Bob Dylan .... 1962-63
Bob Dylan: Blowing in the Mind 1967 | Brett Whiteley & Dylan | Don't Look Back 1967 | Film Script | London 1962-3 | Masters of War |
FREEWHEELIN’
A snippet in time, wherein there is a choice between fidelity and freedom...
Copyright Michael Organ
Spec Script [Versions: 1 January 2023; 14 June 2023; 3 August 2023]
Synopsis: In this semi-fictional biopic film script, based on real events, we follow the young Bob Dylan's path to fame from destitute folk singer in New York at the beginning of 1961, through to the release of his breakthrough second album The Freewheelin' Bob Dylan at the beginning of 1963. Along the way there are visits to England and Italy, and a break with his true love, Suze Rotolo. We experience a world of sex, drugs and music, out of which arise some of Dylan’s most famous, and personally revealing, songs.
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Freewheelin’ - Act #1
[We are introduced to Bob and Suze's life together in New York, and as Suze leaves with her parents for an extended stay in Europe.]
[Abbreviations: EXT. (Exterior) / INT. (Interior) O.C. (Off camera)]
EXT. – NEW YORK STATE, COUNTRY SETTING, HOUSE PORCH (2023) – EARLY MORNING
A young, 12 year old girl EMMA sits on a balcony lounge, thumbing through an old picture book.
She stops at a page with a black and white photograph of a young, smiling couple. It names the couple and dates the photograph 1962.
Next to her on a chair, her aged grandfather POP sits reading.
Emma leans over and shows the image to POP.
EMMA Hey POP, here’s a picture of you, in 1962. That lady – SUZE – who was she?
POP looks at the open page, gently nods his head a few times, smiles, then looks back at EMMA.
He begins to hums a tune and quietly sings, in a craggy old voice.
She once was a true love of mine .....
FADE TO BLACK
FADE IN:
EXT. – NEW YORK CITY (LATE OCTOBER 1962) – NIGHT
View ABOVE the city. We move slowly down towards the buildings and streets.
In the background BOB DYLAN (O.C.) sings the first part of Walkin’ Down the Line (2.53).
The noise of the city increases, from the cars, people and machines.
We slowly descend to street level.
EXT. – STREET LEVEL - NIGHT
Steam hisses from a vent in the road.
Rain falls lightly and the footpath glistens in the moonlight. Cars pass by as people walk briskly in the cool night air.
There is a Saturday night vibe, restaurants and sidewalk cafes are busy.
In a shop window a small black and white TV screen is running news footage of the CUBAN MISSILE CRISIS.
We see images of PRESIDENT KENNEDY (US), PREMIER KHRUSHCHEV (Russia) and PRIME MINISTER FIDEL CASTRO (Cuba), missiles, soldiers, warships, protesters – all ominous preludes to a cold war which is heating up.
People gather round the screen. They are anxious and worried by the very real threat of nuclear annihilation.
He looks up and SHOUTS above the din.
MAN (angry) Goddam Commies!
People nearby respond.
WOMAN #1 Don't worry, Kennedy will show those Ruskies a thing or two.
WOMAN #2 (concerned) Yeah, blow their ships right out of the water!
The crowd murmurs in support, heads nodding and becoming increasingly agitated.
A YOUNG MOTHER slowly extracts herself and her TWO CHILDREN from the crowd.
She is worried as she attempts to shield the children from the television screen and the anger of the people around them.
One of the children, aged 9 years old, looks up at her.
CHILD #1 Mommy, I’m scared.
They hurriedly leave.
Two MEN (deep in conversation), walk along the footpath, past the TV throng, seemingly oblivious to the tension and turmoil around them – one is fresh-faced, slim, aged 32; the second is older, craggy-faced, tall, aged 55, partially hunched over and smoking a cigarette. Both are English.
The youngest is PHILIP SAVILLE, a BBC television director, visiting New York, snappily dressed.
The other is W.H. “WYSTAN” AUDEN, a writer, poet and temporary resident, looking rather disheveled as usual in a long, weathered dark coat. He shuffles along the street beside his friend.
Saville carries a shoulder bag with a typed manuscript sticking out and the word “Madhouse…” visible.
SAVILLE Is it much farther?
AUDEN Nearly there. Be patient.
SAVILLE I was hoping to talk about the script I’m working on.
AUDEN Don’t worry. There’ll be plenty of time for that. I feel like having a bit of fun. We can talk shop later.
SAVILLE Wystan, that poem of yours - “The truth about love” – what is the truth? You could at least tell me that!
AUDEN Well, I'm afraid there are more questions than answers when it comes to love. It does come upon us without warning – that truth I know.
Auden puffs deeply on his cigarette.
SAVILLE So, love’s fleeting then, like trying to capture lightning in a bottle?
AUDEN Not unconditional love, Philip. Even if one is betrayed, it can stand firm, last eternal, at least in thought, if not in flesh. We must accept what is real. “We must love one another, or die”.
Saville reflects upon Auden’s words. He is silent, nods in agreement.
AUDEN (questioning) And what about you – how many women do you “love” at the moment, my ardent friend, in this new world of sexual freedom?
SAVILLE (thoughtfully) Aaahh… three?
AUDEN (smiling) Just three! And what about their freedom?
He draws deeply on his cigarette.
AUDEN Times are changing, Philip. “What’s good for the goose…” eh!
Saville frowns, taken aback by his friend’s veiled criticism. Both hurry along the busy street in silence, engulfed by the noise of the night.
EXT. – “DOWNTOWN” NIGHTCLUB – NIGHT
The two men slow down, stop and look up - a red neon sign flashes “DOWNTOWN”.
AUDEN Here it is – Tony Pastor’s “Downtown”. Everybody goes here who is anybody. It’s like going to that place up in Liverpool – what is it? The Cavern. You know, where the Beatles were found.
Saville nods approvingly and follows Auden into the club.
They see a blackboard, with words roughly written in white chalk: “TONIGHT – BOB DYLAN / LARRY LOVE”.
INT. – “DOWNTOWN” NIGHTCLUB – EVENING
Auden and Saville pay at the entrance. They check their coats.
We hear the last strains of Dylan’s Walking’ Down the Line and dying applause as the two men enter.
The club is dark, with 1920s décor. The smell of reefer fills the air. It is crowded with about 200 people of all ages, mostly lesbians, homosexuals and transvestites, of mixed race and colorfully dressed in contrast to the bleakness and blackness of the street crowd apparel. Chairs and tables line the walls, and there is a small stage, with a dance floor in front.
The crowd is now silent, staring at the boyishly young (21-year-old) folk singer on stage (Bob Dylan) as he commences his melancholic composition He Was A Friend of Mine (4.04).
Auden briefly abandons Saville and mixes with some gay friends.
Saville moves closer to the stage, straining to hear, but intrigued by Dylan’s performance. The crowd listens intently, smoking and drinking throughout, while some talk softly.
When Dylan finishes, the crowd claps appreciatively.
DYLAN (smiling) Thank you. Here’s a story about a ghost come back from out at sea. Come to take his bride away from the House Carpenter to the shores of sunny Italy.
Dylan begins the up-tempo song House Carpenter (4.09).
The crowd gradually come alive – nodding, smiling, some getting up to dance, others clapping along, stamping their feet. There is also open hugging and kissing amongst the largely gay crowd.
Dylan finishes to thunderous applause and leaves the stage.
He sits down at a table close to MARIA, a 19-year-old, long black haired female friend and singer. They talk as he takes a drink and she hands him a reefer. Dylan draws deeply.
MARIA Still pining for SUZE I see?
DYLAN Whatdya mean?
MARIA House Carpenter ... sunny shores of Italy ... I thought she'd be back by now?
DYLAN Things change.
Saville approaches their table. Dylan and Maria look up.
SAVILLE Hello. Is it Bob or Larry?
Dylan considers the smartly dressed Saville.
DYLAN Bob.
He takes another draw on the reefer.
SAVILLE Philip Saville – I’m a director for the BBC in London. Can I?
DYLAN Sure.
Saville pulls up a chair and sits down beside their table.
SAVILLE I've been working with Alan Lomax. I understand you know him?
DYLAN Sure, I know Alan.
SAVILLE We’re putting together a folk soundtrack for a television play I made a couple of years ago while he was living in London. He’s a wealth of knowledge. By the way - I just heard your performance. Impressive. Would you consider appearing in one of our plays. It’s called “Madhouse on Castle Street” by Evan Jones.
Saville hands Dylan a copy of the script in his shoulder bag, by actor and playwright EVAN JONES.
A photograph of Jones is clipped to the cover. Dylan recognises him.
DYLAN Hey, I know that guy - he was in that Italian film “La Dolce Vita”, by Fellini.
SAVILLE Yes, that’s him.
DYLAN (laughing, looking towards Maria) I’ve always wanted to be Anthony Quinn in Fellini’s “La Strada”, ya know!
MARIA (shocked) What! A self-destructive, brutish, womanizing street performer, unable to see “true love” when it’s staring him in the face? You piece of shit!
Dylan baulks at Maria’s retort.
Saville smiles, welcoming Dylan’s knowledge of foreign films and possible acting aspirations.
SAVILLE The play is about a guesthouse with an old man who locks himself in his room to die. One of the boarders is a young, itinerant folk singer called Lenny. You’d be great for the part.
DYLAN Mmmmmm … (nodding) Sounds interesting.
Dylan quickly flicks through the script then hands it back to Saville.
DYLAN (emphatically) Go talk to my manager. (pointing, with a cheeky smile) Over there (laughing). The Sidney Greenstreet lookalike.
SAVILLE OK. Thanks.
Dylan returns to his conversation with Maria and friends.
DYLAN Well, what do you reckon?
MARIA You should go Bob! England! Home of folk. What a great opportunity!
Dylan watches Saville as he walks away.
DYLAN (thoughtfully) Yeah, OK. I’ll tell Albert to get onto it.
Saville approaches ALBERT GROSSMAN, Dylan’s manager, a large man with glasses, a round face and grey hair, sitting at a table with a group of friends, including an elderly man (older BOB DYLAN cameo). Saville offers his hand to Grossman.
SAVILLE Hello – Philip Saville, BBC London. I’d like to use Bob in a play I’m producing for television later this year.
GROSSMAN (gesturing) Take a seat.
SAVILLE It’s set in an old boarding house and one of the leads is a folk singer - a Woody Guthrie type character.
Grossman listens and nods, supportive of what he is hearing.
He looks over at Dylan, who also nods approval.
SAVILLE We start filming mid' December. Screen in January. I'll only need Bob for about 3 weeks.
GROSSMAN Sounds good.
SAVILLE Here’s a copy of the script. If I can get the OK from the BBC, do you think something could be arranged?
GROSSMAN Definitely. We should be able to squeeze it in, between recording commitments. I’m assuming the BBC will cover all the costs?
SAVILLE Of course.
Grossman smiles behind his dark, round glasses.
GROSSMAN Good. As a matter of fact, I’ll be in Europe during December, with Odetta. Here’s my card.
SAVILLE Terrific. We’ll be in contact.
INT. – DYLAN’S TABLE
Dylan is speaking to 32-year-old TONY DAVIS, a visiting English folk singer seated at this table with MARIA.
DYLAN Hey man, how do you think I'd go in London town?
DAVIS Well, nobody knows anything about you over there.
DYLAN (surprised) But my album was released a couple of months ago!
DAVIS Yeah, some of the folkies might have a copy, I suppose. And this “Sing Out” article won’t do you any harm.
Davis points to a copy of the October - November issue of “Sing Out – The Folk Music Magazine” on the table, with Dylan’s face on the cover.
DAVIS There’s a folk club scene over there, not like New York though. Lots of performers – mostly amateurs doing traditional songs. Ewan MacColl and Pete Seeger's sister Peggy run the Singers Club in one of the London pubs - you could check that out.
DYLAN Yeah, I saw them perform back home in Minnesota a couple of years ago. Got their autographs.
DAVIS And Jack Elliot works over there a lot. Speaking of which, they love Woody Guthrie.
Dylan nods his head in agreement.
DYLAN Cool. I know Jack, and Woody.
Dylan proudly pulls a small card out of his pocket. It has Woody Guthrie’s signature and the words “I'm not dead yet!” written on it. He shows the card to Davis, who is impressed.
DYLAN Matt McGinn - he's from Scotland – he said as much at Carnegie Hall recently when we played there.
DAVIS So, it’s worth a visit then, don’t ya think?
Dylan nods.
A figure approaches the table.
A tall man known as LARRY LOVE (TINY TIM), aged 30, walks towards the stage and stops at Dylan’s table. He is wearing a checkered coat, floppy hat, has a wild head of red hair, a large, pointed nose on his pale-skinned face, and carries a ukulele.
LOVE (excitedly, in high pitched voice) Mr. Dylan, Mr. Dylan, that was an amazing set, Mr. Dylan, amazing. Wonderful songs, wonderful.
DYLAN Thanks Larry. Good luck up there.
Love takes the stage to much hooting and applause.
LOVE (smiling nervously) Thank you, thank you. Such a beautiful audience. Gorgeous. Thank you, thank you.
Love begins strumming his ukulele and singing Be My Baby / Tiptoe through the Tulips.
The audience listens intently, intrigued.
FADE TO BLACK
FADE IN:
EXT. – PLANE IN SKY (DECEMBER 1962) - MORNING
Six weeks later. Jet plane flying over the Atlantic, from New York to London.
Close in on a plane window and Dylan.
INT. – INSIDE PLANE - MORNING
Dylan sits at a window seat. On his lap is a copy of the script – “Madhouse on Castle Street”. He looks out the window, deep in thought.
In the background Dylan (O.C.) sings his composition Worried Blues (2.38).
FLASHBACK MONTAGE
Cut to recent incidents in his life – a flashback / montage comprising black and white photographs, ephemera, real life scenes of his early life, before coming to New York.
END FLASHBACK / MONTAGE
FADE TO BLACK
FADE IN:
EXT. – NEW YORK – BUS TERMINAL (JANUARY 1961)– EVENING (SNOWING)
Dylan arrives in New York during winter on a bus. It pulls up and he steps out, looking like a hobo, with a guitar case in hand and wearing a heavy coat. Snow falls around him. He walks off down the road, looking for a café and somewhere to stay.
He walks into the Flamingo. There is a small stage in the back, with a young man playing guitar and singing. About twenty tables are scattered around. About half are empty. Dylan sits down in a darkened corner. He orders a coffee. When the man is finished a hat is passed around amongst the small crowd. Another singer takes the stage – a young woman. She begins to sing.
FADE TO BLACK
FADE IN:
INT. – NEW YORK – CAFÉ WHA (MARCH 1961) – AFTER MIDNIGHT
Dylan is on stage in a small club. He is disheveled, with dirty fingernails and a worn-out guitar. He sings Hard Times in New York Town (2.18).
When he finishes, he walks over to the owner, who is closing up. He sees Dylan and reaches into the till.
OWNER Here you go.
He hands Dylan a dollar coin.
DYLAN What? A dollar! But I’ve been playing all afternoon – at least six hours.
The owner shrugs his shoulders. Dylan leaves and goes to a nearby shop where he buys a cheeseburger. He sits down outside and eats it with enthusiasm, watching the crowd walk by. He gets out a small notebook and starts writing.
FADE TO BLACK
FADE IN:
INT. – NEW YORK – CHURCH HALL (JULY 1961) – EVENING
Dylan performs at a local fair. As he finishes, he looks across the hall and sees a beautiful young woman - 17-year-old SUZE ROTOLO, Catholic, of Italian descent. He makes a B-line towards her.
MONTAGE
She is blond and voluptuous. They become a couple, move in together, visit art galleries, cinema, plays. They fall in love. There is a strong physical attraction on the part of Dylan. Suze's left-wing activism is also an inspiration in his life and music, as is Woody Guthrie, who he visits.
END MONTAGE
FADE TO BLACK
FADE IN:
INT. – NEW YORK – DYLAN’S APARTMENT (SEPTEMBER 1961) – EVENING
Dylan and Suze sit on a lounge together looking at the ROBERT SHELDON newspaper review of a recent performance and interview.
Dylan reads it, with a smile on his face.
DYLAN Pretty cool, eh! Sheldon said he might be able to help me get a record deal.
Suze smiles as she moves in closer to Dylan.
SUZE Wow! I know some people in the village are going to be miffed. They’ve been trying for years to get a mention in the Times, let along a full write up.
DYLAN Let’s celebrate!
They embrace.
FADE TO BLACK
FADE IN:
EXT. – NEW YORK – CARNEGIE CHAPTER HALL (NOVEMBER 1961) – EVENING
MONTAGE
Increasing popularity and crowds more receptive. More friends and acquaintances. Poster announces Dylan’s first New York solo concert. Crowds enter the concert.
END MONTAGE
FADE TO BLACK
FADE IN:
INT. – NEW YORK - COLUMBIA RECORDS OFFICE – (FEBRUARY 1962) - MORNING
Dylan meets with JOHN HAMMOND and signs a contract with Columbia.
FADE TO BLACK
FADE IN:
INT. – NEW YORK - COLUMBIA STUDIO – LATE EVENING
Dylan is in the studio recording with Hammond.
FADE TO BLACK
FADE IN:
EXT. – NEW YORK - COLUMBIA STUDIO (MARCH 1962) - NOON
Dylan and Hammond posing for photographs and interviews to mark the release of the first LP. They both answer questions for a few reporters.
FADE TO BLACK
FADE IN
INT. – NEW YORK - WBAI-FM RADIO STUDIO (APRIL 1962) - EVENING
Dylan and Suze are in a radio studio being interviewed. They are seated close together around a single microphone. Both smile nervously.
The interviewer is 29-year-old BOB FASS.
We hear the last strains of Dylan's Song to Woody (2.41).
Fass holds a copy of the “Bob Dylan” LP in his hand.
FASS That was “Song to Woody” – a homage to the folk legend of the 30s and 40s, Woody Guthrie, off the new “Bob Dylan” album on Columbia. I’m here talking with Bob and Suze. … We’re now going to discuss a real sort of modern-day subject - time machines. A lot of people feel nowadays that they would like to escape from life in different forms, and we do this in other ways, but a time machine – we were just thinking of this subject before - there was a movie by that name. And Suze – Suze Marianna - was saying she wished she had a time machine. You should tell us what you would do with it, if you had one.
SUZE Well, most people, I suppose, would go forward, but I’d go right backward. (laughs nervously) Way back. I’d go back to the stone age and watch how it grows up, then come back to the present times. Then I’d go off to the future and become a prophet of some sort. Right?
DYLAN Well now, if you get to me – I've just come back from a trip I took in a time machine. I've got lots of things to tell; lots of things which I really can't say, you know, ‘cause if I did say it would sort of spoil things for a lot of people, if I tell what I see tomorrow and that. (laughs slightly) But I'm all for time machines. Uh, I'm all for ‘em. I definitely have nothing against them. Let ‘em live, let ‘em be. Everybody, you know, do what they want….
Suze and Dylan laugh while Fass continues to talk.
FADE TO BLACK
FADE IN:
INT. – DYLAN’S APARTMENT (MAY 1962) - EVENING
One month later. Dylan and Suze are in their kitchen, washing up after dinner. Suze has a serious look on her face.
SUZE Bob, I’m thinking of going to Italy for a while.
DYLAN (surprised) What?
Dylan, not sure of what he heard, or the implications therein, continues washing up.
SUZE Mum and Fred are planning a holiday in Europe – Italy, France, Switzerland – and they’ve invited me along. I thought I could study while they travel around. There's a university at Perugia, near Rome, for foreigners.
Dylan frowns. Suze looks concerned. Dylan stops washing up. He looks up at her and stares intently.
DYLAN Why now?
SUZE (agitated) I need to get away, Bob. There’s too much going on here at the moment. Your career’s taking over our life. I don’t want to just be “Bob Dylan’s chick.” And my family is causing lots of problems.
DYLAN Yeah, well, they don’t like me. Never have. I don’t know why (sternly). It’s not as though you’re a child.
SUZE (slightly angry) It’s because they don’t trust you! Anyway, I’d like to do my own thing for a while. Go to Europe, maybe visit Cuba. There's so much happening in the world at the moment, away from the Village.
Suze looks on with some sadness, and a degree of determination, frustration even.
DYLAN When would you go?
SUZE In a couple of weeks. The boat sails on the 8th of June.
Dylan stares blankly at her. Says nothing. He tries to hide his emotion - the resentment, anger and fear welling up. He turns away and continues with the dishes.
SUZE (sternly) What do you want, Bob? What do you want me to do?
Dylan stumbles with his words, equivocates, unsure how to answer. He loves Suze but also reflects on the idea of freedom, which they both desire. He looks up at her again.
DYLAN Don’t go, Suze. I want you to stay. (Pause … ) But, it's up to you, I guess.
Both go quiet and continue cleaning up. Suze smiles a nervous smile, relieved to have had the conversation, but with mixed emotions about leaving Dylan. Also, somewhat sad at his apparent ambivalence over the matter. They both continue to ponder the implications of the discussion.
Dylan dons his glasses and sits down on a bed to read “The White Goddess” by English author Robert Graves.
Suze sits down at the kitchen table, opens a sketchbook, and starts to draw.
FADE TO BLACK
FADE IN:
INT. – SHIPPING TERMINAL (JUNE 1962) - EVENING
One month later.
Suze is with her 52-year-old mother MARY and her new stepfather FRED, about to board the ship taking them to Europe. Her 21-year-old, dark haired sister CARLA is also there.
MRS. ROTOLO (aggressively) Where’s that green toothed, tight-arsed friend of yours, that jerk Zimmerman – I thought he’d be here by now?
CARLA (scoffs) Typical!
Suze looks at her watch, saddened by her mother and sister’s words and tone. She shakes her head, showing her dissatisfaction with their comments.
MRS. ROTOLO Hopefully you’ll meet some nice Catholic boys when you’re over there. Get rid of that twerp. Where is he, anyway?
SUZE He’s been working in East Orange, mum. I don’t know if he’ll make it before we board.
Mrs. Rotolo huffs, and puffs on a cigarette, as Dylan comes running towards them.
He does not address Fred or Carla as they are off to the side dealing with the luggage.
DYLAN (short of breath) Suze, Mary. Made it!
MRS. ROTOLO (angrily) “Mrs. Rotolo” to you!
DYLAN Sorry, I didn’t think you’d take offence.
MRS. ROTOLO (venomously) Do me a favor, Zimmerman - don’t “think” when I’m around!
Carla looks up, glares at Dylan, and smiles approvingly at her mother's comments.
Dylan stares back blankly, used to the goading from Mrs. Rotolo, and increasing antipathy from Carla who is aware of his womanising.
Suze drags him away to talk alone.
SUZE I’m glad you came.
DYLAN (sincerely) I'm gonna miss you Suze.
SUZE It’s for the best, Bob. I’ve got to try something different, work at my art, find some direction in life. Your career’s everything at the moment, and we've talked about this. We need to go our separate ways, for a while at least. Meet other people. We’re too young, Bob, and the world is such a big place. It will only be a few months anyway. I’ll be back in September.
Dylan takes Suze’s hand.
DYLAN I love you.
SUZE I know. And I love you too. But I don’t want to handle all this shit. My mother and sister hassling both of us all the time; me not knowing what you’re up to; all the gossip, the truth and the lies.
DYLAN Screw them! We could get married?
SUZE (slightly angry) No Bob, that wouldn’t solve anything. I feel like I’m drowning in quicksand here. I want something solid, and to be my own self, not just a safe haven for you, away from all the pressures, the women.
Dylan stares intently at Suze.
SUZE When I get back, we can talk.
Suze hugs Dylan. They kiss deeply, a farewell kiss.
SUZE Is there something I can get you while I’m away?
DYLAN (forlornly) No… What I want I can’t have. We both know that…
SUZE Something gold, or silver maybe?
DYLAN No, nothing…
Suze looks at him, sadness in her eyes. She sighs.
DYLAN (thinking) Yeah, OK. Perhaps some boots, Spanish leather. That would be nice…
They hug again. Dylan stares intently at her, smiling, whilst a tear runs down his cheek. Suze is also teary. She leaves and rejoins her family.
DYLAN (quietly to himself) Remember me…
Suze walks up the boarding ramp with her mother and stepfather. She turns and waves goodbye. Carla stands nearby, ignoring Dylan.
Dylan waves back. He stands by the pier as the ship slowly pulls away. He leaves, disconsolate and unsure what he is going to do.
Deep inside he feels abandoned. He also feels an invigorating sense of freedom.
FADE TO BLACK
--------------------
Freewheelin’ Act 2
[Dylan angsts over Suze’s departure and heads off to London.]
FADE IN:
INT. – “GASLIGHT” CAFE (AUGUST 1962)- EVENING
Dylan is playing in a small club. He is thinking about Suze as he tunes his guitar and starts to strum. He is slightly drunk.
DYLAN (sounding tired, down) Here’s one. It’s called “How many roads must a man walk down.” This is a song in sort of a set pattern of songs. Let’s say, uh, a little more than: I love you / and you love me / and let’s go over / to the banks of Italy / and we will raise / a happy family / You for me / and me for me (slight laugh).
Dylan starts to sing Blowin’ in the Wind (2.35).
For a moment, we cut to Suze on board the ship two months earlier.
FADE TO FLASHBACK
EXT. – SHIP AT SEA (JUNE 1962) - DAY
Suze is on deck, standing next to her mother and step father, looking out as the ship docks in Le Havre, France, sadness turning to joy and smiling, with a sense of freedom and adventure ahead.
END FLASHBACK
INT. – “GASLIGHT” CAFÉ – (SEPTEMBER 1962) EVENING
Dylan ends Blowin’ in the Wind. There is muted applause, with many in the audience somewhat stunned by what they have just heard.
DYLAN My girl’s over in Italy right now, the fortune teller of my soul. She left on a boat. And until she’s back, I’ll never go home.
Dylan takes a sip of his drink and begins to sing the traditional blues song Baby Please Don’t Go (4.16).
The small crowd sit at their tables, tapping their feet along with Dylan, drumming along, rocking in their seats, slowly clapping along and hooting in support.
Dylan finishes the song, looking tired and dejected. The crowd enthusiastically applauds the emotive performance.
DYLAN This here’s a blues song.
He begins another song, called Fixin’ To Die (2.21).
When the song ends, young people in the crowd applaud loudly, especially some FEMALE FANS.
Dylan returns to his table and sits with two of his friends – singer FRED NEIL and writer DICK FARINA, husband of singer Carolyn Hester.
They are all drinking and getting increasingly inebriated.
FARINA Hey Bob, how’s the song writing going?
DYLAN OK, I guess.
FARINA Look, if you want to be a song writer, man, you’d better find yourself a singer to sing ‘em. Man, what you need to do, man, is hook up with Joan Baez. She’s so square, she isn’t in this century. She needs you to bring her into the twentieth, and you need someone like her to do your songs. She’s your ticket, man. All you need to do, man, is start screwing Joan Baez.
DYLAN (smiling) That’s a good idea – I think I’ll do that (slight laugh). Ride like a Cadillac. But I don’t want her singing none of my songs.
FARINA (smiling) Don’t’ worry about that …
One of Dylan’s female fans approaches the table, puts her arm around him, and whispers in his ear. He smiles and shakes his head in agreement.
He looks at his friends, nods farewell, and gets up and leaves with the woman.
Dylan’s Two Trains Runnin’ plays as the two leave the club arm in arm and head off into the early morning light, towards Dylan’s apartment.
FADE TO BLACK
FADE IN:
INT. – DYLAN’S APARTMENT – MORNING
Dylan and the woman make love in his apartment. Two Trains Runnin' (4.03) plays in the background.
Scene of Dylan and another woman drive in a cadillac, and making love in the back of the car.
FADE TO BLACK
FADE IN:
INT. – DYLAN’S APARTMENT – EARLY MORNING
The woman is in the shower.
Dylan sits on the bed in his apartment. Next to him is a letter from Suze, dated 12 August 1962.
He is on the phone to her, from Perugia, Italy.
DYLAN I can’t wait to see you Suze. When does your ship come in?
There is a brief moment of silence.
SUZE (O.C) I’m not coming back Bob. I’ve decided to stay. I've enrolled in art school.
Look of shock on Dylan’s face.
Cut to Suze in her apartment.
INT. – SUZE’S APARTMENT – MIDDAY
Suze stands by a wall phone, speaking into a handset. Her hair is cut short and she wears fashionable Italian clothes.
SUZE (upbeat) I’m really enjoying it here. It's so different – young people from all over the world, just like you and me, looking for answers, creating something new. It’s so exciting!
There is another deafening silence for a brief moment as Suze awaits Dylan’s response.
SUZE I sent mum some examples of my work. What do you think?
DYLAN (O.C.) (emotionless) I haven’t seen any.
SUZE She was supposed to show them to you.
INT. – DYLAN’S APARTMENT – EVENING
Dylan sits on his bed. He is saddened by the news of the decision to stay in Italy, and annoyed by the reference to Mrs. Rotolo.
DYLAN (cynically) Yeah, right. Silence.
INT. – SUZE’S APARTMENT – MIDDAY
Suze senses Dylan’s antipathy. She tries to get him to talk.
INT. – DYLAN’S APARTMENT – EVENING
SUZE (O.C.) How are you, anyway?
DYLAN I’m fine. It’s alright. I’m doing lots of gigs, some concerts, writing songs for the next album. I’ve recorded a few already. You’re in some of ‘em.
SUZE (O.C.) I don’t know if I like that, Bob.
Dylan goes quiet. He responds, in defense of her role as muse in the creation of his music.
DYLAN I miss you, Suze.
INT. – SUZE’S APARTMENT – MIDDAY
Suze stands with a phone to her ear. Her smile reflects her own feelings for Dylan, and a determination not to succumb to his melancholia.
SUZE I miss you too. … (animated) Hey, I just read a book by Francoise Gilot about her life with Picasso – you should read it. Talk about self-centered! He did as he pleased, didn’t worry about the consequences for the people around him, or the effect his actions had on them. He took no responsibility, clarified nothing, came to no decisions and did nothing that would have made it possible, or easier, for the various women he was involved with, to leave him and get on with their lives. He was a magnet, and the force field surrounding him was so strong it was not easy to pull away. I see a lot of him in you, Bob, and Francoise in me.
INT. – DYLAN’S APARTMENT – EVENING
Dylan listens intently and frowns at the accusations implicit in Suze’s words.
SUZE (O.C.) I’ve also cut my hair. Short hair is ‘in’ over here. I’ll send you a photo.
Dylan is angered by this news.
DYLAN (frowning) No don’t! Fuck, Suze! I wish you didn’t cut your hair – it’s so good – it was the only blond hair that didn’t look like hay – it’ll grow back tho’, huh? Maybe you won’t cut it no more then …
Suze is silent at the other end of the line, upset by Dylan’s comments and tone.
DYLAN When will you be back?
SUZE (O.C.) (quietly) Maybe after Christmas. I don’t know. It depends on how I’m feeling.
Dylan goes quiet. He is distracted by his thoughts. Both are upset by the conversation and want to end it.
DYLAN OK. I’ll talk to you in a couple of weeks. Bye.
Dylan abruptly hangs up the phone. He looks out his window towards the New York skyline.
The naked woman stands at the entrance to his room. Dylan looks up at her. She joins him in bed.
END FLASHBACK
FADE TO BLACK
FADE IN:
EXT. – PLANE IN SKY (DECEMBER 1962) – EVENING
Return to Dylan in the plane, staring out the darkened window, seeing his reflection, disconsolate.
Dylan’s Two Trains Runnin' returns mid song. It plays in the background and fades.
The plane approaches London airport. We see the sparkling lights of the metropolis from above as it lands.
INT. – LONDON AIRPORT TERMINAL – EXIT GATE – LATE EVENING
Saville and one of his girlfriends, PAULINE BOTY, meet Dylan at the airport exit gate.
Boty is a stunningly beautiful, voluptuous 24 year old artist and actress, tall, with pale white skin, a thick head of blond hair and dark makeup around her bright blue eyes. She exudes a youthful energy and air of sexual liberation reflecting the times.
Pauline Boty I am The 60s - Teaser from MONO MEDIA FILMS on Vimeo.
It is cold at the airport.
Dylan carries a battered guitar case and small bag. He is dressed in simple blue jeans, striped t-shirt, grey shirt and lamb’s wool jacket. He wears a small black cloth cap. Saville sees Dylan coming and speaks to Boty.
SAVILLE (pointing, then waving) There he is! (shouting) Bob! Over here!
Dylan sees the couple amongst the crowd and walks toward them.
BOTY (excitedly) Hey Bob, welcome to London! I’m Pauline.
Dylan smiles and acknowledges Saville and Boty. Boty walks up and gives him a kiss on the cheek.
Dylan shakes hands with Saville. He is glad to be off the plane after the 8 hour flight, though tired and anxious. He mumbles some words.
SAVILLE Hello Bob.
How was the flight?
DYLAN Fine.
SAVILLE Let’s get you settled into the hotel then.
DYLAN Sure.
BOTY Have you been to London before, Bob?
DYLAN No. First time.
Boty smiles at Dylan. They walk from the terminal to Saville's car parked nearby. Boty walks with a spring in her step. They all hop in.
INT. – SAVILLE’S CAR – STATIONARY
Dylan sits in the back, quiet, with Boty and Saville in the front.
SAVILLE It’s a bit cold at the moment – a savage winter is upon us.
DYLAN Just like New York. Don’t worry, I’m used to it.
SAVILLE I've booked you into the Mayfair Hotel. We’ve got a good room for you there. I understand your manager Mr. Grossman is also staying at the Mayfair?
DYLAN Yeah, he's touring with Odetta at the moment.
Dylan STARES out the window. The car drives off into the darkness.
INT. – SAVILLE’S CAR – MOVING
Dylan is TIRED and QUIET, observing everything new as they travel the 24 km (30 minutes) from the airport to the centre of London.
Boty is ANIMATED. She changes the dial on the car radio – they listen to the latest chart topping songs, and she and Saville variously sing along – I Remember You by Frank Ifield (Saville), The Locomotion by Little Eva (Boty), Love Me Do by “The Beatles” (Saville and Boty).
Dylan looks out the window at the street scenes, lights, people, cars, buildings, and inside at Boty and Saville. He feels alone, disconnected, unsure of what is in store for him here in England. He also listens to the music on the radio and is excited by what he hears, Boty's love of music, and its connection with what he knows.
EXT. – SAVILLE’S CAR – MOVING
The car arrives outside the luxury Mayfair Hotel in Piccadilly.
All three alight. Saville hands his keys to an attendant.
SAVILLE Just park the car nearby. We won’t be long.
ATTENDANT Yes sir.
INT. – “MAYFAIR HOTEL” LOBBY
The three walk into the hotel, through the lobby and up to the front desk. Dylan registers. Saville talks to some of the staff, who recognise him. He turns to Dylan.
SAVILLE They’ll take good care of you here, Bob. A couple of my friends own the hotel. Let me know if you have any problems.
Dylan nods. They walk to the lift and catch it up to Dylan’s room.
INT. - LIFT
Dylan’s rather scruffy attire and guitar case stand out amongst the well-dressed and suited clientele in the lift. People look at him as he enters and exits.
INT. - CORRIDOR
They exit the lift and walk towards Dylan’s room. Boty has the key and opens the door.
INT. – “MAYFAIR HOTEL” ROOM – LATE EVENING
Dylan enters his room and looks around. He is rather lifeless.
DYLAN Pretty fancy.
SAVILLE I assume you’re tired from the flight?
DYLAN Yeah, it was a long trip.
SAVILLE OK. We will see you tomorrow. If you need anything just call room service.
BOTY Bye.
Saville and Boty leave the hotel room.
Dylan puts his guitar case by a table and throws his bag on the bed. He pulls out a reefer and starts smoking. He stands at the window looking out at the dark, glistening, unfamiliar London skyline.
FADE TO BLACK
FADE IN:
EXT. – LONDON CITYSCAPE – MIDDAY
We see the view of London from Dylan's window in the middle of the day. The sun is shining in between a blanket of clouds.
INT. – “MAYFAIR HOTEL” ROOM – MIDDAY
Dylan is laying in his bed, in a restless sleep. His guitar case is open on the floor. Clothes and paraphernalia are scattered about. Whilst asleep, Dylan dreams.
BEGIN DREAM SEQUENCE
EXT. – PERUGIA, ITALY - MIDDAY
A Russian nuclear missile is in the sky over Perugia, Italy, where Suze is studying. We cut to ground level and Suze’s apartment.
INT. – SUZE’S APARTMENT - PERUGIA, ITALY - MIDDAY
We see Suze sitting at her desk, looking out the window, composing a letter to Dylan. She looks up as she hears a noise and we close tightly in on her emotionless face. The bomb drops. We see a mushroom cloud. Suze’s room disappears in a flash.
END DREAM SEQUENCE
INT. – “MAYFAIR HOTEL” ROOM – MIDDAY
Dylan is startled. He wakes up, with sweat on his brow. There is a knock on the door.
SAVILLE (O.C.) Bob – it’s Philip.
Dylan gets up and opens the door. Saville and Boty enter the room.
SAVILLE Hey, did you sleep OK?
DYLAN (in a daze) Sure. What time is it?
BOTY (enthusiastically) Lunchtime! Are you hungry?
DYLAN Yep.
BOTY OK. Great. I’m starving. Let’s go.
Dylan lights a reefer as they leave, smoking it as they walk through the corridor, use the lift, and pass through the lobby. He is more relaxed.
Boty and Saville look at each other and smile as the strong smell of marijuana wafts through the hotel.
INT. – SAVILLE’S CAR – MOVING
Inside the car, driving to nearby Carnaby Street. Music is played on the radio – “Peter, Paul and Mary” sing If I Had a Hammer (2.08).
Saville taps on the dashboard. Boty hums as the song begins.
BOTY You know this song, Bob?
DYLAN (smiling slightly) Sure! It’s Pete Seeger’s. Albert manages them. They're friends of mine.
SAVILLE It’s a big hit over here.
Boty starts singing along (good voice) as they drive through the centre of London. Dylan smiles at her. The song ends.
SAVILLE Bob - you've got a couple of free days before you meet some of the crew and we begin rehearsals. Pauline can show you around town if you like?
DYLAN Yeah, that would be great.
EXT. – CARNABY STREET – EARLY AFTERNOON
The car pulls up on Carnaby Street. They all hop out. Saville grabs a small movie camera from the back seat. Boty leads the way.
BOTY Philip, let's go to the Baghdad for lunch?
SAVILLE OK. Sounds good.
Saville films some of their actions as they walk along the busy, colourful street. Boty is animated, smiling, enjoying herself. She is a natural in front of the camera – full of life and energy, with a beautiful smile. Dylan warms to her.
They come to a stall. Boty stops and picks out a new leather hat for Dylan, to replace the rather scruffy old cloth one he is wearing. She places it on his head. He looks at himself in a small mirror on the vendor’s table.
BOTY How’s that, Bob?
DYLAN (smiling) Cool.
They continue to walk down the street, past shops and stalls, men in suits and bowler hats walk by, women in brightly coloured dresses. The sun is out, though storm clouds loom in the distance.
EXT. – “BAGHDAD CAFÉ” – EARLY AFTERNOON
They reach the outside of the Baghdad Café, operated by two Moroccans and famous for its hashish.
BOTY Here it is – the best hashish in town.
SAVILLE And great food! They enter.
FADE TO BLACK
FADE IN:
EXT. – “BAGHDAD CAFÉ” – LATE AFTERNOON
Dylan and Boty come stumbling out of the café, stoned, giggling, arm in arm, holding each other up. Saville helps them along, not so obviously under the influence.
SAVILLE (pointing, confused) I think the car’s down this way. Or is it that way? They stumble off down the road, laughing.
RAIN starts to pour down, and they run towards the car in the far distance.
FADE TO BLACK
Scenes of the pouring rain in the city, as we move from afternoon to evening.
FADE IN:
INT. – “MAYFAIR HOTEL” ROOM – EVENING
Dylan lies on the bed, playing guitar and working on a song. Beside him is a newspaper and an open notebook into which he has been writing lyrics. The television is on, though silent, with the news running. He is smoking a reefer.
There is a knock on the door.
BOTY (O.C.) Bob, are you there?
Dylan opens the door. Saville and Boty enter.
BOTY Hey, would you like to go to a party?
DYLAN Sure. Where is it?
BOTY At a friend’s place, not far from here.
DYLAN (excited) OK. I’ll just get my stuff.
Dylan gets his guitar case. They leave the room and Dylan turns off the lights, shuts the door.
FADE TO BLACK
FADE IN:
INT. – SAVILLE’S CAR (MOVING) – EARLY EVENING
Dylan, Boty and Saville are in the car. Music is playing on the radio – Green Onions (2.57) by “Booker T. & the MGs” as they drive through the city.
Boty moves with the rhythm, dancing in her seat.
SAVILLE We’ve got an engagement tonight, Bob. But we thought you could do with meeting some of the locals, rather than being cooped up in a hotel room.
DYLAN (nodding) Great. Thanks man.
EXT. – PERCIVAL’S APARTMENT – EVENING
The car pulls up in front of a terrace apartment block on Blenheim Crescent.
The three get out. Boty knocks on the door where her friend JANE PERCEVAL lives.
Percival opens the door – she has a glass of wine in her hand. She is a young, dark-haired woman, middle-class, aged 27 and an artist like Boty. We hear music and people talking in the background.
BOTY Hello Jane!
PERCIVAL Pauline! Philip!
Boty and Perceval embrace. Dylan stands quietly beside them.
BOTY Look, I’m terribly sorry, Jane, we can’t come in, we’ve got to go to a reception. But, will you look after our friend Bob for the evening? He just flew in from New York and is over here to do a play for Philip.
PERCIVAL Sure. Come on in Bob. As for you two – I’ll see you later. Have fun!
Percival closes the door.
---------------------------
Freewheelin’ Act 3
[In Part III Dylan is keen to soak up some of the local London atmosphere, like the sponge that he is, and check out the folk clubs.]
INT. – PERCIVAL’S APARTMENT – EVENING
Dylan and Percival go inside. The apartment is modern, sparsely furnished but with a lot of art on the walls, including works by Boty. There are about 20 people in attendance. They are middle class, relatively well off, bohemian and mostly artists, young, and in their 20s.
Dylan looks out of place, dress wise – they are colourfully attired in the latest fashions, whilst he has his best “hobo” attire on, beneath a thick sheepskin jacket, which he removes to reveal a striped shirt. Music is playing in the background – a mix of jazz and British beat / rhythm ‘n blues, including the Dave Brubeck Quartet’s Take Five (7.24).
Dylan and Percival have a brief conversation while he gets a drink. People are drinking and smoking, passing around reefer. Some take pills from out of a bowl on the table.
PERCIVAL How long are you here for, Bob?
DYLAN Until the New Year. Then I thought I’d head off to Italy for a few days, see Odetta, and catch up with a friend.
PERCIVAL Sounds great.
PERCIVAL Here, this is my friend Joanna. She’s an artist. Her new show is about to open at the Establishment Club. Joanna – this is Bob, from New York.
CARRINGTON Hi Bob. What brings you to our fair city?
DYLAN I’m here to sing a few songs for the BBC.
CARRINGTON That sounds exciting!
DYLAN (smiling) Yeah.
Perceval leaves. Dylan and Carrington move off to the side to talk.
DYLAN So, you’re an artist?
CARRINGTON Yes, I paint.
Dylan looks on with interest.
CARRINGTON Landscapes, interiors, portraits. All sorts of things.
I went to Africa a couple of years ago and that was interesting – the colours, earthy browns, reds, greens, complex shapes, and deep links to oral tradition and culture.
Carrington points to a picture hanging on the wall.
CARRINGTON That’s one of mine.
Dylan and Carrington look at her work on the wall.
CARRINGTON I like to keep it simple though, kind of primitive, naïve, slightly surreal, if you know what I mean?
Dylan nobs. He pulls out a reefer and starts smoking it. Nobody comments. Others in the room are doing the same.
CARRINGTON I also spent some time studying in Paris, at the Ferdinand Leger studio. Bonnard, Matisse, Braque – all influences - and Van Gogh, Gauguin, of course.
DYLAN What do you do for inspiration?
CARRINGTON I have visions, dreams. I try to build upon them. And, of course, everyday life experiences – encounters with love, sadness, joy. They all add colour, though I'm not averse to black and white.
Who knows what I’ll find out there to inspire me! (smiling)
Do you paint or draw, Bob?
DYLAN Mmmm, just a bit. I do sketches. In notebooks, on napkins, on rough paper or cardboard, plates, coffee pots... basically when there’s something to look at, and especially when I'm travelling. I mainly sing and write songs though. (looking distracted) By the way, is there any live music around here?
CARRINGTON Sure. What do you like – jazz, rock n' roll, blues, folk, cabaret?
DYLAN Folk, for starters. I’ve heard about a few places already – something called the Singers Club?
Carrington nods knowingly. Her and Dylan move closer together as they converse.
CARRINGTON There's also the Troubadour, the King and Queen, Bunjies. I’d be happy to show you around while you’re here.
DYLAN Sounds good.
Carrington introduces Dylan to a group of her friends.
CARRINGTON Hey guys - this is Bob. He's a folk singer and song writer from New York. He's doing a play for the BBC with Philip.
JACK (sarcastically) Hey Bob, are you one of those “protest singers” we’ve been hearing about?
DYLAN No man, I just sing songs. About life, the here and now.
JACK (aggressively) Speaking of which - that President of yours – Kennedy – is that his name? He’s a bit of a hot head, don’t you think? Stirring up the Russians like that, trying to invade Cuba.
Dylan frowns at the criticism of President Kennedy.
CYNTHIA Yeah, he almost turned our Cold War into some sort of global apocalypse! Bringing those nukes down upon us all! (she squats down, hands on her head) (sarcastically) “Duck and cover! Duck and cover!”
People laugh.
CYNTHIA What a load of rubbish! As though that’s going to protect us.
ALICE No Cyn! That Khrushchev’s crazy, putting all those missiles in Cuba, and his mate Castro, the Commie. Good on the Yanks, that’s what I say!
JACK (drunk and angry) Bloody politicians – all they want to do is destroy the fucking planet, and us along with it.
ALICE (forcefully) Yeah, and we're part of that too, Jack! Macmillan and his damned atomic weapons factory at Aldermaston. Submarines and warships roaming the globe all nuked up. What kind of world are we creating for our kids anyway?
DYLAN It’s all about money, man. Guns and bombs. Who’s the master? Who’s the servant? Carrington intervenes in the conversation.
CARRINGTON Come on Bob, enough of this talk of the grim! I want to hear you sing. (shouting) Hey everybody, Bob’s going to play for us!
Carrington escorts Dylan over to a corner of the room, by a fire. On the way he picks up some of the red, blue and purple pills in the bowl – Benzedrine (Bennies) – and swallows one. He gets out his guitar and harmonica.
A small group gathers round. Some sit down in front. Dylan tunes up.
DYLAN Anyone got a lipstick holder I can use?
Carrington digs one out of her purse.
CARRINGTON Here’s one.
DYLAN Thanks.
He puts it on his finger and starts picking and sliding.
DYLAN Here’s an old gospel song, learnt off Josh White. It’s one for our time.
Dylan plays In My Time of Dyin’ (2.38).
The stoned and intoxicated audience look on, many surprised and impressed by the powerful, emotive performance from this young, rather boyish looking, and otherwise quiet American.
When Dylan finishes, they applaud. Dylan changes the pace with a bit of humour. He speaks fast as the Bennies kick in.
DYLAN Thank you…. I’d like to tell you a story about the first time I ever worked in East Orange, New Jersey. Folks, never go to East Orange, New Jersey – it’s a horrible town. I went to play at a coffee house in East Orange, New Jersey. It was a chess-playing coffee house out there. It was so bad, so bad, people playing chess out there. That's all I thought about was chess and chess and chess - people coming up to me. You play a song and play a real quiet song and in the middle of the song you hear “Check!” and “Hey, that was a good move”, and all kind of stuff like that. And folks it was so bad that I had a little dream out there the first night I worked, about this chess-playing stuff. I dreamt I went to work out in East Orange, New Jersey and about the time I quit in two days, and I went there to ask the guy for my money. I says “Can I have some money? I worked two days for you.” He says “Well, uh okay. We don't pay money around here though.” I says “Huh, yeah!” He says “Well,” he says, “Yeah, we pay chess men.” I said “Well, huh, give me my chess men, I worked two days.” I was sort of … I didn't really figure. I thought he was lying at first, but I took it anyway. He gave me a king and a queen for working two days. I said “Fine. That's okay.” So, I took my king and queen and went down to a bar – the nearest bar I could find. I walked in the bar and ordered a pint. I got to the bar. I said, “Bartender, can I have a pint?” and I'll be damned if he didn’t give me a pint. He asked me for the money. I gave him my king and queen. I'll be damned. He took that king and queen, threw it under the counter and brought me out four pawns, two bishops and a rook for change!
DYLAN (laughing) That’s a story about East Orange, New Jersey.
The crowd laughs. Dylan plays another - this time a simple, faster, rockin’ blues.
DYLAN This is a Jesse Fuller song. I learned it from Ramblin’ Jack Elliot.
Dylan sings You’re No Good (1.40).
He plays harmonica on this song. Some of the people start to clap along and tap their feet as he sings. Some start to dance.
When he finishes, he looks to Carrington with a smile as the audience applauds.
DYLAN (smiling) This next song is not a love story. It’s a statement that maybe you can say to make yourself feel better … As if you’re talking to yourself …
Dylan sings Don’t Think Twice It's Alright (3.39).
Carrington smiles sweetly at Dylan as he sings. When he finishes there is more applause and congratulatory comments as the people move back to the party.
Carrington approaches him.
CARRINGTON Bob, that was amazing! Did you write that last song?
DYLAN Yeah, a couple of weeks ago. It’s a hard song to sing. I can sing it sometimes, but I ain’t that good yet. I sometimes am able to do it, but it happens, you know, when it happens, unconsciously.
CARRINGTON And the others?
Carrington stares intently at Dylan as he talks.
DYLAN No, they’re just traditional. I don’t write folk songs or anything. I just call them contemporary songs, I guess. A lot of people paint if they've got something to say. Others write plays, songs. Same thing.
CARRINGTON Hey, it’s getting late. Would you like to come to my place for a coffee? I just live downstairs. My studio’s there. I can show you some of my work.
DYLAN Yeah. Sure.
Dylan and Carrington quietly leave the party. They head downstairs to Carrington’s flat. As they walk down the stairs, we see her artworks lined up against the walls.
INT. – CARRINGTON’S FLAT – EVENING
The flat is small, with a lounge room, off which is a small kitchen alcove and a bedroom. The flat is full of artworks, books, records, mementos of her travels.
Dylan looks around then sits on the lounge, opening one of her art books. Carrington walks over with the two steaming coffee mugs. After putting them down, she puts on a record – a blues LP. She then sits on the lounge next to Dylan.
The lights are dim, the fire glows.
CARRINGTON (quizzically) So, you’re a folk singer, then?
DYLAN Yeah, but I really don't think of myself as, you know, a folk singer, because I don't really much play across the country, in any of those places, you know? I'm not on a circuit or anything like that, like those other folk singers. I play once in a while, you know. But I dunno' - I like more than just folk music too and I sing more than just folk music. A lot of people they're just folk music, folk music, folk music - you know? I have been dedicated to it in recent years, appreciated it as an art form. But I’m moving on. I like folk music like Hobart Smith stuff and all that, but I don't sing much of that, and when I do it's probably a modified version of something. I don't know how to explain it … It's just that there's more to it, I think. Old time jazz things you know. Jelly Roll Morton, you know, stuff like that.
DYLAN Well, they're not pop. But yeah, a song is like a dream, and you try to make it come true. They’re like strange places you have to go to, enter into. You can write a song anywhere, I suppose, but it helps to be moving – train, plane, walkin', situation. Keep moving, like Kerouac, Guthrie. On the road. A never-ending journey.
CARRINGTON Which brings you here, to London, for the moment anyway. (smiling)
Carrington moves closer to Dylan. They kiss and embrace.
FADE TO BLACK
FADE IN:
INT. – CARRINGTON’S BEDROOM – EVENING
Carrington and Dylan make love. In the background some slow blues plays.
FADE TO BLACK
FADE IN:
INT. – CARRINGTON’S FLAT – MORNING
Dylan sits at the kitchen table, writing lines in his notebook as Carrington makes breakfast.
CARRINGTON What are you doing Bob?
DYLAN Just writing… words.
CARRINGTON A song?
DYLAN Yeah, maybe.
CARRINGTON What’s it called?
DYLAN Not sure yet… Perhaps guns and bombs, or masters of war, something like that…
Carrington puts breakfast on the table. They start eating.
They smile warmly at each other.
DYLAN Joanna, tell me more about your visions?
CARRINGTON Well, it's hard to put into words. They come, and I just try to interpret them . . .
They are interrupted by a knock on the door. Percival is there, accompanied by Boty.
PERCIVAL (O.C.) Is anybody home?
Dylan and Carrington look up. Carrington goes to the door and opens it. Percival and Boty enter.
BOTY Hey Joanna! Bob! Would you like to come into town with us?
Boty looks quizzically towards Dylan, with a cheeky smile on her face, perhaps hiding a slight hint of jealousy.
BOTY We’re going to see Joanna’s new show.
DYLAN Yeah, sure. Sounds great. Thanks for the party Jane.
PERCIVAL No – thank you! We were blown away by the songs! Amazing!
Dylan smiles. They quickly finish their breakfast, clean up, and all leave.
FADE TO BLACK
FADE IN:
INT. – “THE ESTABLISHMENT” CLUB – MIDDAY
Dylan and the three women – Boty, Perceval and Carrington - are looking at Carrington’s art in the gallery at The Establishment club.
Dylan’s Standing on the Highway (3.20) plays in the background as they walk around.
BEGIN MONTAGE - The group drive to another gallery. - We see Boty’s work at the Arthur Jeffress Gallery. - The group walks along the street, shopping and stopping to eat. - We see them sitting in a park, running around playfully. - They are driving in a car, sightseeing and singing along to music. - Dylan is dropped back at his hotel in the late afternoon.
END MONTAGE
FADE TO BLACK
FADE IN:
INT. – “MAYFAIR HOTEL” ROOM – EVENING
After a brief rest, a sleepy Dylan gets up off his bed, strikes up a reefer, and heads down to the hotel lobby with his guitar case.
INT. – “MAYFAIR HOTEL” LOBBY – EVENING
Dylan sits down and reads a newspaper, smoking his reefer and with his feet up on the settee. The sweet smell is noticed by a middle-aged patron who approaches hotel staff after observing Dylan.
HOTEL PATRON Excuse me… Mmmmmm… what’s that smell? (pointing) I think that young man over there is responsible. He might be smoking something illegal.
HOTEL MANAGER I will check it out sir. Our apologies.
The staff member approaches Dylan.
HOTEL MANAGER Excuse me sir, but you cannot smoke that here. This is a respectable hotel. There are clubs you can go to, to do this.
DYLAN (slightly stoned) Well, I’m very comfortable here, man. I don’t need to go to any club….
The staff member retires to his desk and picks up the phone. He reports the incident to Saville.
Dylan gets up and leaves the hotel.
EXT. – LONDON STREET – EVENING
Dylan walks along the street to the nearby “King and Queen” pub where there is a Friday night folk club. He enters.
INT. – “KING AND QUEEN” PUB – EVENING
Dylan climbs the stairs.
He stops and speaks to a young lady, ALISON, who is on the door, collecting money.
DYLAN Is this a folk club?
ALISON Yes. That’ll be 2/6 please.
Standing next to her is folk singer JIM MCLEAN. He looks at Dylan’s guitar case.
MCLEAN Are you going to sing? Because if you are, then you don’t have to pay.
DYLAN Sure. Thanks man. By the way, I’m from the States – just got in. What’s the scene like around here?
MCLEAN Well, there’s rebel music from Scotland. People like Nigel Denver. And Ewan MacColl, who records for Folkways. He sings workers’ songs, songs of struggle, mostly political. We also have the traditionalists, young people like Martin Carthy, reinterpreting the old. And the Irish of course, groups like the Clancy Brothers, though they spend a lot of time over your way.
DYLAN Yeah, I know Liam and the guys.
MCLEAN There are quite a few factions, if you like, around town, but we're all pretty Left wing here in London.
DYLAN Does Ewan MacColl live in a slum?
MCLEAN No, I don’t think so. Why do you ask?
Dylan shrugs his shoulders. Says nothing. Smiles.
Music is heard in the room. Dylan enters and quietly sits at the back with his guitar, listening.
There are about 100 people in attendance, mostly seated, though some standing in the back, drinking mugs of beer.
On stage, MARTIN CARTHY and the “Thameside Four” are performing. We hear them sing Scarborough Fair (3.40).
Carthy is the same age as Dylan, tall and thin. He generates a distinctly positive, though calming, energy.
As Carthy is singing, he looks into the audience and recognises Dylan from the cover of “Sing Out”. When he finishes, he leaves the stage and approaches him.
CARTHY Excuse me, you’re Bob Dylan, aren’t you?
DYLAN (giggling, somewhat stoned) Hey.
CARTHY I saw your picture on the front of “Sing Out”.
DYLAN Oh, yeah! CARTHY Would you like to sing a couple of songs?
DYLAN No, not at the moment. Happy to just sit here and listen…
CARTHY Are you sure?
DYLAN Well, yeah, maybe later; ask me later.
CARTHY OK.
A couple take the stage – SHIRLEY COLLINS and DAVY GRAHAM.
Collins sings Nottamun Town (3.40).
Dylan looks on intently, listening to the melody and observing Graham’s complex guitar work.
Carthy walks over to MARION GREY, one of the “Thameside Four.” She speaks to him.
GREY (whispering) Is he going to sing?
CARTHY He said to ask him later.
As Collins and Graham finish, Carthy looks towards Dylan, who nods his head.
He walks up towards the front.
CARTHY Do you want to do it now?
DYLAN Yeah.
Carthy gets up and introduces Dylan.
CARTHY I’d like to introduce Bob Dylan, from New York. You may have seen him on the cover of “Sing Out”, or know of his album, released on Columbia earlier this year. (gesturing towards Dylan) Thanks Bob.
Dylan comes up on stage.
DYLAN This is an old delta blues song, recorded by Tommy McClennan. It’s about the highway goin’ south, to Memphis.
Dylan sings Highway 51 Blues (5.05).
A young man takes some photographs of Dylan whilst he is performing.
There is polite applause when Dylan finishes.
DYLAN (smiling) This is called, this one, Talking Bear Mountain Picnic Massacre Blues. It’s a true story, kinda.
He then sings Talking Bear Mountain Picnic Massacre Blues (3.45).
There is much applause. Dylan goes to leave, but the crowd calls for an encore.
He stands in the wings thinking about a song he wrote before leaving, and one of the many letters he had written to Suze.
FADE TO BLACK
FLASHBACK
INT. – PERUGIA – SUZE’S APARTMENT (LATE OCTOBER 1962) - EVENING
Suze is in her room, reading a letter from Dylan.
DYLAN (O.C.) “Sorry I didn’t write sooner. I was sort of unconsciously very tired – I couldn’t think of anything to say – seeing all the headlines about War and Cuba and even once sitting in the Figaro all nite waiting for the world to end (the first night Kennedy talked and the Russian ships were getting near Cuba). I honestly to God thought it was all over – not that I give a shit anymore then the next guy (that’s a lie I guess) but it was interesting waiting for the bombs to fall and kill you – and it really seemed that way. If the world did end that nite, all I wanted was to be with you – and it was impossible, cause you’re so far away.”
Suze looks out her window, some sadness in her eyes and concern over the contents of the letter regarding the state of the world and her relationship with Dylan.
She hears a knock on the door. It is her friend, JANET KERR, and some colleagues, including a young, 22-year-old Italian ENZO BARTOCCIOLI, who would later become her husband.
To this group, Suze is known as Justine.
KERR Justine, are you ready?
SUZE (O.C.) (shouts) Coming!
Suze goes to the door and opens it.
KERR Come on, let’s go. Enzo’s booked us into the “Picasso”.
ENZO I'm sure you will like it Justine – it’s the best food in town, for students - cheap, and plenty of it!
Enzo smiles at her.
They leave, talking excitedly about the night ahead.
END FLASHBACK
FADE TO BLACK
------------------
Freewheelin’ Act 4
[Dylan checks out London.]
FADE IN:
INT. – “KING AND QUEEN” PUB – EVENING
Dylan returns to the stage.
DYLAN This here’s a true story as well. It’s a song of terror - the terror of nothingness. Of some sort of end that's just gotta happen. An apocalypse maybe.
Dylan sings A Hard Rain’s A-Gonna Fall (5.59).
When Dylan finishes, the crowd applaud enthusiastically, some stand, somewhat stunned by the performance. He leaves the stage. Dylan and Carthy talk after he finishes.
CARTHY (enthusiastically) That was amazing Bob. I thought it was “Lord Randall” there for a moment, but you took it in a whole new direction (shaking head). It’s more epic poem than song!
DYLAN Thanks man.
CARTHY Hey, if you’re not doing anything tomorrow night, come on down to the Troubadour. I’ve got a residency there.
DYLAN The Troubadour?
CARTHY Yeah. It’s a folk club on Old Brampton Road, Earls Court. They run it every Tuesday and Saturday.
DYLAN Oh, Albert told me about that place. Maybe I’ll come.
CARTHY We’re all going back to my place now. Would you like to join us?
DYLAN Sure. They pack up and leave.
EXT. – “KING AND QUEEN” PUB – MIDNIGHT - STORMY
It is cold and wintery as they move outside, jump into cars, and head off to Belsize Park.
FADE TO BLACK
FADE IN:
INT. – CARTHY HOUSE – AFTER MIDNIGHT
Martin Carthy’s house, shared with fellow folk singers PETER STANLEY, volatile Scotsman NIGEL DENVER, and Jim McLean.
Carthy and Dylan enter, along with folk singer LOUIS KILLEN. Carthy’s wife DOROTHY offers to make tea.
CARTHY It’s bloody freezing out.
DOROTHY I’ll put the kettle on. Make a fire, Mart. Carthy, Dylan and Killen sit down by the fireplace and begin to talk as Carthy works on the fire. Other people look on, come and go, including Denver.
DYLAN … So what else is going on?
CARTHY There's the Singers Club in Soho Square and that’s a Saturday night club, and there's The Troubadour in Earl's Court and that’s a late-night club starting about 10.30.
Carthy takes a samurai sword from off the mantle piece and starts to attack an old piano with it. Dylan is appalled.
DYLAN What the fuck are you doing man? You can’t do that – it’s a musical instrument!
CARTHY It’s a piece of shit! Carthy continues chopping up the piano for firewood.
DYLAN (smiling) Can I have a go?
Dylan and Carthy prepare firewood and stoke the fire. They get their guitars out and start strumming. Dorothy brings them cups of tea.
We hear the end of Killen singing The Leaving of London (4.59).
Dylan is looking on intently, taking note of the melody, fingering technique and chord changes.
CARTHY (smiling) Your turn, Bob.
DYLAN This song is about going to war, and comin’ home.
Dylan sings John Brown (5.53).
The group continues to play, drink tea and smoke by the fire.
FADE TO BLACK
FADE IN:
EXT. – LONDON TOWN – DAY
Dylan is walking around town, alone. Tomorrow is a Long Time (3.03) plays in the background, referring to his overwhelming feelings for Suze.
He is looking at shops, museums, art galleries, walking through a park.
He is sitting down at a street-side café, reading a newspaper, making notes, sketching and writing lyrics and lines in his notebook. We see the draft words to “Masters of War”.
He closes the notebook, gets up, and walks off towards the river.
EXT. – THAMES RIVER – AFTERNOON
Dylan is walking by the river. He stops. He is thinking of Suze, tears fall down his cheeks as he looks at his reflection in the water. Boty walks slowly towards him along the river bank.
He turns, smiles, happy to see her. They give each other a hug.
BOTY Hey Bob, you OK?
DYLAN A bit homesick, I guess.
BOTY I know how to cheer you up. Come with me!
In the background Elvis Presley's Return to Sender (2.09) can be heard coming out of a radio.
Together they walk around town, talking, having fun, looking in shop windows, chatting to people, sitting down at a café. Dylan cheers up.
Dylan and Boty walk past a cinema, and stop.
EXT. – CINEMA – LATE AFTERNOON
A new Jean Paul Belmondo movie “Le Doulos – The Finger Man” is screening. Dylan and Boty look at each other, look at the posters, smile, shake their heads in agreement and go inside.
INT. – CINEMA – LATE AFTERNOON
Boty and Dylan watch the black and white movie on the giant screen. One of the lead female characters wears her hair like Boty. The male lead wears a large hat and is small in stature, like Dylan. As they watch, the view on the screen changes, with the characters replaced by Dylan and Boty as the stars.
FADE TO BLACK
FADE IN:
INT. – ROOM (BLACK AND WHITE) – EVENING
Dylan as Belmondo, in a long, grey coat and large hat, and Boty as his girlfriend Therese, in a dark dress, cat-like eye makeup, striking black hair, and a cigarette in her hand.
THÉRÈSE (BOTY) Do you have to go?
They come together and kiss passionately.
FADE TO BLACK
FADE IN:
INT. – BEDROOM (BLACK AND WHITE) – EVENING
Belmondo (Dylan) and Thérèse (Boty) get dressed after having made love.
Belmondo (Dylan) puts his tie on, whilst the naked Thérèse (Boty) puts her bathrobe on and ties it up around her waist.
BELMONDO (DYLAN) (sternly) I might not be back. In this business you end up either a bum, or dead.
THÉRÈSE (BOTY) (worried) I’m afraid.
BELMONDO (DYLAN) (smiling) If you knew me better, you wouldn’t be.
They kiss passionately and Belmondo (Dylan) leaves.
INT. – CINEMA – LATE AFTERNOON
Dylan and Boty get up to leave as the film ends and credits roll. They smile at each other.
EXT. – CINEMA – LATE AFTERNOON
Dylan and Boty leave the theatre and head off into the crowded street, laughing and joking as they go.
FADE TO BLACK
FADE IN:
INT. – “MAYFAIR HOTEL” ROOM – LATE EVENING
A sleepy Dylan is lying on his bed. He hears a knock on the door.
SAVILLE (O.C.) Bob, it’s Phillip.
He gets up out of bed, opens the door and lets him in. Dylan strikes up a reefer.
SAVILLE I’ve had a call from the hotel owners, and a chat with Albert. We think it might be a good idea if you come and stay with me for a couple of days. You can do what you like there. Albert’s going to find another hotel as well.
DYLAN Yeah, yeah. Screw them! They're too uptight here man. Don’t like me smokin’ reefer.
Dylan packs his things. They leave.
FADE TO BLACK
FADE IN:
INT. – SAVILLE’S CAR – MOVING – LATE EVENING
Dylan sits next to Saville in the car.
SAVILLE We've set up a room where you won’t be disturbed. I think it will be good for you - give you time to write in peace, practice and prepare for the play.
I've been thinking how best we can incorporate the songs, the music, to reflect the overall mood of the play.
Dylan is half asleep as they drive on.
DYLAN (stoned) You think too much man. You've got too much intellect; you’re too intellectual. You need to chill out.
SAVILLE Well, yes, but my intellectualizing keeps me in touch with what’s going on. I found you, didn’t I! (smiling)
DYLAN You should come on the road with me… We can have some fun. Make a film. “La Dolche Vita”!
EXT. – SAVILLE’S HOUSE – LATE EVENING
The Saville car arrives at the house. His wife, 35-year-old actress, playwright and film director JANE ARDEN, welcomes them at the door and shows Dylan in.
INT. – SAVILLE’S HOUSE – LATE EVENING
Saville, Dylan and Arden enter the large lounge room.
JANE Hello, Bob. Welcome!
DYLAN Hey Jane.
SAVILLE I believe you know each other?
JANE (smiling) Yes, I met Bob at the Gaslight about a year ago. At the time we talked about writing – songs, poetry, film scripts. Lots of things.
Dylan nods his head. Arden and Dylan smile as they recall the time.
JANE Follow me Bob – I’ll show you to your room.
INT. – BEDROOM – LATE EVENING
Dylan puts his stuff in a small room, near a landing. The Savilles leave and the door is closed.
FADE TO BLACK
FADE IN:
INT. – SAVILLE’S HOUSE – EARLY MORNING
A sleepy Saville walks out of his room in a dressing gown and hears music.
He walks along a landing towards the music and looks down to where he sees Dylan sitting on the stairs singing Blowin’ in the Wind (2.50) to two young Spanish au pair girls.
Saville waits until he finishes.
He then applauds Dylan. The two girls scurry off.
SAVILLE Bob, that was great! Can we use it in the play?
DYLAN Yeah. Sure. But hey, it’s just a – it ain’t a protest song or anything like that, ‘cause I don’t write protest songs. I just wrote it as something, sorta, that’s something to be said for somebody, by somebody.
SAVILLE It would be terrific at the opening and closing of the production. It captures some of the bleakness and desperation in the actions of the main character. (excited) We can work it in at the first cast meeting and script read through today. Evan has written a few songs for you as well. Anyway, let’s go and have some breakfast.
Dylan and Saville head off to breakfast.
FADE TO BLACK
FADE IN.
INT. – BBC REHEARSAL STUDIO – MID MORNING
SAVILLE We should get started. Welcome everyone. We have a couple of days rehearsal, then the Christmas break, and filming in the lead up to New Year. Screening is planned for the second week of January. I know that might sound rushed, but you’re all professionals and experienced in this sort of thing, so I don’t foresee any problems.
Dylan walks in the door. Takes his seat.
SAVILLE Good morning Bob. Everyone, this is Bob Dylan – he is playing the role of Lenny. Let’s begin.
Jones opens up with some introductory comments addressing elements of the script.
JONES You may be wondering about the lyrics of one of the songs in the script – “The Swan on the River Goes Gliding By”. Well, the image of the swan on the river reflects the beauty of England, and the verses the terrible things that are happening in people’s lives. Castle Street is England, ‘cause the Englishman’s homes is his castle, and the madhouse refers to what’s happening to the inhabitants of this country, or, at least, what I felt was happening during the 50s. The heart of this play is the reaction of the residents to one of the lodgers – the elderly Mr. Tomkins - who has announced to his landlady that he is going up to his room to die. He has renounced the world. This is a play about what civilization does to the tender-hearted; to people who don’t have a great deal of violence in them; to people who don’t have any means of expressing themselves artistically. Except, perhaps, for the leading character, the young man – Lenny – who is trying very hard to get out of this; trying to understand what happens to Tomkins who’s gone upstairs, and trying to understand the world about him.
SAVILLE Lenny is the person that rumbles everybody, who makes you aware of what it is to have blood in your veins. He is the person who creates trouble, if you like, because out of trouble we get imagination, and we get the reason why we are here.
The actors then begin to read through their lines.
When it comes to Lenny, Dylan mumbles his.
After a few such occasions, Saville turns to Jones. They realise there is a problem with Dylan doing Lenny.
SAVILLE Let’s just take a break for 10 minutes. Bob, Evan, let’s talk.
Saville, Jones and Dylan go into an office.
SAVILLE Bob, what’s the problem?
DYLAN I just can’t say this stuff. It’s not me.
SAVILLE No, of course it’s not you. It’s acting.
DYLAN I don’t know what I’m doing here. These guys are actors. I can’t act!
Dylan stares at Saville and Jones.
DYLAN Do I have to act? Can’t I just be a singer? Can’t I just act a couple of things? Perhaps I could write some lines.
SAVILLE (looking worried) What do you think Evan?
EVAN Well, Lenny has some very poetic speeches about the status quo in the world. He is a young man beefing about inequality, etc. We can’t leave all that out. We could split the part – give the Lenny lines to another actor – David Warner perhaps? - and have Bob here as his friend, sharing his room, observing and singing.
DYLAN Hey, that’s great. I can scat some songs there.
SAVILLE Yes, and you might even say a word or two, like “Hi ya!” or something.
Dylan nods his head in agreement and relief. Saville looks relieved.
They return to the table and explain the change of plan to the actors in attendance. The session continues.
FADE TO BLACK
FADE IN:
EXT. – “PICASSO” CAFÉ – AFTERNOON
Boty and Perceval sit outside the “Picasso” café on King’s Road, drinking coffee. People walk by and say hello to them as they talk. Actors and fellow artists.
PERCEVAL So, what do you think of Bob then?
BOTY He’s sweet, interesting. I’m going to ask him to come and stay with me for a few days.
PERCEVAL He’ll probably just want to fuck you!
BOTY (smiling) Yeah, well, I might want to do the same!
They both laugh heartily.
PERCEVAL What about Philip?
BOTY It doesn’t bother him.
In the distance we see Dylan approach up the street. He joins them. Perceval prepares to leave.
PERCEVAL Hey Bob, nice to see you again. How’s the play going?
DYLAN Hi Jane. Yeah, good.
Perceval stands up, and offers her seat to Dylan.
PERCEVAL Here, take my seat. I’ve gotta go – a buyer awaits! See you later.
Perceval gives Boty a hug and leaves.
BOTY What are you going to do now Bob? I hear they cut your part.
DYLAN It’s OK. Philip wants me to stay on and sing, in the background, which is cool. I don’t have to learn lines or act. Not much to do at all, actually, except sing a couple of songs and look like a hobo, which is cool by me! (smiling).
BOTY Christmas is tomorrow, and back to rehearsal on Thursday. You’ll have to be around then.
DYLAN Yeah, but I can’t keep staying with Philip – it’s too crowded there, what with the baby crying and all.
BOTY You could stay at my place? I’m going to see my family in the morning, but I’ll be back later in the afternoon.
DYLAN Sure, if you don’t mind?
BOTY (smiling) OK. It’s done.
DYLAN I’ll come over after dinner. I just need a place to sleep and write. I’ve been walking around town a lot during the day, and visiting the folk clubs at night. So I’ll keep out of your and Philip’s way.
BOTY Don’t worry about Philip and I! He’s quite busy at the moment, what with the play and his family and his other women. It’ll be good to have a bit of company.
DYLAN (quizzically) What do you mean “other women”?
BOTY Hey, Philip and I - we’re good friends and all, but that’s about it - no commitment, no obligations. Dead end really (sadness in her words).
Dylan looks on, surprised.
BOTY We can have other people in our lives, friends, lovers.
Philip’s seeing Diana Rigg – you know, the one in that TV show “The Avengers”? His wife Jane is aware of all this.
It works well for him, and I assume for the other women – at least at the moment.
DYLAN What about you?
BOTY Philip has helped with my acting career, and I enjoy his company. Beyond that, who knows what’s ‘round the corner?
Dylan looks on intently, somewhat surprised by Boty’s openness in regard to relationships.
DYLAN I thought you were a couple?
BOTY (somewhat sad beneath her smile) Yeah, well, I like being free, Bob, free to focus on my art, do what I want. But I also need to pay the rent, and Philip’s a big help there, finding me jobs in film and TV. Acting pays the bills, though my friends reckon I should concentrate on my art. Anyway, let’s go. It’s getting cold and I’ve gotta do some shopping, especially if you’re coming to stay (smiling).
They get up and leave the café. Dylan pulls some money out of his pocket and hands it to Boty. He is unsure of its value.
DYLAN Here, is this enough?
BOTY Sure. Thanks.
DYLAN OK. See you later.
They head off in separate directions.
FADE TO BLACK.
FADE IN:
INT. – BOTY’S BEDSIT – CHRISTMAS 1962 - EVENING
Boty is working on one of her paintings. Dylan is on the lounge, writing in his notebook, smoking a reefer, guitar close by. He gets up, and looks at some of the images and artworks on the walls.
DYLAN What are these?
BOTY Some of my collages. I used to do a lot of those, but I mostly paint now.
DYLAN Interesting. Dream like.
Boty looks at Dylan as he gets up close to the “Constable Titanic” collage.
BOTY Yeah, I've always had very vivid dreams, and I can remember them very very easily, and I've used the kind of atmosphere of the dreams in my collages. I think there are two things about this and one is that I often take the moment before something has actually happened, when you don't know if it's going to be terrible, or it might be very funny. The other thing is that if something very extraordinary is actually happening, and yet everyone around isn't taking any notice of it at all.
Boty moves over and joins Dylan as he looks closely at her “Picture Show” collage.
DYLAN Who’s that?
BOTY They’re 1930s debutants, or 1920s.
Dylan points to a small child in the upper right corner.
DYLAN A child?
BOTY That’s one of those Reuben’s babies. (laughing)
DYLAN And what’s that?
Boty describes elements of the collage.
BOTY That’s the finger, pointing at you.
DYLAN Pushing the button on the Bomb!
BOTY And that’s Beethoven’s pen. And there’s Franklin D. Roosevelt growing older. They’re badges, actually. They were.
DYLAN And that’s Goya.
Boty nods her head. Dylan points to another collage.
DYLAN What’s about this? It’s crazy.
BOTY (smiling) That’s an occasional space ship flying through the sky! You get them every now and again. Especially if you’ve taken a purple heart or two.
Boty returns to her painting. She smokes a cigarette as she sets up two of her works for Dylan to look at.
BOTY What do you think, Bob?
DYLAN I like ‘em. Colourful, interesting, fresh, modern. Remind me of Gauguin. What are they called?
BOTY This one’s “Colour Her Gone”. And this one’s not finished yet. I’m thinking of calling it “The Only Blonde in the World”. A homage to Marilyn Munroe, poor girl.
DYLAN What style is that?
BOTY Some call it Pop. I don’t know where it comes from. Strangely, I've always enjoyed thirties musicals - seeing all the Fred Astaire and Ginger Rogers ones, and Shirley Temple as well. I suppose I've just sort of absorbed all the shapes they used, and the atmosphere, and it just comes out in my paintings. I love American culture – the movies, music, the art.
Dylan smiles.
BOTY Do you know Andy Warhol?
DYLAN Yeah, sure. I see him around town. He’s got a large studio on East 47th Street. The Factory. Lots of freaks hangin’ around.
BOTY Yeah well, like him, I use photos of celebrities in my art – Belmondo, Monroe - alongside areas of solid paint, bright colours. Lots of angular shapes, lines, some abstraction, and collage. All mixed up. Not overly complex though.
DYLAN You’re very good you know!
BOTY Thanks.
Boty makes them a coffee and they both settle down by the fire.
Dylan strums on his guitar, writing in his notebook as he goes along, humming a related tune.
We hear the beginnings of his Masters of War.
Boty reads. They smile, relaxed in each other’s company.
BOTY Merry Christmas, Bob.
DYLAN Merry Christmas, Pauline.
They go back to their reading and writing.
FADE TO BLACK.---------------------------
Freewheelin’ Act 5
[Dylan sings and tries not to act.]
FADE IN
INT. – BBC REHEARSAL STUDIO – DAY
MONTAGE
Script run-through rehearsals, at the large table. - technical scene and camera preparation, with Saville and Jones animated as they move around the set. - Dylan practices walking down stairs singing Blowin’ in the Wind. - actors practice their lines and scenes. - Dylan practices singing The Coo Coo (Cuckoo) Song (2.21) as he talks with Jones about lyrics.
Dylan in the background singing, strumming, whilst actors rehearse and Saville directs the rehearsal. - Dylan sitting around, smoking, reading a paper, writing in his note book.
END MONTAGE
FADE TO BLACK.
FADE IN:
EXT. – “PINDAR OF WAKEFIELD” PUB – EVENING
Outside the “Pindar of Wakefield” pub. The weather is turning colder, snow is on the ground. There is rain and a strong wind.
Dylan stands outside on the street with his guitar case in hand, smoking a reefer. A crowd mingles around as others enter the pub.
INT. – “SINGERS CLUB” – EVENING
Dylan walks up the stairs into the “Singers Club”, managed by EWAN MACCOLL and PEGGY SEEGER. BRUCE DUNNET meets him at the door.
DYLAN Hey, is Peggy Seeger about? I’ve got a note here from her brother, Pete.
He hands the note to Dunnet, who scans it quickly.
DUNNET (brusquely) I’ll take it too her. Wait here.
Dunnet walks through the crowd to Seeger, who is sitting at the front of the room, next to MacColl.
DUNNET Bob Dylan’s here. He’s got his guitar.
SEEGER Whose Bob Dylan?
DUNNET You know, that guy on the front of “Sing Out”, from New York. He’s got a note here from Pete.
Dunnet hands the note to Seeger. Seeger looks at it, nods her head, then passes it on to MacColl.
SEEGER Remember Dylan, Ewan? We met him in Minneapolis, or St Paul, somewhere out there, a coupla’ years ago. He came up asking for autographs, and kept trying to talk to you whilst others were milling around.
MacColl nods.
SEEGER And Nolan, our host, the next time we were in Minneapolis, he says: 'You remember that little guy that came up with his briefcase and just kept at you and wanted your autograph - that's Bob Dylan.' And you said, 'Who's Bob Dylan?' (laughs)
MACCOLL Yeah, I remember. I listened to his album – 10th rate pop drivel, from a mediocre talent. Mostly copies of traditional songs, with the one he wrote about Woody Guthrie the only half-decent thing.
SEEGER Should we let him on?
MACCOLL Yeah, I suppose. He’s American. He can sing a few songs. Get it over with.
Maccoll hands the note back to Dunnet, who leaves and tells Dylan he can sing.
Dylan walks into the room and sits down at a table with Grossman.
DYLAN (looking nervous) Rough crowd Albert. There’s that Luddite MacColl.
The crowd looks to the stage. ODETTA enters and sings Gallows Pole (2.37).
When she finishes, Dylan is called up to the front. He is surrounded by people as he begins – in front, beside and behind him. They are standing or sitting on chairs or on the floor.
It is a noisy crowd, drinking and smoking. There is no microphone or speaker system.
As Dylan sings, the staunchly Communist MacColl shows distain through much of the performance.
DYLAN (smiling) Thanks. I knew this guy who was taken away to hospital a while ago, gone crazy sittin’ home alone, investigating himself. Here’s a story about how he came to be investigatin’ himself. It’s called John Birch Society Paranoid Blues (3.45).
Dylan, aware of MacColl's views, opens with the provocative, comic, anti-Communist sendup Talkin’ John Birch Society Paranoid Blues (3.55).
The crowd laughs throughout and applauds at the end. MacColl nods briefly in approval. He does not smile.
DYLAN I learnt this song off Dave Van Ronk.
Dylan then sings the emotive House of the Rising Sun (5.19).
The crowd applauds enthusiastically.
Dylan then starts strumming what sounds like “Nottamun Town”.
DYLAN This is a new song. I just wrote it here in London after reading in the newspapers how Kennedy’s gonna screw Macmillan over missiles, and the politicians sayin’ “Don’t distrust me, don’t distrust me.” It’s about those who make war, make money out of war.
Dylan then sings Masters of War (6.28).
The crowd listens intently. At the end, sections applaud loudly, including two women in the audience, sitting just in front of him – 17-year-old, dark haired NATASHA MORGAN and, next to her, 38-year-old publisher and folk club operator ANTHEA JOSEPH.
After the performance, Morgan approaches Dylan.
MORGAN (excited) That song about the war was amazing! Wow! I get it. It’s like you wrote that song just for me, if you know what I mean?
Dylan shakes his head, smiling.
MORGAN I was at the nuclear disarmament march this year, from Aldermaston to London, and your song’s so relevant. They don’t care about us, about young people. All they care about is profit, destruction. Thank you, thank you.
DYLAN (smiling) That’s OK.
MORGAN I come here and its mostly old men singing old songs, and trying to get me to drink beer. But you're so different! You’re so young! And now! (smiling)
DYLAN Thanks. Hey, do you know where the Troubadour Club is? My friend’s singing there tonight – Martin Carthy.
Morgan smiles.
MORGAN Sure. I’ll take you there. I’m going with some friends. Come on.
Dylan and Morgan leave the pub.
EXT. – STREET – EVENING
Dylan and Morgan jump in a car – a Mini. It’s packed, with Dylan’s guitar case sticking out the window.
EXT. – CAR – MOVING
The car heads across town to the Troubadour Club. Music blasts out on the radio. A bottle of red wine is passed around.
EXT. – “TROUBADOUR CLUB” – EVENING
Everyone hops out.
Dylan and Morgan walk down the stairs into the basement Troubadour room.
INT. – “TROUBADOUR CLUB”
Dylan and Morgan briefly stand in line. Morgan’s friend Anthea Joseph is on the door.
Morgan says nothing and merely smiles, putting her finger to her mouth suggesting that she not say a word.
Dylan reaches into his pocket, pulls out some money and hands it to Joseph.
DYLAN I’m looking for Anthea. I’ve got a note here from Pete Seeger.
He hands the note to Joseph. She reads it.
JOSEPH “Find the Troubadour. Ask for Anthea”. (smiling) Well, I’m Anthea! And you’re Bob Dylan!
DYLAN Yes. But …
JOSEPH I read about you in “Sing Out”. You can have your money back, provided you sing for us.
DYLAN Sure. Thanks.
Dylan and Morgan enter the small, dark club. Martin Carthy is on stage singing. They sit down and Dylan lights up a reefer.
He talks to Morgan about the local music scene (inaudible).
Later in the evening Joseph introduces Dylan to the crowd.
JOSEPH Next up is Bob Dylan, from New York. You may have seen him on the cover of “Sing Out”.
She holds a copy of “Sing Out” in her hand.
Dylan walks up to the small stage. He begins to strum.
DYLAN Here’s a song about Woody Guthrie. It’s the first song I ever wrote that I performed in public. I know him and met him and saw him and sang to him. Goddam, he’s the greatest, holiest, godliest one in the world.
Dylan sings Song to Woody (2.42).
When he finishes, the crowd applauds. Dylan then introduces another song.
DYLAN This one’s called Emmett Till. I use a capo. Oh, by the way, the melody here, I stole the melody from Len Chandler – from a song he wrote about a Colorado bus driver. He's a funny guy, Len. (laughing) He's a folk singer guy. He uses a lot of funny chords, you know, when he plays. He was always getting me, wanting me, to use some of these chords, some of these funny chords, you know. Trying to teach new chords all the time. Well, he played me this one, and he says, “Don’t those chords sound nice?” And I said, “They sure do!” So I stole it, stole the whole thing.
He then sings The Death of Emmett Till (4.31).
There is louder applause.
When Dylan finishes, he leaves the stage and walks over to a table, where he sits down with Joseph, Morgan and Carthy. He takes a drink.
DYLAN How’d I go?
JOSEPH Wow! That Emmett Till is one of the greatest contemporary ballads I’ve ever heard! It’s tremendous. Gave me shivers!
DYLAN Thanks.
JOSEPH I stopped breathing there for a minute! What’s so magnificent about it, to me, is that it doesn’t have any sense of being written. It sounds as though it just came out of … I don’t know. It doesn’t have any of those poetic contortions that mess up so many contemporary ballads, you know. And you sing it so straight.
At the table next to them is Nigel Denver. He is drunk. He listens to Joseph's effusive remarks and is angered by them, jealous of Dylan's obvious talent, the publicity he has received, and the threat he poses to the status quo.
DENVER (loudly) Hey Dylan – you’re a load of shit! You couldn’t sing you way out of a paper bag. You can’t play guitar and you can’t blow harp. I’m a million times better than you.
Denver collapses onto the table.
DYLAN What’s wrong with your mate, Martin?
CARTHY He’s pissed, Bob. Don’t worry about it.
Carthy, Dylan and Morgan get up to leave. They say goodbye to Anthea.
MORGAN Thanks Anthea. See you next week.
Morgan gives Joseph a hug.
JOSEPH Yeah, we'd love to hear more.
Dylan nods, smiles. The group leave the club for the bleak weather outside. Snow is falling. They walk off into the darkness, drop Morgan off and then head off to Carthy’s place.
FADE TO BLACK.
FADE IN:
INT. – BBC TELEVISION STUDIO – AFTERNOON
Filming of “Madhouse on Castle Street”. Dylan performs Blowin’ in the Wind and takes part in the general performance.
Martin Carthy and Pauline Boty watch on.
Saville frantically directs. Filming continues all day and into the evening.
INT. – BBC TELEVISION STUDIO – EVENING
We see Saville in conference with a group of BBC technicians. The filming is abruptly stopped early evening, due to union issues.
SAVILLE Hey guys, the union says we have to stop. They’ve pulled the plug!
JONES But we're almost finished!
SAVILLE Yes, I know. (exasperated) They won’t allow us an extra hour. I'm sorry.
BOTY And we're stuck here because of the snow.
SAVILLE Yes! We will have to finish the damn thing in the New Year.
Dylan, friends, and the crew gather round, discussing the situation, disconsolate. They look outside a window as the snow falls in blizzard conditions.
EXT. – BBC TELEVISION STUDIO – MIDNIGHT
Cars pull up and Dylan, Saville, Boty and Carthy hop in.
FADE TO BLACK.
FADE IN:
INT. – BOTY’S FLAT – NEW YEARS EVE – MIDDAY
Boty and Dylan are having lunch.
DYLAN Pauline, thanks for putting me up over the last week. Albert’s got me a room at the Cumberland, so I can move over there anytime.
Boty smiles at Dylan.
BOTY Whatever you want, Bob. It’s fine by me.
After lunch, Dylan and Boty sit down by the fire, on a large, worn-out rug.
Dylan strums and starts to play his harmonica. He and Boty duet on the song Love Me Do by the Beatles (2.23).
They both laugh when the song ends. There is an obvious warmth between them.
Boty gets up and moves to do some painting.
DYLAN What are you doing tonight, New Year’s Eve and all?
BOTY Off to a party. You’re welcome to come?
DYLAN Thanks. But Martin’s invited me down to the King and Queen. I think I’ll do that for a while.
Boty paints while Dylan works on songs.
FADE TO BLACK.
FADE IN:
INT. – “KING AND QUEEN” PUB – EVENING
Dylan is in the pub, drinking with Carthy and some of his friends, smoking reefer and getting very drunk, like everyone else. They eventually walk up the stairs into the music area. It is rowdier than last time, in line with the New Year’s Eve festivities.
Nigel Denver is on stage finishing a song. He is drunk. He sees Dylan enter and starts singing Pretty Peggy-O (3.24), a song off Dylan’s first album. He mocks Dylan with it.
Dylan is now stoned and drunk as well. He sees Denver mocking him.
DYLAN (loudly) What is this fucking shit?
AUDIENCE MEMBER Be quiet!
DYLAN (loudly) What’s going on? Where’s the drinks? How do you get a drink here?
AUDIENCE MEMBER Shsssssh!
Denver finishes his song and walks unsteadily over to Dylan.
DENVER I don’t know if you realise it, but we allow performers to perform here, during which time the audience keeps quiet.
DYLAN I don’t fuckin’ have to keep quiet. I’m Bob Dylan!
Carthy steps in and pulls Dylan away.
The new year arrives, and numerous couples kiss and embrace as Dylan looks on forlornly. Everyone sings “Auld Lang Syne”.
EVERYBODY (EXCEPT DYLAN) Should auld acquaintance be forgot.
DYLAN (loudly) And never brought to mind.
Dylan turns away, saddened and feeling lonely, primarily due to thoughts of not being with his “true love” Suze.
Carthy notices Dylan’s pain. Dylan and Carthy leave the club shortly thereafter.
EXT. – LONDON STREET – EVENING
Carthy and Dylan walk down the street together. They hop into Carthy’s car and drive off.
INT. – CAR – MOVING
Dylan is in a melancholic mood.
CARTHY What’s wrong Bob?
DYLAN Hey man, I miss her.
CARTHY Miss who?
DYLAN (slurring his words) Suze. The could-be dream-lover of my lifetime. My true love. She left me, you know, for the shores of “sunny Italy” (sarcastically). Cut her hair, her beautiful hair! Accused me of lyin’, cheatin’.
CARTHY Well did ya’?
DYLAN (Pause) Yeah, I suppose. But, you know… (cheeky smile / or looks sad)
CARTHY What are you going to do about it?
DYLAN I don’t know. I gave her my heart, but she wants my soul, man. It’s too much. I can’t change. I’m this thing called “Bob Dylan” now. That’s something I’ve wanted all my life.
CARTHY Go back to her.
DYLAN But she’s not there, she's not waitin’ for me. I need her to do that. I can’t go back. I have to keep moving. Freewheelin’ Bob Dylan – that’s me. (sarcastic smile) Heading down that long, lonesome highway.
CARTHY Don’t be stupid! They’re just words from a song.
DYLAN Right! (ironically). Words from a song. They don’t mean shit.
CARTHY Love, man. Life’s all about love. Don’t throw it away, Bob.
They arrive outside Boty’s bedsit.
EXT. – OUTSIDE BOTY’S BEDSIT – AFTER MIDNIGHT
Carthy and Dylan hop out of the car. Carthy holds Dylan up as they sing “Auld Lang Syne”.
Dylan knocks on the door. Boty comes to the door and lets him in.
Carthy leaves. He looks at Dylan as he goes inside.
FADE TO BLACK.
FADE IN:
INT. – BOTY’S BEDSIT – NEW YEAR’S DAY - MORNING
Dylan and Boty are sharing the big brass bed. Outside the window snow is falling. They have just made love. They embrace as they talk.
BOTY I’ve enjoyed having you here Bob. We’ve got a lot in common, you know, despite our strange ways.
DYLAN (smiling) Strange ways? You mean special ways – not strange (laughing).
Boty laughs in agreement.
BOTY It’s a new year Bob! What do we have to give this world, apart from our wide-eyed optimism?
DYLAN Everything - art, poetry, music, song, film, children – that’s us. We’re it! The present, the future! We have our rage against ugliness, in people and things, embracing this new dawn, creating a new world. That’s what we have. It’s up to us, you know. Young people. No one else.
BOTY And we’re living it, here and now, whatever you want to call it.
DYLAN Yeah. Forget about the past. It’s old, lifeless. I’m chasin’ something new, something alive. Something that kicks me in the guts, makes me think, that says “No! I don’t want that!” Something that does not tie me down, keeps me movin’.
Boty lights up a reefer and offers it to Dylan. He draws heavily upon it.
DYLAN I came here, to London, in a bit of a funk, you know? Dreaming about what was, and the possibilities – the beginning, or the end, of things. I was just in another place – not here - a long way from home, and missin’ it. Just walking around in a daze, really. And you came along – lightning! - and all that crap was pushed aside, for a moment, anyway. (smiling)
BOTY I remember seeing you just standing there, by the river, with the wind blowing in your hair, looking like some little boy lost. Cold and alone. And you were!
DYLAN Yeah. You gave me shelter, from this raging storm at least (smiling). Lit the fire, kept me warm, on that worn-out rug; talking for hours about an ugly world so old, and about being free to change it, and find a new way.
BOTY And here we are: warming as the rain falls, waking to the snow. Thinking about nothin’ but here and now, as ’63 beckons!(smiles)
Dylan stares out the window.
DYLAN Hey, are you a loner?
BOTY Yeah, but I also think about it – you know – love, someone else. Who doesn’t? True, strong, passionate love – every colour of the rainbow kind of love. But I want it to be real, and I also don’t want it to consume me, turn me into a cold, cardigan-glad, sexless ghost of an English Gentlewoman! You?
DYLAN Yeah. But I'm confused. I don’t understand it. I know what I want, but that’s all I know. The other person – well, who knows that? Do we ever really know what's in someone else’s head?
BOTY (smiling) That's the thing, Bob. We will know, one day, hopefully.
Dylan and Boty hold each other. Boty leans over and kisses him. They make love again.
FADE TO BLACK. FADE IN: INT. – BOTY’S BEDSIT – LATE MORNING
In the kitchen Dylan washes up after breakfast. Pauline works on one of her paintings. When he finishes, Dylan moves over towards where Pauline is painting and picks up a copy of “Scene” magazine with a picture of her on the front.
DYLAN What’s this rubbish?
Somewhat shocked, Dylan reads the cover text aloud to Boty.
DYLAN “Actresses often have tiny brains / Painters often have large beards / Imagine a brainy actress who is a painter and also a blonde and you have Pauline Boty.”
Fuck! Is that a compliment, or put down, or what?
BOTY A bit of both, Bob. You know what journos are like, dumbing everything down, misogynistic pricks. Don’t worry, the rest of the piece is OK. It talks about my art, and that’s the most important thing.
DYLAN What do you want in life, Pauline?
Boty looks up, thoughtfully.
BOTY That’s a strange question, Bob. The same as you, I suppose. Freedom, to be me, to soar, to feel it all - pleasure, pain, ecstasy. Not to worry about tomorrow – This is Tomorrow! Find meaning, and get there through my art, though experiencing the world around me. I want to be independent, but I also want relationships – strong relationships – people around me who understand who I am, take it or leave it. Do you understand me, Bob? Do you understand women?
DYLAN (shaking his head forlornly) You – yes, maybe. Women - no.
BOTY This is a wonderful, liberating time and place to be alive, despite all the Cold War crap, all the grey out there, the men in suits and women standing by them, like puppets. We don’t have to accept any of that.
Boty smiles her warm smile at Dylan.
She returns to her painting.
DYLAN I've gotta go now.
Dylan gathers up his guitar case and bag, gives Boty a farewell look, they hug and kiss passionately, and he walks out the door into the snow.
EXT. – LONDON STREET – LATE MORNING
As Dylan walks down on to the street, he turns around and looks up. He sees Boty's face by the window, smiling as she looks down towards him. She gives a final wave and blows a kiss. He returns the gesture, turns and walks up the road, past Hyde Park, to the Cumberland Hotel where Grossman has secured a room for him. He disappears into the entrance.
FADE TO BLACK.
---------------------------
Freewheelin’ Act 6
[Dylan moves out and on.]
FADE IN:
EXT. – “COLLET’S” BOOKSHOP – AFTERNOON
Dylan leaves the Cumberland Hotel and walks alone through London town. He comes to Collet’s book and record store, enters, looks around and eventually selects 2 LPs – Country Blues – Blind Boy Fuller 1935-1940 (Phillips 1962) and Blues Fell This Morning (Phillips 1960). Dylan then walks up to the counter.
After paying for them, he makes some notes in his notebook. HANS FRIED, an occasional worker at Collet’s, walks up next to him and places on the counter his copy of the book “The White Goddess” by Robert Graves. Dylan immediately recognises it. He has previously read it – it is one of his favourites.
DYLAN You read that?
FRIED I try, but it’s a bit of a chore. It says on the back it’s “a history of poetic myth and language”, but it’s quite erratic, idiosyncratic, like the author, I suppose. I hear he’s rather moody and insufferable.
DYLAN Yeah, I know what you mean. It’s not an easy read.
FRIED I’m finding it difficult to make any sense of it at all, actually.
DYLAN Hey, I might be able to help you there. Trying to evoke the poetic muse, are we? Smiling,
Dylan reaches out and shakes Fried’s hand.
DYLAN Bob, Bob Dylan.
FRIED Bob Dylan! Hey, I brought your record here a couple of weeks ago. It’s great. Sounds a lot like Jack Elliott in places, but I love it.
DYLAN Yeah, Jack’s a good friend.
FRIED I love that song – what is it? - The House of the Risin’ Sun. Classic! Would you like to go and have a coffee? We can talk over Graves.
DYLAN Sure thing. Happy to.
Dylan and Fried exit Collet’s and walk to the nearby Star café.
EXT. – “STAR” CAFÉ – AFTERNOON
Dylan and Fried sit and talk about poetry and song writing. They order something to eat and drink.
FRIED As you may have guessed, I’m something of a student of literature. My father’s quite famous - he translated the work of Dylan Thomas into French when I was a kid, and I’ve picked a lot up along the way.
DYLAN Cool. I’ve got a book back home of poems – English translations of French texts by Rimbaud, Saint John Perse and Lautreamont, Les Chantes de Maldoror. Do you know of them?
FRIED Yes. I think I might actually have a copy of that one.
They are served tea and scones.
FRIED (opening “The White Goddess”) I was wondering about this long poem – “The Battle of Trees”. It’s in the form of a cante fable – half sung and half spoken. It’s quite peculiar because it talks about the story by talking about things around the story, and it’s chanted rather than sung.
DYLAN Yeah. I used that in one of my new songs - “A Hard Rain’s A Gonna Fall”. Each line could be a separate song, actually. I suppose it’s more of a poem than a song.
Fried nods as he devours a scone.
DYLAN By the way, I met Graves the other day.
FRIED What?
DYLAN I was singing “Hollis Brown” at a local club, The Blue Angel, and he was talking to some musicians, rather loudly. So I stopped singing and said to my friend Rory McEwen, “Who’s that guy?” He told me it was a friend of his. Fuck, it was Graves!
FRIED Wow!
DYLAN Yeah! So, Rory introduced us, and we went for a walk around Piccadilly Square.
BEGIN FLASHBACK EXT. – PICADILLY SQUARE – AFTERNOON (TWO DAYS PREVIOUS)
Dylan and Graves walk past numerous shops, talking. Graves smokes a cigarette.
DYLAN Why do you write?
GRAVES (glares back) Why do you sing? Why do you write songs? I know why I do it. Well, at least I know the process: … A sort of cloud descends; you don’t know what’s happening. You realise there’s a problem to be solved, and then two, three words come to mind, and you write a poem. It’s already there, and you’re just writing it down – what it is, was, would be… It’s a mystical experience.
DYLAN Yeah, I get that. Songs, words, they just come, often fully formed. …. You write a lot about love, and women.
GRAVES (scholarly tone) That’s what poetry’s mostly about, isn’t it, my boy? The feminine is the dominant principal in life, and the male is drawn to that. It’s what’s happening, here and now, more than ever, and we can’t stop it. (shaking his head) We don’t want to stop it - the rise of the matriarch, the independent woman, autonomous, free - though patriarchy will not give up without a fight.
DYLAN Sure, I can dig that. And “The White Goddess”?
GRAVES (smiling) “A mythical, female muse, a study of poetical myth making. A mish-mashed, ragbag of thoughts.” At least that’s what some of the critics say. Therein I've tried to separate the two sides of Christianity – the original Jewish, and the later, what we now know as Christianity. You’re Jewish aren’t you?
DYLAN Well no… Yeah, I suppose you could say that. At least, I was raised that way, tho' I don’t think about it much. I read the bible. Perhaps I'm just a Wandering Jew, doomed to keep moving… (smiles … muted silence)
Graves and Dylan walk silently on, Graves puffing away.
DYLAN Do you care about your work?
GRAVES (glaring back) What sort of stupid fucking question is that! Sure, I care. At least I care while I’m doing it, but afterward, no, not really. It’s my job. I get paid.
Dylan listens intently.
Graves breathes heavily on the cigarette between talking, as the pair disappear into the Piccadilly crowd.
END FLASHBACK EXT. – “STAR” CAFÉ – AFTERNOON
Dylan and Fried sit in the café.
DYLAN That Graves, he's a thorny character. Abrasive. Kinda like, you know, angry all the time; puts you down, man. I couldn’t remember much about the book during the walk. He told me he lives half the year in Majorca, so I hope to visit him next time I’m over this way.
FRIED He’s into myth and legend, poetry, literary tropes. What’s the folk music connection?
DYLAN (animated) There isn’t any. It’s just words, man. Folk music is just a means to an end. Like pop, rock ‘n roll, they didn’t do it for me; they didn't allow for that exploration of self and the world around. Folk is a reality of a more brilliant dimension, one I want to be sucked into. I feel right at home in this mythical realm made up not with individuals so much as archetypes, vividly drawn archetypes of humanity, metaphysical in shape, each rugged soul filled with natural knowing and inner wisdom. Folk music – or, at least, the music I play and create - is all I need to exist, at least for the moment. Trouble is, there isn’t enough of it. It’s out of date, has no proper connection to the actualities, the trends of the time, the present. I need to create something new, relevant to the now, or at least to my now.
Fried listens intently.
Dylan looks at his watch. He realises he is late for a meeting.
DYLAN Shit! Sorry Hans, I’ve gotta make tracks. Meet with my manager. Hey, don’t forget to watch the BBC – look out for “Madhouse on Castle Street”. Thanks for the talk, and the scones (smiles).
FRIED I’ll get my tape recorder out. Nice to meet ya’.
Dylan scurries off.
FADE TO BLACK.
FADE IN:
INT. – “CUMBERLAND HOTEL” ROOM – AFTERNOON
GROSSMAN Bob, I’ve just hired Andrew here for £5 a week to drum up some publicity and get you a few interviews. He’s working with the Beatles at the moment. You might have heard about them?
Dylan nods.
DYLAN Sure.
OLDHAM Nice to meet you, Bob. Yeah, the Beatles have just returned from Germany and are touring Scotland and around England at the moment. Crowds are going crazy! The kids are flippin’ out! I know I’ll be pretty busy once they get back to London. (smiles energetically) By the way, I saw you at the Singers club the other night. Pretty impressive performance. Hard crowd, especially MacColl and his mates. (quizzingly) You wrote those songs?
DYLAN Yeah.
OLDHAM Fuckin’ amazing! Anyway, I thought I’d contact Albert about helping you break into the local market, get a bit of publicity while you’re here. We could go to the offices of some music magazines – “Melody Maker”, “Pop Scene” - and see if they’re interested. My friend Richard Gilbert is already keen.
GROSSMAN Sound’s good.
Richard said he can drop by tomorrow around lunch time, if that’s OK?
DYLAN Sure.
OLDHAM Perhaps you’d like to check out some of the local clubs - I’m off to the Flamingo tonight to see Alexis Korner - great jazzy blues, and the Marquee – there’s a young band there kicking up a storm, playin’ American rock ‘n’ roll and rhythm ‘n’ blues. Call themselves the Rolling Stones, after that Muddy Waters song. You know – “Catfish Blues”? You’re welcome to come along if you like.
DYLAN Sounds good. Thanks.
Grossman hands Oldham a copy of Dylan’s first record and some magazine and newspaper articles. They talk amongst themselves.
FADE TO BLACK.
FADE IN:
INT. – “MARQUEE” CLUB – EVENING
Dylan stands amongst the crowd in the hot, sweaty club, next to Oldham, listening to the Rolling Stones play Boogie Chillen (2.21).
DYLAN Hey, that’s a John Lee Hooker song. I supported him at Gerdes last year.
Oldham nods, impressed.
OLDHAM Wow! That’s so cool. Yeah, I saw Hooker at Manchester a couple of months ago, with Willie Dixon, T-Bone Walker and a host of other American blues legends. Fuckin’ awesome!
Dylan nods in approval.
DYLAN This band’s pretty rough, but I like ‘em, and the crowd's into it.
OLDHAM Yeah, they’re diggin’ it. I’m gonna manage these guys!
Dylan and Oldham dance along with the crowd.
FADE TO BLACK.
FADE IN:
INT. – “CUMBERLAND HOTEL” ROOM – AFTERNOON
Dylan sits at a table in his room, being interviewed by RICHARD GILBERT of the film and television magazine “Scene”.
GILBERT How is the BBC play coming along?
DYLAN Fine. I’m just singin’ a few songs.
GILBERT I hear the filming’s been held up by union problems?
DYLAN Yeah, but they’re paying me two thousand dollars to do this play, and if I’ve got to stay another three weeks to finish it, they’ll probably have to pay the same money all over again. But to me two thousand, four thousand, I can't imagine the difference. It's too much money. And what's the money for three whole weeks of time? Three weeks is too long to lose. I’m in the middle of recording my second album, so I’m keen to get back to New York asap.
GILBERT What’s it like to be in show business and make all this money?
DYLAN I don’t know. I’m not in show business. Money? I don’t know how much I make. Sometimes I ask, sometimes I don’t. I don’t know what I spend it on. It just falls through the holes in my pocket. GILBERT Have you enjoyed performing in London at the various clubs and pubs?
DYLAN I don't like singing to anybody but Americans. My songs say things. I sing them for people who know what I'm saying. Nowadays I mostly just play at concerts. Clubs I don't play at, not like I used to. A few years ago, when I needed the money, they wouldn't pay me! Now they're writing all the time asking me to play. Sometimes I write back and tell them no, sometimes I just don't answer. But they keep right on asking, offering me percentages of the house and all.
Gilbert nods and takes notes.
Dylan puffs on a cigarette. Oldham stands in the background, looking on.
OLDHAM Thanks Richard. You’ve got a pic as well, so we’re hoping for a cover or page 3?
GILBERT Sure thing. It’s up to the editor, but the mag should be on the street early next week.
Gilbert leaves.
OLDHAM Bob, it’s press day today so we should be able to get an interview with “Melody Maker”, the premiere pop music magazine in England.
DYLAN OK. Let’s go.
They pack up their stuff and leave the room.
FADE TO BLACK.
FADE IN:
INT. – LONDON - “MELODY MAKER” OFFICE – AFTERNOON
Crowded office, with lots of people, reporters, cameramen, agents and musicians.
Dylan looks lost, whilst Oldham hustles an interview.
He approaches Bob Dawbarn, author of the “Raver” column, which reviews new music.
OLDHAM Hey Bob, meet Bob Dylan, the boy genius of American folk music. A singer songwriter from New York. He’s signed to Columbia and is about to release his second album. Here’s his first.
Dawbarn looks at the front cover and back of the album.
OLDHAM “Sing Out” recently did a feature article on Bob - front cover and all. He’s over here doing a play for the BBC. Great story. You can have an exclusive!
DAWBARN What’s this shit – Pretty Peggy-O, In My Time of Dyin’, Gospel Plow? (frowns) Sorry Andy boy, I don’t do folk or American gospel. Good ol’ British trad jazz, pop, rock ‘n roll, beat.
Get on the game man – young groups are the thing - The Beatles, Cliff and the Shadows. Class acts like Sinatra, Mathis, Ifield still fill our pages. Folk is for the oldies, and whingin’ Lefties. Sorry lads – not interested.
Dawbarn throws Dylan’s album back at Oldham.
OLDHAM You’re making a big mistake man. Bob’s the next big thing! Columbia’s a quality label!
DAWBARN (angry – shouting) Hey, don’t talk to me like that you little prick! You and your fagot Yank folkie friend can fuck off!
Dawbarn waves his hand towards a burly security guard, calling him over.
DAWBARN Eddie – throw these punks out, will ya!
Dylan and Oldham are roughly ejected from the “Melody Maker” offices.
DYLAN (shouting towards Dawbarn) Fuck you man!
EXTERNAL. – LONDON STREET – AFTERNOON
Dylan and Oldham stand on the street, outside the “Melody Maker” office.
DYLAN Fuck him! What a creep! What’s wrong with that dude?
OLDHAM He’s old Bob, that’s what’s wrong, old in the fuckin’ head!
Dylan and Oldham shake themselves and walk away to another interview.
FADE TO BLACK.
FADE IN:
INT. – BBC TELEVISION STUDIO – AFTERNOON
Filming of the final scene for “Madhouse on Castle Street” takes place, following settlement of the union issue.
Dylan sits in the background, on the stairs, guitar in hand. They film a take of Dylan singing a song to run into and over the credits at the end.
The other actors sit around talking and playing cards.
SAVILLE Cut! That’s a wrap! Well done everyone! There is much relief amongst the cast, crew, director and friends. They all gather round, happy with that filming is complete. Saville makes a speech thanking everyone – actors, technicians, etc. He then turns to Dylan.
SAVILLE Bob, thanks for taking part in our play. Your music really brings to life what Evan and I were trying to achieve here. A perfect fit, in many ways – melancholy and humour, with an eloquence that highlights the harsh realities of life, and of death.
DYLAN Hey man, all I did was sit on the stairs and sing a few songs. Thanks for the invite.
JONES Bob, your performance was mind blowing! The music supported the theme of alienation better than any music I could ever write, and I thank you for that.
DYLAN Thanks man.
SAVILLE Where to now Bob?
DYLAN Albert and I are heading over to Rome to take in a TV performance by Odetta. I’m also going to visit a friend whose studying art at the University of Perugia, just near there. Then back home to finish my album.
SAVILLE Good luck, and thanks again, everyone.
There is much clapping, patting on backs, hugs and farewells. Saville shakes hands with Dylan then walks away to talk to some technicians and actors in preparation for the final editing. Dylan stands next to his manager Grossman and Boty.
BOTY That was great Bob! You’re a TV star now! She gives him a big hug and kiss on the cheek. Real affection is shown between the two.
DYLAN Hey, I’ve gotta go now. Hopefully we’ll catch up again, soon. Thanks for showing me around town; and for everything.
BOTY (smiling) Bye. Enjoy Italy.
Dylan and Grossman leave the studio and hop into a limousine heading to the airport for the flight to Rome.
Dylan and Boty exchange glances as the car drives off.
FADE TO BLACK.
FADE IN:
EXT. – ROME (JANUARY 63) – COLISEUM – MIDDAY
Dylan is walking alone through the city of Rome. He walks up to the Coliseum and goes inside.
He dreams of time past and gladiatorial battles with lions. He leaves and walks on.
EXT. – TREVI FOUNTAIN – MIDDAY
As Dylan approaches the Trevi Fountain, we are reminded of some of the Italian films he and Suze had recently seen, such as “La Strada”, “La Dolche Vita” and “La Notte”.
Dylan the hobo blends into the scenery, as in those movies.
BEGIN FLASHBACK
INT. – NEW YORK CINEMA – EVENING
Dylan and Suze sit in the cinema, intensely watching a scene from “La Notte”.
We see a couple who look lost, together. There is an awkwardness between them.
We come back to Dylan and Suze in the cinema, and see a similar coldness, following on the recent discussion regarding Suze’s impending journey to Italy.
Dylan’s recent playful cinema experience with Boty appears, as an alternate view of where Dylan is at, and where he is going.
END FLASHBACK
EXT. – TREVI FOUNTAIN – MIDDAY
Dylan continues on his walk through the city.
FADE TO BLACK.
FADE IN:
INT. – “FOLKSTUDIO” CLUB – EVENING
Dylan and Grossman walk into a small folk club. They are drunk and stoned. There are only about 10-15 people there. It is run by Black American singer and actor HAROLD BRADLEY.
BRADLEY Good evening gentlemen. Please take a seat. Harold Bradley at your service.
GROSSMAN Thank you, Harold. Drinks all round. This is my friend Bob. He’s a folk singer, par excellence!
BRADLEY Would Mr. Bob like to take the stage and perhaps sing a song or two?
DYLAN (Slurring his words) Thank you, Harold. I don’t mind if I do.
Dylan tunes up and sings a somewhat drunken Motherless Children (3.10).
Dylan moves unsteadily and goes to walk off the stage and rejoin the inebriated group. Bradley raises his hand.
BRADLEY Hey Bob, give us another.
DYLAN OK. Here’s one I wrote today (giggling).
Dylan sings a rowdy Going Back to Rome (2.00 – start at 24.40).
After this, he stumbles off the stage and rejoins the group. Bradley leaves and heads towards the stage.
In the background Bradley performs a tune while Dylan starts talking to a young woman in the group. She kisses him. They embrace.
FADE TO BLACK.
FADE IN:
EXT. – RENTED CAR – ITALIAN COUNTRYSIDE - DAY - MOVING
Dylan travels alone through the Italian countryside to Perugia by car.
EXT. – PERUGIA - MIDDAY
Dylan arrives at the town of Perugua and drives up to the address where he believes Suze to be staying. He hopes to surprise her.
EXT. – PERUGIA BOARDING HOUSE – MIDDAY
Dylan gets out of the car and looks at the address on the last letter / postcard he received. He sees a boarding house. He walks up to the office to inquire about Suze.
LANDLADY Buongiorno! Can I help you?
DYLAN Yes. I’m looking for Susan Rotolo.
Landlady looks up the register of guests.
LANDLADY I’m sorry sir, but there is no one by that name in the register.
DYLAN (looks puzzled) Are you sure?
LANDLADY Yes. There was a Justine Rotolo, but (looking at register) she left on 12 December. It says here that she returned to the United States.
DYLAN OK. Thank you.
Dylan walks away, surprised, saddened and ultimately angry at having come all the way to Perugia and for Suze not to be there.
He walks away towards some shops. There is a can on the path in front of him. He kicks it.
DYLAN (screams) Fuuuuckkkkk!!!!!
EXT. – PERUGIA - OLD VIADUCT – MIDDAY
Dylan walks along the street to an old Roman viaduct, atop which is a room where Suze used to stay, with a balcony. He holds a postcard of it from her.
He looks up, feeling like Romeo seeking out his Juliet. He sees a large window, and imagines Suze sitting by it, looking out the window.
FLASHBACK Cut to the room, two months previous.
INT. – PERUGUA (OCTOBER 62) - SUZE’S ROOM – EVENING
Suze sits at a desk, looking out the window. The postcard is on the desk. She holds in her hand one of Dylan's many letters to her. As she reads it, we hear Dylan speak.
DYLAN (O.C.) Nothing much is happening here I guess.
INT. – NEW YORK - DYLAN’S APARTMENT - EVENING
Dylan writes his letter to Suze.
DYLAN … Bob Shelton is writing for Jean the dogs are waiting to go out the thiefs are waiting for an old lady little kids are waiting for school the cop is waiting to beat up on someone them lousy bums are waiting for money Grove Street is waiting for Bedford Street everybody is waiting for cooler weather and I am just waiting for you…
INT. – SUZE’S ROOM
Suze smiles. She takes up a pen and writes on the back of the postcard. When she finishes, she puts it down and stares out the window. A look of sadness appears on her face.
She picks up a stamp, licks it, and puts it on the postcard. Suze gets up and leaves the room.
END FLASHBACK
EXT. – PERUGIA (JANUARY 63) - OLD VIADUCT
We return to Dylan as he stands outside the old viaduct, looking up at the window and then down to the postcard in his hand. He puts the postcard in his pocket, then turns and walks away. His eyes well up with tears. He realises that he has lost Suze.
DYLAN Fuck. What am I going to do …
EXT. – PERUGIA STREET – OUTSIDE BOOKSHOP - MIDDAY
Dylan walks on. He passes a local book shop and stops to browse, selecting a small book by William Burroughs in a stand outside the shop. He purchases it off the book seller. He walks on.
EXT. – PERUGIA STREET – CAFÉ - MIDDAY
Dylan walks to a nearby café. He sits down, orders a coffee, takes out his notebook, and begins writing.
In the background Boots of Spanish Leather (5.34) is playing – an imagined conversation between himself and Suze as they say goodbye upon the New York dock and she heads off to Italy.
We see the words of the song on the notebook page, beneath a heading on the page “A real problem” and alongside flashes of Suze’s departure from New York the previous June.
MONTAGE
Intimate images of Dylan and Suze and live moments, plus Dylan singing the song, as the song plays and the words appear on the page…
MONTAGE END
Dylan flips the page and begins writing a new song. He takes a drink of coffee as he writes. We see lines appear from his song Girl from the North Country.
He finishes that song and orders another coffee.
Dylan starts writing another song, titled It Ain’t Me Babe. The words flow easily, revealing his anger and angst in finding himself alone in Perugia, seemingly abandoned by Suze. Tears appear as he writes.
Dylan stops writing. He gets up and walks away. He is disconsolate. The visit to Italy is over.
FADE TO BLACK.
------------------
Freewheelin Act 7
[Wherein Dylan returns to London, heads home, and the future is set in train …]
FADE IN: EXT. – LONDON STREET – EVENING - (JANUARY 1963)
Dylan has returned to London from Italy. We see the outside of a nightclub, “The Establishment”, owned and operated by comedian PETER COOK.
INT. – “THE ESTABLISHMENT” CLUB – EVENING
Inside the club a group of people are sitting in a room looking intently at a small, flickering, black and white television screen where “Madhouse on Castle Street” is running on BBC2. In the room are Saville, Arden, DIANA RIGG, Boty, Dylan, Carthy, Jones and others, including most of the actors and crew and some media.
The mood is positive as people watch in silence, comment, cheer, smile and frown. The presence of the three women in Saville’s life add tension to the room.
When the screening ends there is clapping and congratulations all round, followed by much commentary.
The television channel is switched and we see a performance by the Beatles, singing Love Me Do – their first national broadcast.
Grossman turns to Dylan, sitting in a booth with Boty.
GROSSMAN Hey Bob, check this out.
DYLAN Yeah, Andrew was raving to me about them. Reckons they’re the next big thing.
People look on, rivetted, then disperse. Amidst the noise, Dylan and Boty are chatting intimately, seated in a small booth to the side. Rigg is surrounded by members of the media and is being interviewed. Saville, Jones and Arden likewise talk to media and industry friends.
The crowd slowly disperses to another, larger room, where Peter Cook – owner of the club and a famous British comedian - is doing a standup routine, backed on piano by his friend DUDLEY MOORE.
Dylan and Boty leave silently together.
INT. – BOTY’S BEDSIT – EVENING
Dylan and Boty sit by the fire, drinking coffee and smoking a reefer.
BOTY How was the trip to Italy?
DYLAN Fine. I got to see the Coliseum.
BOTY Was she there?
DYLAN Who?
BOTY The one you’re always singing about, and writing about in your notebook. You’re “true love”.
DYLAN No, she’d gone home. I thought I’d surprise her.
BOTY Do you want to tell me about her?
DYLAN No, not really. . . Her name’s Suze. She left me, last June, to study in Perugia and work at her art. She said she wanted freedom, to find herself, or something like that. Reckoned I was holding her back.
BOTY Were you?
DYLAN I didn’t mean too. But, yeah, I suppose. She said my career was getting in the way. Her family didn’t like me.
BOTY Do you love her?
DYLAN Yeah, I guess so.
BOTY Do you want to be with her?
Dylan shrugs his shoulders.
BOTY (smiling) What about your career? Would you give it up for her? Pledge undying love – all that sort of stuff?
DYLAN That ain’t me babe…
BOTY What about other women?
Dylan has a strained smile. He does not speak.
BOTY If you love her then, shouldn’t you let her go?
DYLAN What? I don’t wanna do that.
BOTY Well, it might not be up to you, you know!
Boty gives Dylan a somewhat stern look. Then laughs a nervous laugh.
DYLAN Hey, I wrote you a song, or rather, a song about you, kinda. Do you want to hear it?
BOTY Sure.
Dylan picks up his guitar. He opens his notebook and begins strumming.
DYLAN I’m still working on it, but here goes.
Dylan plays Liverpool Gal.
When first I came to London Town
A stranger I did come
I'd walk the streets so silently
I did not know no-one
I was thinking thoughts
And dreaming dreams
The kind when you roll along
But most of all I was thinking about
The land I'd left back home
I'd stand by the river Thames
With the wind blowing through my hair
And who should come and stand by me
But a London gal so fair
Her eyes were blue, her hair was brown
Her face was gentle and kind
For a second, well, I clear forgot
The land I left behind
As we began walking and talkin'
All through the English air
I did not know where we'd end up
'Til we came to the top of a stair
As we lay round on a worn-out rug
The room it was so cold
And we talked for hours by the inside fire
'Bout the outside world so old
All through our sweet conversation
She thought my ways were so strange
But I know there was one thing about me
That she would try to change
And the night passed on with the drizzeling rain
There's one thing I found out
A pair of sweet curls I know too well
Her love I know not much about
And I awoke the next morning
And the rain had turned to snow
I looked out of her window
And I knew that I must go
I did not know how to tell her
I didn't know if I could
But she smiled a smile I'd never seen
To say she understood
And thinking of her as I stood in the snow
How strange she appeared to be
On the reason I was leaving
She seemed no better than me
I gazed all up at her window
Where the snowy snow-flakes blowed
I put my hands in my pockets
And I walked 'long down the road
So it's now I'm leaving London
Well, the town I'll soon forget
Likewise its winds and weather
Likewise some people I met
But there's one thing that's for certain
Sure as the sunshine down
I'll never forget that Liverpool Gal
Who lived in London Town
Boty smiles throughout, genuinely moved. A tear falls upon her cheek.
BOTY Wow! That’s beautiful, Bob.
Boty hugs him when he finishes.
BOTY We’re a strange pair, we two.
DYLAN (smiling) Yep.
They come together and kiss.
FADE TO BLACK.
FADE IN:
INT. – “TROUBADOUR” CLUB – EVENING
Dylan is sitting at a table with Americans Grossman, his future wife SALLY, MIMI BAEZ – sister of Joan - and her future husband Dick Farina, and RICK VON SCHMIDT. They are all drunk and stoned, talking loudly as music is playing.
MIMI BAEZ Hey Bob, I heard you sing that song Masters of War. Far out!
DYLAN Mimi, there’s things going on in this world you got to look at, right? You can’t pretend they aren’t happening. I was in New York when that Cuba business came over the radio, and you don’t think that don’t put something in your head? Man, you can keep on singing about Railroad Bill or Lemon Trees, or you can step out, right? Take Joanie, man. She’s still singin’ about Mary Hamilton. I mean, fuck - where’s that at? It’s ancient history. She’s got all kinds of feeling, so why ain’t she stepping out? Those at the table look on in agreement. Baez has a defensive look on her face, concerned for her sister. Due to the noise from the table, they are approached by Nigel Denver, who is compering the evening and is also drunk.
DYLAN (loudly) Hey, here’s my ol’ friend Mr. Denver, the wannabe folk singer from the land of the tartan. How the fuck are ya?
DENVER Look, either shut up or fuck off!
The table goes quiet. Dylan gets up, gathers his guitar, and walks over to an adjacent table where Martin Carthy and Anthea Joseph are seated.
DYLAN Hey Martin, I wrote a new song over in Italy. I used one of your tunes. Is that OK?
CARTHY Sure, no worries. I probably stole it from someone myself!
Dylan approaches the stage. Denver, who glares at him, moves aside. Nothing is said between them.
DYLAN I wrote this in Italy last week. I learnt the tune off Martin Carthy. Thanks Martin.
Dylan sings Girl From the North Country (3.01).
The crowd applauds, including Carthy. Dylan follows this with another of his compositions.
DYLAN This is a true story…
Dylan sings The Ballad of Hollis Brown (4.57).
Dylan finishes, to loud, raucous applause.
DYLAN Thank you. Hey, I'd like a few of my friends to come up and join me. I need some help – I think I’ve got the blues.
He is then joined by Carthy, ETHAN SIGNER, Farina and von Schmidt. They engage in an outrageous, drunken version of Cocaine Blues (2.56).
Denver heckles Dylan during the song, but, surrounded by friends, Dylan ignores him.
DYLAN (laughing) Hey folks. Rick and I fly out in a couple of days, so its “Farewell to old England forever…”.
He sings this brief verse will an Irish accent, then stops.
DYLAN (laughing) Hey, here’s a song I learnt off of Blind Boy Grunt. Dylan closes the set with Farewell (2.29).
His friends chime in on the chorus. When he finishes, Dylan and his friends leave the stage and stagger away. They gather in drunken revelry around Grossman's table and bid farewell to each other.
FADE TO BLACK.
FADE IN:
INT. – LONDON AIRPORT TERMINAL – MIDDAY
Dylan stands at the airport gate. Grossman, Farina, Mimi Baez, Saville and Boty are there.
SAVILLE Thanks again Albert. And Bob - you’re work on “Madhouse” was a highlight. Terrific.
Dylan nobs approval.
GROSSMAN Send us a copy if you can Philip?
SAVILLE Will do. Hope to see you again soon.
DYLAN Yeah, I'll be back for sure. Hopefully for some concerts.
BOTY Bye Bob. Thanks for coming (smiling).
Dylan gives Boty a hug. He turns and heads toward the exit gate with the others.
EXT. – LONDON AIRPORT TARMAC – MIDDAY
Dylan and the others walk through the gate, across the tarmac and up the stairs into the plane. The plane taxis and takes off.
EXT. – PLANE IN SKY – MIDDAY
Dylan’s flight leaves London, England, for New York. Dylan has a window seat, and sits by it, looking out as the plane leaves England.
BEGIN MONTAGE
Dylan’s song It Ain’t Me Babe (3.36) plays in the background.
Scenes from the recent experiences are shown. They include encounters with Boty, Carrington and others, performances and the television play.
END MONTAGE
EXT. – PLANE IN SKY – EVENING
Dylan smiles at the memories of his time in London. He goes to sleep. The plane lands at New York.
INT. – NEW YORK AIRPORT TERMINAL (JANUARY 1963) – EVENING
Suze meets Dylan at the airport gate. They hug, kiss and walk off together, arm in arm, chatting about their recent adventures. Both have looks of nervous insecurity, despite being happy to see each other after 8 months apart.
FADE TO BLACK.
FADE IN:
EXT. – NEW YORK STREET – DAY (MARCH 1963)
months later - Dylan and Suze stand in the middle of the snow-covered street, having their photograph taken for the cover of his next LP.
Dylan is FREEZING. He holds Suze close.
On the surface they appear a young couple in love, with Suze smiling warmly. However, their relationship is frostier than before, and they will break up 12 months later.
Dylan and Suze return to their apartment, with Suze holding on to Dylan who has his hands in his pocket and is nervously smoking a cigarette.
FADE TO BLACK.
FADE IN:
BEGIN MONTAGE (1963)
We see images of Dylan’s success during 1963 – large concerts, interviews, crowds, minders, album sales.
Images of Suze standing in the background, and being physically pushed away from Dylan as a crowd surges towards him.
End It Ain’t Me Babe.
END MONTAGE (1963)
FADE TO BLACK.
FADE IN:
INT. – DYLAN’S APARTMENT – EVENING (JUNE 1963)
Dylan and Suze are eating dinner. They are discussing Suze’s pregnancy.
SUZE We can’t have this child Bob.
DYLAN I will take care of you.
SUZE It’s not that. It’s us. We’re not ready for this. You have your career, and I have mine. We barely see each other nowadays, and you’re fuckin’ around with Joan and who knows who else. I know it’s not the right time for either of us.
DYLAN Are you sure? I can ask Albert to make some arrangements.
SUZE Yes, I’m sure.
They return to their meal in silence.
FADE TO BLACK.
FADE IN:
INT. – DOCTOR’S CLINIC – DAY (JULY 1963)
Suze and her sister Carla sit in a doctor’s surgery, waiting for the termination procedure. Not a word is spoken. A nurse enters and takes Suze away.
Carla sits quietly reading a paper containing a review of a Dylan concert in San Francisco, part of his west coast tour.
FADE TO BLACK.
FADE IN:
MONTAGE - (AUGUST 1963)
Images of Dylan with JOAN BAEZ, singing together at a concert.
Images of Dylan and Baez in an apartment making love.
Images of Suze moving out of Dylan’s apartment accompanied by her sister, Carla, whilst Dylan is away on tour.
END MONTAGE
FADE TO BLACK.
FADE IN:
INT. – HOTEL ROOM – VOULIAGMENI, GREECE (MAY 1964) - EVENING
Dylan is alone in a hotel room. It is windy outside, and raining. He sits at a typewriter, looking intently at the words on the page as he writes and sings sections of Ballad in Plain D.
A nearby newspaper is dated 4 May 1964.
FADE TO FLASHBACK
INT. – SUZE & CARLA’S APARTMENT – NEW YORK (MARCH 1964) - MIDNIGHT
Dylan and Carla are screaming at each other as Suze sits on the lounge between them, her head buried in her hands, not saying a word.
CARLA You’re a lyin’, cheatin’, manipulatin’ bastard. You and all your other women – you don’t give a damn about Suze. You just want her to be a slave, your “old lady”, some “chick” who waits for you at home while you’re out fucking all those women who offer themselves up to you. I used to think you were half-decent, but you don’t know the meaning of “true love.”
DYLAN (shouting aggressively) Stay out of our lives, you parasite! You don’t understand.
CARLA (sarcastically) You’re such a tragic figure, aren’t you Mr. Zimmerman! Bob Dylan - the poet! You sing about Suze to the whole world, but can’t deal with it face to face, you lyin’ gutless weasel.
DYLAN (quietly) I am my words.
CARLA (CONT’D) (shouting) Fuck your words! Fuck you! Why don’t you do what you sing and “Quit your lowdown ways” you fucking hypocrite?
Carla approaches Dylan and pushes him towards the door.
CARLA (CONT’D) (shouting) Leave her alone, goddam you! Get out!
Carla and Dylan start to physically fight, as Dylan tries to stay in the apartment.
Friends of Carla hear the kerfuffle and physically remove Dylan from the room.
Dylan looks towards Suze as he is dragged away.
DYLAN (pleading) Come on Suze. Please.
She is unmoved, in a state of emotional shock.
She shakes her head and stays with her sister.
Dylan is pushed outside, and the door is slammed shut.
Dylan’s Quit your lowdown ways begins to play in the background.
EXT. – SUZE & CARLA’S APARTMENT – MIDNIGHT
Dylan stares blankly at the closed door. He turns and heads off into the night, upset and crying. He walks the dark streets alone. This is
the end of the relationship with Suze.
END FLASHBACK
INT. – HOTEL ROOM – VOULIAGMENI, GREECE (MAY 1964) - EVENING
Return to Dylan in the hotel room, typing another line to his song, Ballad in Plain D, reflecting his anger at the incident in Carla’s apartment, and his own failings regarding his relationship with Suze.
We see both smiles and tears flow down Dylan’s face during parts of the song, as he recognises the consequences of his actions and the end of his relationship with Suze.
Dylan stares out the window, towards the sparkling blue waters of the nearby Mediterranean beach, where his tour manager, body guard and constant companion VICTOR MAYMUDES, is swimming.
FADE TO BLACK.
FADE IN: EXT. – HOTEL ROOM – NEWPORT - (JULY 1964) - EVENING
Dylan sits at his desk, typing. There is a knock on the door. JOAN BAEZ is there.
BAEZ (O.C.) Are you ready, Bobby?
DYLAN Coming.
Dylan stops typing, gets up, picks up his guitar and walks out the door. Baez kisses him on the cheek. He closes the door behind him. They walk off together.
FADE TO BLACK.
FADE IN:
EXT. – NEWPORT FOLK FESTIVAL (JULY 1964) - EVENING
Dylan and Baez sing It Ain’t Me Babe (3.41) on stage together at the Newport Folk Festival, bathed in black. Dylan looks around, lost amongst the lights and cheering crowd.
FADE TO BLACK.
FADE IN:
INT. – CAR – APPROACHING PERUGIA (JULY 1965) – MIDDAY - MOVING
Suze and Carla Rotolo are in a car driving towards Perugia.
SUZE It’s good to be back.
Suze stares out the window at the familiar, hilly countryside.
EXT. – PERUGIA – MIDDAY
The car pulls up outside an old hotel.
Suze and Carla are greeted by Enzo. He gives Suze a hug and a kiss. She smiles in return. The group unpack the luggage and enter the hotel.
FADE TO BLACK.
FADE IN: END CREDITS
Dylan’s Love Sick (5.17) plays in the background as the credits run.
CREDITS
EXT. – NEW YORK STATE, COUNTRY SETTING, HOUSE PORCH (2023) – LATE AFTERNOON
As the credits end, we see POP and EMMA sitting on a hill, alone, as the sun sets.
EMMA strums a guitar as POP sings the final verse of Love Sick....
POP .... Just don't know what to do. I'd give anything to be with you .....
FADE OUT: THE END
------------------
Bob Dylan: Blowing in the Mind 1967 | Brett Whiteley & Dylan | Don't Look Back 1967 | Film Script | London 1962-3 | Masters of War |
Last updated: 6 March 2024
Michael Organ, Australia
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