THE BALLAD OF JOHN & YOKO
Written by
Luken Tonjes
SincerelyLuken.com ACT 1
1 EXT. NEW YORK CITY. MUSEUM OF MODERN ART. AFTERNOON 1
We see a 1966 JOHN LENNON. He is wearing an English cap, signature sunglasses, and a scarf. JOHN is standing outside of the Museum of modern art, the sound of the city bombards him, the head liner is “YOKO ONO” he is curious so he walks in. R
INT. MUSEUM OF MODERN ART. AFTERNOON.
It is now quiet. He takes off his cap and sunglasses and proceeds down the hall. There is a picture of YOKO as he is walking in.
JOHN sees a ladder in the middle of the room with a magnifying glass hanging from the ceiling, and a canvas attached to the wall. He decides to climb it, he picks up the magnifying glass and takes a look at the canvas. It reads “yes”
JOHN is in awe and takes a look to his right, there stands YOKO ONO. She is talking to someone and is laughing. JOHN gives a faint smile.
CUT TO:
INT. NEW YORK CITY. MUSEUM OF MODERN ART. AFTERNOON.- LATER
It is towards the end of the show, there are men taking down some of the pieces. YOKO is directing them and she has a clipboards in her hand. JOHN walks up to YOKO in confidence and taps her on the shoulder. She turns quickly.
JOHN Hi, I just wanted to introduce myself, I loved the show. Especially the one piece-
YOKO And you are?
JOHN is shot down
JOHN Sorry? 2.
YOKO You said you were going to introduce yourself. There was no name.
JOHN (beat) I’m John. Lennon.
JOHN is in shock. YOKO is smiling and is happy to meet him.
YOKO Hello John , I’m-
JOHN Yoko Ono. I figured that one out. I loved the show.
YOKO giggles
YOKO Well, I’m glad you liked it. Hope to see you at the next one.
She is turning as if it is goodbye. JOHN gets frantic, he does not want to say goodbye.
JOHN Do you need any help taking down some of your pieces? I’d be happy to help.
YOKO No, they got it.
JOHN looks distraught. He worries she is not interested in him. It surprises him that she is not one of his crazed fans.
YOKO (CONT'D) But a cup of coffee would be nice. JOHN looks at her and gives the same smile that he did when he first saw her. He is in love.
CUT TO:
EXT. MUSEUM OF MODERN ART. AFTERNOON.
JOHN and YOKO exit the MOMA and JOHN puts on his cap and sunglasses.
YOKO It isn’t cloudy. Why the hat? 3.
JOHN Well it’s not for me, it’s for-
Just then a young couple, a little younger than JOHN come up to him. They are very excited.
MAN Can I have your autograph?
JOHN Sure.
JOHN signs a piece of paper and his goodbye to them is inaudible. YOKO is shocked and confused.
The two of them continue walking
YOKO I’m guessing not old friends. (pause) Who are you?
JOHN I make music, I’m in a band.
YOKO No. I did not ask what you do. I asked who are you. Your accent, your clothes, that hair. Where are you from?
JOHN England. Liverpool. You’re not exactly a New York native either.
YOKO Japan. It was pretty until the bombs. Do you like Liverpool better than the states.
JOHN Liverpool? No it’s kind of a shit hole. But it’s my home.
YOKO Does your family still live there?
JOHN I don’t have much of a family.
YOKO Everyone has a family. 4.
JOHN Biologically, yes. But it wasn't much.
It goes into a flashback and JOHN continues to narrate.
CUT TO:
INT. JULIA’S HOUSE.AFTERNOON- 1943
We see JOHN’s dad, Alfred. He is dressed in a 1950s navy uniform and is hugging his mother goodbye.
JOHN (New York) My father walked out on my mom when I was real young. Left to New Zealand for “the navy” and never came back. From then on my mother felt that she couldn't take care of me.
CUT TO:
INT. JULIA’S HOUSE. EVENING- 1944
A young JOHN is climbing on the counter to get a bowl from the cabinet. The already has the cereal out.
His mom comes home late and sits down at the couch absolutely exhausted. JOHN continues to reach for his bowl.
JOHN (V.O.) It wasn’t her fault. But I ended up living with my Aunt Mary, or Mimi, for most of my life.
CUT TO:
EXT. MIMI’S HOUSE. MORNING- 1944
JULIA is distraught at her sister’s doorsteps. JOHN is shyly in front of his Mother.
JOHN (V.O.) From then on, it was Mimi and I. Till the end.
CUT TO: 5.
2 INT. MIMI’S HOUSE. AFTERNOON- 1950 2
A young JOHN LENNON is sitting in front of the television. He is watching Elvis sing.
The doorbell rings
MIMI (From another room) John! Can you get that?
JOHN Sure, Mimi
JOHN opens the door and it is his Mother. She has a guitar case in her hand.
JOHN (CONT'D) Hi Mom!
JULIA Hi Johnny!
JULIA gives him a big hug.
JOHN What’s that for?
JULIA I’ll show you in a minute. Where’s Mimi?
JOHN She’s in the kitchen (Yelling To MIMI) Mimi!
JOHN stands behind JULIA, eagerly waiting to see what she is holding. MIMI walks in the living room.
MIMI Hey Julia.
JULIA Hey Mary.
MIMI and JULIA sit down on the couch. JOHN stands at the end of it.
MIMI You really like that Elvis Character, huh? 6.
JOHN Mom, he’s the king.
JULIA That Elvis is definitely a character.
MIMI Him and John have that in common, don’t you think?
They both laugh
JOHN Mom, what’s in the box?
JULIA Just a little something I picked up.
JOHN is excited with anticipation.
JOHN What is it?
JULIA opens up a suitcase and a guitar is inside.
JOHN (CONT'D) Wow! A guitar. I love it. Thanks, mom
JULIA hands him the case. She realizes a sticker that says “1/2 Off” is still on it. She rips it off. It leaves some on the paper on it
JOHN holds it in his hands. It is bigger than he is.
JULIA You’re welcome!
JOHN Now I can be just like Elvis! (To JULIA) Will you teach me how to play?
JULIA Of course. Here you go, hold it like this.
She is teaching him a cord. She is moving his fingers with hers.
JULIA (CONT'D) Now go down. 7.
She moves his opposite hand to play a cord.
JOHN plays the first cord of “Imagine”
JOHN Cool!
JOHN gets up and starts dancing like Elvis with the guitar in his hand.
JULIA Well if you are gonna play like him, you got to look like him too.
JOHN gives a wonder-filled look to his mother.
CUT TO:
3 EXT. MIMIS HOUSE. OUTSIDE. AFTERNOON 3
A young JOHN walks home from school. His hair is identical to Elvis’.
He walks closer to the door and he sees a man at his aunt’s door. It is his father. JOHN pauses but proceeds with caution.
JULIA You’ve been gone for 9 years and you think he’s all yours now!
AL I’m home now, aren’t I?
JULIA Until when? You have another “deployment” Bull. Shit.
AL Well there he is now.
JOHN walks up to the door. AL holds his son tightly. JOHN is caught by surprise.
AL (CONT'D) Hey Johnny!
JOHN Dad? 8.
JULIA See, he doesn’t even know who you are.
AL Of course he does, I look just like him. Handsome.
JOHN Why are you here?
AL I came back for you. I want you to live with me.
JULIA He wants to take you from me. You are coming to live with me.
AL Let’s not choose for the boy, its his pick. What’s it gonna be John? Your dear old dad, that you have so much to catch up with? Or your mom?
JOHN Um.
JULIA Al, stop. This is cruel.
AL It’s what he wants.
The pace picks up between them
JULIA You don’t get to decide what he wants.
AL Sure I do, he’s my son.
JULIA And he’s not mine?
MIMI walks into the doorway
MIMI What’s all this about? Come on John, lets get some food in you.
MIMI takes JOHN and holds onto his shoulders inside the house, but the door is still open. 9.
AL I guess that settles it. Goodbye, Julia. Mimi, John.
AL leaves. MIMI closes the door on JULIA. Leaving her there alone.
JOHN (New York) And I never saw him again. He could be in Africa for all I know.
YOKO And your mom?
JOHN (beat) She died a few years later. Car crash
JOHN looks down at the ground in sadness
YOKO I’m so sorry. I know what it’s like to lose someone. A home. (pause) It was hard. But we continue. (pause) How did you deal with your mother’s death?
JOHN Yes, we do.
FADE TO:
4 INT. CHURCH BUILDING. LIVERPOOL. AFTERNOON 4
It is his mother’s funeral. Her coffin is there, her picture is up. But then it fades into a concert with a banner that says “The Quarrymen”
JOHN (V.O.) Afterward, I started this band.
Playing is JOHN, Stuart Sutcliffe, and PETE best. They are singing “Jailhouse Rock”
A young PAUL MCCARTNEY walks in and is in shock of the talent. 10.
PAUL (To a stranger) Who is that singing?
MAN That’s John Lennon. Good kid, bit of a trouble maker. Mum died a few weeks back.
PAUL (intrigued) Huh.
JOHN continues to sing “Jailhouse Rock” he is into it and the crowd is into it. PAUL is blown away but gets into it like the rest of the crowd
CUT TO:
EXT. CHURCH BUILDING. LIVERPOOL. NIGHT.
It is after the show. The quarrymen are packing up. PAUL approaches JOHN behind the church.
PAUL Hey, man.
JOHN (not interested) Whatever you’re selling, I’m not interested.
PAUL No, I’m not a salesman, I’m a musician.
JOHN That’s cool.
PAUL You’re John right? I’m Paul. You sounded great up there.
JOHN Got shitty toward the end, I think.
PAUL It was more the bass than you.
Stuart looks back at him 11.
PAUL (CONT'D) No offense. (beat) Look man, I was wondering if you guys were looking for another member, I can play guitar real well, and-
JOHN No open positions, sorry.
JOHN is finished packing his guitar and is going into the van.
PAUL I heard about your mum! JOHN stops suddenly.
PAUL (CONT'D) My mum died a few years back as well. I know it’s hard, man. I’m sure she was lovely.
JOHN turns around and gets really close to PAUL. He turns around and gets his guitar out of the case.
JOHN You say you can play guitar. Prove it.
PAUL picks it up and pauses for a moment. He plays and sings a portion of “Love me do”
JOHN (CONT'D) Wow. Who wrote that?
PAUL I did.
JOHN looks at him with an approving smile. He takes back the guitar and packs it up.
JOHN Rehearsal is at 11 am. Tuesdays, Thursdays, and Saturdays. Don’t be late. Don’t be early either. The choir practices before us.
JOHN walks towards the van but he looks back at PAUL before he gets in.
JOHN (CONT'D) Nice to meet you Paul... 12.
PAUL McCartney. Paul McCartney.
JOHN Irish, (in an Irish accent) Might have to kick ya out. (normal) I’m John Lennon. Welcome to the Quarrymen.
JOHN starts to get into the van.
PAUL John- (pause) Thank you
JOHN gives an approving nod.
JOHN (V.O.) From then on we were inseparable. Brothers.
CUT TO:
INT. CHURCH BUILDING. LIVERPOOL. AFTERNOON
We see the band including PAUL playing in the same church building. They are all having a great time. JOHN looks at PAUL and knows that he has a new brother.
CUT TO:
INT. BAR. LIVERPOOL. NIGHT
The band is all together at a party. They are all sitting together and talking with a couple of girls.
JOHN sees CYNTHIA from across the bar. She is laughing with friends. He is a intoxicated.
JOHN (V.O.) Then there was Cynthia.
JOHN (CONT'D) (to his friends) Hey, who’s that? 13.
PETE That’s Cynthia Powell. She goes to the art school down the road.
JOHN She’s gorgeous.
PAUL Well what are you doing then? Go talk to her.
STUART Yeah man, go talk to her.
JOHN I was gonna. Jesus.
PETE I actually think she’s engaged.
JOHN didn’t hear him.
JOHN Sorry?
STUART Nothing. Go talk to her.
JOHN I will.
JOHN walks over to CYNTHIA. She is getting another drink.
JOHN (CONT'D) Can I buy you a drink?
CYNTHIA Sorry, I’m engaged.
JOHN looks over at his friends, he realizes what PETE said. He looks back at CYNTHIA anyway. JOHN I didn’t ask you to fucking marry me, did I?
CYNTHIA You’re drunk.
JOHN No, I’m John Lennon. And you are? 14.
CYNTHIA Hi, John Lennon. Cynthia Powell. You go to school around here?
JOHN I did.
CYNTHIA Really, which one?
JOHN Quarry bank.
CYNTHIA No, I meant college.
JOHN looks at her as if she should know what he means. He did not go to college. She realizes.
JOHN My teachers wanted me to go, they tried to convince me.
CYNTHIA What, so you’re some kind of Einstein?
JOHN Is that a US president I should know?
CYNTHIA You’re an interesting man, John Lennon.
CYNTHIA’s friend walks up to her.
DAWN Do you need me to rescue you?
CYNTHIA No, things were just wrapping up.
DAWN I think we’re all getting out of here soon.
CYNTHIA Okay. (to JOHN) It was nice talking to you. 15.
CYNTHIA begins walking away. JOHN worries for a moment like he did with YOKO.
JOHN I have a band, you know. We call ourselves the quarrymen.
CYNTHIA Because of quarry bank?
JOHN Oh, so you’re quick?
CYNTHIA It wasn’t too hard.
JOHN We’re playing this Friday at the conservative club. You should come by.
CYNTHIA As long as you don’t ask to marry me.
JOHN smiles.
CYNTHIA (CONT'D) (pause) I’ll see you around, John Lennon.
CYNTHIA walks away. JOHN gives a smile. He then walks back to his friends.
PAUL So? What’d she say?
JOHN I think she likes me. PETE Shut up.
PAUL Did you get her number?
JOHN Oh, shi-
JOHN stands up quickly.
CUT TO: 16.
5 INT. CONSERVATIVE CLUB. EVENING 5
The Quarrymen are playing for a small crowd and CYNTHIA walks in. She is taken as PAUL once was. They are playing “Twist and shout” the crowd is very into it.
JOHN sees CYNTHIA in the crowd and he gives a smile and a wave. He continues to play more passionately.
A man walks up to CYNTHIA casually. It’s BRIAN EPSTEIN.
BRIAN Pretty good, huh?
CYNTHIA I would definitely say so.
The band continues to play and the crowd is still into it.
CUT TO:
6 EXT. LIVERPOOL. STREET. NIGHT 6
The two of them are walking and it is quiet, very peaceful.
JOHN So did you like the show? Why didn't you bring your fella with you?
CYNTHIA There may be a little trouble in paradise. But don’t worry about me. He would have like the music. I know that because I did, surprisingly.
JOHN What, you didn’t think you would like our sound?
CYNTHIA Well, its not your sound necessarily. It’s just the new age. Like that one song with the twisting and shouting, that’s all very...
JOHN Original.
CYNTHIA Sorry? 17.
JOHN Paul and I wrote that one. In his dad’s living room.
CYNTHIA You’re kidding.
JOHN No, did you not like it.
CYNTHIA John, it sounded like Elvis wrote it.
JOHN Shut up.
CYNTHIA I’m serious. That was good.
JOHN Well I'm glad you liked it.
CYNTHIA I just feel like something is missing. Or someone.
JOHN looks at her puzzled.
JOHN Someone, huh?
CUT TO:
7 INT. CHURCH BUILDING. LIVERPOOL. AFTERNOON 7
There is a sign up that reads, “Open auditions, Quarrymen”. There is a line outside with lots of men that look like Elvis. GEORGE is no exception.
GEORGE walks in and he is quiet.
JOHN Next up, George Harrison
GEORGE gives a small wave
GEORGE Hi, I’m George. I’m going to play something original. 18.
PAUL (whispers to JOHN) He’s a friend of mine. I think he’s pretty good.
JOHN (to PAUL) I can tell within two seconds that he is not-
GEORGE plays the intro to “Revolution”. It is mesmerizing.
JOHN (CONT'D) (To PAUL) Too bad. Not too bad. PAUL gives him a smirk.
GEORGE continues to play.
CUT TO:
8 INT. CHURCH BUILDING. LIVERPOOL. EVENING 8
PETE I think we all have a clear choice.
STUART George? Right?
PETE That’s what I was thinking.
PAUL You know I like him. John?
JOHN Then he’s in. We’ll give him a call tomorrow. They all begin collecting their papers to get out of there. PAUL approaches JOHN.
PAUL So did you hear about Cynthia?
JOHN No what happened?
PAUL Oh you don’t know. I don’t know if I should tell you. 19.
JOHN What?
PAUL She broke off the engagement.
JOHN You’re joking.
PAUL Her and her fiancé had some problems over kids, or finances, or something like that. But you can’t tell her I told you.
JOHN I need to call her.
PAUL Relax, okay. She just got her heart broken. Giver her some time. Maybe give her some space.
JOHN Yeah, you’re probably right. I’ll wait.
PAUL Good. See you tomorrow?
JOHN 11 am sharp.
PAUL See you then. And don’t call Cynthia.
JOHN I won’t. See you, Paul.
PAUL Bye John.
PAUL walks out, leaving JOHN alone in the church.
CUT TO:
9 INT. CYNTHIA’S BEDROOM. NIGHT 9
A half naked JOHN and CYNTHIA finish having sex and fall on their backs. 20.
JOHN and CYNTHIA are laying there with the covers to their mid-chest.
JOHN That was okay, right?
CYNTHIA You were fine, a little rough at the beginning but nothing too bad.
JOHN No not the sex. We shouldn’t have waited a while? I mean, are you... (uncomfortably) Healing?
CYNTHIA I’m fine, John. I can make my own decisions.
JOHN Just double checking. You want some tea?
CYNTHIA Are you gonna make it?
JOHN Sure, why not?
CYNTHIA This is my flat. Do you know where the kettle is?
JOHN Well can you show me? If I'm gonna be here more often I should know where you keep your kettle?
CYNTHIA Who said you could come here more often?
JOHN I just assumed that-
CYNTHIA I’m pulling your leg. I’ll show you where it is.
CYNTHIA gets up but JOHN stays in bed. 21.
JOHN The band is going to this club on Friday. They’re all bringing their girlfriends, would you want to come? Not that you’re my- I just-
CYNTHIA I would love to.
JOHN Then it’s a date.
CYNTHIA Come on, Romeo, let’s make some tea.
JOHN gets up and begins to walk out of the bedroom.
CYNTHIA (CONT'D) What kind of club is that?
JOHN Don’t worry, you’ll love it
CUT TO:
10 INT. DANCE CLUB. NIGHT 10
Rock n’ Roll music is playing and everyone is dancing. PAUL with a girl. So is GEORGE and PETE.
JOHN is drinking heavily and cannot stand very straight. CYNTHIA is miserable because of it.
Stuart comes over to CYNTHIA and puts his hand out to dance. She takes it with a smile. JOHN is not looking. They begin dancing in an upbeat manner.
JOHN realizes this and angrily stumbles over to Stuart. JOHN What the hell man?!
STUART What do you mean?
JOHN That’s my girlfriend.
STUART We’re just dancing, cool down.
JOHN pushes Stuart to the ground. 22.
JOHN No you cool down. You know what man, you’re a shitty guitarist and a shittier friend. You’re out of the band.
CYNTHIA tries to intervene.
CYNTHIA John-
JOHN slaps CYNTHIA across the face. She falls to the ground.
PAUL runs up and pulls away JOHN
PAUL Hey, hey, hey. How about we all just take it easy and just let it go.
STUART No, this is good. This little shit has been a pain in my ass since the beginning. You think you can fill the gap of your mum with this band. You think this will make you normal? Nothing will, John. This band will never be anything with you in it. As long as you continue to be a prick, you’re nothing.
Stuart storms off.
PAUL Stu-
STUART Get out of here Paul. While you still can.
PAUL goes down to CYNTHIA to makes sure she is okay. She is in shock but she is okay.
PAUL John. Just go home.
JOHN takes a look at himself and realizes what he has done. He storms out.
PAUL continues to talk to CYNTHIA while she is on the ground.
CUT TO 23.
11 INT. NEW YORK CITY. COFFEE SHOP. DAY 11
JOHN That was a real wake up call for me. I of course didn’t stop drinking but it woke me up.
YOKO From what?
JOHN Delusion.
YOKO And where is Stuart now?
JOHN He passed a couple years after that. It kills me everyday that we never made up before he went.
YOKO Friendships can be hard.
JOHN Tell me about it.
YOKO Well I can tell by the ring on your finger that it wasn’t the end with you and that girl.
JOHN No it was not.
CUT TO:
12 EXT. LIVERPOOL STREETS. DAYTIME 12
JOHN now has the Beatles haircut. Him and CYNTHIA cross paths. He tries to avoid eye contact in shame of what he had done.
CYNTHIA Hi John.
JOHN Hey Cyn.
CYNTHIA How’s the- 24.
JOHN Look. I’m really sorry for the way things went. I haven’t stopped thinking about you and if you would want to give me a second chance I would love to meet sometime soon.
CYNTHIA Look John, I’m not-
JOHN I know. I was- am an asshole.
CYNTHIA The biggest.
JOHN And I don’t deserve a second chance. But I'm just asking for one. Just one date. My treat, just to talk.
CYNTHIA One date.
JOHN Just one.
CYNTHIA Just drinks.
JOHN Of course, just drinks.
CUT TO:
13 INT. CYNTHIA'S BEDROOM. NIGHT 13
The two of them are naked under the covers and staring at the ceiling.
JOHN Was that good?
CYNTHIA Yes, John. I told you, I can make my own decisions.
JOHN No, the sex.
CYNTHIA laughs 25.
The phone rings on her bedside table. CYNTHIA answers it.
CYNTHIA Hello? (To JOHN) It’s for you. It’s Paul. How did he know you were here?
JOHN Don’t worry about it.
CYNTHIA laughs and hands over the phone.
JOHN (CONT'D) Hello. PAUL (His flat) John, I just got a letter from this guy. Brian.
PAUL looks at the letter to look at the letter to remember his last name.
PAUL (CONT'D) Epstein. Brian Epstein. He saw us at the Conservative Club.
JOHN And? What did he think?
PAUL He wants to sign us!
JOHN Paul! That’s great news!
PAUL He wants us to preform in Germany.
JOHN Germany?
CYNTHIA looks up concerned.
PAUL Yea, apparently there is some big music club where he can get us to play every night.
JOHN Well of course we have to take it.
CYNTHIA looks concerned. 26.
PAUL I’m glad you agree. I’ll pack my things. You should too.
JOHN Will do.
PAUL And John
JOHN Yes?
PAUL Congratulations!
JOHN You too, Paul.
JOHN hangs up
CYNTHIA What was that about?
JOHN The band’s going to Germany.
CUT TO:
14 EXT. AIRPORT. AFTERNOON 14
JOHN and CYNTHIA are outside the airport hugging goodbye while PAUL, GEORGE, and PETE are unloading luggage from CYNTHIA’s car.
GEORGE So who’s this Brian guy?
PAUL Honestly, no clue. He said he likes our sound and wants to represent us. We’ll meet him in Hamburg. Really weird about the whole thing.
GEORGE You think he can get us far?
PAUL Honestly, no clue.
PETE comes for another bag 27.
PETE Hey John, I’m sorry your arms don’t work so you can’t help us out.
JOHN ignores him and continues to talk to CYNTHIA.
JOHN I’ll write you as much as I can. Starting with this one.
JOHN hands CYNTHIA a fresh letter. It has no name on it and is not sealed.
CYNTHIA (jokingly) I’ll treasure it forever.
JOHN I’ll be back as soon as I can. I love you.
CYNTHIA I love you too.
JOHN and CYNTHIA give each other a long hug and a kiss goodbye.
The rest of the band pretends to vomit and try to rush him inside.
GEORGE Okay, come on love bird.
JOHN Bye, Cyn.
CYNTHIA Bye, John.
The band walks inside the airport PETE aggressively hands JOHN his bag. CYNTHIA is emotional because she knows that this is just the beginning.
CUT TO:
15 INT. HAMBURG. TOP TEN CLUB. DRESSINGROOM. EVENING. 15
Tension is high between JOHN, PAUL, and GEORGE. They are all wearing black suits. They are nervous about the performance and PETE is nowhere to be found.
JOHN Where the hell is Pete? 28.
GEORGE We can’t go on without a drummer.
PAUL We might have to at this point. I am not letting him screw this up for us.
JOHN There is no way in hell I am going up there without that little prick.
There is a knock at the door. BRIAN EPSTEIN enters.
JOHN (CONT'D) We’re all good on drinks, but thank you.
BRIAN Sorry, I’m not a bartender. I’m Brian. I spoke on the phone with...
The band is in shock. BRIAN points around the room to take a guess as to who he spoke with on the phone. He points at PAUL.
BRIAN (CONT'D) Paul.
PAUL Yes sir. It’s a pleasure to meet you guys.
BRIAN I’m just so excited to finally meet the band.
BRIAN points to JOHN then GEORGE.
BRIAN (CONT'D) John. (pause) George. (beat) Where’s Pete?
JOHN That seems to be the question. Sorry I called you a bartended.
BRIAN No apology needed. Pete’s not here? 29.
JOHN Not that I see.
BRIAN You know, I think I have the solution. There is a drummer here. He has a backbeat that you would not believe.
JOHN We don’t know any German. Not enough to talk to a bandmate.
BRIAN Oh he’s no German. Liverpool native.
The three of them look hopeful.
BRIAN exits.
A man with an apron walks in. A bartender.
BARTENDER I have a call for a Paul McCartney.
PAUL waves to him. He hands the phone to PAUL. PAUL is confused.
PAUL Hello?
PETE (On the phone) Hey, Paul. It’s Pete.
PAUL Jesus, Pete. Where are you?
PAUL gestures to JOHN and GEORGE to come listen,
JOHN Pete, you better get your ass over here. We go on in 7 minutes.
PETE That’s the thing guys. I have the worst sinus infection. I can barely get myself out of bed. Let alone lift a stick. I’m real sorry guys.
JOHN Yeah, you’re going to be sorry when I- 30.
BRIAN enters.
BRIAN Quarrymen, meet Ringo Starr.
The three men look at RINGO in shock as if they have seen and angel. He has the same haircut as they do and is wearing a suit with no tie.
PAUL We have to go, sorry Pete.
PAUL hangs up and the bartended leaves.
JOHN Beatles.
BRIAN Sorry?
JOHN That’s our name now. The Beatles
BRIAN Like the bug.
JOHN It’s a play on words. Like a drum beat. Forget it. (To RINGO) Can you site read our stuff?
JOHN picks up Pete’s sheet music from the table.
RINGO I’ll figure it out.
JOHN Good enough. Then lets go.
JOHN walks out and slaps the sheet music to RINGO’s chest. The rest of them are okay with it and walk out.
CUT TO:
16 INT. TOP TEN CLUB. STAGE. NIGHT 16
The crowd mutters. They do not seem interested. The Beatles walk on the stage. 31.
PAUL Hello, ladies and gentlemen. We are the Beatles from liverpool. I hope you guys enjoy.
PAUL turns around and counts off.
The band plays “I saw her standing there” and RINGO is surprisingly keeping up.
JOHN (V.O.) That was the day the Beatles were born.
CUT TO:
17 INT. NEW YORK CITY. COFFEE SHOP. DAY 17
JOHN and YOKO still are sitting in the coffee shop but they are clearly done drinking.
YOKO Ringo.
JOHN Sorry?
YOKO Ringo, It’s Japanese for apple. I know that name. He’s still in the band, right?
JOHN Apple? Huh, I would compare him more to a Coconut, but Apple works. Yeah we had to let Pete go after that night. It wasn’t because he was sick that night, it wasn’t even because Ringo was a better drummer. Ringo is simply a Beatle. And Brian was right, that kid had one hell of a back beat.
CUT TO:
18 INT. TOP TEN BAR. HAMBURG. MIDNIGHT 18
PAUL, GEORGE, RINGO, and BRIAN are all in the bar. It is empty. They are waiting for JOHN, but it hasn’t been too long. JOHN walks in with a drink in his hand. 32.
PAUL, GEORGE, and RINGO are all wearing sweaters but RINGO is wearing a jacket on top of his. BRIAN is wearing a suit.
BRIAN Where is this kid? We have an after party to go to. You guys need to get the name out.
PAUL He’ll be here soon enough.
JOHN walks in, he is wearing jeans and a leather jacket.
JOHN Sorry I’m late, ready to get started?
BRIAN What are you wearing? Why did you change?
JOHN Sorry?
BRIAN That jacket.
JOHN What about it.
BRIAN It’s a fine jacket. I would even wear it. Its just that were trying to convey an image to the public. And we’re not Elvis.
JOHN Maybe you’re not.
BRIAN I didn’t mean anything by it. You definitely play like him, that's for sure. But if you want to make it you cant be another Elvis Presley. You have to be the first John Lennon. Maybe borrow some clothes from Paul. Paul, can you-
PAUL Got it, boss.
BRIAN Good, meet you there? 33.
PAUL and JOHN nod.
JOHN has been shut up. BRIAN goes off with GEORGE and RINGO. PAUL stays back with JOHN while he is untucking his shirt. They sit down on the edge of the stage.
PAUL I think you look great.
JOHN Well it’s because I do.
They laugh together
PAUL Brian... he is just trying to get us somewhere. Out of liverpool.
JOHN What else is there?
PAUL What do you mean? America! France! Italy! The world! It could be ours.
JOHN You know Paul, this is the first time I left more than 20 miles out of Liverpool. That was the first time I had ever been on a plane. Liverpool is all I have ever known. What if I’m not ready to let go?
PAUL When your mom died, did you feel lost? Because I did. I always wondered what was next for me. But it wasn’t until I met you, John, that I knew what was next. Maybe not music, but a brother to stay with. We’re family, John, whether you like it or not. I don’t know if you’re ready to leave your old family, but you have a new one. And as long as you’re with us, you’ll be home.
JOHN sits there contemplating what PAUL just told him. PAUL stands up and slowly begins to walk away.
PAUL (CONT'D) So, you coming to this after party or what? 34.
JOHN No, thanks. I have to write a letter.
PAUL Okay Shakespeare, see you tomorrow.
JOHN gives a small chuckle and smiles. He sits at the piano. We see him write on the back of a sheet of music, “Dear CYNTHIA,”
CUT TO:
19 INT. LIVERPOOL AIRBORT. BAGGAGE CLAIM. DAY. 19
CYNTHIA is standing at the end of a long escalator with a sign that reads, “JOHN Winston LENNON” over her stomach. JOHN sees this and is embarrassed but he thinks it is sweet. He is wearing dress blue pants and a white button-up shirt.
JOHN is at the bottom of the escalator and kisses CYNTHIA.
JOHN Don’t use my middle name.
They laugh.
CYNTHIA As long as you don’t leave me again, okay?
JOHN You got yourself a deal.
They kiss again.
CYNTHIA So I have something to tell you-
JOHN Did you let my plants die?
CYNTHIA No. Well, yes but that’s not it. (beat) It’s more of what I have to show you.
CYNTHIA moves the sign to behind her back to reveal that she is pregnant. JOHN is shocked.
JOHN Wow. 35.
CYNTHIA Wow, what?
JOHN It’s mine, right?
CYNTHIA Of course. (beat) What do you think of it?
JOHN There's only one thing for it Cyn, we'll have to get married.
CYNTHIA Are you serious? When?
JOHN How about right now?
CUT TO:
20 INT. REESE’S RESTAURANT. NIGHT 20
The Beatles, CYNTHIA, and BRIAN are all in small restaurant. They are all wearing a suit and CYNTHIA is in a slim white dress. They all have cheap meals in front of them.
PAUL A courthouse? I can’t believe you guys did it.
JOHN Well you never know when that baby is coming out you have to make it quick.
CYNTHIA I’ve been pregnant for three months.
JOHN Just to be safe, you know?
They all laugh and smile at JOHN and CYNTHIA.
CYNTHIA We haven’t even talked about Hamburg yet! How was it? 36.
JOHN You should have seen it Cyn, they were screaming our name!
PAUL (chimes in) Well, my name.
GEORGE Sorry, is your name George?
JOHN (serious) Guys come on. There is no reason to discuss who they like more. Because it’s me any way.
They’re all laughing and bickering. BRIAN is disturbingly silent
CYNTHIA What about you Brian, you were there the whole time. What did you think of the trip.
BRIAN I think it was... productive.
RINGO I wouldn’t use that adjective but sure.
BRIAN I got a call when we landed.
PAUL And?
BRIAN The Beatles have a gig on the Ed Sullivan Show next week. In America.
They all cheer and are so excited JOHN Kisses CYNTHIA.
JOHN Then why the long face?
BRIAN This is it guys. America is it. Are you ready?
The band looks at each other for a moment. JOHN looks at CYNTHIA. 37.
CYNTHIA Are you guys kidding? This is what you guys have wanted since you were preforming in that shitty old church. You have to do it.
JOHN But Cyn, our baby.
CYNTHIA He’ll be here when you get back
JOHN He?
CYNTHIA It’s just a feeling. But don’t worry about us John. This is your dream, you have to go for it. I’ll be fine
BRIAN How about this, Cynthia, you can live in my flat until we get back. It has a bit more room and you’ll be a little more comfortable in the area.
CYNTHIA Are you serious? That would be wonderful!
BRIAN But I need one thing.
JOHN and CYNTHIA look at each other then BRIAN in worry.
CYNTHIA What is it? Anything.
BRIAN I need you to keep your marriage a secret.
JOHN Sorry?
BRIAN Girls went crazy for John in Hamburg.
JOHN (To PAUL and GEORGE) See?! 38.
BRIAN And if he has a ring on his finger we don’t have the same appeal that we did. This is just for the beginning. Obviously tell your family and friends. If the press asks, answer truthfully. But don’t seek it out, fair enough? I love you two but I am your manager first and this is the best move for us right now.
JOHN Cyn?
CYNTHIA John, If this is how you make it. Then of course. (To BRIAN) I’m in.
JOHN Then I’m in too.
BRIAN That’s it then. Beatles are going to America.
RINGO And Cynthia is single now.
RINGO puckers his lips and raises his eyebrows. They all laugh and JOHN pushes him.
JOHN Where’s our first stop?
BRIAN. Miami. Florida.
CUT TO:
22 EXT. MIAMI AIRPORT. AFTERNOON. 22
The Beatles and BRIAN get off the plane. There is nobody waiting for them. This is the last time it will ever happen. They all get excited to be in America.
JOHN I can’t wait to have and American hamburger. 39.
RINGO You had Hamburg hamburgers. Their birth place.
JOHN They were invented here.
RINGO Then why would they call them Hamburgers? Huh?
PAUL Are we forgetting about American girls?
GEORGE Don’t you dare accuse me of such a thing. They’ll fall for our accent alone.
JOHN Our accent is rubbish. Its like a country accent to them.
GEORGE You’re just mad because you can’t get any.
JOHN Do you see a ring?
JOHN waves his fingers in GEORGE’s face.
They all laugh and step into a limo that will take them to the show. BRIAN steps in quietly while they laugh amongst themselves.
23 INT. LIMO RIDE. AFTERNOON. 23
RINGO What’s up your ass, Brian? We’re in America!
BRIAN I need you guys to understand how important this is. I want your best behavior today.
JOHN Okay mum.
They all laugh, except BRIAN. 40.
BRIAN I’m serious guys, we don’t know who will be there tonight. Either at the show or at the after party. I mean we’re talking Marilyn, Brando, little Richard. You have to be professional so we can work with them one day.
PAUL You got it boss. So who has dibs on Marilyn?
BRIAN Let’s not.
PAUL Oh, I think Brian wants her guys.
BRIAN No, I-
GEORGE It’s fine Brian. We’ve all thought about it and if the time comes we’ll all just be so proud of you.
BRIAN Guys I-
JOHN We’ll be your wingman.
They all laugh.
BRIAN If we’re gonna make it, I need to get something off my chest. I’d rather you hear it from me than a story leaking.
JOHN You’re a homosexual.
BRIAN is shocked.
BRIAN Wh- wh- how did you-
JOHN I bet Paul 10 pounds on the plane. He was just trying to get it out of you. We don’t care, man. (MORE) 41.
JOHN (CONT'D) You’re a Beatle, we’re a family now. We support family.
JOHN looks sincerely at BRIAN, then at PAUL.
BRIAN Well we have a couple hours before call time. Any requests?
JOHN I’m sure the Miami beaches are better than Liverpool’s.
CUT TO:
24 EXT. HOLLYWOOD BEACH. AFTERNOON. 24
They have all changed outfits. They are wearing shorts that are rolled up and Hawaiian shirts. They begin getting into the water.
PAUL (to JOHN) Can you believe it? Right across this ocean is our small little town. We got out of there.
JOHN Who would have thought? That the quarrymen would make it this far?
PAUL You did. I couldn’t have done it without you. We couldn’t have.
JOHN It’s all of us. We’re a team. I’m just the sex appeal.
PAUL laughs.
PAUL Keep thinking that.
An American man comes up to them. He has a Beatle haircut.
MAN Are you the Beatles?
PAUL Yes, and you are? 42.
MAN I’m Eugene. I’m just a fan. Can I get your autograph?
PAUL Oh. Of course. (yells) Guys! Get over here. We’re signing autographs.
RINGO and GEORGE come from a little further in the water. They come and sign the autograph.
MAN Thank you all so much! I’m a big fan. Good luck on Sullivan.
PAUL Thank you so much!
They all act cool until he turns around and is a few back, They can’t contain their excitement.
JOHN Can you believe that! He knew who we all were!
PAUL Get used to it. One day we won’t be able to sign enough.
They continue being so excited.
CUT TO:
25 EXT. NEW YORK CITY. EVENING. 25
JOHN and YOKO are walking down the sidewalk.
JOHN That was the last time I had a normal day out.
YOKO What about today?
JOHN You think I want to wear this hat? Its horrendous.
YOKO I think it’s cute 43.
JOHN You don’t have to flatter me.
YOKO (laughs) I do. It’s a good look.
JOHN (laughs) Thank you. You too with your hair. You have framed your face like a picture.
YOKO You’re sweet. So I'm guessing the television show went well.
JOHN Almost too well.
JOHN has a smirk on his face and YOKO is ready to listen.
CUT TO:
26 INT. DRESSING ROOM OF ED SULLIVAN SHOW. EVENING 26
The Beatles are sitting in their chairs all with a hair dresser. RINGO’s in his future wife’s, MAUREEN’s, chair. They are now wearing their suits with a bib around their neck. BRIAN is standing in the corner of the room also wearing a suit.
ED SULLIVAN walks in.
ED The Beatles! I’m so excited to have you on the show.
JOHN stands up and takes his bib off.
JOHN Thank you for having us!
ED Love the accent.
JOHN Thanks, I was born with it.
ED I have someone who would love to meet you guys. (MORE) 44.
ED (CONT'D) (Shouts to the hall) You can come in.
ELVIS PRESLEY walks in. He is wearing very casual clothes. They all get from out of their chairs and BRIAN perks up.
ED (CONT'D) Beatles, meet-
JOHN (rapidly) Elvis Presley. A pleasure to meet you... your highness.
JOHN puts his hand out and shakes ELVIS’ frantically. They all stand up and take their bibs off. ELVIS Nice to meet you too, John. And you Paul and George and... Ringo.
RINGO gives him a salute.
PAUL I speak for all of us when I say that you’re a big influence to all of us.
ELVIS Thank you all very much. That means a lot to me. I wish you guys luck tonight.
GEORGE Thank you so much.
ELVIS Hope we meet again. See ya guys later.
ELVIS walks out. JOHN is in absolute shock. He looks at his hand that he shook ELVIS’ with in awe. PAUL and GEORGE are also in awe. RINGO is just smiling.
RINGO (To MAUREEN) Does he come back here often?
MAUREEN Are you kidding, I cut his hair?
RINGO Can you cut mine the same way sometime? 45.
MAUREEN I like the look you have now. I’m sure he’ll be asking for the Beatles cut in no time.
RINGO When that happens, call me immediately.
MAUREEN I’d need your number for that.
RINGO smiles at MAUREEN.
An executive with headphones talks to BRIAN for a moment and walks away.
BRIAN So are we all ready?
The Beatles nod.
BRIAN (CONT'D) Then let’s introduce America to The Beatles.
CUT TO:
INT. ED SULLIVAN SHOW.
A cut shows ED SULLIVAN introducing them.
ED Ladies and Gentleman, The Beatles!
They play a little bit of “Love Me Do” until it is cut off.
CUT TO:
27 EXT. NEW YORK CITY. NIGHT. 27
JOHN Brian was right, that was it. After that we toured America again and again. I mean, that’s why I’m here now!
YOKO And your kid?
JOHN Sorry? 46.
YOKO Your son.
JOHN Yes, Julian. We named him Julian. After my mom. Julia. I got a call when I was getting on a plane to Seattle so we all left and we made it the next day.
YOKO Do you wish you were there?
JOHN Sometimes, I know it was a lot of pain for her. I wish I could have been there to hold her hand, ya know?
YOKO Did you stay there with her?
JOHN For a little bit. Paul had his 21st birthday party in Liverpool after Julian was born. So we stayed in liverpool an extra week or so until we went back.
YOKO Just for a birthday?
JOHN I guess you could say it was eventful.
CUT TO:
28 INT. PAUL’S FLAT, LIVERPOOL. AFTERNOON. 28
JOHN is holding JULIAN in his arms on a small couch. The Beatles and BRIAN are crowding around him looking at him. CYNTHIA is sitting next to JOHN. They are all dresses casually.
PAUL He’s bloody marvelous, Cyn.
CYNTHIA He’s behaving for all of you. 47.
JOHN Who’s gonna be a rocker just like your dad? Julian Lennon. Sounds like a Rock n Roller.
CYNTHIA Or a scientist.
JOHN We’ll let him decide.
There is a bunch of flashes coming from the closed curtains. JOHN hands JULIAN to CYNTHIA. JOHN stands up and goes outside.
CYNTHIA John-
JOHN (to CYNTHIA) I’ll tell them to bug off
PAUL You don’t have to.
CYNTHIA John, It’s really fine.
JOHN Don’t worry about it. I’ll be cordial.
JOHN opens the door and raises his voice so the REPORTERs can hear them. He is very polite.
JOHN (CONT'D) (kindly) Hey guys, we’re just trying to have a nice birthday party. And there’s a baby in there so if you could just cut it out we would all appreciate it.
They continue taking pictures. The REPORTERs are all shouting questions at him.
JOHN (CONT'D) (mildly irritated) Hey, can you stop it. We’re just trying to have a nice time. Thank you.
JOHN begins to close the door. 48.
REPORTER John, Is it true you’re having a gay affair with Brian Epstein.
JOHN pauses from closing the door. He looks at BRIAN and he is destroyed. He wants to close the door but he can’t help himself.
JOHN And where did you hear that?
REPORTER We saw him with a man in Los Angeles that is suspected to be you, is this true?
JOHN (calm) No, it’s not.
REPORTER Can you prove it?
JOHN (angrily) I don’t have to prove anything to you.
The REPORTER continues to take picture of JOHN.
REPORTER But our sources say-
JOHN strides towards him angrily.
JOHN I don’t give a damn what your sources say.
JOHN gets into the REPORTER’s face.
JOHN (CONT'D) I am not a fag.
REPORTER You still haven’t answered my question.
JOHN punches him square in the jaw. The REPORTER falls to the ground falls to the ground. JOHN continues to beat him up and he breaks his camera.
PAUL, GEORGE, and BRIAN come rushing to pull him off. CYNTHIA comes to the door way with the baby in her arms. 49.
PAUL Stop, John, you’re gonna kill him.
PAUL and BRIAN pull him off. CYNTHIA looks away with the baby. RINGO puts his hand on CYNTHIA’s back and takes her back inside.
PAUL, GEORGE, and BRIAN have successfully pulled JOHN off of him. The REPORTER stands up and grabs his camera in a hurry. His face is bloody.
REPORTER (maniacaly) Just wait. When this gets out. You’re done.
JOHN I’d like to see you try. I’m more popular than Jesus Christ.
CUT TO:
29 EXT. NEW YORK CITY. NIGHT. 29
YOKO You said that?
JOHN Yes, and it did not go over well.
YOKO I would imagine. But you’re almost right.
JOHN Exactly! You get it.
YOKO stops in front of an apartment complex.
YOKO This is me.
JOHN Oh. Do you wanna hear about Ringo and his hairdresser? Maureen, is her name.
YOKO Maybe another day. 50.
JOHN So I’ll see you again?
YOKO You know where to find me.
YOKO kisses him on the cheek.
YOKO (CONT'D) See you around, John.
JOHN See you soon, Yoko.
YOKO goes up the stairs and into her apartment building. She looks at JOHN before she does and smiles. JOHN smiles back and gives a wave. She giggles and walks away. JOHN smiles and continues to walk.
END OF ACT 1 51.
ACT 2
CUT TO:
30 EXT. STRAWBERRY FIELDS MUSIC VIDEO. ENGLAND. AFTERNOON 30 Five Months Later
The Beatles are dressed in the sergeant pepper uniforms and they all have mustaches.
They are on a break. The rest of the Beatles are talking to their wives and production team. CYNTHIA is not there. JOHN sits on the top of the hill they are on looking out into the landscape.
BRIAN notices he is alone and walks up to him. He sits down next to JOHN.
BRIAN Is that thing hot?
JOHN Only because I’m not wearing any underpants.
The two of them laugh
BRIAN What’s wrong John?
JOHN I’m not okay Brian. I have everything I ever wanted. A successful band. A beautiful wife and child. But It still isn’t enough. What’s wrong with me?
BRIAN You know John, I got into this industry because I knew I would never have a normal life. White picket fence and a dog with the one I want to spend the rest of my life with, that’s not in the cards for me. I don’t know if we can choose what life we have. But what I do know is that we can accept what the universe gives to us. I believe that we are given opportunities to make a 180, and it’s just a question if we’re going to take them. 52.
JOHN How do I know when something is an opportunity?
BRIAN You have to know what you want first. You took opportunities to have be a rock star, if you are looking to have a normal life, it will happen.
JOHN I have made too many mistakes to reconcile. I don’t know if I can have a normal life.
BRIAN We’ve all made mistakes, John. We just have to ask ourselves if we’re going to make more of them or do everything we can to make up for them.
JOHN You’re a good man, Brian.
BRIAN I know, John.
BRIAN stands up and begins to walk away.
JOHN Brian?
BRIAN Yes.
JOHN I am wearing underwear, it was just a joke.
BRIAN I somehow don’t believe you.
The two of them laugh.
BRIAN (CONT'D) Come on, we have to film this music video. 53.
BRIAN is walking back, assembling the other Beatles to focus on the video. JOHN takes a moment of silence to reflect. JOHN the stands up and walks back.
CUT TO:
31 INT. LENNON HOUSE. LONDON. NIGHT. 31
JOHN walks into his house. He is greeted by a kiss from CYNTHIA. JULIAN, now a 5 year old, comes running to the door.
JULIAN Daddy!
JOHN Hey buddy!
JULIAN How was work?
JOHN Work was great. We were wearing such silly outfits, I can’t wait to show you.
The two of them laugh.
CYNTHIA walks to the kitchen.
CYNTHIA Tell him about your report card, Jude!
JULIAN All A’s.
CYNTHIA Julian.
JULIAN One B. It’s not my fault! The teacher didn’t like my drawing.
JULIAN takes a drawing off of the coffee table. The drawing is Lucy in the sky with Diamonds.
JULIAN (CONT'D) I drew one of the girls in my class.
JOHN Your girlfriend? 54.
JULIAN Gross!
JOHN The teacher didn’t like it?
JULIAN She said it wasn’t realistic enough.
JOHN You know, they told me the same thing. But then I figured that they were wrong.
JULIAN How?
JOHN Well I took a piece of paper.
JOHN grabs a piece of paper and a pen from the kitchen counter.
JOHN (CONT'D) And I realized. (while drawing.) Drawing has no limits. You can draw man with two legs with big feet. And one peg leg. He can be very fat. And have no neck.
JOHN draws “Treasure Ivan” From “In His Own Write”
JULIAN He looks silly.
JOHN He does, and that’s the point. The only limit is your imagination. JOHN hands JULIAN the same piece of paper but turns it over. He is smiling at JULIAN. CYNTHIA is laughing in the background.
JOHN (CONT'D) Now you try.
They continue smiling at JULIAN while he draws nonsense. The phone rings. It is right next to JOHN. JOHN is still smiling. He picks up the phone.
JOHN (CONT'D) Hello? 55.
JOHN is listening until he instantly loses his smile. He drops the phone. It is quiet. We can faintly hear CYNTHIA trying to get JOHN’s attention but she is not successful.
CUT TO:
32 EXT. BRIAN’S FUNERAL. LONDON. FOGGY. AFTERNOON 32
BRIAN’s picture is on an easel. A podium is parallel to it. Behind the podium is a dark coffin with flowers on top.
PAUL stands at the podium with a piece of paper on the podium.
In the audience is the rest of the Beatles and their wives. They are all standing and in black.
PAUL Nothing has ever meant more to me than The Beatles. And I think Brian would say the same. He took four young men from Liverpool and made them into something nobody ever imagined. I owe everything I have to Brian. My beautiful fiancé, Linda. My beautiful daughter, Heather. My best friends. I was born to meet Brian. Not as a manager, but as a friend. His life has ended, but his not legacy. You were the first Beatle to go. And if I could be where you are for you to keep changing the world. I would do it in an instant. Goodbye, Brian. Rest easy.
PAUL walks back to his seat next to LINDA and HEATHER
We now see that BRIAN’s coffin is being lowered into the ground. Then there are men putting the dirt over it. JOHN hangs his head low.
CUT TO:
33 INT. LENNON HOUSE. AFTER FUNERAL. LONDON. LATE AFTERNOON. 33
JOHN and CYNTHIA come home and they look beat. They sit on the couch and are slumped.
CYNTHIA I hate to ask so soon but what does this mean for the Beatles? 56.
JOHN I wish I could tell you.
CYNTHIA This isn’t the end though, right?
JOHN I don’t know, Cyn. But if I’m being honest we’re pretty screwed. Because no matter what happens, I never see those guys again.
CYNTHIA What do you mean?
JOHN sits up to explain.
JOHN If you take away music from the Beatles you see a bunch of dads.They don’t have time to make music anymore. Those guys have families, people they care about.
CYNTHIA And you don’t?
JOHN That’s not what I said.
CYNTHIA You didn’t have to. God forbid the notorious John Lennon be tied down to his simple family.
JOHN Come on, Cyn. I love Julian so much.
CYNTHIA Then how about you act like it.
JOHN What do you mean.
CYNTHIA You are never here John. When was the last time you took him to school? Or showed up for one of his Football matches?
JOHN He doesn’t seem angry at me. 57.
CYNTHIA He is 5. Do you think he knows any better?
JOHN At least I’m home, unlike my father.
CYNTHIA We’re not talking about your father.
JOHN I never saw him, he could be dead for all I know. I’m ten times the man he was.
CYNTHIA The bar is pretty low on that one. You sure drink like him.
JOHN You didn’t even know him so don’t you dare.
CYNTHIA I do so much for this family and you don’t even-
Just then they realize the nanny is a few feet away from them. They stop. They look down in embarrassment.
NANNY You can just pay me for today next time.
The two of them look discouraged. Exhausted once again.
JULIAN stands behind the corner with his head down.
CYNTHIA Come on, Jude. I’ll make you lunch.
JULIAN follows CYNTHIA into the kitchen. JOHN is left alone in the living room.
CUT TO:
34 INT. RECORDING STUDIO. LIVERPOOL. DAY 34
The Beatles are standing around a bunch of instruments in casual clothes. 58.
PAUL We need to come up with a game plan. Fans are expecting another album and we have no management to do so.
GEORGE We canmfind a new manager.
PAUL And have them try to fill Brian’s shoes? No way.
JOHN We could be our own managers.
PAUL And how do you propose we do that?
JOHN Start our own company. Make our own profits.
PAUL We don’t have a year. We need material now.
JOHN It wouldn’t take a year. And its better than putting out a half-ass product.
PAUL I think we can make a fine product. In a short amount of time. I’m thinking we have an interactive experience with the fans. So they feel closer than ever.
RINGO And how do you suppose we do that?
PAUL A Mystery tour.
RINGO Sorry guys, I think there must be something left in my system. Because it sounded like you said mystery tour. 59.
PAUL We go around England or America or anywhere and play whenever and wherever we want. We have a couple songs in the works, we can try them out, if they don’t like them, we can just play our old stuff.
GEORGE And you really think this will help us?
PAUL I know it will.
CUT TO:
35 INT. MONTAGE. 35
MONTAGE OF MYSTERY TOUR GOING AROUND TO DIFFERENT CITIES AND PLAYING ALL OVER THE WORLD.
The Mystery Tour Bus goes around the world to different countries and draws a big crowd.
NEGTIVE REVIEWS OF NEWS PAPERS AND NEWS STORIES OF HOW THE MYSTERY TOUR IS A FAILURE.
The papers reads that the Mystery Tour is “A Failure” “Purposeless” “The worst thing The Beatles have done thus far” etc.
CUT TO:
36 INT. RECORDING STUDIO. LIVERPOOL. DAY 36
PAUL walks in angry and the rest of the Beatles are hanging out. PAUL throws away a news paper.
PAUL It’s bullshit. They’re out of their minds. They wouldn’t know a good show if it was shoved up their ass. What do we do now?
JOHN I think there was talk of managing ourselves. 60.
PAUL John, we just don’t have the-
JOHN Time? Money? Resources? I figured you would say that.
JOHN stands up and hands them all a piece of paper.
JOHN (CONT'D) If we started our own agency, others will follow. If we can get other musicians, employees, other managers to work alongside us. We can keep our own profits as well be our own bosses. Our own hours and our own workplace. It’s like `the old days buy we’re working with millions of dollars and other artists.
GEORGE So pretty much the same. I’m in.
RINGO I’m in too. Paul?
PAUL I could use a little extra pocket change. Let’s do it.
RINGO What are we gonna call it?
JOHN looks at RINGO for a second. Looks at his rings.
JOHN Apple. Apple Records.
CUT TO:
37 INT. APPLE OFFICE. LONDON. EMPTY. DAY 37
The Beatles and all of their wives are there. PAUL pops opens a bottle of champagne. He pours it into everyone’s glass.
PATTIE So what are the Lennon’s up to after Apple launches.
CYNTHIA I think it will be good for John to have a 9-5 for a while. (MORE) 61.
CYNTHIA (CONT'D) So we’re thinking normal life stuff. Hopefully he’s home for dinner.
The rest of the Beatles and their wives are nodding their heads.
LINDA Same with Paul and I. We have too much wedding planning to do for him to be out of town.
PAUL I have less because she will only let me handle the music.
GEORGE I can’t think of a single band that you could hire.
LINDA I really did it because I thought he could get The Stones.
They begin laughing and talking about the wedding.
PATTIE (interrupts) Well, George and I are going to be taking a vacation.
JOHN You’re going to have to ask your boss for some vacation days.
The Beatles laugh and CYNTHIA rolls her eyes.
CYNTHIA Where are you two going?
GEORGE We’re thinking India.
PAUL Lets go to Zimbabwe while we’re at it. Why India?
GEORGE One word. Meditation.
RINGO Sorry? 62.
PATTIE It’s supposed to completely relax you and change you.
JOHN We could all use a little change.
CYNTHIA John? What about the normalcy we talked about?
JOHN What? We could take Julian.
GEORGE Well we were going to invite all of you. That’s if you’re interested.
JOHN looks at CYNTHIA hopeful.
CYNTHIA Fine, we’re in.
CUT TO:
38 INT. LENNON HOUSE. LONDON. AFTERNOON. 38
CYNTHIA is in their bedroom packing her clothes for India. JOHN is in Julian’s room helping him pack.
CYNTHIA puts a bottle of hairspray on the bed but it falls off and goes under the bed. She grabs the hairspray and sees a small box of letters that she kept. The box is labeled “JOHN’s Hamburg letters” She open it and looks at the top one. She has a flashback to when they were at the airport, saying their goodbye, he told her he loved her. She puts it back under the bed.
After putting that box away she sees a box to the left of it labeled “Fan mail”
CYNTHIA looks around to see if JOHN is coming and looks inside curiously. There are many letters. Each end with “Love, YOKO”
JOHN walks in. CYNTHIA is shocked still. She puts the letters she took out back in the box but does not close it.
JOHN Honey, do you know where his inhaler is? Just incase. I don’t think he’ll need it I just- 63.
JOHN is looking around their bedroom.
CYNTHIA (Sternly) Who’s Yoko?
JOHN Sorry?
CYNTHIA All these letters. They all say, “Love, Yoko”
JOHN She’s an artist I met. She’s, um, just a fan. I thought her letters were sweet so I put them in the fan mail box.
CYNTHIA But they’re all on top.
JOHN Cyn, she’s just a fan of the music. We got to get going soon.
JOHN kisses her and she isn’t satisfied, but doesn’t put up a fight.
CYNTHIA Top left drawer.
JOHN looks at her confused for a moment.
JOHN Hm?
CYNTHIA The inhaler. Top left drawer of the dresser.
JOHN Thanks honey.
He grabs the inhaler and walks out. He stops at the doorway.
JOHN (CONT'D) Honey, really don’t worry. Let’s just have a good vacation.
CYNTHIA Okay, sorry to fuss. 64.
JOHN smiles at her and goes back into the hall. CYNTHIA looks down in discontentment. Her mind still wanders.
CUT TO:
39 EXT. RISHIKESH, INDIA. CHAURASI KUTIA. AFTERNOON 39
The Beatles, their wives, and JULIAN stand in front of this giant building with many openings. They are in the wilderness.
Up comes a man with a long beard and hair.
YOGI Hello Beatles, my name is Maharishi Mahesh Yogi. But you can just call me Yogi. Allow me to show you around.
INT. RISHIKESH, INDIA. CHAURASI KUTIA. AFTERNOON
They all walk inside the facility. It is all white and very luxurious. They walk into a room with many windows with no glass.
YOGI This is the main corridors. This is where we will meet before the day gets started. Follow me and we can get started.
GEORGE Started?
YOGI No time like the present, Mr. Harrison.
Yogi leads them down a hallway to a stair case.
YOGI (CONT'D) These floors each have their own private meditation rooms. This is what you will we will be doing today. Before you can experience a spiritual experience together you must reach one on your own. I want you all to find a room and sit down as comfortably as possible. And just do what you think meditation is. It will guide itself. 65.
RINGO So you are just letting us figure it out the whole time?
YOGI I will teach you, but for now, search yourself for spirituality.
They are all a little confused but they each find a room. JULIAN is holding on to CYNTHIA because he is nervous.
JULIAN Can I go with you mommy?
YOGI We all must go alone, (To JULIAN) Even if it scares us a little bit.
CYNTHIA Come on, he’s just a kid.
YOGI All the more reason to do it.
JOHN (To CYNTHIA) He’ll be fine, Cyn. (To PAUL) He will be fine, right?
PAUL I hope we’re all okay.
CUT TO:
40 INT. MEDITATION ROOM. DIM 40
JOHN enters a dark and quiet room at the end of the hallway. There is a single light shining from a small window. He takes a look inside and simply sits down where the light shines. His legs are crossed and he puts his hands on his knees.
He is finding the whole situation uncomfortable. He then relaxes. His posture changes and his face relaxes completely. He takes a deep breath.
In his first exhale he has a flashback his father leaving. He sees his child self crying for him to come home while he is standing next to his mother . JOHN is in absolute shock but remains relaxed. 66.
In his second exhale he sees his mother’s funeral, him hitting CYNTHIA, and Stuart yelling at him.
In his third and final exhale he sees YOKO. They are laughing over a cup of tea.
JOHN opens his eyes and gasps for air. He begins to cry. He is not bawling but there are clearly tears in his eyes. He fights to hold them back. He wipes them away, stands up, and walks out.
CUT TO:
41 EXT. INDIA STREETS. NIGHT. 41
JOHN, CYNTHIA, and JULIAN are walking to their apartment. The streets are busy, the city is loud.
JOHN So what did you think of all that?
CYNTHIA All of what?
JOHN The meditation stuff.
CYNTHIA I think it was peaceful. A good quiet time.
JULIAN I was so bored.
CYNTHIA I figured you would be.
JOHN (To JULIAN) What did you think about?
JULIAN I was pretty hungry at the time.
CYNTHIA What did you think about, John?
JOHN pauses for a moment.
JOHN Same as you, quiet time. I was pretty hungry as well. 67.
INT. HOTEL.INDIA. NIGHT.
They walk into the hotel lobby. There is an Indian woman behind the counter. Her name is REKHA He knows who he is but is not freaking out, just shocked.
JOHN (To REKHA) Hi Rekha.
REKHA Hi! How can I help you today, sir?
JOHN Can we get a room with two beds.
REKHA I’m sorry, we just booked our last one to that fellow over there.
REKHA points over to PAUL.
REKHA (CONT'D) I can get you two rooms next to each other with one bed for the price of one two bed.
JOHN That would be wonderful, Rekha.
CYNTHIA John?
JOHN It’s fine, Cyn. You and Julian are in one bed and I can have my own room. I'll be fine. I’m probably going to go straight to bed anyway. (jokingly) Maybe I can meditate. REKHA gets the keys and hands them to the two of them.
REKHA Here are your keys, Mr. Lennon. And for you Mrs. Lennon.
This is the first time they are clearly separated. There is a tension of a single wall between them.
JOHN It’s just a couple nights, Cyn. 68.
CYNTHIA is not happy. She takes her bags and walks towards the elevators. JOHN looks at REKHA because he is annoyed then walks behind CYNTHIA.
CUT TO:
42 INT. CYNTHIA'S HOTEL ROOM. NIGHT 42
CYNTHIA is laying in bed restless. JULIAN is sound asleep next to her. She hears a door open and close, she thinks it’s JOHN. She gets out of bed quietly, JULIAN is not disturbed.
CYNTHIA opens the door and looks down the hall. When she looks she sees JOHN turn the corner towards the elevator.
CYNTHIA (To herself) Where are you going, John?
She puts on her slippers that are by the door and follows him.
CUT TO:
INT. HOTEL LOBBY. INDIA. NIGHT.
They are now down stairs. CYNTHIA is a couple yards behind him peeking over every wall. REKHA walks up behind her.
REKHA Everything okay Mrs. Lennon? Can I get you anything?
JOHN looks over his shoulder and CYNTHIA ducks. He walks out the front door.
CYNTHIA (To REKHA) I’m fine, thank you.
REKHA Are you sure, because I-
CYNTHIA Thanks, but no.
CYNTHIA jogs to catch up with him. 69.
EXT. HOTEL. INDIA. NIGHT.
When she walks outside, the sound of the city is mild, JOHN is no where to be found. CYNTHIA is distraught. She walks forwards a couple steps and sees that JOHN is in the small post office next door.
We see over JOHN’s shoulders that he puts a letter in an envelope along with a check to YOKO ONO labeled “Art Show”.
CYNTHIA refused to believe that it is because of YOKO but she knows that it is true.
A fan walks up to JOHN and we can hear a muffled voice.
MAN Are you John Lennon?
JOHN Last time I checked.
MAN Can I get your autograph?
JOHN gives his autograph and CYNTHIA looks in the window. JOHN looks out the window and she is gone.
CYNTHIA is standing with her back on the wall next to the window. She walks away.
CUT TO:
INT. CYNTHIA’S HOTEL ROOM. INDIA. NIGHT.
CYNTHIA gets back in bed and wakes up JULIAN.
JULIAN Where did you go, mommy?
CYNTHIA I just needed some fresh air. Go back to bed, Jude.
CYNTHIA looks off into space, she can only think of JOHN and YOKO.
CUT TO: 70.
43 EXT. RISHIKESH, INDIA. CHAURASI KUTIA. AFTERNOON 43
They are on the roof of the building. Each of the Beatles are next to their wives meditating, they are all holding hands with each other. JULIAN is sitting in front of CYNTHIA and JOHN.
YOGI This is a couple’s exercise. You all have a spiritual connection with one another. When married, one’s soul attaches to the other. Now feel that connection between the two of you.
JOHN squeezes CYNTHIA’s hand tighter. CYNTHIA is uncomfortable for a moment but gives in. PAUL and LINDA are smiling. RINGO and MAUREEN are a little confused. GEORGE and PATTIE are giggling a little bit.
YOGI (CONT'D) Synchronize your breathing. Act as one body together. Feel your hearts beating at the same pace and your minds melting together.
JOHN smiles but CYNTHIA is not into it.
YOGI (CONT'D) One body, one soul, one mind. That means you Mrs. Lennon.
CYNTHIA Sorry, Yogi
YOGI Don’t apologize. Connect.
CYNTHIA is trying hard to connect with JOHN but she just can’t.
YOGI (CONT'D) It will happen in time. (to everyone) That’s why we practice. It is a taught skill. Even when you go home you must practice everyday. We are exercising the mind.
CYNTHIA looks frustrated but also a little sad that she cannot make that connection. She knows it is because of his affair.
CUT TO: 71.
44 INT. AIRPLANE. AFTERNOON 44
The Beatles are now leaving India. JOHN is stands up in the private plane to make a toast. He is obviously drunk JULIAN is sleeping in a chair.
JOHN Excuse me, ladies and Beatles. I would like to make a toast.
RINGO Bullshit, you just wanna drink.
They are all laughing at JOHN.
JOHN Might as well do it for a good cause. (To PAUL) I would like to toast to my friend Paul. Have you guys met him? He is getting married soon to his beautiful wife, Linda. I hope you two are as happy as me and Yoko.
JOHN points to CYNTHIA. She is frozen. The rest of the Beatles are in shock. JOHN carries on.
JOHN (CONT'D) When you two first met, I thought to myself, really? But Paul seems to fancy you so I’m glad he’s happy.
PAUL Just sit down, John.
LINDA He’s okay, really.
PAUL John, you’re drunk. Take a seat.
JOHN Okay. Sorry dad.
JOHN takes a seat.
CYNTHIA (To JOHN) Why do you do these things, John. You say the worst things. (MORE) 72.
CYNTHIA (CONT'D) I’ve never met Yoko but if you’d rather be with her on this plane, then maybe you should be.
JOHN Maybe I do want her on this plane, at least she isn’t a total drag.
CYNTHIA is destroyed. She stands up and sits with PAUL and LINDA. JOHN is sitting across from JULIAN.
JOHN (CONT'D) (To JULIAN) I guess its you and me, kiddo.
CYNTHIA comes back and picks up JULIAN to bring him over to where she is standing.
JOHN is alone and knows it. He finishes his drink in one gulp. He takes a deep breath and slouches in his seat.
CUT TO:
45 INT. LENNON HOUSE. LONDON. AFTERNOON. 45
CYNTHIA is on the phone with a friend of hers. JOHN is sleeping and JULIAN is playing in the living room.
CYNTHIA I don’t know, he just isn’t the same. (beat) I just need a break from it all.
DAWN Well come to Greece with us, Cyn. All the girls from uni are going.
CYNTHIA I can’t. I just got home from India.
DAWN So? I think it will be a good thing for you. Come on, it’ll be fun.
CYNTHIA looks at JULIAN. The bedroom door opens, JOHN is going to walk out any second.
CYNTHIA You know what, I’m in. I’ll pack my bag now. 73.
CYNTHIA hangs up. JOHN walks out.
JOHN (Hung over) Hey, hun
CYNTHIA Hi, John.
JOHN Has Julian had breakfast yet?
CYNTHIA Well considering it’s three in the afternoon, yes he has had breakfast.
JOHN Okay, good.
CYNTHIA So I got a call from Dawn, from art school, and some of them are going to Greece for a while. They asked me to go with them, and I told them yes.
JOHN Honey, we just got back from vacation.
CYNTHIA What? That whole adventure? That was no vacation. You know what that was? Being in a country I have no interest in with my Husband’s work friends and their wives. With some guy that we paid too much telling us to relax. You call that a vacation?
JOHN Calm down, Cyn. If you want to go to Greece then go to Greece. For how long?
CYNTHIA A couple days. But you have to watch Jude the whole time.
JOHN I will. I’ll wake up early with him, make him breakfast, the whole bit. 74.
CYNTHIA Promise?
JOHN I swear. Maybe we’ll even make some bread. You go have fun with your friends.
CYNTHIA Thanks, John.
JOHN kisses CYNTHIA and they walk over to JULIAN.
JOHN Hey, what was I saying on the plane. I can barely remember a thing.
CYNTHIA Just how happy you were for Paul.
JOHN Ok good, that could have been bad.
CYNTHIA Yeah. It could have been.
They both sit down with JULIAN
CUT TO:
46 INT. JOHN’S CAR. LIVERPOOL. AIRPORT. AFTERNOON 46
JOHN is driving the car, CYNTHIA is in the passenger seat, and JULIAN is sitting in a car seat in the back.
They stop the car at the gate.
JOHN Have a great time, Cyn.
CYNTHIA I will. Thanks. Can you pop the trunk?
JOHN Sure. See you soon.
JOHN and CYNTHIA give a short hug and kiss.
JULIAN Bye, mommy. 75.
CYNTHIA Bye, Sweetie. Have fun with daddy.
She gets out of the car and gets her luggage from the trunk. She walks into the airport. JULIAN and JOHN wave.
JOHN drives away and we see him driving in silence with JULIAN for a moment.
JULIAN So where are we going now?
JOHN We’re gonna visit someone.
47 EXT. AUNT MIMI’S HOUSE. AFTERNOON. 47
AUNT MIMI is older than the last time we saw her. She lives in the same house and it looks the exact same but slight worn. She has more plants in her front yard than before.
We don’t see JOHN and JULIAN knock. AUNT MIMI opens the door.
MIMI John, what a great surprise. Come in, com e in.
MIMI brings the two of them inside
INT. AUNT MIMI'S HOUSE. AFTERNOON.
MIMI (To JULIAN) And how’s my little guy? You’ve gotten so big!
JULIAN I’m good, grandma.
MIMI We’ve talked about this. I’m your Aunt Mimi. (to JOHN) Grandma makes me sound so old.
JOHN Well you are old, Mimi.
JOHN kissed MIMI on the cheek. 76.
MIMI Only on the outside dear. (pause) So what brings you here?
JOHN I need you to watch Julian for a couple days. I have some recording I need to do, and Apple is starting up so I won’t be home much. I hope its no problem.
MIMI No problem at all. Do you have time in your busy schedule to stay for tea?
JOHN I should actually get going.
JOHN kneels down to JULIAN.
JOHN (CONT'D) I’ll see you soon, bud. Have fun with Aunt Mimi.
JULIAN Okay, dad.
JOHN I’ll tell you what, when I come back. I’ll give you a tour of the town. I’ll show you strawberry fields.
JULIAN Like the song?
JOHN Exactly like it. We can eat at Reese’s. The whole bit. I’ll see you soon.
The two of them hug. Then JOHN hugs MIMI.
JOHN (CONT'D) Bye, Mimi. Love you.
MIMI See you soon, John. Have fun at all of your important meetings. 77.
JOHN Trust me, I’d rather be here.
CUT TO:
48 INT. LENNON HOUSE. LARGE PARTY. NIGHT. 48
The music is loud. The house is full of strangers. The Beatles are sitting on the couch
PAUL No, I’m telling you, Liverpool has a chance this year at the cup,
RINGO Sorry, mate, Manchester has it this year,
GEORGE City or united?
RINGO City
GEORGE Are you out of your bloody mind?
JOHN walks up to them.
JOHN Can you guys talk to other people and make their entire lives? It would really make this a good party.
PAUL We’re comfortable here. Besides its getting late. Maybe we should all go home.
JOHN Come on guys, just a little longer. You won’t regret it.
PAUL Fine.
GEORGE An hour or if everyone starts skinny dipping. Whatever comes first. 78.
RINGO So that’s a no to my invite on the skinny dipping?
They all laugh. JOHN stops suddenly. He sees YOKO walk through the door. Everything moves in slow motion.
JOHN Hang on guys, I’ll be right back.
RINGO Wait, we need your opinion on something.
JOHN (walking away) City has got it.
RINGO See!
GEORGE Oh shut up.
JOHN walks up to YOKO.
JOHN Hi.
YOKO Hi.
JOHN I’m glad you could make it.
YOKO I was around.
JOHN Living in New York is not considered around here.
YOKO My show traveled here. Not everything is about you.
JOHN I disagree. (pause) I want you to meet someone. Well... Someones.
YOKO The Stones? 79.
JOHN You’re funny.
JOHN takes YOKO by the hand and walks her over to meet the Beatles.
JOHN (CONT'D) Paul, George, Ringo. Meet Yoko Ono, she’s an artist I met in New York. Yoko meet the Beatles.
YOKO Ringo.
RINGO It’s a stage name. GEORGE Yeah you know, like sparkles, or cherry. Stage names.
RINGO I’m not a stripper. Unless you want me to be.
RINGO jokingly dances in the direction of GEORGE.
JOHN (to YOKO) As you can see, we’re an elegant bunch.
PAUL (To YOKO) It’s lovely to meet you Yoko. An artist, huh, anything I would know?
YOKO Maybe, um, have you heard of Cut piece? PAUL That was you?
GEORGE What’s cut piece?
YOKO Well, I went on stage and let people, you know, cut clothes off of me.
RINGO Do you... need a stage name. 80.
YOKO (laughs) No, it’s not like that. It’s art. I gave the viewers a chance to make art, the female body.
RINGO I wish I could make art with Natalie Wood.
GEORGE Don’t we all.
PAUL Well it was very nice meeting you, Yoko. But we should all probably get going.
JOHN Paul-
PAUL Sorry, John. We have families at our house.
They all get up.
GEORGE Sorry, John.
RINGO Sorry, John.
JOHN sits down on the couch with YOKO. He pours her a drink.
JOHN Sorry about those guys, they used to be fun.
YOKO They still seem fun.
JOHN Then why did they leave?
YOKO They’re a different type of fun. They are the type of fun that hosts family barbeques and makes shelves. I hope I can see them again.
JOHN I’m sure you will. 81.
JOHN looks at her for a moment. In comfortable silence.
JOHN (CONT'D) Have any big projects coming up?
TIME LAPSE MOVING AWAY FROM JOHN AND YOKO FROM BEHING THE COUCH. EVERYONE IS MOVING FAST BUT THEY REMAIN IN THE SAME SPOT, SLOWLY TALKING THE NIGHT AWAY.
CUT TO:
49 INT. LENNON HOUSE. MORNING. 49
The house is trashed. Everyone is gone. JOHN and YOKO are in bed together, YOKO is laying down while JOHN sits toward his night stand.`. There are drugs on the bedside table. JOHN is getting up. He is putting on some pajama bottoms and a white shirt.
JOHN I’m gonna make some tea, you want any.
YOKO I’ll take some tea.
JOHN kisses YOKO intimately.
JOHN One tea, coming up.
JOHN walks out of his room.
INT. KITCHEN. LENNON HOUSE. MORNING.
QUICK SHOT OF JOHN MAKING TEA
CUT TO:
INT. LENNON HOUSE. LIVINGROOM. MORNING.
JOHN walks back to his room with two cups of tea.
CYNTHIA enters. 82.
JOHN is paralyzed. He puts the tea cups down on the table nearby.
CYNTHIA Hi, Honey.
JOHN Hi, Cyn.
The two of them kiss for a moment. JOHN is awkward.
JOHN (CONT'D) I thought you weren’t coming back until Thursday.
CYNTHIA It is Thursday. Where’s Jude.
JOHN Well, he-
CYNTHIA Who’s the other tea for?
YOKO walks in from down the hall.
YOKO John, do you need help-
YOKO is frozen same as JOHN.
CYNTHIA is not angry. She is simply stern.
CYNTHIA You must be Yoko. John didn’t tell me he was going to have any company.
JOHN Cyn- CYNTHIA (angry) I don’t give a fuck that she is half naked in our house. We can discuss that later. Where is our son?
JOHN He... He is... he’s at.
JOHN is having trouble remembering. 83.
CYNTHIA You better tell me where my son is or this tea is going down your trousers.
JOHN (remembers) He’s at Mimi’s. Mimi’s house.
CYNTHIA Jesus Christ, John. How long as he been there?
JOHN Since you left. He’s in good hands.
CYNTHIA You haven’t seen him this whole time? You’ve just been drinking and smoking this whole week? What’s wrong with you? You know, I understand that you’re a Rockstar. Women adore you so you feel like you need to be there for them. But your son adores you, when are you gonna be there for him? Julian was your second chance, John. Second chance at a normal life and you’ve officially fucked it up. I tried to help you, but you juts won’t bite. Good luck getting another chance like that again. Goodbye, John.
JOHN is disappointed in himself.
CYNTHIA turns away but looks back.
CYNTHIA (CONT'D) Goodbye, Yoko.
CYNTHIA exits. YOKO looks at JOHN.
YOKO (To JOHN) Where is she going to stay?
JOHN I have no idea.
CUT TO: 84.
50 EXT. 34 MONTAGU SQUARE. MORNING. 50
RINGO is unpacking boxes from a moving truck. CYNTHIA has a lamp in her hand and MAUREEN has a small box that is open on top. Movers are coming and going but they do not interact. JULIAN is sitting on the concrete.
CYNTHIA Thanks for letting us stay here, Ringo.
RINGO Of course. Mi case es su casa.
MAUREEN Sorry we only have the one bedroom for the two of you, hope it’s enough.
CYNTHIA I think we can adapt
RINGO Does John know you’re staying here?
CYNTHIA He’s on his way now. I think he feels bad deep down.
JOHN drives up in his Rolls Royce. YOKO is in the passenger. He parks his car behind the moving truck.
JOHN I brought some more stuff from home. You left some clothes in the closet.
CYNTHIA I meant to leave those. I was hoping you would give them to charity.
JOHN Cyn, these cost good money.
CYNTHIA Then sell them.
JOHN Okay, I get it. I’ll get out of here. 85.
RINGO (yelling) You going to the apple office after this?
JOHN Should I be?
RINGO Well, Eric Clapton is coming by so hopefully.
JOHN Shit, is that today?
RINGO Most definitely is.
JOHN I’ll head over there, I just have to change.
JOHN gets back in the car and drives off.
INT. JOHN’S CAR. LONDON STREETS. MORNING
YOKO (To JOHN) She shouldn’t be there.
JOHN Sorry?
YOKO She shouldn’t be there, with Julian.
JOHN Where do you suppose she live?
YOKO At the house.
JOHN I hope you mean your house because I’m living in my own house. I need a place to live
YOKO Well we could stay with Ringo. Until we find a new place. 86.
JOHN (intrigued) We?
YOKO Well, yes, I figured that if we want to spend more time together then we should move in together. Do you disagree?
JOHN Not at all. (beat) You know what. You’re right. Lets move in with Ringo! I never thought I would say that.
CUT TO:
51 EXT. LENNON HOUSE. AFTERNOON. 51
JOHN is leaving and he is in a blue suit and a white shirt with no tie.
JOHN (Yelling) I’ll be back tonight, Yoko!
JOHN opens the door to leave and there stands Alfred LENNON he is a much older man. He does not recognize him.
JOHN (CONT'D) Sorry sir, can I help you.
AL John.
JOHN Dad? AL I was hoping we could talk.
JOHN (angry) Now you want to talk. Because the last twenty years it seemed like you were more of the quiet type.
AL No, I- 87.
JOHN You can’t boss me around anymore. I have a life I have a family.
AL I’m well aware of that. If you would just let me-
JOHN Of course you are. I actually made something of myself, no thanks to you. I fought my way out of liverpool and you didn’t do anything but sit on your-
AL John, I’m getting married.
JOHN (shot down) What?
AL I’ve wanted to see you all this time but I never knew where to begin. I thought I could start with an invite.
AL hands him a invitation.
JOHN And you expect me to go to this?
AL Well yeah. I mean she would be your step mom.
JOHN How could she be my mom if you weren’t even my dad? Leave, man. I don’t want you here.
AL John-
JOHN No, screw you. You’re a stranger to me.
JOHN walks past him.
JOHN (CONT'D) And a bit of advice. People would do anything to get close to me. (MORE) 88.
JOHN (CONT'D) So be careful about this woman of yours. Consider that a wedding present.
JOHN rips up the invite and lets it fly in pieces on his lawn. JOHN gets in his car and drives away quickly.
CUT TO:
INT. JOHN'S CAR. AFTERNOON. LONDON
JOHN is driving down the road, his house is in the distance. JOHN is looking out into the road and the radio is playing at a low volume.
JOHN flips the channels but can’t find anything that he wants to listen to. He gets frustrated and turns it off. He looks angry.
JOHN has tears in his eyes.
JOHN (screaming) Fuck! Fuck you! (softly) Fuck you.
JOHN hits his hand on the steering wheel repeatedly in anger. He realizes that his reaction is pointless. He takes a breathe to calm down. He turns the radio back on and one of his songs is playing. He keeps listening to it and drives on.
WE SEE HIS CAR DRIVE DOWN THE ROAD INTO DOWNTOWN LONDON
CUT TO:
52 INT. APPLE OFFICE. DAY 52
The entire office is an animal house. They are on the phone, partying, doing drugs, and drinking. ERIC CLAPTON waits at the reception. JOHN enters has composed himself from the last time we saw him.
JOHN Clapton! So nice to have you.
ERIC Good to see you too, John. So what do you have going on here. 89.
JOHN Walk with me.
JOHN walks him through the office. A sea of people doing drugs and acting out without supervision.
JOHN (CONT'D) Eric, we have an interesting model here. You see, Apple Publishing has the resources other companies just can’t provide. Plus you’re behind the brand of all four Beatles, and let me say, we would all love to have you. We have already produced hits and revenue, so you have nothing to worry about. JOHN gets to his office and closes the door. JOHN goes to his desk chair and gestures towards the chair opposite for ERIC to sit in. They both sit down.
JOHN (CONT'D) But I know what you’re thinking, where’re the money? We can offer you a two hundred thousand record deal right now, that includes eight forty hour work weeks in our exclusive Apple Corps studio. As well as a 57 location tour. All you have to do is say yes, so?
ERIC I say this place is a train wreck.
JOHN Sorry?
ERIC Did you not see all of that? What kind of business is this? JOHN It’s a well oiled machine.
ERIC My advice, make it look like it. I’ll pass. But I hope to see you around, John.
JOHN I’m sorry to see you go. Hope we can be on stage together one day soon. 90.
ERIC Me too. You may not be the best businessman but you still are a fine musician.
JOHN That’s what they tell me.
ERIC begins to leave. He turns back
ERIC Tell George he’s really giving me a run for my money out there.
JOHN If we were starting the Beatles today I’d hire you. But I’ll give him the message.
CUT TO:
53 INT. RECORDING STUDIO. HAMBURG. DAY 53
JOHN walks in and the Beatles are all getting set up.
GEORGE How did the meeting with Clapton go?
JOHN Yeah, he said you’re a rubbish bass player.
PAUL Did you sign him?
JOHN Not this time, but he’ll come around. What are we playing today?
PAUL Mother Nature’s son. Have you read it?
JOHN laughs but PAUL is being serious.
JOHN Read it? I wrote it, mate.
PAUL You’re joking, right? I wrote it. 91.
JOHN You may have written a melody but I wrote the song.
RINGO (Interrupts) Can we just not do this? Paul, you wanna start the guitar riff?
PAUL Sure thing.
PAUL begins playing a short riff on the guitar.
JOHN PAUL (CONT'D) Born of poor young- Born a poor young- JOHN and PAUL stop suddenly while it takes GEORGE and RINGO a second longer to stop.
JOHN (CONT'D) Oh, you get to sing the thing too?
PAUL Well I would hope so.
JOHN Then why the bloody hell am I even here? George is already playing back up. (To GEORGE) No offense.
GEORGE Not my song.
PAUL Do you want to flip a coin for it?
JOHN No, because I’m right on this one. It’s my song, I should represent it.
PAUL Can it not just be a Beatles song? We’re one band, why can’t we just be one sound.
JOHN (angry) Because Paul- 92.
RINGO (interrupts) He wants you to be his best man.
JOHN What?
RINGO He was telling us how he was going to ask you today and he hoped none of us would be offended. George and I know that you two have known each other longer. Let’s not change that over some silly song.
JOHN (To PAUL) Is this true?
PAUL I was going to ask you after we recorded. I don’t want us to be separated by then. Would you want to do it?
JOHN Of course, Paul.
PAUL Then are we okay?
JOHN Sure, man. And take the vocals, I’m just a little angry you sound better than I do.
The two of them hug it out and go back to playing. Everything is normal.
CUT TO:
54 INT. 34 MONTAGU SQUARE. INSIDE. EVENING. 54
JOHN and RINGO walk in at the same time. JOHN is carrying a guitar case and RINGO is carrying a large stick bag. YOKO is sitting on the couch reading but gets up to greet JOHN. RINGO greets MAUREEN.
YOKO Hi, hun.
JOHN Hi Yoko, how was your day? 93.
YOKO Good, I watched you on the television. Did they really throw jelly beans at you during a show?
JOHN Yes, but it was sincere. (Beat) And George’s fault.
RINGO (Kindly from Kitchen) John, can we talk for a bit?
JOHN (To YOKO) I think I’m in trouble.
RINGO (Stern) Now?
JOHN walks over and giggles with YOKO from a far.
JOHN sits down with RINGO and MAUREEN at the kitchen table.
JOHN Oh no, are you guys getting a divorce?
RINGO No, I’m taking a break.
JOHN From each other?
RINGO We’re not getting a divorce.
MAUREEN What he’s trying to say is that he feels that it’s been a lot for him. The Beatles. The fame.
JOHN What do you mean?
RINGO Did you see how you guys fought today?
JOHN That was no big deal. 94.
RINGO Because I didn’t let it become one. (Beat) We’re going away for a while. I’m only telling you because you live here. You and Yoko will have the apartment. Just pay the rent.
MAUREEN And water the plants.
RINGO And water the plants. Just take care of things until we get back, okay?
JOHN Well I’m gonna miss you pal.
MAUREEN looks at RINGO sincerely because his friends care about him.
JOHN (CONT'D) But we’re definitely gonna have sex on your bed.
RINGO MAUREEN You’re disgusting. Aw! JOHN I’m just kidding. Kind of. We’ll keep it nice and tidy.
RINGO Good.
CUT TO:
55 INT. 34 MONTAGU SQUARE. NIGHT. 55 The entire place is trashed. The two of them are sitting on the couch watching television and eating Chinese food.
YOKO pauses it.
YOKO So I got something.
JOHN A present?
YOKO I guess you could say that. 95.
YOKO pulls out two small joints.
JOHN Weed?
YOKO Heroin.
JOHN Jesus Christ, Yoko. Put that away.
YOKO Come on, John. I know it isn’t your first time.
JOHN True, but this is not going to be my last.
YOKO Nothing is going to happen. Come on. Just relax.
YOKO lights the joint and hands it to JOHN. YOKO does the same to herself.
JOHN You chose the right weekend, Ringo would flip.
YOKO Just let go and let it take you.
They smoke it together and feel it instantly.
JOHN stands up in a hurry
JOHN Come on, let’s write a song
He grabs YOKO’s hand and pulls her over to a piano. He is playing blues-like melodies while YOKO is wailing and JOHN is singing in his telegraph-like stammering singing voice.
Their music continues to play but we see the two of them set up a polaroid and take a picture of them naked. The couch blocks the censored parts.
CUT TO:
INT. 34 MONTAGU SQUARE. NEIGHBOR’S APARTMENT. NIGHT
Cut to a woman upstairs on the phone with the police. 96.
WOMAN Hello, officers. My neighbors downstairs are being really loud and I think they are smoking something. (pause) No, not marijuana. (pause) 34 Montagu Square.
56 I/E. TELEVISION REPORT 56
A NEWS ANCHOR on the Television talks about JOHN and YOKO. While he is talking we see them being escorted out of their apartment and into a police car.
ANCHOR John Lennon and his girlfriend, Yoko Ono, have been arrested for possession of opioids, more specifically Heroin. Fans are crowding the streets of the apartment absolutely shocked at the accusations. The two will be facing bail charges and drug tests. They have been arrested by officer Norman Pilcher and will be held over night until their results come back. Stay tuned for more information.
CUT TO:
57 INT. JAIL CELL. NIGHT 57
JOHN and YOKO are released from their cell and taken aside to be talked to by Officer Norman Pilcher and a female doctor.
PILCHER Are you kidding me? (To JOHN) You’re an inspiration to billions and this is how you act?
JOHN We’re sorry officer.
PILCHER We have reviewed your case and because this is your first offense we will only be charging you with 150 pound bail. (MORE) 97.
PILCHER (CONT'D) But I’m on your ass Lennon, and the rest of the mop tops.
YOKO Thank you so much.
PILCHER But next time, it’s year in jail. Don’t be stupid. Dr. Rochester has results from your drug test. I’ll leave you guys to it.
Officer Pilcher exits
DR. ROCHESTER There are obvious signs of opioids in your system so you can’t run from this one.
JOHN We understand.
DR. ROCHESTER Ms. Ono, we saw some hormone discrepancies, so we ran some further tests on your blood. More specifically, we ran an hCG test. It used to monitor pregnancy.
JOHN and YOKO look absolutely shocked.
DR. ROCHESTER (CONT'D) Oh, you didn’t know.
JOHN We had no clue
DR. ROCHESTER Well, I’m sorry to tell you Ms. Ono. You have miscarried. JOHN and YOKO are in absolute shock. JOHN puts in head in his hands in frustration and YOKO is absolutely frozen in shock.
JOHN is angry at the world, he rocks back and forth in his chair in absolute pain. He looks at YOKO. She is in equal pain but is just sitting there. He slows his breathing. He puts his hand on her knee and they put their heads down together.
END OF ACT 2 98.
ACT 3
CUT TO:
58 EXT. PAUL'S WEDDING. OUTSIDE. AFTERNOON. 58
JOHN is standing around with YOKO having a drink. A man in a suit walks up to him.
ALLEN Hi, John Lennon?
JOHN Yes sir. Have we met?
ALLEN No we have not. I’m Allen Klein.
JOHN Yeah and I’m Neil Armstrong.
ALLEN Mick brought me.
JOHN Mick?
JOHN looks over and seen the back of Mick Jagger’s head swinging and talking to girls.
JOHN (CONT'D) Holy shit. You are Allen Klein. It’s a pleasure. (To YOKO) Honey, this is Allen Klein. He Manages the Stones.
YOKO It’s a pleasure to meet you, Allen. ALLEN Th pleasure is all mine.
ALLEN kisses YOKO’s hand.
ALLEN (CONT'D) If I’m being honest, I didn’t come here foe the wedding. I have a business proposition.
JOHN Which would be? 99.
ALLEN Apple seems like a great operation. And I want in.
JOHN As an investor?
ALLEN As a manager.
JOHN We’re kind of our own manager.
ALLEN And that’s the problem. Listen, John, I’ve seen this happen dozens of times. If you guys have nobody in charge you will all turn on each other. Creative differences turn into financial differences. I want to manage you, managing everyone else.
JOHN Are you talking your way into CEO?
ALLEN I just want to keep the Beatles together. The world needs the Beatles.
JOHN I appreciate your concern, but I think we’ll be okay.
ALLEN Well take my card. Just incase you change your mind. Just think about it.
ALLEN hands JOHN his card. JOHN takes it and slips it into his pocket.
RINGO walks up to JOHN in a hurry,
RINGO John, we’re about to start.
JOHN (to RINGO) Okay. (To ALLEN) Thank you for your time, Mr. Klein. 100.
ALLEN No, thank you, John.
JOHN (To YOKO) You can go ahead and sit down. Love you
JOHN kisses YOKO.
RINGO and JOHN walk away.
RINGO Who was that?
JOHN Allen Klein.
RINGO Fine, don’t tell me.
59 INT. PAUL'S WEDDING. TENT. OUTSIDE. AFTERNOON. 59
JOHN and RINGO go inside the tent and walk up to PAUL. YOKO is sitting in the seated section.
JOHN How do you feel?
PAUL Nervous. But excited.
JOHN I know the feeling.
RINGO You’re gonna be fine. We’re just so happy for you.
PAUL Thanks. Have you seen George?
JOHN and RINGO look at each other for an answer.
JOHN Can’t say that I have.
RINGO Not today, no. 101.
JOHN I’m sure, he’s fine.
CUT TO:
60 INT. GEORGE’S HOUSE. AFTERNOON. 60
GEORGE is in his suit and PATTIE is still in the house.
GEORGE (Yelling to PATTIE) Come on, We’re gonna be late.
GEORGE opens the door and there stands Officer Pilcher. He has a warrant in his hands and a team behind him. GEORGE stands there in shock.
PATTIE (from other room) Sorry I don’t want to look like trash when I'm up there with-
PATTIE walks up to the door while putting in her earrings and is also in shock.
PILCHER George Harrison, Pattie Boyd Harrison, we have a warrant to search your home for narcotics.
PATTIE You want me to make some tea?
The officers walks past them. Pilcher stands there with a smirk on his face.
CUT TO:
61 INT. PAUL'S WEDDING. OUTSIDE. AFTERNOON. 61
The wedding is about to start. Everyone is sitting down and waiting. PAUL is at the top of the aisle about to walk down.
PAUL Where is George? This is unlike him. He RSVP’d?
JOHN Did we do something to make him mad? 102.
RINGO I did give a fan his phone number.
PAUL No, he would still come. (pause) (To RINGO) You haven’t given our numbers to any fans have you?
RINGO (Pause) We have to find George!
MAUREEN runs up to them in her brides maid dress.
PAUL Maureen! Have you seen Pattie? Or George?
MAUREEN No, but I know where they are.
JOHN Where?!
MAUREEN John, do you remember officer Pilcher?
JOHN (shock) No.
PAUL and RINGO look at JOHN in confusion.
CUT TO:
62 INT. POLICE STATION. AFTERNOON 62
JOHN, PAUL, GEORGE, MAUREEN, and YOKO are waiting at the police station. The men have taken off their ties and un buttoned the top button of their suits.
LINDA enters in her wedding dress. She is in a rush.
LINDA I’m here. Sorry, I had to explain to my grandparents the situation.
PAUL (Taken Back) Honey, you look- 103.
JOHN Well would you look at that. He’s finally speechless.
PAUL Absolutely stunning.
LINDA You don’t look to shabby yourself. Where’s George and Pattie?
MAUREEN We’re waiting for them to be released.
PAUL, RINGO, LINDA, and MAUREEN are standing and talking. JOHN and YOKO remain sitting.
YOKO (Whispers to JOHN) You guys are really cute, you know that?
JOHN Sorry?
YOKO Calling off for a wedding because of one friend. You all rely on each other.
JOHN (taken back) Yeah. I guess you could say that.
YOKO I don’t know what you would out without each other.
JOHN stands there in shock for a moment. This is the first time he realizes that the band could break up and he would never see them again.
JOHN pulls Alan’s card out of his jacket pocket. Looks at it for a moment. YOKO is looking at the rest of the group.
GEORGE and PATTIE enter. JOHN quickly puts the card back in his pocket. They have their wedding clothes, GEORGE has his jacket and tie in his hand and PATTIE has her shoes in her hand. They are greeted by hugs.
GEORGE I’m so sorry guys. You didn’t have to call off the wedding for me. 104.
PAUL Don’t even worry about it.
PAUL looks at LINDA sincerely.
PAUL (CONT'D) It doesn’t matter where or when you get married. It’s a declaration of love. You can make it whatever you want it to be. The only thing that matters is that you want to spend the rest of your life with that person.
GEORGE A “No problem” would have been sufficient.
RINGO This suit is a rental I don’t want to vomit in it.
JOHN looks at YOKO in amazement. He realizes that he wants to spend the rest of his life with her.
They all begin walking out. JOHN and YOKO are in the back.
EXT. POLICE STATION. AFTERNOON
GEORGE Well how bout lunch on me?
PAUL Or you can repay us for bail.
RINGO I’m cool with lunch I’m starving. (To PAUL) I was promised chicken Piccata! They all get in their cars yelling at each other in a joking matter.
63 INT. JOHN’S CAR. POLICE STATION. AFTERNOON 63
YOKO buckles up but JOHN does not. He is simply looking at her. She is acting normal.
YOKO I can definitely say that was the most interesting wedding I have ever been to. (MORE) 105.
YOKO (CONT'D) So I’m thinking tonight we go to the theater and the new Maggie Smith film-
JOHN is still looking at her the same way.
YOKO (CONT'D) What? Let’s go, love bird.
JOHN Marry me.
YOKO The least you could do is ask.
JOHN Will you marry me?
YOKO Now was that so hard? (Beat) Yes. Yes of course I’ll marry you.
The two of them kiss.
JOHN I love you.
YOKO Come on, let’s go to lunch.
JOHN I say we ditch lunch.
YOKO Well where do you say we go?
JOHN I have a couple ideas.
CUT TO:
64 EXT. STRAIGHT OF GIBRALTAR. BEACH. AFTERNOON. 64
JOHN and YOKO stand there with a minister. JOHN is wearing a white jacket, white turtleneck, white jeans, and white shoes. YOKO is wearing a white dress, a white hat, knee high white socks, and white shoes. Journalists gather yards from them.
MINISTER This day for John Lennon and Yoko Ono is a very important moment in their lives. (MORE) 106.
MINISTER (CONT'D) In the years they have been together, their love and understanding of each other has grown and matured, and now they have decided to live their lives together as husband and wife. Their art has echoed among the world and among generations. Today these journalists will act as our witnesses.
The minister gestures towards the journalists and the couple laughs.
MINISTER (CONT'D) I have been told you have prepared your own vows. Mr. Lennon, you may go first.
JOHN pulls a small sheet of paper from his pocket.
JOHN A dream you dream alone is only a dream. A dream you dream together is reality.
JOHN looks up from the paper and speaks from the heart.
JOHN (CONT'D) I never knew what reality was until I met you, Yoko. You have opened my eyes to what love can be, not only love I can receive but the kind of love I can give. I have no doubt in my mind that I want to spend the rest of my life with you. I vow to listen to you. You are everything I hope to be and more. It couldn’t hurt to say that I’m wrong or to say that you’re right. I love you Yoko Ono, and I vow to do so everyday.
MINISTER And Ms. Ono.
YOKO John, you will always have a special place in my heart. I love you and will care for you as long as we are together. I vow to always do what is right by you. I want you to be happy, always. (MORE) 107.
YOKO (CONT'D) I will be there when you need me and I won’t be there when you need to be alone. I will respect you and criticize you, but I will always love you.
MINISTER By the power invested in me, by the British Colony of Gibraltar, I now pronounce you Husband and wife. You may kiss the bride.
JOHN and YOKO kiss and JOHN holds the wedding certificate up in triumph and YOKO is laughing.
JOHN Look at us, at the Altar in Gibraltar.
YOKO I hate you.
JOHN You’re already going to break your vow?
JOHN continues to hold up the certificate and smiles while the journalists take pictures.
CUT TO:
65 INT. RECORDING STUDIO. DAY 65
JOHN walks into the recording studio.
RINGO Well there he is. Mr. Ono Lennon
JOHN Hey guys.
GEORGE Hey guys?! You got married in another country and all you have to say is hey guys?
JOHN Sorry guys, it was just in the moment.
PAUL Yeah guys, leave him alone. Love was in the air when he left. 108.
RINGO You’re disgusting.
PAUL looks at JOHN like he is proud. He knows that what he said resonated with him.
JOHN So are we gonna play music or what?
They are all grabbing their instruments and then YOKO walks in. They see her behind the glass behind the sound guy.
JOHN (CONT'D) I was thinking that we could start on “She’s so heavy” I know George was having trouble with the seventh last time.
PAUL What’s Yoko doing here?
JOHN I told her she could listen in, I didn’t think it would be a problem.
GEORGE I thought we had a no girls allowed rule.
JOHN Come on guys, this isn’t primary school. We just got married, just for today?
PAUL Okay fine, just for today. Just don’t pull focus.
JOHN You got it, boss. PAUL Let’s go beginning to measure 14.
PAUL starts counting off and they start playing. They get into it a little bit and stop.
They stop at when they are supposed to. PAUL goes over and starts talking to GEORGE about something on the guitar. YOKO quietly raises her hand and JOHN sees it and walks into the room.
The Beatles are in absolute shock and their conversation is inaudible. JOHN walks back in. 109.
JOHN So I was thinking that we could emphasize Ringo’s lead into measure 12.
GEORGE What the hell was that?
JOHN What was what?
RINGO She doesn’t make music choices.
JOHN Think of her as our audience. We want to do what they say.
PAUL When have we ever made decisions based on what the fans think.
JOHN Well maybe we should start.
PAUL Why do you suppose that?
JOHN I talked to Allen Klein.
PAUL Rolling Stones Allen Klein?
JOHN No, the other one.
PAUL Why were you talking to him?
JOHN It doesn’t matter why but he wants to represent us.
PAUL But we represent ourselves.
JOHN That’s the problem. We never had any trouble deciding what was best for us until Brian left. 110.
PAUL Absolutely not. No way. The whole point of Apple was to have complete ownership and you just want to throw all of that away?
JOHN I just thought it was something we should discuss it.
PAUL There it’s discussed, the answer is no. (To RINGO) And Ringo, keep measure eleven the same. (to JOHN) Sorry mate, It’s just not the right move for the band.
PAUL counts off and they play the same bit of “She’s so heavy”. JOHN looks up and YOKO is gone. They continue playing.
CUT TO:
66 INT. 34 MONTAGU SQUARE. NIGHT. 66
YOKO is in bed reading a book and JOHN is in the bathroom brushing his teeth. YOKO puts the book down to say something.
YOKO I can’t believe Paul was so rude to you today.
JOHN (Tooth paste in mouth) Well how would you know, you left in the first five minutes. The rest of it went fine.
JOHN spits out the toothpaste.
YOKO Well obviously they didn’t want me there.
JOHN It’s not that. It’s usually such a private thing and they get freaked out by visitors. Billy Preston came in last week and Paul was speechless. 111.
YOKO How do you feel about Paul these days?
JOHN What do you mean?
YOKO I mean, you know, he acts like he is the leader of the band. It’s your band, isn’t it.
JOHN Well I started it but it doesn’t mean that it’s mine.
YOKO I was looking at some of the albums. Your last album you were credited for 12 and Paul was credited for 13.
JOHN So?
YOKO Doesn’t that make you worry a little bit?
JOHN A little, but it’s not like he’s trying to-
YOKO Push you out?
JOHN Well-
YOKO All I’m saying is that you tell me all decisions are made by the whole band. But most decisions seem to be Paul’s.
JOHN is pondering on what she has said.
YOKO (CONT'D) Sorry, maybe I shouldn’t have said anything. Goodnight.
The two of them kiss and YOKO lays down and turns her light off. 112.
JOHN Goodnight.
JOHN turns off his light and lays in bed staring at the ceiling, restless.
CUT TO:
67 INT. RECORDING STUDIO. DAY 67
JOHN walks in with YOKO through the entrance. The sound guys follow them with a mattress.
PAUL What the bloody hell is going on?
JOHN Well I thought about what you guys said. And since I came to the conclusion that you’re wrong I thought this could be a little nest for Yoko (To Sound guys) Just put it right there.
GEORGE This is not okay.
JOHN Then leave.
PAUL John, I thought we agreed that it would be a one time thing. We love Yoko but it just isn’t-
JOHN Isn’t what? What you wanted?
PAUL What we all want.
JOHN Well that’s where we disagree. Maybe it would be nice to have some kind of Judge or manager to delegate.
PAUL This is about Allen? John- 113.
JOHN If you would just listen to him for two minutes then maybe we can reach an agreement. He can watch over us.
PAUL How’s this. We meet Allen over at the Apple office and we can hear him out.
JOHN And have a group vote?
PAUL Sure, we can have a group vote. But seriously Yoko can’t stay.
JOHN Then I’m not. See you tonight guys.
JOHN and YOKO leave. PAUL is left there utterly shocked and confused.
PAUL We’ll add him later. Lets start at measure 25 of “Here Comes the Sun”
They flip their pages and PAUL looks at the door.
CUT TO:
68 INT. APPLE OFFICE. EMPTY. EVENING 68
JOHN is waiting in the conference room where they had once started Apple. ALLEN is there standing at the head of the table. PAUL walks in, alone.
JOHN Where is everyone else?
PAUL They aren’t coming. We talked when you left and we want Apple to stay the way it is.
JOHN How about they come up here and speak for themselves.
PAUL They don’t need to-
ALLEN starts walking out. 114.
ALLEN I’ll leave you two alone.
ALLEN exits.
JOHN (Snobbish) Just because you put on the mask of leader doesn’t make it your band.
JOHN turns his head away from PAUL.
PAUL strains his head to look at his face.
PAUL Like it’s your band? When was the last time you set up a rehearsal, ordered the instruments, booked the studio?
JOHN It was my band until you took it! (beat) You took it when the moment your songs were on the A side, the moment you were upfront on stage, when your clothes were the ones we wore.
PAUL Don’t you dare tell me it was my idea to dress up for Sergeant Pepper.
JOHN (quiet but stern) I’m sure if you’d say something different we’d wear fucking suits like always.
PAUL When was the last time you wore a fucking suit?
JOHN To your wedding!
PAUL You’re just jealous that Brian saw more in me than he did you.
JOHN really gets heated when PAUL says this. 115.
JOHN Bullshit, he kept my marriage a secret so albums would sell.
PAUL matches his energy.
PAUL Are you sure he didn’t want you to forget about Cynthia... so he could have you all to himself?
JOHN Don’t even bring that shit up. You saw what I did to that reporter I’ll do the same to you.
PAUL Oh, big tough John. (pause) (quieter) Here to defend his honor. Whatever man, grow up.
JOHN You’re not any better. “I want to hold your hand” what is that shit?
PAUL It brought you millions-
JOHN -It brought me embarrassment. I can’t be singing “Love me do when I’m 30.
PAUL Then don’t.
JOHN For the good of this band I don’t think I have a choice.
PAUL Since when have you looked out for the good of the band?
JOHN Since I wanted Allen as our manager!
PAUL You really think that would help us? 116.
The argument is getting heated again. JOHN is like a lawyer, vouching for his case.
JOHN Apple is a mess, he can help us.
PAUL Oh, the employees you hired aren’t living up to your standards? I’m so sorry about that, you should contact the manager.
JOHN Why do you think Clapton refused? He though this place was disgusting.
PAUL Where is that my fault?
JOHN It’s all of our faults! (beat) We slipped up and screwed ourselves over.
PAUL What if you’re just scared of having anything worth holding onto? You don’t have to be scared, you’re not alone. (pleading) The Beatles can help you! I can help you, John!
JOHN Like you ever tried to help me? When have you done anything for me?
PAUL I wrote a song for your fucking son!
PAUL takes a deep breathe and is now calm but stern. He is on the verge of tears.
JOHN stands there in silence, waiting for what he has to say.
PAUL (CONT'D) Since the day I met you, all you have done is let people down. Do you remember what Stu said? (beat) (MORE) 117.
PAUL (CONT'D) He said that this band will be nothing with you in it. He told me leave. I didn’t believe him. I didn’t think you were all of these terrible things. I still don’t. (beat) John, I have seen you mess up a lot of things. Your wife, you kid, and now this band. I pray for Yoko that she doesn’t have to endure the same.
JOHN (angry) (voice breaking) Well you’ll never fucking know. I’m out of here. Fuck you. Fuck the Beatles. I hope your solo career is shit.
JOHN storms out and slams the door.
PAUL stands there in shock. He sits down, because he cannot stand. He begins to weep. Not at what JOHN said but because he lost his brother.
PAUL (To himself) Goodbye, brother John.
CUT TO:
69 EXT. TITTENHURST PARK. AFTERNOON. 69
JOHN has a new house, is it a much bigger house than before. It is away from it all and back in England.
It is moving day, there are movers with boxes walking in and out of the house. JOHN and YOKO have just arrived.
JOHN I can’t believe we left the city for Liverpool. Bloody Liverpool.
YOKO It’s for the best
JOHN I know. I guess it’s just odd to be closer to home.
CYNTHIA and JULIAN pull up when YOKO and JOHN get out of the car. CYNTHIA and JULIAN get out of the car. 118.
JULIAN Daddy!
JOHN Hey buddy! My goodness you’ve gotten big
CYNTHIA That’s what happens what you leave years at a time.
JOHN picks up JULIAN and spins him around. JOHN puts him down after two revolutions.
JULIAN Hi Yoko!
YOKO Hi, Julian. How are you?
JULIAN I’m good, how are you?
YOKO Very well, thank you for asking.
JOHN (To CYNTHIA) I know you guys haven’t seen the house yet, so you can go ahead and look at it all. (To JULIAN) There’s an actual lake in the backyard.
JULIAN Awesome!
CYNTHIA Thanks for that, meet you inside.
JULIAN runs towards the house and CYNTHIA follows him. JOHN and YOKO stroll inside.
YOKO You must be happy he’s here.
JOHN It’s bittersweet.
YOKO Why bittersweet? 119.
JOHN I love the kid, and I want to do right by him, it just reminds me how my father didn’t do right by me.
YOKO But that’s the past.
JOHN It’s hard to forget.
YOKO Have you ever considered primal therapy.
JOHN Therapy with chimps?
YOKO Not primate, primal. Children.
JOHN Therapy with children?
YOKO No, you are the child. The therapist, you know, uncovers your childhood self. You speak and act from the perspective of your child self.
JOHN Not happening. I’ll just want to eat corn flakes and listen to elvis anyway.
YOKO It helps you... deal with childhood trauma. I really think you could benefit from it.
JOHN stops in front of his door.
JOHN Trauma? I don’t have any-
YOKO looks at him decisively.
JOHN (CONT'D) Okay, I’ll try it. One session. For you. 120.
YOKO That’s all it takes.
JOHN And you have to pay for it.
YOKO We have joint bank accounts now, Rockstar.
JOHN Wait so I’m paying for the house too?
YOKO How will you ever recover?
JOHN I’m gonna push you in the lake.
They walk inside in laughter.
CUT TO:
70 INT. THERAPY SESSION. AFTERNOON 70
JOHN and YOKO walk into a typical therapy room. There is a couch, a chair for the doctor and a window, among other knickknacks.
DR. JAVOV Hi, John, I’m Dr. Janov. Today I will conducting your primal therapy session.
YOKO Dr. He is a little skeptical-
DR. JAVOV I’m sorry Ms. Ono, in order for the primal instincts to kick in I need to be alone with the patient.
YOKO Yes, of course, sorry.
YOKO grabs JOHN’s hand and exits. JOHN sits down. Dr. Janov sits down.
DR. JAVOV Tell me about your parents. 121.
JOHN Oh, we’re getting right into it, okay... um... my dad left when I was a kid and my mom died when I was a teenager. I mostly lived with my Aunt, Mimi.
DR. JAVOV How was life with Aunt Mimi?
JOHN It was fine. Saw my mom sometimes and ate okay. No Complaints.
DR. JAVOV How did you feel when you saw your mom?
JOHN Happy, that’s the only way I can explain it. When I was a kid there was only happy and sad, I was happy when I saw her.
DR. JAVOV What do you remember from your mom?
JOHN looks up and there is his mother standing in the corner of the room. He looks sincerely at her. He understands that she is not really there.
JOHN She was the most beautiful woman I have ever seen in my life. She did everything she could for me. I think that’s why she didn’t want me to live with her. She was worried I wouldn’t have enough. I never had a chance to tell her that she herself was enough.
DR. JAVOV Do you miss her?
JOHN Every single day.
JOHN’s eyes begin to water.
DR. JAVOV Let’s talk about your father.
JOHN’s looks at his mother and she is gone. He looks at the therapist normally. 122.
JOHN What’s there to talk about?
DR. JAVOV Have you seen him since he left when you were a kid?
JOHN Only twice, once when I was in primary school, the other a couple weeks ago.
DR. JAVOV How did you feel when you saw him recently?
JOHN I was mad, you know, that he wasn’t there all this time. And he wants to see me now after I’m successful. Fuck him.
DR. JAVOV Were you mad at him when you were a kid?
JOHN I-
DR. JAVOV Did you want him around growing up?
JOHN No. I did just fine without him. I wouldn’t be who I am without him.
JOHN is now holding back tears.
DR. JAVOV Do you think he doesn’t care about the family?
JOHN If he cared, he wouldn’t have left.
DR. JAVOV Do you remember the day he left?
JOHN Barely.
DR. JAVOV Describe to me what you remember. 123.
JOHN I was sitting on his knee-
CUT TO:
71 INT. HALL’S HOUSE. LIVING ROOM. LIVERPOOL. AFTERNOON.- 71 FLASHBACK
JOHN is young like he was when he was gifted his guitar. He is sitting on his dad’s lap. His mother is in the background, in the kitchen. The rest is blurry.
JOHN (V.O.) He whispered something in my ear about my mother.
AL Mummy is going away and she is never coming back again. Do you want to stay with her or come with me to New Zealand?
CUT TO:
72 INT. THERAPY SESSION. 72
DR. JANOV leans in.
DR. JAVOV And how did you respond?
CUT TO:
73 INT. HALL'S HOUSE. OUTSIDE. LIVERPOOL. AFTERNOON. 73
AL and JULIA are fighting over JOHN in front of the house, much like they did in front of Mimi’s house.
JOHN (young) Daddy, I want to stay with my Daddy.
JULIA is shocked. She simply lets go of JOHN.
She floats backward into darkness.
JOHN (CONT'D) Mommy, mommy! Mommy don’t go! 124.
Young JOHN chases after her, leaving his father behind.
INT. DARKNESS.
He is now alone, in the dark, nothing around him, it is absolutely quiet.
JOHN turns around and there is his mother, now in a different dress. He slowly walks up to her and grabs her hand. He looks ahead of him and his father stands in a door way.
JOHN (Young) (Yelling) Daddy! Daddy come join us!
AL does not move.
JOHN (CONT'D) (young) (yelling) Daddy! Come on, daddy!
AL does not move.
Young JOHN is now crying. He looks up at JULIA.
JOHN (CONT'D) Why isn’t daddy coming?
JULIA (Pause) Tell him what you want from him. Tell him what you want from him.
DR. JAVOV (Echoed) Tell him what you want from him.
JOHN (young) (yelling) Daddy, I want you to come join me and mommy.
AL does not move.
JOHN (CONT'D) (young) (yelling) Daddy, I want you to come join me and mommy. 125.
AL walks into the door and the door fades away into smoke.
JOHN (CONT'D) (young) (screaming) Daddy? Daddy! Daddy!
Young JOHN collapses into a ball.
JOHN (CONT'D) (young) (sobbing) Daddy come home. Daddy come home. Daddy come home.
CUT TO:
74 INT. THERAPY SESSION. AFTERNOON. 74
Adult JOHN is just how his child self was. He is in shambles, in fetal position on the couch.
JOHN (Murmuring) Daddy come home. Daddy come home.
Dr. Janov is rubbing his back.
DR. JAVOV You daddy can’t hear you John. Shh.
JOHN (murmuring) Daddy come home.
CUT TO:
75 EXT. TITTEN PARK. LAKESIDE. AFTERNOON. 75 JOHN is sitting in a lawn chair by the lake. He is reading “Pakistan” by Tariq Ali. It is peaceful. YOKO then calmly walks up and taps JOHN on the shoulder.
JOHN Hey, hun.
YOKO Hey, rock star, what are you reading? 126.
JOHN Pakistan by Tariq Ali. Do you know what’s been going on there the last decade?
YOKO Yes, I am aware. Maybe you should be in a more uplifting spirit, you have a visitor.
JULIAN walk up from a couple feet away.
JOHN Hey Julian! I thought you weren’t coming until next week!
YOKO We thought it would be fun to surprise you. Cynthia had a business trip anyway.
JOHN And I’m guessing she’s taking Roberto.
YOKO That doesn’t matter. What does matter is that your son is here.
JOHN Of course. How about I meet you by the dock in a minute. I just have to talk to Yoko for a minute.
JULIAN Okay!
JOHN Don’t forget your life vest.
JULIAN I won’t!
JULIAN runs off.
JOHN (To YOKO) What are we gonna do about this.
JOHN is shaking the book, which is what he is referring to. 127.
YOKO Pakistan? That has been going on for years, what are we supposed to do?
JOHN I don’t know if you know this but I have a pretty powerful voice in this world.
YOKO You also have a son that you never see waiting for you.
JOHN You’re right, sorry. I just want to do something for the people.
YOKO I understand. How about we can think of something later?
JOHN Sorry, you’re right. Let’s just have a peaceful day.
JOHN grabs YOKO’s hand and they walk over to JULIAN.
JOHN (CONT'D) (to JULIAN) Be careful there are no sharks!
CUT TO:
76 EXT. TITTEN PARK. LAKESIDE. DAY BREAK. 76
JOHN, YOKO, and JULIAN come in from the lake on the canoe. JOHN is putting up the oars. He then walks toward the house
They are walking up to the house. YOKO and JULIAN are in front of JOHN. He is walking towards the house as well but stops at a table on the patio. There is a notebook. It is open.
JOHN looks at the notebook. There is a poem. “Pencil Lead Piece” the word “Imagine” is underlined and it says “By YOKO ONO”. He flips pages and the same thing occurs with “Cloud Piece” and “Tuna fish Sandwich Piece”
JOHN looks up because he is proud. He then is inspired.
CUT TO: 128.
77 INT. RECORDING STUDIO. TITTENHURST PARK. MORNING. 77
YOKO walks in to the recording studio where JOHN is sitting on the piano. He is figuring out cords for “Imagine”
YOKO There you are, you’re up early.
JOHN What? No. I’m up late.
YOKO You haven’t slept?
JOHN I was too busy. Writing this.
JOHN hands YOKO pages of lyrics
We see that the pages JOHN hands YOKO says “Imagine”
CUT TO:
78 INT. RECORDING STUDIO. AFTERNOON 78
ALLEN, YOKO, sound guys, CYNTHIA, and JULIAN are all behind the glass listening to JOHN play “Imagine”. They are all so proud of him.
JOHN finished.
ALLEN (Intercom) Sounds great, John
JOHN I know, I wrote it.
ALLEN (intercom) I think we have an album on our hands.
They all look happy for JOHN, except for YOKO, who is happy but uncomfortable.
CUT TO: 129.
79 EXT. TITTENHURST PARK. FRONTYARD. AFTERNOON. 79
Lots of people gather around a fold up table. On the table there are copies of “Imagine”. There is some press there that ALLEN is talking to. JOHN is standing behind the table.
YOKO walks up to JOHN. She taps him on the shoulder. She gestures that she wants to talk to him.
80 EXT. TITTEN PARK. LAKESIDE. AFTERNOON. 80
JOHN and YOKO sit on a bench that is by the lake.
YOKO I’m going to go out and say it. I feel, you know, homesick.
JOHN Oh.
YOKO And I of course love it here. I just don’t know how long I can stay here. With the success of the album, and-
JOHN Where do you want to go?
YOKO New York.
JOHN Yoko I-
YOKO I know, that’s where the Beatles are. I just- It’s my home.
JOHN I’m not a Beatle anymore.
YOKO You don’t have to be. You can just be John.
JOHN Just be John. You have a real way with words, you know that.
YOKO Okay, Paperback Writer. 130.
JOHN laughs.
JOHN If you want New York, I’ll give you New York.
CUT TO:
81 INT. DAKOTA BUILDING. AFTERNOON. 81
JOHN and YOKO stand in a New York apartment. Over looking Central Park. YOKO is looking out of a large window. JOHN brings her tea.
JOHN Is this New York enough for you?
YOKO It’s perfect
The two of them kiss and continue to look over the city.
There is a knock at the door. JOHN is confused. He looks through the peep hole and is pleasantly surprised. He opens it and there stands GEORGE. He is holding a bottle of champagne.
JOHN Hey, man.
GEORGE Hey, bud, how’s life treating you?
JOHN No complaints.
GEORGE Good. I brought this as a-
JOHN Peace offering?
GEORGE As a congratulations. On the new album. It’s really a masterpiece.
JOHN Thank you that means a lot to me. Here, have a seat.
The two of them sit down on the couch with YOKO. 131.
YOKO (To GEORGE) Can I get you anything? Coffee, tea?
GEORGE I’m okay, thank you. (To JOHN) Seriously, man. The album is wonderful, especially “Imagine”
JOHN The whole album or the song?
GEORGE The song. It says so much about our world. How did you come up with it.
JOHN looks at YOKO sincerely.
JOHN I guess you could say it just came to me.
GEORGE So i’m guessing you’re going to the peace rally this week?
JOHN The what?
GEORGE Oh, you don’t know? I thought you would hear about it. Thousands are gonna be at Madison Square, all promoting peace. Bob Seger and Stevie Wonder are preforming. Bobby Seale is speaking.
JOHN Of the black panthers?
GEORGE That’s the one.
JOHN And why did you think I would go to that?
GEORGE They’re all singing your song, man. The Black Panthers, Anti-war protestors, the hippies. (MORE) 132.
GEORGE (CONT'D) They’re all singing “Imagine”, in the streets, in their cars, it’s like their anthem. They love you.
JOHN And you said it’s Saturday?
CUT TO:
82 INT. TAXI CAB. DAY OF FESTIVAL. EVENING. 82
JOHN and YOKO get into a cab.
JOHN Madison Square Garden.
YOKO (To JOHN) So what are you going to sing?
JOHN Just some stuff from Imagine, why?
YOKO Not all of the song, you know, are about peace.
JOHN SO? They like the album.
YOKO I’m sure they do, but this is essentially a protest. I think they need one message.
JOHN What do you suppose I do?
YOKO Maybe think of a chant, something that they can all sing. Another anthem, like Imagine.
JOHN Anthem? (beat) Driver, do you have a scrap piece of paper?
CUT TO: 133.
83 INT. MADISON SQUARE GARDEN. EVENING 83
JOHN is on stage, he is sweating.
CLOSE UP OF JOHN ON THE MIC
JOHN Ev’rybody’s talking ‘bout Bagism, Shagism, Madism, Ragism, Tagism, This-ism, that-ism, is-ism, is-ism, is-ism. All we are saying is give peace a chance!
CROWD All we are saying is give peace a chance!
The crowd continues to chant, “Give Peace a Chance”. YOKO looks at JOHN from backstage and is very proud.
84 INT. MONTAGE 84
“Give Peace a chance” continues to play. We see JOHN and YOKO in bed with a sigh that reads, “Bed in for Peace”
JOHN We want to show that it’s easy for people to be peaceful. Just stay in bed, grow out your hair. It’s that simple.
The lights cameras flash at them. JOHN is holding up a peace signa and YOKO is very happy.
EXT. MONTAGE. NEW YORK CITY. AFTERNOON.
We see JOHN marching for Vietnam.
JOHN It isn’t until we bring the troops home that we can finally have peace! Just give it a chance!
The crowd roars. YOKO looks content.
EXT. MOTAGE. DAKOTA BUILDING. AFTERNOON.
We see JOHN speaking in front of thousands on a podium. 134.
JOHN We are fighting for change, they are fighting for greed!
The crowd roars. YOKO is distraught.
INT. MONTAGE. SMALL BUILDING. EVENING
We see JOHN at a Black Panther rally.
BOBBY SEALE I would like to introduce a great friend of mine, John Lennon.
The crowd roars for JOHN. YOKO wishes she could be somewhere else.
CUT TO:
85 INT. MUSEUM OF MODERN ART. AFTERNOON. 85
YOKO is debuting her art show, entitled “Grapefruit” based on her book. It is much like the one that JOHN met her. She is talking to lots of people, JOHN is immensely proud. He is now dressed much more like a hippie. He is also talking to a couple people.
The show is now over. JOHN walks up to YOKO.
JOHN Hey hun, you need any help?
YOKO I’m okay. You can go ahead and head home.
JOHN You sure?
YOKO Positive.
JOHN Okay. Love you.
JOHN kisses YOKO.
CUT TO: 135.
86 INT. DAKOTA BUILDING. NIGHT 86
JOHN walks in. He puts his coat on a rack. MAY PANG, their maid, walks by.
MAY Mr. Lennon! You’re home early!
JOHN sits on the couch.
JOHN It was good, Yoko has some business left at the show. May, would you mind pouring me a drink?
MAY No problem.
MAY pours him a drink at the bar set up near JOHN.
MAY (CONT'D) How was it?
MAY walks over to John
JOHN It was good. Oh shit, I need to pay you. How much for the week?
MAY sits next to JOHN.
MAY Don’t worry about it. Really, it’s okay.
JOHN So do you want your check every two weeks?
MAY What’s it like John? JOHN looks confused.
MAY (CONT'D) What’s it like to be the most famous man in the world?
JOHN Did I turn into Nixon?
MAY stands up and looks out the window. 136.
MAY And witty. You know, I moved here to be on broad way.
JOHN That’s very exciting for you.
MAY I thought it would be. Then I got this job and I feel stuck.
JOHN Do you want me to fire you?
MAY Dear God, no. I just feel like I’m losing my roots, you know?
JOHN You know, sometimes your roots aren’t planted where you think they are. I mean, look at me. You think my roots is in a mop top and a suit? This is who I am now, and I’m proud of it. As long as you’re happy with what you do and who you are does it matter who you’d hoped you would be?
MAY You’re probably right. I’m so grateful for this job. And personally, I prefer this look over the mop top.
JOHN Most would disagree. But thank you.
MAY When was the last time you got a haircut?
MAY sits down and she begins playing with his hair.
JOHN May-
MAY What, John? It’s just a question. 137.
JOHN May, I don’t know what kind of man you think I am, but I’m not the type to cheat. Not anymore at least.
MAY Tell that to the mother of your child.
JOHN Let’s not bring her up! (pause) Sorry. I’ve made mistakes, May.
MAY How’s another?
MAY leans in and starts kissing JOHN. He gives in. YOKO walks in with posters in her hand. MAY jumps off of JOHN. JOHN stands up and runs to YOKO.
JOHN Yoko! She came on to me, I tried to stop it. I swear.
MAY I’m going to see myself out.
MAY leaves and YOKO stands there in silence.
JOHN You have to believe me. I told her that I was flattered but I didn’t even want to-
YOKO I believe you.
JOHN I know you’re mad, I just- Wait what?
YOKO I believe you, should I not?
JOHN No. I mean, yes you should.
YOKO But you should be with her.
JOHN Sorry? 138.
YOKO I think we need some space, John.
JOHN A divorce?
YOKO No, just some space. (beat) Have you read what the press says about me, John? Dragon lady, like I’m the one who broke up the Beatles.
JOHN Yoko. We both know none of that is true.
YOKO But they think it is, John. The worst part is that I can’t love you without being scrutinized for it. All anyone asked me about today was you.
JOHN Yoko, please. I need you.
YOKO That’s the problem. You’re supposed to love me, not need me. Take a vacation. Take May with you.
JOHN Yoko, we didn’t-
YOKO She can just be you maid if you want. You can sleep with her. Do what you want.
JOHN walks towards YOKO and puts her hand around her waist.
JOHN Do you really think this is the right thing to do?
YOKO I really do. I love you, John. I’ll think about you everyday.
JOHN Where do you suppose I go? 139.
YOKO I heard Los Angeles is lovely this time of year.
CUT TO:
87 INT. LA HOUSE. MORNING 87
MAY is sitting on the kitchen table reading the paper in her pajamas. JOHN is sitting on the piano in the same room in a white t and pajama bottoms. We don’t know if they slept together or not, we never will.
JOHN is messing around on the piano. He is trying to figure out a chord but it just isn’t coming to him.
MAY Jesus, that sounds awful.
JOHN It’s E minor, it’s literally impossible for it to sound rubbish.
MAY Well, it’s not bad. It just sounds so old.
JOHN Well sorry for growing up in the 50’s
MAY Do you even listen to any modern music?
JOHN looks back at his piano embarrassed.
MAY (CONT'D) Oh, my God. You don’t listen to music anymore. JOHN I know how to play music and I’m too busy to listen to it anymore. But I’ve listened to enough records for a lifetime.
MAY Springsteen? Bowie? Zeppelin? Elton John! 140.
JOHN Elton and I have met. I don’t know his music like the back of my hand but sure, he has good stuff.
MAY This is changing right now.
MAY walks over to some boxes on the ground. She takes out a vinyl. It is Elton JOHN’s “Honky Chateau”. She puts it on and “Honky Cat” plays. She turns up the volume. She walks over to JOHN while swaying her hips.
MAY (CONT'D) Do you hear it? The hint of the Beatles around? A hint of the 50’s. It’s all there, John. This is the new stuff.
She pulls JOHN up and starts dancing with him.
JOHN I never said, I didn’t like it.
MAY Then just keep listening.
They continue to dance. JOHN gives a smile at her.
CUT TO:
88 INT. LA HOUSE. AFTERNOON. 88
JOHN sits down next to MAY and is writing a song. They are both in casual clothes, not pajamas. He finishes a song and looks at her.
JOHN Thank you for your help. MAY I’m glad I could help. (pause) I’m gonna go out for the day. For groceries, a movie, a coffee. You want to come with?
JOHN I can’t just get a coffee anymore.
MAY Oh right, famous rock star and all. Any requests for the store? 141.
She stands up and grabs her purse.
JOHN Whatever you get I’m sure I’ll be fine with. There’s some cash in my wallet if you wanna take that.
MAY You mean the wallet that’s in my purse.
JOHN laughs.
JOHN Yes, that one.
MAY is at the door but she looks back at JOHN.
MAY You better have that song finished when I get back.
JOHN I’ll try my best, Paul. I mean May. Sorry old habits.
MAY laughs.
MAY See you tonight, John
CUT TO:
89 INT. LA HOUSE. EVENING. 89
JOHN is now in casual clothes. He is alone. He is sitting at the piano. He has pages written on all around him. We see that he had just finished a letter to YOKO. It looks like a song but at the top it says “Dear YOKO”. It is the song that will be later released on double fantasy. He folds it up and puts it in his pocket. He looks at a pile of luggage that is unpacked/ music set up necessities (Instrument cases, microphone cases, soundboards, etc.)
JOHN takes one out from the bottom, it is a guitar case. When he opens it we see that it was the mother gave him, it has the mark where the sticker used to be. He opens it up and smiles. He holds it in his hands and plays a chord, the one he used in “Mother” He laughs for a moment. MAY unlocks the door. JOHN quickly puts it back in his case and stands up.
MAY Hey! How was your day? 142.
MAY sets the groceries down on the counter.
JOHN Yeah, I finished.
MAY The song? Let me hear it.
JOHN No. The album.
MAY You’re kidding.
JOHN No.
MAY John, Rome wasn’t built in a day.
JOHN But this album was.
MAY John, that’s amazing. We need to celebrate.
JOHN I guess.
MAY Let’s go for drinks. On me.
JOHN From the money I pay you?
MAY If you’re gonna be like that then it’s coming out of your pocket.
JOHN Okay fine. I guess it is late enough to where bars are pretty lowkey.
MAY It’s also Tuesday. Who could possibly be there.
CUT TO: 143.
90 INT. TROUBADOUR CLUB. NIGHT 90
JOHN and MAY walk into a bar. It is fairly empty. But at the bar sits ERIC CLAPTON.
JOHN Clapton?!
ERIC John!
JOHN Eric, meet May Pang. May meet Eric.
MAY It’s a pleasure to meet you.
ERIC The pleasure is all mine.
JOHN (To ERIC) So what are you up to these days?
ERIC Just got back from tour so I’ve been laying low for a while.
JOHN That’s great, man.
ERIC Well where’s Yoko?
JOHN New York. We decided to give each other some space. So apparently me in Los Angeles is what that looks like.
ERIC Well at least you have some company, right?
JOHN I definitely enjoy the company.
JOHN looks at MAY sincerely.
ERIC So what are you up to this weekend? 144.
JOHN Drinking and playing the piano, why?
ERIC Elton invited me to his concert this week and I’m sure he’s love to see you.
MAY Elton John!
ERIC The one and only.
MAY (To JOHN) Come on, John. We have to go. Then you can introduce me!
JOHN Maybe.
ERIC It will be fun. We can just hangout backstage. It will be a good time.
MAY Please, John.
JOHN No. We’re not going.
ERIC It’s cool. I’m sure you’ll see him around. But hey I should probably get going. I have a whole day of drinking tomorrow so I better start bright and early.
JOHN Well it was nice seeing you. Hope our paths cross again in this town.
ERIC stands up and puts on his coat.
ERIC You too man, and give me a call if you change your mind about the concert.
ERIC leaves. 145.
MAY Why won’t you go see Elton John. I thought you liked his music.
JOHN Oh I love his music.
MAY Then what’s the problem?
JOHN Elton, not only him, but his team, and his generation, they all look up to me.
MAY And that’s a bad thing how?
JOHN I’m not that guy anymore. The Eggman, the walrus, love me do. That’s not me. I’m just John.
MAY If you aren’t those things then you’re not John.
JOHN You don’t understand. I’ve fucked up in my life. I’ve been a bad husband, a bad father, a bad husband. I mean, Jesus, I let Yoko do heroin which killed our baby.
MAY You couldn’t have know.
JOHN I could’ve chosen not to smoke that heroin. I have been a horrible person, May. There is no redemption for that, only restarting. The mop top headed freak did those things. Being just John gives me a new start.
MAY I thought you were John Lennon, the notorious badass who didn’t care what anyone thought of him.
JOHN Well, let’s just say I’ve changed. 146.
MAY But have you? You aren’t who you are now without making mistakes. We all make mistakes. But they are part of us, and like it or not John, we have to accept who we are That includes who we have been. You can’t blame yourself anymore for these things if you want to change them. All you can do is actually change them.
JOHN You’re smarter than you look, you know that?
MAY That’s what I’ve been told.
JOHN Now let’s drink, we’re celebrating after all.
CUT TO:
91 INT. ELTON JOHN CONCERT. NIGHT. 91
JOHN and MAY are standing back stage with ERIC CLAPTON. They are chattering then Elton walks up. He is very high.
ELTON Hello, gorgeous.
MAY blushes.
ELTON (CONT'D) I was talking to John. But who might you be?
MAY May Pang.
ELTON Well May Pang, when I sing ‘Your Song” tonight I dedicate it to you. Because you are stunning.
MAY Wow, thank you. That’s so sweet. 147.
ELTON (To JOHN) Oh, and John. Yoko was looking for you.
JOHN Wait, she’s here?
ELTON She’s around. Enjoy the show, you beautiful garden.
JOHN Thanks... Elton.
ELTON Anytime.
Elton stumbles and kisses MAY on the cheek. Then goes on stage. The crowd cheers.
JOHN looks over and a couple yards away stands YOKO. He is absolutely in love again. As beautiful as the day they met.
JOHN walks up to YOKO.
JOHN (to YOKO) Hey stranger.
YOKO John!
The two of them give a long hug.
JOHN Do you think we can find somewhere private to talk?
YOKO I’d like that.
CUT TO:
92 INT. ELTON’S DRESSING ROOM. NIGHT 92
JOHN and YOKO are sitting down on a couch and talking.
JOHN -You should have seen me Yoko, I was pouring words on the page like a bucket of water. 148.
YOKO I’m so happy for you, John.
JOHN Thanks, Yoko. I missed you.
YOKO I missed you too.
JOHN I actually have something for you.
YOKO You didn’t even know I was coming.
JOHN I left it in here.
He pulls the page with the song “Dear YOKO’ on it and gives it to her.
JOHN (CONT'D) This is how I’ve been feeling since we parted. Let’s not do it again.
YOKO Agreed.
JOHN So, do you want to see my new place in LA.
YOKO I would like that.
MAY opens the door.
JOHN Hey, May. I think Yoko and I are gonna spend the night at the house. You want me to pay for a hotel? MAY No, I think I’m okay. I think Elton and I are hitting it off.
She squeals and closes the door.
JOHN You want me to tell her or should I? 149.
YOKO I think she’ll figure it out. Now come on, let’s go home.
CUT TO:
93 INT. LA HOUSE. NIGHT. 93
The two of them trample in the house making out. JOHN pauses.
JOHN Yoko, I need to be honest with you.
YOKO is intrigued.
YOKO What is it?
JOHN My time in LA has changed me. I don’t think I want this life anymore.
YOKO John, we were just about to-
JOHN No, not my life with you. That’s all I want. I definitely want to be with you, now more than ever. I don’t want to be a rock star anymore. I want to have a bay with you. I want to be the father of your child, Yoko.
YOKO Well, we better start now.
JOHN sensually kisses her. They slowly take off their clothes and go to the bed. It is purely romantic.
CUT TO:
94 INT. DAKOTA BUILDING. AFTERNOON 94
JOHN and YOKO walk into their house. They both have luggage that they are rolling in. They are chatting about the flight. They are in the bedroom and they hear a knock on the door.
YOKO (To JOHN) I’ll get it. 150.
YOKO walks over to the door and there stands PAUL. With a bottle of champagne.
PAUL Hi, Yoko.
JOHN hears him from the other room. His head perks up. He walks over there. He stands in front of PAUL for the first time since he broke up the Beatles.
YOKO I’ll leave you two to chat.
JOHN Hi.
PAUL Hi.
JOHN Come on in.
PAUL Thank you.
JOHN gestures inside. They sit on the couch.
PAUL (CONT'D) Word on the street is that you have a new album coming out. I thought your last one was yesterday.
JOHN No, it wasn’t “Yesterday” that was your song, remember?
PAUL It’s nice to see that you’re still the same. (pause) Do you have a release date? JOHN Not yet. I sent it to Allen a couple days ago so we’ll see what he thinks.
PAUL Very nice.
JOHN Hey, Paul I’m- 151.
PAUL Me too, buddy. Me too.
The two of them hug and pat each other on the back.
JOHN I love you, man.
PAUL I love you, Brother John.
The two of them come out of a hug.
JOHN Your solo stuff is phenomenal as well. Are you working on anything lately?
PAUL There actually is a song I’m working on that I just can’t get the progression right.
JOHN Well let’s hear it.
PAUL Right now?
JOHN A piano is right there waiting to be played.
PAUL stands up, wipes the sweat off his hands on his jeans. He goes to the piano and begins to play “Here Today”. He gets to a point that he can’t figure out.
JOHN (CONT'D) Well here’s your problem
JOHN sits next to him on the piano. They start working on the song together. YOKO looks around the corner and smiles. She is very happy for JOHN that he got his brother back.
CUT TO:
95 INT. DAKOTA BUILDING. AFTERNOON. 95 152.
VIEW FROM THE FRONT DOOR OF THE APARTMENT. WITH A TITLE OF NINE MONTHS LATER.
It is JOHN’s Birthday. There is a banner that says “Happy Birthday JOHN”. All of the Beatles, their wives, CYNTHIA, and JULIAN are there among other people.
The Beatles are all standing in a circle by the fireplace. An older JULIAN stands there next to JOHN. JOHN is drinking a beer.
RINGO So when do you think he’ll start drinking? He’s already double the age you started, John.
JULIAN Yeah, dad, when can I start?
JOHN Want a sip?
JULIAN Are you serious?
CYNTHIA John?
JOHN Come on, it’s just a sip.
A pregnant YOKO walks up and takes it out of JOHN’s hands.
YOKO If I can’t have any, you aren’t either.
JULIAN So when you can drink I can too?
YOKO You are becoming too much like your father.
CYNTHIA Jesus, help us all.
GEORGE So Yoko, when are you due?
YOKO They say next week but I feel like it will be sooner. 153.
PATTIE We’re all so excited for you.
MAUREEN The baby will come out an artist with your genes.
PAUL But he also will have John’s genes.
LINDA smack PAUL. But PAUL laughs.
ERIC CLAPTON walks in.
JOHN GEORGE Clapton! Clapton! PAUL RINGO Clapton! Clapton! They all go over and greet him.
CYNTHIA (To PATTIE) Why do they obsess over this guy so much?
PATTIE I don’t know, I kind of see it.
JOHN pulls JULIAN aside. JOHN is smiling because he is excited and JULIAN is excited because he curious.
JOHN takes JULIAN over to the side of the room where there is a window sill by the piano that PAUL and JOHN were playing. JOHN sits him down and goes under the piano and grabs a guitar case.
JOHN You know, when I was your age my mother, Julia-
JULIAN The one I was named after.
JOHN Yes, she gave me a guitar when I was about your age. Even at the time it was outdated. She would have loved you. Oh, my god she would have loved you.
JULIAN Thanks dad, but what is this about? 154.
JOHN I want to give this to you. I haven’t been using it like I should be and I won’t be using it anytime soon. So now it’s yours.
JOHN gives him the guitar that his mother gave him. He opens up the case to reveal the guitar.
JOHN (CONT'D) I know it’s old, but sometimes the best things in life are. I mean, looks at your old man.
JULIAN Wow, thank you, Dad. Will you teach me how to play?
JULIAN is looking at him and is actually asking. JOHN is getting emotional.
JOHN Yeah, I’ll teach you how to play. Any time, anywhere.
JULIAN Thank you.
JOHN hugs his son and looks up to the heavens as if his mom was watching.
JOHN Now let’s go back to the party before your mom gets worried.
JOHN closes the case and sets it down where it was. He grabs Julian’s hand and they go back.
RINGO, PAUL, and GEORGE are done talking to ERIC so they bring him over to meet their wives.
JOHN (CONT'D) (To ERIC) Eric, thank you for coming, this is my son, Julian. He’s a big fan. You know Yoko and Cynthia. And this is of course, the infamous, Linda Eastman, Maureen Starr, and Pattie Boyd.
ERIC looks at PATTIE intimately.
ERIC It’s a pleasure. 155.
PATTIE looks at ERIC the same way back
JOHN looks over at YOKO laughing in shock because they both see it.
YOKO bends over in pain.
YOKO Oh, my God!
JOHN What? What is it Honey?
YOKO My water broke.
JOHN Right now?
YOKO No, five minutes ago. Yes now. I need to go to the hospital.
JOHN Okay, everyone! We’re gonna have to cut the party short, Sean is being born today!
RINGO (To GEORGE) Sean Lennon. Genius.
JOHN Thank you all for coming, we must go for obvious reasons.
JOHN is supporting YOKO’s back while they are walking out of the hospital.
CUT TO:
96 INT. HOSPITAL WAITING ROOM. EVENING 96
JOHN waits in the waiting room with the rest of the Beatles and their wives. They are exhausted.
CYNTHIA So Sean is the name. Like the kind that rhymes with John?
JOHN It was Yoko’s idea. 156.
CYNTHIA Of course it was.
PAUL I like it.
RINGO Very clever, John
GEORGE Yes, very clever.
JOHN Thank you.
MAUREEN When do we get to meet him?
JOHN Hopefully soon, the doctor took him in for blood work.
LINDA Is that bad?
JOHN Not necessarily, but I’m optimistic.
A nurse walks in.
NURSE Congratulations, Mr.Lennon. Your baby is healthy.
They all cheer.
NURSE (CONT'D) Do you want to meet him?
JOHN I guess I’m going to have to sometime.
The Beatles and their wives murmur in excitement. JOHN looks back at PAUL and he looks so proud of JOHN.
CUT TO:
97 INT. HOSPITAL ROOM. EVENING. 97
The Nurse leads JOHN into the room. YOKO is sleeping and beside her is a quiet baby in a glass incubator. 157.
NURSE While we were running blood tests she fell asleep. She’s totally healthy, just resting.
JOHN Thank you.
JOHN walks over to YOKO and looks at her sincerely. But when he looks at SEAN his eyes fall in love immediately. More than with YOKO, more than with CYNTHIA. JOHN realizes he has never known a love so true in his life. He looks at SEAN and picks him up gracefully. SEAN whimpers but does not cry. When JOHN holds him steady, SEAN is at peace. JOHN begins weeping.
JOHN (CONT'D) Your daddy’s here, Sean. I will do right by you, my beautiful, beautiful boy.
YOKO slowly wakes up.
JOHN (CONT'D) Hey, gorgeous.
YOKO Isn’t he just perfect?
JOHN Just like his mother.
JOHN hold SEAN up to his chest and lays next to YOKO in bed.
The Beatles walk in with their wives they are all so excited. The Beatles and JULIAN walk up next to JOHN and the wives take YOKO’s side.
JOHN (CONT'D) Sean, meet your brother and your uncles. RINGO This kid has a pretty big family, huh?
JOHN Yeah, he’s pretty lucky.
CYTHIA He’s gorgeous, John. He’s gonna be a rock star too?
They all laugh. 158.
JOHN We’ll see. The girls will flock to him either way.
JOHN looks at PAUL sincerely.
PAUL I think we should leave mom and dad alone with the baby for the night. We’ll see you tomorrow, John.
The whole group agrees.
JOHN See you all tomorrow.
JOHN looks at all of them as they all walk out. First, RINGO and MAUREEN. They are laughing. Next, GEORGE and PATTIE, they looks at each other in love as ever and give a short kiss on the lips. Then CYNTHIA and JULIAN, she is holding is hand, JULIAN is looking over his shoulder. PAUL and LINDA walk out. LINDA walks out into the hallway, but PAUL turns around. He is about to close the door.
JOHN (CONT'D) Paul, Thank you.
PAUL gives an approving nod.
JOHN and YOKO lay in their bed with SEAN. They get comfortable and they look at SEAN with elegance and grace.
YOKO Did you see how Pattie looked at Clapton!
JOHN Jesus, I know right!
The two of them laugh at each other, at SEAN. They are just as in love at the day they met.
PAN OUT FROM THE BED OUT THE DOOR.
FADE TO BLACK.
98 INT. BLACK SCREEN. 98
Imagine plays on a solo trumpet. 159.
Multiple pictures of JOHN and SEAN are on the screen. The first slide reads, “JOHN lived his remaining years being the father he never had, both to SEAN and JULIAN. JOHN stayed at home while YOKO worked. It was not until the last year of his life that he released his album ‘Double Fantasy’ which included the song ‘Beautiful Boy’”.
The next slide reads, “JOHN and YOKO lived a happy Marriage until he was fatally shot on December 8, 1980 outside of his New York apartment. Thousands gathered in memory of him.” While showing pictures of him and YOKO.
The next slide reads, “JOHN and the rest of the Beatles remained close until his death. Any argument they had was set aside forever. GEORGE HARRISON died November 29th, 2001 of Lung Cancer. PAUL and RINGO remain close friends.” While showing pictures of him and the Beatles and JOHN and CYNTHIA.
The next slide reads, “CYNTHIA POWELL LENNON died on April 1, 2015 after a short battle with cancer. LINDA MCCARTNEY died on April 17, 1998 of breast Cancer. Her and PAUL were married until her passing.” While showing pictures of CYNTHIA with JOHN and JULIAN as well as PAUL, LINDA, and their kids.
The next slide reads, “MAUREEN STARR died on December 30, 1994. 20 years after her and RINGO’s divorce. As of 2020, PATTIE BOYD is alive and well. She divorced GEORGE HARRISON in 1977... And married ERIC CLAPTON in 1979.” While showing pictures of MAUREEN and RINGO. As well as GEORGE and PATTIE. And ERIC and PATTIE.
The next slide reads, “JOHN LENNON served as an icon for many generations. With, “Imagine”, among many other songs . He influenced many great musicians after him.”
The next slide reads, “Exactly how he would have wanted it”
CUT TO:
99 INT. NEW YORK CITY. DAKOTA BUILDING. 1981. AFTERNOON 99
There is a large gathering for JOHN’s Death. The solo trumpet is playing there. A young teen runs to the front of the crowd to see YOKO speaking. We do not see YOKO.
WOMAN Kurt! Kurt! Kurt!
The Woman catches up to the boy. It is her son. She grabs his arm. 160.
WOMAN (CONT'D) Don’t you ever run away from me like that.
KURT I wanted to see Yoko.
The woman pulls him back. He keeps looking at YOKO, he is inspired.
CUT TO BLACK.
THE END