSHI stands in an aisle, taking
photos of her husband and the happy faces --
PETE (CONT’D)
..And anyone who can’t get that low,
we’ll make you sopranos!
(Pete sings higher)
A-wimoweh-a-wimoweh..
ACU FINAL SHOOTING SCRIPT 15.
The ladies and children in the crowd sing with Pete now.
PETE (CONT’D)
And now add back the low parts!
NOW, EVERYONE SINGS TWO PART HARMONY. It sounds glorious.
PETE IN THE SPOTLIGHT, the happiest we ever see him. He
breaks into falsetto, yodeling. His eyes flick to Bob as the
lights go black. THE CROWD ROARS.
PETE APPEARS BACKSTAGE, BESIDE BOB, wiping sweat, quaffing
water and passing his banjo to a stagehand. He looks at Bob.
PETE (CONT’D)
Gotta get you out there..
Pete grabs a guitar from a stagehand and heads back out.
CHEERS!
CUT TO:
Genres:
["Musical","Drama"]
Ratings
Scene
9 -
Joan's Stand
18 EXT. MERCER STREET -- EARLY EVENING 18
Trees are budding as a 22 YEAR OLD WOMAN with long black hair
rounds a corner, hauling a guitar. She passes a crowd of
folkies and hipsters waiting for “GERDES FOLK CITY” to open.
FOLKIE FANS
Joan! JOAN!!
-- but they’re too late -- THE DOORS CLOSE revealing a sign:
TONIGHT! FROM WEST COAST! JOAN BAEZ! OPEN MIC AT 10!
CUT TO:
19 INT. THE GERDES FOLK CITY -- DRESSING ROOM -- SAME 19
JOAN enters her small dressing room to find -- ALBERT
GROSSMAN, a mop-haired talent manager sitting in the corner.
He reads from a newspaper :
ALBERT
“Baez sends one scurrying to the
thesaurus for superlatives. A
beautiful recording for people who
hate folk and those that love it.”
The door opens to reveal TITO, stage manager. We see the
packed club behind him.
TITO
Five minutes, Joan.
ACU FINAL SHOOTING SCRIPT 16.
ALBERT
Tito, I’m reading!
(waves the paper)
That’s the New York Times, Joanie.
Bob Shelton is a fan.
Joan allows a smile.
ALBERT (CONT’D)
That’s what I want to see!
(points toward stage)
Not what they should see, but what
your manager should see!
JOAN
You’re not my manager. And that review
is two weeks old.
Tito crosses to grab the trash bin.
ALBERT GROSSMAN
Shelton’s back tonight. At the bar
with John Hammond. John Hammond,
Joanie.. Columbia Records.
JOAN
I don’t need a label. Or a manager.
ALBERT GROSSMAN
Columbia is not a label. It’s Mount
Rushmore; Tony Bennett, Doris Day,
Johnny Mathis, Miles Davis. They got
everyone.. Except a folk singer.
JOAN
Albert, can you leave please?
Albert sighs and gathers his things to exit with Tito.
ALBERT
Other girls strum, Tito, they smile.
Joanie looks at her shoes. Acts
depressed. Makes men crazy.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
10 -
A Night of Heartfelt Melodies
20 INT. GERDES FOLK CITY -- LATER 20
JOAN SINGS
If I had listened to what my mother
said I'd have been at home today.
But I was young and foolish, oh God
Let a rambler lead me astray..
ACU FINAL SHOOTING SCRIPT 17.
Under a harsh spot, JOAN BAEZ sings from a stool. Her soprano
is lovely, but there’s also a cut of pain in it.
IN THE BACK OF THE PACKED CLUB, ALBERT works to get closer to
JOHN HAMMOND as he chats with a coterie of industry types.
JOAN SINGS (CONT’D)
Go tell my baby sister "Don't do what
I have done.” But shun that house in
New Orleans they call the Rising Sun.
Between stanzas, Joan’s eyes flick to --
THE AUDIENCE -- Among them, Albert, Hammond. Shelton from the
Times, making notes. Then her eyes find PETE SEEGER. Pete
beams. He stands beside BOB, disheveled, in a newsboy cap.
Bob stares at Joan. She holds his look a moment, then turns
from the mic and lets her unamplified voice loose.
JOAN SINGS ACAPELLA
I'm going back to New Orleans. My race
is almost run. I'm going back to spend
my life beneath that Rising Sun..
Lights duck. The crowd applauds enthusiastically. Joan
stands, gathering her gear.
GERDES MC
Joan Baez, ladies and gentlemen!
Joan makes a beeline to her dressing room, passing Pete who
grabs a hold of her.
PETE
Just great, Joan. So moving.
JOAN
Thanks, Pete.
PETE
This is my friend, Bobby.
Bob offers his hand. She shakes it.
BOB
Real nice work.
JOAN
Thanks.
Joan moves off as --
ACU FINAL SHOOTING SCRIPT 18.
GERDES MC
And now, a special guest is going to
introduce open mic tonight..
PETE
But I’m not passing the basket!
The audience laughs. Everyone recognizes his voice.
GERDES MC
A voice we already know. And love!
Mr. Pete Seeger!
Pete ambles onstage to great applause, whistles.
PETE
Thanks, folks. A few months ago, Woody
and me, we met a young man. He kind of
dropped in on us. And he sang for us.
Paying his tab, John Hammond turns from his entourage.
PETE (CONT’D)
And that moment, Woody and I felt like
there might be a new road. We wanted
to share that feeling. He’s been
playing a bit around town but I
thought it was time he take the stage
at Folk City. Say hello to my friend,
Bobby Dylan.
To polite applause, Bob shuffles up to the stage.
BOB
Thanks, Pete. ‘Lot to live up to.
(tuning his guitar)
‘Hope this goes better than it did in
East Orange, New Jersey.
Sparse chuckles for the scrawny young man in the spotlight.
Bob hardly looks from his guitar, speaks quickly, edgy.
BOB (CONT’D)
Not long ago I played this coffee
house in East Orange, New Jersey.
-- You don’t know about this, Pete.
Pete watches, smiling, but unsure where his friend is going.
BOB (CONT’D)
It was a chess-playing coffee house in
East Orange, New Jersey. Chess boards
everywhere. Everybody sipping tea and
playing chess.
ACU FINAL SHOOTING SCRIPT 19.
BOB (CONT’D)
I try to do a quiet song and in the
middle I hear stuff like “Good move!”
or “Check mate!”
Laughter from the crowd. As Joan gathers her things, she
looks at Bob on stage through her cracked dressing room door.
BOB (CONT’D)
Anyways. After two days, I quit and
asked for my pay. And the manager, he
looks at me and says, “We don’t pay in
money here in East Orange” He says “We
pay here in chess men”.
More laughter.
BOB (CONT’D)
And I say, “Okay, gimme my chess men
then.” And he reaches under the bar
and pulls out a King and Queen. So, I
take my King and my Queen down the
street to a bar. And I go to the
bartender and I says “Gimme a pint.”
And the bartender gives me a pint and
asks me to pay. So I give him my King
and my Queen. And I’ll be damned, he
takes them, reaches under the bar and
brings out ..a Pawn, two Bishops and a
Rook for change.
Uproarious laughter. Pleased, Bob sets his harp rack round
his neck. He starts plucking a plaintive intro. He sees --
Joan crossing to leave. She pauses before the exit, getting
praise, meeting eyes with Bob..
BOB (CONT’D)
How ‘bout that Joan Baez? I gotta say,
folks, she’s pretty good.
(strong applause)
She’s pretty, that’s for sure, and
sings pretty. Maybe too pretty.
Joan reacts without moving. Bob turns to the audience.
BOB (CONT’D)
Anyways. Here’s something I wrote.
Hope you think it’s good. It’s gotta
be good for somebody.
Bob’s intensity holds everyone now. And then..
ACU FINAL SHOOTING SCRIPT 20.
BOB SINGS
I was young when I left home.
And I’ve been rambling round.
And I never wrote a letter to my home.
To my home, Lord, to my home.
I never wrote a letter to my home.
CLOSE ON -- SHELTON, SEEGER, JOAN, ALBERT, everyone watching.
BOB SINGS (CONT’D)
It was just the other day. I was
bringing home my pay. When I met an
old friend I used to know. He said,
your mother’s dead and gone. Every
sisters all gone wrong. And your daddy
needs you home right away. I have a
shirt on my back. Not a penny on my
name. Oh, I can't go home this way.
This way, Lord, Lord, Lord. And I
can't go home this way..
You could hear a pin drop and suddenly we hear a wicked
harp solo and --
WE CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
11 -
From Park Performance to Studio Struggles
21 EXT. WEST VILLAGE PARK -- DAY 21
Bob sits on a bench with a partner (MARK). They play their
guitars on the perimeter of Washington Square, a hat for
donations. Passing Beatniks, professors and women, tweedy and
boheme watch Bob making car sounds and sing as they pass..
BOB SINGS
Take me riding in a car, car. Take you
riding in a car, car. Take you for a
ride or take you for a ride. Oh, going
for a ride in a car!
A lady with a grinning boy puts a dollar in Bob’s hat. It
sits with another dollar plus pocket change. Bob scoops up
the cash and ditches Mark, runs toward a cab.
CUT TO:
22 EXT. COLUMBIA RECORDS -- MIDTOWN -- DAY 22
Bob steps out of his taxi carrying his axe in front of the
COLUMBIA RECORDS BUILDING. Al Grossman comes for him, freaked
out, arms flailing, revealing a pistol under his sport coat.
ALBERT GROSSMAN
What does two o’clock mean to you,
Bobby? Cause I can tell you what it
means to John Hammond. It means two
fucking o’clock. And right now, it’s
fucking five minutes past three!
ACU FINAL SHOOTING SCRIPT 21.
BOB
Are you packing heat, Albert? That
looks like a snubnose.
CUT TO:
23 INT. COLUMBIA RECORDS BUILDING -- ELEVATOR -- SAME 23
Albert and Bob ride an elevator with an attendant. Albert
reads a clipping from The NY Times in a hushed voice.
ALBERT GROSSMAN
..a cross between a choir boy and a
beatnik, Mr. Dylan has a cherubic look
and a mop of tousled hair--
BOB
Stop it.
ALBERT GROSSMAN
-- tousled hair he covers with a Huck
Finn cap. His clothes need tailoring--
BOB
Stop.
ALBERT GROSSMAN
--but when he works his guitar there
is no doubt he is bursting at the
seams with talent.
Bob grabs the clipping. Reads it.
ALBERT GROSSMAN (CONT’D)
A rave from the Times. Our floor.
Albert drags Bob out as he folds the clipping.
CUT TO:
24 INT. RECORDING STUDIO -- DAY 24
IN THE CONTROL ROOM, AN ENGINEER checks a reel to reel as it
spins then crosses past John Hammond and Albert Grossman back
to the board, meters bouncing. He watches with skepticism as,
through the glass, BOB lays a take of “Fixin to Die”.
BOB SINGS
Feelin' funny in my mind Lord, I
believe I'm fixin' to die. Well I
don't mind dyin' but I hate to leave
my children cryin'..
HAMMOND
Can you start again, Bob? You keep
turning from the mic.
ACU FINAL SHOOTING SCRIPT 22.
BACK IN THE CONTROL ROOM, Albert crosses to Hammond, who
stands beside an ART DIRECTOR. They examine proofs of an
album cover; a photo of Bob embracing the neck of his Gibson.
As Bob starts playing again --
ALBERT
(whispers to Hammond)
He’s got originals too. Good ones.
HAMMOND
Traditional repertoire for now,
Albert. We’re putting a young face on
it. I signed LaFarge for originals.
(to a designer re: cover)
Is this the best one?
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
12 -
Blues Jam Connections
25 INT. RIVERSIDE CHURCH -- SAME 25
CLOSE ON -- BOB, at a mic, blowing on a harp. He stands under
a church banner which declares Saturday Blues Jam!
BOB SINGS
Well, if I had to do it all over again
Babe, I'd do it all over you. And if I
had to wait for ten thousand years
Babe, I'd even do that too.
TWO BLUESMEN (SONNY TERRY & BROWNIE MCGHEE) wait to go on.
The opening act is BOB, playing feverishly :
BOB SINGS (CONT’D)
Well, a dog's got his bone in the
alley. A cat, she's got nine lives.
A millionaire's got a million dollars
King Saud's got four hundred wives..
Bob’s eyes catch -- A MAN IN HEADPHONES, 40’s, who operates a
Nagra near the altar assisted by A YOUNG WOMAN (GENA).
BOB SINGS (CONT’D)
Everybody's got somethin' that they're
lookin' forward to. I'm lookin'
forward to when I can do it all again.
And babe, I'll do it all over you.
Eager applause as Bob steps off the stage and SONNY TERRY and
BROWNIE MCGHEE, take the mic.
BROWNIE MCGHEE
Ladies and Gentlemen, Bobby Dylan!
That boy plays some harp!
ACU FINAL SHOOTING SCRIPT 23.
Bob tips his hat to the bluesmen and walks toward the pews.
He passes A PRETTY GIRL WITH TEASED HAIR (SYLVIE, 19). Bob
throws himself into a pew behind her, takes out a bible and
starts pretending to read it. Sylvie turns around..
SYLVIE
How old are you?
BOB
Twenty.
SYLVIE
You wrote those songs?
BOB
The last two.
SYLVIE
You’re good.
BOB
You mean for my age?
Someone shushes them.
BOB (CONT’D)
Thanks. Thank you.
Sylvie turns back to the stage as--
BROWNIE MCGHEE SINGS
You don't know where you’re goin’. But
you do know where you been! Walk on,
walk on, walk on, I walk on.
Bob leans forward and whispers to Sylvie.
BOB
What’s that guy doing?
He points to the MAN ON THE NAGRA.
SYLVIE
That’s Alan Lomax. That’s what he
does. He runs the Archive of American
Folk. They record Folk Music.
BOB
How do you know so much?
SYLVIE
My sister works for him.
Sonny and Brownie groove as Bob holds out a crumpled bag.
ACU FINAL SHOOTING SCRIPT 24.
BOB
Want some peanuts?
She takes one.
BOB (CONT’D)
‘used to live on these things when
I worked at a carnival.
SYLVIE
You worked at the carnival?
CUT TO:
Genres:
["Musical","Drama"]
Ratings
Scene
13 -
The Nature of Performance
26 EXT. RIVERSIDE CHURCH -- SAME 26
Sylvie and Bob walk from the church, Bob toting his guitar.
BOB
..They had strong men, fire eaters,
siamese twins. All that stuff. One
lady, her skin was burnt off and she
looked like a grown up wrinkly baby.
People would pay money to see her in a
crib with a rattle.
CUT TO:
27 SYLVIE AND BOB WALK DOWN THE STREET -- SAME 27
BOB
The whole thing made me think about
people on stage. About how everyone
who gets on a stage, everyone who’s
gonna hold your attention, they have
to kinda be a freak.
SYLVIE
Not everyone.
BOB
Anyone who’s good.
SYLVIE
Are you a freak?
BOB
I hope so.
SYLVIE
Frank Sinatra’s not a freak.
BOB
That voice ain’t human.
Sylvie takes this in.
ACU FINAL SHOOTING SCRIPT 25.
BOB (CONT’D)
You can be beautiful. You can be ugly.
But you can’t be plain. You have to be
something people can’t stop looking
at, like a train wreck or car crash.
And you gotta be happy to be a freak.
And at the same time, you gotta make
the audience happy they’re not one.
Sylvie ponders this as Bob looks at the marquee of A REVIVAL
THEATER with a poster of Bette Davis, “NOW, VOYAGER”.
BOB (CONT’D)
You ever see this?
SYLVIE
I thought we were going to see
Guernica at the Museum.
BOB
(goes to buy tickets)
Picasso’s overrated.
(then)
You got a dollar?
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
14 -
Dumplings and Dreams
28 INT. SYLVIE AND BOB IN THE MOVIE THEATER -- SAME 28
Feet up, Bob sips soda beside Sylvie watching as --
ON THE MOVIE SCREEN -- A suave Paul Henreid lights two
cigarettes and hands one to a luminous Bette Davis.
The Max Steiner score churns.
BETTE DAVIS
Oh Jerry, don’t ask for the moon..
we have the stars.
29 INT. CHINATOWN RESTAURANT -- LATER THAT NIGHT 29
Bob and Sylvie eat dumplings.
SYLVIE
..So, Bette Davis was a mousy girl who
had to escape her domineering mother
to find herself--
BOB
(scoffs, tweaked)
..find herself?.
ACU FINAL SHOOTING SCRIPT 26.
SYLVIE
--she runs away, becomes beautiful,
falls in love, returns home, destroys
her Mom and adopts the child of a man
she can never have.
BOB
She didn’t find herself, like her
“self” was a missing shoe. She just
made herself into something different.
SYLVIE
Something better.
BOB
Different.
SYLVIE
Okay.
BOB
What she wanted to be.
Sylvie thinks about this.
SYLVIE
What do you want to be?
BOB
A musician. Who eats.
SYLVIE
Well, I’d bet on you. I like your
songs.
BOB
(shrugs)
My record comes out in a couple weeks.
SYLVIE
Are some of the songs you played today
on your record?
BOB
Nah. It’s mostly standards.
Traditional stuff.
(off her look)
Folk songs are supposed to stand the
test of time. Like Shakespeare. They
say no one wants to hear what some kid
wrote last month.
SYLVIE
Who’s they?
ACU FINAL SHOOTING SCRIPT 27.
BOB
Record company. Manager.
SYLVIE
I’m sorry but “Where Have All The
Flowers Gone” is not Shakespeare.
Bob smiles. The check arrives. Bob looks at his empty wallet
but Sylvie slaps down cash hands it to the waiter.
SYLVIE (CONT’D)
I mean there was a time when the old
songs were new, right?
(grabs her jacket)
Someone, at some point, had to give
the songs a chance. I mean, there’s a
Civil War going on right now. Biggest
military build-up in the history,
bombs hanging over us. It’s not all
about the dust bowl or Johnny
Appleseed anymore.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
15 -
A Night of Connection
30 EXT. BOB AND SYLVIE WALK THROUGH THE VILLAGE -- NIGHT 30
Sylvie and Bob pass Jazz clubs and Folk clubs. Glorious music
bleeding onto the street, combining with street sounds.
SYLVIE
Monday to Thursday I’m at school. Then
I volunteer at CORE Fridays and
Saturdays. I take a painting class
Sunday mornings in Queens.
BOB
What’s CORE?
SYLVIE
Congress of Racial Equality.
They organize the freedom rides.
BOB
They bus people down south to
challenge segregation laws.
SYLVIE
Right. This is me.
Sylvie has stopped at a subway entrance. Bob turns to her.
She looks beautiful in the mercury light as her eyes meet
his. She pulls out a magazine from her bag (“The Partisan
Review”) and hands it to him.
ACU FINAL SHOOTING SCRIPT 28.
SYLVIE (CONT’D)
Dwight MacDonald wrote a wonderful
piece in here. I think you’ll like
him. He’s contrarian, like you.
BOB
I’ll take a look.
(then)
What you doing tomorrow?
Sylvie rocks on her back foot.
SYLVIE
I told you my schedule.
BOB
Painting in Queens.
Sylvie clicks a pen and writes a number on Bob’s hand.
SYLVIE
I’m at my mom’s in the afternoon.
Call me there.
And with that, she kisses him and starts down the steps.
CUT TO:
31 INT. WEST VILLAGE RECORD SHOP -- NEW DAY 31
The store plays THE BALLAD OF IRA HAYES by Peter LaFarge as
BOB ambles in, perusing the record bins.
In the “FOLK” Section, Bob sees his own face staring back at
him from the “D” bin. Lots of copies. ..Not selling...
SOMEONE GRABS JOAN BAEZ’S RECORD FROM THE NEXT BIN. Her bin
is now empty except for a card that says -- REORDER.
CUT TO:
32 INT. WEST VILLAGE BAR -- SAME 32
A BLACK AND WHITE TV AT THE BAR PLAYS -- A NEWS REPORT :
A KKK attack on a Freedom Riders bus.. Images of the burning
shell of a bus, young black people crying. Racists chanting.
Bob smokes, sips coffee, deep in thought. He asks a waitress
for her pen and starts scribbling on a napkin. We see as he
writes words on the napkin.
BLOWIN IN WIND.. And over this we hear --
ACU FINAL SHOOTING SCRIPT 29.
BOB SINGS (O.S.)
..Yes and how many times must a man
look up Before he can see the sky?
AS WE CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
16 -
Harmony in the Hospital
33 INT. GREYSTONE HOSPITAL -- WOODY’S ROOM -- DAY 33
At Woody’s bedside, Bob plays.
BOB SINGS
..And how many ears must one man have
Before he can hear people cry?
CLOSE ON -- WOODY. Riveted. Eyes bright. Smoking a cigarette.
BOB SINGS (CONT’D)
Yes, and how many deaths will it take
'til he knows..
ORDERLY (O.S.)
That’s enough now.
A LARGE ORDERLY stands at the door. Bob stops playing.
Woody growls out an angry protest.
ORDERLY (CONT’D)
Mr. Guthrie needs quiet now.
BOB
Let me finish the song, man.
ORDERLY
There’s another gentleman in this room
-- and he’s trying to rest.
BOB
He’s been resting six months.
The orderly takes Woody’s cigarette. Woody erupts again.
ORDERLY
I am trying to look out for your
health, Mr. Guthrie.
BOB
The last guy let us sing.
ORDERLY
Do I look like the last guy?
PETE SEEGER stands in the door, a paper tucked under his arm.
PETE
Hello George.
ACU FINAL SHOOTING SCRIPT 30.
ORDERLY
Mr. Guthrie is here for treatment, Mr.
Seeger. He has a serious disease! And
he is sharing his room with a guest.
BOB
A guest in a coma.
PETE
Bob.
ORDERLY
(exits)
This is a hospital not a night club.
PETE
George. Reasonable people can work
things out.
Pete turns toward Bob and Woody. Woody starts laughing and
Bob and Pete can’t help but smile.
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
17 -
Unveiling Truths
34 EXT. BOB AND SYLVIE AT A CIVIL RIGHTS RALLY -- DAY 34
AN OLDER SPEAKER ON A PLATFORM rallies a large crowd.
SPEAKER
There’s more segregation in America
now than ever before. And we black
people continue to hope that an appeal
to our nation’s conscience be enough.
We say, please, let us help you see,
let us stimulate your conscience. Let
us help you to see the wrongs you have
committed. Once you see them, you will
surely change. But there has been no
change. The atrocities glare the
nation in the face and there is no
awakening. Perhaps because there is no
conscience. Perhaps racists have no
conscience. Why in the world does our
government only target prejudice and
disenfranchisement overseas? When will
American outrage be brought to bear
upon the sins within our borders, the
sins within our borders?!
As the crowd cheers, Bob looks at Sylvie who is riveted to
the stage. They hold hands. They are a couple now.
CUT TO:
ACU FINAL SHOOTING SCRIPT 31.
35 EXT. BOB’S APARTMENT -- AFTERNOON -- SAME 35
Bob and Sylvie walk, holding groceries. As they approach an
apartment building, they come upon A MAILMAN on the stoop.
MAILMAN
Package for.. Zimmerman?
Sylvie looks at Bob, who blinks. Signs for the small box.
We hear the sound of party music as we--
CUT TO:
36 INT. BOB’S APARTMENT -- NIGHT 36
A CROWD OF YOUNG FOLK drinking, laughing and flirting in the
flat. Some ogle at Sylvie’s florid and impressive canvases.
A few guys around the turntable talk music, among them Bob
and Dave Van Ronk--
BOB
So which is it, Dave? Is Hank Williams
folk or Country?
YOUNG MUSICIAN
He’s Country. Country music.
BOB
Cause he got pedal steel behind him?
VON RONK
You’re splitting hairs. Call it
country, folk, blues or rock and roll,
we all keep rewriting the same songs.
ANGLE ON-- SYLVIE’S SISTER, GENA, as she crosses, grabbing a
fresh beer. She pauses by Bob’s desk. Her eyes fall on --
THE OPENED PACKAGE. Hometown Minnesota news clips inside.
And photos of Bob’s buddies back home.
GENA
So are these his friends from
his circus days?
SYLVIE
Stop it, Gena. Move along.
Gena reads the shipping label.
GENA
Is that his real name? Zimmerman?
CUT TO:
ACU FINAL SHOOTING SCRIPT 32.
Genres:
["Drama","Romance"]
Ratings
Scene
18 -
Fractured Connections
37 INT. BOB'S APARTMENT -- NIGHT -- LATE 37
Party over, the place is a mess. The only sound, the plucking
of muted strings. SYLVIE lies in bed, her eyes fixed upon --
BOB, his back to Sylvie. He fingers his guitar along with a
Leadbelly album spinning on the turntable.
CUT TO:
38 INT. BOB’S APARTMENT -- DAWN -- NEXT MORNING 38
The groan of garbage trucks. The needle clicks at the end of
a record. Bob feverishly writes. Sings to himself..
BOB SINGS
..I saw a newborn baby with wild
wolves all around it. I saw a highway
of diamonds with nobody on it.
SYLVIE
..You need to sleep, babe.
Bob looks up at Sylvie, then back to his work.
CUT TO:
39 INT. BOB’S APARTMENT -- DAY -- LATE SUMMER 39
Johnny Cash sings “Folsom Prison Blues”.
Leaves have turned outside the window. Picking up a SET OF AL
ITALIA TICKETS on the kitchen table. SYLVIE criss-crosses the
apartment, packing.
BOB sits in boxers on the bed, watching her ruefully.
Then he turns back to the TV as--
JOHNNY CASH AND HIS BAND finish singing “Folsom” and the host
(JIMMY DEAN) steps in as the audience applauds:
HOST
..Johnny Cash started in Country and
made the jump to Pop!
BOB
..That ain’t Pop, Jimmy. Labels,
categories, bullshit.
HOST
Johnny, can you introduce us to the
Tennessee Two?
ACU FINAL SHOOTING SCRIPT 33.
JOHNNY CASH
It’s the Tennessee Three now, Jimmy.
‘With me nine years. Ever since I got
into this racket.. I mean business.
Bob chuckles. Sylvie looks at her watch and snaps off the
television. Bob turns to the window. Sylvie grabs her
passport from the mess of Bob’s scrawlings scattered
everywhere. She pulls a slip of paper, reads it.
SYLVIE
Please remember garbage on Tuesdays.
Except if Monday’s a holiday, which it
will be next week.
BOB
Got it.
SYLVIE
I have to go.
BOB
Right.
SYLVIE
It’s only twelve weeks. I have to do
this, Bob. It’s a school trip.
BOB
You said all that.
Sylvie looks at Bob.
SYLVIE
I think about how much I’m gonna miss
you. Then I realize I don’t know you.
Bob sighs. Fixes a look at her.
SYLVIE (CONT’D)
..There’s a face on your driver’s
license. He’s different. Has a
different name. When I get back, I’d
like to get to know that guy.
BOB
Don’t do this.
Bob lunges off the bed, taking his coffee cup to the sink.
SYLVIE
You wrote a five minute song about
some girl in Minneapolis.
ACU FINAL SHOOTING SCRIPT 34.
SYLVIE (CONT’D)
Who was that? What happened? You tell
me you dropped out of college but I --
BOB
I didn’t “drop out” of college.
SYLVIE
You came here a year and a half ago
with nothing but a guitar. You never
talk about your family, your past,
besides the “carnival”.
BOB
People make up their past. Remember
what they want, forget the rest.
SYLVIE
I’ve told you everything-- my folks,
my sister, the street I grew up on.
BOB
I never asked about any of it! You
think that stuff defines you?
SYLVIE
What I come from, what I want and what
I don’t, what I reject. Yes!
BOB
Good thing you’re going to Rome.
SYLVIE
And then what? I come back and live
with a mysterious minstrel?
BOB
Mysterious minstrels sell records.
Maybe don’t come back at all.
A toot. Out the window, a cab. Sylvie grabs her bags and
drags them to the door. Bob suddenly softens, crosses.
BOB (CONT’D)
Sylvie..
SYLVIE
Stop hiding. We both know you can’t
wait to have this place to yourself.
BOB
Part of me. Not all of me.
(off her look)
You want me to make sense a hundred
percent of the time?
ACU FINAL SHOOTING SCRIPT 35.
SYLVIE
There’s a lot I want. And you do too.
You’re ambitious, Bob. And I think
that scares you.
Sylvie looks at the slip of paper in her hand.
SYLVIE (CONT’D)
The line has been drawn. The curse has
been cast. The slow ones now will later be
fast. As the present now will later be--
He snatches it. She drags her bags into the hall and away.
SYLVIE (CONT’D)
Your record was all other people’s
music. Sing more of yours.
She closes the door. Off Bob, we hear radio news about
escalating tensions between the USSR and USA over Cuba.
AND WE CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
19 -
Harmony in the Struggle
40 EXT. A SMALL SOUTHERN CHURCH -- DAY 40
Pete’s car pulls up to a dilapidated small church. We hear
the chant of protestors as Pete, Alan Lomax, and A FREEDOM
SINGERS ORGANIZER (CORDELL) emerge.
Two Georgia State Police cars and several officers who have
formed a perimeter around the church.
Beyond the cops, a crowd of whites : men, women and children,
stand at a barricade, holding placards : CLOSE MIXED
SCHOOLS!! WHITE MAKES RIGHT!
AN OLD BLACK PASTOR and an older lady wait to receive Pete,
Alan, and Cordell on a rear porch. We hear singing inside..
CORDELL
Pastor, this is Pete Seeger.
PASTOR
Very glad to meet you! Welcome to
Georgia!
PETE
I as well, sir. And this is my old
friend Alan Lomax. We’ve known each
other since 1938! Worked in the
Library of Congress together.
PASTOR
Welcome Alan!
CUT TO:
ACU FINAL SHOOTING SCRIPT 36.
41 INT. ALBANY, GEORGIA -- SMALL SOUTHERN CHURCH -- DAY 41
GIRL & CONGREGATION
We been 'buked! And we been scorned!
Tryin' to make this journey all alone!
The Pastor leads Pete, Alan, and Cordell into the church. A
screen door is coming off its hinges.
PASTOR
This was our first church. We built a
bigger one close to town but somebody
burnt it down last month.
A TEENAGE GIRL LEADS A SPIRITUAL and the congregation
responds with powerful callbacks.
GIRL & CONGREGATION
You may talk ‘bout me, sure as you
please. Your talk will never drive me
down to my knees!
CLOSE ON -- PETE. The passionate harmonies move him. He feels
wowed and a bit dwarfed by these folks.
Alan Lomax looks at bullet holes in a window, the rabid white
protestors on the other side.
PASTOR
Alan. I’d appreciate it if you stayed
clear of that window.
CUT TO:
42 MOMENTS LATER -- THE PASTOR SPEAKS FROM THE ALTAR. 42
PASTOR
--Mr. Pete Seeger has traveled many
miles to join us in our struggle. He’s
playing Carnegie Hall next month, but
this week, he’s blessing our little
old church.
The congregation applauds politely, looking Pete over.
PETE
Thank you, Pastor. I sure do
appreciate those beautiful harmonies
you sang. They humble me. I feel like
I’m bringing coal to Newcastle.
Seeger starts to play beneath his patter.
ACU FINAL SHOOTING SCRIPT 37.
PETE (CONT’D)
I like to think I’m not just a
musician but a historian, a musical
archeologist. A song may seem a
toothless defense against a man with a
shotgun but I’d say history disagrees.
PARISHIONER
(to the Pastor)
Why we listening to white music?
PASTOR
His heart’s in the right place.
PETE
(starts to sing)
If I had a hammer, I’d hammer in the
morning. I’d hammer in the evening all
over this land.
The congregation seems ambivalent but Pete perseveres.
Playing with conviction.
PETE (CONT’D)
I’d hammer out danger. I’d hammer out
warning. I’d hammer out love between
my brothers and my sisters. All over
this land.
The Pastor starts to clap with the song. The congregation
joins in, hesitant at first. Pete looks at Alan, then to --
THE PIANO PLAYER, who rolls in. Soon, as Pete reaches the
next chorus, the whole of the church is singing with him.
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
20 -
Voices of Resistance
43 INT. VILLAGE COFFEE HOUSE -- DAY 43
JOAN nurses a coffee opposite A REPORTER in a sport-coat. He
scribbles notes as she speaks, carefully :
JOAN
..I write, too. “Banks of the Ohio”
is.. Anyway, I just think there’s
something rewarding about singing old
songs, keeping them alive.
REPORTER
Repackaging them for a new generation?
JOAN
I didn’t say that.
ACU FINAL SHOOTING SCRIPT 38.
Joan looks to HER MANAGER, AN OLDER GENTLEMEN, who sits at
the counter, watching the interview. TWO PASSING YOUNG WOMEN,
smartly dressed, hair teased, stop by the table.
YOUNG WOMAN
Sorry to interrupt, Joan. But we just
wanted to tell you we love your music!
JOAN
Oh. Thank you!
REPORTER
Do you think part of your success
is that you’re putting a pretty face
on folk?
JOAN
No.
REPORTER
..Many people in the folk movement
here in the village seem to share--
JOAN
I live on the west coast.
REPORTER
Regardless, some people think you
share a fairly simplistic point of
view, politically, that is.
JOAN
That it’s wrong to oppress blacks?
That women should be free. That war
has become a business?
(stands)
Excuse me a moment, Gary.
As she crosses to the restroom, she pauses by HER MANAGER.
JOAN (CONT’D)
..What the fuck.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
21 -
Tension in the Night
44 INT. BOB’S APARTMENT -- NIGHT -- SAME 44
Bob sits on the bed, smoking, guitar in his hand. He has been
feverishly writing but now as the fog lifts, he notices
President Kennedy on the television, giving an address.
PRESIDENT KENNEDY ON TV
--All ships bound for Cuba will, if
found to contain cargoes of offensive
weapons, be turned back.
ACU FINAL SHOOTING SCRIPT 39.
Bob crosses and turns the volume up. He notices out the
window, all the neighbors are listening to Kennedy as well.
PRESIDENT KENNEDY ON TV (CONT’D)
--any missile launched from Cuba will
be seen as an attack on the United
States. One requiring a full response.
CUT TO:
45 EXT. SEEGER HOUSE -- NIGHT -- SAME 45
As Pete and Toshi unload the car, A BABYSITTER rushes out of
the house and climbs into her VW.
TOSHI
Tammy..
The babysitter drives off and Toshi looks to Pete then heads
inside and we hear one of the kids telling her “Mom, there’s
a war starting.” ..Toshi reappears in the front door.
TOSHI (CONT’D)
Pete. Come inside.
CUT TO:
46A INT. SEEGER HOUSE -- NIGHT 46A
Pete sits in the living room with Toshi and the kids watching
the television. Toshi takes Pete's hand.
NEWS ANCHOR
The White House has made it clear to
the Kremlin that time is running out.
They want an answer.
PETE
Kennedy is gonna get us all killed.
CUT TO:
46 INT. CHELSEA HOTEL ROOM -- NIGHT 46
Joan sits in the corner of her hotel room. The news about the
nuclear stand-off plays in bg. She holds a phone in her hand
that just rings.
CRONKITE ON TV
Suddenly, it is very important to have
adequate supplies in every home.
She hangs up and stares at -- AN OIL PAINTING OF HERSELF on
the cover of A TIME MAGAZINE lying on the floor. She throws
the magazine across the room.
CUT TO:
ACU FINAL SHOOTING SCRIPT 40.
Genres:
["Drama","Historical"]
Ratings
Scene
22 -
Amidst the Chaos
47 INT./EXT. DINER -- NIGHT 47
Bob steps from the desolate street into a near empty diner.
At the counter, THE COOK AND A FEW CUSTOMERS are glued to the
television watching Cronkite on the TV.
A waitress comes out a basement door with a ‘Fallout shelter’
sign above it.
WAITRESS
It’s a shelter, Lenny! It’s packed
with canned corn down there.
COOK
We won’t starve.
CRONKITE ON TV
Anti-aircraft missiles are on five
minute alert. All U.S. air defense is
currently airborne.
BOB
Hey. Can I get a cup of coffee?
COOK
Get it yourself.
Bob reacts. Steps behind the counter, pours himself a cup. He
watches the tv and takes a pencil, scrawling on a placemat.
CUT TO:
48 EXT. VILLAGE STREET -- NIGHT -- SAME 48
JOAN drags her bag down the eerie empty streets, trying to
find a cab. She passes a family running with their bags to a
car. A man shouts into a payphone.
MAN
..Susan! I’m trying to get out of
here! Stay calm.
(to family at car)
Hey, hey, where you headed?
Can I get a lift?
The family pulls away. Joan walks on.. finds herself standing
on MACDOUGAL STREET. Dead quiet. Then she hears a familiar
amplified voice.
CUT TO:
49 INT. THE GASLIGHT -- NIGHT -- SAME 49
Joan steps into the club with her bag, coming upon --
ACU FINAL SHOOTING SCRIPT 41.
BOB, in a spotlight, playing. The place is packed with ashen
people who had nowhere else to go. All are rapt as Bob plays
and sings lyrics from the scrawled-over diner placemat.
BOB SINGS
..Like Judas of old, you lie and
deceive. A world war can be won, you
want me to believe. But I see through
your eyes And I see through your brain
Like I see through the water that runs
down my drain. You fasten all triggers
for the others to fire. Then you sit
back and watch. When the death count
gets higher. You might say I'm young.
You might say unlearned. But there's
one thing I know though I'm younger
than you. Even Jesus would never
forgive what you do. Let me ask you
one question. Is your money that good?
Will it buy you forgive-ness? Do you
think that it could? I think you will
find. When your death takes its toll.
All the money you made will never buy
back your soul. ..And I hope that you
die. And your death will come soon.
I'll follow your casket. By the pale
afternoon. And I'll watch while you're
lowered. Down to your death-bed. And
I'll stand over your grave. 'Till I'm
sure that you're dead.
He stops. Stunned silence. Then, applause. Bob stands. Folds
the placemat and puts it with his guitar in the case.
BOB
Thanks. Find someone to love.
As he moves to the door, Bob passes Joan and stops. Looks at
her. Tears fill her eyes. Bob takes her hand and pulls her
toward the door, then turns --
-- and KISSES HER. Hard.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
23 -
Morning Melodies
50 INT. BOB’S APARTMENT -- DAWN 50
Joan and Bob wake amid a tangle of sheets. Meet eyes. Joan
sits up and looks out the window.
The street is alive with pedestrians. Garbage trucks. The
Indian man on the corner squats on his blanket banging his
tambourine. The world still spinning.
Joan crosses and turns on the TV.
ACU FINAL SHOOTING SCRIPT 42.
NEWSCASTER ON TV
And so it seems, the world no longer
sits on the brink of destruction.
Bob opens his eyes and adjusts to the news.
NEWSCASTER ON TV (CONT’D)
The missiles have been dismantled and
Soviet ships are carrying them out of
Cuban waters.
Bob snaps off the TV. He drains a glass of water.
BOB
Well, that’s that.
He grabs a guitar, starts noodling with it. After a moment :
JOAN
Who taught you to play?
BOB
No one, really.
(still plucking)
‘picked up a few licks at the
carnival.
JOAN
..at the carnival.
BOB
There was singin’ cowboys who’d pass
through sometimes. Teach me things.
They’d join up when the show was in
Kansas or the Dakotas. Taught me
boogie-woogie-ish type stuff.
JOAN
You were in a carnival.
No response. Continues plucking.
JOAN (CONT’D)
You are so completely full of shit.
Bob smiles. Joan stands, looks about, perusing clippings
taped on the walls; stories about the war, the space race,
racial violence..
JOAN (CONT’D)
..I took lessons when I was a kid. You
know. Normal lessons at the music
shop. On the corner.
ACU FINAL SHOOTING SCRIPT 43.
Joan’s eyes land upon a school notebook on a bedside table,
open to a page filled with Bob’s lyrics.
JOAN (CONT’D)
I write too. But I’m not sure there’s
a way to learn that.
BOB
Too hard.
JOAN
Excuse me.
BOB
You try too hard. To write.
JOAN
..Really.
BOB
If you’re askin’.
JOAN
I wasn’t.
BOB
Sunsets and seagulls. Your songs are
like an oil painting at the dentist’s
office.
JOAN
You’re kind of an asshole, Bob.
BOB
I guess.
Joan blinks. Crosses to the kitchen. Tosses him the notebook.
JOAN
Play the thing on the first page.
I need some coffee.
Joan scours the kitchen for parts to the french press. As she
does, Bob’s guitar coalesces into a groove. She looks up as --
BOB SINGS
How many roads must a man walk down
Before you call him a man? And how
many seas must a white dove sail
before she sleeps in the sand? Yes and
how many times must the cannon balls
fly before they're forever banned? The
answer, my friend, is blowin' in the
wind.
ACU FINAL SHOOTING SCRIPT 44.
Water on the boil, Joan watches him, drying her hands.
BOB SINGS (CONT’D)
Yes, and how many years can a mountain
exist before it's washed to the sea?
Joan sits beside him.
BOB SINGS (CONT’D)
How many years can some people exist
before they're allowed to be free?
Joan picks up his notebook and joins in.
JOAN AND BOB SING
Yes, and how many times can a man turn
his head, and pretend that he just
doesn't see? The answer, my friend, is
blowin' in the wind. The answer is
blowin' in the wind.
They sound great. Equals in power. Something which neither is
accustomed. The rusty knife of Bob’s voice blunts the beauty
of Joan’s. They dive into the next stanza :
JOAN AND BOB SING (CONT’D)
How many times must a man look up,
before he can see the sky? And how
many ears must one man have before he
can hear people cry? And how many
deaths will it take till he knows that
too many people have died? The answer
my friend is blowin' in the wind.
There is silence when they finish. They take in each other.
JOAN
So this is.. what?
BOB
..Don’t know.
She looks him in the eye. No one is brave today... The moment
passes. She closes his notebook.
JOAN
Have you recorded that?
BOB
Not yet.
Joan moves to the kitchen, pours coffee.
ACU FINAL SHOOTING SCRIPT 45.
JOAN
..You should let me try it.
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
24 -
Morning Melodies and Urban Embraces
51 EXT. SEEGER CABIN -- MORNING 51
THROUGH THE WINDOW we see Toshi making breakfast for the
children. The sound of cartoons AS WE PAN TO FIND --
Pete Seeger on an Adirondack chair with his Vega and a mug.
He looks toward the river as the sun clears Dunderberg
Mountain. He plucks and sings quietly.
PETE SINGS
..Little boxes on the hillside.
Little boxes made of ticky tacky.
Little boxes on the hillside, little
boxes all the same. There's a pink one
and a green one and a blue one..
CUT TO:
52 INT/EXT. BOB’S APARTMENT / HALLWAY -- DAY 52
With the vacuum running, BOB LEANS OUT THE WINDOW.
Past the fire escape, we see SYLVIE AT THE CURB three stories
below, dragging bags out of a taxi.
BOB
Shit.
Bob shuts off the appliance, winds the cord and desperately
straightens the bed finding a hair clip as THE PHONE RINGS.
BOB (CONT’D)
(answers phone)
Albert, I can’t talk now, man. What.
Later, man. Yes, I’ll be there!
He slams the phone down and rushes into the hall with a
bouquet catching --
BOB (CONT’D)
Sylvie!
As she emerges from the stairs, they embrace.
SYLVIE
..You okay?
He smiles and grabs her bags and follows her in the door.
Inside, Sylvie drops her bags and looks around, noticing the
french press in the drying rack.
ACU FINAL SHOOTING SCRIPT 46.
SYLVIE (CONT’D)
Did you teach yourself to make coffee?
BOB
I -- Yeah.
Sylvie runs up and kisses him.
SYLVIE
Good for you.
A playful guitar rises and we --
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
25 -
Moments of Music and Connection
53 INT. COLUMBIA RECORDS STUDIO “A” -- DAY 53
Bob sits in the studio playing and singing as a new black
Engineer (TOM WILSON) and Albert Grossman look on.
BOB SINGS
It ain't no use to sit and wonder why,
babe. If you don't know by now. And it
ain't no use to sit and wonder why,
babe, it'll never do some how.
TOM WILSON
Who wrote this?
ALBERT GROSSMAN
He did.
Music continues as we --
CUT TO:
54 EXT. JONES & 4TH STREET -- SNOW -- DAY 54
Bob and Sylvie play in the snow, laughing, as a photographer
snaps them with a Hasselblad. Bob is freezing and Sylvie
tries to get him to wear a sweater.
BOB SINGS
When the rooster crows at the break of
dawn, look out your window and I'll be
gone. You're the reason I'm traveling
on. Don't think twice, it's all right.
The music transitions into --
CUT TO:
55 EXT. SAN FRANCISCO CONCERT -- NIGHT 55
Now we see Joan singing the song at an outdoor concert.
ACU FINAL SHOOTING SCRIPT 47.
JOAN SINGS
Ain't no use in turnin' on your light,
babe. The light I never knowed. And it
ain't no use in turning on your light,
babe. I'm on the dark side of the road.
CAMERA FINDS -- A CREW to the side of the stage, recording
Joan. Her singing fades as we --
CUT TO:
Genres:
["Musical","Romance","Drama"]
Ratings
Scene
26 -
Tensions in the Apartment
56 INT. BOB’S APARTMENT -- DAY 56
ALBERT SUPERVISES A PHOTO CREW as they set up lights around
Bob’s writing desk. Albert points to the notes on Bob’s
typewriter. The photographer starts shooting them.
BOB (O.S.)
Hey. Albert! Get them away from there!
ALBERT GROSSMAN
Pal! No! I told you you can’t shoot
his desk!
An assistant looks for an electrical socket as SYLVIE moves
past him, heading to the bedroom with a mug--
SYLVIE
You can plug that in here.
The assistant follows her into the room dragging a cord.
There we find --
BOB, on the bed, struggling to tie a bow around A PORTABLE
TURNTABLE. A suitcase, half packed, behind him.
BOB
Don’t bring them in here, Sylvie.
SYLVIE
I didn’t ‘bring them’, Bob. You did.
They’re here for you.
Bob mutters something. Sylvie looks at the turntable.
SYLVIE (CONT’D)
That for Woody?
BOB
..I’m dropping it off on the way to
the airport.
SYLVIE
(kneels, re: ribbon)
Put your finger there.
ACU FINAL SHOOTING SCRIPT 48.
Bob obliges and Sylvie neatly ties the ribbon as -- Joan’s
live cover of “Don’t Think Twice” comes on the radio.
SYLVIE (CONT’D)
Is that Joan?
BOB
Yeah.
SYLVIE
So she’s covering your song.
BOB
Yeah.
SYLVIE
Before your version comes out.
BOB
Albert thinks it helps.
SYLVIE
Helps her. Helps him sign her.
BOB
She’s famous, Sylvie. She was on the
cover of Time Magazine.
Sylvie looks at Bob.
BOB (CONT’D)
They recorded her live. She didn’t
know stations were gonna play it.
SYLVIE
Of course not.
Bob snaps off the radio and turns, closing up his suitcase.
SYLVIE (CONT’D)
So, you’ve talked about this with her?
You gave her the song?
Sylvie holds her look at Bob.
SYLVIE (CONT’D)
Are you gonna see her in California?
ALBERT GROSSMAN (O.S.)
We’re ready in here, Bobby!
ACU FINAL SHOOTING SCRIPT 49.
BOB
I don’t want to see anyone. I just
want some fucking air. I’m choking to
death.
Tears fill Sylvie’s eyes.
SYLVIE
You didn’t learn to make coffee.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
27 -
Harmony on Highway 1
57 EXT. HIGHWAY 1 -- NORTHERN CALIFORNIA 57
Riding up the coast highway, past rocks and ocean... Bob
pulls onto a side road lined with eucalyptus. Stops at --
A SINGLE STORY HOUSE with a terra cotta roof. A Jaguar XKE
sits in the drive. As Bob dismounts, he checks the address.
JOAN
Hey there.
Joan stands at the door. She smiles as Bob approaches.
CUT TO:
58 INT. JOAN’S HOUSE -- CARMEL HIGHLANDS, CALIFORNIA 58
Joan emerges from the kitchen with a steaming mug as Bob
roams the plank floor, looking around the house. The living
room is all light, art and windows. An advance of Bob’s new
record spins quietly on her console.
BOB
This is a great place.
JOAN
Let me show you the rest.
Joan leads Bob deeper into the house. Bob checks out an old
Martin on the couch, picks it up and picks at the strings as
he follows her. The E-string rattles.
BOB
This what you’re using these days?
..It’s got some buzz.
JOAN
Not when I play it.
Joan approaches, puts out her hand, muting the strings. They
are close to each other. The bedroom through the next door.
ACU FINAL SHOOTING SCRIPT 50.
JOAN (CONT’D)
The new record is beautiful.
CUT TO:
59 EXT. MONTEREY FESTIVAL -- DAY 59
Rolling acres of oaks, twisting cypress and A THOUSAND YOUNG
PEOPLE IN THE GRASS, drinking, laughing, smoking. A stage
built on risers. In the wings, Joan and Bob mingle among
other musicians, friends, and festival staff.
FESTIVAL HOST
Next up, the songwriter who wrote
Peter Paul and Mary’s “Blowing In The
Wind” and you’ve heard the one he
wrote for Joanie, “Don’t think Twice”!
Joan winces at Bob, who snorts as he straps on his Gibson and
steps onstage to a rather lukewarm reception.
Bob launches into “Talkin’ John Birch Paranoid Blues”.
BOB SINGS
Well, I was feeling sad and feeling’
blue. Didn’t know what in the world I
was gonna do. Them Communists was
coming around.
Joan crosses backstage, looking out as --
The Monterey audience, unfamiliar with Bob’s style, responds
with disinterest, talking over him. Some walk away. Snicker.
OTHER MUSICIAN
‘like he’s got a clothespin on his
nose.
CUT TO:
60 EXT. ONSTAGE AT MONTEREY -- MOMENTS LATER 60
As Bob struggles to finish against the tepid response of the
crowd, there is a sudden SURGE OF APPLAUSE. Bob realizes JOAN
HAS COME ON STAGE BEHIND HIM, WITH HER MARTIN.
BOB
(off mic)
..not sure they’re feelin’ me.
JOAN
Play the new song I like.
BOB
(looks at her guitar)
You know it?
ACU FINAL SHOOTING SCRIPT 51.
JOAN
I’ll find my way.
Bob begins strumming the opening chords of “Girl From the
North Country”-- and Joan leans into Bob’s mic.
JOAN (CONT’D)
Hello folks!
The crowd cheers “Joan!” in response.
JOAN (CONT’D)
Hey. I think this man has something to
say. ‘You wanna hear where things are
going, open your damned ears.
They get very quiet. Bob snorts. Proceeds to play the intro
and then --
BOB SINGS
If you're travelin' to the north
country fair. Where the winds hit
heavy on the borderline. Remember me
to one who lives there. She once was a
true love of mine.
Joan joins in with sweet harmony and the crowd is rapt.
BOB AND JOAN SING
..If you go when the snowflakes storm.
When the rivers freeze and summer
ends. Please see if she's wearing a
coat so warm. To keep her from the
howlin' winds.
Joan leans in, sharing the mic, their faces close. Joan and
Bob meet eyes. The crowd roars as we :
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
28 -
Echoes of Music and Reflection
61 EXT. EL PASO -- CLUB PARKING LOT -- NIGHT 61
A SKINNY DRUNK MAN WEARING BLACK, 34, emerges from A BAR WITH
A CROWD OF MUSICIANS. They stumble toward a waiting convoy of
Cadillacs, but the man in black breaks away, hearing --
BOB SINGING ON RADIO
..Like Judas of old. You lie and
deceive. A world war can be won. You
want me to believe..
A SEASONED BARMAID, smokes and flirts with A GUY IN A COWBOY
HAT leaning on the open door of an EL CAMINO -- the radio
inside is the source of Bob’s music.
ACU FINAL SHOOTING SCRIPT 52.
The skinny man approaches them and proceeds to climb right in
their El Camino, listening. He turns it up.
BARMAID
Excuse me!
Some of the man’s entourage yell and run to retrieve him.
SKINNY MAN’S FRIENDS
Hey! J-R!
BOB SINGS ON RADIO
But I see through your eyes. And I see
through your brain. Like I see through
the water that runs down your drain.
GUY IN COWBOY HAT
Is that Johnny Cash?
CUT TO:
62 INT. LOBBY -- CBS / COLUMBIA RECORDS -- DAY 62
Bob approaches the reception desk, shades on. He sees a large
framed poster on the wall -- the artwork for “Freewheelin’
Bob Dylan” -- Sylvie and Bob playing in the snow.
BOB
Uh, Mr. Hammond said you had something
to pick up. My name is--
RECEPTIONIST
(smiles)
I know who you are. One moment.
She returns with A LARGE MAIL SACK. Bob is stunned.
RECEPTIONIST (CONT’D)
They set these aside for you.
And she hands him TWO SINGLE ENVELOPES.
CUT TO:
63 EXT. 52ND STREET / CBS RECORDS -- DAY 63
Bob walks with the sack on his back, cracking open the two
letters. One, from CBS, contains a check for ten thousand
dollars. Bob smiles at this, folds the check and pockets it.
Then he looks at the other envelope. It has a postmark from
Las Vegas, and a scrawled return address reading :
JOHNNY CASH. Singer. Slinger. Ringer. Mingler. Tingler.
Hider. Wild Horse Rider.
CUT TO:
ACU FINAL SHOOTING SCRIPT 53.
64 EXT. PARK -- DAY 64
As children play, Bob sits on a bench, carefully opening and
reading the letter. We hear Cash’s hard-gravel baritone.
JOHNNY CASH V.O.
Dear Bob. I won’t grope for the words
to tell you how great your writing is.
I’ll just say your “Freewheelin’”
album is my most prized possession.
Thank you. ..Johnny Cash.
Bob takes a breath and blinks. The sound of traffic,
children, sirens and subways returns.. And then we hear --
BOB SINGS (O.S.)
I met a man who was wounded in love.
I met another man...
AS WE CUT TO:
Genres:
["Drama","Music","Biography"]
Ratings
Scene
29 -
A Night of Triumph and Reflection
65 INT. NEW YORK CITY -- TOWN HALL THEATER -- NIGHT 65
Bob’s first major solo concert. He stands alone in the spot.
The audience has changed. Not folk fans. They are Bob fans.
BOB SINGS
-- who was wounded with hatred. And
it's a hard. It's a hard, it's a hard,
it's a hard rain's a-gonna fall.
66 NOW AT : THE VILLAGE RECORD SHOP -- DAY 66
CLOSE ON -- BOB’S RECORD: “A FREEWHEELIN’ BOB DYLAN”.
Fans buy up copies as the clerk un-crates a new box.
BOB SINGS (O.S.)
Oh, what'll you do now, my blue-eyed
son? Oh, what'll you do now, my
darling young one?
REVEAL -- BOB in shades, incognito, watching. He holds a
folded paper in his hand. Tosses it in a garbage basket.
HEADLINE : “A NEW VOICE IN FOLK -- WOWS TOWN HALL”
Suddenly A BUNCH OF YOUNG WOMEN RECOGNIZE HIM AND SCREAM.
As they converge around him, Bob dives into a taxi.
67 AND NOW AT: CARNEGIE HALL. NIGHT. 67
BOB SINGS
..Where the people are many and their
hands are all empty. Where pellets of
poison are flooding their waters.
ACU FINAL SHOOTING SCRIPT 54.
The grand palace of music. Packed. Blue-bloods in evening
gowns mix with folkies in denim and starry eyed teens. Rapt.
BOB SINGS (CONT’D)
Where a home in the valley meets the
damp dirty prison. Where the
executioner's face is always well-
hidden. Where hunger is ugly, where
souls are forgotten..
CLOSE ON -- PETE. He wears his banjo and stands in the wings
beside Grossman, watching Bob under the lights. Pete is
deeply moved by his protege.
ALBERT GROSSMAN
It’s happening, Pete. You did it.
This was your dream. Folk Music
reaching everyone.
BOB SINGS
..and it’s a hard, it’s a hard, it’s a
hard, it’s a hard rain’s a-gonna fall.
A huge ovation. Bob stands there, taking in the intense
adoration. From the crowd. From Pete and Albert, misty-eyed
in the wings. He is not sure what to do with it. How to
process it.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
30 -
A Harmonious Farewell
68 INT. GREYSTONE HOSPITAL -- WOODY'S ROOM -- NIGHT 68
PETE SEEGER sits at Woody’s bedside. WOODY watches shadows
from a security light shining through trees out the window.
Pete notices -- BOB’S GIFT, THE PORTABLE RECORD PLAYER, bow
still around it, on nearby a table.
PETE
Fancy! A “Newcomb”. Never heard of
that make before.
Pete looks at the “Freewheelin’” album cover leaning on the
turntable. Bob and Sylvie on the cover. Pete smiles.
PETE (CONT’D)
“Little Boxes” got itself on the
charts. Number seventy.
WOODY
(grunts approvingly)
ACU FINAL SHOOTING SCRIPT 55.
PETE
That’s a first for me, solo-wise. Had
a few hits with The Weavers. But they
don’t tumble out of me like for some.
Pete notices Woody’s hand has touched his.
PETE (CONT’D)
Got me thinking about doing a tour
after Newport. A world tour. Africa.
Australia. India. Visit Toshi’s family
in Japan. Take the kids. Would that be
okay? Can you hold on, take your
medicines and get some rest while I’m
out spreading the word?
Woody tightens his hand around Pete’s. He nods.
PETE (CONT’D)
(smiles, tenderly)
People are appreciating our songs,
Wood. We’re getting somewhere. Bobby’s
a big part of that.
Woody tips his head again.
PETE (CONT’D)
..Harold was talking to a guy at NJU..
About starting up a weekly television
show after I get back.
Woody reaches out to the bedside table and grabs -- AN OLD
BRASS HARMONICA.
PETE (CONT’D)
You want to play it?
Woody shakes his head.
PETE (CONT’D)
Oh. Right. I gotta get the reed fixed.
Frustrated, Woody struggles to shape a word. Pete leans in.
WOODY
F-f-f-r ..B-b-b-b..
Pete takes this in. Pockets the harp.
PETE
Okay. I’ll make sure he gets it.
CUT TO:
ACU FINAL SHOOTING SCRIPT 56.
69 CLOSE ON -- A BLACK AND WHITE TV 69
NETWORK NEWS RECAPS THE MARCH ON WASHINGTON. The Lincoln
Memorial behind, the Washington Monument above, a crowd of a
quarter million watches as Ossie Davis introduces musicians.
Clips of Peter, Paul & Mary, Mahalia Jackson and --
BOB SINGING ON TV
But now we got weapons of chemical
dust. If fire them, we're forced to
Then fire, them we must.
WE HEAR DRINKS CLINKING AND PEOPLE EXCLAIMING AS WE PULL BACK
from a hotel television. Legs of party-goers cross in
foreground as WE PAN, following ALAN LOMAX.
WE ARE IN A DC HOTEL SUITE -- LATE DAY
A post-march celebration. Managers, Officials, Mahalia,
Peter, Paul & Mary and Joan Baez react to the television as
Lomax excitedly announces--
ALAN LOMAX
That was Bobby D at the top of the
fucking news!
BOB SINGS ON TV
One push of the button and a shot the
world wide. And you never ask
questions. When God's on your side.
The camera continues panning, revealing-- AN ADJOINING ROOM
where we find -- BOB (same outfit as the march), sitting on a
bed, brooding, smoking, listening to the revelers next door.
He starts gathering his bags. We hear MLK’s voice in bg.
JOAN
You played at the top of the news.
BOB
That’s why we came? To be celebrities?
JOAN
We came to reach people.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
31 -
Fame's Burden
70 EXT. DC HOTEL -- LATE DAY 70
As Bob emerges from the hotel, SCREAMS. YOUNG PEOPLE DESCEND
ON HIM, girls grab at him, kiss him. Bob fights his way to A
WAITING CAR and struggles to pull the door.
BOB
Back off, lady!
ACU FINAL SHOOTING SCRIPT 57.
GIRL
I love you, Bob!
BOB
(slams door, to driver)
Go, go! Just go!
CUT TO:
71 INT. EASTERN AIRLINES SHUTTLE -- NIGHT 71
CLOSE ON -- Bob, as he writes on some hotel stationary on a
food tray. He looks up feeling watched and sees --
Nearly everyone in the plane cabin is looking at him,
stealing glances, commenting, watching.
Bob slumps in his seat and continues to write his letter.
We see and hear the words :
BOB (V.O.)
Dear Johnny. Thanks for that letter.
Let me start by not beginning. Let me
start not by startin. By continuing.
This whole thing has gotten hard. I am
now famous. Like you. Famous by the
rules of public famiousity. It snuck
up on me. And pulverized me. It is
hard for me to walk down the streets I
did before, cause now I don’t know who
is watching. Who is waiting. Wanting.
I don’t mind giving an autograph, but
my mind tells me it is not honest.. I
am fulfilling a myth. A lie. Who would
actually treasure my hanwriting more
than his own? People say I am
contrary. But I am living a
contradiction. To quote Mr. Froyd, I
get quite paranoid.
CUT TO:
Genres:
["Drama","Biographical"]
Ratings
Scene
32 -
From Laughter to Grief
72 INT. NORTH CENTRAL JETLINER -- NIGHT 72
Bob’s DC letter sits on an airplane tray beside a jangling
Bourbon. Amid turbulence, JOHNNY CASH smiles darkly at Bob’s
letter and feverishly writes a reply on an air sickness bag.
JOHNNY CASH (V.O.)
Bob. Got your letter. Tonight I sit in
the wake of one more hard rain.
Tomorrow, I play Duluth, Minnesota and
I will say hello for you to the one
who is there.
CUT TO:
ACU FINAL SHOOTING SCRIPT 58.
73 EXT. CAFE -- MACDOUGAL STREET -- WINTER -- DAY 73
Bob sits a corner table, collar up, hat on. He reads Johnny’s
air sickness bag letter, rapt, grinning.
JOHNNY CASH (V.O.)
I was in New York last week and I
stopped by the Gaslight. Saw a bunch
of “Folk Singers” that wouldn’t make a
chigger on your ass.
Bob barks a laugh. People in the cafe look up at him.
SUDDENLY, RAPID TAPS ON THE GLASS FROM OUTSIDE.
YOUNG PEOPLE
Oh my God! It’s him! Bobby!!
One of the fans, a young woman, kisses the window, leaving
lipstick. Bob evacuates moving toward the exit.
JOHNNY CASH (V.O.)
I’ll see you in Newport come Spring.
Till then, track mud on somebody’s
carpet.
CUT TO:
74 INT. BOB’S APARTMENT -- DAY 74
The trees out the apartment window are now brown and barren.
Sylvie sits on the bed with Bob, both ashen and riveted as
they watch their small television.
ON TV -- A CBS SPECIAL REPORT -- WALTER CRONKITE sits at a
newsroom desk. Shaken as he is passed a slip of paper.
CRONKITE ON TV
..From Dallas, Texas, apparently
official now, President John F.
Kennedy died at 1p Central Standard
Time. Two o’clock East Standard, some
38 minutes ago.
Cronkite takes his glasses off, overcome with emotion.
CRONKITE ON TV (CONT’D)
Vice President Johnson has left the
hospital in Dallas. Presumably he will
be taking the oath of office and
become the 36th President of the
United States--
Sylvie clings to Bob, crying. Bob just stares at the TV.
We hear Joan Baez’s voice rise as we --
CUT TO:
ACU FINAL SHOOTING SCRIPT 59.
Genres:
["Drama","Music"]
Ratings
Scene
33 -
The Newport Folk Festival: A Night of Anticipation
75 EXT. NEWPORT FOLK FESTIVAL -- 1964 -- DAY 75
SIGNS PROCLAIM “1964 NEWPORT FOLK”. It is springtime. Young
people pack a great meadow, a glistening blue bay on the
horizon, dotted with skiffs. On the stage --
JOAN SINGS
Show me the country where the bombs
had to fall. Show me the ruins of the
buildings once so tall. And I'll show
you a young land with so many reasons
why. There but for fortune go you and
I.. You and I
As Joan strums the last chord, the crowd cheers and then
starts chanting “Bob, Bob, Bob, Bob!”
BOB WATCHES FROM BACKSTAGE as in the crowd he sees --
SYLVIE carrying two beers and sitting with her sister on a
blanket. Her eyes meet Bob.
IN THE WINGS -- An unsteady JOHNNY CASH clatters up backstage
steps with his band. Pete converges on them, Johnny muttering
about “damned airports”. He looks haggard, wired.
ONSTAGE-- Joan thanks the crowd, bids farewell. She glances
toward Bob as she exits but Bob feels Sylvie watching him.
Joan moves on, wounded.
Nearby, Lomax, Grossman and a short man in denim, HAROLD
LEVENTHAL pat each other on the back.
HAROLD LEVENTHAL
We’re back in business, boys.
Pete Seeger approaches Bob.
PETE
Bobby, you mind if I let Johnny Cash
go on before you? He was supposed to
be here yesterday, but..
BOB
Sure, Pete. No sweat.
Pete rushes back out to the mic at center stage.
“Bob, Bob, Bob, Bob, Bob!” chants the crowd.
PETE
..Yes, yes, Bobby will be out! But our
next performer, well, if you check
your programs, he was supposed to be
here last night.
ACU FINAL SHOOTING SCRIPT 60.
Backstage, Bob looks back at Johnny Cash tuning his Gibson..
PETE (CONT’D)
He was on the West Coast yesterday and
found out the hard way, you can’t get
from Las Vegas to Newport, Rhode
Island, in one day.
Bob bashfully plants himself in front of Johnny Cash.
BOB
Hey, Johnny. Hey, man. I’m--
JOHNNY CASH
Bobby Dylan! Hoo Hooo! Come here, you!
(pulls him in a bear hug)
I read that last letter six times!
That thing was economy sized!
(to his bandmates)
Marshall, Luther, this is Bobby Dylan!
Greetings are exchanged as meanwhile, ONSTAGE :
PETE
--But the good news is Johnny’s here..
So, without further pontification --
JOHNNY CASH
Maybe we get us a drink tonight --
(swings his guitar round)
-- after the show?
BOB
Alright. I think I’m up after you.
But Johnny’s already left for the stage.
PETE
-- let me introduce, Johnny Cash and
the Tennessee Three!
The crowd roars... and Bob watches as the Tennessee Three
plug in and start up with a rhythm. Then Cash steps up to the
mic and lets loose with a growl.
JOHNNY CASH SINGS
Well, I taught that weeping willow how
to cry, cry, cry. I taught the clouds
how to cover up a clear blue sky. The
tears I cried for that woman are gonna
flood you, big river. And I'm a gonna
sit right here until I die.
CUT TO:
ACU FINAL SHOOTING SCRIPT 61.
Genres:
["Musical","Drama"]
Ratings
Scene
34 -
A Moment of Change at Newport
76 EXT. NEWPORT FOLK FESTIVAL -- 1964 -- LATER 76
WE FOLLOW JOAN BAEZ in the wings as she crosses to see JOHNNY
CASH finishing his set with FOLSOM PRISON BLUES.
JOHNNY CASH
Thank you, Newport! Well, the next
fella up is my pen pal. And sometimes,
when I read his letters, I think I see
his brain. And when I do, I think his
world is just a blank piece of paper
with a few marks on it.
CLOSE ON -- BOB, grinning, listening in the wings.
JOHNNY CASH (CONT’D)
‘Don’t know about you but I think
they’re some of the best marks ever
made. The kind that never fade.
..Anyways. All I know is he better
sing ‘bout that rooster crowing till
the break of dawn cause I wanna learn
those damned words!
(a cheer rises)
..Ladies and gents, Mr. Bob Dylan!
Bob strides to the stage with his Nick Lucas, nodding to
Johnny, who waves and exits. The crowd roars.
BOB
Hey, there. Hello, Newport.
(looks to the wings)
Thanks, Johnny. We’ll get to the
rooster a little later. Here’s a new
one. Hope you think it’s good. It’s
gotta be good for somebody.
Bob strums the pulsing intro of a new anthem and--
BOB SINGS
Come gather 'round people wherever you
roam. And admit that the waters around
you have grown.
Bob’s eyes find Sylvie in the crowd. Her sister and
girlfriends smile and cheer but Sylvie seems ambivalent.
BOB SINGS (CONT’D)
And accept it that soon you'll be
drenched to the bone.. if your time to
you is worth savin'.
Bob’s eyes travel to others in the crowd, strangers who look
at him in rapture. Then to Pete, backstage.
ACU FINAL SHOOTING SCRIPT 62.
BOB SINGS (CONT’D)
You better start swimmin' Or you'll
sink like a stone For the times they
are a-changin'.
Beside Pete, Lomax, Grossman and Leventhal listen, glowing in
wonder, as does Johnny Cash, with reverence.
BOB SINGS (CONT’D)
Come senators, congressmen, please
heed the call. Don't stand in the
doorway, don't block up the hall.
Now, Bob’s eyes land on Joan in the opposite wings. Tears in
her eyes. Filled with admiration and can’t hide it.
BOB SINGS (CONT’D)
For he that gets hurt will be he who
has stalled. The battle outside ragin'
will soon shake your windows and
rattle your walls..
CLOSER ON -- PETE. Mary Travers and Peter Yarrow join Lomax
and Leventhal around him, staring to the stage as --
BOB SINGS (CONT’D)
Come mothers and fathers throughout
the land. And don't criticize what you
can't understand. Your sons and your
daughters are beyond your command.
The crowd roars.
PETER YARROW
He’s taking it all. ..he’s swinging
for the fences..
HAROLD LEVENTHAL
He’s our Elvis.
ALAN LOMAX
Elvis without the bullshit.
If there was a moment in folk history when the kingdom
appeared united and ascendant, this is it. Bob on the throne.
BOB SINGS
The line it is drawn, the curse it is
cast. The slow one now will later be
fast..
Sylvie’s eyes meet Bob’s on stage.
ACU FINAL SHOOTING SCRIPT 63.
BOB SINGS (CONT’D)
As the present now will later be past.
The order is rapidly fadin'. And the
first one now will later be last..
For the times they are a-changin'!
..A HUGE CHEER. Pete’s eyes find Toshi backstage and he
smiles. Joan slides away as the cheers fade and we--
FADE TO BLACK.
Genres:
["Drama","Music"]
Ratings
Scene
35 -
The Last Note of Tradition
77 INT. THE KETTLE OF FISH -- SIX MONTHS LATER -- NIGHT 77
The cafe on MacDougal Bob long ago visited searching for
Woody. At the big table, a gathering of poets, hipsters,
musicians, among them and older bearded DAVE VAN RONK. A
waiter keeps the discussion fueled with beer and shots but--
Everyone is conscious of A FRIZZY-HAIRED MAN IN DARK GLASSES
sitting in the shadows at the end of the table--
IT IS BOB. Different. Smoking a Kool, in Ray Bans, half-
turned under a teased crop of hair, holding a notepad. He’s
scribbling, ignoring the conversation which, judging from the
eyes on him, exists mainly to get his attention.
FOLK MUSICIAN #1
I read Seeger was in Ghana. No doubt
giving his usual sermons to tribesmen.
(chuckles)
I’m sure he dusted off “Hammer” again.
A collective groan.
MARIA MULDAUR
Pete went to Africa with his family to
sing for human rights. And I’m sorry,
but there’s no dust on “Hammer”. That
tune is forever.
(off their reaction)
He just had a hit with “Little Boxes.”
DAVE VAN RONK
Number 70 is not a hit.
MARIA MULDAUR
You want him to compete with the
fucking Beatles?
DAVE VAN RONK
Sam has a point, Maria, that’s all.
ACU FINAL SHOOTING SCRIPT 64.
MARIA MULDAUR
(to the others)
‘You gonna say the same about Woody?
You tired of “This Land”?
FOLK MUSICIAN #1 FOLK MUSICIAN # 2
Yes! Woody ain’t singing anymore,
is he?
Now, Bob looks up.
FOLK MUSICIAN # 1 FOLK MUSICIAN # 2 (CONT’D)
Those songs are fried, man. Over covered, over-played.
MARIA MULDAUR
That’s the point of a folk song. Why
is it different than Jazz? Miles Davis
does standards.
FOLK MUSICIAN #1
He takes them so far out.
FOLK MUSICIAN # 2
The old folk chestnuts don’t reflect
where we’re living anymore.
A LOUD SOUND AS -- Bob knocks back his chair and stands,
snapping his notebook shut. Everyone turns. Startled.
BOB
Some people like them.
FOLK MUSICIAN #2
What?
BOB
Some people like those tunes.
Bob walks to the exit.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
36 -
A Night of Playfulness on Macdougal Street
78 EXT. MACDOUGAL STREET -- SAME 78
Bob busts out of the Kettle of Fish and walks along the
streets of the village. WE FOLLOW HIM --
As he passes bars, clubs, record stores WE HEAR: a collage of
music in the air. The place is different too. More money,
more tourists. Bob leaves a wake of passersby staring.
A jukebox plays The Supremes, “Back in My Arms Again”; from
the door of the Blue Note, Ornette works free-form;
ACU FINAL SHOOTING SCRIPT 65.
Peter, Paul and Mary sings “Puff the Magic Dragon” on a
passing radio; a chestnut vendor sings with Caruso.
BOB arrives at a TRIUMPH T100 at the curb. He’s about to
kickstart it when he spots something on a pushcart.
BOB
Hey. Can I see that?
The Vendor, suspicious, hands him A TOY POLICE SIREN. Bob
gives it a spin. Grins at the wailing sound.
VENDOR
You got kids?
BOB
Thousands of ‘em.
CUT TO:
79 EXT. BOB CRUISES ON THE TRIUMPH -- NIGHT -- SAME 79
He weaves through the traffic, no helmet. Stops for a
light on Sixth. Passengers in a car do a double take.
PASSENGER
Hey. Are you..?
BOB
Yes.
Bob guns the engine and jumps the light.
CUT TO:
80 MOVED TO A89 80
81 MOVED TO C89 81
Genres:
["Drama","Music"]
Ratings
Scene
37 -
A Night of Anticipation
82 INT. HAROLD LEVENTHAL’S APARTMENT -- NIGHT 82
A large well appointed apartment, crowded with guests
gathered to raise money for SNCC (a prominent Civil Rights
Organization). Posters for the cause hang everywhere.
BOB AND A NEW GIRLFRIEND (BECKA) are greeted by HAROLD
LEVENTHAL. Becka is urbane and poised. Harold ushers them
through the party, a cross-section of uptown, downtown,
affluent and academic. Bob sees --
ALBERT GROSSMAN. He’s staked out a corner spot where he can
take in everything. He nods to Bob. Bob keeps moving.
PARTY GUEST 1
Read Herbert Marcuse. No song can
change the world. It’s too fucked up.
ACU FINAL SHOOTING SCRIPT 66.
PARTY GUEST 2
(looks at Bob)
That’d be news to him.
Harold keeps his arm around Bob. “This way, this way.” A
current follows them. Bob trades a look with Becka.
PARTY GUEST 3
There’s a lot of people working for
change. He’s not the only one.
PARTY GUEST 4 (TILDA)
Hey Bob.. Bob! I love tambourine man!
BOB
(still moving)
Hey, Tilda. Thanks.
TILDA
When’s the new album out?
BOB
Soon.
PARTY GUEST 3
Hey! Bob, can songs really change
things?!
BOB
They change keys.
PARTY GUEST 5
He doesn’t look like much. Where does
it all come from?
Across the room, Bob sees --
Toshi and Pete (guitar on his back) entertaining a circle of
admirers. We catch a snippet as Pete and Bob trade glances--
PETE
..we’re making real progress, Betty.
Folk is reaching the four corners of--
Suddenly, Alan Lomax, holding a drink, wraps Bob in a clutch.
ALAN LOMAX
Bobby! We miss you at the Archive!
Word on the street is you’re making a
lotta noise in studio A these days.
ACU FINAL SHOOTING SCRIPT 67.
BOB
Hey there, Alan.
(turns)
..This is Becka.
BECKA
Nice to meet you, Alan.
ALAN LOMAX
You don’t have to compete with the
Beatles, Bobby. You’re better than
that shit.
Harold Leventhal peeks around Bob’s shoulder.
HAROLD LEVENTHAL
You didn’t bring your guitar, Bobby.
‘Saving yourself for your little tour
with Joanie?
Becka reacts with a look to Bob. Albert Grossman arrives.
ALBERT
Not little, Harold. Sold out.
HAROLD LEVENTHAL
Well, the last thing I want to do is
put pressure on you, but the dirty
secret is that most everybody here is
here because they were hoping you’d
play something.
BOB
Where’d they get that idea, Harold?
(to Albert)
Is this a fucking gig?
ALBERT
It’s anything you want it to be.
PETE
Hey there, Bobby!
Pete and Toshi land in front of Bob. They embrace Bob. Becka
stands there, smiling. Bob is glad to see them.
BOB
Hey! Pete! Toshi! Welcome back! Heard
you went round the world in 80 days!
PETE
We had a beautiful trip.
ACU FINAL SHOOTING SCRIPT 68.
BOB
This is Becka.
PETE
It’s very nice to meet you, Becka.
This is Toshi, my wife.
BECKA
I love your music!
PETE
Thank you!
(off Leventhal’s look)
So, Bob, is Harold trying to get you
to sing something?
(off Bob’s pinched face)
It’s all for a good cause, Bobby. You
can use my guitar if you need one.
Bob notices Becka has slipped away.
BOB
You always keep it handy, huh Pete?
Like a gunfighter with a sixgun.
Everyone laughs.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
38 -
A Harmonious Farewell
83 INT. LEVENTHAL APARTMENT -- MINUTES LATER 83
Becka watches from a distance as -- Bob sits, tuning PETE’S
guitar. He looks up to see STARING FACES around him, watching
like he was blowing glass in Venice.
Pete steps up, clears his throat, glances at Toshi.
PETE
Bobby’s songs are about what we hope
for. They renew us. That’s a lot to
say for someone who hasn’t been around
so long. But sometimes it seems to me
like Bobby’s been around forever.
Bob stares at the floor, listening respectfully.
PETE (CONT’D)
Bobby.. for Harold, the organization,
for all of us.. for everyone in folk
music.. thank you.
BOB
Well, thank you, reverend.
ACU FINAL SHOOTING SCRIPT 69.
A laugh, and the room goes silent. Bob takes a beat..
then starts playing the intro for “When the Ship Comes In” :
Harold gestures to Tilda, pointing to a banjo on the wall.
She takes it down and the crowd passes it forward.
BOB SINGS
Oh the time will come. When the winds
will stop. And the breeze will cease
to be breathin’. Like the stillness in
the wind ’Fore the hurricane begins..
The banjo is passed to Harold, who hands it to Pete. Bob
sees, smiles. Pete sits down beside Bob and joins him
playing. And soon, Pete joins in singing :
BOB AND PETE SING
Oh the seas will split. And the ship
will hit. And the sands on the
shoreline will be shaking.
For a moment the tension around Bob has evaporated. They are
a happy pair, like father and son.
BOB AND PETE SING (CONT’D)
Oh, the fishes will laugh as they swim
out of the path. And the seagulls
they'll be a-smiling. And the rocks on
the sand. Will proudly stand, the hour
that the ship comes in!
CUT TO:
84 INT. LEVENTHAL APARTMENT -- LATER 84
Albert escorts Bob and Becka through a gauntlet positioned
along the route to the door. Harold swoops in.
HAROLD LEVENTHAL
Thanks, Bobby. And please don’t forget
the Sing Out benefit next month.
ALBERT
Talk to me about that, Harold.
BOB
And you got that TV thing, right,
Pete? When’s that?
PETE
Next Thursday. Albert’s got all the
particulars..
Bob gets swamped by others glad-handing as he exits.
CUT TO:
ACU FINAL SHOOTING SCRIPT 70.
Genres:
["Musical","Drama"]
Ratings
Scene
39 -
Burdened Expectations
85 INT. ELEVATOR -- SAME 85
Sudden quiet. Standing beside Becka, Bob rests his head
against the elevator wall, eyes shut.
BOB
Two hundred people in that room and
each one wants me to be somebody else.
They should all fuck off, let me be.
DISHEVELED GUY (O.S.)
Be what.
THERE’S ANOTHER GUY IN THE ELEVATOR, handsome, disheveled,
and a bit drunk. Bob looks at Becka.
BOB
Excuse me?
DISHEVELED GUY (O.S.)
..fuck off and let you be what?
BOB
I don’t know. But they sure do.
Becka stares at the drunk man. He smiles. This is BOBBY
NEUWIRTH, painter, musician and general cool cat.
NEUWIRTH
Since I’m not a horse I refuse to
carry other people’s weight.
BOB
Yeah. Well. I got a hundred pounds on
me that don’t show on the scale.
NEUWIRTH
Then how do you sing?
BOB
(fixes on him)
I put myself in another place.
But I’m a stranger there.
CUT TO:
86 EXT. WALKING ON THE STREET -- MOMENTS LATER 86
Bob, Becka and Neuwirth emerge from the building. Neuwirth
starts to head off with his guitar.
BOB
Hey. What’s your name, man?
ACU FINAL SHOOTING SCRIPT 71.
NEUWIRTH
Bobby. Like you. Bobby Neuwirth.
BOB
(smiles)
‘Where you going now?
Becka makes a face, as in ‘what the fuck do you care?’.
NEUWIRTH
‘I got a gig with some mates at
McAnn’s, East village.
Bob nods.. watches Neuwirth walk off. Then he starts the
opposite way, oblivious to Becka who struggles to keep up.
BECKA
..Hey! ..Hey.
Bob keeps walking.
BECKA (CONT’D)
You have a tour with Joan Baez. Were
you gonna tell me about that?
Bob keeps walking.
BECKA (CONT’D)
..Am I just more weight?
Bob stops, turns. Points at Leventhal’s building.
BOB
They want to own me, Becka.
Is that what you want?
BECKA
I love you.
Bob starts walking again. Becka follows him.
BECKA (CONT’D)
Is that scary to you?
BOB
Well. I just met you. So. Yes.
Becka stops walking. Bob keeps walking.
CUT TO:
ACU FINAL SHOOTING SCRIPT 72.
Genres:
["Drama","Music"]
Ratings
Scene
40 -
Fame and Reflection
87 EXT. EAST VILLAGE STREETS -- NIGHT 87
Bob stands in front of an Irish bar. The pink neon reads --
MCANN’S. He hears A THUMPING BASS.
CUT TO:
88 INT. MCANN’S -- NIGHT 88
NEUWIRTH AND FOUR OTHERS play a set of raucous Celtic music.
Distorted and fast, infectious, like the Pogues.
Bob sits in a corner of the bar, sipping a drink. He watches
with fascination. More than anything, we see he is devouring
camaraderie of the band.
Neuwirth spots him, smiles. Bob raises his glass.
And suddenly, A DRUNK WOMAN SCREAMS.
DRUNK
No that’s HIM! That’s Bob-fucking-
Dylan! RIGHT THERE!
The drunk woman points, frantic, AND ALL HEADS TURN.
BOB MOVES FOR THE DOOR BUT SOMEONE GRABS HIS RAY BANS and, as
he tries to get them back, the wave of recognition spreads.
The crowd cuts off his exit. A MAN tries to grab him -- he
pushes him off -- and the man HITS BOB. The band stops as--
Bob stumbles to the floor and is suddenly grabbed by --
NEUWIRTH, WHO PULLS HIM TOWARD THE BACK OF THE CLUB.
CUT TO:
89 INT. SYLVIE’S APARTMENT -- NIGHT 89
BOB’S BANGS A DOOR. It opens to reveal --
SYLVIE, in a robe in a different apartment. Bob stumbles
inside and looks around.
SYLVIE
Bob. It’s four a.m. ..Bob.
Through the bedroom door, Bob sees A GUY SLEEPING ON HER BED.
SYLVIE (CONT’D)
We broke up, remember.
Bob turns, numb, shuffling to the table. He sits. Sylvie
turns on a light and sees Bob’s lip is swollen, bloody.
ACU FINAL SHOOTING SCRIPT 73.
SYLVIE (CONT’D)
(crossing to the sink)
Oh, Bob..
Sylvie hands him a wet cloth. He takes it and looks off.
BOB
..Everyone asks where the songs come
from, Sylvie. But if you watch their
faces, they’re not asking where the
songs come from. They’re asking why
the songs didn’t come to them..
GUY IN BEDROOM
Who is it, Sylvie?
Emotion rises in Bob’s eyes. He smiles sadly at Sylvie, gets
up with the cloth and walks out.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
41 -
Melancholy Reflections
A89 INT. BOB’S APARTMENT -- MORNING A89
“Maggies’ farm.” “pray.” “rain.” “what a drag it is to see
you..” “get dressed, get blessed. be a success.”
WE PAN ACROSS PAPERS AND NOTEBOOKS, phrases and fragments
scribbled everywhere to find --
BOB, smokes, his guitar beside him in the bed he shared with
Sylvie. Her paintings gone. All signs of her gone.
Then, Bob hears something. He sits up. A distant electric
guitar arpeggio, snare and organ and a wailing voice.
Bob crosses to the window, throws it open to hear the faint
music coming from a radio on the street.
He crosses to his own radio, snaps it on and swings the
tuning dial till he find the same groove.
It is The Animals doing a brooding rock and roll rendition of
“House of the Rising Sun”
THE ANIMALS SING
Mothers, tell your children not to do
what I have done. Spend your lives in
sin and misery. In the House of the
Rising Sun..
Bob cracks the radio louder, listening to the band play on.
The music becomes score and takes us through a --
ACU FINAL SHOOTING SCRIPT 74.
B89 MONTAGE -- INT. BOB’S APARTMENT -- NIGHT B89
-- Bob sits at his desk, punching keys on his Underwood.
-- Bob scribbles while in a bathtub, smoking.
-- Bob on the phone.
BOB
That Chicago guy, Bloomfield.
ALBERT GROSSMAN (ON PHONE)
It’s short notice, Bob.
BOB
Just find some session players,
Albert. Bass, guitar, organ and drums.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
42 -
Jam Session: A Day in Columbia Studio A
C89 INT. COLUMBIA STUDIO A -- DAY C89
CLOSE ON -- BOB, at a mic, sings “Subterranean Homesick
Blues” as WE PULL BACK to reveal he’s grooving with A FULL
BAND OF SESSION PLAYERS.
BOB SINGS
..get born, keep warm, short pants,
romance, learn to dance, get dressed,
get blessed, try to be a suc-cess,
please her, please him..
Tom Wilson, Albert Grossman and Hammond in the control room,
watching, mouthes open. Wilson looks at Hammond who looks at
Albert. An assistant crosses past and seems startled.
JOHN HAMMOND
This is gonna piss some people off.
He’s a solo act, not a band.
ALBERT GROSSMAN
It’s an experiment. We can put it out
as single when we go to London.
BOB SINGS
..jump down a manhole, light yourself
a candle. Don’t wear sandals, try to
avoid the scandals. Don’t wanna be a
bum, you better chew gum, pump don’t
work ‘cause vandals took the handles.
The band comes to a crashing stop, Bob and the band laughing
at themselves. Bob seems elated, even giddy.
ACU FINAL SHOOTING SCRIPT 75.
BOB
Gotta figure out the end. Maybe Tom
can do one of them fades like the
Temptations..
CUT TO:
90 THE SCREEN IS FILLED WITH B&W VIDEO 90
A TV TITLE SEQUENCE -- Pete Seeger plays a banjo and sings
“Oh had I a golden thread...” as titles “Rainbow Quest” and
“with Pete Seeger” appear over a shaky dolly-in to the host.
PETE
Evening folks. Thanks for dropping by.
WIDER ON -- NEW JERSEY STUDIO -- NIGHT
Pete’s easy-going manner is right at home on LIVE TV.
PETE
If you tuned in tonight to see our
friend Bob Dylan, you’re gonna have to
wait, cause we just got word he’s been
delayed, stuck at a session. But you
won’t be disappointed, I promise.
He ambles to the other side of the set.
PETE (CONT’D)
A friend from the deep Delta, Jesse
Moffette, is in town this week
headlining at Folk City, and he jumped
a cab to join us live here at NJU.
Jesse, good to see ya.
Pete sits down next to A TOWERING BLUESMAN in tie and
jacket, holding a guitar. There’s a harmonica rack around his
neck. High conk and wraparound shades. Jesse pulls out a
bottle of peppermint schnapps, and interrupts a healthy swig.
JESSE MOFFETTE
Not headlining. I open, then this
white boy with a sketchy beard comes
on after me and it’s like he’s reading
the paper. He just sings the damned
headlines..
Jesse holds the bottle out to Pete.
PETE
Not while I’m working, thanks.
Jesse squints at the small audience sitting on rows of
bleachers just off-camera.
ACU FINAL SHOOTING SCRIPT 76.
JESSE MOFFETTE
..No other way. Gotta have my peppy.
What station we on anyway?
He clears his throat, spitting into a handkerchief.
PETE
Educational.. Public access.
JESSE MOFFETTE
Shit.. I do educational. Offer blues
lessons in the privacy of your own
home.
(right in the lens)
You want to learn the blues? Call me
at Rhinelander four eight six oh two.
PETE
Jesse, I think it would be good to--
JESSE MOFFETTE
(still in the lens)
Come and see me and bring a bottle of
anything that ain’t pasteurized.
Then he bears down on the guitar, playing a dark and
astonishing blues. Pete looks on, compelled.
ACROSS THE STUDIO -- The studio audience and crew react as
Bob arrives and stands off camera beside NEUWIRTH. Bob straps
on his Gibson. He seems a bit buzzed.
NEUWIRTH
You hear what that cat is playing?
That shit is real.
A FLOOR DIRECTOR intervenes as Bob moves toward the stage.
DIRECTOR
We had to start without you, Mr Dylan.
I’m so sorry. We’re live now and I
can’t just let you walk out there.
BOB
(eyes his name tag)
Well, I’m not looking to break
anything up, Jonah.
As Jesse finishes a soulful tune, Pete glances up, sees Bob.
PETE
Oh. Bob! Come on out. Glad you could
make it. Jesse, say hello to Bobby.
ACU FINAL SHOOTING SCRIPT 77.
JESSE MOFFETTE
What’s the name again?
BOB
Bobby. Bob Dylan.
The small studio audience applauds.
JESSE MOFFETTE
What kind of music you play?
PETE
Bobby plays a few kinds. Pretty well.
JESSE MOFFETTE
So you’re grabbing my spotlight?
BOB
No, no. Just here to listen, Jesse.
Trying to work out your tuning. Never
heard it, can’t make it out.
JESSE MOFFETTE
No one can but me.
Jesse hands Bob the bottle of peppy. Bob takes a swig.
JESSE MOFFETTE (CONT’D)
How careful were you watchin’, Bobby?
BOB
Close enough.
Jesse passes his Silvertone over Pete to Bob.
JESSE MOFFETTE
Let’s see about that.
Bob takes the Silvertone, works it a bit, then suddenly plays
his own version of Jesse’s lick, finding a groove with it.
Jesse loves it and grabs a second guitar, picking the blues
over his rhythm. Pete smiles and grabs his banjo and joins..
They all jam joyfully as we --
CUT TO:
Genres:
["Musical","Drama"]
Ratings
Scene
43 -
Tension at the Chelsea Hotel
91 EXT. CHELSEA HOTEL -- NIGHT 91
Neuwirth pulls up to the curb, gives a look to Bob who gets
out and walks into the hotel.
CUT TO:
ACU FINAL SHOOTING SCRIPT 78.
92 INT. HALLWAY -- CHELSEA HOTEL -- NIGHT 92
Bob shuffles out of the elevator and glances down the hall.
He looks at the room numbers.
BOB
..Shit.
Bob knocks on one door, then another. He knocks at yet
another door, hoping something will happen.
Then a door behind Bob opens, REVEALING JOAN, looking
beautiful, holding a joint.
JOAN
I saw Pete’s show.
BOB
Me too.
She laughs. He shuffles toward her. She eyes him as he gets
close, then steps aside, letting him in.
JOAN
I think I need to catch up with you.
You bring Jesse’s peppy?
He cackles and the door closes.
CUT TO:
93 INT. CHELSEA HOTEL ROOM -- NIGHT 93
ANGLE ON BOB in the smokey room -- scratching feverishly on a
pad by the window holding Joan’s guitar, mumbling to himself.
BOB
A fool’s gold mouthpiece
..a hollow horn..
Joan watches him from her pillow on the bed.
JOAN
Hey.
BOB
..plays wasted words, proves to warn.
That he not busy being..
JOAN
Bob.
BOB
He not busy being born.. is..
ACU FINAL SHOOTING SCRIPT 79.
JOAN
Bob!
Bob’s pencil freezes. Spell broken. He sighs, struggling to
remember the lyric. It’s gone. Bob looks at her.
BOB
What.
JOAN
Nevermind.
BOB
Never-mind?
Joan sits up.
JOAN
Why did you come here, Bob?
BOB
What?
JOAN
Why did you come here?
BOB
What are you doing?
JOAN
Why did you come here?
BOB
Uh. To see you.
JOAN
You’re acting like a jerk.
BOB
Cause I got out of your bed?
JOAN
Get out.
BOB
What?
JOAN
Get out.
BOB
Whoa! I came here to be with you,
Joan.
ACU FINAL SHOOTING SCRIPT 80.
JOAN
But then you got an idea.
BOB
(grins)
I was inspired.
JOAN
Get out.
BOB
You kidding me?
JOAN
No, Bob.
Bob sighs. Stands. Still holding her guitar.
BOB
(Mutters)
You used to have some spirit, Joan.
Moves to exit.
BOB (CONT’D)
Albert booked us on a concert tour. On
tours people generally sing songs, you
know. Commonly. Someone writes them.
Sometimes they rhyme. Not always.
JOAN
That’s my fucking guitar!
Bob drops it on a chair as he shuts the door behind them.
BOB
See you on tour!
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
44 -
Creative Sparks and Stage Frustrations
94 INT. COLUMBIA STUDIO A -- DAY 94
In the booth, TOM WILSON with Engineer (ROY HALEE) AND BOBBY
NEUWIRTH. ALBERT hovers in the door, keeping watch.
BOB and A FULL SESSION BAND are ready to roll.
TOM WILSON
Ready to roll on seven. Get that easy
going riff goin’.
BOB
Hold on, hold on, Tom. I want to try
it with this at the top instead of the
guitar.
ACU FINAL SHOOTING SCRIPT 81.
Bob holds up THE TOY SIREN he brought on the street. The band
grins and Bob spins the crank. It wails and everyone laughs.
BOB (CONT’D)
Don’t start laughing in the take, man.
Cause I gotta look at your face.
Everyone pulls it together and Bob nods to the drummer to
count them in. Bob winds the siren and the band takes off
underneath. Checking lyrics from his pad --
BOB SINGS
God said to Abraham, ‘Kill me a son’.
Abe says, ‘Man, you must be puttin’ me
on. God says, ‘No.’ Abe says, ‘What?’
God says, ‘You can do what you want
Abe, but the next time you see me
comin’, you better run.
In the booth. Tom Wilson and Albert swap a look of wonder.
CUT TO:
95 JOAN AND BOB ON STAGE -- PITTSBURGH, PA -- NIGHT 95
A big venue, packed with young fans. Albert Grossman comes up
a corridor that leads to the large arena as --
BOB AND JOAN SING
I don't want to meet your kin, make
you spin or do you in. Or select you
or dissect you or inspect you or
reject you. All I really want to do
Is, baby, be friends with you.
They applaud as Bob and Joan finish. As Joan thanks the
crowd, Bob starts to pad about, restless, his mind on
something he left in the studio. He works the fingering for
something that has nothing to do with the current set.
Joan just looks at him, uncomfortable.
JOAN
(covers mic)
Um. Bob. Where the fuck are you?
BOB
(crosses to the mic)
I’m right here, Joan.
(covers the mic)
..I think this place is too big. Like
a morgue. Like Monterey. Maybe we need
a band. ..Maybe it’s not big enough.
ACU FINAL SHOOTING SCRIPT 82.
Joan looks at Bob, bewildered. She looks at the set list
taped to the monitor and starts to play the intro to “Blowin’
in the Wind”. Eager applause.
BOB (CONT’D)
No, no, no. Don’t do that. They all
have that on records at home.
JOAN
(to crowd)
You want to hear “Blowin’ in the
Wind”, right?
(they cheer)
That’s why they came here, Bob.
BOB
(to the crowd)
Is that why you came here?
(cheers again)
‘Cause no set list was advertised. Did
someone make a promise I was gonna
sing that song?
At the back, Albert sags, sweats with tension.
People shout “Just play it!” “We wanna hear it!”.
ALBERT GROSSMAN
What in fuck.
BOB
Joan, I can’t be responsible for
people’s irrational delusional
expectations.
The audience gets quiet. Uncomfortable. Joan glares at him.
BOB (CONT’D)
Sing what you want.
Joan starts Blowin in the Wind ..and Bob walks off stage.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
45 -
Authenticity at Odds
96 INT. LOMAX OFFICE -- WEST 46TH -- DAY 96
A funky hive of activity. Walls lined with 1/4” tapes, mixing
equipment and the omnipresent sound of roots music.
WE FIND -- ALAN LOMAX as he’s tapped by an assistant. He
removes headphones, crosses to --
ACU FINAL SHOOTING SCRIPT 83.
A FREIGHT ELEVATOR. There, arriving, are : Pete Seeger,
Harold Leventhal, George Wein, Peter Yarrow (of Peter, Paul
and Mary), Theodore Bikel and Oscar Brand; the great worthies
of the Newport Folk Foundation.
CUT TO:
97 INT. LOMAX OFFICE -- MOMENTS LATER 97
A GATHERING OF MEN eat danish around a table. They make
lists. Work continues by staff in bg. We note Sylvie’s
sister, Gena, finishing setting the nosh.
HAROLD LEVENTHAL
Give me Saturday night again.
THEODORE BIKEL
Ian and Sylvia, Odetta, Donovan,
Johnny Cash and Kweskin..
ALAN LOMAX
And Theodore Bikel.
THEODORE BIKEL
I was just getting to me.
PETER YARROW
There’s a proposal on the table for
the Butterfield Blues Band.
PETE
Remind me who they are.
PETER YARROW
Chicago blues band.
HAROLD LEVENTHAL
Electric blues band.
ALAN LOMAX
A white electric blues band.
PETER YARROW
They’re hot, Alan. The guitarist, Mike
Bloomfield, is incredible.
ALAN LOMAX
Of course he is. Part of the Albert
Grossman stable. Like you, Peter.
PETER YARROW
Knock it off.
HAROLD LEVENTHAL
I hear Bob’s playing electric now.
ACU FINAL SHOOTING SCRIPT 84.
ALAN LOMAX
Not on our stage.
PETER YARROW
So, what’s the verdict on The
Butterfields?
ALAN LOMAX
We already have bluesmen, real ones.
PETE
Bob wasn’t playing electric in London.
THEODORE BIKEL
His last album had a full band.
PETE
On a few songs.
Pete gets a look of rebuke from Lomax.
PETER YARROW
We should just ask Albert what Bob’s
planning.
Leventhal holds up an issue of NME featuring PHOTOS OF BOB
WITH THE BEATLES. Wild-eyed, partying at the Marquee Club in
London. In one shot, JOAN BAEZ, partying among them.
HAROLD LEVENTHAL
Albert’s had his hands full. Bob
brought Joan to London--
Gena turns from her desk, listening.
HAROLD LEVENTHAL (CONT’D)
--but he wouldn’t let her play with
him. Or visa versa. Apparently, she
got pissed and split for Paris.
Peter Yarrow waves the Butterfield Blues folder.
PETER YARROW
Can we finish talking about the
Butterfields?
ALAN LOMAX
I thought we did, Peter.
PETER YARROW
You never heard them, Alan.
ACU FINAL SHOOTING SCRIPT 85.
ALAN LOMAX
The Newport Folk Festival was created
to fight a rip tide of inauthentic
shit. The record companies package and
push white bands over everything else.
PETER YARROW
I understand but--
ALAN LOMAX
You can’t understand the problem,
Peter, you are the problem! “Peter,
Paul and Mary” are a confection.
Paul’s name used to be Noel! Albert
changed it cause it sounded better.
‘Like fucking Ritz crackers.
Yarrow grabs his things and storms to the door.
THEODORE BIKEL
Okay.. o-kay..
ALAN LOMAX
We’re here to celebrate music from the
people. For the people. The sound of a
guitar and a man’s voice.
HAROLD LEVENTHAL
Or a woman’s..
Suddenly, Pete pounds the table. Everyone turns.
PETE
Stop! Let’s not be dogmatic and
insulting, Alan. We can find a way to
agree.
ALAN LOMAX
No, Pete. We can’t. Fuck the
Butterfingers. And fuck Dylan if he
thinks he’s gonna play electric on our
stage. And don’t bring up ticket
sales, Harold. I don’t give a shit.
Rock and roll is a cash powered alien
invasion crushing all authentic human
possibility.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
46 -
Jam Session at Columbia Studios
98 EXT. COLUMBIA STUDIO A -- JUNE 1965 -- DAY 98
A TAXI PULLS UP to the curb of Columbia Studios and out
stumbles BOB NEUWIRTH, a butt on his lip, looking haggard. He
pays the driver, change falling, toting a large acoustic
case. As the cab pulls away, he bangs on the trunk.
ACU FINAL SHOOTING SCRIPT 86.
BOB NEUWIRTH
Whoa whoa!
THE TRUNK POPS TO REVEAL -- A STRATOCASTER CASE (an electric
guitar) with a British Airways sticker on it.
CUT TO:
99 INT. COLUMBIA STUDIO A -- MOMENTS LATER 99
An empty studio, Tom Wilson sips coffee in the booth.
TOM WILSON
(over the PA)
Welcome back, Neuwirth!
Neuwirth waves the wave of a man who doesn’t want to talk
about it. He goes about his business setting things up. He
lays down A STRATOCASTER CASE and cracks it open, revealing --
A GLEAMING RED FENDER ELECTRIC. He plugs it into an amp.
TOM WILSON (CONT’D)
(over the PA)
That yours?
NEUWIRTH
Bob’s. He bought it in London.
Wilson blinks, reacting to the idea of Dylan buying an
electric guitar as --
Neuwirth warms it up, playing an old tune.
NEUWIRTH SINGS
Railroad Bill, Railroad Bill.
He never worked and he never will
Suddenly, a harmonica comes in behind him. Neuwirth looks
over his shoulder to find --
Bob, who has been sleeping on a couch behind the baffles. He
too looks baked and he nods at Neuwirth to keep going.
NEUWIRTH SINGS (CONT’D)
And it’s ride, ride, ride... Railroad
Bill, he was a mighty mean man...
Bob sits up, joins him.
BOB AND NEUWIRTH SING
He shot the midnight lantern out of
the brakeman’s hand. And it’s ride,
ride, ride.
ACU FINAL SHOOTING SCRIPT 87.
BOB
Pick it up a little.
Neuwirth pours on more hot sauce as another musician enters.
A rollicking ham-fisted piano joins in. The player (AL
KOOPER) is a young guy with Mod clothes, a mop of dark hair
and shades. He grins at Bob. The tune is rocking now.
BOB AND NEUWIRTH SING
Railroad Bill, y’know he took a wife.
Said if I didn’t like it he’d take my
life. And it’s ride, ride, ride..
They suddenly stop as the door open.
MORE SESSION MEN file in, among them -- Keyboardist PAUL
GRIFFIN and guitarist MIKE BLOOMFIELD carrying his axe.
Kooper yields the piano to Griffin.
BOB
(to Kooper)
Hey, man. You in this session?
AL KOOPER
(shrugs, bashful)
Tom said to fall by. I’m Al Kooper.
NEUWIRTH
(to Bob)
Guitar player.
BOB
We got Bloomfield.
Bloomfield unleashes a mighty blues lick.
CUT TO:
Genres:
["Music","Drama"]
Ratings
Scene
47 -
Breaking Through: Al's Moment in the Studio
100 INT. COLUMBIA STUDIO A -- CONTROL BOOTH -- LATER 100
Al Kooper sits on the couch with his guitar, looking sullen
as Tom adjusts the board, working with engineer, ROY HALEE.
AL KOOPER
They called me in, I brought my axe.
Tom raises the level on Bloomfield’s electrifying licks..
TOM WILSON
You wanna to go up against that, Al?
ROY
No one’s on organ.
ACU FINAL SHOOTING SCRIPT 88.
AL KOOPER
I can do organ.
TOM WILSON
You don’t play keyboards, Al.
Al makes a face and slides into the studio as Neuwirth pokes
in his head, signaling Tom that Bob’s ready.
CUT TO:
101 INT. STUDIO A -- JUST AS TAPE’S ABOUT TO ROLL 101
Al Kooper sits down in front of the Hammond organ looking
like its the first time he’s touched one. His hands fumble on
the keys. No sound. Tom Wilson steps up, flicks the ON
switch. Gives Al a look.
Across the studio, Bob is listening to Bloomfield jam.
TOM
(on control room speaker)
“Like a Rolling Stone,” Take 8.
Bob has a note for Bloomfield.
BOB
Hey. Mike. Play like you’re in your
room alone. Play for yourself.
Bloomfield nods.
BOB (CONT’D)
(to the others)
No more waltz time on this one.
Ascending scale, ‘La Bamba’ changes
for the chorus. Come in on the
downbeat of four. Just jump on it.
Bob nods to the drummer BOBBY GREGG... who counts off...
BOBBY GREGG
One, two. One, two, three..
..and they’re off. Neuwirth glances at Kooper, who’s waiting
to make sure of the chord, staying an eighth note behind. Bob
starts singing. A seismic sound:
BOB SINGS
Once upon a time you dressed so
fine.. Threw the bums a dime in your
prime, didn't you?
CUT TO:
ACU FINAL SHOOTING SCRIPT 89.
102 INT. COLUMBIA STUDIO A -- CONTROL BOOTH -- LATER 102
Playback of the track. Bob listens intently, critically.
Albert behind him, sensing something major in the air, and
Neuwirth is wedged against the back wall.
BOB
Let me hear more of that organ.
TOM WILSON
The cat’s not an organ player.
BOB
Sounds like one to me. Lift it, Roy.
Roy Halee brings the level up on the organ. The drums and the
kick come up with it.
TOM
It’s tied to the drums.
BOB
Keep it there.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
48 -
A Chance Encounter at the Clothing Store
103 INT. PAUL SARGENT CLOTHING STORE -- DAY 103
A clerk is wrapping up a package for Bob: several identical
spectacular shirts with polka dots the size of puddles.
AL KOOPER
(re: the polka dot shirt)
Newport never seen duds like these.
Neuwirth and Al Kooper arrive at the counter next to Bob, who
puts down cash, noticing --
PETE SEEGER out on 4th street. He stares at their motorcycles
at the curb, recognizing them. Turns and peers in the window.
CUT TO:
104 EXT. PAUL SARGENT STORE -- 4TH STREET -- DAY 104
Bob emerges from the store to find Pete. Something awkward
between them as they regard each other, shaking hands.
BOB
Hey, Pete.
PETE
(re: motorcycle)
I had a feeling this was yours.
ACU FINAL SHOOTING SCRIPT 90.
PASSING GIRL
OM MY GOD! I LOVE YOU, BOB!!
A PASSING GIRL clutches Bob, kisses him.
PETE
I tried calling but..
BOB
Yeah. Sorry I haven’t --
(unwinding the girl)
Babe, I’m talking to my friend here.
(back to Pete)
I’ve been in the studio every day
since I got back.
PETE
New songs?
BOB
A few. ‘But this album’s more
complicated. ..More elements.
PETE
Going electric on this one?
BOB
(smiles)
Newport starts day after tomorrow,
Pete. What are you doing downtown?
PETE
I had a last meeting with Harold.
..heading north tonight.
(beat)
Do you got a moment to grab a cup?
More passers-by greet Bob. He shakes their hands.
PETE (CONT’D)
I’ve been trying to talk to Albert
about your set, but it might be good
to cut out the middle man.
BOB
We’re closing the show, right?
PETE
Yes.. but..
AL KOOPER and NEUWIRTH emerge from the store, laughing,
carrying large boxes. Off the awkward greetings--
ACU FINAL SHOOTING SCRIPT 91.
BOB
Let’s talk up in Newport, Pete. I
haven’t made any plans for the show.
Kinda living day to day these days.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
49 -
A Spontaneous Ride to Newport
105 INT. SYLVIE’S APARTMENT -- MORNING 105
Sylvie hears the sound of Bob’s Triumph in the street.
BOB
Sylvie! ..Sylvie!!
Sylvie throws open the window.
Below, Bob smokes a cigarette.
BOB (CONT’D)
I’m headed up to Newport. Wanna come?
Sylvie SLAMS the window shut.
106 EXT. SYLVIE’S APARTMENT -- MOMENTS LATER 106
Still waiting, Bob flicks his butt. Then the front door of
the apartment opens. A backpack appears on the stoop followed
by Sylvie. She crosses to Bob and climbs on the bike knowing
full well this is stupid.
BOB
Hold on.
She puts her arms around him and they blast off.
CUT TO:
107 EXT. ON THE ROAD TO NEWPORT -- MORNING 107
Bob and Sylvie on the Triumph, en route to New England,
Manhattan behind them. Sun low, rising on a summer day.
We hear “Mr. Tambourine Man” on The radio sung by Bob, but
also sung by fans in other cars listening.
FAN VOICES SING
Hey! Mr. Tambourine Man, play a song
for me. I’m not sleepy and there is no
place I’m going to.
CUT TO:
108 EXT. THE STREETS OF NEWPORT -- DAY 108
Riding down the main street of town. Bob is recognized. Some
people point, others nod, a few call his name.
ACU FINAL SHOOTING SCRIPT 92.
He grins but keeps driving. Sylvie’s hair flows behind her.
Aerodynamics.
In the jingle jangle morning I’ll come
following you...
CUT TO:
109 EXT. VIKING MOTEL -- NEWPORT -- DAY 109
Bob and Sylvie pull up on the Triumph. Sylvie takes in the
menagerie of musicians waiting outside the motel office to
register. A mix of sounds comes from rooms and the lot :
...South African kwela on the penny-whistle.. Appalachian
fiddle... a North Carolina ballad singer rehearsing.. someone
from the Hebrides singing in Gaelic..
SYLVIE
Wow.
Jesse Moffette sits, drinking peppy, working a blues riff.
JESSE MOFFETTE
Bobby D. You’re lookin’ unlike
yourself. Who you runnin’ with?
BOB
Runnin’ wild, Jesse.
JESSE MOFFETTE
(re: Sylvie)
She wild too?
SYLVIE
Only when the moon’s full.
Jesse guffaws as AN ORGANIZER hands Bob credentials.
CUT TO:
110 INT. BOB’S ROOM, THE VIKING MOTEL -- DAY 110
Sylvie lies on the bed as Bob lights two cigarettes in his
mouth and hands her one, like Paul Henreid in “Now, Voyager”.
He lies beside her as she takes a drag.
SYLVIE
Does this make me Bette Davis?
..She ended up alone in that movie.
BOB
Nah. They got together. When they were
older, they got together.
ACU FINAL SHOOTING SCRIPT 93.
Neuwirth bursts through the door with TWO GUITAR CASES. He
pays no attention to Bob and Sylvie as he snaps the cases
open on the couch. One is BOB’S ACOUSTIC GIBSON NICK LUCAS.
The other is THE RED STRATOCASTER FROM LONDON.
NEUWIRTH
Choose your weapon, general.
You got the guest thing with Joan.
BOB
Oh, yeah.
(to Sylvie)
I can meet you later, if you want.
SYLVIE
Why? I’d like to catch that.
CUT TO:
Genres:
["Drama","Romance","Music"]
Ratings
Scene
50 -
Bittersweet Farewell at Newport
111 EXT. NEWPORT FOLK FESTIVAL -- DAY 111
JOAN on the stage, singing to a huge crowd on the lawn.
Newport Bay sparkles on the horizon.
JOAN SINGS
Everything’s still the same. Just a
table standing empty by the edge of
the sea. Farewell Angelina.. The sky
is trembling.. And I must leave.
112 BACKSTAGE -- SAME 112
Bob, Sylvie and Neuwirth arrive. The first person they see is
Pete, who greets them. Sylvie tries to pretend she is fine
with Joan singing fifteen feet away. Bob straps on his
Gibson, exchanging a glance with Neuwirth.
Singing, Joan glances offstage, sees Bob and his guitar. She
flips him the bird, discreetly. Bob looks to Sylvie.
SYLVIE
I haven’t seen you in a while, Pete.
How’s it going?
PETE
Better than ever, Sylvie. It’s
jubilation through and through.
Pete moves on about his business, managing things, and
Neuwirth notices Sylvie, left alone, turns, watching Joan
singing as Bob steps to the edge of the stage.
ACU FINAL SHOOTING SCRIPT 94.
113 ONSTAGE : JOAN FINISHES THE SONG. 113
JOAN SINGS
Call me any name you like. I will
never deny it. Farewell Angelina
The sky’s erupting. I must go where
it’s quiet..
114 BACKSTAGE : 114
NEUWIRTH
You okay?
SYLVIE
Sure. Why not?
HUGE CHEERS from the audience.
NEUWIRTH
There’s a party after.
SYLVIE
Great.
115 ONSTAGE : 115
JOAN
How about saying hello to the man who
wrote that one? Come on out, Bobby.
Bob steps out onstage TO A THUNDEROUS OVATION. He waves at
the crowd, then smiles at Joan. Her eyes are dark.
JOAN (CONT’D)
I picked something appropriate.
BOB
Appropriate?
JOAN
Fuck off and sing.
Joan launches the intro to “It Ain’t Me, Babe” and they start
to sing together. Two actors falling into familiar roles.
BOB AND JOAN SING
Go away from my window. Leave at your
own chosen speed. I’m not the one you
want, babe. I’m not the one you need.
MOVING CLOSER ON -- SYLVIE. Riveted, watching them, their
harmony, their rapport.. it unravels her.
ACU FINAL SHOOTING SCRIPT 95.
BOB AND JOAN SING (CONT’D)
..Someone to open each and every
door. But it ain’t me, babe. No, no,
no, it ain’t me, babe. It ain’t me
you’re lookin’ for, babe.
Joan glances offstage while singing, locks eyes with Sylvie.
BOB AND JOAN SING (CONT’D)
..I’m not the one you want, babe. I’ll
only let you down.
Sylvie’s eyes fill with tears. She’s not built for this game.
She turns to leave, bumping into Pete.
BOB AND JOAN SING (CONT’D)
It ain’t me, babe. No, no, no, it
ain’t me, babe!
She hurries past him, turning her face away.
PETE
(to Neuwirth)
What’s that about?
Bob notices Sylvie has left and looks to Neuwirth--
NEUWIRTH
..Fuck.
He follows after her, down the steps.
CUT TO:
116 ANGLE ON -- SYLVIE, PUSHING THROUGH THE CROWD -- SAME 116
We still hear Bob and Joan from the stage as -- Sylvie moves
through the mob, heading for the gates. Neuwirth catches up
with her just as she makes it to where LOCAL CABS STAND BY.
NEUWIRTH
Sylvie. He’s gonna ask where you are.
SYLVIE
Tell him I went home.
NEUWIRTH
Come on, Sylvie..
SYLVIE
I can’t do it. I thought I could but--
NEUWIRTH
Just stay and talk to him.
ACU FINAL SHOOTING SCRIPT 96.
She opens the door of a cab.
SYLVIE
He’s got a lot of people to talk to.
Like a hundred thousand.
CAB DRIVER
‘You getting in, Miss?
NEUWIRTH
You can’t take a taxi all the way to
the Village, Sylvie. There’s a ferry
to Providence that leaves every other
hour. You can catch a train from
there.
She looks to the next people in line.
SYLVIE
(to next passenger)
Go ahead. Take it.
They do and the cab drives off. Another pulls up.
NEUWIRTH
Just talk to him.
SYLVIE
Nothing to talk about. He has to keep
feeding it. He can’t stop.
NEUWIRTH
That’s not true.
SYLVIE
He has to cut the cords. To keep the
songs coming. To feed it. Maybe you’re
next. Sacrifices have to be made.
NEUWIRTH
I’m fine with him.
SYLVIE
Why? ‘Cause you think he’s Elvis or
Shakespeare or Albert Einstein?
NEUWIRTH
What he’s making is gonna live
forever.
ACU FINAL SHOOTING SCRIPT 97.
SYLVIE
He doesn’t even let you play with him.
(climbs in taxi)
To the Ferry, please.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
51 -
Harmony and Discord at Newport
117 EXT. NEWPORT FOLK FESTIVAL -- CONTINUOUS 117
The crowd cheers and applauds, waiting for a second number...
Joan makes her own decision, and starts to sing...
JOAN SINGS
Perhaps it’s the color of the sun cut
flat an’ covering the crossroads I’m
standing at..
Bob smiles, enjoying her spirit. The tune is one of his;
“Mama, You Been On My Mind.” But she’s flipped the gender :
JOAN SINGS (CONT’D)
Maybe it’s the weather or something
like that. But daddy, you been on my
mind.
Bob laughs, joins her for the second verse..
BOB AND JOAN SING
...don’t put me down or get upset. I
am not pleadin’ or sayin’ I can’t
forget. I do not walk the floor bowed
down an’ bent, but yet...
JOAN SINGS BOB SINGS
..daddy, you been on my mind! ..mama, you been on my mind!
CUT TO:
118 INT. DINER -- DOWNTOWN NEWPORT -- DAY 118
Alan Lomax is working his way through a hearty lunch. Pete
works on a cup of black coffee. A radio at the back of the
place is playing Tom Jones’ “What’s New Pussycat?”
ALAN LOMAX
Spanish omelette. Grab a fork.
PETE
I’m not hungry.
ALAN LOMAX
So. ..What’s he gonna do?
ACU FINAL SHOOTING SCRIPT 98.
PETE
What he’s always done. What he wants.
What do you care?
Alan processes this. He inclines his head in the direction of
the radio, now playing The McCoys’ “Hang On, Sloopy.”
ALAN LOMAX
Top Forty’s a shitstorm, Pete. We have
to stand against it. And if that means
pissing Bob off, so be it.
PETE
There’s over seventy thousand people
here, Alan. And Bob’s the reason.
They’re all getting a taste of our
music. Our way. We could look at this
as a gift. I think Bob feels like--
ALAN LOMAX
He’s just chasing the Beatles.
PETE
I don’t think he’s chasing anyone.
ALAN LOMAX
Newport’s ours, not his. One week, ten
acres of sacred music.
PETE
You know what, Alan? I can’t do this.
Pete heads for the door. Lomax sighs, putting down cash.
ALAN LOMAX
You built it too, Pete. You gonna
watch him tear it down?
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
52 -
Confrontation at the Viking Hotel
119 INT. / EXT. VIKING HOTEL -- BOB’S SUITE -- LATE AFTERNOON 119
THE KINKS plays on the turntable. The motel is filled with
smoke and lots of people, in the suite, on the balcony.. all
kinds.
Bob enters, from his bedroom, freshly showered and sees --
Al Kooper crossing, finishing putting on one of the polka dot
shirts. He sits beside A SPACEY GIRL who chortles.
SPACEY GIRL
You could play basketball with those
polky dots.
ACU FINAL SHOOTING SCRIPT 99.
ON THE BALCONY, JOAN crosses past with a guy, ghosting Bob.
BOB
Take that shirt off, Al. You look like
a clown, man.
Bob crosses to NEUWIRTH, who smokes by a window.
BOB (CONT’D)
..Where’s Sylvie?
NEUWIRTH
..She split. While you were playing
with Joan.
LOMAX, LEVENTHAL and BIKEL knock enter the suite. Albert
crosses, hiding a joint as he intercepts.
ALBERT
Gentlemen. You missed the poker game.
THEODORE BIKEL
But not the reefer.
Neuwirth checks his watch, looks at Bob.
NEUWIRTH
I didn’t want to sink you, Bob. She’s
probably still at the ferry if you
want to--
Bob grabs his jacket, crossing, digging for keys. Finds
himself facing Lomax and Leventhal.
ALAN LOMAX
Can we have a word, Bobby?
HAROLD LEVENTHAL
(re: the stereo)
Can someone turn that down?
BOB
Where’s Pete? He’s not in on this?
ALAN LOMAX
‘In on’ what exactly?
BOB
The posse of purity.
THEODORE BIKEL
We’re on our own.
ACU FINAL SHOOTING SCRIPT 100.
BOB
Sorry, guys. I gotta go.
Bob moves to the door but Leventhal puts a hand on him.
HAROLD LEVENTHAL
We just want to know what you plan on
doing tomorrow, Bobby. If you’re gonna
play your new songs.
BOB
Cause you want me playing old ones.
ALAN LOMAX
Cut the crap, Bobby.
(points at turntable)
Are you playing noise like this?
BOB
This is The Kinks, Alan.
ALAN LOMAX
‘Cause I’m supposed to introduce you,
and if you are, maybe you should ask
Dick Clark instead.
ALBERT
If you haven’t noticed, Alan.. There’s
a lot of people here in Newport. Ten
times what you had a few years ago.
ALAN LOMAX
Rather have fifty faithful than fifty
thousand groupies.
Bob moves off and away, down the steps to the street. Lomax
crosses to the balcony, yelling after him.
ALAN LOMAX (CONT’D)
It was the Newport Folk Festival
then, and it still is! Not the teen
dream, Brill Building, Top Forty
British Invasion Festival. A Folk
festival. Remember Folk, Bob?
BOB
(walking off)
No, what’s that, Alan? Maybe you can
sing me something.
CUT TO:
ACU FINAL SHOOTING SCRIPT 101.
Genres:
["Drama","Music"]
Ratings
Scene
53 -
Fleeting Moments
120 EXT. NEWPORT STREETS -- LATE DAY 120
Bob roars down the street. Devil on his tail. He doesn’t
acknowledge fans who wave and shout. END MUSIC as we--
CUT TO:
121 EXT. PROVIDENCE FERRY TERMINAL -- LATE DAY 121
THE FERRY approaches dock. Sylvie’s ticket is punched. Amid a
crowd of dazed fans, Sylvie hears a familiar sound--
On the other side of a fence on the wharf, Bob pulls up on
his Triumph. He kickstands his bike and crosses to the fence.
Sylvie meets him on the other side. Bob lights two
cigarettes, passes one to her. She smiles, takes a deep drag,
then flicks it. He reacts over his Ray Bans.
SYLVIE
Surgeon General says it causes cancer.
You should stop.
BOB
Next week.
Her eyes meet his.
SYLVIE
It was fun to be on the carnival train
with you, Bobby. But I think I gotta
step off now.
Bob takes this in.
SYLVIE (CONT’D)
I feel like one of those plates, you
know, that the French guy spins on
those sticks. On the Sullivan show.
BOB
That a bad thing? I like that guy.
SYLVIE
I’m sure it’s fun to be the guy, Bob.
But I was a plate.
Bob sighs, looks off.
Sylvie touches Bob’s fingers through the fence. The ferry
whistle blows.
SYLVIE (CONT’D)
Don’t ask for the moon, Bob.
..We have the stars.
ACU FINAL SHOOTING SCRIPT 102.
Bob rocks on his heels. Doesn’t know what to say. Someone
screams. Passengers recognize him, not hard with the polka
dot shirt. They converge. And, as they close in, Bob looks at
Sylvie till the fans fill the space between them.
PETE (O.S.)
Let’s welcome the Texas Prison
Worksong Group!
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
54 -
Shovels and Teaspoons: A Clash of Purpose
122 EXT. NEWPORT FOLK FESTIVAL -- STAGE -- NIGHT 122
Pete Seeger, center stage... Behind him, SIX MEN IN PRISON
GARB carrying axes, under the watch of AN ARMED GUARD.
PETE
Six men serving life and the guard is
not a prop! Neither’s the tree trunk!
THE MEN circle the tree, axes in hand, and start their
singing and chopping. Offstage: Alan Lomax approaches Pete.
ALAN LOMAX
We saw Bob. Came away with a handful
of air. It’s gotta be you, Pete.
CUT TO:
123 EXT. NEWPORT -- VIKING PARKING LOT -- MORNING 123
Pete, in his pickup, parked across the street. Not happy with
himself. Eye on the motel, watching as--
..Bloomfield and Al Kooper stumble out of Bob’s suite. Bob
appears a moment, shirtless, before the door closes.
Pete enters cautiously with a coffee tray. The suite is
trashed. Food, bottles, guitars, ashtrays and bodies.
One bed with an entangled couple on it.
Pete steps over another person in a sleeping bag and sets a
cup in front of Neuwirth sleeping on a couch. Then, he turns
to Bob.
Bob is on the bed watching Pete, a sleeping body beside him.
PETE
‘Thought you could use a cup of
hot black this morning.
ACU FINAL SHOOTING SCRIPT 103.
Bob takes the coffee as Pete notices the red Stratocaster
against the wall, beside the Nick Lucas.
PETE (CONT’D)
(re: the last coffee)
This one’s for Sylvie.
Bob pulls the sheets to reveal Albert Grossman beside him.
ALBERT
Hey. What. What the fuck?
Bob stands, takes the last coffee and hands it to Albert.
BOB
We already got a visit from your
posse. They kept asking the same
question.
PETE
Maybe they didn’t like the answer.
Bob crosses to the toilet. Neuwirth wakes. Grabs his coffee.
NEUWIRTH
Hey. ..Thanks, Pete.
ALBERT GROSSMAN
(fumbling for a butt)
It’s seven in the morning. Whatever
this is, Pete, can’t it wait a few
more God damned hours?
Pete moves some bottles off a chair and sits, sipping his own
coffee.. as Bob re-enters.
PETE
Bobby. Did I ever tell you the parable
of the teaspoon brigade?
ALBERT GROSSMAN
The parable of the what? Pete. It’s
the fucking crack of dawn here!
PETE
It’s a good story.
ALBERT GROSSMAN
Bob needs rest. We all do.
BOB
Let him tell his story, Al.
Bob sits down opposite Pete.
ACU FINAL SHOOTING SCRIPT 104.
PETE
Imagine a seesaw. A great big seesaw.
One end is stuck to the ground because
it has a basket full of rocks on it.
And the other end is high in the air.
There’s a basket on that end too, but
its only half full - of sand - and the
sand is leaking. Now, some of us, we
have teaspoons - and one teaspoon at a
time, we’re putting sand into that
basket. It’s leaking out as we put it
in - and people are laughing at us-
but every few days a new person shows
up with a teaspoon, pitching in. We
all keep going, Bobby. You know why?
BOB
Why.
PETE
Because one of these days, or years,
or decades, who knows, enough people
are gonna be using their little
teaspoons all at once. And on that
day, that basket of sand is gonna get
so full that the whole damned thing
goes “Zoop!” and level things out.
ALBERT GROSSMAN
Right. We get the story, Pete.
PETE
I’m not sure you do, Albert. Newport
was purpose built to share traditional
music, homespun music, people’s music,
with other people, out in the air, in
nature. And since we started, six
years ago, more and more people have
grabbed teaspoons. Spoons for peace.
Spoons for justice. Spoons for love.
(to Bob)
Then you came along, Bobby.. and you
brought a shovel. We just had
teaspoons. But you brought a shovel.
And now, thanks to you, we’re almost
there. You’re the closing act, Bobby,
and if you could just use that shovel
the right way--
BOB
(staring at floor)
The right way.
ACU FINAL SHOOTING SCRIPT 105.
PETE
You could level things.
Bob looks at Pete.
BOB
I sent you an advance of my record.
PETE
You did.
BOB
Well, did you ever listen to the music
you’re telling me not to play?
PETE
I could already see where you were
going on the last record.
Bob sits there, wounded. Then stands.
PETE (CONT’D)
You wrote great songs, Bobby. Songs
that started to change things.
NEUWIRTH
Nothing’s changed, Pete. At all. They
killed Kennedy. They shot Malcolm X.
ALBERT GROSSMAN
There’s more in this world to sing
about than justice, Pete. And there’s
more than one way to play a song.
Bob paces the room, looking for cigarettes. None to be found.
BOB
They just want me singing the same
songs, Albert. For the rest of my
fucking life.
NEUWIRTH
Did you ever stop and think, Pete,
that maybe Bobby just wanted some
friends up on stage with him?
ALBERT
They’re scared of your music, Bobby.
PETE
No one’s scared of anyone’s music.
ACU FINAL SHOOTING SCRIPT 106.
ALBERT
Yes you are. You’re scared the kids
out on that lawn might like it.
PETE
Why would that scare me, Albert?
ALBERT
Because you’re pushing candles and
he’s selling light bulbs.
Bob finds his keys.
BOB
(heads for the door)
I need cigarettes.
PETE
Bobby.
Bob stops in the doorway.
BOB
The only reason I have a shovel, Pete,
is because I picked it up. ..It was
just lying there and I picked it up.
Bob exits.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
55 -
A Chance Encounter
125 EXT. VIKING MOTEL -- MORNING 125
Bob moves toward his Triumph. He finds a big rental Cadillac
blocking his bike, engine idling, door open.
BOB
Shit.
Bob hears a cough and turns to see -- JOHNNY CASH buying a
soda from the motel vending machine.
BOB (CONT’D)
Hey, J-R.
Cash sips his soda and approaches. Doesn’t seem to recognize
Bob. Something wrong with him... Exhausted? High? Both?
JOHNNY CASH
(raspy)
Am I blocking you in, pal?
BOB
Johnny. It’s me.. Bobby.
ACU FINAL SHOOTING SCRIPT 107.
Cash squints and sees Bob for the first time.
JOHNNY CASH
..Shit. Hey, there, Bobby.
BOB
I thought you left already.
JOHNNY CASH
We loaded out last night. June left
for New York .. But Pete asked me to
stay for the finale. Today, you know.
BOB
I do.
JOHNNY CASH
I just went for a.. I couldn’t
sleep..took a drive. Saw the ocean.
(notices the Triumph)
This yours?
BOB
Yeah.
JOHNNY CASH
Hold this. Let me get out of your way.
Bob holds John’s soda as Cash climbs into the Caddy, throws
it in reverse, a bit too hard, dinging a Chevy behind him.
Then he turns it off, leaving it there. Comes out carrying A
BAG OF “BUGLES”.
JOHNNY CASH (CONT’D)
Want some Bugles?
BOB
No thanks.
(jingles his keys)
Need cigarettes.
Bob smiles, wistful as he crosses to his bike.
JOHNNY CASH
You play tonight, right?
BOB
‘What the program says. But they don’t
want to hear what I want to play.
JOHN
Who’s they?
Bob looks to Pete walking back to his truck.
ACU FINAL SHOOTING SCRIPT 108.
BOB
The men who decide what folk music is.
JOHNNY CASH
Well. Fuck them.
Johnny starts off toward his room.
JOHNNY CASH (CONT’D)
Make some noise, B-D. Track some mud
on the carpet.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
56 -
Electric Tension at Newport
126 INT. VIKING HOTEL, NEWPORT -- BOB’S SUITE -- LATE DAY 126
The black & white TV flickers, sound low.
In the bathroom, door open, Bob finishes washing his face and
pulls on his shirt. He lingers on his own face in the mirror.
For a flash, Bob sees himself in reflection outside of
Guthrie’s hospital room four years ago. Then it’s gone and he
sees Neuwirth enter in the mirror.
NEUWIRTH
Getting nuts out there.
Bob walks out without answering.
CUT TO:
127 EXT. THE VIKING MOTEL -- NIGHT 127
Bob, Neuwirth, Albert and Kooper hustle down motel stairs.
BOB
We do a few tunes and get out, thank
you and goodnight.
NEUWIRTH
Electric or acoustic?
Bob doesn’t reply, moving to a waiting car and a small crowd.
KID IN CROWD
How crazy is it gonna be tonight, Bob?
BOB
Nothing crazy. Check it out.
GIRL IN CROWD
It’s sold out, we can’t hear it.
ACU FINAL SHOOTING SCRIPT 109.
BOB
I’ll sing louder.
CUT TO:
128 THE NEWPORT FOLK FESTIVAL -- SUNDAY NIGHT CONCERT 128
Roadies, on stage, positioning mikes in front of speakers..
..and down in the audience, at the sound board, Boyd the
sound man makes final tweaks.
Harold Leventhal approaches Pete.
HAROLD
How are we?
PETE
I think he understands.
Leventhal sighs in relief and nods to --
Alan Lomax, who in turn, crosses to the mic. A cheer rises.
129 BACKSTAGE : 129
Bob watches, over his Wayfarers. Neuwirth and Albert hang
close watching. But he feels more eyes than those.
SEEGER, TOSHI, BIKEL, YARROW, GEORGE WEIN and HAROLD
LEVENTHAL are all backstage engaged in conversations but
their minds are entirely on Bob.
Joan watches too. Even Jesse Moffette is watching. All eyes
are upon him. The clapping and stomping becomes muffled and
fuses with Bob’s own heartbeat. All eyes upon him.
ALBERT
You good?
Bob comes out of the trance. Neuwirth holds his Gibson
acoustic and his Strat. Bob takes the Stratocaster.
THE APPLAUSE AND STOMPING, KEEPS BUILDING. Pete Seeger
watches as --
BOB STRAPS ON THE STRAT. Harold looks to Pete, panicked.
130 ONSTAGE : 130
ALAN LOMAX
(over huge crowd noise)
Okay. Do I have to say his name? You
know who’s coming. Take him, you know
him, he’s yours.
ACU FINAL SHOOTING SCRIPT 110.
131 BACKSTAGE : 131
Bob meets eyes with Johnny Cash, who just arrived backstage,
guitar on his back.
BOB
Shit..
Johnny nods to Bob. Bob nods back.
ALAN LOMAX
..Mr. Bob Dylan!
Bob flips his shades to Neuwirth. The band strides onto the
stage. Bob follows them. Doesn’t look back at Pete.
132 ONSTAGE : 132
Bob takes the stage, the band arranging themselves after him.
Thunderous applause during the tune-up.
Nervous looks among the Festival board members.
Then, with no preamble, Bob launches into a ferocious
electric version of “Maggie’s Farm.”
BOB SINGS
No, I ain’t gonna work on Maggie’s
farm no more. Well, I wake in the
morning. Fold my hands and pray for
rain. I got a head full of ideas
That are drivin’ me insane.
133 BACKSTAGE : 133
It’s so loud that much of the audience is simply stunned, in
shock. For some, the shock becomes and outrage. Some militant
folies in the audience start to boo or catcall.
THEODORE BIKEL
There it goes. There it all goes.
HAROLD LEVENTHAL
It’s gone.
Others in the crowd are seemingly into it, dancing and
whistling and cheering.
PETER YARROW
Just let him play it out.
ACU FINAL SHOOTING SCRIPT 111.
134 ONSTAGE : BOB SINGS IN A FEVER. 134
BOB SINGS
It's a shame The way she makes me
scrub the floor. I ain't gonna work on
Maggie's farm no more!
135 OFFSTAGE : CASH STEPS UP BESIDE LOMAX AND GROSSMAN 135
ALAN LOMAX
They don’t need us promoting this
shit! Just drop a dime in any jukebox.
JOHNNY CASH
When’s the last time you saw a
jukebox, Alan?
ALBERT
When he cranked his Victrola.
Johnny barks a laugh. Lomax grabs Neuwirth.
ALAN LOMAX
Go over there and turn the fucking
sound down!
NEUWIRTH
It sounds perfect to me.
136 ROUTE TO THE SOUNDBOARD : 136
LOMAX pushes through the wings and curtains and backstage
crowd, making his way to the cables on the soundboard. BOYD
(THE MIXER) REACTS.
BOYD
Hey! Back off!
ALAN LOMAX
You work for me!
ALBERT GROSSMAN GRABS LOMAX who spins and KNOCKS ALBERT.
ALBERT
Mother fucker!
ALBERT THROWS A WILD PUNCH, Alan throws one back, and in
seconds THEY’RE BOTH ROLLING ON THE FLOOR.
Jesse Moffette casts a skeptical eye on the wrestling match,
then looks to Johnny Cash.
JESSE MOFFETTE
Too much girth for rumblin’.
ACU FINAL SHOOTING SCRIPT 112.
Neuwirth, Joan and Peter Yarrow desperately try to pry them
apart while Johnny Cash stares in wonder.
137 ONSTAGE : 137
“Maggie’s Farm” roars to an end. Bloomfield steps close to
Bob, nodding toward -- the melee backstage.
MIKE BLOOMIELD
What the hell’s going on?
Bob cues a new tune: “It Takes a Lot To Laugh, It Takes a
Train To Cry” and leans into the mic, singing with intensity.
BOB SINGS
Well, I’ve been up all night, baby.
Leanin’ on the windowsill. Well, if I
die on top of the hill. And if I don’t
make it. You know my baby will.
Al Kooper steals a look backstage and sees the end of the
scuffle. The sight is not reassuring. Nor are the angry
sounds screams from the audience. Some iof the irate folkies
are throwing things, other starting to fight with fans who
like the music.
CUT TO:
138 AT THE SOUNDBOARD : 138
Boyd looks up from his controls, sees Neuwirth beside him.
BOYD
Neuwirth, this is craz-y.
NEUWIRTH
Just keep everything like we set it
this afternoon. Don’t change nothing
for nobody.
CUT TO:
139 BACKSTAGE : 139
Neuwirth returns from the soundboard just as Grossman and
Lomax are pushed to neutral corners.
PETE
(to Neuwirth)
Why can’t you turn it down?
Neuwirth mimes his hands being tied.
ALAN LOMAX
Tell them it’s an order from the
Festival board.
ACU FINAL SHOOTING SCRIPT 113.
ALBERT
Fuck the board!
ALAN LOMAX
You’re on the board you fucking idiot!
Toshi watches as -- Pete stands there, the music pounding. He
seems to pop a gasket. He looks to Toshi, emotional, and
heads to the soundboard himself.
Johnny Cash ignores it all, listening intently as--
140 ONSTAGE : 140
BOB SINGS, consumed by the song.
BOB SINGS
I wanna be your lover, baby. I don’t
wanna be your boss. Don’t say I never
warned you. When your train gets lost.
Audience reaction has split, loudly: hollering and raucous
approval. And a decided undertow of booing.
As Bob approaches the end of the song, a fretful Al Kooper
looks to Bob, the cat-calls getting louder.
VOICE FROM AUDIENCE
Go back to Ed Sullivan!
WOMAN CLOSE TO STAGE
Judas!
A step too far, even for Bob.
BOB
Come on man.
MIKE BLOOMIELD
What should we do?
BOB
Don’t stop.
And then Bob launches them into “Like a Rolling Stone”.
Bob leans close to the mike, daring the audience.
BOB SINGS
Once upon a time you dressed so fine.
Threw the bums a dime in your prime,
didn’t you? People’d call say, ‘Beware
doll, you’re bound to fall. You
thought they were all kiddin’ you.
ACU FINAL SHOOTING SCRIPT 114.
141 AT THE SOUNDBOARD : 141
Boyd looks up, astonished to see Pete Seeger upon him.
PETE
Let me at that board, son.
BOYD
I can’t do that, Mr. Seeger.
142 ONSTAGE : 142
Bob won’t let up. Hits the chorus. Loud. In the audience,
cheering, hollering, booing, cursing. Loud.
BOB SINGS
How does it feel! How does it feel!
To be without a home. Like a complete
unknown. Like a rolling stone!
143 AT THE SOUNDBOARD : 143
PETE
You have to turn it down! You are on
our stage at our festival!
BOYD
With all due respect, Mr. Seeger,
open your fucking ears.
Boyd turns his back on Pete who looks to --
THE AXE from the Prison Worksong Group, leaning on a wall.
PETE CHARGES FOR THE AXE BUT --
TOSHI PUTS HERSELF IN FRONT OF IT.
144 ONSTAGE : BOB TEARS INTO THE SONG. 144
BOB SINGS
You said you’d never compromise. With
the mystery tramp, but you realize.
He’s not selling any alibis. As you
stare into the vacuum of his eyes, and
ask him, do you want to make a deal?
CLOSE ON -- BOB, singing the chorus with venom.
IN THE CROWD : Things turn more physical. Dancing. Screaming.
Cheering. Arguing. Shoving. Shoving back. Throwing things.
ACU FINAL SHOOTING SCRIPT 115.
BOB SINGS (CONT’D)
How does it feel? To be on your own.
No direction home. Like a complete
unknown. Like a rolling stone.
The band holds tight behind him as..
BOB SINGS (CONT’D)
..Ain’t it hard when you discover
that, he really wasn’t where it’s at.
After he took from you everything he
could steal.
Punches are thrown. A picnic cooler goes flying.
BOB SINGS (CONT’D)
How does it feel! To be on your own
With no direction home. Like a
complete unknown. Like a rolling--
145 BACKSTAGE : CLOSE ON -- JOHNNY CASH 145
Enjoying the melee. The noise. He smiles wide as--
146 ONSTAGE : 146
BOB PRESSES INTO THE LAST VERSE.
CALLS FROM CROWD
“Traitor!” “Sellout!” “Scumbag!”
“Fake!” Phony!” “We love you, Bob!”
..A lawn chair clatters against the front of the stage.
BOB SINGS
Go to him now, he calls you, you can’t
refuse. When you got nothing... ...you
got nothing to lose.
Audience pandemonium continues as Bob takes the last chorus
like a racer on a hairpin turn.
BOB SINGS (CONT’D)
How does it feel? To be on your own.
With no direction home. A complete
unknown. Like a rolling stone.
The song ends and A RIPTIDE OF APPROVAL AND CONTEMPT RISES
as the musicians look to Bob: do we go on?
ACU FINAL SHOOTING SCRIPT 116.
BOB
That tears it.
The band hurriedly unplugs and follows him off the stage..
CUT TO:
147 BACKSTAGE : 147
Joan nods to Bob. Lomax is seething, Albert gloating. Jesse
Moffette grins at Bob. Johnny Cash wraps his arm around Bob’s
neck and speaks in his ear.
JOHNNY CASH
You just broke it down, Bobby. Broke
it down and blew my mind.
BOB
Thanks, J-R.
Bob stumbles onward and finds himself facing -- Pete Seeger.
PETE
What was that?
BOB
..You were right here, Pete. You
couldn’t hear it?
Out onstage, Peter Yarrow tries to talk frenzied crowd down.
He can hardly be heard above the ROAR.
PETER YARROW
..Hey, everybody.. you want more?
Bobby was only scheduled for three..
ALBERT
(puts a hand on Bob)
Wanna go back out? Let some steam out?
BOB
Why would I want to do that, Albert?
NEUWIRTH
To end the show.
BOB
We just did.
HAROLD LEVENTHAL
Bob, the crowd’s not gonna let up! We
need a finale. Bob. ..Please.
Bob listens to the roar, takes in the panicked faces.
ACU FINAL SHOOTING SCRIPT 117.
BOB
Fuck it. Where’s the Gibson?
Neuwirth runs to fetch Bob’s Nick Lucas Special.
But Johnny Cash steps forward, holding out his own Gibson.
JOHNNY CASH
Use this one, killer.
CUT TO:
148 ONSTAGE : 148
Bob ambles onstage with Johnny Cash’s guitar. He adjusts
the mic and his harmonica rack.
BOB
Anybody got a harp?! A harmonica in
the key of E. Anyone?
A shower of harps rains on him. He picks one up and grins.
BOB (CONT’D)
Thanks.
He attaches it to his rack.. and then tears loose with an
unforgiving version of “It’s All Over Now, Baby Blue.”
BOB SINGS
You must leave now, take what you
need, you think will last. But
whatever you wish to keep, you better
grab it fast.
This is goodbye, to everything and maybe everyone.
BOB SINGS (CONT’D)
Look out the saints are comin through.
And it’s all over now, Baby Blue.
CUT TO:
149 BACKSTAGE : 149
Pete and other members of the Festival board are huddled.
PETE
We need to get everyone out there.
Everyone together.
ALAN LOMAX
Together’s done. Your boy just tore it
all down.
ACU FINAL SHOOTING SCRIPT 118.
THEODORE BIKEL
“We Shall Overcome.” That’s the
tradition.
150 ONSTAGE : BOB CONTINUES PLAYING HIS FAREWELL. 150
BOB SINGS
The lover who just walked out your door.
Has taken all his blankets from the
floor. The carpet too is moving under
you. And it’s all over now, Baby Blue.
151 BACKSTAGE : ALBERT STROLLS UP BESIDE NEUWIRTH. 151
ALBERT
How fast can you get Bob out of here?
BOBBY NEUWIRTH
Like he wasn’t here at all.
ALBERT
Not that fast.
152 ONSTAGE : BOB BRINGS THE SONG IN FOR A FINISH. 152
BOB SINGS
Strike another match, go start anew.
And it’s all over now, Baby Blue.
He walks off to HUGE CHEERING.
CUT TO:
153 BACKSTAGE : 153
Bob heads to the wings as other musicians file past him for
the finale. Some offer praise, others don’t look at him.
Neuwirth falls in behind him.
PETE
Bobby.. Come out with us.
Bob walks right past Pete. Past Joan. Toshi touches his
shoulder.
TOSHI
Bob.
Bob turns.
TOSHI (CONT’D)
Pete believed in you. From the start.
Please say something to him.
ACU FINAL SHOOTING SCRIPT 119.
BOB
The gig’s over, Toshi.
PETE
Let him be. It’s finished.
Bob walks off, approaching Johnny Cash. Hands him his guitar.
BOB
Thanks.
Johnny Cash watches as -- Bob moves toward Neuwirth behind
the wheel of an idling car in the loading area.
CUT TO:
154 ONSTAGE : 154
Pete takes center stage strums and leans in to the mic.
PETE
Everybody, join us in fellowship and
farewell.
Pete sings “We Shall Overcome” and Joan joins him singing,
then Peter Yarrow and Toshi and all the other festival
artists assemble onstage, joining in. Pete puts an arm around
Toshi, the other around Joan as they belt it out and smile,
..but there is a pallor.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
57 -
Reflections at the Viking
155 INT/EXT. CAR IN LOADING AREA -- SAME 155
Bob gets in beside Neuwirth and they pull out as the finale
plays in the bg on the stage.
CUT TO:
156 INT/EXT. CAR -- OVER BOB AND NEUWIRTH -- SAME 156
Over Bob and Neuwirth as they pull into the lot of the
Viking. A party is spilling out on the balcony.
CUT TO:
157 INT. CROWDED ROOM AT THE VIKING -- LATER THAT NIGHT 157
The Temptations play as players we’ve seen throughout the
festival, young and old, party. Celebrating.. something.
Bob watches the celebration from an overstuffed chair. Albert
sits across from him with a piece of paper. Neuwirth nearby.
ALBERT GROSSMAN
This is Kretchmer’s lede for The
Village Voice.
ACU FINAL SHOOTING SCRIPT 120.
ALBERT GROSSMAN (CONT’D)
“The irony of the folklorist and
parochial anger at Dylan’s rock and
roll transgressions is that he is not
Woody Guthrie or the Shangri-las but
this generations’ most awesome talent.
BOBBY NEUWIRTH
That’s good, cause this cat from the
Broadside just told me Dylan just cast
“a black shadow on all tradition.”
BOB
Who knows what evil lurks in the
hearts of men.. the shadow knows..
Neuwirth hands Bob a Kool as Maria Muldaur boogies her way
past them with two drinks.
MARIA MULDAUR
Hey, Bob. Wanna dance?
BOB
I can’t, Maria. My hands are on fire.
MARIA MULDAUR
How about a you, Bobby?
Neuwirth grins -- and dances away with Maria.
MARIA MULDAUR (CONT’D)
(to Bob)
Where’s Joan?
CUT TO:
Genres:
["Drama","Musical"]
Ratings
Scene
58 -
Bittersweet Farewell
158 EXT. THE VIKING MOTEL -- NIGHT 158
Post show traffic clogs the streets. PETE AND TOSHI climb out
of their wagon. They cross toward their room but Pete pauses,
looking back toward --
THE THUMPING PARTY across the parking lot.
PETE
(unlocks room for Toshi)
I need a minute. Won’t be long.
Toshi looks pained as Pete crosses toward the noise.
Pete arrives at the party. He is about to go inside when he
nearly gets run over by loud folks stumbling out. He sees --
Bob, across the room, alone.
ACU FINAL SHOOTING SCRIPT 121.
Pete turns and walks away.
CUT TO:
159 INT. PARTY ROOM AT THE VIKING -- DAWN 159
Stragglers dance slow, others make out, or crash. Bob still
sits in his chair as dawn light breaks in the window behind
him. Across the room, Albert keeps a eye on him.
BOB
He shot the midnight lantern out of
the brakeman’s hand.. And it’s ride,
ride, ride..
Bob gets up, heads straight for the door.
CUT TO:
160 EXT. THE VIKING HOTEL PARKING LOT -- DAWN 160
Bob shuffles to his Triumph.
JOAN (O.S.)
Let go of it, Bobby. You won.
Bob hops on his bike, turns, and looks at her standing there.
BOB
What did I win, Joan?
JOAN
Freedom. From all of us and our shit.
BOB
(looks off)
They didn’t call you Judas.
JOAN
Maybe it was what you had to do. But
you’re not the only one who got hurt.
Bob looks at Joan. Sees emotion in her eyes. Holds her gaze.
BOB
(smiles)
See you soon, Nightingale.
Bob jumps on the starter and drives off, raising a hand above
his head. Joan raises hers.
CUT TO:
ACU FINAL SHOOTING SCRIPT 122.
Genres:
["Drama","Music"]
Ratings
Scene
59 -
Dawn Reflections
161 EXT. NEWPORT FESTIVAL GROUNDS -- DAWN 161
Bob rides along the edge of the festival grounds. Volunteers
work with ground crew, stacking chairs, picking up trash. ONE
VOLUNTEER works close to the stage.
Bob slows, takes off his shades for a better look. It’s PETE.
Bob snakes his bike through fallen chairs. Pete glances up.
BOB
Picking up the pieces?
Pete thinks a moment, then answers in song.
PETE SINGS
..The only sound that’s left. After
the ambulances go. Is Cinderella
sweeping up. On Desolation Row.
Bob cocks his head.
PETE
Side two, last cut.
BOB
You said you didn’t listen to it.
PETE
I played it. Twice. Not sure I got it
all but I could hear it. It’s a rocket
into deep space.
BOB
What’s wrong with that?
PETE
People look small from space.
BOB
People are small, Pete.
Bob digs in his pocket for a Kool.
PETE
Have this instead.
Pete tosses Bob THE OLD HARP Woody gave him. Bob catches it.
PETE (CONT’D)
It was Woody’s. ‘Been holding it for a
while now. He blew it out a long time
ago. Needs a new reed.
Bob looks at the harp.
ACU FINAL SHOOTING SCRIPT 123.
PETE (CONT’D)
Get it fixed. It might even stand up
to an amp. Woody thought it’d be
useful to you.
BOB
After he hears the new album, he might
have something to say about that.
PETE
Something. But he squares up with
things. Quicker than most.
Bob pockets the harp. Kickstarts the bike.
BOB
See you sometime, Pete.
PETE
More than likely.
The strum of a guitar on a wire recording rises..
Bob rides away. Pete watches for a moment, his face a tangle
of emotions, then, turns back to his work.
CUT TO:
Genres:
["Drama","Music"]
Ratings
Scene
60 -
A Bittersweet Farewell
162 INT. GREYSTONE HOSPITAL -- DAWN 162
A Folkways album sleeve parked against the spinning record
player. Woody Guthrie’s “Talkin’ Dustbowl” plays :
I've sung this song, but I'll sing it
again. Of the people I've met, and
places I've been.
The music continues and THE CAMERA MOVES ACROSS WOODY’S BED,
empty now, sheets tussled, an IV disconnected...
A harmonica plays with the record as CAMERA LANDS UPON --
A WHEELCHAIR, facing the windows, blinds open, light rising.
WOODY GUTHRIE sits slumped in the chair. Beside him, BOB is
perched on the radiator. Bob plays the harmonica.
Some of the troubles that bothered my
mind, and a lotta good people that
I've left behind, singing...
Bob takes the harp from his mouth as the sun breaks through
trees outside. He looks to Woody, who listens to the record.
So long, it's been good to know ya. So
long, it's been good to know ya...
ACU FINAL SHOOTING SCRIPT 124.
CLOSE ON -- WOODY. Ravaged by disease, light in his eyes.
CLOSE ON -- BOB. He holds Woody’s gaze, then stands. He
offers the harp to Woody.
Woody shakes his head. Bob smiles, pockets it. He reaches
down and touches Woody’s shaking hand with his own.
I walked down the street to the
grocery store. It was crowded with
people both the rich and both poor...
For a moment, the two hands are still in the morning light.
ORDERLY (O.S.)
Mr. Guthrie is not allowed out of bed.
He hurt himself last month.
THE LARGE ORDERLY stands in the doorway.
BOB
That happens sometimes.
Bob puts his hand on Woody’s head. Woody takes Bob’s hand and
mumbles, pointing to his side table.
ORDERLY
Put him back. Now.
Bob nods, understanding. He picks up one of Woody’s business
cards and hands it to the Orderly. The orderly looks at it.
I AIN’T DEAD YET.
Bob cues the record again, picks up his bag and Gibson and
walks off down the hall, the same way he arrived.
CLOSE ON -- WOODY, whooping in approval as the orderly
crosses, grabbing his chair and wheeling him back to bed. As
he transfers Woody to his bed, Woody watches as --
OUT THE WINDOW -- BOB mounts his Triumph and RIDES OFF.
So long, it's been good to know ya.
This dusty old dust is a-gettin my home.
And I've got to be driftin' along.