UNTITLED
Cameron Crowe
December, 1998
UNTITLED
1 FADE IN 1
A close-shot of a yellow legal tablet. A young hand comes
into frame, holding a pencil. For a few moments, we hear only
the soft scratching of pencil on paper, as credits are written
in a series of dissolves. The hand carefully erases and
corrects an error or two along the way. And then the sound of
an old friend... the warm crackle of a vinyl record... as we
now hear Alvin and the Chipmunks' "Christmas Song."
2 EXT. PACIFIC OCEAN -- DAY 2
A lone palm tree rises up into a yellow afternoon sky. Behind
it, the sparkling blue of the Pacific Ocean and the city of
San Diego. A dry, hot Southern California day. Even the wind
is lazy, and a little bored.
3 EXT. NEIGHBORHOOD SHOPPING CENTER - DAY 3
Santa Claus wears shorts and sandals, ringing a bell as he
collects for the Salvation Army. This is Christmas in the
Southland. No snow, no winter wonderland. Just a pleasantly
thick heat and an unchanging season, as music continues.
Turning the corner, walking into frame is ELAINE MILLER, 35.
She is a tall woman, consumed by the fevered conversation she's
Having with her pale young son WILLIAM, late pre-teens. They
stand apart from the other shoppers. All around them is the
highly-charged salesmanship of the season... silver glittering
fake Christmas trees. She hurries her son through the
commercial juggernaut, continuing their lively intellectual
conversation, when something stops her. A Workman is affixing
letters to a store-front. He has already placed the MERRY...
now he's finishing the XMAS. Elaine is strong, but always
pleasant, always clear about her purpose in this life.
ELAINE
Excuse me, I'm a teacher. There is no
word in The English Language -- "Xmas."
It's either Merry Christmas... or Happy
Holidays.
The Workman nods thanks, with faux appreciation, as Mom turns
away. The Workman shares a look with William, who shrugs -
that's my Mom.
TITLE: 1969
4 EXT. MINI-TRACT CONDO COMPLEX -- DAY 4
This is the new professional-class. It's a mini-condo
community. Rows of Spanish-styled three-bedroom houses with
common walls. Move in on one of these homes, the one without
Christmas lights. At the door is a furtive 15 year-old Girl.
She checks her cheek, straightens her hair. She hides
something under her coat, and gathers the proper nonchalance
to enter. Music fades.
5 INT. KITCHEN -- DAY 5
We now hear the dialogue between this lively Mother and her
son, as she cooks a pan full of soy-based health-food cutlets.
The meal simmers unappetizingly in the pan. Across the kitchen
we see William. He's a great listener, with a calm and curious
face that takes everything in.
WILLIAM
- so Livia -
ELAINE
-- killed everyone off so her son
Tiberius could inherit the throne.
(thoughtful pause)
Just like Nixon.
William nods, intrigued. He has a good disposition. The
world of knowledge engages him, and he loves what it brings
out in his Mom. There is a small clatter at the front door,
as the girl we've just seen enters, barely brushing some chimes.
She silently curses herself.
ELAINE (cont'd)
Anita, is that you?
ANITA'S VOICE
Hey Mom! I already ate.
Mom moves to the living room to greet William's sister. William
peers into the next room.
6 INT. LIVING ROOM -- DAY 6
She's almost to her bedroom down the hall when mom catches
her. We now discover ANITA, 16, up-close. She is an alluring
young Natalie Wood, with a suspicious and sunny smile.
ELAINE
You sure? I'm making soy cutlets.
The words "soy cutlets" sends a small shiver through the girl.
ANITA
I'm fine. Already ate.
William stands in the doorway now, watching, monitoring, as
Mom moves closer to his sister. She sees something curious
about her daughter.
ELAINE
Wait. You've been kissing.
ANITA
(too quickly)
No I haven't.
ELAINE
(peering at her lips)
Yes... yes, you have...
ANITA
No I haven't.
ELAINE
Yes you have. I can tell.
ANITA
(boldly)
You can't tell.
Mom steps closer and examines the lips even more carefully.
To her, everything is a quest for knowledge.
ELAINE
Not only can I tell, I know who it is.
It's Darryl.
Anita is stunned silent. She turns slightly to look at herself
in a hall mirror, searching for clues, implicating herself
immediately.
ELAINE (cont'd)
And what have you got under your coat?
This is the booty Anita didn't want to give up. Mom picks at
the corner of an album cover now visible under her jacket.
She withdraws the album. It's Simon and Garfunkel's Bookends.
ANITA
(busted)
It's unfair that we can't listen to
our music!
ELAINE
(weary of the issue)
Honey, it's all about drugs and
promiscuous sex.
ANITA
Simon and Garfunkel is poetry!
ELAINE
Yes it's poetry. It's the poetry of
drugs and promiscuous sex. Look at
the picture on the cover...
CLOSE ON BOOKENDS ALBUM COVER
Mom's fingers at the edges. We examine the insolent faces on
Richard Avedon's classic album cover. Even Simon and Garfunkle
look guilty under her scholarly inspection.
ELAINE (cont'd)
... honey, they're on pot.
ANITA
First it was butter, then sugar and
white flour.
(beat)
Bacon. Eggs, bologna, rock and roll,
motorcycles.
Nearby, William squirms as he watches the gently escalating
conversation. Anita glances at her brother. He silently
urges her to downshift. She can't.
ANITA (cont'd)
Then it was celebrating Christmas on a
day in September When you knew it
wouldn't be "commercialized."
ELAINE
That was an experiment. But I
understand -
ANITA
What else are you going to ban?
ELAINE
Honey, you want to rebel against
knowledge.
ELAINE (cont'd)
I'm trying to give you the Cliff's
Notes on how to live in this world.
ANITA
(simple and direct)
We're like nobody else I know.
These are the words that sting Mom most.
ELAINE
I'm a teacher. Why can't I teach my
own kids?
(pats chest)
Use me.
ANITA
Darryl says you use knowledge to keep
me down. He says I'm a "yes" person
and you're trying to raise us in a
"no" environment!
ELAINE
(immediately, can't help
it)
Well, clearly, "no" is a word Darryl
doesn't hear much.
Anita gasps. Ever the peacemaker, William weighs in. Nearby
is a poster - "No More War."
WILLIAM
Mom --
ELAINE
Everything I say is wrong.
ANITA
I can't live here! I hate you! Even
William hates you!
WILLIAM
I don't hate her.
ANITA
(to William)
You don't even know the truth!
William looks vaguely confused.
ELAINE
Sweetheart, don't be a drama queen.
Anita takes a breath and then out of her mouth comes the
strangled-sounding words of a kid swearing at her parent for
the first time.
ANITA
Feck you! All of you!
ELAINE
Hey!
Anita runs down the hall to her room. Elaine turns to William,
relating to him more as a fellow parent than a child.
ELAINE (cont'd)
Well, there it is. Your sister using
the "f" word.
WILLIAM
I think she said "feck."
ELAINE
(sputtering)
What's the difference?
WILLIAM
(encouraging)
Well. The letter "u"...
Shot moves in on the kid, as we hear the opening strains of
The Moody Blues' "Nights in White Satin."
7 INT. SCHOOL DANCE/GYMNASIUM BATHROOM -- NIGHT 7
Music continues. Shot moves along a row of very mature-looking
male teenagers, examining themselves in the bathroom mirror.
There's the kid with a very mature-looking moustache, the kid
proudly sporting full-blown hormonal acne (he slaps on some
Hai Karate), the guy to whom puberty has already delivered the
face of an adult, complete with long jutting sideburns... and
then a blank space at the mirror, as the shot moves down, down,
down to find William. He is so much younger, without a zit in
sight. Puberty is so very distant on his horizon.
8 INT. DANCE -- NIGHT -- UNDER-CRANKED 8
Song continues as we see William's perspective of these much-
older looking kids. Girls now are visible, and they are even
more mature than the boys we've just seen. They flirt and
glow, arms trailing across the shoulders of the boys.
Whispering in each other's ears, none of them looking down.
It's a troubling experience, to be this close to the alluring
world of older teenagers... and to be so invisible to them.
VOICE (O.S.)
Are you really in our grade?
9 INT. JUNIOR HIGH LOCKER ROOM -- DAY 9
VOICE
(louder)
Are you really in our grade?
William turns to see tall, adenoidal TIM TOBIN. The most mature
looking kid we've seen yet, he challenges William in a loud
theatrical tone. It is a voice right out of Guys and Dolls,
which incidentally is the school play in which Tobin had just
starred. William answers in a respectful voice. He is
desperate for acceptance.
WILLIAM
Yeah.
TOBIN
Hey guys! Check it out! William
doesn't have any pubes!
Others now begin to gather around, examining William. He has
never been more naked.
GUY # 1
How old are you man?
TOBIN
He's not a man, he's a little baby
kid. He Doesn't even get zits yet.
GUY # 2
How come you don't have any hair down
there?
TOBIN
(in loud, funny voice)
Where are your pubes???!!
Their voices echo off the tiled walls. Now everyone is watching
the hairless William. He is confused by their meanness.
GUY # 2
Yeah. Where are your pubes?
All eyes are on him, waiting for a response. The kid's mental
wheels turn frantically. And from somewhere comes an attitude,
a swagger, and somehow the perfect line arrives from what could
only be a merciful deity.
WILLIAM
(cool, dismissive)
I had 'em. I shaved 'em off.
It is a new persona for the kid -- the witty guy. And it works.
Guy #2 cracks up, then others. William's new accuser is
suddenly surrounded by the impressed gales of laughter of these
older boys. Others turn away, on to other things. Tobin stares
at William, and then also turns away.
10 INT. FAMILY CAR -- DAY 10
William jumps into the backseat of the white Ford Country Sedan
station wagon, carrying books. ("See ya pubes!") Mom continues
driving William and Anita home from school.
ELAINE
(cheerfully, by rote, to
William in back)
Put on your seatbelt. I don't want
you flying through the windshield.
Anita examines her own un-fastened seatbelt, which Mom hasn't
noticed.
WILLIAM
We got our annuals today --
ELAINE
(cheerful, automatic)
"Received" your annual.
WILLIAM
(looking at his photo)
I look so much younger than everyone
else.
ELAINE
Enjoy it while you can.
Camera drifts from Mom to Anita, who can take it no longer.
ANITA
Mom. It's time.
ELAINE
(pleasant, pointed)
Can this wait until we get home?
ANITA
Mom, pull over. Tell him the truth.
Tell him how old he is.
Mom pulls over, and stares straight ahead with deep irritation.
ELAINE
(as in "be quiet")
He knows how old he is.
ANITA
The other kids make fun of him because
of How young he looks. Nobody includes
him.
They call him "The Narc" behind his back...
WILLIAM
They do?
ELAINE
What's a "Narc?"
ANITA
(bleeding for her brother)
A Narcotics Officer!
ELAINE
Well what's wrong with that?
WILLIAM
(ever the peacemaker)
Come on you guys. It's no big deal.
I'm 12. It's okay. She skipped me a
grade, it's okay. Big deal. I'm a
year younger. They're 13, I'm 12 --
(beat)
Aren't I?
Their silence is eloquent.
ELAINE
(confessing, in a rush)
I also put you in first grade when you
were five and never told you.
WILLIAM
(trembling)
So... I'm... how old?
A heavy quiet. She and his sister ignore him, as they now
debate the subject with each other.
ANITA
You lied to him! You make such a big
deal about the truth and you lied!
ELAINE
(that one hurts)
He never asked.
ANITA
What -- like he's going to ask if he's
as old as he thinks he is? Don't you
realize, this is going to scar him
forever?
ELAINE
Honey... sweetheart... don't be
Cleopatra. We have to be his mother
and his Dad.
ANITA
You put too much pressure on him!
WILLIAM
(apprehensive)
How... old...
ANITA
And when he rebels in some strange and
odd way, don't blame me.
WILLIAM
... am I?
ELAINE
(matter of fact)
I skipped you an extra grade. You're
eleven.
WILLIAM
(horrified, voice crackling)
ELEVEN?
He looks at his body, the information affects him physically.
New sounds come from way down deep inside. Mom now begins
speed-rapping, trying to stem the leak. She starts the car.
ELAINE
So you skipped fifth grade. There's
too much padding In the grades. I
taught elementary school. 5th grade -
unnecessary. Nothing happens in the
5th grade. All Teachers know it, no
one talks about it.
WILLIAM
(still in shock)
E - leven.
ELAINE
And you skipped kindergarten because I
taught it to you when you were four.
WILLIAM
(still horrified, looking
at his body)
This explains... so much...
ANITA
You've robbed him of an adolescence!
ELAINE
Adolescence is a marketing tool.
ANITA
He's got no "crowd"... no friends...
WILLIAM
Okay!
Anita reaches out to her brother. With the compassion of a
saint, she offers this:
ANITA
Honey, I know you were expecting
puberty. You're just going to have to
shine it on for a while.
Deeply embarrassed, William shrinks down in the seat. Mom
monitors his face constantly. She is raw and sincere... and
yes, inspiring:
ELAINE
Who needs a "crowd?" You're unique. You're
two years ahead of everybody. Take those
extra years and do what you want. Go to
Europe for a year! Take a look around,
see what you like! Follow your dream!
You'll still be the youngest lawyer in the
country. Your own great grandfather
practiced law until he was 93. Your dad
was so proud of you. He knew you were a
pronominally accelerated child.
ANITA
What about me?
ELAINE
(heartbroken, can't help
herself)
You're rebellious and ungrateful of my
love.
ANITA
Well, somebody's gotta be normal around
here!
WILLIAM
(blinking, still can't
believe it)
Eleven.
11 INT. WILLIAM'S BEDROOM -- DAY 11
William finishes the last of many candy bars. A mound of
wrappers sit just below the mirror. He examines his face
hopefully for zits. Nothing coming. We begin to hear Simon
and Garfunkel's "America."
12 INT. LIVING ROOM - DAY 12
Anita stands in the living room. The song continues playing
on the stereo.
ANITA
I want to play you a song that explains
why I'm leaving, and try to listen.
ELAINE
We can't talk? We have to listen to
rock music?
13 EXT. FRONT LAWN -- DAY 13
William watches sadly. Anita's good-looking boyfriend DARRYL,
a dead ringer for young Stephen Stills, loads her suitcases
into a large turqouise Chevy. The suitcases are adorned with
plastic stick-on flowers. All coolness is leaving William's
life. Mom watches nearby, worried and helpless. (Their house
is more austere, less "fun" than the other front lawns.)
WILLIAM
Take good care of her in San Francisco,
man.
Darryl gives the kid a sub-human look. He's invisible, too
young to converse with.
ELAINE
How can she leave such a loving family?
Anita turns and heads towards them. She focuses on William,
placing her hands on his young shoulders. Her face is very
close to him now, as she delivers this sage prediction of the
future.
ANITA
One day you'll be cool.
He nods stoically, hopefully. He is utterly lost. She leans
forward and whispers in his ear.
ANITA (cont'd)
Look under your bed. It'll set you
free.
Anita shakes hands with Mom, and exits. As the car takes off:
ELAINE
She'll be back.
In the distance we hear the whoop of her daughter.
ANITA
YEAHHHHH-HOOOOOOOO.
ELAINE
Maybe not soon...
William watches wistfully. He moves away from his mother.
She pulls him closer. Shot moves in on his slightly fearful
face.
14 INT. DARRYL'S CAR - DAY 14
Anita looks back at the receding American Gothic-image of her
mother and brother. Sister waves to brother. She feels for
him. Music now shifts to The Who's "Sparks."
15 INT. BEDROOOM -- NIGHT 15
William locks the door. He reaches under his bed. It's a
black leatherette travel bag, with tartan design. He unzips
the bag -- it's filled with albums. He flips through the
amazing, subversive cache of music. Cream's Wheels of Fire...
the seminal Bob Dylan bootleg Great White Wonder... the Rolling
Stones' Get Yer Ya Ya's Out... The Beach Boys' Pet Sounds...
Abraxas by Santana... Jethro Tull's Stand Up... The Mother's of
Invention's We're Only In It For The Money... Led Zeppelin...
Crosby, Stills and Nash... Miles Davis' Bitches Brew... and
The Who's Tommy... with a note taped to it.
ANITA (V.O.)
"Listen to Tommy with a candle burning
and you will see your entire future..."
The heady effect of all these albums registers, as we see him
lighting a candle.
TITLE: 1973
DETAIL SHOT OF NOTEBOOK
A blue school notebook, with ballpoint pen renderings of the
names of groups like the Who and Led Zeppelin, complete with
carefully drawn thunderbolts. Also, the name LESTER BANGS.
16 INT. JOURNALISM CLASS -- DAY 16
William, now 15, sits in class with book, Adventures in
Journalism. His hair is shoulder-length. A dedicated teacher,
PATRICIA DEEGAN, walks the aisles. Music continues.
17 EXT. FOOD MACHINES - DAY 17
William presses the food machine button, pulls an orange from
a vending container. He still looks younger than most of the
students... and these days, especially the girls.
18 EXT. LUNCH COURT -- DAY 18
William sits apart from all the others, under a tree. He reads
intently, happily, as he eats the orange. It's a copy of Creem
Magazine. Music continues.
CLOSE ON PHOTOS IN MAGAZINE
Camera moves across the photos, catching the expressions and
fashions of the rock heroes of the day. Ian Anderson of Jethro
Tull, eyes wide and hair flying as he plays flute. Neil Young,
enigmatic with perfectly patched Levis. The Southern Rock Royalty
of The Allman Brothers Band, posing and laughing in front of
massive stacks of amps. Marc Bolan of T. Rex, his ringlet-hair
backlit by stage lights. David Bowie in skin-tight Japanese one-
piece attire, onstage with The Spiders From Mars. Pete Townsend
of the Who, slashing windmill-style at his guitar.
Drift down to a by-line - by Lester Bangs.
19 EXT. PARKING LOT - DAY 19
William walks through the parking lot after school. Everybody
now congregates around the new arrival of their lives - their
own cars. Arms suddenly clap William on the back, friendly
faces smile strangely, laughing. He takes a few steps and
looks up to see... a school official is hurriedly removing
something from the high-school marquee.
HIGH-SCHOOL MARQUEE
which reads: WILLIAM MILLER IS TOO YOUNG TO DRIVE (OR FUCK)
All are laughing. He laughs with them, and turns as his face
goes slack. He shrugs, marches on.
20 EXT. DOWNTOWN SAN DIEGO RADIO STATION -- DAY 20
The song we've been listening to is ripped off the turntable by
a highly-active man in a red promotional t-shirt proclaiming the
greatness of The Guess Who. He is a ferocious, lumbering, music-
driven presence, and he fills this small radio studio to the
very brim. This is LESTER BANGS, 25, the rarely-seen God of a
then new art-form -- Rock Journalism. A Disc-jockey with long-
long hair watches helplessly. William views all this through a
glass window. He stands on the corner of a downtown side
street, halfway up a steep incline. He is the only person on
the streets this early Saturday morning. Reveal that he is
watching a live radio show, audible to us through the small
p.a. speaker overhead.
DISC-JOCKEY
Quite an honor to have the World's
Greatest Rock Critic... and editor of
Creem Magazine, back Home in San Diego
for a few days -- Lester Bangs.
LESTER BANGS
What is this hippie station?! Where's
Iggy Pop? Don't you have a copy of
Raw Power?!
DISC-JOCKEY
Lester, isn't it a little early for
this?
Bangs searches for the album -- vinyl flying everywhere now,
with no regard for album jackets.
BANGS
Found it!!
21 EXT. RADIO STATION -- DAY 21
William watches intently. Bangs thuds the needle onto a copy
of Raw Power. We're rewarded with a blast of Iggy and the
Stooges' "Search and Destroy." A closer shot on William now
watching the whirlwind of anarchy inside. Lester does an Iggy
Pop impression, acting out a story for the d.j. that we cannot
hear, never noticing the kid soaking in everything from the
other side of this double-glass window.
22 EXT. RADIO STATION -- DAY -- LATER 22
Bangs walks with William on this sharply inclined San Diego
street. It's early, the streets are silent. Bangs is about
fifteen beer pounds overweight. His jeans are loose, his
paleness and messy moustache an emblem of the long days and
nights spent writing. In there somewhere is a good-looking
guy. His hands are thrust deeply into his pockets, and he
takes big sweeping steps.
BANGS
So you're the one who's been sending
me those articles from your school
newspaper -
WILLIAM
I've been doing some stuff for a local
underground paper, too.
BANGS
What are you like the star of your
school?
WILLIAM
They hate me.
BANGS
You'll meet them all again on their
long journey to the middle.
The kid nods, they walk.
BANGS (cont'd)
Well, your writing is damn good. It's
just a shame you missed out on rock
and roll.
WILLIAM
I did?
BANGS
Oh yeah. It's over.
WILLIAM
Over?
BANGS
Over. You got here just in time for
the death rattle, the last gasp, the
last grope.
WILLIAM
Well. At least I'm here for that.
Bangs looks at the much smaller kid, shaking his head. It's
too late for newcomers. But if the kid's age is an issue, he
doesn't mention it. Like a machine-gun:
BANGS
What do you type on?
WILLIAM
Smith-Corona Galaxis Deluxe.
BANGS
You like the new Lou Reed?
WILLIAM
(automatic)
The early stuff. The new stuff, he's
trying to be Bowie, he should be
himself. I'm not a big Lou man.
BANGS
Yeah, but if Bowie's doing Lou, and
Lou's Doing Bowie, Lou's still doing
Lou.
WILLIAM
(standing his ground)
If you like Lou.
BANGS
Take drugs?
WILLIAM
No.
BANGS
Smart kid. I used to do speed and
sometimes Nyquil and stay up all night
writing and writing, like 25 pages of
dribble about, you know, the Guess
Who, or Coltrane, just to write, you
know, with the music blasting...
WILLIAM
Me too. The writing part...
For a moment, the serious demeanor dissolves and the oddest
thing happens. Bangs laughs. It's an odd and charming laugh,
the kind a tough guy keeps well-hidden. It surprised the kid,
who smiles back. Bangs stops at the corner, and offers a
pleasant but very final nod of the head.
BANGS
Well, alright. It's been nice to meet
you. I'll see you around. Keep sending
me your stuff.
WILLIAM
Okay. See you.
BANGS
I can't stand here all day talking to
my many fans.
WIDE SHOT - SOLITUDE
But neither have anywhere to go on this early downtown morning.
They stand for a beat, hands in pockets, on this deserted
street. They are alone together, there's nobody else in sight.
23 INT. DINER -- DAY 23
William listens intently as Lester eat a sandwich. His face
is an open book filling with words.
BANGS
-- so anyway, you're from San Diego
and that's good. Because once you go
to L.A., you're gonna have friends
like crazy but they'll be fake friends,
they're gonna try to corrupt you. The
publicists! The bands! You got an
honest face, they're gonna tell you
everything. But you CANNOT make friends
with the rock stars.
The kid takes out a green collegiate notebook and gestures --
can I make a note? Bangs nods.
BANGS (cont'd)
Cannot make friends with the rock stars.
(savage bite)
That's what's important. If you're a rock
journalist, a true journalist -- first you
will never get paid much. But you will
get free records from the record company.
The kid's eyes widen. Bangs, in direct conflict with his brutal
writing style, is looking suspiciously like a compassionate
softie.
BANGS (cont'd)
And they'll buy you drinks, you'll meet
girls... they'll try to fly you places for
free.... offer you drugs... I know. It
sounds great. But they are not your
friends. These are people who want you
to write sanctimonious stories about the
genius of the rock stars and they will
ruin rock and roll and strangle everything
we love about it.
Privately, William thrills. We. Our. It all sounds great to
him. He listens to the grouping of the words, every one of
them. He madly scribbles.
BANGS (cont'd)
They are trying to buy respectability
for a form that is gloriously and
righteously -
The kid leans forward as Lester finds the right word.
BANGS (cont'd)
- dumb! And you're smart enough to
know that. And the day it ceases to
be dumb is the day it ceases to be
real. Right? And then it will just
Become an Industry of Cool.
WILLIAM
... Industry... of... cool...
BANGS
And that's what they want! And it's
happening right now. I'm telling you,
you're coming along at a very dangerous
time for rock and roll. The war is
over. They won. 99% of what passes
for rock now... SILENCE is much more
compelling. It's over. I think you
should turn around and go back and
be... a lawyer or something... but I
can see from your face that you won't.
I can pay you thirty-five bucks. Gimme
a thousand words on Black Sabbath.
WILLIAM
(attempting cool)
An assignment.
LESTER
Yeah. And you should build your
reputation on being honest... and
unmerciful.
WILLIAM
(writing in notebook)
Honest... unmerciful...
BANGS
And if you get into a jam -- call me.
I stay up late.
Bangs reaches across the table, and William watches as he
scribbles his number on the back of the kid's green collegiate
notebook. The notebook has just become valuable. They sit
together, listening to the beautiful and compelling silence.
24 INT. FAMILY CAR -- NIGHT 24
Mom drives William to the San Diego Sports Arena. She looks
out the window at the adrenalized concert-goers. She feels
protective not just of her son, but an entire generation.
William goes over his questions for Black Sabbath.
ELAINE
Look at this. An entire generation of
Cinderellas and there's no slipper
coming.
William looks out the window at the sign: TONIGHT - SOLD OUT -
BLACK SABBATH with special guest Stillwater.
WILLIAM
You can drop me off here.
ELAINE
Black. Sabbath. Just remember - you
wanted to be Atticus Finch in To Kill
a Mockingbird.
The kid doesn't answer. He silently goes over his questions.
ELAINE (cont'd)
As long as I know this is just a hobby,
I'll go along with it.
WILLIAM
All I have to do is listen. That's
what Lester Bangs said.
ELAINE
(dryly)
I'll be waiting right here at eleven
'o clock sharp. If you get lost, use
the family whistle.
He unhooks his seatbelt, stuffs his questions into an orange
canvas shoulder-bag and exits.
Elaine watches her son disappearing into the stony rock-concert
crowd. It's a windy night. Everything about this image
troubles her. She fights with herself, and then uses the family
whistle immediately. He turns.
ELAINE (cont'd)
(sweetly, too loud)
Don't take drugs!!
Fifteen concert-goers turn around instinctively, at the sound
of a Mother, and then identify William as the object of her
concern. All around him, we hear:
HAPPY CONCERT GOERS
Don't take drugs!!
He winces, nods and moves forward. Music echoes from the open
windows of many other cars.
25 EXT. SAN DIEGO SPORTS ARENA BACKSTAGE RAMP -- NIGHT 25
The kid tromps down the steep incline leading to a small steel
backstage arena door. He rings the buzzer. The door wheezes
open to reveal the keeper of the San Diego Sports Arena's
backstage list. Famous to all those who attempt to enter,
this is SCOTTY. He is a wiry, humorless man for whom
powerlessness is the theme of his life -- except for those few
hours he controls the list. Scotty is only forty but everything
about him screams that he's an angry sixty.
WILLIAM
Hi. I'm William Miller and I'm here
from Creem Magazine to interview the
band Black Sabbath.
Scotty, immediately suspicious, moves to a nearby podium and
snaps through three clipboard pages. He moves back to the
door and grabs the handle.
SCOTTY
Not on the list.
He shuts the door with finality. The kid stands silently for
a moment. He looks over his shoulder, at two chattering
Groupies watching his dilemma from the top of the ramp. They
look at him sympathetically, but he turns away. William rings
the buzzer again, withdrawing a copy of Creem from his bag.
The door opens.
WILLIAM
Sir, I'm a journalist, and here's a
copy of the magazine.
The magazine hangs in mid-air.
SCOTTY
You're not on the list. Go to the
top of the ramp with the girls!
Slam. William stands there for a moment. Unsure of what to
do next, he looks back to the top of the ramp. Rejected by
him just moments earlier, the groupies now feign disinterest.
Bracing himself, William rings again. The door opens slowly
this time. Scotty stands peering at him.
WILLIAM
(in a rush)
What-happens-after-I-go-to-the-top-of-
the-ramp with-the-gi -
Slam. Lock.
26 EXT. TOP OF SPORTS ARENA RAMP -- NIGHT 26
William inches into the realm of the girls at the top of the
ramp. The wind whips. It's just him, and two Groupies in
their evening best. They now pretend to barely notice the
young journalist who has been banished to stand with them.
Chattering excitedly, with sophistication far beyond her 17
years, is ESTRELLA. She sports long unruly black hair. Her
partner hangs in the shadows, adjusting shoes. Estrella turns
to the kid with great disinterest.
ESTRELLA
Who are you with?
WILLIAM
(embarrassed to be alive)
Me? I'm with myself.
ESTRELLA
No, who are you with? What band?
WILLIAM
I'm here to interview Black Sabbath.
(beat)
I'm a journalist. I'm not a... you
know...
Estrella stares at him. Moving into the parking lot light,
introducing herself, is a luminous girl in a green faux-fur
trimmed coat. This is PENNY LANE. There is an inviting warmth
and real interest in the way she asks:
PENNY LANE
... you're not a what?
WILLIAM
(enthralled)
Oh... I'm just... not a... you know.
PENNY LANE
Not a "what"?
WILLIAM
(charmed)
You know. A "groupie."
The two girls are deeply insulted by the word.
ESTRELLA
Ohhh!
WILLIAM
Sorry, I -
PENNY LANE
We. Are not. "Groupies."
Estrella indicates Penny with great reverence.
ESTRELLA
This is Penny Lane, man. Show some
respect.
WILLIAM
-- sorry.
Penny steps closer, focusing completely on the kid. Behind
her, concert-goers throw a few woo-woos their way. She seems
not to hear them.
PENNY LANE
"Groupies" sleep with rock stars because
they want to be near someone famous.
We are here because of the music. We
are Band Aids.
ESTRELLA
She used to run a school for Band Aids.
PENNY LANE
We don't have intercourse with these
guys. We support the music. We inspire
the music. We are here because of the
music.
William is nodding like a doll in a dashboard window.
Listening.
ESTRELLA
Marc Bolan broke her heart, man. It's
famous.
PENNY LANE
It's a long story. I'm retired now.
I'm just visiting friends.
ESTRELLA
She was the one who changed everything.
She said "no more sex, no more
exploiting our bodies and hearts... "
WILLIAM
Right. Right.
ESTRELLA
"... just blow-jobs, and that's it."
WILLIAM
Okay. Well, see, now I get the
difference.
Shot drifts off him and picks up, out of the darkness, another
breathless girl teetering on tall shoes. She is in the vicinity
of 16. Her black hair is cropped short and died red, just
like the cover of Bowie's Aladdin Sane. She is POLEXIA, the
voluptuous one, from Riverside.
POLEXIA
(the usual greeting)
It's all happening. It's all happening.
ESTRELLA
Polexia!! Did you tell Sabbath we
were going to be here?
POLEXIA
I talked to Dick with Stillwater, I
talked with Sabbath. They're all dying
to see us. It's all happening.
PENNY LANE
This is our journalist friend.
Journalist Friend, meet Estrella Starr,
and Polexia Aphrodisia. And you are --
WILLIAM
William.
Silent beat. His name lands like a thud.
POLEXIA
Here comes Sabbath!
ESTRELLA
Ozzy!!! Tony!!! It's us!!
A long black limo with darkened windows swishes past, beeps
twice. The metal backstage gate rises and the limo rolls
inside. And then silence again. The girls do not discuss
being rebuffed.
ESTRELLA (cont'd)
I think I saw Sapphire in there.
POLEXIA
(can't hold it in any longer)
Okay. I was with Ian Hunter all night
at Rodney's Last night. Wanna see his
spoo? I saved it in a baggie.
She opens her purse and shows the girls something inside.
William edges away.
ESTRELLA
(peering into purse)
I'm really happy he's doing so well.
PENNY
(regarding what's in purse)
Yeah. I know he's such a talented
guy. I mean, look at him. Who deserves
it more?
POLEXIA
(looking in purse)
Nobody -- he's so sweet.
ESTRELLA
(with compassion)
Don't you just root for him, you know.
To go that little distance between
good and great?
PENNY
Wait. That's not his. I would know
his.
A very odd look on his face, William now cranes for a discreet
look. What's in that purse?
BAM -- THE BACKSTAGE DOOR OPENS
Out steps SAPPHIRE, 19, a tall girl with taller platforms. Heavy
eye-makeup. Her accent is Texan, with odd traces of English.
In one hand is a half-drained bottle of champagne. In the other,
a fistful of backstage passes.
SAPPHIRE
Does anybody remember laugh-tah?
(as they turn)
Come and GET 'EM!
The girls scream and happily head down the ramp to Sapphire.
Penny looks back and grabs William with a well-placed arm hooked
around his. He joins the clacking sea of legs moving down the
ramp. Sapphire slaps passes on the girls. As Scotty (The
Keeper of the Backstage List) watches, Penny now slips William
forward for a pass.
SCOTTY
Oh no. Not this one --
SAPPHIRE
(off William)
Who brought Opie?
The kid looks over his shoulder. Who's Opie?
PENNY
He's with us.
SCOTTY
(hand blocking William)
He wasn't with you.
SAPPHIRE
(to Scotty)
Are you going to turn this into a
Thing?
SCOTTY
All of you can wait outside! Top of
the ramp!
WILLIAM
I don't want to cause a Thing. I'll
wait.
PENNY
(privately, to William)
I'll go take care of this.
Sadly, they leave him behind. The thundering arena sound of
the collecting crowd, the p.a. system blasting Yes'
"Roundabout"... purposeful roadies carrying guitar cases...
the glimpse of backstage rock and roll... everything he wants
to be a part of is on the other side of this door. And then
it shuts. He stands alone.
At the top of the ramp, a tour bus unloads. It reads --
STILLWATER TOUR 73. Moving loudly out of the bus is the opening
band. This is Stillwater. Four road-weary band members, and
their road manager. Voices booming.
RUSSELL HAMMOND, 27, presses the buzzer with the nose of his
guitar-case. It's obvious from moment one. This is the star
of the band, the charismatic one. He's tired. They're late.
William recognizes him instantly, as the guitarist stretches.
The buzzer goes unanswered. The kid is invisible to him, as
the others now arrive behind Russell.
Tour/band manager DICK ROSWELL, 27, follows, loudly banging on
the steel door. He has the flaxen-haired look of a former
hippie, but he carries the emblem of a real pro -- the newest
silver Halliburton briefcase covered with backstage passes.
His direction is always - forward.
DICK
Let us in, we're Stillwater! We're on
the show!!
William is surrounded by them now. They stand together under the
single lightbulb, familiar faces, a live-action album cover. JEFF
BEBE the singer, his shiny black hair hanging in sheets around his
head. ED VALLENCOURT the quiet drummer, his long arms hanging
limply at his sides. His is a face made for the background. LARRY
TURNER the compact bass-player. Dick now kicks at the door with
his foot, as William produces a copy of Creem Magazine.
WILLIAM
(to Dick)
Hi, I'm a journalist. I write for Creem
Magazine.
Once again, the magazine hangs there. He can't give it away.
JEFF
The enemy! A rock writer!
WILLIAM
(struggling forward)
I'd like to interview you or someone
from the band.
DICK
(busy, running behind)
I'm sorry but could you please fuck
off?
William blinks a little, takes it in stride. Russell sizes
him up, moving in the background.
WILLIAM
Okay. Okay. I could do that.
JEFF
You guys never listened to our records.
You're all just frustrated musicians.
Do you know what your magazine SAID
about us? What was it - "the singer's
incessant cater walling distracts From
an assault with no clear purpose."
LARRY
(in background)
That was Rolling Stone.
RUSSELL
Yeah. Okay. Fuck off anyway. We
play for fans, not critics.
Stung, William shrugs. It's been a terrible night, but at
least thrillingly so.
WILLIAM
Russell. Jeff. Ed. Larry.
(can't help it)
I really love your band. I think the
song "Fever Dog" is a big step forward
for you guys. I think you guys
producing it yourselves, instead of
Glyn Johns, was the right thing to do.
And the guitar sound was incendiary.
(gestures with fist)
Way to go.
He turns and leaves, beginning his long trek back up the ramp.
Russell looks at the others. That kind of love is hard to
give up.
RUSSELL
(good humored, yelling)
Well don't stop there.
JEFF
Yeah, come back here!! Keep going!
They wave him back, as the backstage door opens again. The
kid moves back down the ramp. They herd him in with them,
through the door. Scotty quickly spots the kid and squares
off.
Russell notes the kid's swirling emotional state, shoves him
forward.
SCOTTY
Not this one.
RUSSELL
He's with us.
SCOTTY
He's not with you. He's not with them.
He's not on the list. He's not coming
in. And this is my arena. And
furthermore -
Russel craves the confrontation and moves forward closer to
Scotty.
SCOTTY (cont'd)
- have a good time tonight. Welcome
to San Diego.
27 INT. BACKSTAGE HALLWAY -- NIGHT 27
The band moves quickly down the hallway, with William moving
to keep up. A young and grizzled red-haired roadie, RED DOG,
catches them on the way. The band swarms around him.
RUSSELL
Red Dog!
RED DOG
We're playing here tomorrow night.
JEFF
(aside, to the kid)
This is Red Dog, the Allman Brothers
Band's number one roadie.
Russel clamps an arm around Red Dog's neck.
RUSSELL
How're the guys?
RED DOG
Havin a ball, man. When we have a
party, we have an Allman Brothers Band
party. Everybody boogies. Everybody
gets off. It's family, man. We all got
These now.
(flashes new mushroom tattoo
on forearm)
We'll see you guys in Boston, right?
(specifically to Russell)
Dicky and Gregg send you their love.
Camera catches flash of envy on the face of Jeff Bebe, as
Stillwater sweeps forward into a small dressing room.
28 INT. DRESSING ROOM -- NIGHT 28
Dressing room activity swirls around him, as William simply
listens. He holds a small microphone. His stoic look gives away
little of the full body rush he's experiencing. As the other
band members drift across frame, Russell Hammond, a true rock and
roll believer, speaks as he straps on his guitar and gets ready
for the show. To the kid, every word is reckless gem.
RUSSELL
... and it's okay, because rock and
roll is a LIFESTYLE... and a way of
thinking and it's not about money and
"popularity!"
JEFF
Some money would be nice.
Jeff sprays some shaving cream into his palm, and rubs it into
his scalp - poor man's mousse.
RUSSELL
- but it's a voice that says here I
am... and FUCK YOU if you can't
understand me.
Russell smooths the strings of his guitar with a small cloth
from his guitar case. The kid notices all these close-up
details of rock.
RUSSELL (cont'd)
And one of those people is gonna save the
world and that means that ROCK AND ROLL
CAN SAVE THE WORLD -- all of us together.
The kid's eyes dance. He checks to make sure he's getting the
recording. He listens intently.
JEFF
And the chicks are great.
RUSSELL
But we didn't do it for that! We are
here because we needed to fuckin be
here, not just 'cause we needed to
away from Troy, Michigan, WHICH WE
DID... but what it all comes down to
is that thing. The Indefinable Thing,
when people catch something from your
music, the thing you put into it. I'm
talking about... what am I talking
about?
WILLIAM
(elegantly)
The buzz?
RUSSELL
THE BUZZ! And the chicks, the
whatever, is an off-shoot of THE BUZZ.
And like -- you saying you liked "Fever
Dog?" That is the fucking buzz, man.
All we get are these fucking old-ass
interviewers who don't understand,
don't LISTEN, don't appreciate why we
are here, which is the fuckin' BUZZ.
William nods, holds his microphone steady. Russell tunes his
guitar, ripping through unamplified guitar licks as he speaks.
Jeff hustles to reclaim his own connection to the interviewer.
JEFF
The next album will be even better.
More texture.
RUSSELL
But... it's not what you put in, is
it? It's what you leave out. Listen
to... listen to Marvin Gaye...
Russell's face grows rapturous as he discusses this piece of
music.
RUSSELL (cont'd)
A song like "What's Going On." That
single "woo" at the end of the second
verse - you know that woo - that single
"woo."
WILLIAM
(proudly)
I know that, "woo."
RUSSELL
(he does it)
That's what you remember. The silly
things, the little things... there's
only one, and it makes the song. It's
what you leave out. That's rock and
roll.
William nods, says nothing, keeps the microphone pointed.
Activity surrounds him.
JEFF
(impressed)
We used to talk more about this stuff.
RUSSELL
Okay. See, this is maybe the most
honest we've ever been in an interview
because you know our music. You're
the first press guy we've made friends
with. We don't normally talk like
this to them. And you're supposed to
be The Enemy! What are you - 18?
WILLIAM
Yeah.
RUSSELL
There you go. Still young enough to
be honest.
DICK
(walkie talkie crackling)
Ten minutes 'till showtime, anyone who
isn't in the band -- out!
Russell takes a last swig of beer. A roadie whisks his guitar
away.
DICK (cont'd)
All this luggage is going to L.A.!
William is swept out in the chaos of the pre-show ritual,
past the pile of luggage by the door. It's a colorful heap of
suitcases, featuring colorful laminated band tags, each with a
number.
29 INT. BACKSTAGE STEPS -- NIGHT -- MINUTES LATER 29
William sits on the backstage steps, writing feverishly in his
notebook. Behind him, two steps higher, Penny Lane scoots
into place.
PENNY LANE
I found you a pass.
WILLIAM
(amped, distracted)
Thanks. I got in with Stillwater.
(as he writes)
The guitarist, Russel Hammond, he
just thoroughly opened up. He is by
far the best and most honest interview
I've ever done.
(she nods)
I've only done two, but you know.
He's number one.
PENNY LANE
You're learning. They're much more
fun on the way up.
William nods, still scribbling. She eases down into place on
the step next to him. Her proximity cause him to look at
her, his eyebrows rising. She smooths them down with two single
fingers.
PENNY LANE (cont'd)
How old are you?
WILLIAM
Eighteen.
PENNY LANE
Me too.
(beat)
How old are we really?
WILLIAM
Seventeen.
PENNY LANE
Me too.
WILLIAM
Actually I'm 16.
PENNY LANE
Me too. Isn't it funny? The truth
just sounds Different.
WILLIAM
(confesses)
I'm 15.
PENNY LANE
You want to know how old I really am?
WILLIAM
(immediately)
No.
She looks upstairs, soaking in the sound of another band tuning
up. Music is her religion.
WILLIAM (cont'd)
How did you get started in all this?
PENNY LANE
It's a long story.
WILLIAM
(quick study)
Right. Right.
PENNY LANE
We live in the same city. We should
be friends.
She takes his backstage pass form his shirt and puts it on his
thigh - the cooler location. Nearby, the dressing room door
opens, and the Stillwater exits. Excitement level rises as
they mass in the hallway with instruments. We hear the amped
voice of Russell growing nearer.
RUSSELL
The Enemy!
He approaches, as William stands. Penny watches, hanging out
of Russell's eyesight.
Standing in the supercharged hallway, the kid is anxious to
introduce his new friends.
WILLIAM
Russell, this is Penny Lane.
PENNY LANE
(stepping into view)
Pleasure.
RUSSELL
Penny Lane? Like the song, right?
PENNY LANE
Have we met?
THEY SHAKE
And do not let go, for too long. There is history in their
shake. Their eyes tell all. Shot takes us to William, who
puts two and two together. It isn't hard. They clearly know
each other. Well.
WILLIAM
Well, I guess you've... you've met.
DICK
Penny Lane! God's gift to rock and
roll!! You're back!
(privately)
Marc Bolan. Please.
Other band members pass, adjusting clothes for show time,
waiting in the hallway... and now singing the Beatles song
"Penny Lane."
RUSSELL
Come on, let's go.
(noting kid's shyness)
Both of you.
30 INT. BACKSTAGE -- NIGHT 30
House lights go down. Cheers rise. Dick's flashlight dances
on the ground just in front of them, guiding their way in the
dark to the stage steps.
RUSSELL
- get in the huddle.
Russell pulls William into the band's huddle.
SHOT LOOKING UP AT THEM
Their band ritual, psyching together, arms on each other's
shoulders in a circle. They sing a dew lines of the classic
"Train Kept A-Rollin'" (or "Go See Cal" from the Cal Worthington
ad) They all touch feet, and then break, heading for the stage.
Russell directs Penny to his side of the stage. The kid follows.
Plugging in, still in darkness, Russell hits a practice chord --
thwack. He steps on effects pedal. Applause. (Adlib onstage
private patter, between members, goading each other -- the stuff
no audience ever hears) Twenty feet away, Dick prepares to
address the crowd from the darkened stage. It is his favorite
moment of the evening, the highlight of his job.
DICK
From Troy, Michigan. Please welcome --
(importantly)
Stillwater.
Light hits the stage, and the band launches into their opening
song, "If You Say Nothing." Audience response is strong.
Shot lingers on the face of William as he soaks in the most
undeniably exciting moment of any concert, the first thirty
seconds.
Jeff the singer grabs the microphone and launches into some
vocal pyrotechnics. Russell looks over to Penny and William,
at stage right, grinning, pretending to trip on his cord, an
elegant show-off move of a musician who is now where he
belongs... before seriously stepping forward for the first
guitar lead of the night. The kid looks over to see Penny
watching Russell.
31 EXT. BACKSTAGE -- NIGHT -- LATER 31
Cases are shut and rolled toward the trucks. Stillwater heads
for their bus. Jeff the singer says goodbye to Estrella Starr,
like a sailor leaving port. Russell lingers behind, saying
goodbye to William, loading his own equipment. Black Sabbath
passes with entourage, heading to the stage.
RUSSELL
(privately)
So. You want to come up to L.A., we'll
be at the "Riot House" all week.
WILLIAM
"The Riot House?"
RUSSELL
The Continental Hyatt House! It's on
Sunset Strip.
WILLIAM
(attempting cool)
Right. Right.
All the while, just over the kid's shoulder, Russell scans the
backstage crowd of hangers-on. Looking perhaps for Penny Lane.
DICK
Let's blow this burg!
RUSSELL
(exiting)
Well tell your friend Miss Penny Lane
to Call Me. Tell her "It ain't
California without her. We want her
around like last summer." Say it
like that.
WILLIAM
Got it.
RUSSELL
(returns, whispers)
Oh, I'm under the name - Harry Houdini.
JEFF
(exiting, to William)
The Enemy!! Yeah!! Come to L.A.,
we'll take some more.
Russell joins Jeff, exiting and laughing. A good show is still
in the air.
WILLIAM
Later Jeff! See you, Dick. Larry.
Ed.
(and now the roadies)
Mick, Gregg, Red Dog, Scully, Frosty,
Estrella, The Wheel!
ROADIES DICK
Laterrrr! We'll see you down the
line.
William is deliriously happy, hands upraised. He turns to see
Penny.
WILLIAM
PENNY!
PENNY
(calming him)
Hey. Hey. Be cool.
WILLIAM
You just missed Russell! He says he's
at the "Riot House" all week and to call
him. He's under the name Harry Houdini.
Do you know about the "Riot House?"
PENNY LANE
I think I've heard of it.
WILLIAM
He had a message for you! He said,
"It's not California without you. We
want you around like last summer."
(consults notebook)
Actually he said "ain't." "It ain't
California - "
PENNY LANE
I get the gist.
WILLIAM
How well do you guys know each other?
She smiles privately.
WILLIAM (cont'd)
I got it. No problem. Long story.
Alright! I gotta go.
Elsewhere in the arena, Black Sabbath is performing "Sweet
Leaf." The kid could care less. He has bonded with Stillwater.
He heads for the door. Penny walks with him. He's loving it.
They pass a still-scowling Scotty, flashing passes, as they
exit out into the ramp area.
32 EXT. SPORTS ARENA -- NIGHT 32
Penny takes out an eyeliner pencil, writes her number on the
back of his green notebook.
PENNY LANE
Call me if you need a rescue. We live
in the same city.
WILLIAM
I think I live in a different world.
They stand in the night air. The parking lot is largely silent
now, save for the thudding bass sounds of Black Sabbath. In
the distance, we hear Elaine's insistent whistle.
PENNY
Speaking of the world. I've made a
decision.
(a very serious secret)
I'm going to live in Morocco for one
year. I need a new crowd.
He nods. He is a rapt audience for this flashy girl.
PENNY (cont'd)
Do you want to come?
WILLIAM
Yes.
In the distance, we hear the family whistle growing louder.
PENNY
It's a plan. You've got to call me.
WILLIAM
Okay.
PENNY
It's all happening.
WILLIAM
It's all happening.
He nods cooly. He waits until she turns, and the sprints
through the parking lot, to the distant family whistle.
FADE OUT:
FADE IN:
33 ON TAPE RECORDER 33
William's fingers work the clunky keys, pressing rewind. We
hear a snippet of the intense and lively Stillwater interview,
full of overlapping and barely discernible voices.
Meticulously, he untangles the voices, especially Russell's,
as he transcribes.
INT. WILLIAM'S BEDROOM - DAY
The work of a journalist, as William sits at his Smith-Corona
Galaxis. There is a knock at the window, and William scoots
back in his chair to see a familiar face. It is Darryl, his
sister's old boyfriend. William opens the window.
WILLIAM
Hey Darryl.
DARRYL
Hey.
Darryl climbs in the window, looks around the room that was
once the site of his previous glory.
DARRYL (cont'd)
So she's a stewardess now.
WILLIAM
Yeah. She and Mom are still sorta...
I'd say "not speaking," but I don't
know if they ever did.
DARRYL
Your sister. A stewardess.
(nods to himself)
The things your sister and I did inside
these four walls...
WILLIAM
That's okay. I don't want to know.
It's my room now.
DARRYL
We flew the friendly skies -
WILLIAM
Okay -
DARRYL
I don't want to put you in the middle
of anything. We don't have to talk
about it.
WILLIAM
No.
DARRYL
You seem cooler.
WILLIAM
Yeah. I'm thinking about going to
Morocco.
DARRYL
Lemme know if you need a little help
with your Mom.
WILLIAM
A little might not be enough.
DARRYL
She still freaks me out.
WILLIAM
(nods, an old issue)
Yeah -
DARRYL
She's famous.
WILLIAM
Listen -
DARRYL
Go ahead and do what you were doing.
I just wanna hang in here for a moment.
WILLIAM
Cool. Alright.
William nods and continues his work, self-consciously, as Darryl
sits on his bed and soaks in the memories of the room. A long
moment passes. Darryl pats his thighs, and rises.
DARRYL
Okay, man.
WILLIAM
Okay, man.
34 INT. LIVING ROOM -- EVENING 34
William slips on corduroy jacket, over a tie-dyed shirt. Well,
it's definitely a look. Mom appears more nervous than her
son.
ELAINE
I worry about the drunk drivers.
WILLIAM
Mom. I'm 15.
(beat, vague panic)
Right?
ELAINE
Yes, you're 15. "And here's that money
I owed you."
She reaches in a small box near the door, gives him twenty
bucks. It's their routine.
ELAINE (cont'd)
Your dad's favorite joke. I don't do
it as well.
WILLIAM
I thought it was pretty good.
ELAINE
Keep the small bills on the outside.
And call me if anyone gets drunk.
WILLIAM
I will call you if anyone
anywhere gets drunk.
ELAINE
Good.
WILLIAM
(anticipating her, like a
parent)
And don't take drugs.
ELAINE
(stoic)
Ha ha. Very funny. See -- sense of
humor. Have fun at the dance. I'm
glad you're making friends.
They move to the door, and he steadies her, as if to remind
her she's not going. He opens the door. She's a wreck, and
she knows it.
WILLIAM
Mom?
ELAINE
Yeah -
WILLIAM
(loving but firm, as if to
a dog.)
Stay.
ELAINE
Oh... okay.
WILLIAM
I-love-you-bye.
He opens the door. Neil Young. "Sugar Mountain." Watching
him leave is always a killer. She's not getting any better at
it either. She folds her arms tightly across her chest.
35 EXT. WILLIAM'S HOUSE -- NIGHT 35
Penny waist by her car, down the hill, sporting a different
more elegant look. She cups her hands and yells up to him.
He hikes down the hill, squishing down the water plants, almost
falling, the first time we've seen him happy in his own skin.
36 EXT. SUNSET BOULEVARD -- LATER NIGHT 36
Miss Penny Lane's yellow Vega makes the big swing onto Sunset
Boulevard. She sings along to the obscure words of Led
Zeppelin's "Dancing Days." William takes it all in from the
passenger seat. Huge billboards advertise not cigarettes or
beer, but albums. It's a wondrous piece of geography for any
rock fan. Shot moves in as William, watches, takes it all in.
He moves his head outside the window to see fully. Her
windshield is cracked along the side.
PENNY LANE
The Continental Hyatt House. Also known
as The Riot House.
(does tour guide voice)
Every band stays here, all the ones
that matter. The Who. Zeppelin.
Alice. Bowie. English bands. American
bands. We all know each other. Twenty-
four hour room service. Like us, they
were outsiders. They were so outside,
they're inside, and insiders never
even knew it, because they're outsiders
and they are inside a place outsiders
will never be. And why are we even
talking about it? If you're really an
insider, you're never gonna say it.
You know what I mean?
WILLIAM
(beat, working it out)
Yeah. Yes.
She makes a swift turn into a secret parking spot near the
hotel.
PENNY
And we're not gonna hang out with
Russell. You can, but not me.
WILLIAM
What is it with you and Russell?
37 EXT. SUNSET BOULEVARD -- NIGHT 37
Neil Young and Crazy Horse's "Cinnamon Girl" ricochets across
the Strip. It's blasting from cars tuned into KMET. Penny
now wears her green faux-fur trimmed coat. She grabs William's
hand, steadying her hat at the same time. They dart across
the busy street. She stumbles a little on her platforms. He
steadies his taller date. They are a good team as they pass
one of several humming tour busses parked out front.
38 INT. HYATT HOUSE LOBBY -- NIGHT 38
Penny blasts into the Continental Hyatt House, William on her
arm. The lobby of this bastion of seventies rock is more alive
than most clubs. It's a swirling mass of Roadies carrying
Halliburton briefcases plastered with tour stickers, mingling
Rockers, and more than a few Groupies with lower-ambitions and
taller-platforms than Penny Lane. The feeling is communal,
illicit, intoxicating. The secret community of rock. Penny
attracts a hailstorm of friends and comrades.
PENNY LANE
It's all happening.
(grabbing him like a shield)
And I'm about to use you as protection.
ROADIE # 1
Penny Lane!!
PENNY LANE
(aside)
These guys are with Alice Cooper. I'm
going to pretend I don't know them.
ENGLISH ROADIE # 2
Penny!! Does Alice know you're here?
PENNY LANE
I'm just showing my very dear, very
wonderful friend around. He's a very
important writer - he knows Lester
Bangs.
(English accent)
I'm responsible for his moral conduct
while he's abroad.
ROADIE # 3
(arriving, mock drama)
Penny Lane!! God's gift to rock and
roll!!
PENNY LANE
I'm retired.
(uses English accent)
And don't argue with me!
ROADIE # 3
Again?
PENNY LANE
(moving, English accent)
Have we met?
Effortlessly touching an arm here and there, charming all -
she had four men suddenly circling her.
PENNY LANE (cont'd)
I've made a decision. I'm going to go
traveling in India. Then I'm going to
learn how to play the violin. Then
I'm going to go to college for one
year.
William looks at her, perplexed and a little hurt. What about
Morocco?
ROADIE # 2
(exiting, not buying it)
There's nothing they could teach you
in college, darling.
(whispers)
Call Alice. He's under the name Bob
Hope.
ROADIE # 1
I heard you were with Russell from
Stillwater.
PENNY
Please. I throw the little ones back.
Lusty laughs circle William. Overlapping this dialogue is the
appearance of our friend Polexia.
POLEXIA
(in tears, in pieces,
emotional)
Ian Hunter is a fucking asshole!
WILLIAM
Polexia!
POLEXIA
Opie!!!
She hugs him like a long-lost friend, knocking the air out of
him. And now overlapping this action, appears Superfan RIC
NUNEZ, 14. His eyes are forever moist, but he's oddly formal
and never feels worthy of the rockers he idolizes. Tonight he
wears a custom homemade t-shirt with iron-on block letters.
It features the four Led Zeppelin symbols and the words: "TO
BE A ROCK AND NOT TO ROLL." A felt-tip pen is still in his
quivering hand. Nunez walks with them, backpedaling as he says:
RIC
It's all happening. I just saw them
on the seventh floor! Mr. Jimmy Page...
Mr. John Paul Jones...
(displays squiggle on shirt)
Mr. Robert Plant signed my shirt in
the elevator!! Five minutes ago, he
touched this pen. Please don't smear
it. And Bonzo's gotta new motorcycle
in the hotel!
PENNY
Ric is a Zeppelin fan.
WILLIAM
Yeah, I picked that up.
PENNY
He tours with them, but not "with"
them.
RIC
They're on the 12th floor, but there's
guards there! So you gotta go to the
tenth floor and go up the back steps.
PENNY LANE
This is my very dear, very close, very
wonderful friend William Miller, he is
very close with Lester Bangs.
RIC
It's all happening!! See you in
Cleveland!
Ric rushes back to the elevators.
PENNY LANE
I'm retired! Doesn't anybody believe
me!?
39 INT. HYATT HOUSE LOBBY PHONE -- NIGHT -- MINUTES LATER 39
Penny nearby as William picks up the house phone. He shouts
over the din.
WILLIAM
Harry Houdini, please.
As he waits, he discreetly pockets the matches, hotel pad and
pencil next to the housephone.
40 INT. HALLWAY/RUSSELL'S HOTEL ROOM -- NIGHT 40
William, Polexia and an ambivalent Penny walk the hallway,
looking for the room. William looks in the passing open doors,
each one a different window into another world.
PENNY LANE
Okay. Time to put on the lampshade.
Up ahead, the door to their smallish hotel room is open.
Inside, a band party in full swing. A clunky early-model boom
box segues from James Brown's "Make It Funky" to Led Zeppelin's
"Gallows Pole." Russell Hammond is the center of this party,
jabbing out the chords, playing along on guitar. Much singing
echoes all around. It's a hotel-room Hootenanny, and all
members of the band are present. Penny Lane takes a breath
and enters, with arms extended and pointing in opposite
directions. She does a flawless stewardess imitation, with
proper hand gestures, to a loud party ovation.
PENNY LANE (cont'd)
"Ladies and Gentlemen. Please
extinguish all smoking materials and
notice that the captain has turned on
The No Smoking sign. Your seat and
tray tables should be locked in their
full and upright positions."
RUSSELL/OTHERS
PENNY!! PENNY LANE!!
She is instantly and overwhelmingly, the life of this party.
Russell joins William.
RUSSELL
(impressed to see him)
Alright.
WILLIAM
(happy to be there)
Alright.
Russell places a beer in William's hands, and exits.
PENNY LANE
(continuing)
"In the unlikely event of a water
landing, the seat below you will serve
as a -"
(give up)
Oh, the hell with it.
They all applaud her, laughing. William watches her with
wonder, as she turns his way and winks. Jeff approaches the
alluring Polexia, and goes to get her a beer. Meanwhile,
Polexia sidles up to William. She sees him watching Penny at
the other side of the room.
POLEXIA
(privately)
Act One, in which she pretends she
doesn't care about him.
POV shot travels to Russell, strumming the guitar that is always
a part of his body. Russell is watching Penny Lane
surreptitiously.
POLEXIA (cont'd)
Act Two, in which he pretends he doesn't
care... and goes right for her.
Russell moves towards Penny.
POLEXIA (cont'd)
Act Three, in which it all plays out
the way she planned it. She'll eat
him alive.
WILLIAM
(worried)
We've got to stop them.
POLEXIA
Stop them? You were her excuse for
coming here.
ON PENNY
PENNY
I need ice!
Penny disappears out the door, across the hallway. Russell
follows a moment later. The kid's eyebrows rise. Polexia
regards the kid with affection, adjusting his collar and peeling
a hair off his jacket.
POLEXIA
I just worry about people using her.
You know? 'Cause she brings out the
good side in everybody else, but what
do they do for her? Life kills me.
Do you have any pot?
WILLIAM
Not on me.
POLEXIA
Do you smoke?
WILLIAM
No.
(attempting to fit in)
But I... I grow it. I grow it.
Polexia looks at the kid, laughing at his poor job of lying.
POLEXIA
You're funny. You know, if you were
only taller, English, rich, a guitar-
player and older...
WILLIAM
I'd be someone else.
POLEXIA
Yeah. Good point.
Jeff appears with her beer, and she whispers in the kid's ear
before she exits with Jeff Bebe.
POLEXIA (cont'd)
Bless me father for I may sin tonight.
The kid watches, as the boom box plays an obscure favorite of
Russell's, Eddie Giles' "Losin' Boy." There is the sound of a
motorcycle somewhere down the hallway.
41 INT. ICE ROOM -- NIGHT 41
The ice machine makes new cubes with a grinding noise. Penny
puts ice in her glass. Behind her, Russell moves into frame,
hands delicately riding the sides of her body. A motorcycle
roars by, just outside the door, as Penny moves away from
Russell's exploring hands.
PENNY
(with real indignation)
How does it end?
RUSSELL
What?
PENNY
You know - the story about the girl
who dumps the guy who has an ex-ex
wife -- the one we don't talk about --
and gets a hundred... okay, five letters
from him, and then doesn't even leave
a pass in San Diego. Wake up! I'm
retired and I never believed you anyway.
You're too talented and too good-looking
to be trusted and everybody knows it.
RUSSELL
(smiling, loves it)
You're retired like Frank Sinatra is
retired.
She makes a scoffing noise. He moves to the ice machine, with
a glass of his own.
RUSSELL (cont'd)
Miss Penny Lane. Let me tell you what
rock and Roll will miss the day you
truly retire.
He tosses cubes in his glass, one by one. After the first cube:
RUSSELL (cont'd)
The way you turn a hotel room into a
home.
(cube)
The way you pick up strays wherever
you go. Like Pied Piper.
(cube)
The way you know the words to every
song. Every song. Especially the bad
ones. Mostly the bad ones.
(cube)
That green coat in the middle of summer.
(cube)
The real name you won't reveal.
(cube)
And. I'd keep going, but my glass if
full.
PENNY
(quietly)
Damn.
He kisses her powerfully, hands at his sides. She fights to
keep her hands off him. Bonham's motorcycle rips by, just
outside the door.
RUSSELL
Come to Arizona.
PENNY
Never.
RUSSELL
We leave Thursday morning. 9 AM. And
pack light this time. Jesus.
They kiss. The motorcycle speeds by again, just outside.
42 INT. HALLWAY -- NIGHT 42
The hallways are crowded, as William looks at the closed door
of the ice room. He leans against the wall, alone now. Trying
to look like he belongs. Behind him, most of the band has
disappeared into other rooms, leaving only hangers-on in their
places.
43 INT. ROLLING STONE MAGAZINE -- DAY 43
Music. We pan across cubicles bustling with laid-back fervor.
These are the San Francisco-based main offices of Rolling Stone
Magazine. We have arrived for the waning days that this
magazine could still be called, with a straight-face, an
"underground" publication. Their mounting success crowds the
edges of every frame. Camera catches the Annie Leibowitz
portraits that hang on the walls -- Lennon, Jagger, Rod Stewart,
James Taylor.
We find editor BEN FONG-TORRES, 29, in his cramped cubicle.
Sitting nearby is curly-haired and mustachioed Star Staff
writer, DAVID FELTON, 32, who smokes his cigarettes with a long
holder. Felton reads one of William's articles, chuckling.
BEN FONG-TORRES
William Miller?
INTERCUT:
INT. WILLIAM'S BEDROOM -- DAY
William is on the phone in his own small room.
WILLIAM
This is he.
BEN
Crazy. William, this is Ben Fong-
Torres. I'm the music editor at Rolling
Stone Magazine. We've got a copy of
your stories from the San Diego Door.
This is the same William Miller?
William instantly, nervously alters his voice to sound older.
WILLIAM
Yes it is.
BEN
(rifling through tearsheets)
Voice of God, howling dogs, the spirit
of rock And roll... this is good solid
stuff.
WILLIAM
(immediately, suddenly
deeper)
Thanks... thanks.
BEN
You should be writing for us. Any
ideas?
WILLIAM
(voice now to deep)
How about Stillwater?
BEN
Crazy. New album... their third...
starting to do something.
Ben shuffles through papers, looking for a tour itinerary on
his promotional-material laden-desk, automatically plotting
the piece aloud.
BEN (cont'd)
(pleasant, terse)
Stillwater. Hard-working band makes
good. Get 'em to respond to the critics
who dismissed the first two albums as
workmanlike. Guitarist is the clear star
of the band. Crazy. Let's do three-
thousand words. You'll catch up to them
on the road. We'll set up billing --
don't let the band pay for anything.
WILLIAM
(affecting casualness)
Sounds good.
BEN
We can only pay -- lemme see, three-
thousand words -- seven hundred dollars.
The kid's eyes widen.
BEN (cont'd)
Alright, a grand. What's your
background? You a journalism major?
WILLIAM
(deeply)
Yes.
BEN
What college --
INT. ELAINE'S HOUSE -- CONTINUOUS
Elaine now gets on the extension.
ELAINE
Honey, I need you to do that thing
that fixes the garbage disposal --
She hangs up.
INT. WILLIAM'S BEDROOM -- CONTINUOUS
The kid is paralyzed.
BEN
Well, I know how my lady gets when I
don't Snap to it -
WILLIAM
Crazy.
BEN
Crazy! I'll let you go. Call me at
the San Francisco office tomorrow.
44 INT. LESTER BANGS HOME -- LATE NIGHT 44
The great Lester Bangs stands in the promotional album-clogged
bedroom of his Birmingham, Michigan, home/office at Creem
Magazine. There is nothing in frame that does not deal with
music. In the background, a scratchy and chaotic Coltrane
record.
LESTER BANGS
Beware Rolling Stone Magazine. They
will change your story, they'll re-
write it and turn it into swill.
Beware!!
WILLIAM
But besides that, what would be wrong
with it?
LESTER BANGS
(laughs, entertained)
You have starry eyes, my friend.
(beat)
Look. Do the story. It's a good break
for ya. But remember this --
The kid listens intently, and makes notes.
LESTER BANGS (cont'd)
... don't do it to make friends with
people who are trying to use you to
further the big business desire to
glorify worthless rock stars like
Stillwater. And don't let those swill
merchants re-write you.
WILLIAM
(still copying)
... swill merchants...
LESTER BANGS
Now. What are you listening to?
45 EXT. TEACHER'S LOUNGE -- DAY 45
William knocks on the teacher's lounge door. A Teacher answers,
protective of their sanctuary.
WILLIAM
(urgently)
I need to talk to Mrs. Deegan, from
Journalism.
Mrs. Deegan appears in the doorway.
46 EXT. WILLIAM'S HOME -- LATE AFTERNOON 46
The sun is still shining. It's late afternoon, as Elaine Miller
exits her car and arrives home. She sees a few extra cars in
the driveway, is immediately suspicious.
47 INT. LIVING ROOM -- LATE AFTERNOON 47
Elaine arrives to find William, Mrs. Deegan and Darryl awaiting
her in the living room. It's a 1973-style intervention. They
wear sunny, compassionate smiles.
ELAINE
Whatever it is, the answer is no.
MRS. DEEGAN
Elaine, we need to talk to you.
Nothing is wrong. I am a teacher.
You're a teacher. We speak the same
language.
Mom sits down. She is fully engaged and worried, her natural
state.
MRS. DEEGAN (cont'd)
Now I'm not a jump-up-and-down person,
but something wondrous has happened to
William. And you have every reason to
be happy...
(knows her)
... and calm.
Carefully gauging Elaine's face, the teacher continues.
MRS. DEEGAN (cont'd)
William has been gifted with a shining
opportunity in the world of journalism.
Through a love of music, and at an
oddly-young age, he has received a major
assignment from a national publication
called Rolling Stone Magazine.
Mrs. Deegan produces a copy, and places it on Elaine's lap.
It sits there like the plague.
MRS. DEEGAN (cont'd)
Now you are rather famously not a fan
of rock music, but such are the ironies
of life, that happens to be the very
topic of William's assignment -
(cheerfully)
- rock music. A band.
ELAINE
(warily, to Darryl)
Honey, what are you doing here?
DARRYL
Moral support.
Mom looks evenly at her son, seated opposite her in this small
living room.
ELAINE
What's involved?
MRS. DEEGAN
Well. It's a great opportunity. He'll
be well-paid, and published nationally --
(quickly)
-- and he'll go on tour with a rock
band for four days. No small planes...
he travels on a bus.
ELAINE
Is it time for me to say something?
MRS. DEEGAN
Sure.
ELAINE
No.
MRS. DEEGAN
And in anticipation of that response -
ELAINE
No.
MRS. DEEGAN
-- William has prepared --
ELAINE
(rueful)
"Lo, that which I have feared has come
upon me."
WILLIAM
(lightening fast)
"He who jealously guards his fears,
quietly yearns to bring them about!"
Mrs. Deegan admires their high-strung intellectual parrying,
makes an impressed noise.
ELAINE
(with compassion)
No. I have raised him to be an honor
student, which he is. We have agreed
on all our goals. We raised him to be
a lawyer, we moved here to be near the
finest law school in the West. Plus,
he has finals coming up, and in one
week he graduates with all his friends
-
DARRYL
He's got no friends!!
WILLIAM
Darryl. Please.
Nearby, having anticipated all of the above, William nods to
Mrs. Deegan, and stands.
MRS. DEEGAN
Elaine, may I present to you... your
own son.
William takes a lawyerly stroll, turns to face his mom.
WILLIAM
Lady of the Jury.
(beat)
I wish to disprove the prevailing false
belief that rock music is based on drugs
and sex. True, perhaps at one time...
but rock music is different now. It is
now performed by hard-working
intellectuals, with... with blazing
intellectual pursuits, and I am going to
play for you a piece of music designed
to show you that my thesis is correct.
ELAINE
This is going to be hell.
Across the room, Darryl takes his position near the stereo.
WILLIAM
The song is based on the literature of
Tolkien... and it's mystical attempt
to elevate humanity has been successful
throughout the world... this song
will change your life.
Mom stifles a cough. William nods to Darryl, who reverentially
drops the needle with a thud. Mom is trapped, as we listen to
silent static... and then... the opening notes of Led Zeppelin's
"Stairway to Heaven." William gives his Mother the album
cover's inner-sleeve with lyrics.
WILLIAM (cont'd)
We ask you only to listen.
Camera passes across their serious and expectant faces. The
intro in not short. We listen, just watching their faces, as
Elaine becomes increasingly impatient.
ELAINE WILLIAM
When is it going to start - Soon.
Immediately, overlapping, the vocal begins. ("There's a lady
who's sure all that glitters is gold.")
DISSOLVE TO:
48 SUN MOVING SLOWLY ACROSS THE SKY 48
Sprinklers click across the lawns. ("... and it makes me
wonder... ")
49 INT. LIVING ROOM -- AFTERNOON 49
Mom adjust herself in the chair, listens politely, checks her
watch. She looks at William.
50 EXT. HOME - AFTERNOON 50
Sprinklers continue. ("If there's a bustle in your hedgerow...
")
51 INT. LIVING ROOM -- AFTERNOON 51
Mom listens fitfully. The song continues.
DISSOLVE TO:
52 EXT. HOUSE -- STILL LATER AFTERNOON 52
Sprinklers shut off. Music is now blasting. ("To be a rock,
and not to roll... ")
53 INT. LIVING ROOM - LATER AFTERNOON 53
Mom's face remains stoic to the bitter end. ("... and she's
buying the Stairway to Heaven.") The song ends. Silence.
All look to Elaine. They wait on her response. We hear the
turntable arm return to its cradle.
ELAINE
What am I supposed to say? You say
it's Tolkien, fine. They sound like
nice kids. Is it meant to elevate
humanity? "Sure, let's elevate
humanity. After we sell you drugs and
sex." All I have is my honesty. That's
what I believe, and that's what I know.
(flipping through magazine)
Oh. Here's a nice ad.
She holds up the magazine. And ad reads, in large bold type:
BUY THIS FUCKING ALBUM.
ELAINE (cont'd)
You've clearly ganged up on me, and I
still say no. No no no no no no no.
She shuts her eyes, and blurts out something against her better
judgement.
ELAINE (cont'd)
NO MORE THAN FOUR DAYS AND I WANT A
PHONE NUMBER FOR WHERE YOU ARE EVERY
MINUTE AND I WANT YOU TO CALL ME TWICE
A DAY AND YOU'D BETTER NOT MISS ONE
TEST - AND NO DRUGS.
William nods gratefully, and exits frame. Hold on the empty
chair, as drums herald the beginning of the Allman Brothers
Band's "Trouble No More" from Live at Fillmore East.
SHOT MOVES IN ON ELAINE
who feels a very particular kind of loneliness. It's the
loneliness she got married, and then raised a family, to escape.
54 INT. STILLWATER TOUR BUS -- DAY 54
An empty Heineken beer bottle rolls up and down the aisle,
taking us to William. William picks up the bottle and places
it in the seat back pocket in front of him. He has joined the
circus, and the feeling of being here is a lot more lonely and
forbidding than he expected. The bus struggles to make it up
the hill, back rows shuddering loudly, as music continues.
DICK
C'mon, Doris! Darling Bus. You can
make it!
55 EXT. NEVADA DESERT HIGHWAY -- DAY 55
The Stillwater Tour Bus rumbles down the desert highway. The
destination banner reads - ALMOST FAMOUS -- TOUR 73. Music
continues.
56 INT. BUS - DAY 56
William strains for a look at Russell five rows up. He plays
slide guitar, working out a part. Next to Russell is Penny
Lane. Penny raises an early-model Polaroid camera and - flash
- takes a picture of a nearby sleeping Jeff Bebe.
PENNY
Gotcha.
Jeff grumbles from the depths of a hangover. Penny stuffs the
shot in her pocket. William watches, his private heart pounds.
Polexia appears and sits next to him, noticing his shyness.
POLEXIA
Do you have any pot?
WILLIAM
No. I'm a journalist.
POLEXIA
Well, go do your job then. You're on
the road, man. It's all happening! Get
in there. Go talk to 'em!
Challenged, William rises and approaches Russell. He fixes
the charismatic guitarist in his sights. Shot takes him down
the aisle to the jamming star guitarist. He crouches in the
aisle and talks to Russell who immediately seems moody. His
mood is in the air.
WILLIAM
(very professional)
Russell. Do you think we might be
able to find some time to talk when we
get to Phoenix? I want to interview
everyone separately... and I felt we'd
start with you and me.
Nearby, Jeff now listens in, feeling immediately jealous.
RUSSELL
Absolutely.
Russell turns away. The kid squats uncomfortably in the aisle,
babbling on.
WILLIAM
Because I've got a thing in a couple
days.
RUSSELL
What.
WILLIAM
(self-conscious)
It's a... thing where... uhm... you go
there to graduate. School.
RUSSELL
(sharply)
I never graduated. And look what
happened. You're here interviewing me.
Good point. Laughs from everybody listening nearby. It's a
good line. William makes a quick jot in his notebook.
RUSSELL (cont'd)
No no no. Don't put that in Rolling
Stone. My bio says I graduated. We'll
come up with something better later.
Just enjoy the ride.
Russell eyes the notebook suspiciously before turning away.
Penny notices William's discomfort, laughing warmly, all while
grabbing a Coke and giving one to nearby bassist Larry.
LARRY
How did you know I was thirsty?
He didn't even realize he was thirsty, but he is. He nods
thanks to Penny, the perfect road companion for all. And then
Penny gives the other Coke, her Coke, to William. He accepts
it too, and starts back to his seat. He's been blown off, and
he knows it, but before he exits Penny grabs his arm and
whispers in his ear:
PENNY
I may need to stay in your room tonight.
Russell's in a bad mood. He's very
Bob Dylan in Don't Look Back today.
He's trying to write.
William nods cooly -- they are comrades -- and returns to his
seat. A large joint passes in front of him, across him, to
Polexia, as everyone cheers Doris the Bus rumbling up another
hill.
POLEXIA
(inhaling deeply)
Want some?
WILLIAM
No thanks.
A wall of pot smoke is exhaled, right into his face. It
surrounds him like a cloud. The bus shudders, as Russell
continues playing slide up ahead.
57 INT. WILLIAM'S LIVING ROOM - NIGHT 57
Elaine sits in her living room, filled with her books. Large
Department store photos of her children on the wall. She feels
her own loneliness, and his too, as she dials a phone number.
ELAINE
Has William Miller arrived yet? He
hasn't. Could you give him a message
as soon as you see him? -
58 INT. BUS -- NIGHT 58
Several hours later on this ride. Outside, night and desert.
Inside, a few cigarettes, a joint of two glow in the darkness
of the bus. The end of the Led Zeppelin classic "Whole Lotta
Love" plays from the bus stereo, full blast. Everybody is
free and anonymous in the dark. They sing at full-volume.
William looks out the window in wonder.
ZEPPELIN/ALL
"Way down inside... (woman)
woman... you need... "
The ten-ton guitar chord of Jimmy Page.
ZEPPELIN/ALL (cont'd)
"Loooooooooooooooooooooooovvve... "
John Bonham's drums thunder through the bus, everybody still
singing as they dip down into the city ahead, Phoenix. William
watches the living documentary around him. He writes furiously
in the green notebook, scribbling in the dark, trying to steady
his writing on the bumpy bus. Behind him, someone is beating
along to the song on his seat. He never want to leave this world.
59 INT. ARIZONA RAMADA INN LOBBY -- NIGHT 59
All enter the lobby like warriors, in a pack. The hotel chairs
are spotted with curious hangers-on, decked out and lounging.
Dick is already stationed, as always, at the front desk. The
sad state of hotel service grates on a road dog like Dick. He
is forever teaching others their jobs.
DICK
Jeff, Tony... Keys... keys... keys...
room list...
(re: luggage, to hotel
bellman)
If it doesn't have a number on it, it
ain't ours!
He gives key and a stack of messages to Russell, and turns to
William who he makes feel more important. Penny is nearby with
her suitcase and tackle box purse. William watches Russell's
guitars whisked away - they are luggage-numbered 1, 3, and 4.
DICK (cont'd)
The Enemy! Here you go, here's the key to
your palatial suite, room list, plus let me
give you a luggage tag. You're Number 42.
CLERK
Is this Mr. Miller? You have a message
from Elaine.
WILLIAM
Thanks.
CLERK
(confidentially)
She's a handful.
WILLIAM
I know.
William cooly takes the folded message, doesn't look at it,
and tries to pretend this embarrassing moment didn't happen.
Jeff exchanges a look with Russell. Nearby, the walking
commotion arrives, clacking through the lobby. It's Sapphire.
Last night's clothes are now today's. She holds a travel case,
and hanger with some odd blouses.
SAPPHIRE
Finally, you're here!! They kicked me
out of my room! Fuck Ozzy!
She hugs Penny Lane. Estrella appears, happy to have help
with Sapphire.
ON RUSSELL
who approaches William.
RUSSELL
Come by in a few minutes. We'll do
the interview.
The kid exits and goes to join Penny, who is still comforting
Sapphire. Russell looks through his messages. The guitar,
now in a case, never leaves his hand. Jeff Bebe approaches,
regarding William standing with Penny and the girls. Intrigue
is swirling in the lobby.
JEFF
I'm worried, man.
RUSSELL
Naw, we can trust him. He's a fan.
JEFF
But it's Rolling Stone. He looks
harmless, but he does represent the
magazine that trashed Eric Clapton,
broke up Cream, ripped Led Zeppelin,
and wrote that lame story about the
Allman Brothers Band that bummed Duane
out before he died. Don't forget the
Rules. This little shit is the Enemy.
He writes what he sees.
(beat)
But it would be cool to be on the cover.
RUSSELL
Leave it to me. We'll get a good story.
JEFF
Plus our girlfriends read this magazine
and -
(looking at Band-aids)
-- you know.
RUSSELL
You made your point. I'll take to
him.
ON WILLIAM BY ELEVATOR
Penny speaks confidentially to him. If she is slightly bossy,
it is only because she's good at logistics, emotional and
otherwise.
PENNY
Can Sapphire stay in your room tonight?
She had a big fight with Ozzy, and
Polexia's not working out with Jeff
Bebe.
(to Sapphire and Polexia)
You just have to remember... these
guys are jealous, insecure, talented,
egocentric, and manipulative geniuses...
they're lead-singers. They can say
"I love you" to 20,000 people... but
any fewer is a real problem.
(girls nod, comforted, she
continues to the kid)
Jeff Bebe has so much jealousy over
Russell that he can't express. Plus,
he never slept last night. You keep
Sapphire and I'll stay with Russell.
William covers his disappointment over losing Penny as a
roommate. Cooly:
WILLIAM
Sure. I'll take her.
POLEXIA
Me too?
WILLIAM
Sure.
Estrella arrives with travel bag, equally homeless, looking
hopeful.
WILLIAM (cont'd)
If there's room -
Penny squeezes him. He feels cool... but the girl he really
wanted to stay in his room now joins Russell, disappearing
into the elevator. He looks down at the message in his hand,
and opens it.
It reads: DON'T TAKE DRUGS! He snaps it closed quickly, before
anyone can see.
59A IN. RUSSELL's ROOM -- NIGHT 59A
Russell plays acoustic guitar, a notebook cradled on his lap.
Trying to write. It's coming slowly. Shot moves off him,
past a flickering television, onto Penny who silently and
intently watches Russell as if he's a rare and beautiful bird.
He looks over at her - she turns away quickly. He goes back
to work. Tries to catch her watching him again. She turns
away just in time.
60 INT. WILLIAM'S HOTEL ROOM -- NIGHT 60
Stillwater's "Fever Dog" plays from the t.v. radio. William
on the bed, a thick local phone book on his lap. His hotel
room. He watches self-consciously as the girls go about the
ritual of inhabiting a room on the road. Sapphire flutters a
paisley scarf over the room lamp. Polexia puts a towel along
the crack of the door, blows out the glowing embers on too-
many sticks of incense, and moves to the phone. Estrella has
joined them as well, complete with a bag full of shoes.
Instantly, we have atmosphere and not much room left in this,
the smallest room in the hotel. William thumbs through the
phone book with fascination.
WILLIAM
All these people.
(wondrous, off phone book)
And they all live in Phoenix.
POLEXIA
(on phone)
Hi Dad!! I can't talk long! I'm here in
Paris. I'm staying in another Youth Hostel
with no phone and no address for mail!!
WILLIAM
(still wondrous, from phone
book)
Alex. Lowbatz.
SAPPHIRE
(emerging from bathroom)
I was the one who told him what to
tattoo on his fingers, I was the one
who made his shirts... I was there
when his wife left him.
WILLIAM
Charles. C. Swoop.
POLEXIA
(on phone)
I CAN SEE THE EIFFELL TOWER. DO YOU
KNOW THERE ARE 578 STEPS TO THE TOP?
She's reading from a European tour book.
WILLIAM
Paul and Debbie Finger.
ESTRELLA
(looking out window)
Oh my God. Simon Kirke of Bad Company
is by the pool.
The girls mobilize by the window. William is increasingly
aware that he is an outsider in his own tiny room. He tries
to organize his stuff in the corner.
POLEXIA
I GOTTA GO! I'LL CALL FROM ROME!
ESTRELLA
Is anybody here as worried about Penny
and Russell as I am?
POLEXIA
(the perfect daughter)
AND HAPPY BIRTHDAY TO MAGGIE!!
I LOVE YOU!!
She winks at William, who looks away.
SAPPHIRE
(to Polexia and William)
Ooo, watch out - whoever you look at
when you say that - that's who you
really mean.
Polexia hands up and throws a pillow at Sapphire, the kid
watches these girls like a tennis match.
60A IN. PENNY AND RUSSELL'S ROOM - SAME TIME 60A
Russell puts down his guitar.
RUSSELL
You know. We should talk about what
we don't talk about.
PENNY
We don't have to.
RUSSELL
No, I - I went to Catholic school. I
believe in guilt and... you know, if
there's any to be had, I pretty much
want to roll around in it.
PENNY
I don't believe in attachments. No
boundaries. Just the music.
RUSSELL
I'm just saying, it's okay to talk
about it.
Penny stands and turns. She speaks the word.
PENNY
Leslie.
Russell nods. The name is out in the open.
PENNY (cont'd)
Leslie. Leslie. Leslie. Leslie.
Leslie. Leslie. Leslie. Leslie.
RUSSELL
(somehow satisfied)
Alright - now we're talking.
But she continues, saying the name in a multitude of different
ways, in different accents, and with different degrees of
indifference and passion and lust and play-acting and mock-
drama.
PUSH IN ON HIS FACE
As he listens and studies this ethereal creature for meaning.
Is she mocking him? In love with him? Taunting him? Seducing
him?
PENNY
Leslie. Leslie. Leslie. Lesssssslie.
Leslie. Leslie. Leslie. Leslie.
Leslie. Leslie. Leslie. Leslie.
LESlie. Leslie...
She continues saying it until it no longer has meaning. And
finally she sits next to him.
PENNY (cont'd)
(beat)
Now. Have I helped you get that off
your chest?
They kiss.
60B INT. WILLIAM'S HOTEL ROOM - SAME TIME 60B
The girls continue their settling-in process.
SAPPHIRE
Opie, can I order room service?
The nickname "Opie" re-opens a nagging wound. Polexia hangs
up, and begins to dial again.
WILLIAM
Okay. You guys. Wait. Put down the
phone, Polexia.
(she does, sadly)
First, this is my room...
SAPPHIRE
Come on, you're a fan like us. You're
on our side of the line.
WILLIAM
Second. I'm not Opie. Alright? Opie
is a little boy. I'm here to do a
job. I am a professional.
ESTRELLA
(flipping luggage tag)
Ooooooo, sorry, Mr. 42.
WILLIAM
Third!
(has their attention now)
... this phone is a big, big deal. In
a minute, I have to go interview
Russell. Do not answer this phone if it
rings. I have family members with
severe anxiety Problems. She will not
understand.
POLEXIA
(wounded)
But what if Ozzy calls Sapphire? And
I gave Jimmy Page this number.
ESTRELLA
Or a guy who looked like Jimmy Page.
William looks at their troubled faces, full of too much-longing
and too much make-up.
WILLIAM
Okay. I have a solution. Answer the
phone. But if anyone without an English
accent is on the phone...
(winging it)
Just hang up. Or say it's the wrong
room.
They nod. It's a good plan.
61 EXT. HALLWAY -- NIGHT 61
The hanging sign on the door reads: DO NOT DISTURB. William
knocks on Russell's door. A maid pushes up against him with
her cart, which now blocks the hallway.
WILLIAM
SHOULD I COME BY LATER?
A group of golf conventioneers are now trapped behind the maid
cart. They ease past William as he negotiates with Russell
through the door.
RUSSELL (O.S.)
YES, I'M IN TOO TRUTHFUL A MOOD!
WILLIAM
MAYBE THAT'S A GOOD THING!!
RUSSELL (O.S.)
I'LL SEE YOU AT THE RADIO INTERVIEW
LATER!! TEN-THIRTY IN THE LOBBY.
WILLIAM
OKAY!
RUSSELL
GO AWAY!
WILLIAM
OKAY!
We hear Penny's giggle. Then the door opens, and it's Penny
looking ravishing. In the background, Russell sits shirtless
at the table. He playfully pelts the kid with crumpled up
wads of hotel stationery.
PENNY
Don't worry. Some to the radio
interview.
WILLIAM
No, I'm fine. I'll just interview
Jeff Bebe some more.
RUSSELL
(as in "you're on of us")
GO AWAY!
She shuts the door quickly. It hurts a little. He picks up
the wadded pieces of paper, stuffs them in his pocket. He
leaves the door and helps himself to some soap and pencils and
matches from the nearby maid's cart. Then he returns to
Russell's door. He can't help but listen to the muffled sounds
of laughter, just for a moment, escalating. He flips the sign
over: HOUSEKEEPING PLEASE ENTER - CLEAN ROOM.
62 INT. OUTER RADIO STATION - NIGHT 62
Humble Pie. "Thirty Days in the Hole." Russell and band enter
the radio station, passing through the now-empty front office.
As always, Russell sets the tone. He's feeling good.
Stillwater takes over -- they feel mighty, like the Beetles,
as they climb across chairs, rearrange wall hangings and gold
records and head down the small hallway to the control room
interview. Rolling with the flow are William and Penny in her
green coat. He tries to distance himself from her -- still a
little stung by the earlier hallway rebuff -- but she will
have none of it. She privately shares every great passing
moment with him. He tries not to succumb to these charms.
It's hard. Music segues to Stillwater's own "Fever Dog."
63 INT. RADIO CONTROL ROOM - NIGHT 63
Stillwater's own record spins, and it sounds good to everyone
in this room. Russell takes a seat near the open mike. Jeff
Bebe is quick to take the other seat, arranging himself to be
just as close to the microphone as Russell. William watches
all as he sits at the dark back of this control booth.
Stillwater sits with late-night progressive disc-jockey QUINCE
ALLEN, 25.
Quince takes a long hit from a joint and does not pass it.
The entire Stillwater band is now collected in the studio and
ready for the interview. William can't avoid looking at Penny
Lane, who looks great tonight. She catches him, and he barely
looks away in time. Polexia, newly reconciled with Jeff,
notices. The very mellow disc-jockey eases up to the
microphone, as the finale of "Fever Dog" is just ending.
QUINCE ALLEN
The guitar of Russell Hammond. "Fever
Dog"... The band is Stillwater.
(beat)
Watch with your mind as they
materialize.
Band members gets closer to the microphone, preparing to speak.
Quince lowers his head, shutting his eyes and getting into the
music as the song plays out.
64 INT. HOTEL ROOM -- NIGHT 64
The phone rings. Estrella answers.
ESTRELLA
William's room.
INT. ROLLING STONE OFFICE -- NIGHT
Ben Fong-Torres is calling from Rolling Stone.
BEN
Can I please speak to him? This is
Ben Fong-Torres at Rolling Stone.
Estrella panics, hangs up quickly, as if the phone has just
caught fire.
ESTRELLA
I think I just messed up!
65 INT. RADIO STATION -- NIGHT -- SAME TIME 65
Quince raises his head and continues on-the-air. The same
song is still ending.
QUINCE
Look at the dogs, wearing the funny
hats. Juggling just for you. Freaks
and family...
Penny shoots William a look. Do you believe this guy?
QUINCE (cont'd)
It's Quince, with Stillwater. Here.
Live. It's the Night Circus.
The band scoots closer to the microphone, ready to talk. Quince
continues, looking meaningfully at the band. They are
waiting... eager for a chance to speak.
QUINCE (cont'd)
Every minute a baby is born somewhere..
Life. Death. Hermetically sealed
bags of human emotion. Bags of love...
bags of kindness?
(suddenly, turns)
How'd you get together?
As Jeff eagerly speaks, Quince lowers his head and listens...
feels... the words of his guests.
JEFF
Well... not to get into a "me" thing...
this is Jeff talking... but I did start
the band, some time, actually, ago.
This is back when we were the Jeff
Bebe band, and I placed an ad in a
magazine called Peaches looking for a
guitarist and Russell Hammond answered.
Quince nods, head bowed, swaying slowly.
QUINCE
(with deep understanding)
Peaches.
Jeff watches Quince's head lower. It's hard to know when to
talk with Quince. The depth of his mellowness is tough to get
in rhythm with.
JEFF
I think he was a gift from God,
actually. Nobody plays like Russell
Hammond.
RUSSELL
(sorta moved)
Well, shit. Thank you.
He instantly realizes he's slipped, on the air.
RUSSELL (cont'd)
Ooops. Better hit the delay button.
All eyes turn to Quince, whose head stays down, grooving to
some inner beat. He says nothing. The band looks at each
other. We become increasingly aware that Quince may now be
asleep. Long silence. William shares an amazed look with
Penny. Quince is definitely asleep. Russell leans forward
and continues talking quietly, with hilarious sincerity.
RUSSELL (cont'd)
Okay - we're talking now, right? Why
the fuck do you wait until and interview
in Arizona to say something nice about
me. Why don't you say it to my fucking
face sometime? Because I tell you
every time I think you nailed something.
JEFF
Everybody pays you compliments. It's
not my fucking job to kiss your fucking
ass all the time.
RUSSELL
Well then who's fucking job is it?
Because my ass is dying for a kiss.
And I know yours is too.
DICK
It's my fucking job. You're all
geniuses. And let me just add this
thought - smegma.
Penny covers her mouth as offers a look of absurdity to William.
He offers one back, as laughs are stifled throughout the room.
William shares a look. Quince is still deeply asleep, as the
usually quiet tony leans forward to speak.
TONY
Feces.
He cracks himself up, silently. Quince snaps awake, fully in-
stride.
QUINCE
The dong is called "Love Thing." Your
mind is Starting to take effect.
They're all here to see you swallow
fire. You scream soundlessly... on the
Night Circus. It's Quince, with
Stillwater.
"Love Thing" takes over, as Quince swivels in the chair.
QUINCE (cont'd)
I thought that went well.
66 INT. RENTAL CAR -- NIGHT 66
Adrenalized laughter. The whole band is crammed into a medium-
sized rental car. Penny half on William's lap, half on
Russell's.
RUSSELL
(to William)
See, this is what nobody writes about!
The in-between times! This! Us!
Right now!!
67 INT. WILLIAM'S HOTEL ROOM 67
The phone is ringing. Estrella emerges from the bathroom with
no make-up and a t-shirt. She picks up the phone. Across the
room, Sapphire signs for room service. Now she is far too
made-up. The t.v. radio plays Free's "Fire and Water" in the
b.g.
ESTRELLA
(suspiciously)
Hello?
INTERCUT:
INT. WILLIAM'S HOUSE -- NIGHT
It's Mom on the phone.
ELAINE
(measured, very proper)
May I speak with William please?
ESTRELLA
(cheerfully)
He's not here. I think he's in the
bar with the Band. They just got back
from the radio station. Is this Maryann
with the pot?
Silence.
ESTRELLA (cont'd)
Hello?
ELAINE
No this isn't Maryann with the pot.
This is Elaine... his Mother.
Estrella physically recoils.
ESTRELLA
(cringing)
I thought you were English.
ELAINE
Could you please give him a message?
Could you tell him to call home
immediately? And could you also tell
him -
(at full power)
I know what's going on.
ESTRELLA
Alright. Okay. But I'm just going to
say this, and I'm going to stand by
it.
(can't help herself)
You should be really proud of him.
'Cause I know guys... and I'll bet you
do too. And he respects women, and he
likes women, and let's just pause and
appreciate a man like that. You
created him out of thin air, and you
raised him right, and we're all looking
out for him. And that's more than
I've ever said to my own parents, so
there you go.
(silence)
This is the maid speaking, by the way.
68 INT. HOTEL LOBBY -- NIGHT 68
Russell and William sit in two large red-leatherette seats in
the hotel lobby. William shuffles through many pages of
questions written in small script. His tape recorder microphone
sits balanced on the chair.
WILLIAM
(very professional)
Now that you're starting to be
successful, you had twenty-six years
to write your first Album... and you'll
have maybe four months for the second.
Do you worry that the pressure of the
business will get in the way of the
original joy of making your music? Or
-
Russell blinks. The all-consuming issues of his life are right
in front of him.
RUSSELL
Whoa!
(laughing)
I need three more beers and my guitar
before I can answer that question.
Let's take a walk.
69 EXT. HOTEL POOL AREA - NIGHT 69
Russell walks the outskirts of the pool area with William.
William follows him through the sliding glass door to his room,
facing the pool. Russell grabs his guitar. They stand for a
moment, unheard by the others, and regard the living portrait
twenty yards in front of them. The off-limits after-hours
pool area has been overtaken by the Stillwater tour members.
Jeff Bebe sits in a chair nearby. Dick laughs at a joke.
Always the life of the party, Penny Lane dispenses stolen towels
from a maid cart. And she is the first to slip into the pool
for some after-hours, against-the-rules swimming. Effortlessly,
she turns a collection of people into a party. They regard
her, well out of earshot of the others.
RUSSELL
For a minute I thought you were actually
a real journalist... which is... you
know, it's great.
(beat)
Shut that thing off, and I'll tell you
the truth.
William shuts his tape recorder off.
WILLIAM
It's off.
RUSSELL
Look. I trust you. I'm going to lay
this right on you. Just make us look
cool.
WILLIAM
I will quote you warmly and accurately.
RUSSELL
That's what I'm worried about. See -
some of us have girlfriends back home.
Some of us have wives. And... some of
the people you meet on the road are
really amazing people...
They both watch Penny Lane, sparkling, fresh from the pool.
She places hotel furniture into the shallow end and inviting
all, even other curious hotel guests, to join them in the pool.
RUSSELL (cont'd)
Like you. And some of the things that
happen are good for just a few people
to know about - as opposed to, say, a
million people.
Dawn is breaking for William.
WILLIAM
Ohhhh. Oh. Yeah.
RUSSELL
You know what I mean?
WILLIAM
Right. Yeah.
RUSSELL
See, you're dangerous. Most people
are just waiting to talk, but you
listen.
WILLIAM
Right. Right.
RUSSELL
So your question you asked me. I think
about It every fucking night. The
"business." I hate it!
(quietly)
I grew up with these guys, okay? I
can't play all that I can play, I'm
past these musicians, do you understand?
WILLIAM
I do.
RUSSELL
The more popular we get, the more I
can't walk on them, the bigger their
houses get, the more pressure... you
forget, man. You forget what it was
like to be real, to be a fan. You can
hear it in a lot of bands who've been
successful - it doesn't sound like
music anymore. It sounds like...
like lifestyle maintenance.
(suddenly confessional)
I used to be able to hear the sounds
of the world. Everything, to me, used
to sound like music. Everything. Now
I don't hear it. You know what I'm
trying to say?
WILLIAM
(ruefully)
Yeah.
RUSSELL
Man, it feels good to say this stuff
out loud. But what am I doing? I'm
telling secrets to the one guy you
don't tell secrets to.
WILLIAM
(feeling included)
No, that's okay. We'll do the interview
tomorrow.
RUSSELL
This is good. So there's the "friend"
and then there's the "interview guy."
WILLIAM
Yeah.
RUSSELL
So tonight it's "friend".... and when
we wake up tomorrow - "interview guy."
We'll figure it out as we go, buddy.
WILLIAM
Hey - for whatever it's worth - you
guys are really good.
Russell laughs at the kid's easy naivete. He hands his guitar
to the kid, and joins the party. William watches, part of the
crowd... somehow feeling a little compromised. He doesn't
care. Penny gestures for him to join them.
70 EXT. SUN STADIUM - AFTERNOON 70
William interviews Larry in the seats of the empty arena. On
stage, Ed soundchecks his drums.
WILLIAM
How would you describe your role in
Stillwater? What is the chemical that
you add to the chemistry?
LARRY
I'm the bass-player.
WILLIAM
(pressing for some poetry)
Right. And when you take that away...
what would be missing? Stylistically?
What chemical?
LARRY
(not getting it)
The bass?
Larry doesn't give him much.
71 EXT. SUN STADIUM - NIGHT 71
It's raining. The pre-show huddle breaks up, William a part
of them. Penny Lane adjusts Larry's look. She takes the scarf
from around his neck and ties it around his leg. He looks
instantly better. William watches in the darkness as Dick
takes the microphone. The best part of his day has arrived.
In his important voice:
DICK
Good evening Phoenix.
(applause)
From Troy, Michigan. Please welcome,
Stillwater.
Lights come up, as the band launches into "Fever Dog." Jeff
begins singing. Russell reaches to adjust the microphone for
a back-up vocal and is hit with something unexpected.
A sharp electrical shock.
It's just a slight pop in the loud din of music, but within a
moment something is clearly wrong. Russell holds onto the
microphone stand with a surprised look, conducting high-voltage
for two seconds and then he snaps his hand off the metal. His
face is white, he takes off his guitar and walks off-stage,
collapsing a couple steps later.
72 EXT. BACKSTAGE -- NIGHT 72
Dick is waving wildly for the band to board the bus, which has
been pulled up into the backstage area. He guides a sagging
Russell, assisted by Penny Lane, into the bus.
DICK
Get in, get in!!
William boards the bus, as the extremely agitated PROMOTER
arrives to confront Dick.
PROMOTER
Are you the manager of this band?
DICK
That, and more. Get in!
PROMOTER
You didn't even play a full set!
Dick whirls and unleashes an anger we've not yet seen, gesturing
with the silver briefcase that does not leave his hand.
DICK
Your shoddy stage set-up almost killed
our guitarist!
PROMOTER
You trashed the dressing room - you
didn't play your thirty-five minutes.
You didn't fulfill your contract -
DICK
Everybody in! Get in the bus!
PROMOTER
I'll report you to every promoter in
the country! I'm gonna talk to Frank
Barcelona!
DICK
YOU DON'T FUCK WITH MY BAND'S SAFETY!
PROMOTER
I hope you have a good lawyer.
DICK
I AM A LAWYER!
He swings into the bus, as the bus revs.
PROMOTER
LOCK THE GATE ON 'EM!
73 INT. BUS -- NIGHT 73
Russell sits, pale, next to Penny at the front of the bus. He
examines his singed hand, shaking it a little to emphasize the
positivity of her words.
PENNY
Don't worry. It's happened to all the
greats. Thank God you didn't hold the
mike stand with both hands, you'd still
be holding it. This is a good thing.
It's a good, good, good thing.
William sits nearby, watching Russell, making notes out of eye-
sight of others. The ever-wary Jeff, unseen by William, cranes
to see that he's writing in his notebook.
Dick swings into the seat across from Russell. The bus door
shuts, as the promoter is still yelling.
Doris is slow to gain speed, as Estrella appears, running
alongside. She knocks on the window next to William.
ESTRELLA
I forgot to tell you! Your mom says
to call home immediately. She says
she knows what's going on!
(receding)
See you guys in Topeka! I'll catch a
ride with Sabbath!
William nods with embarrassment, waves to her, as the bus races
toward the now closing gate.
DICK
(casually, to Russell)
Wanna buy a gate?
Before Russell can answer - BASH. Doris barrels through the
steel-gate, snapping it like a chopstick to great cheers inside
this bus.
DICK (cont'd)
You just bought a gate.
(to the bus)
C'mon Doris!! Get us out of town!!
The bus struggles up a slight incline, everybody rooting for
Doris, as she eases out of the parking lot and onto a
thoroughfare.
WILLIAM
What did it feel like to be
electrocuted?
RUSSELL
It burns. It feels like a dose of
lead shooting through your body... and
then you see God, and he says, "How
bad do you want to be legendary?" And
god damnit. I let go.
(shaky grin as all laugh
warmly)
Rock and roll.
Jeff watches this charisma with thinly veiled envy. The kid
scribbles in his notebook. We hear Led Zeppelin's "That's the
Way."
74 INT. BUS - EARLY MORNING 74
Song continues. Almost everybody is asleep. William takes
the camera and snaps a Polaroid of a sleeping Penny. She wakes
up.
PENNY
Give that to me.
She grabs for it, they have a brief play-fight. He grabs some
other Polaroids from her pocket. He hustles to the back of
the bus, pockets the photo, and settles down to watch the
passing landscapes. She chases him down the aisle. Music
continues as she sits down next to him. Out the window, a
long-distance running team of Girls keeps pace with the bus
for a bit. They wave. Penny watches them over sunglasses,
waves briefly to the real world.
PENNY (cont'd)
(breathing heavy, owning
the world)
When we go to Morocco, I think we should
wear completely different clothes, and
be completely different people.
WILLIAM
What will our names be?
She snaps a Polaroid of a nearby sleeping Silent Ed, pockets
the Polaroid. She regards Russell up ahead, also sleeping.
Her attention has already wandered from Morocco.
PENNY
What do you think of Russell?
WILLIAM
I like him.
PENNY
You're coming to Cleveland, right?
WILLIAM
Cleveland, Ohio? Oh no no no. I gotta
get my interview with Russell before
Greenville. And you've got to help
me. Okay? Friends... remember?
Penny is still watching Russell.
PENNY
You should give him a break. There
are real problems in the band. Off
the record.
Gravely noting the word "problems", the kid joins Penny in
watching Russell, who is splayed haphazardly, sleeping
restlessly up ahead.
WILLIAM
What problems?
PENNY
Okay. I got it. I think your name
should be Spencer, and mine will be
Jane.
WILLIAM
I can't keep up with you.
PENNY
No one can.
WILLIAM
What's your real name?
She looks at him briefly. She puts her arm around him. It's
intoxicating, but he doesn't quite know how to act. With her
free hand, she gestures with a hanger. As they regard Russell
sleeping nearby:
PENNY
Here's the thing about Russell. He's
my last project. I only do this for a
very few people. And I think we should
do it together - he is almost great.
We've got to take him there. You and
me - we can do it. Deal? Because the
other guys are good - but he could be
great. He's my last project.
He looks at her. She imitates his face back to him.
PENNY (cont'd)
It's all happening.
75 INT. TOPEKA ARENA BACKSTAGE -- NIGHT 75
William sits interviewing Silent Ed by some equipment cases.
WILLIAM
What do you love about music?
Ed looks at him thoughtfully. It is an eloquent moment. He
thinks. He shrugs. The kid tumbles with more questions.
These interviews are not going well.
76 INT. BATHROOM - NIGHT 76
William, looking concerned over the state of his interviews,
walks into the backstage bathroom. He makes a few surreptitious
notes in his notebook before noticing that Jeff is standing
there, clearly just finishing a quick hit of cocaine offered
by a Local Hanger-On. Seeing the kid, he immediately hides
the coke spoon.
JEFF
Hey.
WILLIAM
Hey.
William pretends he sees nothing as he turns to the urinal,
and shot stays on Jeff, who looks a little high and a little
worried.
77 INT. BACKSTAGE PAY PHONE - NIGHT 77
William is on the pay phone with his Mother. The show booms
in the background.
WILLIAM
I know. I know. I know.
(beat)
I know. Mom. Mom... Mom.
78 INT. STAGE - NIGHT 78
Stillwater on-stage. A great show. Russell on fire.
79 INT. BACKSTAGE PAY PHONE - NIGHT 79
William on the phone. Estrella leans on him, fixing her shoe.
WILLIAM
Right now -- Topeka. Then Greenville.
Then home.
He winces slightly, holds the phone away from his ear for a
moment.
WILLIAM (cont'd)
I'm sorry I didn't call yesterday!
It's not like you can just carry a
phone around with you.
80 INT. ELAINE'S SCHOOL OFFICE -- AFTERNOON 80
Mom sits in her school office, a miniature version of her home
- a fortress in which she is surrounded by books. The sun is
going down. She can't resist a sentimental moment.
ELAINE
I guess I just miss you, and I don't
understand why I've driven both my
kids so far away from me. By all
practical rules don't I get you for
three more years?
He is touched by her vulnerability, more visible now than ever,
as music continues in b.g.
ELAINE (cont'd)
Was I not fun?
81 INT. BACKSTAGE PAY PHONE -- NIGHT 81
William has his finger in his ear. The din if Stillwater's
set now blots out all other noise. It is not the time to answer
this question.
WILLIAM
I missed the last thing you said.
Mom takes a pause.
ELAINE
I LOVE YOU.
Penny now enters, watching.
WILLIAM
WHAT?
ELAINE
(angry, louder)
I MISS YOU AND I LOVE YOU!
William now notices Penny standing nearby, picking at a salad
from a paper dish. Looking at her, he lets loose with what he
believes is a private confession.
WILLIAM
I LOVE YOU!!
Penny smiles knowingly, collecting his affection like another
backstage pass, and turns away. Camera stays on William. He
is suddenly and deeply embarrassed. He's just told her that
he loves her and she knows it. He hangs up, traumatized.
82 INT. TOPEKA DRESSING ROOM -- NIGHT 82
Russell's hair is slicked with sweat from a show just finished.
He is shirtless with a towel around his shoulders. Luggage
for the next city is stacked by the door.
RUSSELL
Fire away. I'm ready. I'm on the
"You" Train. Take me there.
The kid plugs in his microphone. Russell listens as he springs
his first question.
WILLIAM
Do you have to be depressed to write a
sad song? Do you have to be in love
to write a love song? Is a song better
if it really happened to you? Like,
"If You Say Nothing"... where did you
write that and how did it come about?
Russell admires the many questions. Says nothing. He looks
at his hand, thinks.
RUSSELL
When did you get so professional?
In the background, Penny Lane irons Silent Ed's shirt.
Grinning, she cuffs his shoulder. To the shirtless silent
drummer, waiting for his shirt.
PENNY
I'm almost done with my shirt.
Ed watches her appreciatively, drumming silently on a rubber
pad. Penny kisses Russell, who swings her onto his lap. In
the corner, Jeff watches them all with a vague feeling of being
underappreciated. And now Dick enters with a large cardboard
box.
DICK
Russell, your dad showed up again.
And on a lighter note.
(importantly)
Gentlemen. Your first t-shirts have
arrived.
There is an immediate buzz in the room, as Dick yanks open the
box filled with new white t-shirts. He untangles the first fresh
shirt, and displays it proudly. A silent beat as all examine it -
their first t-shirt. Faces fall. Ed stops drumming. There has
been a mistake. It is a fuzzy band photo with the group name
emblazoned below. Only Russell, who stand out front, is colored-
in and emphasized on the shirt. He turns away, making a noise.
Jeff stares at the t-shirt. He's just about in tears. There is
a long silence and then... Ed resumes drumming on the rubber pad.
DICK (cont'd)
It's the record company's mistake.
And they will pay. Shirts gone, band
happy.
He drops the offending shirt into the trash, as if it were
contaminated, and exits with the box. William watches as the
two men, Russell and Jeff, move to opposite sides of the room.
Russell puts on a shirt, so does Jeff. The vibe is thick.
Russel turns to see Jeff staring at him.
RUSSELL
Can we just skip the vibe and go
straight to us laughing about this?
JEFF
(bitterly)
Yeah. Okay.
RUSSELL
(trying for a joke)
Because I can see by your face - you
want to get into this -
JEFF
How can you tell? I'm just one of the
out-of-focus guys.
RUSSELL
Here we go.
William watches as Russell fishes the t-shirt out of the trash.
RUSSELL (cont'd)
Here. Take it. You LOVE this shirt -
it lets you say everything you want to
say.
JEFF
Well, it speaks pretty loudly to me.
RUSSELL
It's a t-shirt.
Russell turns away.
JEFF
I'm always gonna tell you the truth.
RUSSELL
Are you doing coke again?
JEFF
Oh yeah. All the time.
The kid looks down.
JEFF (cont'd)
This is big stuff, man. From the very
beginning -- we said -- I'm the front
man and you're the guitarist with
mystique. That's the dynamic we agreed
on -- Page, Plant... Mick, Keith. But
somehow it's all turning around. We
have got to control what's happening
to us. There's a responsibility here -
RUSSELL
Excuse me, but didn't we all get into
this to avoid responsibility?
JEFF
Forgive me.
(continuing, on shirt)
But this is the slow-moving train of
compromise that will kill us.
Russell makes a disgusted noise. Penny Lane exits discreetly,
looking back at William.
JEFF (cont'd)
I can't say anymore with a writer here.
RUSSELL
You can trust him, you can say whatever
you want.
JEFF
(eyes suddenly moist)
I works as hard or harder than anybody
on that stage. You know what I do - I
connect. I get people off. I look
for the guy who isn't getting off, and
I make him get off.
(beat)
Actually, that you can print.
(continues to Russell)
And yet, why do I always end up feeling
like I'm a joke to you? I feel nothing
but love for you. We're a family.
He looks at the t-shirt and starts to cry. Embarrassed, he
grows angrier.
JEFF (cont'd)
You want to pretend this isn't going
to be a very big band. Well it is. You
call yourself a leader of this band, but
your direction allowed the t-shirt, when
you allowed Dick to manage us, 'cause
he's your friend... don't you see? The
t-shirt is everything. It's everything.
RUSSELL
Is it my turn? Because I think we
should, for once, say what we really
mean.
JEFF
Oh, this is the part where you quit -
RUSSELL
(stiffening)
Right. I'm so predictable.
JEFF
No I gotta tell the truth -- I want
you to like me. But sometimes I feel
like you collect people who love you
and then very skillfully... you make
them feel bad that they're not good
enough for you.
RUSSELL
Stick to singing, brother, 'cause you
ain't gonna make it as a shrink.
JEFF
Deal with it! And let me just say
what nobody Else wants to say to you -
RUSSELL
What?
JEFF
Your looks have become a problem.
82A EXT. BACKSTAGE - NIGHT 82A
Russell walks swiftly past a happy silver-haired man, who holds
court with beer in hand. He dresses too young for his age,
late fifties. He is DAD.
DAD
Son!
RUSSELL
(dutifully)
Hello Harry.
Dad introduces a woman much younger, who eyes Russell hungrily.
DAD
He got all the good genes, huh? Meet
Deirdre. We're getting married in
July.
83 EXT. ARENA -- NIGHT 83
Russell walks fast outside the arena. William hustles to catch
up. The two men walk in long silent strides in the cold night
air, beyond the backstage area. Fans begin to recognize and
follow at a discreet distance.
WILLIAM
You okay? You alright?
Russell doesn't answer.
RUSSELL
(resolute, wound up)
From here on out, I'm only interested
in what's real.
The kid nods. They walk.
RUSSELL (cont'd)
Real feelings. Real people. That's
all I'm interested in... From here on
out. What is REAL? You're real.
WILLIAM
Thanks.
A wave of warmth comes over Russell.
RUSSELL
You know, you know all about us and I
don't know shit about you.
(struggling to be personal)
What's your... your family like? Tell
me.
WILLIAM
Well, my dad died of a heart attack
and my sister believes that my Mom is
so intense that she might have
contributed to it. Plus -
RUSSELL
(immediately)
Okay, that's good. That's enough.
WILLIAM
It's good to talk about it. Really
good.
Russel now sees some hero worship in the kid's face, and it
makes him nervous.
WILLIAM (cont'd)
Hey, man, maybe we should go back.
RUSSELL
If they want me, they can find me.
William turns and sees nobody following but fans.
WILLIAM
So listen. I have to go home tomorrow.
I know this is a bad time to finish
our interview.
RUSSELL
Hey, man, you know what? Write whatever
you want. I trust you.
A big square Chevy van slows down. A CONCERT-GOER hands his
head out the window.
CONCERT-GOER
(battle-cry)
Woooooooooo!!! You're Russel from
Stillwater!!
RUSSELL
On my better days, yes. I am "Woooooo,
Russell from Stillwater!"
CONCERT-GOER
Wanna go to a party at my friend Aaron's
house?! I know you're a big rock star,
but do you want to hang with some people
looking to have a good time?
Russel regards the van full of kids. More fans crowding
around. The kid behind the wheel unknowingly says the magic
words.
CONCERT-GOER (cont'd)
We're just real Topeka people, man.
He has said the magic word.
A84 EXT. AARON'S PARTY - NIGHT A84
Russell arrives at the party in the rural outskirts of Topeka.
William nearby.
84 INT. AARON'S HOUSE -- NIGHT 84
William watches as Russell slugs from a Jack Daniels bottle.
They sit in the bedroom of a mindblown fan, 17 year-old AARON.
He has long frizzy brown hair, tied in a spray behind him.
Many from the neighborhood are now pouring into the home.
RUSSELL
(eyes glowing)
You. Aaron. Are what it's all about.
You are real. Your room is real.
Your friends are real. You are more
important than... than... all the silly
machinery. And you know it! In eleven
years it's gonna be 1984, man. Think
about