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A screenplay by James Heiberg and Jerry Slick © 2013 FADE IN BEGIN FIRST FLASH FORWARD EXT. KOLKATA (CALCUTTA) LAKESIDE PATH -- DAY DARBY SLICK, 23 years old, lonely and depressed, wearing the de rigeur Indian gentleman's outfit with Nehru shirt, smokes a cigarette that is turning brown. Darby keeps moving, avoiding the occasional PASSERBY. INT. KOLKATA HOTEL -– DAY Darby blends in with a handful of INDIAN MEN and WOMEN as he approaches a hotel desk CLERK. DARBY Aur kya chal reha hai? CLERK You have a letter. DARBY Thanks. Clerk hands the letter to Darby, who brings the letter to a window for some reading light. Darby: You have a hit Grace sings it. Your you. I‟ve decided to much do you need, and song. It's on the radio -mother and I are very proud of bail you out one last time. How where do I send it? -- Bob
Darby furrows his brow at a mirror and stands stunned, alone in the hurly burly of the lobby. END FIRST FLASH FORWARD 1
BEGIN OPENING TITLES EXT. OCEAN/LAND/OCEAN/SAN FRANCISCO –- NIGHT As the Great Society‟s hypnotic version of Sally Go „Round the Roses casts its spell, we journey from day back into night, skimming over the Indian Ocean and Southeast Asia to the Pacific Ocean, over the blackand-blue ripples and into the twinkling lights of San Francisco on Sunday, September 11, 1966. BEGIN SECOND FLASH-FORWARD INT. FILLMORE AUDITORIUM –- NIGHT The GREAT SOCIETY plays Sally Go „Round the Roses to a CROWD OF HIPPIES and a smattering of SQUARES at the Fillmore Auditorium. It's the benefit for the "BOTH/AND" jazz club, and the place is happening. A few exhibits line the sides -- an Indian teepee, booths for causes -- and BILL GRAHAM zips about, putting out some fires and starting others. On stage, DARBY SLICK weaves the exotic guitar line, his head down in meditation. Darby‟s older brother, JERRY SLICK, concentrates on the drums as Jerry‟s wife, GRACE SLICK, hugs a Farfisa organ and sings. PETER VAN GELDER eyes Jerry and Grace as he plays the spare bass line and OSCAR DANIELS, a tall, dark guitarist, adds ornaments on guitar. In the balcony, the JEFFERSON AIRPLANE and the GRATEFUL DEAD are riveted by the music. In the back of the auditorium, record company REPRESENTATIVES bump chests with the Great Society's manager, HOWARD WOLF. When the band finishes the song, most of the Crowd roars. Darby turns to Jerry. DARBY (to Jerry) Let‟s do Solea. Jerry hesitates, glancing at Grace, who shrugs agreeably. Peter nods encouragingly at Jerry.
DARBY (cont.) (to Jerry) C‟mon, man! Jerry relents. Grace takes the bass from Peter, who straps on a soprano saxophone. Darby squints up at PAUL KANTNER and MARTY BALIN; Paul blinks back, vaguely chastened, and a look of guilt flutters across Marty's face as he looks away. END SECOND FLASH-FORWARD END OPENING TITLES INT. FAMILY ROOM –- DAY In a Larkspur living room lined with musical equipment and a variety of art, 24-year-old GRACE SLICK paints a watercolor of 20-year-old DARBY SLICK, who picks at a guitar until Grace presents him with his portrait. DARBY You made me look like Bertrand Russell. GRACE It's you, many years from now. Wow. DARBY Thank you.
Darby admires the painting and resumes picking at his guitar. Darby tries not to notice that Grace is looking at him as she downs a drink. DARBY (cont.) When‟s Jerry coming home? GRACE What do I look like, Jerry‟s car? DARBY That was weird. GRACE I‟ve been reading Ulysses.
but every time I touch you.DARBY What‟s it about? GRACE I‟m not sure. dashing and hip.TWILIGHT 24-year-old JERRY SLICK. GRACE (cont. GRACE (laughing) So Jerry says. DARBY I thought he forgot about that. DARBY You mean. Darby pauses and then lunges at Grace. a loosely-knit band of “life actors” who are holding up 4 . you jump out of your skin. I do take care of my brother. EXT.) Hey. SANTA CRUZ BEACH HOUSE –. Darby smirks and Grace stands over him. Darby looks behind himself playfully. Darby blushes and puts down his guitar as Grace sits next to him. Little shit owes me twenty bucks.. Grace is toting the bottle of Wild Turkey and laughing. good lookin‟.) Not here. sits in a traffic jam created by a couple dozen DIGGERS. who leans away.TWILIGHT Darby and Grace tumble from Darby's old car and wobble into the Slick family beach house. HAIGHT ASHBURY DISTRICT –. EXT. GRACE Yes. GRACE (cont..
accelerating and tapping the brakes. who retrieves a package. GOLDEN GATE BRIDGE -.traffic with a bizarre demonstration. A Digger races You're DIGGER #1 Take care of your brother. Up ahead. DIGGER #2 This is the Frame of Reference! All hail the Frame of Reference! Don‟t break the fucking Frame of Reference! EXT.Ann Arbor Film Festival -Everybody Hits Their Brother Once. LARKSPUR POST OFFICE -.TWILIGHT Jerry sets the package on the hood of his car and removes a small statue in the shape of a film reel. An inscription on the base of the statue reads: "Best Short Film. all right? Digger #1 makes for another car. EXT. up to Jerry‟s open window. man! alienated! JERRY Heard it. dude! JERRY You have no idea." 5 .TWILIGHT Jerry strides into the post office and hands a slip of paper to a CLERK. LARKSPUR POST OFFICE -. DIGGER #1 Get out of your car. a Digger holding a large doorframe is being manhandled by COPS. INT.TWILIGHT Jerry rides the bumper of the car before him. DIGGER #1 Don't sell out. 1963 -.
who ascends the stage with a few other sad-sack FOLKIES. THE DRINKING GOURD -. causing the other players to stop.S. falling to the floor at Grace‟s feet. Grace emerges from the bathroom wearing only her bra and panties. LARKSPUR HOUSE –. seated in the noisy. THE DRINKING GOURD -. He marches up a hill with his guitar to a club. does a double-take at Kantner.NIGHT Fog lingers in the dark city like steam over a cauldron.NIGHT Darby waits in the living room.). Darby passes out. Darby stands unsteadily and takes off his shirt and jeans as Grace approaches. Kantner stops and stands after a few bars. EXT. where -INT. holding the trophy.TWILIGHT Jerry breezes in. Kantner descends from the stage into the darkness. gin-soaked AUDIENCE. and then he spies Grace‟s watercolor of Darby and holds it up. Darby and Grace kiss. 6 .MARTY BALIN.CONTINUOUS -. An old Folkie starts into an old folk standard. SANTA CRUZ BEACH HOUSE –. his silhouette backlit by a lonely street lamp. JERRY Grace? Jerry picks up QUALITY CAT.INT. Grace returns to the bathroom and vomits (O. INT. his hair hanging long under a communist cap. PAUL KANTNER emerges from the darkness. admiring it. KANTNER (mumbling) I can't do it. fully clothed and nervous. Within seconds.
EXT. Darby turns his back on the morning sun and waits for cars. Jerry shrugs and trudges up the stairs. GRACE Not really. GRACE I like playing music with Darby.) (louder. I just can't. to himself) I can't do that anymore. Grace rolls her eyes. GRACE But who will I play music with? JERRY I can play drums. packs up.DAY Jerry returns from dropping off Darby. GRACE AND JERRY‟S LIVING ROOM –. The house is quiet and dark as Jerry empties his pockets. Balin follows. Grace sits at the Farfisa organ and looks sadly into space. GRACE What‟s he going to do in New York? JERRY Find himself. leaving Grace to mope at the Farfisa. Jerry. 7 . Kantner puts his stuff on a table. INT.MORNING Jerry bids Darby farewell at an on-ramp to Interstate 80.KANTNER (cont. Jerry drives off. What will I do? JERRY You have things to do. leaving Darby alone at the onramp. HIGHWAY ENTRANCE RAMP –. and heads out.
OUTSIDE MANHATTAN –. EXT. contemplating their modest. GRACE Jerry? Jerry stops again.DAY With the mountains before him and his thumb out. EXT.) What are you doing? Jerry stops a little ways up the stairs. Darby catches his last ride into the big city.DAY With the Manhattan skyline behind him. Darby heads into the last leg of his hitchhiking trip. There are no cars in sight.) Is this all there is? Grace looks around at the modest. Jerry heads upstairs. APPALACHIAN MOUNTAIN RANGE –. quiet marriage. GRACE (cont. Jerry trudges back up the stairs and Grace goes to the front window and looks out at the deserted street. JERRY Working on some photography. EXT. Grace nods. Sorry Grace. halfway up the stairs. LONELY COUNTRY ROAD -– NIGHT Darby walks on the side of a deserted country road in the heartland.GRACE (cont. quiet house. JERRY Probably. 8 .
EXT. He tries to warm himself in the glow of a letter from Grace and Jerry. curtaindarkened house.DAY Darby cuts a sad and solitary figure as he slouches through the heart of Manhattan. and the new Rolling Stones album on the stereo. TIBURON HOUSE –. INT.) Careful now.” Darby takes the note and puts it to his heart as Lawrence fills a bowl. NEW YORK CITY STREETS –.CONTINUOUS Darby and Lawrence creep through the quiet.DAY Darby and his effervescent. KITCHEN Darby finds a note on the refrigerator. “Darby: There‟s beer in the fridge. LAWRENCE That would've been a lot more fun if we'd had some grass. taking in the sights and the faces of the CROWD. GRACE AND JERRY‟S HOUSE –. LAWRENCE (cont. grass on the desk. awakes in the middle of the night. The decaying car loses the passenger door as Lawrence extracts himself. and not to just anyone. YMCA ROOM –. INT. We‟ll be home in a few hours – Grace. dressed in several layers of clothes. Lawrence kicks the car. a sun-drenched house overlooking the San Francisco Bay. pansexual friend. past the musical instruments to a big tin of grass and rolling papers on a desk.NIGHT Darby. 9 . LAWRENCE OF MOUNTAIN VIEW. She's married. which has a Tiburon return address. shivering. pull up to Grace and Jerry‟s pad.EXT.
That's all.I know. pausing to check out Paul's axe work and nod at the pair before splitting. odd art. Paul's apartment is eclectic and startling: vintage signage. home. DARBY I just want to play music with her. A TALL FIGURE carrying his own guitar appears in the open doorway. socialist propaganda. Don't ask me to say his last name. and lots of books and record albums. DARBY I'm just so glad to be LAWRENCE Everyone wants her -. wait. MARTY (cont. Try going here.NIGHT PAUL KANTNER and MARTY BALIN sit riffing on guitars on opposite sides of a coffee table that is strewn with inspiration. MARTY Wait. And you know me. 10 . Marty manages a barre chord and Paul works it in. MARTY Talkative guy.even me. INT. MARTY He plays guitar? PAUL Like no one we know. isn't he? Marty goes to a window to get another look at Jorma.) Who was that? PAUL Name's Jorma. TURK STREET APARTMENT -.
pretending to be T. Jerry drops his knapsack and kisses Grace. but she recovers. QUALITY CAT prowls about as Jerry slips in. have some street reg. Jerry watches as Grace checks her reflection in a stainless steel toaster.) Ah. drops a bag of grass on a table. and heads to the kitchen. Grace prances about.PAUL Get that out of your head. GRACE (cont. English? Grace is surprised. unnoticed by Grace. 11 Good. KITCHEN Jerry fixes himself a highball as Grace retrains her sword on him. JERRY We‟re going to Roy's dinner party tonight. Marty. INT. Are you alone? JERRY Almost. GRACE AND JERRY'S HOUSE -. dressed in a bed sheet and brandishing a curtain rod. GRACE As you see. Grace breaks away and points her curtain rod at Jerry.LIVING ROOM –.DUSK With the soundtrack to Lawrence of Arabia filling the living room. C'mon. . Lawrence. JERRY What are you doing. He's too good for us. GRACE Did you see your cop friend today? Jerry knocks away Grace‟s sword. sit down.E.
It's out of my hands. sliding her curtain rod into an imaginary sheath. goes AWOL from the Army. You can't hide these things from me.GRACE I know we are. 12 . JERRY Try not to get into any arguments this time. JERRY What band? We only have three people. He says he's serious about the band. GRACE (cont. Darby's guitar playing is -JERRY (interrupting) Grace. and then sits on his ass in New York for six months. Jerry. The doorbell rings and Grace heads for the door. Jerry stares balefully at Grace. Jerry again knocks away Grace‟s sword.) Darby's coming over. there won't be any trouble. He flunks out of college. GRACE We'll find a couple others. mein Feuhrer. Darby can‟t stick to anything. Nobody will play with us. you can‟t rely on Darby. which is amazing since he works in a glue factory. GRACE If nobody says anything stupid.
DARBY Hey. JERRY I did not say that. 13 . Grace bows. Grace opens the door to Darby. a shiftless bum. tossing books and ideas. BEGIN MONTAGE INT. shakes his head. JERRY I'm sure I don't know. GRACE (cont. Grace eagerly fills a bowl of grass and hands it to Darby. Jerry's said he's really looking forward to being in the band.) „Awrence. I said you‟re Darby accepts the pipe from Grace and takes a hit. who carries a guitar and wears a striped sailor shirt and black boots. and sits at the drums. Grace and Jerry smoke.EVENING Darby. GRACE Hey Darby.LIVING ROOM GRACE You‟re the one we‟re worried about. building rhythms. reaching crescendos. DARBY (holding his hit) Then how come you‟re in the band? Jerry smacks his lips. sweeping her arm into the room. drink and play. GRACE AND JERRY'S LIVING ROOM -. carrying a drink. Darby saunters in as Jerry swaggers from the kitchen.
INT. somehow maintaining her composure. and studies Grace.NIGHT Darby. Jerry. A photo 14 . END MONTAGE INT. assuring Grace's victim that she means no harm. who sports a wicked Van Dyke. and flowers. a small club that will be hosting rock music. wine. Off in a corner. Grace. TIBURON HOUSE -.AFTERNOON Grace sits down to a meal and reads the San Francisco Chronicle. culinary genius and host extraordinaire. LIVING ROOM Grace makes time with Peter. She spots a blurb by John Wasserman on the Jefferson Airplane and the opening of the Matrix. ROY BAXTER'S APARTMENT -. LIVING ROOM Peter plays his soprano saxophone for Grace.INT.NIGHT Jerry makes out with the Brunette. smokes a cigarette. Jerry briefly fumes at the sight and then splits with a beautiful BRUNETTE.DINING ROOM -. The dinner table is replete with fine cuisine. GRACE AND JERRY'S LIVING ROOM -. Grace walks in carrying her shoes and then continues on to the bedroom. Roy tries to play peacemaker. LIVING ROOM Grace sings and plays guitar for a few ADMIRERS as Jerry flirts with a young DISH and Darby studies Roy's album collection. Darby talks at PETER VAN GELDER. LIVING ROOM Grace rips into a poor WRETCH and Jerry recedes from view. and several other lucky ARTISTES luxuriate in the warm embrace of FAY ROYAL BAXTER. Darby bids them goodnight and trudges out the door as Peter puts down his sax and moves in on Grace.
GRACE Wow.with the article shows Marty Balin looking Philippine. Your range is vast. That was Grace Grace sees the look on Jerry's and Darby's faces. Ralph sticks his hand out for a shake. fuck you. and they step from the low stage into the buzzing CROWD. Darby and Jerry roll their eyes at each other. Copies of the Berkeley Barb are scattered around glasses of booze and ashtrays.. INT. is smitten. The band finishes the set with High Flying Bird. trying to catch a word with someone from the group as Jerry. Grace. 15 . GRACE (cont. Marty is cooling with a FRIEND and Paul is chatting up a couple female FANS. RALPH I‟ve never heard anything quite like that. RALPH GLEASON sidles up to Marty. PAUL We're gonna have a party after. Grace studies the photo. amazing. the Airplane‟s cozy. They're fantastic. Darby.EVENING Grace. MARTY Thanks man. Darby gets up to mix. Do you smoke grass? Darby hangs in the background.) Oh. colorful new club. MATRIX -. and Darby‟s girlfriend LESLIE watch the original lineup of the JEFFERSON AIRPLANE at the Matrix.. and Leslie slowly make their way out. and you should come. Don't you. Jerry.
man. Paul tears himself from the Fans. GRACE We could do that. GRACE AND JERRY'S HOUSE -.RALPH I write for the Chronicle. Jerry. I mean really. JERRY They did make it look easy. Marty hears Darby.NIGHT Grace and Jerry ramble in and unload. PAUL Are you going to write about us? RALPH This is what‟s happening. GRACE And they were good. that was hip stuff. looking grim. going nowhere. INT. Darby drifts away. singing on bended knee? Jazz is 16 . Darby tries to get a word in. but he ignores him in favor of Ralph. MARTY Right on. I mean. DARBY (to Marty) Hey. Did you hear the singing? JERRY Don't get carried away. I know you. the singing.
Jerry. and carrying several pages of songs in his back pocket. and this is David. I've been listening to that song for years. and Grace glowers at his back. but you'll have to finish some songs. BARD Wow. BARD DUPONT appears. 17 . JERRY Those assholes can play. We‟re starting a band. at an early version of Born to Be Burned. Yeah. David is quiet. with-it and now. The front door is open to the noontime sun. INT. groovy pad. JERRY I‟ll put film off for a while. followed by DAVID MINER. Bard is hip.DAY Darby and Jerry sit poking away quietly. Grace enters with hot fish sticks and tartar sauce on a big plate. unplugged. each of them makes more than I do in a week as a secretary. sullen. Grace. DARBY (to Grace and Jerry) This is Bard. I will. GRACE I‟ll finish some songs. lugging a bass guitar. Jerry heads off.GRACE Do you know how much they‟re making? In one night. GRACE AND JERRY'S HOUSE -. JERRY I will. who carries an acoustic. GRACE I‟m not working any more shit jobs.
) (to David) Do you talk? DAVID Yeah. 18 . A fog is rolling over the city. ALLEY BEHIND COFFEE GALLERY -.CONTINUOUS Grace looks up for the stars and finds mostly clouds. right? BARD Oh. DARBY David has some songs. Jerry and Grace look at David. David can do dark. David pulls his sheets from his back pocket and hands them to Grace. Jerry and Grace trade glances. EXT. Darby pops out the back door. GRACE Can he talk? GRACE (cont. GRACE What the hell did you get me into? We can't do this. DARBY We're going for something darker though. BARD The songs are kind of folk rock. who nods almost imperceptibly.JERRY (to Bard) You ready to thump that bass? BARD I'm ready to learn. Grace paces. massaging her hands. Darby.
which means you're all in trouble. high black boots. but all are busy. The band is loose and the sound is rough. all of them colorful. Jerry.we're the Great Society. EXT. Grace's knees are shaking. the handbills read “A Tribute to Dr. Remember? DARBY That's part of our charm.) (to Crowd) -. and a perky ponytail.” credited to 19 . FOLKIES. Grace. Grace turns to the crowd and sees that everyone is staring at her. Half of the Crowd is thrilled. LONGSHOREMAN‟S HALL -– NIGHT Hundreds of PEOPLE are making the scene: COWBOYS. FREAKS. MINERS. hi. and DRINKERS.NIGHT Darby. INT. Grace looks stunning in a mini-dress. COFFEE GALLERY -. the other half is not. -- We're uh Grace glances over at Darby. MAIDENS. GRACE (to Crowd) Oh. Strange. Bard. GRACE (cont. and she looks to her band members for support. Behind the band hangs a banner of an eagle clutching dollar bills with "Bad Taste" written below. How's it going. Outside.DARBY Why not? GRACE We're no good. POLITICOS and other varietals. and David mount a small stage before a full house of HIPSTERS. The band starts into Hey Bulldog on Darby's fourcount. who is taking a few warmup swings. She noticeably buckles as she straps on her guitar.
including the Jefferson Airplane. TOM Hey. MOTHER'S NIGHTCLUB -.the Family Dog. fixated on Grace. Darby packs his guitar and starts at the sight of Grace talking with Paul. Tom and Sly are riveted by Grace. PAUL That was great. with the Great Society playing among five other acts. psychedelic club. SLY I don't know. and other MUSICIANS in the mod. The band finishes and descends into the giddiness. Like the BARTENDERS.DAY The band finishes a song in front of TOM DONAHUE. mellow hep cat. WAITRESSES. just one thing going on at a big party. The band is on stage in the center of the cavernous hall. LONGSHOREMAN‟S HALL –.NIGHT The hall is teeming with crazy costumes and a CROWD of HIPPIES dancing to. TOM Who is this? SLY The Great Society. Paul buttonholes Grace. married. 20 . the Great Society. or ignoring. thin and hard to hear. INT. but no. playing one of David's songs. GRACE Thanks. and SYLVESTER "SLY" STONE. I think she's Really great. TOM I mean the chick. a large. INT. so is Judy Garland. Paul is there.
but. The loose. BARD Thanks. TOM DONAHUE'S OFFICE -. SLY That was interesting.SLY Don't you have a woman? TOM Well yeah. listening impatiently to the band finish the early version of Born to Be Burned.. Darby and Jerry launch the downbeat dirge.DAY Sly sits on a couch. INT. with David and Grace harmonizing and Bard seeking a stalemate with his bass guitar. The band is crammed into Tom‟s office. dad. Sly shoots a furrowed brow in Bard‟s direction. SLY I got some suggestions. Let's hear one more.. DARBY Okay if we do? Definitely.) (to band) All right. but Tom and Sly are intrigued. 21 . raw sound has other Musicians snickering. DARBY You wanna smoke a joint? SLY Naw dude. What else you got for us? DARBY This one's called Born to Be Burned. TOM (cont.
GRACE I want to harmonize. 22 . GRACE Where do I stand when I play the Farfisa? In front of it? SLY You should also be singing in every song. I don‟t want to be a star.SLY Funny reefer man. all right? Just open Jerry opens a window. I see. huh? a window. and passes the joint to Grace. Naw. takes a pin hit. sometimes solo. Sly pauses. SLY I‟m cool. Sly reluctantly accepts the joint. nobody can see you. I want to be in a band. I don't want GRACE Well. to be a soloist. SLY (to Grace) Tom wants you out in front. If you‟re behind the Farfisa too much. yeah. DARBY It‟s not bad. Darby lights a joint and offers it to Sly. SLY So you‟re a band. Really. contemplating. GRACE It's not gonna kill ya.
Sly ignores Bard. JERRY Look. change the song. I would bridge on that last can keep the verses the -- DARBY (interrupting) I don‟t know. Sly and the band sit and stew in silence. All right.DARBY That's what we want. SLY (to Darby) What the hell do you need a producer for? If you got it together. 23 . either. DARBY We never asked for a producer. and you don‟t need to improve anything. we know you‟re happening. BARD We like things the way they are.. too. man. just SLY first of all. we want your suggestions. And we want to play our own songs. maybe not. You same. And I sure didn't ask for you. DARBY Yeah man. SLY Okay. We don't want to be side players.. We need your help.
SLY All right. no. Herbie and Friend exit. Tom scratches his beard as a BARTENDER clinks glasses and a DRUNK coughs and grumbles at a back table. heads to the stage. Tom‟s pretty young wife. and Bard struggle through the end of a song at Mother's. who sits with a FRIEND. That's 24 . and dances the Frug to the downbeat song in front of the sparse Crowd. with Grace on recorder. All right. Raechel. no. Jerry. RAECHEL DONAHUE. HERBIE (to Grace) If you ever get that thing in tune. the jazz musician. Don't make me no nevermind. psychedelic nightclub. TOM (cont. I‟ll play with you. TOM (to Raechel) No. What do I care? I‟m just the producer. The band starts in on Daydream Nightmare. MOTHER'S NIGHTCLUB -– NIGHT Darby. cool. In the SPARSE AUDIENCE is HERBIE MANN.) (to himself) Aw Christ. takes off her top. shaking their heads. Tom brightens and greets Ralph as Herbie and Friend make for the door. Tom agonizes. She hops onstage. We‟ll do it all your way. Raechel does not hear Tom. Ralph Gleason slips into the club. INT. Grace. Tom Donahue's colorful. David. A sign on the wall warns that dancing is prohibited by a San Francisco ordinance.
who puffs on a cigarette. Raechel hovers about. TOM I really dig the stuff you‟re laying down. DARBY Thanks Tom. Tom. We don‟t 25 . DARBY We can‟t do it. It‟s very heavy. compromise on that. TOM Darby. the band meets with Tom. TOM The audience loves you. TOM I think I can get you fifty thousand from RCA. DARBY No deal. you‟re not going to get complete creative control.INT. JERRY What‟s the catch? TOM They want you to play a song called Sweet Pea. We do that and we become just another poor unit in the RCA empire. clearing off tables and freshening drinks. GRACE You mean that guy in back with the cough? Tom sniffs a laugh and sobers quickly. MOTHER'S NIGHTCLUB -– NIGHT With the joint closed. We dig the club.
TOM This isn‟t about artistic integrity, is it? Look, if you take this contract, you‟ll eventually have the freedom to do as you please. DARBY It doesn‟t work that way, Tom. You know it. BARD We‟ll attract the wrong audience, dad. GRACE I‟ll have to show my tits, and people will be very disappointed. Tom shoots a confused, repulsed look at Grace and then takes a long drag on his cigarette. TOM You cats are passing up a once-ina-lifetime opportunity. TOM (cont.) (to Raechel) Cancel that champagne, honey. INT. DARBY AND LESLIE‟S APARTMENT -– DAY Darby sits as his girlfriend LESLIE has it out with him. The apartment is sparsely decorated, with books and record albums scattered about. LESLIE It‟s just that you‟re never here, Darby. What‟s the point? DARBY I‟m serious about the band. a full-time job, honey. It's
LESLIE So you get to be with Grace all the time. You‟re the only ones there, you know. DARBY We‟re getting our chops down. This is where we pay our dues. Every band does it. And it‟s strictly business with Grace. Leslie pauses and, lost in thought, she picks up a copy of the Lawrence of Arabia album. LESLIE Yeah I know, Grace is a great musician, and she‟s an artist and a model and a writer and sculptor and the Nordic goddess of pagan delights and you slept with her, didn‟t you? DARBY Leslie, everyone sleeps with Grace. It‟s a rite of passage. But not me. I didn't... Darby trails off. LESLIE Darby, she‟s married to your brother. DARBY I know. LESLIE You love her, don‟t you? Darby pauses for a split second. Leslie drops the album in Darby‟s lap and heads for the door. No. DARBY Of course not. I love you.
Leslie shuts the door.
DARBY (cont.) (through the door) When will you be home? LESLIE (O.S.) Late. DARBY (through the door) I love you, Leslie. Leslie‟s footsteps (O.S.) stop in the hallway. LESLIE (O.S.) I love you too. Darby narrows his eyes and then smiles, believing it. EXT. SAN FRANCISCO HOME –- EVENING Grace and Jerry walk up to the front door of an average home in an average neighborhood. JERRY Don‟t give me any signs, either. Your signs are too obvious. GRACE You want me to be subtle when I‟m ready to go? JERRY Just be nice for a couple hours. Jerry rings the doorbell and he and Grace are greeted by average, ordinary HUSBAND and WIFE. INT. SAN FRANCISCO HOME -– EVENING Grace and Jerry sit nursing drinks on a couch opposite Husband and Wife in an average, ordinary living room. HUSBAND How are your brothers?
Do tell. you know. Darby has a goal now. well.. HUSBAND We were thinking we could watch Jackie Gleason after dinner. WIFE The Jefferson Airplane? never. WIFE We don't go out to clubs so much anymore. it‟s just that. HUSBAND (chuckling) Really. Jerry contorts as he edges backwards JERRY I‟m sorry. JERRY He wants to vanquish the Jefferson Airplane. I've JERRY It's another band in town.. I‟m sorry. we're just looking for a record contract.. she‟s not. Really. We just bought a color television. WIFE Grace..JERRY They're fine. She‟s just. 29 . toward the door. GRACE You people are the most boring fucking people I have ever met. do you have any favorite TV shows? Grace puts down her drink and stands up. Grace walks out.
GRACE AND JERRY‟S LIVING ROOM -– EVENING Grace and Jerry. still looking out the window. also naked. now naked. DARBY AND LESLIE‟S APARTMENT -– NIGHT Darby sits by the window glumly smoking a cigarette. GRACE AND JERRY‟S BACKYARD -– NIGHT Grace. Jerry.Jerry heads out the door. waiting for Leslie. drop tabs of acid into each other‟s mouths and then venture out to the dark green backyard. EXT. half-dressed and surrounded by candles. staring wide-eyed about the apartment and then back out onto the empty street. carries a gourd and hums to herself. Grace. DARBY AND LESLIE‟S APARTMENT -– EVENING Darby takes a bath and reads an "Avengers" comic book. 30 . sits on a garden bench and engages Quality Cat in a staring contest. picking at his guitar and staring at black-and-white images of combat in Vietnam. INT. INT.) Goddamn it. BEGIN MONTAGE INT. JERRY (cont. INT. DARBY AND LESLIE‟S APARTMENT – EVENING Darby sits watching TV with the sound down. DARBY AND LESLIE‟S APARTMENT -– EVENING Darby sits by the window and looks down on the street. Darby picks up his guitar and begins to strum. INT. Darby drops a tab of acid and starts strumming his guitar.
RECORDING STUDIO -. Grace and Jerry beam as Darby tries out the guitar.NIGHT Grace and Jerry make hot.NIGHT SLY STONE and BILLY PRESTON sit watching and listening to Darby as he plays his solo. don‟t you want somebody to love.DARBY (singing softly) When the truth is found to be lies. EXT. RECORDING STUDIO –. An ENGINEER mans the control board. DARBY AND LESLIE‟S APARTMENT –. ROY BAXTER'S APARTMENT –. BILLY PRESTON sips on soda. we see that the only apartment lit is Darby and Leslie‟s apartment. Darby is joined in the green room by Grace. INT. INT.DAY The band finishes playing Someone to Love for SLY STONE. and an ENGINEER turns knobs. 31 . GRACE AND JERRY‟S HOUSE -– DAY As the original version of Someone to Love begins to play. a PHOTOGRAPHER prowls about.NIGHT Jerry and Grace proudly nudge Darby forward into a group of admiring PEOPLE at a Roy Baxter party. END MONTAGE INT. with Darby‟s lonely silhouette in the window. Bard. David. INT. breathing living room. Darby slithers to a desk to write down the words. sweaty acid-love on the floor of the swirling. and all the joy within you dies. black. homemade guitar and a hardy slap on the back. GRACE AND JERRY‟S HOUSE –. and Jerry. who gives Darby a small.DAYBREAK From the street below. INT. Sly pushes a button to speak to the band through the glass.
Billy blinks in disbelief. Darby hits the opening riffs to Free Advice.SLY Congratulations. and the band look haggard. sitting in for Jerry on drums. STUDIO –. SLY I know. SLY Tom‟s putting everything he‟s got into this band. don‟t get me wrong. They‟re like those white cats you see in the Haight. That could be a single. BILLY Oh yeah. Sly laughs. BILLY (quietly) But they can hardly play. take one. Check this out. The guitar has a sitar sound to it.NIGHT Sly. Darby picks up the small black guitar that he received from Jerry. man. SLY They‟re exotic. ENGINEER Free Advice. Billy is 32 . they‟re hip. INT. Let‟s do Free Advice. but they've got this cool Indian thing going. Engineer. BILLY (to Sly) These cats are weird.
Sly stalks out. BARD I don‟t hear what I‟m doing wrong. I‟ll get someone off the street. When did you first pick up a bass.warms up. Paul. and JERRY PELOQUIN on drums -. PAUL (to Peloquin) What the fuck are you doing? PELOQUIN What‟s the matter. Paul stops playing. man? BARD I played a one-string gutbucket for a while. and then he takes a deep breath and finds his cool. INT.Marty. with Let‟s Get Together. leaving everyone a bit stunned. JORMA KAUKONEN. BOB HARVEY on bass. SLY If the bass doesn‟t get it right this time. Sly reaches for a button. Sly picks up a chair and whips it. Paul? Are you too high to figure it out? 33 . MATRIX NIGHTCLUB –. SLY That‟s the problem. I can't take this anymore. take thirty-nine.ENGINEER Free Advice. All of you need to work on your musicianship. pre-show. SLY It's not just the bass. SIGNE ANDERSON.DAY The original JEFFERSON AIRPLANE -.
Marty tries to maintain. Go back to the Kielbasa Kings. long-haired JOHN CIPPOLINA with a tall. you fucking Neanderthal. he peers into the club and notices reedy. 34 . PELOQUIN (cont.PAUL Don‟t give me that shit about grass. Why don‟t you take that polka beat and go back to Wisconsin with it. PAUL Go play some Peggy Lee. handsome dude: SKIP SPENCE. I was playing jazz when you were still sucking your mother‟s teats. Marty spots Skip.) Fuck all of you pretend musicians. MARTY (to himself) That‟s my drummer. JOHN They're all taken. you wouldn‟t know a good beat if someone hit you over the fucking head with it. do you know a drummer? Naw man. PELOQUIN Kantner. You can take your attitude and shove it right up your ass. Peloquin climbs over his drums and goes after Paul. you narrow-minded drunk. That‟s where you belong. From the stage. MARTY (to John) Hey Chip. Peloquin stalks off. Peloquin decks Paul with a punch in the mouth.
) Do you know how many copies of Free Advice we‟ve sold? GRACE No. Jerry runs his fingers along a large bookcase. MARTY (cont. Skip pauses. Grace smokes a cigarette and curls up with a copy of The Alexandria Quartet by Lawrence Durrell. I‟m not INT. but I play guitar. JERRY Twenty-nine.Marty hops off the stage and approaches Skip. SKIP Maybe I am. Okay.) You‟re my drummer. a drummer. gauging Marty. sniffs. GRACE Wow. Jerry wanders in from the kitchen. and returns to her book. MARTY Sure you are.DAY On a rainy winter day. SKIP Cool. JERRY (cont. 35 . I was gonna say twentyeight. but I have a feeling you‟ll tell me. JERRY AND GRACE‟S LIVING ROOM –. JERRY What are you doing? Grace looks up.
What a shame. I can‟t. GRACE You said it yourself. Jerry moves in on Grace. 36 . Pause.) I mean. Jerry grabs the book and whips it across the room.. No.) Write a song..JERRY (whistfully) Look at all these great writers. first you say –JERRY (interrupting) Write a song. GRACE I‟m confused. GRACE Have I said fuck you yet today? Don‟t try that he-man shit on me. JERRY Forget it. JERRY (cont. who takes a long drag off her cigarette and turns the page. GRACE Did you say something? listening. no. JERRY Yes you can. Grace snuffs out her cigarette and continues reading. JERRY (cont. Goddammit Jerry. I wasn‟t Jerry ambles around behind Grace. it‟s just a shame that someone so well read and talented can‟t write a song.
which includes Paul and Marty. scans her bookshelves. Grace takes a breath. RALPH GLEASON. twirls onto an empty table and crashes to the floor as Grace belts out the ending of White Rabbit from behind the Farfisa organ. Jerry shuts the door. JERRY You have a guitar. and David pour themselves into White Rabbit. Bard. lights a joint. and HOWARD WOLF. MOTHER‟S NIGHTCLUB –. GRACE (shyly) Thanks. CHET HELMS. JANIS JOPLIN. a notebook. The Crowd applauds and Paul and Marty exchange amazed glances. and two joints. lost in his guitar solo. INT. Jerry. and pulls down Lewis Carroll‟s Alice in Wonderland.Jerry grabs Grace and ushers her to the bedroom. She plops down on the bed with the book. and begins to read. a pot of coffee. the illustrations in the book come to life and swirl into psychedelic murals. a square talent agent. Don‟t come out without a song. Darby. 37 . a pen. BEDROOM Grace sits at the piano and creates the melody for the original overture to the song. a piano. Darby. BEDROOM Jerry nudges Grace inside and stands at the door.NIGHT Grace. As the long overture to the Great Society‟s version of White Rabbit begins. PAUL That was cool. Really cool. Tom gazes out on the CROWD. Paul and Marty get up as Grace walks by.
Ralph confronts Darby.) (to Janis & Chet) Did you see that? Jesus. thanks man. I don't think so. 38 . PAUL (cont. I saw it. Howard stops Darby. Nearby. JANIS That girl can call in the hogs. HOWARD Do you have representation? DARBY I don't know. DARBY Hey. Darby does a double-take at Ralph as he wades into the Crowd. PAUL Jesus. Grace smiles and walks on. RALPH That was amazing. CHET I wanna get them on a bill with Big Brother and the Airplane.MARTY Did you write that? GRACE With a little help from Lewis Carroll. RALPH You're right up there with Jefferson Airplane. All three are a bit star-struck. CHET I heard it.
Mrs. in rock and roll.INT. a song written and sung by Grace Slick. We‟ve already rejected offers to do bubblegum.) (reading) Personal involvement in artistic performance impresses me more and more. also has written a song based on visions from Alice in Wonderland. Howard lights a cigarette.” HOWARD (reading) The Great Society is the best example of the rising I. Let me represent you. DARBY We need creative control.. “Great Society – A Name to Watch. Mark that name. is a song about comedian Lenny Bruce and his exploits. who jumps from instrument to instrument like Apollo. Father Bruce.. HOWARD (cont.) You‟re a very interesting band. Howard tosses the newspaper on his desk. HOWARD WOLFE‟S OFFICE –. HOWARD (cont. 39 . and Darby follows suit. who is reading from a San Francisco Chronicle article by Ralph Gleason. the Great Society. HOWARD I wouldn‟t have it any other way. The headline reads.Q.DAY Darby sits across a desk from talent agent HOWARD WOLFE. and you get it with the Great Society at Mother‟s.(mumbles)... Slick.You get it with Nina Simone at the hungry I.
The BLUES PROJECT band members stand offstage. HOWARD They're good musicians. Howard paces before the band. looking alternately embarrassed and scornful. Where was the bass? Bard? Bard tugs at his neck scarf. INT. Howard blinks at Darby. DARBY No I don‟t. they‟re all right. HOWARD They didn‟t have your sound up. great songs. AVALON BALLROOM -– NIGHT The Great Society plays weakly to an indifferent CROWD at the overwhelming Avalon Ballroom. AVALON BALLROOM GREEN ROOM –. Jefferson Airplane loves you? Come on. HOWARD You don‟t like the Airplane? No. I couldn‟t hear anything.NIGHT As the big. They have I just 40 . think we‟re better. beefy licks of the BLUES PROJECT fill the building.) I mean. BARD (feebly) Hey man. DARBY Yeah.DARBY The Jefferson Airplane just signed for forty thousand. And they‟re not where it‟s at. INT. DARBY (cont... that's just so.
DAY Darby and David sit together.. carrying his bass and a paper bag. Blues Project. CHET That was cool. Just not your scene. Bard pulls out an owl-shaped incense burner. BARD (cont. Bard. I‟m sorry. GRACE AND JERRY‟S LIVING ROOM –. 41 Right on. I got some frankincense at the Psychedelic Shop and. DAVID Bard. looking glum. Chet.. I mean. INT. BARD Sorry I‟m late.this groovy incense burner.. JERRY Come on. man. Darby has something he wants to say. you .. CHET My mistake.HOWARD They had the sound down. You cats gotta see this. gradually realizing that he is the scapegoat. is the first to leave the green room. BARD Where‟s Jerry and Grace? DARBY It‟s just not working out.) . they‟re a national act. guys. didn‟t they? Chet peeks his head into the room. Bard bursts in. you know? Chet splits and the band members sulk as they pack up their gear.
say something.NIGHT Darby smokes a cigarette and talks on the phone as Jerry stands nearby. I swear I will.BARD So that‟s it. DARBY C‟mon man.. 42 ..we‟re all gonna live together in a house in Mill Valley. I‟ll start practicing.) Goddamn it. You David looks away and Bard points his finger at Darby.David‟s still got a little bubblegum in his blood.) You‟re making a big mistake.. And that‟s cool. but you‟ve played a little stand-up.. you‟re just making the scene..I know. but we‟re working on that. David? BARD (cont.. Bard turns to David. we could use that for the Indian sound. listening. BARD (cont. but -BARD (interrupting) No I‟m not. DARBY (into phone) He didn‟t know how to play bass and he wasn‟t trying to learn. right? And the sax.. Darby pauses and turns away from Jerry. you know. Darby. Just like that? I‟m getting better. DARBY‟S APARTMENT –. can count on that.. INT.
) (into phone) .DAY Darby and Peter share a joint as they float over the San Francisco Bay on the Golden Gate Bridge and into the bucolic beauty of Marin County. hands his ticket to an airline AGENT.DAY Darby drives across the Golden Gate Bridge from Mill Valley and heads to San Francisco International Airport. DARBY (cont.yeah man. and boards a jet airliner... EXT.) (to Jerry) Well. MILL VALLEY BAND HOUSE LIVING ROOM –. And Darby hangs up as Jerry stares him down.DAY In a montage set to In Whose Name Do You Ride?.DAY Darby and PETER VAN GELDER.DAY Darby picks up Peter. Darby tends to a tape of You Can‟t Cry. Peter tries to place his saxophone somewhere in the song and then gives up. AIRPORT -.. a song by David. south of the city. bring your wife. WISCONSIN AIRPORT -. she‟ll be there. EXT. 43 . GOLDEN GATE BRIDGE -. END MONTAGE INT.. HIGHWAY -.DARBY (cont. surrounded by musical instruments. PETER VAN GELDER marches with two saxophone cases past TRAVELERS. he said yes. who shoves his saxophones into the back seat. practice in the spacious living room. EXT.just come on out. BEGIN MONTAGE EXT.
first of all.PETER Turn it off.) Then I figure we put Grace on organ and switch up the rhythm. DAVID Thanks. Peter helps himself to a big bowl of strawberries. David appears from the basement with his girlfriend. it‟s a song. PETER I don‟t care what you call it. whose shyness matches David's.) Hey David. PETER That‟s a cool song. dude. DARBY Well. PETER But I was thinking. what‟s that called. you know? PETER So? I've got a bunch of songs we don‟t want to play. Peter plays a bass line. You Can‟t Cry? DAVID Yeah. we get rid of that harmonica. PETER (cont. you know that one song you got. dad. 44 . JANET. DARBY It‟s folk rock. PETER (cont. give it some room to breathe. well.
DAVID Cool. I've got some new lyrics for that song, too. PETER Right on. Grace and Jerry ramble into the living room and take their places behind the organ and drums. Jerry frowns at Darby's dirty socks and the bowl of strawberries, but he says nothing. PETER (cont.) You've got some good songs here. But we have too many people playing the same notes in the same range with the same rhythm. We need poly-rhythms. We gotta play in counter-point and in different ranges to make the sound bigger. We gotta make the songs grow, and not just start everything at once. GRACE Wait, slow down. to explode. My head is going
PETER It‟s easy. Darby and I worked out a little something that should illustrate... Peter reaches for his alto saxophone. JERRY Is that an alto sax? Peter prepares his alto sax and does not respond. JERRY (cont.) „Cause I‟d prefer you play soprano. Peter, still not looking at Jerry, arches an eyebrow.
PETER Soprano. For the Indian sound. Good idea, Jerry. Peter puts away his alto sax and reaches for his soprano sax. The musical wealth is palpable. Darby starts the riff to Father. Peter lays his sax over it, Jerry finds a counterpoint beat, and Grace picks up a bass guitar; David lights a cigarette and pokes away at an unplugged acoustic guitar. EXT. SAN FRANCISCO STREETS –- DAY Howard waits for Tom amid a trickle of PEDESTRIANS. TOM Howard Wolfe. Come to take what‟s left of my empire. HOWARD That can‟t be true. Tom and Howard walk and talk. TOM My business partner is dying. I can‟t get my distributors to pay me. I lost Mother‟s. Do you know what I put into that place? HOWARD Well, I‟m sure it -TOM (interrupting) I put my heart and soul into that place. Do you know who closed it down? Your precious Great Society. HOWARD You had them playing there six nights a week. It was too much.
Tom spots Grace and Jerry driving by in a new station wagon. Jerry is stopping and starting, riding the bumper of the car in front of him. TOM (to himself) Is that new? Tom shakes his head and resumes walking. HOWARD I will pay you to cancel your contract with the band. I just can‟t do it until we get our own recording contract. TOM And what do you think you‟re going to get for them? HOWARD There‟s a lot of interest, Tom. Tom gets in a line for a food give-away put on by the DIGGERS. Behind the Diggers is the large door frame with a banner reading “Frame of Reference.” TOM Look, if this band would play something commercial, they‟d be rich now. And by the way, I don't need this. I'm just hungry. Tom reaches the front of the line, and DIGGER #1 hands him a sandwich. DIGGER #1 Here you go, man. It‟s free because it‟s yours. Tom takes the sandwich and walks off. DIGGER #2 -PETER COYOTE -- is missing a front tooth, which adds a whistle to his speech. COYOTE (to Howard) Egg salad sandwich, brother? 47
Howard gets one last look at Coyote and then hustles to catch up to Tom. brother.HOWARD You‟re a Digger. DIGGER #1 (background) Here you go. COYOTE (cont. Howard is bemused and fascinated. Right on. Howard pivots to follow Tom. you‟re a Digger. old person today. COYOTE Don‟t sell out. HOWARD Pardon me? Coyote spreads his arms. Howard turns back. aren‟t you? COYOTE No. COYOTE Do no selling and you will have a beautiful nothingness. Smile at an TOM (to Howard) They have that chick who could be the next big thing but she‟s behind an organ half the time. 48 . In the background. the Diggers continue to hand out sandwiches.) Egg salad sandwich? HOWARD That‟s all right.
man. TOM They should live in the same room.HOWARD They‟re getting better. Howard. INT. PETER Man. They made a personnel change and they‟re all living in the same house.DAY Darby and Peter arrive home to find Jerry dumping Peter‟s stray clothes and dishes into his bedroom. JERRY Do you really want to get into it? DARBY C‟mon. I just don‟t believe in those cats. Send something to my lawyer. JERRY I‟m tripping over your shit. man. you guys. 49 . TOM (cont. PETER What are you doing? Marsha? Where‟s JERRY I‟m just putting some of your things back in your room. you were in the Army way too long. BAND HOUSE HALLWAYS –.) I still believe in the music. PETER I can‟t believe you. Tom arrives at a radio station. Peter.
DARBY I am. We‟re a band. PETER I‟m quitting dope. could you patch things up with Jerry? PETER We‟ll hash it out. 50 Bad vibes . DARBY Hey man. JERRY That‟s right. Captain Queeg. Peter blanches at the command and puts down his pen.NIGHT Peter sits with a guitar on a hill. EXT. Darby trudges out from the back door. Peter stands up and softens. DARBY Today. writing in a notebook. PETER You‟re right. I‟ll take care of it tomorrow. PETER I need to clear my head.Jerry stalks off. Stay away from my strawberries. Me too. too. PETER Ay aye. DARBY I need to purify. PETER Don‟t worry about it. Darby. are not cool. BAND HOUSE BACKYARD –.
Darby picks up the notebook and reads what Peter has written. you give me a hard time. Grace. JERRY Yeah. David. there‟s no reason.MORNING Darby. PETER Hey. 51 . goes through the back door of the garage. revs it up.) (singing) You sent for me. I got a new song I want to try out. PETER (cont. Peter. DARBY That‟s nice. that‟s nice.I‟m here. you sing this.S. Jerry. INT. A gift to the musical god in each of us. and David noodle on instruments as they wait for Peter to show up. Thanks man. The bass line is kind of loping and sinister.) and Peter emerges from the kitchen carrying a bowl of fresh fruit. and splits. BAND HOUSE LIVING ROOM –. Peter starts in on the bass line to Arbitration. Marsha‟s toddler Boy cries in the background (O.Peter leaves Darby alone in the backyard. but I‟ll do it first to show you the phrasing. PETER Fresh fruit for everyone. gets on his motorcycle. I know it wasn‟t „cause you love me –. Darby glances at Jerry. there‟s no rhyme –Peter stops playing.
Jerry looks over David‟s shoulder at the lyrics. followed by another verse and a wicked finish. GRACE Jerry. Peter? PETER Don‟t worry. 52 . JERRY (cont.) (to Peter) What did you come for. don‟t be a Nazi.PETER (cont.) (to Peter) What did you come for. Very cool drum parts. JERRY You‟re going to tell me what‟s important to me? PETER I know what‟s important to you. it‟s aimed at me. It‟s just a song. JERRY Grace. now I‟ll take that for which I came. Peter? DARBY C‟mon Jerry. Jerry. I won‟t take anything that‟s important to you.and then there‟s a long jam that builds.) -. JERRY (cont. JERRY You think I‟m going to play this? PETER Why not? JERRY (reading) I heard you call my name.
BILL Who‟s that? PIGPEN She‟s married. man? PETER You‟re just makin‟ the scene. PETER (cont. PHIL I heard it‟s an open marriage.) (through screen door) I hear some really cool drum parts for this song. and starts it up. Peace. You‟re just along for the ride.CONTINUOUS Jerry fumbles for his keys. Jerry stalks out the front screen door to his station wagon in the driveway.JERRY What's your hang-up. JERRY You got nothin‟ to teach me. and RON “PIGPEN” MCKERNAN of the Grateful Dead. hops into his wagon. PHIL LESH. PETER Hey. transfixed by Grace. EXT. Peter appears in the doorway. as are JERRY GARCIA. peace man. BILL KREUTZMANN. Peter. INT. Jerry guns his wagon out of the driveway.NIGHT The Great Society rips into the multi-sectioned Arbitration to a decent CROWD at the Matrix. MATRIX NIGHTCLUB –. Paul and Marty are there. DRIVEWAY -. obscured by the screen. 53 .
Relax. too. PHIL What makes you say that? Paul and Marty watch as Darby begins his long solo. Phil. Howard Wolfe works on two buttoned-down A & R REPRESENTATIVES from Warner Brothers.PIGPEN Open to who? GARCIA They‟ve got a wraith-like vibe. Paul lights a cigarette and furrows his brow. PAUL Holy Mother. Yeah. BILL Did you drop? You didn‟t tell me you were gonna trip. Very cool. MARTY They're not bad. 54 . Warner Rep #1 laughs. In the back. HOWARD This band wants an advance of fifty-thousand and creative control. This song is puce. PAUL She makes Signe look sick. MARTY Signe's a better singer. turns to Bill. It‟s cool. eyes black as frying pans. and Warner Rep #2 takes his cue and laughs. PHIL It‟s like their music is hanging in the air and taking on various shapes and forms and colors.
like T. HOWARD It‟s charming. HOWARD I already told you this band wants creative control. WARNER REP #1 It‟s a fast-paced business. Darby casts dramatic shadows. WARNER REP #2 Completely loco. 55 . Onstage. HOWARD That‟s the going rate. The Warner Reps pause to watch and listen. WARNER REP #2 It's quite clear. WARNER REP #2 They‟re soaking. We‟re not sure this stuff has an audience.WARNER REP #1 You‟re insane. Lawrence on the top of a derailed train. Howard. Bewitching. WARNER REP #1 That is painfully obvious. HOWARD This band is not the Airplane. E. WARNER REP #1 For the Jefferson Airplane. And RCA is taking a bath on that. And we get to choose a single off both albums. WARNER REP #1 Thirty-thousand.
I don‟t. watching the movie on TV. Marsha is sitting alone and sad with her toddler BOY.NIGHT Darby ambles in and finds Marsha watching a late-night movie on television.Howard waves his hand and stalks off to the bar. A couple hundred ARTISTS. MUSICIANS and INDIVIDUALISTS 56 . Marsha's KID. MARSHA Darby? DARBY Yeah? MARSHA Could you sit with me for a while? Darby sits down near Marsha and the two watch TV together in silence. BAND HOUSE LIVING ROOM –. DARBY (cont. Darby slumps off to his bedroom. Darby brings his solo to an end with tremendous riffing and David starts to sing. INT. Darby stands for a moment.DAY Darby. MARSHA Do you know where Peter went? DARBY No. and the Warner Reps bob their heads to Arbitration‟s pulsating finish. who is sleeping on her lap. g‟night. Peter. How was the show? DARBY Good. OLOMPALI BACK FORTY –. Jerry. Marsha.) Well. MARSHA Hey Darby. EXT. and Grace cautiously proceed into a Fellini-like circus.
) And frankly. We are honored by your presence. Garcia. Garcia cackles. Garcia looks Grace and Jerry up and down. JERRY GARCIA stretches back on the lawn to watch the proceedings and to watch MOUNTAIN GIRL twirl around. they tear off their clothes and jump into the pool. Not far from the bikes. JERRY I heard you were in the studio. we're a bit disappointed. wrestling with clouds of smoke and flour that billow from an outdoor brick oven. Garcia whistles at Grace and Jerry. We just invited you because you're good looking. dancing around or just reclining on the lawn. 57 . Jerry joins Garcia on the lawn. drinking and carousing with HIPPIE CHICKS. The Great Society. GARCIA All right. When they become covered with flour or overheated.are consorting merrily. some COWBOYS and COWGIRLS let their HORSES commune with the Olompali family DOGS. GARCIA Well. where naked HIPPIE CHICKS and BIKERS in jean jackets swim around gleefully. if it ain't Grace and Jerry Slick. GARCIA (cont. a few HELL‟S ANGELS and BIKERS tear around on their motorcycles. A small stage with instruments and speakers lies near the adobe mansion. The Diggers bake bread. GRACE Serve it on a shingle. Off to one side of the mansion. enjoying grilled fare and fruits and wine and bread and grass.
GARCIA (voice fading) It's coming out in a few days.HERB GREENE. man.. who pick at blades of grass and talk shop. Nearby. ALBIN Yeah. and Paul Kantner. plugged in and amplified. Our first time together in a studio. Very exotic. lies on his belly to get a shot of Jerry and Garcia. feeling a bit out-ofplace. and then he launches into a rhythm on John's guitar. and various CHICKS and 58 .DAY The Grateful Dead. Just a warm-up.. Very cool. modal motif. Darby wanders away from Peter and Marsha and the Kid to listen in on a small acoustic guitar circle: JOHN CIPPOLINA. a young photographer. Albin and Paul add ornaments. JOHN You got some great songs. Albin copies a trademark Darby riff. Paul smiles at Darby. We're ginning up more songs. really. ALBIN (to Darby) I saw you cats at the Matrix. Darby‟s got that minor key. DARBY I thought I had the play-thewrong-notes motif. jam on the small stage by the mansion. EXT. wanders back toward the mansion. Darby forces one back. JOHN I yield to the great desert guitarist. Grace. PETER ALBIN. man. OLOMPALI –. John stands up and gives his guitar to Darby.
we‟re wingin‟ it down the tracks together. we‟ve beaten everything for a day. EXT. you gotta see this. In the warm sun and light blue sky. man. OLOMPALI MANSION –.EVENING Living Beat legend NEAL CASSADY. Darby shyly climbs the stage and grabs a spare guitar and starts to jam. OLOMPALI BACK FORTY -. is holding forth to a large tree. NEAL (to tree) -. wearing a white t-shirt. the sun comes out and starts to warm everything up and we‟ve beaten it.and me all scared an‟ new at this. with Pigpen on keys and Bill on drums. About a dozen PARTY HOLDOVERS have gathered around Neal to listen in. INT. 40 years old. and the sun. with Jerry Garcia and Phil Lesh playing next to him. where Darby is hanging with a CHICK. so this cat gets up and preaches from the open boxcar to the unseen masses. Darby peaks. both of us trying like mad to catch onto the boxcar but the train‟s building steam and we‟re stumblin‟ but somehow through some crazy grace we fall up into the car. with Paul and Marty squinting up at him from the lawn. Cassady‟s on a roll.DUDES gravitate toward the stage. with NEAL CASSADY doing a strange dance with a hammer and aboveground plumbing. Darby and Peter watch until Garcia beckons for Darby. with friends and admirers before him. only they‟re not always unseen. jeans and short hair. like at these towns where people are outside doin‟ their thing an‟ anyway if 59 .EVENING Peter sticks his head into the house. PETER Hey Darby.
us rollin‟ slowly by in an open boxcar with this cat reading from some crazy poetry. a moving theater. and we aren‟t hungry and we aren‟t beat.NEAL (cont.) (to tree) they‟re inside they could still hear him. man. not just saying it but realizing in this zen way that just being is everything until finally hip hip hip the cat‟s got the beat the train‟s slowin‟ down and whap whap whap we‟re slappin‟ our shoes down Main Street and into some gloomy diner short of Dubuque. smilin‟ and wavin‟. we‟re jazzed. just a few stray grains for a bed an‟ we lie there tellin‟ plans for Chicago all through the night. and me I can‟t stop laughing at this mad hobo channeling Olivier and finally we get hungry but the train isn‟t stoppin‟ and there we are. me and this cat from Tallahassee rolling through Nebraska. doin‟ what we want and wantin‟ nothin‟ but to be alive. everybody‟s smilin‟ and wavin‟. we‟re American. the train long gone now but there‟ll be another one and then eggs and toast and coffee and I even got a little Benzedrine and we take off on the check and hide until the next train an‟ it doesn‟t take too long „cause we‟re flyin‟ and we get a nice one. stuck and cold for the night. just fun. all sorts of crazy schemes we‟ll pull together. but then in the morning in Chicago we get off an‟ that‟s when 60 . nothin‟ serious. smokin‟ thin cigs and him warming me up to stories about bums and holy riders who have nothing and therefore have everything and knowing it‟s the truth.
JERRY ANDERSON. MARTY I‟m sorry. MATRIX –. Signe‟s husband. 61 .DAY Paul chain smokes as Jorma and SKIP SPENCE watch Marty question SIGNE ANDERSON. it‟s a little late. and regards the tree again. The Airplane‟s equipment sits on the stage and a big “Jefferson Airplane Loves You” poster looms large among the decorations on the ornate walls. INT. pulls out a cigarette. two days with that cat an‟ no goodbye.) (to tree) the cat just looks at me and doesn‟t say nothin‟. looking tense. MARTY Well. sits next to Signe. NEAL (cont. lights it. Signe? JORMA She just did. We‟re going on the road for the first time and our singer is pregnant. SIGNE You make it sound like a crime. Darby and Peter wait for the kicker with the rest of the Crowd.NEAL (cont. It‟s not. too.) (to tree) I realized later it was the best anyone can do. MARTY When were you going to tell us. and I guess I just couldn‟t shake the feelin‟ that I‟d been betrayed. just a mad look. But we have to think about the business. in this clear August morning he looks at me for a flash and then he‟s gone. Neal pauses.
SKIP Good Catholic boy like you. Paul whips out a joint and lights it.SKIP I‟m not sure I like this part. Paul gets up from his seat and tries to control his rage. MARTY We‟re not just doing this for a good time.your pregnancy is a beautiful thing. SIGNE I can still sing. It‟s the hard truth. Skip. PAUL You have no business sense..) . We gotta pay the rent. PAUL (cont. PAUL What. I‟m surprised. Skip walks out. 62 .. SKIP Maybe you should get the Virgin Mary to be your singer. Or maybe you‟d get rid of her „cause she doesn‟t get high. Skip. Skip laughs a hyena laugh that makes Paul uncomfortable. Let‟s all be cool. Paul pauses to put out his cigarette... Paul. We just have to think about it. I‟ve got some street reg. PAUL Signe.
PAUL She‟s not? ANDERSON She‟ll show up for the gig. He sniffs the air and goes to the hallway. INT. dressed in black. Careful. ANDERSON Signe‟s not practicing. Signe and Jerry Anderson walk out of the Matrix. puts down a notebook and pen and stares out the window at dark clouds in the sky. Jorma follows.DARBY‟S BEDROOM –.DAY Darby. LIVING ROOM 63 . Marty throws a pop bottle and Paul upends a table. PAUL Oh really? Well that‟s just fucking groovy.) And how do you know Mary didn‟t get high? Jerry Anderson stands. MARTY Are we gonna practice? JORMA No. MARTY That‟s ours. BAND HOUSE -.PAUL (cont. PAUL (to Jorma) Where the hell are you going? JORMA Find Jack.
I like this weather. Two months is enough for me. I think. Let‟s hear it. Peter holds out the joint and Darby accepts it and sits down. And not necessarily Jerry. Darby pulls out a sheet and picks up an acoustic guitar and plays a simple melody. PETER (cont. Just anyone.) Marsha went back to Madison for a while. DARBY I got a song that conjures up that vibe. Darby looks relieved. If I didn‟t get high today I was going to kill somebody. threatening. PETER Well goddamn. Dark. PETER Good day for it. DARBY Time to howl. too. And we did. I‟m a lone wolf. PETER We were. drawing on the joint. DARBY I thought we were getting clean. 64 .Darby follows his nose to find Peter puffing on a joint.
DARBY I need to. 65 . how far the vacuum is leaving the jar. PETER I just got high and this came out. DARBY Maybe you should get high. and hear the movements. DARBY Thanks man. Wow. Strange to feel the music. and see the night. and he doesn‟t even think of you. and you may pay as you leave. Peter grabs the sheet from Darby and reads to himself.. PETER Maybe you shouldn‟t get high. The man in black goes lurching through. Darby.. PETER That‟s incredible. Peter looks at Darby as if for the first time. there are no tickets. No. PETER You just wrote this? DARBY Yeah. and doesn‟t even think of you. Peter hands Darby a sheet of paper.DARBY (singing) Darkly smiling. The man in black goes lurching through. What does it matter. Darby is genuinely touched by Peter‟s praise.
S. PETER Hey Grace.) Maybe you should call the cops. Darby chuckles and opens the door all the way to reveal Peter. and she knocks. closes her book. She sniffs the air. and prowls to the hallway. DARBY Maybe. INT. Maybe. GRACE Smells interesting.PETER I know. your definition of it. sax in hand. PETER (O.DAY Grace sits on the bed. GRACE So do I. Unbelievable. I mean. DARBY (to Grace) I have a new song. PETER So do I. GRACE Grass-smoking musicians. HALLWAYS/DARBY'S BEDROOM Grace follows her nose to Darby's room upstairs. reading in the rare quiet of a lazy summer day. GRACE I thought you were clean. Darby opens the door part-way. who is sitting on the bed. 66 . GRACE AND JERRY'S BEDROOM -.
67 . you know that. PETER Not really. would you? Darby and Peter ponder. DARBY The Airplane. do you? GRACE Yeah. Grace closes the door and splits. you wouldn't want to do the dishes.) Hey. Darby shakes his head. Peter and Darby smirk. unable to help hearing the chuckling as she heads back down the hall.DARBY Do you really? GRACE What did I just say? Darby and Peter grin. PETER Hey Grace. GRACE (cont. stoned and happy. But we're not Indian. PETER Do you really want to sound like the Airplane? GRACE I love the Indian stuff. I do. Peter and Darby bite their tongues. you don't really like the Airplane. GRACE The Airplane just cut an album for RCA. no.
MARTY And she‟s hiding behind an organ.) Are you thinking what I‟m thinking? PAUL I doubt it. On the other side of the club. MARTY (cont. I can‟t CHET It‟s not a competition. man. JANIS Don‟t tell me. WARNER REP #1 Nice crowd. compete with that. In the Crowd are Howard. tell your friends. 68 . Grace plays organ and sings. Chet hugs Janis. Besides. Darby plays guitar. Paul leans into Marty. and David sticks to the tambourine.INT. Pause. you‟re the cutest thing I‟ve ever seen. and Paul and Marty. Chet and Janis. honey. JANIS She‟s so beautiful. PAUL She is unbelievable. MATRIX NIGHTCLUB –. In the back. Janis fingers her beads as Chet nurses a beer. the Warner Reps sidle up to Howard. Peter plays bass. Jerry plays drums.NIGHT The Great Society bewitches a friendly CROWD with Grimly Forming.
You‟re staring at Grace. WARNER REP #1 You drive a hard bargain. ramshackle house in rural Mill Valley. HERB GREENE. HOWARD Come on. Howard. WARNER REP #1 I‟m just a man.DAY The band mills about an abandoned. WARNER REP #2 No radio hits. is 69 . WARNER REP #1 I don‟t hear any singles. WARNER REP #1 Forty thousand and two singles of our choice. ABANDONED HOUSE –. Pause. Warner Rep #2 pauses before following.HOWARD I told you there‟s an audience. WARNER REP #2 (to Howard) We‟ll call you. WARNER REP #2 He‟s only human. the Crowd claps and Warner Rep #1 takes off out the door. the young photog. Howard. Big Brother just got creative control. And it‟ll get you nowhere. HOWARD They have three or four singles. When the song ends. EXT. You‟re not listening. The Warner Reps pause to enjoy the remainder of Grimly Forming.
who is wandering off by himself.Darby. HERB Okay. watching the others as Herb starts to snap away. I don't want anything phony. Grace laughs. the godhead is with you.. and David can tell that he is the joke.. I have a fast shutter. HERB Are those stairs safe? 70 . to Grace) That shouldn‟t be hard for him. you stay there. HERB This is good. David. this is good. Peter and Grace whisper and watch David. HERB Do you have a leader? Mister Potato Head? Besides DARBY Well. PETER (to Herb) We need our godhead in the picture. I take the blame for stuff. smoking a cig.. Jerry sits down. Herb lowers his camera and looks at a strange.. and Darby turns sideways. and then Grace places a Mister Potato Head on a beer bottle in front of her. Grace and Peter move back and lean against the house. Do you want anyone up front? GRACE Not me. Just keep moving. wanders back toward the group. PETER (softly. you just wander around. secondfloor addition that is tacked onto the house.doing his thing. David.
David looks at his shoes. DAVID You don‟t need me. let him quit.David is the only one to enter the structure. DAVID I quit. Grace. DARBY Come on. you know that song of yours. PETER Hey David. Let him go. BAND HOUSE LIVING ROOM –. He sticks his head out the window. Grace stands and takes a step into the foreground as Herb snaps away. man. Darby. who sit on the stairs.DAY David emerges from the basement with Janet to find Darby and Peter whispering. DARBY C‟mon David. dad. and Peter. If he wants to quit. David straightens. That‟s not true. 71 . It‟s too happy. INT. DAVID You think you‟re so happening with your sitars and sarods. separating himself from Jerry. PETER It‟s okay. That‟s How It Is? DAVID Sure. PETER We're thinking of axing that from the set. man. Peter‟s just jiving.
PETER It‟s more happening than that wimpy folk shit. DAVID No way. just relax. JANET I don‟t see how you can criticize David‟s songs. Dylan. I don‟t care where it comes from. man. PETER Dylan‟s gonna eat our I write folk DAVID Man. DARBY Hey Peter. PETER I play music. PETER Fuck folk rock. David‟s like Dylan. PETER Look in the mirror. rock. This ain‟t worth it. DAVID Folk rock. JANET You‟re just taking Indian music and exploiting it. dude. DARBY I don‟t believe this. At And David. David and Janet storm out the front door. 72 . They‟re American. you‟re too cool for your own good. man. dust. least I‟m in the band. cool it.
JERRY Who‟s Grace going to sing with? PETER She can sing alone. Chicks dig him. have a great voice. You‟ll see. JERRY I can play Solea.PETER Man. He PETER Whatever you say. David doesn't JERRY David was a part of the band. He has songs. dude. You‟re the drummer who can‟t play Solea. We play his songs. it‟s all right. who makes a beeline from the house. BAND HOUSE BACKYARD –. And Grace wants to harmonize with someone. Grace ambles along after him. PETER That tune‟s got a fifteen-four time signature and a lopsided marching beat. EXT.AFTERNOON Darby plays guitar and Peter plays sax until they are interrupted by Jerry. need him. We don‟t DARBY David‟s been with us the whole time. can play rhythm. 73 . PETER We‟ll be better off without him.
and then listen to us. GRACE I hate to say it. Peter. Jerry stares at Darby. GRACE (cont. Big Brother‟s with Mainstream. but Jerry‟s right. DARBY Yes we are. The Airplane‟s gonna eat our dust. Do you see anyone signing us? DARBY Screw the Airplane.) (to Darby) I‟ve said that all along.JERRY We‟re not even talking about that. I like to sing. help me out here. Listen to the Airplane. GRACE They can sing. Darby. The Grateful Dead is gonna sign with Warner. Airplane? The PETER I can‟t believe you wanna sound all nice and sweet like the Airplane. Grace. JERRY The Airplane has a deal with RCA. 74 . I want to sing with someone. There‟s no -DARBY (interrupting) The Airplane? God. JERRY Grace.
facing the sun. and fuck you. Jerry glares at Darby. slowly realizing his anger at Jerry‟s comment. PETER (to Darby) We should just move to India and study under Khan Sah‟b. Darby.) You know what. Darby and Jerry square off. Jerry goes after Peter and tries to choke him as Darby tries to break it up. stands up and faces down Jerry. We‟ll get a contract. fuck your guilt trips. DARBY I don‟t care what Bob thinks. Jerry. and Grace. Be patient. trying to disavow the comment without saying anything. and Peter plants his eyes on her ass. and I don‟t care what you think. shocked that it has come to this –. who looks away from Peter. DARBY (cont. Bob's right about you. JERRY What the hell are you looking at? PETER Nothin' I haven‟t seen before. PETER Everyone relax. Oscar said he'll join us.Peter as peacemaker -. 75 . JERRY Man. Grace trudges back inside. We‟ll get there.Peter leans back on his elbows.stare at Peter and then come to their senses. Darby.
including Jerry Anderson. A PROMOTER emerges. BOUNCER (to Marty) Keep him away from me. PROMOTER How many you got? How many on stage? MARTY Six. baby. A BOUNCER steps out and assumes a tough position. PROMOTER You only get five. BOUNCER (to Signe) I cannot let you in. 76 . We need to get in. we don't want any trouble. and new drummer SPENCER DRYDEN -. Jorma. and gripe. smoking a cigar.wait impatiently outside a Seattle nightclub with various ROADIES and hangerson. They shift. Signe holds her NEWBORN BABY. peace man! Peace! EXT.Marty. MARTY Look man. Jack. ANDERSON Goddammit. Paul. Not with the PAUL What do you have against babies? Bouncer squints at Paul.) (garbled) Hey. let us in. smoke. and we can't leave the baby on the sidewalk.DAY The Airplane -. SEATTLE NIGHTCLUB -. But we're the band.PETER (cont. Signe.
SIGNE I'm sorry. INT. who has her hands full. Promoter gestures at Signe. 77 . Signe. The Airplane agonizes. Legendary Indian musician ALI AKBAR KHAN. but you must find a graceful way to go home. Or. You can go anywhere in-between.PAUL What? PROMOTER Sorry. and dissatisfied. no. my fault. ALI Home is where you start. hip. BERKELEY CLASSROOM -– MORNING Darby and Peter sit on ornate rugs with about 20 other STUDENTS of various ages. Darby slips around on the sarod. teaches the class. learning to play Indian music on the sitar or sarod. and Peter looks pained as he tries to sit in the correct sitar-playing position in his jeans. This is all MARTY No. Ali tears off a lick on the sarod and stands. PAUL We're not playing in Seattle for a week without Signe. just play without her. dressed in traditional Hindu garb. The Airplane hangs out. PROMOTER Lemme talk to the owner. your baby is beautiful. and home is where you end. tragic. you guys. Talk to the union.
DARBY Yes. Ali walks placidly about the room. You are musicians. He stops and hovers over Darby and Peter. Khan Sah‟b. Khan Sah'b. Khan Sah'b. Khan Sah‟b. ALI (to Darby) You are having a hard time keeping your fingernails on the strings. DARBY Yes. But in pursuing two paths. Khan Sah'b. rock music or ragas? Darby and Peter sniff a laugh. ALI I am not saying that you must choose between the two.) You may practice your scales.) I see promise here.ALI (cont. 78 . ALI Which do you prefer. yes? PETER Yes. you may find yourselves lost. ALI (to Peter) And you are having problems sitting. ALI (cont. yes? DARBY & PETER Yes. making comments and giving suggestions. DARBY We're not really sure.
DAY Paul. Marty draws a straw that is the same length as Paul's. and Peter -. Jorma draws a long straw. SIGNE Bill? Yeah. 79 . looking unconnected and too quickly experienced. HERB GREEN'S STUDIO -. Paul draws first. and Jack draw straws held by SPENCER DRYDEN. INT. Marty. blinking and absorbing.) (to Peter) Looser pants. Ali turns to another student. INT.ALI (to Darby) More practice. ALI (cont. Darby. I can't do this anymore.DAY The Great Society -. Listen. PAUL (cont. JORMA Sorry. Jack draws the last straw: the shortest one.poses for photos before the hieroglyphics on the wall. PAUL Is this a long one? I can‟t tell. Jerry. INT. picks up the phone and dials.) Oh good. I just can't. CHICAGO HOTEL ROOM -. Darby and Peter take up their instruments. Jack.NIGHT Signe Anderson. MARTY BALIN‟S APARTMENT –. Jorma.now just Grace. husband Jerry Anderson and crying INFANT nearby.
right? MARTY For a couple minutes. Jack. JACK Hey.NIGHT Grace smokes a cigarette and unwinds after a show as WORKERS and MUSICIANS mill about. PAUL I‟ve got some street reg. yes. AVALON BALLROOM BACKSTAGE –. Jack makes his move. 80 .. Simple as that. JACK I gotta get high. JORMA You know how to talk to chicks. INT.JACK So this makes me the leader of the band. When Grace is alone. why don‟t you do it? PAUL The straws have spoken. JACK If it‟s so simple. JACK You guys are a bunch of fucking.. Jack rolls his eyes and stalks off. Jack waits in the background for Grace to finish talking with Chet. JACK What do I say? MARTY Just ask her if she wants to join the band.
JACK Wanna join the Airplane? Grace blinks. BAND HOUSE LIVING ROOM –. Jerry sits down at the drums and seems to soften.) She didn‟t come home? JERRY No. 81 Jerry .DAY Peter. JACK You‟re married? Grace nods.GRACE Hey. PETER You ready for the gig tonight? JERRY Where‟s Grace? Peter turns and looks Jerry squarely in the eyes. Jerry takes a drag and broods. PETER Sorry. moves about the instruments strangely. GRACE First marriage. saunters in smoking a cigarette. PETER I haven‟t seen her. PETER (cont. GRACE I‟ll have to ask my husband. INT.
you know that one song of yours. I don‟t know. Born to Be Burned? JERRY Yeah.. Peter. You had it the other day. Everybody.JERRY You don‟t know how it is being married to her. I can‟t play that tune. PETER That‟s a cool song. PETER But you know how you got the rhythm now.) You ready to practice Solea? JERRY Man... dude. his head hanging. PETER I mean. Jerry trails off. 82 No way. JERRY Not in public. Pause. Well. PETER Hey Jerry. PETER Yes you can. I know.. Jerry fiddles with his hi-hat stand and cymbals. Peter and Jerry collaborate as the camera fades. it‟s just a simple dirge. PETER (cont. I was thinking we take out the rhythm guitar and. JERRY Thanks. .
EVENING As the shadowy. pen in hand and crumpled paper all around her.BEGIN MONTAGE EXT. He stops at a record store and sees the Jefferson Airplane‟s first album displayed along with 45‟s by The Charlatans and the Beau Brummels. She gets up and glides to the bureau to gaze at the album cover of Jefferson Airplane Takes Off. Darby walks in the late summer evening.NIGHT Grace sits in bed. where he runs until he collapses. HAIGHT-ASHBURY STREETS –. HAIGHT ASHBURY STREETS –. seductive Born to Be Burned plays. heading to Lafayette Park. David dashes down Bush Street to Gough Street. POLK-GULCH NEIGHBORHOOD -– NIGHT David enters a coffee shop and stands in the doorway. GRACE AND JERRY‟S BEDROOM –. looking into shop windows.NIGHT Peter sits under a tree. EXT. and then she studies her face in the mirror. Jerry stops at a second-run movie theater and stares at the promotional poster for Lawrence of Arabia. Peter puts down his sax and goes to the other side of the house. EXT. Down the street. BAND HOUSE BACKYARD –. INT.EVENING Jerry just misses Darby as he tramps the Haight alone. a CROWD gathers outside the Avalon Ballroom for a Big Brother/Sons of Champlin show. staring up at the starlit sky and over at the curtained window of Grace‟s bedroom. playing his soprano sax. where he peeks in the window and watches Marsha tend to her Boy. 83 . EXT. watching a lonely FOLK SINGER sing to no one.
He turns on the radio and catches a folk song and quickly turns it off. GOLDEN GATE BRIDGE –. JERRY What‟d you say? GRACE 84 .DAY Darby sleeps with the shades drawn. Darby collapses back into the couch as Born to Be Burned ends. EXT. door and leans inside. a tall. GOLDEN GATE BRIDGE –. GRACE Jerry? JERRY Grace? GRACE Jefferson Airplane asked me to join them.DAY Jerry tailgates cars in the station wagon and Grace rides shotgun. we‟re gonna see Lawrence of Arabia. EXT.DAY David drives to Mill Valley. oblivious that David has just passed them going the other way. dark dude who cradles a guitar. END MONTAGE INT. DARBY‟S BEDROOM –. BAND HOUSE LIVING ROOM -– NIGHT Darby shoots heroin with Peter and OSCAR DANIELS. You wanna come? Darby stirs a little but does not respond.INT. and Jerry shuts the door. Jerry stares at Grace. Jerry opens the JERRY Hey Darb.
DAY David knocks softly on Darby‟s bedroom door.DAY David pulls up to the band house. MILL VALLEY BAND HOUSE –. Darby. DAVID I want to come back. you. Sorry to wake Darby wakes. DARBY‟S BEDROOM –. Oh. dude. I‟ve been doing a lot of thinking. The pitch darkness is broken when David enters the room. 85 . his eyes like two piss holes in the snow. DARBY What‟s up.. Darby. knocks on the front door. DARBY Well David. but Darby does not wake. EXT. sorry about this.I said I‟d have to ask you. INT. Darby manages to sit upright against his headboard and light a cigarette. DAVID Hey.. Maybe I was a little hasty. DAVID I didn‟t mean that stuff about the sitar. DARBY Who's there? DAVID Hey man. DARBY David. leaving that folk-rock shit behind. we‟re going to exotic places. and cautiously enters the unlocked house.
while. DARBY You think you can just waltz back in here and I‟m supposed to be thankful? You gotta stick with things.NIGHT Grace smokes and paces. I took you this far. DARBY You didn‟t take me anywhere. C‟mon. Darby puts his hand up. You can rely on me. DAVID Come on. two months? DAVID Three weeks. Darby. BAND HOUSE LIVING ROOM -.DAVID I know. I was upset. we don‟t need you. For a INT. DARBY We‟ll go with the quit. David. DARBY Yeah. DAVID I mean I was there. DARBY Man. It‟s been. If we can‟t rely on you. DAVID Darby. dad. man. and Jerry sits before a bowl of strawberries. man. you were there. you quit. No dude. I‟m your singer. what. I can‟t believe you quit. 86 .
With the starry sky framed in the window behind her and a purring cat at her cheek. JERRY (cont. she looks every inch a sorceress. if that‟s what you want.GRACE I‟ll keep playing. they have a contract. Grace's eyes flutter at Jerry. But Howard isn't getting us anything. GRACE What about Darby? Jerry taps a cigarette and lights it. who does not notice. you know? JERRY I don't think I can smell Darby's socks anymore. If I join the Airplane. Grace picks up Quality Cat. JERRY What about him? GRACE No. but we are getting better. JERRY That's true.) You‟ll be a star. I‟ll be married to a star. the Airplane is great. I think you should join the Airplane. well. GRACE And Darby's getting better. 87 . Jerry helps himself to a strawberry. really. I mean. GRACE You don‟t think we‟ll get signed? JERRY No.
DARBY David? INT. 88 . Top billing at Suddenly he We need a PETER We‟ll get the contract. Right. the Fillmore. next month. GRACE India. INT. man. We'll wait 'til after the Fillmore gig. DARBY We need an album. man. Grace and Jerry laugh. aren‟t we? PETER Damn right we are.EVENING Darby sleeps soundly in the pitch dark. contract. DARBY‟S BEDROOM –. Next week. JERRY Don't tell him now. observing. BAND HOUSE –.EVENING Darby shoots heroin in the darkening living room.JERRY He‟s moving to India. Peter leans back. bolts upright. PETER We made it. whatever. Can you dig what that means? DARBY We are better. We‟re over the Airplane.
BAND HOUSE –. heroin. As they draw near. Just 89 . INT. FILLMORE AUDITORIUM -– NIGHT Jerry drives and scans the streets. stoned on horse. FILLMORE DISTRICT –. He spots Darby. EXT. EXT. after a deep breath. The Indian Women rush past Darby. DARBY We‟ve made it. opens it.NIGHT Darby slowly floats down the sidewalk in a heroin haze. Darby spots two Indian WOMEN dressed in saris approaching. haven‟t we? EXT. INT. He calmly places and. alone in the dark. EXT.NIGHT Darby teeters on a sidewalk across the street from the Fillmore Auditorium. SAN FRANCISCO NEIGHBORHOOD STREETS –. and stares into adroitly shoots himself with his works into a red bandana he glides to the front door. DARBY Ap kaha ratay hi. BAND HOUSE LIVING ROOM –. the Haight streets are dotted with the area‟s diverse POPULATION.NIGHT Jerry finds Peter sitting in the darkness.NIGHT Peter.Darby stands up after his shot and looks out into the twilight. the darkness. PETER Said something about the Fillmore. Darby tries some simple Hindi. The two stare at each other in the darkness.NIGHT Darby walks unsteadily into the Fillmore District. Although the hour is late. HAIGHT-ASHBURY –. collapsed near the front doors of the Fillmore.
and gently deposits him into the back seat. BILL What a show. Bill approaches Jerry as Jerry begins the difficult drumming for Solea. stretch it out. BILL GRAHAM is muttering to anyone who will listen. Grace takes the bass from Peter. Darby turns to Jerry.NIGHT Darby. and Peter finish Sally Go „Round the Roses for a packed CROWD at the Fillmore. Darby. you know. Offstage. Bill skulks back to stand off-stage. INT. glancing at Grace. Jerry hesitates.let‟s keep this going.) C‟mon. In the balconies are the Grateful Dead and the Jefferson Airplane. DARBY (cont.. 90 . Jerry pulls over. man! Jerry relents. are colorful psychedelic posters promoting an upcoming show that has the Great Society over the Jefferson Airplane and Grateful Dead. FILLMORE AUDITORIUM –.. The band sounds great. To Darby and Peter‟s horror. Bill stops when he sees that Jerry is concentrating on the drumming. Oscar and Peter begin the overture to Solea. DARBY Let‟s do Solea. Grace..) Hey. Jerry. who straps on his soprano sax. on the façade of the building. helps Darby up. They‟re gonna do another song. would you? Do a jam or something. the weirdos are having fun. BILL (cont.. aren‟t they? I‟ll ask the drummer.above Darby.
BOB Man. the Grateful Dead watches the Great Society play Solea. The two Warner Reps stand off to one side. and he and Grace establish the entrancing beat to Solea. The DANCERS in the Crowd groove on the piece. Garcia's band mates register their awe at his knowledge. What a show. 91 It‟s .BILL (cont. who study the unusual Crowd as they listen to Howard over the music. PHIL You should learn how to play your guitar. Jerry handles the drums perfectly. Up in the balcony. keeping their eyes on Howard and the band. BOB What song is this? PHIL No idea. GARCIA I think it's Solea. In the back. Darby and Oscar play the brass ornaments on guitar. this band is up for grabs. What does it matter? We‟ll get them again in a few weeks. Howard works on several A & R REPS. Gil Evans. HOWARD That‟s right.) That‟s fine. Miles Davis. and Peter replicates Miles with his soprano saxophone. what‟s in your heart. GARCIA It‟s not how good you play. someone should learn how to play some brass. I want fifty thousand.
who quickly suppress their enjoyment of the music. hear fifty thousand? Do I One of the Reps fills out the blanks in a form. HOWARD How about fifty thousand. This is the best band I‟ve seen all year. Something lopsided. you should work on your heart. uncharacteristically speechless. PIGPEN What is it? BILL I don‟t even know. BILL That time signature is out of sight. Back by the A & R Reps. but I know you want to go to fifty. Howard starts soliciting bids. The Warner Reps pause. PHIL Well then. It‟s pretty tough.BOB (to Phil) Yeah. HOWARD I‟ve got forty here. and full creative control. And I want to do business with Warner. Howard takes the paper and goes to the Warner Reps. REP #1 I‟ll give you forty. 92 .
93 . watches as the Great Society plays Solea. JORMA Those guitars sound like a horn section. WARNER REP #2 We forgot. Yeah. the JEFFERSON AIRPLANE. SPENCER It‟s pretty tough. PAUL (to Spencer Dryden) You could do that. narrows his eyes at Jerry. SPENCER DRYDEN. MARTY I‟m glad we‟re getting the girl. couldn‟t you? The Airplane's new drummer. we didn't do it. HOWARD Exactly.HOWARD (cont. sans Signe Anderson. MARTY All we did was ask. though. Howard tries to close the deal. JACK (to Paul) You sure you wanna break up this band? PAUL Jesus Christ. In the balcony.) Have you heard about that guy who turned down the Beatles? What was that guy‟s name? WARNER REP #1 I don‟t know. In the back.
WARNER REP #1 You want to make this band the highest-paid band in San Francisco. And one single.) Well. all of whom are transfixed by the song. say goodbye to the band. HOWARD I‟m getting fifty and creative control right over there. 94 . As Howard walks. What do you take us for? WARNER REP #2 Who do you think we are? HOWARD You‟re the guys who keep coming to see the band. HOWARD (cont. the shots of Howard and the Reps begin to move in slow motion. You won‟t have to bother after tonight. Howard waits for a moment but the Warner Reps continue to watch the band play Solea. BEGIN SLOW MOTION As the guitar ceases and Peter‟s saxophone descends the scale and the tension in Solea slowly releases. HOWARD (cont. WARNER REP #1 Forty-five. because tonight I‟m taking an offer. The Warner Reps hesitate. You know a good thing. as Darby‟s horn-like guitar builds to a flourish. this is it.) All right. Howard turns on his heels and walks back to the other A & R Reps. Howard is whisked away by the Warner Reps amid pushing and shoving from the other Reps.
Jerry stands over Darby and Peter and gestures toward Grace. MILL VALLEY BAND HOUSE –. LOBBY Howard stops in the crowded lobby and points to the band. explaining to Howard what will happen. BLACK OUT 95 . a POSTMAN walks up the driveway with a thick package addressed to the Great Society from Warner Brothers. Jerry approaches Darby and Peter. EXT.Howard exalts in the ruckus. who is about to pirouette away with the Airplane. END SLOW MOTION BACKSTAGE Back at normal speed. but Warner Rep #1 throws his arm merrily around Howard‟s shoulders and ushers him out. the band packs up among WORKERS and FRIENDS. Jerry splits to join Grace. One by one. the band members leave Darby sitting alone backstage. The package does not fit into the mailbox. Darby wilts. as Solea winds down. As he absorbs the news. so he drops it on the front steps. through the front doors and out into the Diggers and their Frame of Reference. who sit decompressing. Darby tries to appear unhurt. and then he is escorted out of the auditorium by the Warner Reps amid fingerpointing and profanities.DAY As the last few shakes of the maracas close out Solea like a death rattle. but she has just left with the Airplane. Peter waves his hand dismissively at the whole scene and stalks off with Oscar.