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1 INT. CHIME IN MAGAZINE OFFICES - DAY (1971) 1
We listen to the song as we pick up snapshots from an
office of an early 70’s music magazine:
-Cigarettes are smoked indoors, everywhere. Smoke wafts
over cubicles, everywhere.
-Women wear mini-skirts. Really “mini” mini-skirts.
-Music POSTERS and SIGNAGE line cubicle walls. Hendrix.
Dylan. Simon and a Jew-fro’d Garfunkel.
-A poster of a young RICHARD NIXON. Someone has drawn a
MUSTACHE on Nixon’s face as well as a “SPEECH BUBBLE”
which reads “I’m an asshole.”
-We hone in on a SINGLE CIGARETTE. A hand places it in
an ASHTRAY. The now-empty hand removes the needle from
the record player (stopping the song).
Well, it’s a hell of an album,
Kid. People are gonna freak.
The album goes into a SLEEVE and gets placed on a table.
The album’s cover bears only a simple title: Danny
The cigarette gets picked back up, and the “voice” takes
his place behind a desk. His other hand picks up a
VOICE (O.S.) (CONT’D)
SECOND VOICE (O.S.)
He hits RECORD. A PACK OF CIGARETTES are held forward.
SECOND VOICE (O.S.)
The pack is pulled back REVEALING for the first time:
OUR INTERVIEWER, GUY DELOACH (36). His style is of the
day and his manner that of a hippie who thinks he knows
everything about anything worth knowing.
DeLoach leans back in his seat. He takes a long drag on
his cigarette as he studies the YOUNG MAN opposite him.
ON THIS YOUNG MAN
Throughout, we see him only in FACELESS SNAPSHOTS.
-Long hair, very much of the era.
-Open collared shirt. A hairless chest.
-A single gold cross on the hairless chest.
-Those few facial features we can make out are boyish,
untouched by... well, anything.
Jesus H, you’re a baby. What are
Well the album’s gonna be massive,
Kid. Who got you there?
Your influences. Who do you dig?
Who makes you hard?
Oh, well, I-
DeLoach picks up the recorder, speaks into it.
June 30th, 1971, Guy DeLoach withDanny Collins for Chime Mag.
More than anything it’s your
writing. You write like fuckingLennon, man.
Oh, well, that’s... thank you.
He’s clearly an influence here,
Yeah, I mean... I guess he’s the
one who makes me the hardest?
A beat. DeLoach LAUGHS, shakes his head.
Jesus H. Well, you’re going to be
huge, Kid. I know the real thingwhen I hear it and you’re it.
Danny doesn’t say anything. DeLoach raises a brow.
Kid, look at me. I’ve been a star-
maker and a star-fucker for a verylong time, and I’m telling you:
You. Are. Going. To. Be.
Huge. Richer than richer, famous
as shit, more women than you knowwhat to do with. And I’m telling
you this, and I’ve got to ask: why
are you sitting there, staring atme, looking like that informationscares the living shit out of you?
Danny leans forward, full-frame for the first time.
Because it does.
CUE TITLE CARD:
42 YEARS LATER
2 OMITTED 2
3 EXT. THE GREEK - EVENING 3
The large marquee outside the famous theatre bears onlyfour words:
Danny Collins. Sold Out.
4 OMITTED 4
5 INT. BACKSTAGE - MEANWHILE 5
A sign on the dressing room door reads: HEADLINER.
the distance we hear a dull, thumping ROAR. THUMP.
THUMP. THUMP. A distant crowd awaits their star.
6 INT. DRESSING ROOM - CONTINUOUS 6
A HAND fingers a CROSS.
The cross dangles from a chain, half buried in a patch ofgray chest hair. The cross is removed, placed on a table.
The cross OPENS, like a coffin, and dumps a line ofCOCAINE on a table.
A NOSE comes into frame, snorts some.
AT THE MIRROR:
Preparation for show time:
- GRAY HAIR STRANDS are darkened with HAIR COLORER.
- A GIRDLE is strapped over an undershirt.
- PLATFORM SHOES are stepped into, providing an extrafive inches of height.
7 INT. TUNNEL - MOMENTS LATER 7
From behind, we TRACK our hero as he marches through thebowels of the arena in his platform shoes - his steps arewobbly, not exactly in a straight line.
He passes some GIGGLING GIRLS, nods at them. He passes afew “backstage” types, including a familiar ROADIE.
Break a leg, Danny.
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