Untitled

JERSEY BOYS
by
Marshall Brickman & Rick Elice
This script is the confidential and proprietary

property of Warner Bros. Pictures and no portion of
it may be performed, distributed, reproduced, used,
quoted or published without prior written permission.
REVISED DRAFT
May, 2013
WARNER BROS. PICTURES INC. © 2013
4000 Warner Boulevard WARNER BROS. ENT.
Burbank, California 91522 All Rights Reserved
FADE IN:
1 EXT. STREET - DAY 1
Local commercial district. Small mom-and-pop shops.
SUPERIMPOSE: BELLEVILLE, NEW JERSEY, 1951
FADE TITLE OUT and UP ON another TITLE:
SUPERIMPOSE: SPRING
PICK UP TOMMY, early 20s. Snappy suit, confident walk.

Owns the street. Carries a guitar case.
TOMMY (V.O.)
You wanna know the real story, I’m
the one you wanna talk to -- Tommy
DeVito. Wasn’t for me, we all
probably would’ve wound up in the
trunk of somebody’s car with a
bullet in our head. Of course it
don’t come easy. You gotta have
talent and skill and vision.
There’s a free-standing telephone. He sticks his finger

in the coin return and extracts a nickel.
TOMMY (V.O.)
And luck.
He flips the coin like a winner.
2 INT. VITO’S BARBERSHOP - DAY 2
CLOSE ON a figure in the chair, hot towel over his face.

The towel is removed, revealing GYP DeCARLO. Nearby,
looking out for trouble, stands GYP’s bodyguard, Louie.
FRANKIE VALLI, 16 years old, is sweeping up hair with a

floor brush. He sings, mostly to himself --
FRANKIE
(sings)
JUST LIKE A WAND’RIN SPARROW
ONE LONELY SOUL
I WALK THE STRAIGHT AND NARROW...
(hums)
Mm-mm-hmmm --
DeCARLO
Frankie! Where’s my single?
(CONTINUED)
2.
2 CONTINUED: 2
FRANKIE
Coming up, Mr. DeCarlo.
He brings DeCarlo an espresso.
VITO starts to lather up DeCarlo for a shave.
DeCARLO
Vito, when you gonna give my boy,
here, his own chair, eh?
VITO
He’s not ready yet.
DeCARLO
Frankie, you wanna give me a
shave?
FRANKIE
(not sure)
Yeah, sure --
DeCARLO
Give him the razor. Go ahead.
Louie moves closer to the chair.
DeCARLO
Soave, Louie. He’s not gonna cut
my throat, are you, Frankie?
FRANKIE
No, Mr. DeCarlo.
DeCARLO
Lotta people’d like to, eh?
(then)
Go ahead. Nice and close.
Gyp closes his eyes. Frankie approaches him, razor out.
3 EXT. BARBERSHOP - DAY 3
Standing outside is another bodyguard, TRULIO.
Tommy arrives.
TOMMY
He in there?
TRULIO nods. Tommy pulls out a deck of cards, fans it.
TOMMY
Pick a card.
(CONTINUED)
3.
3 CONTINUED: 3
Trulio rolls his eyes, picks a card.
TOMMY
Jack of clubs.
TRULIO
Spectacular. You should open for
Dean Martin.
4 INT. BARBERSHOP - DAY 4
Frankie shaving DeCarlo very carefully.
Tommy bursts in, slams the door --
TOMMY
Okay, party time!
Frankie slips, nicking Gyp. Spot of blood on the shaving

cream. Louie pulls his gun.
VITO
Dio mi aiuti!
FRANKIE
Aah!
DeCARLO
What?
VITO
Nothing -- it’s nothing --
They all look at Tommy.
TOMMY
What?
FRANKIE
It’s okay, just a little -- gimme
the witch hazel.
Somebody passes it to him. He applies it to the cut.
FRANKIE
I’m sorry, Mr. DeCarlo --
DeCARLO
Maybe you should phone ahead, eh,
Tommy?
TOMMY
Sorry, Gyp. I didn’t figure --
(CONTINUED)
4.
4 CONTINUED: 4
DeCARLO
I know. You usually don’t.
VITO
Gimme, I’ll finish --
DeCARLO
Calm down, Vito. What’s a little
blood between friends?
5 INT. DeCARLO’S CAR - DUSK 5
In the back seat, Frankie and DeCarlo.
TOMMY (V.O.)
Gyp DeCarlo. Sure, they had
elections, but you wanted
something done -- or undone -- in
New Jersey, Gyp was the man. And
I had a special relationship with
him.
DeCARLO
Tommy -- you pick up my dry
cleaning?
TOMMY
Sure thing, Gyp. It’s at your
house.
DeCARLO
Okay. Drop Frankie and then take
me home.
(to Frankie)
You doing your exercises?
FRANKIE
Uh-huh.
DeCARLO
A voice like yours, that’s a gift
from God. The world is gonna hear
that voice. You understand?
FRANKIE
Sure, Mr. DeCarlo. Except --
DeCARLO
What?
FRANKIE
I just wish it would start to
happen.
(CONTINUED)
5.
5 CONTINUED: 5
DeCARLO
Impatient, huh? Don’t worry. You
work hard, everything follows. Am
I right, Tommy?
Now we see that Tommy is driving.
TOMMY
Bigger than Sinatra, my hand to
God.
ON Tommy, driving, checking the two in the rearview

mirror:
TOMMY (V.O.)
There were three ways out of the
neighborhood: you join the Army
and maybe get killed; you get
mobbed up, maybe get killed that
way -- or you get famous. For us
it was two out of three.
6 EXT. STEPHEN CRANE HOUSING PROJECT - NIGHT 6
Simple housing for lower-income families. The car stops.
7 INT./EXT. CASTELLUCCIO APARTMENT/STREET BELOW - NIGHT 7
FRANKIE’S MOTHER is watching from the window. She sees

the car drive up, Gyp and Frankie exit. She is unhappy.
DeCarlo embraces him, kisses him on both cheeks. His

mother sees this.
8 INT. CASTELLUCCIO APARTMENT - NIGHT 8
Spare. Crucifix on the wall flanked by two pictures:

The Pope and Frank Sinatra.
Frankie enters.
FRANKIE
Hey, Mama --
Goes to kiss her. She smacks him on the back of the

head.
FRANKIE’S MOTHER
What are you hanging around with
those bums?
6.
9 INT. CASTELLUCCIO APARTMENT - NIGHT (LATER) 9
Frankie and his PARENTS finishing dinner.
FRANKIE’S MOTHER
You hang out with them you become
like them. Tell him.
FRANKIE’S FATHER
Listen to your mother.
Doorbell rings. Frankie jumps up from the table to open

the door.
FRANKIE
Sorry. Gotta go.
FRANKIE’S FATHER
Finish your dinner.
Frankie opens door, it’s Tommy.
TOMMY
Hello, Mr. Castelluccio. Mrs.
Castelluccio.
FRANKIE’S FATHER
Where you going at night?
FRANKIE
Rehearsal.
FRANKIE’S FATHER
What rehearsal?
TOMMY
(gets it)
We got a thing this Friday, right,
Frankie?
FRANKIE
Yeah. At the high school dance.
FRANKIE’S FATHER
You better not be drinking or
using drugs.
Frankie’s Mother has appeared with a brown paper bag.
FRANKIE’S MOTHER
Tommy, you watch out for
Francesco, understand?
(CONTINUED)
7.
9 CONTINUED: 9
TOMMY
I’ll never let anything happen to
Frankie. My hand to God.
FRANKIE’S MOTHER
Here. For later. He didn’t eat a
thing.
Tommy inhales the bag like it’s ambrosia.
TOMMY
Meatballs. Marone. From heaven.
Mama, I love you.
He embraces and kisses Frankie’s Mother.
FRANKIE’S MOTHER
(to Frankie)
Home by eleven, you hear?
10 INT. STUDEBAKER - NIGHT 10
Frankie, Tommy and Tommy’s brother NICK DeVITO. Singing

SILHOUETTES. Tommy drives.
11 EXT. STREET - DELI - NIGHT 11
The car, a beat-up 1948 Studebaker Commodore pulls up

down the street from the deli. Frankie exits.
TOMMY
Okay, you look, you listen. You
see something, you give the high
sign.
FRANKIE
Yeah, I got it.
TOMMY
What’s the high sign?
FRANKIE
Silhouettes.
TOMMY
Don’t screw up, kid. This is for
real.
The car pulls away in a cloud of exhaust and noise and

turns the corner.
(CONTINUED)
8.
11 CONTINUED: 11
A SIGN in the deli window tells us the period: HAMBURGER

MEAT: 23 cents/lb. -- Tip Top Bread -- 12 cents/loaf,
etc.
12 EXT. DELI - REAR - NIGHT 12
Here come Tommy and Nick out the back of the store,
struggling to pull a heavy safe on a small dolly toward
the parked Studebaker.
NICK
I can’t believe this.
TOMMY
He gave me the wrong combination,
okay? I’ll take care of him
later.
NICK
You couldn’t open it in there, how
you gonna open it at home? With a
can opener?
TOMMY
Shut up and push.
They wrestle it to the car. Tommy opens the trunk.
TOMMY
Okay, on three. One, two --
13 EXT. DELI - FRONT - NIGHT 13
Frankie, acting nonchalant. A POLICE OFFICER approaches

him. He starts to vocalize, singing “Silhouettes”:
FRANKIE
TOOK A WALK AND PASSED YOUR HOUSE
LATE LAST NIGHT --
OFFICER MIKE
Hey, Frankie.
FRANKIE
Hey, Officer Mike.
OFFICER MIKE
What’s with the concert?
FRANKIE
Good acoustics. It bounces off
the building there.
(CONTINUED)
9.
13 CONTINUED: 13
OFFICER MIKE
Aren’t you supposed to be home by
eleven?
FRANKIE
Okay, truth? It’s my girl. She
lives there --
(a window across the
street)
I’m wooing her.
OFFICER MIKE
‘Wooing,’ huh?
FRANKIE
Making love with music.
(sings)
SILHOUETTES SILHOUETTES
OOOH-OOH --
A window across the street opens and an ANGRY WOMAN peers

out.
ANGRY WOMAN
Hey, down there -- shut the hell
up! We’re tryin’ to sleep!
FRANKIE
The mother don’t like me.
OFFICER MIKE
Okay, nice try. Now get outta
here before I run you in.
FRANKIE
Sure, Mikey.
Frankie saunters away. When he reaches the corner he

hightails it toward the back of the store.
14 EXT. DELI - REAR - NIGHT 14
Frankie arrives just in time to see Tommy and Nick

tilting the safe into the trunk of the car. It’s so
heavy the car pivots on its rear wheels, the front
sticking up in the air.
TOMMY
Get in! Balance it out.
Frankie climbs up into the driver’s seat to no avail.
(CONTINUED)
10.
14 CONTINUED: 14
NICK
(calls to Frankie)
Back it up!
Frankie starts the car, puts it into the wrong gear, it

jerks forward. He tries to steer it in a circle, but
since the front wheels are off the ground, all it does is
accelerate into the back of the jewelry store next door,
triggering an alarm.
Frankie jumps down from the car, whose front end is now
halfway into the rear door of the jewelry store. On top
of the alarm we can how hear a police siren in the
distance.
They scamper off.
Under this we hear THE VARIETY TRIO (Tommy DeVito, Nick

DeVito and Nick Massi) “Apple of My Eye.”
15 INT. THE STRAND - NIGHT 15
A small club in New Jersey.
A trio of Tommy, his brother Nick DeVito and Nick Massi.

Tommy and brother Nick on guitars, Nick Massi on electric
bass. “Apple of My Eye” ends.
Applause from a few clubbers. FIND Frankie by the door,

half-in, half-out -- he’s underage.
TOMMY
Thank you, ladies and gentlemen.
We’re the Variety Trio, I’m Tommy
DeVito, plus we got my brother
Nick DeVito, and our bass player,
Nick Massi.
(as Ed Sullivan)
And now, right here on our
stage... before we bring out the
Vienna Boys choir and Topo
Gigio...
(drops it)
Here he is, a new discovery of
mine, little Frankie Castelluccio!
(counts in the band)
Three-four!
(band begins to play)
Get up here, Frankie!
(CONTINUED)
11.
15 CONTINUED: 15
Frankie, surprised but pleased, bounds up. Begins

singing “I Can’t Give You Anything But Love.” He’s
definitely into the girls sitting close -- potential
groupies, maybe he can get lucky. He sings directly to
them, an instinct that will make him a star.
Frankie finishes his song, the girls squeal and applaud

him.
16 INT. CLUB - DRESSING ROOM - NIGHT (LATER) 16
Tommy has changed into street clothes. He absently

shuffles a deck of cards.
TOMMY
You sang good tonight.
FRANKIE
Thanks.
TOMMY
Good, not great.
FRANKIE
They seemed to like it.
TOMMY
What are you, an audience expert?
I’ll tell you when they like it.
FRANKIE
Okay, Tommy. I’m just saying --
TOMMY
Don’t say so much and just listen,
okay? By the way, the redhead in
the front? I seen her clocking
you. I think you could get in
there.
FRANKIE
Nah. She was with somebody.
TOMMY
Not if you take her for a little
spin.
FRANKIE
Like in what?
TOMMY
(dangles car keys)
The Belvedere.
(CONTINUED)
12.
16 CONTINUED: 16
FRANKIE
(skeptically)
You’re gonna lend me the Plymouth.
TOMMY
I might.
FRANKIE
Bullshit.
TOMMY
Just don’t wrap yourself around a
tree. I don’t wanna have to fill
out a lotta forms.
Frankie reaches for the keys, Tommy pulls them back.
TOMMY
Coupla things you gotta know.
There’s two types of women, okay?
Type A and Type B. Type A: At
first they’re real easy, jump
right in bed with you, then later
on they bust your balls. Type B:
At first they play hard to get.
Then later on, they bust your
balls.
FRANKIE
I don’t get it.
TOMMY
Don’t worry, you will.
He holds out the keys again. As Frankie reaches for

them, Tommy pulls them back and gives him a playful slap
on the cheek. Frankie recoils. Tommy moves in, lightly
jabbing and slapping Frankie.
TOMMY
C’mon, don’t you like it? Huh?
Big man with the ladies? Show me
what you got --
Frankie now starts fighting back. Tommy, toying with

him. It turns real for Frankie. Finally Tommy grabs him
in a bear hug.
TOMMY
Whoa! Whoa! Take it easy, little
brother.
Frankie breaks loose.
(CONTINUED)
13.
16 CONTINUED: (2) 16
FRANKIE
Don’t do that! Don’t hit me! And
I ain’t your little brother!
He stalks off, angry and humiliated.
TOMMY
Frankie --
Frankie turns, Tommy flips him the keys.
17 EXT. CLUB - NIGHT 17
Frankie exiting with the redhead, ANGELA.
FRANKIE
So, where you gonna go?
ANGELA
I dunno. Where you wanna go?
FRANKIE
(dangling keys)
Mexico?
Waiting are Officer Mike, two DETECTIVES, a patrol car

and an unmarked police car.
OFFICER MIKE
Hey, Frankie.
FRANKIE
Hey, Mike. What’s up?
18 POLICE STATION 18
A Detective smacks Frankie with a telephone book,

knocking him off his chair.
DETECTIVE #2
That jog your memory?
DETECTIVE #1
Frankie, you’re underage, you’re
hanging around the jewelry store,
you give the officer some bullshit
story about doing a Romeo act --
FRANKIE
I don’t know what you’re talking
about.
(CONTINUED)
14.
18 CONTINUED: 18
SMACK! Another hit. Frankie cries out and holds his

hand to his ear.
DETECTIVE #2
Tommy and his brother already gave
you up, numb nuts.
FRANKIE
Bullshit.
DETECTIVE #2
Okay, asshole, have it your way.
19 INT. COURTROOM - DAY 19
Frankie’s parents behind the dock. Tommy and Frankie are

standing to receive judgement. Frankie is a little
bruised. There’s a bandage covering his ear.
JUDGE
How old are you?
FRANKIE
Sixteen, Your Honor.
TOMMY
Your Honor. Please. The kid
didn’t know what he was doing. I
conned him into it.
JUDGE
(to Frankie)
I’m letting you off with a
warning. I suggest you get
yourself a new set of friends. I
see you in my courtroom again
you’re going away. Get outta
here.
Frankie joins his parents.
FRANKIE’S MOTHER
(screams at Tommy)
Tu sei il diavolo! Stare lontano
da mio figlio!
Tommy, unruffled, sings to Frankie’s Mother --
TOMMY
ON EARTH ANGEL, EARTH ANGEL...
FRANKIE’S MOTHER
Tu pezzo di spazzatura!
(CONTINUED)
15.
19 CONTINUED: 19
JUDGE
(raps gavel)
Order!
She grabs her son and leaves. Frankie’s Father follows.
TOMMY
Hey, Frankie --
(as Frankie turns)
Sing good.
Frankie gives him a thumbs-up and is led off by his

parents.
JUDGE
(to Tommy, opening
his file)
As for you, let’s see... Gaetano
DeVito...
(reads in one breath)
Breaking and entering, possession
of stolen property, possession of
stolen property, breaking and
entering, possession of a forged
document, breaking and entering,
illegal gaming... quite a resume.
(then, chatty)
So, the kid’s a singer?
TOMMY
A good singer. And getting better
every day.
JUDGE
Then he oughta be great by the
time you get out. Six months.
SOUND: The clang of a cell door being slammed shut.
20 INT. RAHWAY PRISON - ADMISSIONS AREA - DAY 20
TOMMY (V.O.)
So it’s back to the joint. Rahway
Correctional. They got a
revolving door on this place.
Somebody from the neighborhood’s
always inside.
Nick Massi is on the non-convict side of the recently

shut gate.
(CONTINUED)
16.
20 CONTINUED: 20
TOMMY
Teach him. And watch him.
Anything happens to Frankie, you
got a problem with me.
A GUARD leads him into the prison. As they go...
GUARD
Welcome back, Tommy. How’s life?
TOMMY
Never better. You? The family?
GUARD
Can't complain.
CLANG. As the door shuts we are plunged into DARKNESS.
The darkness is bisected by two flashlight beams. We’re

in a --
21 INT. CHURCH - NIGHT 21
In the dark:
NICK’S DATE
Nicky, fa’ God’s sakes! I thought
we were going to the movies!
NICK
Relax, willya?
NICK’S DATE
But I wanna see The Blob.
NICK’S DATE has a flashlight, which she randomly shines

around, momentarily illuminating the statues of the
saints, who look down approvingly. The second flashlight
finds Nick.
NICK
Sit down, read the Bible, improve
your mind.
Nick is sitting at the organ. There’s a collection box

on the organ and he puts the bill in, then takes a
screwdriver, breaks the lock and turns the organ on. He
turns to another figure in the shadows, holding the
second flashlight. Nick’s Date shines her light on
Frankie.
NICK
Okay, remember the words?
(CONTINUED)
17.
21 CONTINUED: 21
FRANKIE
Yeah, yeah.
NICK
And don’t push. A little more
from the inside.
Nick does an organ intro. Frankie begins to sing “Sunday

Kind of Love.”
22 INT. CHURCH OFFICE - NIGHT 22
A NUN, doing some bookkeeping, about to take a hit from

her flask, hears the music and stays her hand. Listens.
By now, Nick’s Date has joined the vocal with backup
harmony.
23 INT. CHURCH - NIGHT 23
Nick, for a solo line, turns to his date and sings to her
cleavage.
Lights are flicked on, blinding them. The Nun and a COP.
NUN
There! I told you it wasn’t no
vision.
COP
Hey, Nicky. Frankie.
NICK
Hey, Stanley.
COP
What are you breaking into a
church? You’re on parole, fa’
chrissake.
(removing handcuffs
from his belt)
Put ‘em behind your back.
NICK’S DATE
G’night, Nicky. At least now I’ll
know where your hands are gonna
be.
FRANKIE
Hey -- you take him, you gotta
take me, too.
(CONTINUED)
18.
23 CONTINUED: 23
COP
Aren’t you supposed to be home by
eleven?
NICK
(as he’s cuffed)
Don’t bend the suit, Stanley.
It’s imported.
(as he’s led off)
Work on the B-flat, Frankie.
Chest voice. And do your
exercises.
Click. The lights are switched off.
24 EXT. MANHATTAN - SHOT OF THE SKYLINE - DUSK 24
from the Jersey side. The buildings are bathed in the

pink-golden glow of the setting sun.
Hear Frankie vocalizing a capella.
REVEAL --
Frankie, looking longingly at the city, where all that he

dreams of is happening. Vocalizing continues under...
25 EXT. RAHWAY PRISON - MAIN GATE - DAY 25
Tommy is leaving, in his street clothes, carrying his

belongings wrapped up with string in a package. Friendly
good-byes with the gate guard.
TOMMY (V.O.)
So I do my stretch and as I’m
getting out, Nick is going in --
A NEW JERSEY DEPARTMENT OF CORRECTIONS van is there. Out

of it gets a load of fresh meat, including Nick Massi,
escorted by guards. Tommy and Nick wave to each other.
As they cross --
TOMMY (V.O.)
So the Variety Trio is now a
single...
26 INT./EXT. BUS - DUSK 26
Sparsely populated, maybe a dozen passengers, a few with

similar string-wrapped belongings from prison. Tommy,
staring into the middle distance, planning...
(CONTINUED)
19.
26 CONTINUED: 26
TOMMY (V.O.)
... and you don’t gotta be no
Einstein to see there ain’t no
future for me as a single. So I
make an executive decision and put
Frankie in the band.
27 INT. SILHOUETTE CLUB - NIGHT 27
Frankie and Tommy in front of a small backup group,

harmonizing to “Sunday Kind of Love.”
Strung above the bandstand is a homemade banner reading:

“WELCOME HOME, TOMMY!”
At the bar is MARY DELGADO. The GUY next to her is

trying to pick her up, but she’s watching Frankie like
the cobra watches the rabbit.
Frankie meets her gaze and is smitten. He sings only to

her.
GUY AT THE BAR

Come on, let’s get outta here.
MARY
Hey. Cool you cogliones. I’m
listening.
Instrumental break. Frankie covers the mike.
FRANKIE
Lookit that sonofabitch over
there.
TOMMY
Who?
FRANKIE
That guy, the big guy. Hitting on
my girl.
TOMMY
That’s not your girl.
FRANKIE
She will be soon as she meets me.
TOMMY
That’s Mary Delgado. She’ll eat
you alive. They’ll send you home
in an envelope.
Frankie, staring at Mary.

(CONTINUED)
20.
27 CONTINUED: 27
FRANKIE
Come on, Tommy, I’m in love!
They lean into the mikes to finish the song.
TOMMY AND FRANKIE

I WANT A SUNDAY KIND OF LOVE!
Song ends, applause.
TOMMY
Thank you, ladies and gentlemen.
(lightly)
Enjoy yourselves, drink up and
then get lost, because we got
second show at ten.
Frankie is staring at Mary. She raises her eyebrows:

“so make your moved already.” Frankie looks pleadingly
to Tommy.
Tommy gestures to a nearby refrigerator of a man,

KNUCKLES, and indicates he should encourage Mary’s date
to leave. Knuckles goes over to the bar.
KNUCKLES
Okay, friend. Bedtime.
GUY AT THE BAR

Who’re you?
KNUCKLES
Mother Goose.
He picks him up by the collar and gives him the bum’s

rush.
Tommy and Frankie approach Mary.
TOMMY
Mary.
MARY
Hey, Tommooch. Mister subtle,
huh?
TOMMY
Frankie, I want you to meet Mary
Delgado. Mary, Frankie Valli.
You guys should know each other.
MARY
Hi.
(CONTINUED)
21.
FRANKIE
How are ya?
TOMMY
Take it slow. The kid ain’t legal
yet.
MARY
Since when do you care about
legal?
TOMMY
Hey, Frankie --
(confidentially)
Type A.
He gives Frankie a thumbs-up.
FRANKIE
Yeah, yeah.
Tommy leaves.
FRANKIE
(Mr. Suave)
You know, that’s a nice colore for
you. You should always wear that.
MARY
Thanks for the fashion tip.
FRANKIE
No problem. Listen, let’s get
outta here, what d’you say?
28 EXT. MANGIO’S PIZZA GARDEN - NIGHT 28
A neon sign to establish the place.
29 INT. MANGIO’S PIZZA GARDEN - NIGHT 29
Red-checked tablecloths. Candles in Chianti bottles.

Definitely a step down from the Silhouette Club.
Frankie and Mary at a table. Two glasses of wine.

Frankie is lighting her cigarette.
FRANKIE
(Mr. Cool)
Pretty nice place, huh?
(CONTINUED)
22.
29 CONTINUED: 29
MARY
Yeah. They don’t sell slices.
That’s how you can tell.
(then)
So that’s your real name? Vally?
FRANKIE
No, Castelluccio. Francis
Castelluccio.
MARY
Kinda long for a marquee.
FRANKIE
That’s why I changed it. Vally.
V-a-l-l-y.
MARY
No. V-a-l-l-i.
FRANKIE
How come?
MARY
Because ‘y’ is a bullshit letter.
It doesn’t know what it is. Is it
a vowel? Is it a consonant?
FRANKIE
I never thought about it.
MARY
Plus, which, you’re Italian. You
gotta end in a vowel. Delgad-O.
Castellucci-O. Pizz-A. Vall--EE
with an ‘I.’ It says ‘This is who
I am. You don’t like it, you can
go fuck yourself.’
FRANKIE
(trying)
That’s a very unusual fragrance.
I never smelled anything like that
before. What do you call it?
MARY
Soap.
FRANKIE
(smile)
Tommy warned me about you.
MARY
Yeah, what’d he say?
(CONTINUED)
23.
FRANKIE
He said I couldn’t handle you.
MARY
That’s because he couldn’t.
(sips drink)
So your group --
FRANKIE
The Varietones --
MARY
Yeah. It’s just you and Tommy --
FRANKIE
And his brother Nick and this
other guy Nicky.
MARY
So where are they?
FRANKIE
They went away for a while.
MARY
What for?
FRANKIE
They did some things.
MARY
With friends like that maybe you
should just change your name to
Sinatra.
FRANKIE
I'm gonna be as big as Sinatra.
MARY
Only if you stand on a chair.
FRANKIE
What do you gotta say that kind of
stuff?
MARY
(softening)
Look. First of all, Sinatra would
never be caught dead in that
jacket. Where'd you get it?
FRANKIE
Tommy got it off a truck.
(CONTINUED)
24.
MARY
Exactly. Tommy's a two-bit
hustler. He doesn't see the big
picture. You've got a big talent,
Frankie -- but you gotta know how
to present yourself. Without the
right image, talent means squat.
FRANKIE
So what do I do?
MARY
First thing, you go to Nibs
Menswear over on Union Avenue.
You ask for Mr. Ocean, tell him I
sent you, tell him to fix you up.
Then we'll talk about mike
technique, how to pace your set,
all that. You're going back to
school, honey.
FRANKIE
(infatuated)
Yeah? What school is that?
MARY
The Mary DelGado School of
Success. C'mere.
She leans in, gives him a long, sensual kiss on the

mouth.
MARY
You got a nickel?
FRANKIE
(husky)
Yeah.
MARY
Call your mother. You're gonna be
home late.
CHAPEL BELLS PEAL.
30 EXT. ST. IGNATIUS CHURCH - DAY 30
A wedding party emerges. A Priest. Frankie in a swallow

tail morning coat and trousers. Mary in a wedding dress
and veil. Frankie's parents, other family members.
Tommy throws a handful of rice.
(CONTINUED)
25.
30 CONTINUED: 30
TOMMY (V.O.)
Mary had a couple of years on him
and they both wanted out. Up and
out. She saw Frankie as her
chance so she poured it all into
him.
The happy couple get into a new Olds, cans tied to the
rear bumper, and drive off.
Tommy moves to his Belvedere, opens the door, and gets

in, during --
TOMMY (V.O.)
Love? I'll be honest with you. I
never knew what that was.
Marriage is not love. Marriage is
you take a shave while your wife
sits on the can and clips her
toenails.
He slams the door and we --
CUT TO:
31 EXT. ROAD IN JERSEY - NIGHT 31
Frankie's new Olds, tooling along. Suburban New Jersey.
TOMMY (V.O.)
Anyway, Frankie's married, we're
playing clubs nights, Frankie's
cutting hair in the daytime --
32 INT. FRANKIE'S CAR - NIGHT 32
Frankie drives, sitting shotgun is STOSH. In the back

seat is DONNIE. Two goombahs.
TOMMY (V.O.)
-- and it's their anniversary and
he decides to get Mary some
jewelry. So he goes shopping --
Jersey style.
FRANKIE
I don't understand. Why can't
this guy just bring the stuff over
the house?
DONNIE
He's a little nervous.
(CONTINUED)
26.
32 CONTINUED: 32
STOSH
Your wife's gonna love this shit,
Frankie. Diamonds, couple'a
watches. He got it off some house
in Saddle River. Hadda smack the
broad around a little, but --
DONNIE
Shut up, he don't need to know
that.
STOSH
Hey, Frankie's cool, right,
Frankie?
FRANKIE
No problem.
DONNIE
Wait a minute. Stop the car.
Frankie pulls over to the shoulder.
(N.B. To preserve the rating, the language in the

following exchange will be masked by appropriately placed
car horns and other ambient noises.)
DONNIE
This isn't Bloomfield.
STOSH
No, it's Fairfield.
DONNIE
Not Fairfield. You fucking
asshole. Bloomfield.
STOSH
You said Fairfield.
DONNIE
Why would I say Fairfield if it
was Bloomfield?
STOSH
I dunno, Donnie. Maybe your brain
is fucked up. And don't call me
an asshole.
DONNIE
Why not? It's what you are, a
piece of fucking shit asshole
fucking moron --
(CONTINUED)
27.
FRANKIE
Fellas -- it's okay --
STOSH
(snaps)
You keep outta this.
DONNIE
Hey. Don't get outta line.
STOSH
Fuck him. And fuck you. I'm not
the asshole. You're the asshole.
DONNIE
Don't talk to me like that.
STOSH
Yeah, asshole, what're you gonna
do about it?
DONNIE
How about this?
Donnie produces a pistol and shoots Stosh point blank.

Stosh slumps forward. Blood drips out of his mouth.
FRANKIE
Holy shit! What are you, crazy?!
DONNIE
Now who's the asshole?
FRANKIE
Jeez, Donnie, my God --
DONNIE
Go, get out --
FRANKIE
Yeah, but --
DONNIE
Get out, I'll take care of it.
I'll call you tomorrow. Go, go!
Frankie runs off. Beat. Stosh comes back to life. He

and Donnie start laughing.
DONNIE
You shoulda seen his face! I
almost feel sorry for the kid.
(CONTINUED)
28.
STOSH
Well, don't. Just lean on him --
hard. I want that money.
(big smile)
Asshole.
33 INT. TOMMY'S GIRLFRIEND'S APARTMENT - NIGHT 33
We hear a pounding on the door. TOMMY'S GIRLFRIEND has a

sandwich and a beer on a tray.
The striking feature about her is her long, beautiful

hair. Tommy appears in the bedroom doorway in a robe.
TOMMY
What are ya, deaf? Open it.
TOMMY'S GIRLFRIEND
What if it's your wife?
FRANKIE
(through the door)
Tommy! Open up! It's Frankie!
She lets in a frantic Frankie.
FRANKIE
Tommy! Something terrible
happened!
34 SAME SCENE - A FEW MOMENTS LATER 34
Tommy is on the couch, eating his girlfriend-made

sandwich. Frankie paces worriedly.
TOMMY
Okay, slow down. He shot a guy in
your car and now he wants -- lemme
guess -- twenty grand to get rid
of the body.
FRANKIE
Twenty-five.
TOMMY
(to the girlfriend)
Sweetheart, go powder your nose,
okay?
(to Frankie)
Why should you pay? He shot him.
(CONTINUED)
29.
34 CONTINUED: 34
FRANKIE
You nuts? It's my car! There's a
dead guy in it! My prints're all
over it. The cops're gonna trace
it! It's a murder rap, Tommy --
TOMMY
Frankie, it's a scam.
FRANKIE
What?
TOMMY
They fake a murder in your car,
then they hit you for 25 G's to
make it go away.
FRANKIE
No, no -- there was blood all
over. I saw it with my own --
Fake blood. Like in the movies?
TOMMY
Lemme explain something. You
shoot somebody, you gotta shoot
the witnesses too. This is a
basic rule. You go by his house, a
hundred bucks says your car is
sitting right in his driveway.
FRANKIE
But Donnie's my friend.
TOMMY
I'm your friend. Go home, I'll
take care of it.
FRANKIE
What're you gonna do, call Gyp?
TOMMY
Are you nuts? You don't bother
Gyp DeCarlo with two-bit bullshit.
I said I'll get your car back.
(then)
Go home, make your wife happy.
FRANKIE
Thanks, Tommy. I owe you.
35 INT. FAIRVIEW FISH AND GAME CLUB - DAY 35
Back room, where DeCarlo conducts his business.
(CONTINUED)
30.
35 CONTINUED: 35
DeCarlo sits at a table, sipping an espresso. Tommy sits

with him. Standing before them apprehensively are the
two car-scam goombahs, Donnie and Stosh, like kids who've
been called to the principal's office.
DeCARLO
Okay, I'll say it once, so get it
through your thick skulls.
Frankie is my friend. Capisce?
You don't touch him, you don't
speak to him, you don't even dream
about him. You see him coming
toward you, you cross the street.
But if he trips, you better be
there to catch him. Now get outta
here.
TOMMY
(his two cents)
You're being watched, my friends.
DeCARLO
(wryly)
Thank you, Tommy.
36 INT. SEA BREEZE CLUB - NIGHT 36
Frankie, Tommy and a backup group onstage. Frankie sings

"My Mother's Eyes."
At a table, DeCarlo with his wife, two other couples. As

DeCarlo listens his eyes well up, he dabs at them with
the napkin. He misses his momma. His wife pats him on
the hand soothingly, as Frankie continues singing, aware
that all eyes are on DeCarlo and his emotional state.
Entrance area. After the show, DeCarlo and his group

getting coats, leaving.
DeCARLO
I appreciate you sang that,
Frankie. It was my mother's
favorite song.
He offers him a folded bill as a tip. Frankie refuses

it.
FRANKIE
Please. My pleasure.
(CONTINUED)
31.
37 CONTINUED: 37
DeCARLO
By the way -- you get your car
back?
FRANKIE
My car? Yeah.
DeCARLO
Those guys, they went away?
FRANKIE
Yeah.
DeCARLO
You're a good boy, Frankie.
(rips bill in half)
Here's your claim check.
(hands half to
Frankie)
Any time you got a problem, you
reach out to me.
He kisses Frankie on both cheeks and exits. Frankie

turns to see Tommy who has witnessed this.
TOMMY
You got something to say?
FRANKIE
Nope.
TOMMY
Good.
Frankie smiles, flaunts his half of the $100 bill and

walks away.
TOMMY (V.O.)
For years I'm humping DeCarlo's
laundry, he treats me like a bum.
Frankie sings one song, he gets a
claim check. I'll tell you --
it's good to be lead singer.
Anyway, Nick Massi finally
revolves out of Rahway...
Over the above, we see --
38 EXT. RAHWAY PRISON - MAIN GATE - DAY 38
Nick, exiting, with his belongings wrapped up like

Tommy's.
(CONTINUED)
32.
38 CONTINUED: 38
Same business with friendly good-bye's from the gate

Guard.
Waiting is Tommy's Belvedere.
39 INT./EXT. LOCAL ROAD - BELVEDERE - DAY 39
TOMMY (V.O)
... So it's me, Nick and Frankie.
And it's up to me to keep us out
of the gutter. But nobody's
hiring trios anymore. Trios are
dead. Quartets are in. I'm
looking for a fourth guy so we can
get some work. Any work. And I
find somebody.
OVER the ABOVE, we see --
Car pulls away. In the car: Tommy, driving, Nick

shotgun; in the rear seat, Frankie and a new guy: Hank.
NICK
Who's he?
TOMMY
Our fourth. Hank Majewski, Nick
Massi.
HANK
(too effusive)
Hi!
TOMMY
Plus which the ladies love him,
right, Handsome?
HANK
(over the top)
Va-va Voom!
TOMMY
He plays, he sings, he does the
novelty stuff.
NICK
Novelty stuff?
Nick looks at Frankie, who shrugs.
TOMMY
One more thing. We're not the
Varietones anymore. We're the
Four Lovers.
(CONTINUED)
33.
39 CONTINUED: 39
NICK
Come on, Tommy, I can't keep it
straight. We've been the Romans,
the Village Voices, the freakin'
Andrews Sisters. What're you
trying to do?
TOMMY
Run the group, okay, Nicky? We're
the Four Lovers, and we do a full
act with comedy and music. And I
want to get some good moves, too,
like the colored groups.
NICK
That's great, Tommy. Just drop me
home and we'll discuss it
tomorrow.
TOMMY
No time. We gotta be in Nevada by
Saturday.
NICK
Nevada? What's in Nevada?
SEE: A cactus, a longhorn skull, a road cutting through

the desert. And a building...
40 EXT. CLUB DOS CABELLOS (NEVADA) - DAY 40
The Belvedere, in need of a serious wash, pulls up to the

club, which is housed in an adobe building in the middle
of nowhere. A sign announces:
EL CLUB DOS CABELLOS
TONIGHT ONLY!
SENIOR MORALES & PEPITO!
ALSO
THE FOUR LOUVERS
The group contemplates the scene.
NICK
Who'd you have to bribe to get
this booking, Tommy?
(CONTINUED)
34.
40 CONTINUED: 40
TOMMY
Think of it as out-of-town. We
perfect, we hone, then we move to
the big time.
41 INT. CLUB DOS CABELLOS - NIGHT 41
The pits. A bar, a small stage. In the audience, maybe

thirty people, farm workers, locals, ranchers, ear-studs,
beards, Acme rough-out boots. Not the Copa crowd.
The guys onstage, performing "I Go Ape." Hank is wearing

an Ape head.
Something is thrown onstage from the audience.
TOMMY
Okay, folks, let's not act like
animals --
PLOP! A tomato catches him square in the face. He grabs

a nearby chair, throws it at the perpetrator and dives
into the crowd.
Free for all, finally broken up by the staff and

bartender.
42 EXT. EL DOS CABELLOS - NIGHT 42
The four, post-fight, clothing ripped, in the parking

area.
NICK
That went well.
TOMMY
I guess your comedy isn't so
funny.
HANK
My comedy is fine. It just has to
be nuanced.
TOMMY
Okay, here's a nuance: take the
ape suit and shove it up your ass.
HANK
Take my advice. Stick to what you
know. Rob a bank.
35.
43 INT/EXT. DESERT HIGHWAY - BELVEDERE - DAY 43
Tommy drives, Frankie in front, Nick in the back. Hank

is gone.
TOMMY
Nevada. Next time I say Nevada,
somebody shoot me.
FRANKIE
So what's the plan, Tommy?
TOMMY
Don't worry about it.
FRANKIE
Well, I do. I got a wife and a
kid, okay?
TOMMY
You wanna run the group, Frankie?
FRANKIE
I want somebody to run it.
NICK
Maybe this is a good time for me
to start my own group.
TOMMY
(flaring)
What is it with you guys? A
little setback and you start
whining? This is the process!
You experiment. You refine. This
is the beginning of our journey.
The engine starts spewing smoke. The car sputters and

dies.
SEE:
The tiny car, in the middle of nowhere, black smoke

billowing from the engine. Cactus plants.
THEN:
44 EXT. DESERT HWY - LATER 44
The three, on the side of the road, their luggage and

instruments piled up. Waiting for a ride.
Here comes a truck.

36.
45 EXT. HIGHWAY - PICKUP TRUCK - AFTERNOON 45
The three, sharing the back with a few pigs.
46 INT./EXT. CAR - DUSK 46
Tommy at the wheel, Frankie beside him. Nick in the back

seat. The scenery floats by.
TOMMY
This is all good. Il brutto è
passato. The bad has passed. I
got ten ideas already. We get
back to civilization, we find our
forth guy -- the sky’s the limit,
my hand to God.
Tommy doesn’t appear to be driving.
REVEAL:
Car transport semi rig. The car they’re in is the top

one in the front. REVEAL:
47 EXT. ELIZABETH, NEW JERSEY SKYLINE - DUSK 47
-- the oil refineries and cracking towers, spewing smoke

and flame. Home.
SUPERIMPOSE: SUMMER
48 EXT. NEW JERSEY - STREET - NIGHT 48
The semi pulls away, revealing the three and their

luggage on the sidewalk. Frankie goes off in one
direction, Nick in another, leaving Tommy.
TOMMY (V.O.)
Fact is, I’m all out of ideas.
We’re back to Three Lovers and
zero bookings.
49 EXT. OUR SONS BOWLING ALLEY - NIGHT 49
TOMMY (V.O.)
So to generate some walking-around
money, I’m working with this kid
on a little project at a local
establishment.
37.
50 INT. OUR SONS BOWLING ALLEY - NIGHT 50
A girl in short shorts puts a nickel into the jukebox,

selects “Short Shorts,” which plays under...
51 PIN-SETTING AREA - BOWLING PIN POV 51
The bowling ball comes right AT us --
Crash!
JOEY
A scrappy, impatient kid of 17, looks up from setting

pins.
TOMMY
Hey, Joey -- you listening?
JOEY
Yeah, yeah. I’m workin’ here.
TOMMY
Okay, on the fifth frame, but not
before, you start spotting the
pins like we said.
JOEY
I know -- a little off.
(then)
So listen: we got this jazz
group, you know, we’re playing up
in Bergenfield with this kid. He
plays like a madman, he writes
songs, and I’m thinking, this is
the guy you’re looking for!
TOMMY
For what?
JOEY
For the group! The Lovers or the
Romans or whatever the hell it is
this week.
(listens)
That’s his song!
(sings with the
jukebox)
WHO’S GOT SHORT SHORTS?
WE’VE GOT SHORT SHORTS.
THEY’VE GOT SHORT --
(CONTINUED)
38.
51 CONTINUED: 51
TOMMY
Joey!
JOEY
What?
TOMMY
Can we take care of business?
JOEY
Yeah, sure, Tommy, I just
thought --
TOMMY
We take care of business, then
we’ll talk about you being a
talent scout, okay?
JOEY
Okay, okay --
TOMMY
You don’t mess up, there’s a C-
note in it for you. What’s his
name?
JOEY
Gaudio. Bob Gaudio. You want, I
could arrange a sit-down.
TOMMY
Who are you, Al Capone? Let me
handle the sit-downs, you handle
the bowling pins.
JOEY
Tommy, he’s a genius! You’re
gonna thank me for this. And
don’t forget, I discovered him!
FREEZE ON Joey.
SUPERIMPOSE: JOE PESCI, ACTOR
TOMMY (V.O.)
Yeah. That Joe Pesci. Who knew?
(and)
Sure, I played the whole thing
down about Gaudio, hadda keep my
game face on, but in here --
(taps his head)
-- bells here going off big time:
some kid from outta nowhere who
sings, plays and writes songs!
(MORE)
(CONTINUED)
39.
TOMMY (V.O.) (CONT'D)
Sign him up, man -- you just hit
the trifecta!
Instrumental break of “Short Shorts” carries over to...
52 INT. GAUDIO HOUSE (BERGENFIELD) - BOB’S ROOM - CLOSE ON 52

BOB’S HANDS AT A KEYBOARD - NIGHT
They play an impressive blues riff, more fluid and

sophisticated than on the primitive blues-y single of
“SHORT SHORTS.” PULL BACK TO Bob at his keyboard.
BOB (V.O.)
Okay, just to set the record
straight: no matter what Tommy
says about plucking me from
obscurity, the real story is I had
‘Short Shorts’ at Number Two when
I was fifteen. I dropped out of
high school to tour --
53 INT. TOUR BUS - NIGHT 53
PAN OVER the faces of a bunch of black musicians --
BOB (V.O.)
... I shared a bus with Chuck
Berry, Sam Cook, Jackie Wilson...
ENDING ON the white, innocent face of Bob, who is

listening intently to SAM, a black singer.
SAM
See, a publisher is always gonna
wanna put his name on the song as
co-writer ‘cause then he gets half
the bread. I gotta do that ‘cause
I got no choice. But you don’t
have to. And what you really
wanna do is own your masters.
BOB
Okay, thanks.
SAM
Now -- what about pussy? You
gettin’ enough?
Something smacks against the window.
(CONTINUED)
40.
53 CONTINUED: 53
BOB’S POV OUT WINDOW
A truck loaded with rednecks is driving alongside,

brandishing sticks and guns.
54 EXT. TOUR BUS - NIGHT 54
Swishing PAST us and receding into the night, leaving the

rednecks behind. See a highway sign: “LEAVING
MONTGOMERY, ALABAMA: COME BACK SOON, Y’ALL!”
BOB (V.O.)
It was a better education than
high school, but by 17, I’m just
another one-hit wonder worrying
that the best is already behind
me.
55 INT. GAUDIO HOUSE - KITCHEN - NIGHT 55
A bit more upscale than Frankie’s apartment. Bob and his

PARENTS at the kitchen table. Brochures and trade school
literature littered on the table.
BOB’S FATHER
(reading brochure)
Printer’s assistant. $4.50 an
hour. Not bad.
BOB
That’s where you lose your
fingers, right? In the printing
factory? Nice one, Pop.
BOB’S FATHER
You gotta have a trade.
BOB’S MOTHER
He has his music.
Doorbell. Bob gets up, goes to door, during:
BOB’S FATHER
His music. You saw what happened.
Those record companies -- bunch of
thieves. Thirty-three hundred
dollars from a hit song -- and
they make millions!
(calling after his
son)
What happens when you get married,
have a family? How you gonna
provide?
(CONTINUED)
41.
55 CONTINUED: 55
Bob opens the door on --
JOEY
Bobby, listen! The Three Lover’s
looking for a fourth!
BOB
Who?
JOEY
The Three Lovers! They just got
rid of this yutz who did monkey
songs or some shit. So they’re
looking for a fourth. And they’re
dying to meet you.
BOB
Why?
JOEY
‘Cause I told ‘em you’re a
freakin’ genius! And don’t forget
-- I discovered you.
56 INT. SILHOUETTE CLUB - NIGHT 56
Frankie, Tommy and Nick on the bandstand. Joey and Bob

at the bar, listening to Frankie sing the vers of “I’m in
the mood for love.”
BOB
Joey, come on. This is like for
my grandparents.
He puts some money down on the bar and starts to leave.
JOEY
Wait. Will you relax?
Frankie now plunges into the counter-tenor specialty

section of “Moody’s Mood for Love.”
Bob, eyes wide, looks at Joey, who gestures -- what did I

tell you? Music under for...
BOB (V.O.)
I heard them all, from Johnny
Mathis to Dinah Washington, but I
never heard a voice like Frankie
Valli’s. After thirty seconds I
know I need to write for the
voice.
Frankie ends the song. Applause.

(CONTINUED)
42.
56 CONTINUED: 56
TOMMY
Thank you, everybody. Good night!
57 ANOTHER ANGLE 57
Two waitresses start cleaning up tables, stacking chairs,

etc.
Joey hustles Bob over to meet the group.
JOEY
Hey, fellas, fabulous, what a set!
Hey, Tommy, this is Bob Gaudio,
the guy I was talking about.
Bobby, this is --
TOMMY
(cutting him off)
Tommy DeVito, Bobby. I run the
group. Out kinda late, aren’t
you?
JOEY
I told him about how you were
looking for a, you know --
TOMMY
Joey! Don’t get over-excited.
JOEY
Sorry.
TOMMY
Nick Massi, Frankie Valli -- Bob,
what is it -- ?
BOB
Gaudio. Hi.
FRANKIE AND NICK

Hi.
TOMMY
Somebody said you write.
JOEY
I told ya -- ‘Short Shorts,’
number two with a bullet -- sorry.
Shut up, Joey.
TOMMY
Call me, we’ll set up a meeting.
(CONTINUED)
43.
57 CONTINUED: 57
FRANKIE
C’mon, the kid’s here. We’re
here. Let’s do it.
JOEY
He’s got a new one. The stuff
just pours outta him. I’m just
sayin’.
58 CLOSE ON BOB 58
at the piano. He reads off a wrinkled hand-written lead-

sheet.
The plot of this sequence is that Bob’s song gradually

attracts each of the group, who starts out listening
skeptically -- taking their cue from Tommy -- but the
pull of the music is too strong.
Frankie joins in, gamely.
There’s an instant rapport between Frankie and Bob, as

Frankie improvises some call-and-response moments in the
song.
Tommy clocks connection and is none-too-pleased.
Nick pulls up behind Bob, with his bass guitar. Frankie

slides the music Nick’s way, and he begins to play.
Tommy notices the waitresses digging Bob. Suddenly, it

all clicks for him. Success. Money. Women. And all
from the songs Gaudio’s gonna write and Tommy’s quartet
is gonna sing.
Finally, Tommy picks up his guitar and joins in to

complete the ensemble and for the first time, we hear the
sound.
All work has stopped. The waitresses are now dancing

with each other.
Song ends. Applause from the waitresses, the BARTENDER.
59 BOB AT THE BAR 59
He’s feeling expansive.
BOB
Vodka tonic.
BARTENDER
How about a glass of milk?
(CONTINUED)
44.
59 CONTINUED: 59
The WAITRESSES gather around Bob, giggling and flirting

and chewing gum furiously.
WAITRESSES
Hi.
BOB
Hi.
WAITRESS #1
So who’s the girl in the song?
Your girlfriend?
BOB
No. It’s any girl. Every girl.
It’s what T.S. Eliot calls ‘the
objective correlative.’
WAITRESS #2
You’re not from around here, are
you?
Tommy approaches.
TOMMY
Hey, kid -- you got a manager, an
agent, somebody does your deals?
BOB
That’s okay, you can talk to me.
TOMMY
You sure?
BOB
Uh-huh.
TOMMY
Okay. I’m gonna hire you on a
trial basis for, let’s say...
three weeks, at a salary of $25 a
week, then we’ll see what happens.
Tommy puts hand out, Bob doesn’t take it.
BOB
Oh. Gee. I don’t think that’s
going to work.
TOMMY
Why not?
BOB
I was thinking I would come in as
an equal partner.
(CONTINUED)
45.
TOMMY
Really.
BOB
Plus which, I retain the
publishing on anything I write,
and we can work out a favored
nations on any mechanical and
ancillary rights.
TOMMY
Excuse me a minute.
Bob turns back to the waitresses. Frankie, Nick and Joey

are waiting for Tommy’s verdict.
TOMMY
Forget it.
FRANKIE
Why?
TOMMY
He wants a four-way split. In his
dreams.
FRANKIE
Tommy --
TOMMY
You think this kid is the golden
goose? He’s one-hit wonder with
his eye on the buck. There’s a
million of ‘em out there.
JOEY
May I just say something?
TOMMY
No.
JOEY
Okay.
FRANKIE
Tommy, I like it.
TOMMY
What do you got a hard-on for this
kid? He can’t drink, he can’t
vote, he probably never been laid,
what good is he?
(CONTINUED)
46.
FRANKIE
You think he’s green, take him
under your wing. Like you did
with me.
TOMMY
You wanna cut him in equal.
FRANKIE
If it works, there’ll be enough
for everybody. If it doesn’t,
what’s the difference?
TOMMY
We don’t need a keyboard. That’s
my decision. So stop busting my
chops.
FRANKIE
Okay. Then you can go get
yourself another lead singer.
TOMMY
What’d you say?
FRANKIE
Get yourself another lead singer.
Tommy raises his hand to smack Frankie. Frankie grabs

him by the wrist. They stare each other down. Tommy
makes a decision.
TOMMY
So. You’re growing up, huh, kid?
Okay, I’ll give it a shot. But
when it crashes don’t come crying
to me.
(to Bob)
Okay, kid, this is your lucky day.
Welcome to the group.
60 INT. STUDIO BATHROOM - DAY 60
Bob, peeing. Tommy enters, takes the next urinal.
TOMMY
Music business is a jungle, kid.
You got a problem, you need
anything, you come to me. Okay?
BOB
Okay.
(CONTINUED)
47.
60 CONTINUED: 60
TOMMY
Any time, any place. What’s your
shoe size?
BOB
Ten and a half. Why?
TOMMY
Come over the house tomorrow.
61 INT. TOMMY’S HOUSE - BASEMENT - DAY 61
Closet door opens revealing racks of suits, cartons of

cigarettes, shoeboxes, cameras, cases of whiskey. In the
b.g., we see Frankie and Nick going through racks of
sports jackets and suits.
Bob finds this whole scene preposterous.
Tommy reaches for a shoebox.
TOMMY
Ten and a half... here we go.
(hands box to Bob)
Go ahead, open it.
Bob does. One shoe. He removes it.
TOMMY
Not bad, huh? Fendi. Top of the
line.
BOB
Tommy, it’s one shoe.
TOMMY
Yeah. It’s a left.
BOB
A left?
TOMMY
It’s how they ship ‘em. From
Italy. To stop the pilferage.
The lefts, then a couple weeks
later, different dock, the rights.
The rights are coming in next
week.
BOB
You know, Tommy, I got enough
shoes, really --
(CONTINUED)
48.
61 CONTINUED: 61
TOMMY
Okay. I hear ya. How about
cigarettes? Booze -- Henley’s
J&B, Johnny Walker --
BOB
(laughing)
No, Tommy, I’m okay. No stolen
goods.
There’s a wine bottle open, some filled glasses on a

table.
TOMMY
(toast)
Okay, the group. Right to the
top.
Nick wipes some grime off his glass.
TOMMY
Salud.
NICK/FRANKIE/BOB
Salud.
TOMMY
Now, here’s the plan. I laid on a
limo, we’re going down to Atlantic
City, I got a suite at the
Traymore, we see a couple of
shows, have a little party --
FRANKIE
We’re gonna take a pass, Tommy.
TOMMY
Bullshit, since when do you pass
on Atlantic City?
FRANKIE
We sent out those demos, you know?
TOMMY
We who?
FRANKIE
Me and Bobby. So we're gonna go
into town and follow up.
TOMMY
You and Bobby, huh?
(CONTINUED)
49.
FRANKIE
Tommy, nobody's getting any
younger, okay? I don't wanna go
to the Traymore, I don't wanna go
to a party, I wanna get a record
contract and feed my family.
TOMMY
Whoa. Excuse me. Okay, go with
the demos. But you don't do
anything without you talk to me
first.
BOB
(soothing him)
Of course, Tommy.
TOMMY
Thank you, Bobby Businessman.
When you're finished with the
demos, you can take over General
Motors.
62 EXT. BROADWAY - BRILL BUILDING - ESTABLISHING SHOT - DAY 62

(1959)
Frankie and Bob arrive with their demos, enter.
63 INT. BRILL BUILDING - LOBBY - DAY 63
Lots of action. Musicians hanging around, waiting for

demo gigs. Some have their instruments out and are
warming up. Someone sits on a guitar case and plays a
song to a listener.
Frankie and Bob pass through and enter the elevator.

Doors close.
64 INT. BRILL BUILDING - ELEVATOR - DAY 64
Doors close.
ELEVATOR'S POV
as it rises, and we can see, minus door and walls,

directly into the different floors and little offices
where songwriters are sequestered, working on their
songs.
A beehive of activity, accompanied by an ever-changing

cacophony of pop, rock, R&R, blues, C&W, African•..
50.
65 INT. BRILL BUILDING - CORRIDOR - DAY 65
Elevator door opens. The corridor is surreal, with

endless doors of publishing companies receding into
infinity.
Frankie checks a list, raps on a door, one of many in the

long hallway. "FOX MUSIC PUBLISHING," a publisher opens
the door. Jazz music leaks out.
FRANKIE
Hi. We're the Four Lovers. We
sent you a demo --
PUBLISHER #1
Not interested.
SLAM.
66 THE NEXT DOOR 66
They move to the next door: "TEMPO MUSIC." Frankie

knocks. Door opens. Rockabilly music leaks out.
FRANKIE
Hi. We're the Four Lovers. We
sent --
PUBLISHER #2
Sorry.
SLAM.
67 NEXT DOOR 67
opens. Reggae music leaks out.
FRANKIE
Hi. We're the Four Lovers --
PUBLISHER #3
You're the Four Lovers?
FRANKIE
Well, two of 'em.
PUBLISHER #3
No, no -- the Four Lovers is a
colored group.
FRANKIE
No, that's us.
(CONTINUED)
51.
67 CONTINUED: 67
Frankie sings a phrase in high falsetto.
PUBLISHER #3
Not bad. Come back when you're
black.
SLAM. Frankie loses it.
FRANKIE
Get out here, you chickenshit,
I'll rip your throat out!
CREWE
Hey, watch your mouth, Toto.
You're not in Newark anymore.
BOB CREWE, 30, charismatic, movie-star handsome.
FRANKIE
(turns)
Crewe?
CREWE
As I live and breathe. Frankie
Castelluccio!
FRANKIE
No, it's Valli. Frankie Valli.
With an 'I.'
CREWE
And why not?
FRANKIE
What're you doing here?
CREWE
Making hit records. You?
FRANKIE
We got a new group. The Four
Lovers. Here -- we made these
demos, you should listen to
them --
CREWE
Who's your friend?
FRANKIE
The next Otis Blackwell. Bob
Gaudio, Bob Crewe.
(re: Crewe)
Best ears in the business.
(CONTINUED)
52.
CREWE
(warmly)
Hello, young man. Young young
young young man.
BOB
Hi.
CREWE
(regards him, points)
Scorpio.
BOB
No, Gaudio.
CREWE
(laughs)
No, no -- your birthday.
BOB
November 17th.
CREWE
(re: himself)
November 12th! It's a sign! The
stars are in alignment! Follow
me, boys! Destiny awaits!
He turns and moves down the corridor. Frankie and Bob

follow.
BOB (V.O.)
I remember thinking at the time,
there's something a little off
about this guy. I mean, this was
like, 1959. People thought
Liberace was just, you know --
theatrical.
68 INT. CREWE'S GLAM APARTMENT - HALLWAY - NIGHT (1958) 68
Door opens, revealing...
CREWE
Entrez!
Behind him a giant party is in progress.
69 INT. CREWE'S GLAM APARTMENT - NIGHT (1958) 69
Tommy, Frankie, Bob and Nicky enter.
(CONTINUED)
53.
69 CONTINUED: 69
A truly happening crowd. A crush of Warholians, models,

actors, singers, musicians, artists, poets, beautiful
boys and girls, producers, promoters, hangers-on, bottom-
feeders and agents, all garbed in a highly heterogeneous
mixture of styles from business suits to African
dashikis.
On the walls hang Crewe's collection of pop art: Jasper

Johns, Warhol, Rauschenberg, and an early Lichtenstein
ironic depiction of a comic strip panel.
The boys stand out like aliens from the distant planet of
New Jersey.
One of Crewe's hits ("Lucky Ladybug" or "Daddy Cool")

blares from the Hi-Fi.
70 INT. CREWE'S GLAM APARTMENT - NIGHT 70
CREWE
Welcome to civilization, mes
enfants!
(calls, points)
Jerry! This is them!
TOMMY
So... this is where the magic
happens, huh?
CREWE
No, dear -- the magic happens in
the bedroom.
(then)
Tommy. Joke. Now, go make
friends and don't get into
trouble.
71 ON TOMMY AT THE BAR 71
being tended by a clueless young man.
TOMMY
Is that vodka?
BARTENDER
Uh-huh.
TOMMY
Gimme a triple.
Bartender hands him a glass, as a WOMAN appears next to

him and studies a chaotic abstract painting behind the
bar.
(CONTINUED)
54.
71 CONTINUED: 71
ART LOVING WOMAN

Fantastic, isn't it? He has such
freedom.
TOMMY
They ought to take it away.
ART LOVING WOMAN

The painting?
TOMMY
His freedom.
72 ON NICK AND TWO YOUNG BUBBLE-HEADED MODELS, TWINS 72
NICK
So, you room together, is that it?
BUBBLE-HEAD #1
(provocatively)
We do everything together.
NICK
How old are you?
BUBBLE-HEAD #2
Together or separately?
73 ON TOMMY 73
sipping his drink. Out of his element, nobody to talk

to. He picks a silver cigarette lighter off a side table
and slips it into his pocket.
74 ON BOB 74
at the piano, playing low-key blues. Playing with him is

a jazz flautist who might be the young Hubie Laws. Some
JAZZ-CATS and models are draped on the piano, listening.
JAZZ-CAT
Very tasty. You sure you're not a
brother?
BOB
One of my grandfathers was
Sicilian.
JAZZ-CAT
There you go.
55.
75 ON FRANKIE AND AN ATTRACTIVE WOMAN 75
ATTRACTIVE WOMAN
So what do you do?
FRANKIE
Hair stylist.
ATTRACTIVE WOMAN
Professionally?
FRANKIE
During the day. And then at night
I put on a cape and fight crime.
76 ON CREWE 76
near the piano. He bangs a spoon against a glass.
CREWE
Okay, everybody! Please!
Children!
(as the place quiets)
I have a special treat for you. I
want you to meet the most amazing
sound I've heard the past ten
years. My new friends -- Tommy,
Nick, Bob and Frankie Valli with
an ‘I.’ Come over here, boys.
Applause. Nick, Frankie and Tommy make their way to the

piano.
TOMMY
(sotto)
What is this, an audition?
CREWE
(sotto)
Tommy, there's a lot of important
people here. I want them to hear
you.
FRANKIE
C'mon, let's do it.
(then)
The Porter.
They gather around the piano. Bob plays a broken chord

to give them their notes. Crewe shushes the crowd.
A knockout a capella version of “I've Got You Under My

Skin,” featuring Frankie's voice and range to its
maximum.
(CONTINUED)
56.
76 CONTINUED: 76
When they start, people are curious but not really

focused on the group. There are a few pockets of twos
and threes still talking, rattling ice in glasses, etc.
During the song, the room gradually becomes quiet, people

are shushed and by the end everyone is really quiet.
A beat, then the room erupts.
CREWE
Goosebumps, boys. I got indigo
goosebumps.
(then)
Who does the arrangements?
They all look at Nick.
CREWE
Where did you study?
NICK
Study?
FRANKIE
He just hears it in his head and
tells us what to sing.
CREWE
I'm getting a very good feeling.
Adrienne!
A LARGE WOMAN has materialized. She wears many giant-

beaded necklaces and harlequin glasses and a tent-like
garment.
CREWE
Boys, I'd like you to meet
Adrienne. Adrienne is my
astrologer and advisor.
ADRIENNE (LARGE WOMAN)

Everyone join hands.
The guys do it, a bit embarrassed.
The four plus Crewe and Adrienne, a circle of six,

holding hands. Adrienne closes her eyes and communes
with the gods. Then her eyes open. She's happy.
CREWE
What d'you think?
ADRIENNE
It's the solstice. Scorpio's
ascending. Sign 'em, bubbie!
57.
77 INT. ALLEGRO RECORDING STUDIOS - DAY 77
Crewe is in the booth with the Engineer. In the studio,

the four guys are clustered around a mike, singing "I
Still Care."
Now CAMERA MOVES to reveal Miss Frankie Nolan at another

mike, who is the real lead.
BOB (V.O.)
We never read the fine print. The
contract was for us as backup
singers, with an option to record
four of our songs -- his option.
So we spent the next year doing
the musical equivalent of room
service.
Song finishes out with Frankie doing an obbligato higher

than Nolan's, which pisses her off.
78 INT. STUDIO - DIFFERENT DAY 78
Same deal -- the guys doing backup for Hal Miller.
ENGINEER
Hal Miller and the Rays. 'An
Angel Cried.' Take 1.
79 INT. STUDIO - DIFFERENT DAY 79
The guys doing backup for Billy Dixon and the Topix.
ENGINEER
Billy Dixon and the Topix.
'Trance.' Take 3.
In mid-song Crewe interrupts from the booth.
CREWE
No, no, stop tape! Guys, you're
not hearing it the way I do.
TOMMY
How do you hear it?
CREWE
I hear it in sky blue. You're
giving me brown.
TOMMY
That's because you're paying us
shit.
(CONTINUED)
58.
79 CONTINUED: 79
CREWE
Excuse me?
TOMMY
Whatsa matter, Crewe? Famous ears
get clogged up?
CREWE
Is there a problem, Tommy? Are
our sessions cutting into your
time at the track?
TOMMY
I'll tell you what the problem is --
Bob puts a restraining hand on Tommy's arm to quiet him.
BOB
Here's the problem. You said
you'd record us. That was -- what
-- a year ago? So when are you
going to record us?
CREWE
When you give me a hit.
BOB
I've given you ten hits.
CREWE
Ten songs. And they're all
derivative. You find yourself a
sound and a name, then maybe
something could happen.
TOMMY
How do you know what's a hit until
you get it out there?
CREWE
Okay. You want me to produce four
songs? Go find the money.
TOMMY
What're you talking about?
CREWE
I'm tapped out. You want a
session, I need thirty-five
hundred dollars.
TOMMY
Eight rooms on Park Avenue and
you're tapped out?
(CONTINUED)
59.
CREWE
I've got certain personal
obligations.
TOMMY
Yeah, I saw him.
CREWE
Don't get me started, baby.
80 EXT. OUR SONS BOWLING ALLEY AND LOUNGE - DUSK 80
The four with their instruments, waiting. Joey is coming

to them.
TOMMY
Crewe's right about one thing.
Your songs are derivative.
BOB
Really.
TOMMY
They all sound like each other.
FRANKIE
Tommy, lay off. Let Bobby write
the songs, you handle the
bookings.
Joey has arrived.
JOEY
Okay, I talked to the manager.
You do two sets, it's a cool three
fifty for the night. Ten nights,
you got your session. And I'm
only gonna take 5 percent.
(off Tommy's look)
Or not.
81 INT. OUR SONS BOWLING ALLEY AND LOUNGE - DUSK 81
The MANAGER confronts them.
OWNER (MANAGER)
Wait, wait, hold it. What's your
name?
All four, simultaneously --
TOMMY
The Four Lovers. The Romans.
(CONTINUED)
60.
81 CONTINUED: 81
NICK
The Romans. The Topix.
FRANKIE
The Varietones. The Lovers.
BOB
The Topix. The Varietones.
OWNER
No, no. You. I know you. You
used to come here. You had some
kinda scam going, spotting pins,
betting on games.
TOMMY
I've never been here in my life.
OWNER
And I never forget a face. Get
outta here, all of you. 'Four
Lovers.' Four felons.
82 EXT. OUR SONS BOWLING ALLEY AND LOUNGE - DUSK 82
Behind them, a worker on a ladder is fiddling with the

neon sign that reads: "Our Sons -- Lanes & Lounge."
NICK
That went well.
FRANKIE
This is crazy. We gotta find a
club.
BOB
Forget the clubs. What we want is
a record contract.
TOMMY
What record contract? We can't
even book a lousy bowling alley.
NICK
Maybe this is a good time for me
to start my own group.
TOMMY
Get off that. You're not startin'
any groups! You're in this group.
(CONTINUED)
61.
82 CONTINUED: 82
NICK
Yeah? Which one? The Topix? The
Romans? The Lovers? Who we gonna
be next, Tommy?
The sign buzzes, flickers, flashes.
Bob turns at the buzzing sound.
Fully illuminated, the sign now reads:
FOUR SEASONS
LANES AND LOUNGE
BOB
(staring at it)
Frankie.
TOMMY
What?
FRANKIE
(sees, points)
It's a sign, Tommy!
BOB
But we still need the thirty-five
hundred.
TOMMY
I'll take care of it.
(pointedly, to Bob)
That's what I do.
(then)
Now go write some hits.
83 INT. CONEY ISLAND AQUARIUM - DAY 83
NORM WAXMAN, aka Norm the Bag, waits in front of a giant

shark tank. Despite the summer heat, he wears a long
woolen overcoat.
Tommy arrives.
NORM
You're late.
TOMMY
You got it?
NORM
Five thousand.
(CONTINUED)
62.
83 CONTINUED: 83
Norm hands Tommy the bills. Norm has a little notebook.
NORM
Let's see, the eleven grand you
owe me, plus this five... it's
getting heavy, Tommy. You're up
to sixteen grand.
TOMMY
No problem. We just signed with
RCA Victor.
NORM
That's good. Because you don't
wanna get behind on the vig.
TOMMY
Hey -- I'll send you a record.
NORM
Better yet, send me three grand by
next Friday.
84 INT. GAUDIO HOUSE - UPSTAIRS HALLWAY - NIGHT 84
ON Gaudio's Mother, carrying a tray of food and a glass

of milk. She sets it down outside Bob's bedroom door and
removes another tray with half-eaten remains. We hear
the sounds of composing coming from inside the room.
BOB (V.O.)
So I lock myself in my room and I
write four new songs in two days.
No, not songs -- hits.
85 INT. CREWE'S APARTMENT - DAY 85
The four guys and Crewe.
FRANKIE
You like the new name?
CREWE
I love the new name. So did
Vivaldi.
TOMMY
Some guy stole our name? I'll go
talk to him.
CREWE
It's okay, Tommy, he's already
dead.
(CONTINUED)
63.
85 CONTINUED: 85
BOB
The songs?
CREWE
The songs are great, I love the
songs. But we still have a
problem.
Tommy flashes a wad of dough.
TOMMY
Problem solved. Thirty-five
hundred. DeVito delivers.
He flips the cash to Crewe.
86 INT. FRANKIE AND MARY'S APARTMENT - KITCHEN - NIGHT 86
Dinner. Frankie is feeding four-year-old FRANCINE. Mary

is at the table sipping on a Scotch.
Francine, of course, has no idea what he's talking about.
FRANKIE
Uncle Bob writes the songs and we
record them, and the beauty part
is we're not just covering
somebody else's stuff, plus which
we own the publishing. It's
important to own your publishing.
Remember that.
FRANCINE
Daddy?
FRANKIE
What, sweetheart?
FRANCINE
Can I have a pony?
FRANKIE
Of course, sweetheart. Soon as
Daddy has a hit.
Mary unsteadily reaches for something, knocking over a

glass which crashes to the floor.
MARY
Why stop at one? How about three
horses and a buffalo?
(CONTINUED)
64.
86 CONTINUED: 86
FRANKIE
(re: her drink)
Whyn't you take that inside?
87 INT./EXT. BUS (BERGENFIELD) - DAY 87
Bob, riding to the meeting, carrying a large envelope.

Now he hears three car horns in an inverted triad: G-C-
E. He becomes alert. Thinks a moment. Takes out a
pencil, pulls a lead sheet from the envelope, draws a
stave and a G-clef on the reverse side and starts
writing.
88 INT. FRANKIE'S KITCHEN - DAY 88
Kitchen clock reads 1:35.
Tommy, Frankie, and Nick sitting around the kitchen

table, impatiently killing time. Tommy does practice
swings with a golf iron. Nick sips a drink. 6-year-old
Francine is on Frankie's lap.
TOMMY
This is bullshit. The most
important day of his life and he's
late.
FRANKIE
It's not like Bobby to be late.
NICK
(as he pours another
drink)
No, that's Tommy's territory.
TOMMY
Okay, stronzo, get off my case.
And lay off the booze while you're
at it, shithead.
MARY
Hey, watch your mouth in my
kitchen. Francine, c'mere, baby.
She takes Francine from Frankie. As an afterthought she

grabs the liquor bottle, too.
MARY
Asshole.
Frankie tries to take the bottle from her but she wrests
it away and leaves. Frankie sighs.
65.
89 INT./EXT. BUS - DAY 89
Bob reads what he's written, satisfied.
Now he looks up, out the window. He's passed his stop.
Checks watch. Mouths "shit.” Pulls on the signal cord
frantically.
90 EXT. BUS STOP/PHONE BOOTH (BERGENFIELD) - DAY 90
Bus stops, Bob runs out. A phone booth.
91 INT. FRANKIE'S APARTMENT - DAY 91
Tommy and Nick are on the way out.
FRANKIE
Let's run the numbers again.
TOMMY
(holding a driving
iron)
You run the numbers. You sound
like a cat in heat. My ears are
bleeding from that shit. We're
gonna play a quick nine. Tell
the genius he blew it.
Phone rings.
FRANKIE
(phone)
Yeah?
92 EXT. BUS STOP/PHONE BOOTH - DAY 92
BOB
(phone)
Frankie?
FRANKIE (V.O.)
Bobby? Where the hell are you?
BOB
I'm coming! I missed my stop. I
had this idea! It just came to
me, I think it's --
He gestures with the lead sheet and loses it. The wind
takes it and blows it away.
(CONTINUED)
66.
92 CONTINUED: 92
He drops the phone and chases OUT of FRAME after the

paper.
FRANKIE (V.O.)
Bob? Hello?
Bob chases the paper into the middle of the street, into
traffic. A car is coming on, jams on the brakes, back-
ended by the following car. A pile-up. The car stops
six inches from Bob. He gets down on all fours and
reaches under the car to retrieve the paper, waves it
happily to the irate drivers who are emerging from their
cars to survey the damage.
BOB
It's okay -- I got it!
Bob starts running.
93 INT. FRANKIE'S APARTMENT - DAY 93
The door bursts open by a winded, sweating, messed-up

Bob.
He can't catch his breath so he hands the lead sheet to

Tommy who lets it just drop to the floor. Frankie picks
it up, glances at it.
TOMMY
He's late, he comes in with some
bullshit song he wrote fifteen
minutes ago --
Frankie tries to hand the sheet to Tommy who isn't

interested.
FRANKIE
Take a look, willya?
TOMMY
-- it's an insult, Frankie. A
slap in the face.
FRANKIE
Tommy, it's a good song. Don't
make it personal. Nicky?
NICK
I say we do the four we rehearsed.
TOMMY
We're not taking votes here. I'm
running this group, and I say --
(CONTINUED)
67.
93 CONTINUED: 93
FRANKIE
Wait wait wait -- Crewe's got the
ears, right? So let's let him
decide.
94 INT. ALLEGRO RECORDING STUDIO - BOOTH - DAY 94
Phone rings. Crewe jumps to pick it up.
CREWE
Bob Crewe.
95 INT. FRANKIE'S KITCHEN - DAY 95
FRANKIE
(phone)
I want you to listen --
(then)
I know, I know. Wouldya just calm
down and listen?
The four guys huddle around the phone.
NICK
One -- two -- three -- four --
They open their mouths to sing but before we can hear

them we --
CUT TO:
96 INT. ALLEGRO RECORDING STUDIO - BOOTH - DAY 96
Crewe, listening. A big smile slowly appears on his

face.
ENGINEER
What?
CREWE
Set up the eight-track.
ENGINEER
What for?
CREWE
We're gonna double Frankie's
voice. It's gonna explode right
off the radio!
ENGINEER
I never heard of that.
(CONTINUED)
68.
96 CONTINUED: 96
CREWE
Because it's never been done! I'm
a genius!
Rhythm vamp to "Sherry" begins --
97 INT. RADIO STATION - STUDIO - NIGHT 97
CLOSE ON a lightbox flashing red:
ON THE AIR!
Keep the vamp under this...
WIDER
The DEEJAY is totally wired and having the time of his

life.
BARRY BELSON
And you're listening to me, Barry
Belson, WCFA Radio! We're in our
seventeenth hour, locked inside
this studio, and yes, we're still
playing the same song! I mean, is
that a different sound, or what?
Who are these people? Four black
guys? Three guys and a girl?
What can I say -- I LOVE THIS
RECORD!!!
MOVE TO REVEAL --
There's a soundproof door which leads into the studio.

Next to it is a large soundproof picture window that
gives a view of the studio, where we can see (but not
hear) a DEEJAY at work at his console, excitedly chatting
away into the mike.
Hovered around the door are a few POLICEMEN, two FIREMEN

with fire axes out, the STATION MANAGER and a few STATION
STAFF. A HANDYMAN is trying to unscrew the door hinges.
The MANAGER is pounding on the door.
98 INT. WFIL - TV STUDIO - BACKSTAGE - NIGHT 98
Philadelphia -- home of Dick Clark's "American

Bandstand." The deejay's rant continues as V.O., as we
see YOUNG DANCERS from the show emerging from their
dressing rooms, joining up, moving toward the stage, past
the usual backstage TV paraphernalia and the period
cameras --
(CONTINUED)
69.
98 CONTINUED: 98
REVEALING --
Frankie, Bob, Tommy and Nick in camp chairs being fussed

over by hair and makeup people.
99 INT. WFIL - TV STUDIO - AMERICAN BANDSTAND SET - NIGHT 99
Our LEAD DANCE COUPLE LEAVES FRAME, exposing a nice four-

shot of The Four Seasons. During the above we've been
hearing:
BARRY BELSON (V.O.)

We're gonna see this one go right
to the top, my friends. And we're
gonna see it happen this Saturday,
on American Bandstand! Aw, what
the hey, I think I'll play it
again. Put down that girl and
lend an ear to -- The Four
Seasons!
Number to be covered directly; also the studio audience,

and from inside the...
100 INT. TV CONTROL BOOTH - DAY 100
... which displays the period B&W monitors. The Four

Seasons are singing "Sherry."
101 CREWE 101
watches proudly from the wings.
102 OMIT 102
103 OMIT 103
104 INT. CREWE'S APARTMENT - NIGHT 104
Crewe lounges in the sofa with a pad and pencil.
A movie plays on the TV, silent. (TENNESEE’S PARTNER --

1955.)
Bob is at the piano, tinkering with a melody, scribbling

on some music paper. He hates it, crumples it up. Lots
of crumpled-up paper around.
(CONTINUED)
70.
104 CONTINUED: 104
Doorbell rings, Bob's houseboy answers it. It's Tommy.

He holds some brown paper bags.
TOMMY
So, where's the song? You got it?
CREWE
Not yet.
TOMMY
It's been three weeks! What'a you
guys been doing? The company's
going nuts.
BOB
What's in the bag?
TOMMY
Chinks. You gotta eat to work.
The houseboy takes the bags off. Crewe sees something on

the TV.
CREWE
Omigod. Shhh! Wait.
BOB
What?
He clicks on the TV sound.
CREWE
John Payne and Rhonda Fleming.
Dontcha just love her?
TOMMY
What are we -- working or watching
television?
CREWE
(an idea)
Shhh. Bobby, c'mere!
RHONDA FLEMING (V.O.)

(on TV)
You think you can just walk out on
me?
Crewe mouths the dialog along with Payne and Fleming.
JOHN PAYNE (V.O.)

(on TV)
Try me, baby.
(CONTINUED)
71.
RHONDA FLEMING (V.O.)

(on TV)
You don't have the guts.
JOHN PAYNE (V.O.)

(on TV)
Oh, yeah?
(smacks her hard
across the face)
What d'ya think of that?
Now we hear the big four-beat percussion kickoff to “BIG

GIRLS.”
On screen we see Rhonda mouth the words, but in sync with

that we hear:
FOUR SEASONS (V.O.)

BIG GIRLS DON'T CRY!
BIG GIRLS DON'T CRY!
105 INT. UPSCALE CLUB - NIGHT 105
The group performs the song. The fans love it. They
join in on the famous chorus. At some point before the
end of the song, we’re at --
ABRUPT CUT TO:
106 INT. ALLEGRO RECORDING STUDIO - DAY 106
Silence. Tension.
TOMMY
I don't get it.
BOB
What don't you get, Tommy?
TOMMY
The title. ‘Walk Like a Man.’
BOB
So?
TOMMY
As opposed to what -- a woman?
BOB
It's for boys, Tommy. Teenage
boys. We're telling them to act
like men.
(CONTINUED)
72.
106 CONTINUED: 106
TOMMY
Instead of like girls.
BOB
Instead of like boys. Why are you
doing this?
CREWE (V.O.)
(from the booth)
Look, Miss Congeniality -- it's a
metaphor. This is an anthem for
every guy who's ever been twisted
around a girl's little finger!
They're staring at him.
CREWE (V.O.)
Well, isn't it? Okay, Phil.
ENGINEER (V.O.)
Take one. Rolling.
Bob stomps out the tempo and...
FOUR SEASONS
OO OO OO OO OO OO OO
WALK, WALK, WALK, WALK
OO OO OO OO OO OO OO
WALK LIKE A MAN...
Song continues under...
107 INT. HOTEL HALLWAY/SUITE - NIGHT 107
A room service waiter is wheeling a cart down the

corridor. The cart is loaded with liquor, hors d’oeuvres
and other goodies.
The waiter stops before a door that says FRANK SINATRA

SUITE. There’s a Christmas wreath on the door and sounds
of revelry from within. He rings.
Door is opened by a scantily-clad lovely wearing a Santa

hat.
108 INT. HOTEL SUITE - NIGHT 108
A bacchanal. Scantily-clad young women, dancing,

smoking, drinking. Tommy appears wearing a wife-beater
and trousers; he signs the bill.
Nick is on the couch getting intimate with two girls.
(CONTINUED)
73.
108 CONTINUED: 108
BOB (V.O.)
I’ll say this about Tommy. He had
his issues but he sure knew how to
run a party.
109 INT. HOTEL SUITE - BEDROOM - NIGHT 109
... where Bob has retreated, overwhelmed by shyness and

the carnality. He sits on the bed, watching the TV.
The door opens and Nick and Tommy poke their heads in.
With them is a yummy young PARTY GIRL. Nick whispers to
the girl and leaves.
She locks the door, flicks off the overhead light, and
sits next to Bob on the bed. Bob smiles at her
nervously.
She leans in and kisses him.
110 INT. HOTEL SUITE - NIGHT 110
A small crowd (including the room service waiter, now

shirtless and wearing a bra as a hat) has gathered around
Tommy and Nick, who have their ears to the bedroom door.
They shush everyone and back away.
The door opens. Bob appears in the hotel terrycloth

robe. He has a new attitude. He’s the man. Everyone
looks at him expectantly. Music under for Bob’s line to
Nick:
BOB
You were right. It is more fun
with another person.
The crowd laughs and applauds. Nick and Tommy embrace

him.
“WALK LIKE A MAN, TALK LIKE A MAN,” up strong for an

abrupt --
CUT TO:
111 INT. FRANKIE’S HOUSE - DAY 111
Christmas day visit. Small decorated Christmas tree.

Frankie’s parents, Frankie, Mary. A bit tense, quiet.
Frankie’s Mother watching Mary and her drink
disapprovingly. Some opened presents on the floor.
(CONTINUED)
74.
111 CONTINUED: 111
Little Francine in the b.g., hugging and riding a large

pink stuffed pony, squeals of girlish delight. There’s
also a large carton, gift-wrapped with a red ribbon.
Phone rings.
FRANKIE
Yeah, hello?
112 INT. HOTEL SUITE - DAY 112
Remnants of last night’s party. Some wiped out fun-

seekers crashed out on the floor and sofas, remains of
food and drink. Some new people who have dropped in.
Tommy has on a Santa Claus hat. A pretty lady is on his
lap.
TOMMY
Frankie -- we’re still going.
Come on -- jump in the car, you’ll
be here in ten minutes. I got a
present for you.
(to the girl)
What’s your name, honey?
113 INT. FRANKIE’S HOUSE - DAY 113
FRANKIE
Tommy -- we just got back from
church.
TOMMY (V.O.)
You’re missing all the fun.
FRANKIE
I got all the fun I can handle
right here.
Frankie gestures to Mary; she should open the big box.

She rips the wrapping paper off the side to reveal the
legend: “MAYTAG -- LAUNDRY KING.”
Frankie’s Mother is very impressed, gets excited. Such a

wonderful present -- a clothes washer! Mary ironically
clasps her heart and curtsies sarcastically, “Thanks a
lot,” and almost falls.
114 NEW JERSEY ARENA - NIGHT 114
(Into chorus: “WALK LIKE A MAN, FAST AS I CAN...”)
(CONTINUED)
75.
114 CONTINUED: 114
An impressively large venue, and the boys are in the

midst of their trademark “Walk” stomp choreography.
They're slick, wearing sharper jackets than ever, and the
crowd is stomping along with them. They’ve become big
stars.
115 INT. CREWE’S APARTMENT - NIGHT (A FEW WEEKS LATER) 115
A cake with three stars on it, being carried in by Crewe

and his handsome house boy.
One star says SHERRY, one BIG GIRLS, one WALK LIKE A MAN.
The song continues under:
CREWE
Three Number Ones in a row! Did I
say the stars were in alignment?
BOB
Yes, Crewe. You’re always right.
CREWE
(calling)
Tommy! Nicky! Get in here!
He and his handsome aide depart, leaving the cake. On

the wall, to Crewe’s Lichtenstein-style art collection
has now been added the comic book images from the
“Sherry” number. Low Culture has now become High Art.
As Bob and Frankie take in the art, they move into a --
116 SMALL ANTEROOM 116
BOB
Good time to make an investment.
FRANKIE
In art?
BOB
In us.
FRANKIE
What do you mean?
BOB
You got the voice. I got the
songs.
FRANKIE
Yeah, so?
(CONTINUED)
76.
116 CONTINUED: 116
BOB
We make a partnership. I give you
half of everything I write, you
give me half of everything you
record outside of the group.
REVEAL Tommy, unseen, listening in the doorway behind

them.
FRANKIE
Why would I ever record outside
the group?
BOB
I dunno. Things happen.
FRANKIE
What about Tommy and Nick?
BOB
It won’t cut into their share.
I’d never do that.
Tommy’s heard enough. He turns and goes.
FRANKIE
If things work out, could we talk
about a saxophone?
BOB
If things work out, we can talk
about a whole horn section.
FRANKIE
Okay, I’m in.
BOB
Great. I’ll get somebody to draw
up a contract.
FRANKIE
You mean like sign a piece of
paper from a lawyer?
BOB
Yeah --
FRANKIE
You wanna do this thing?
BOB
Sure, I just thought --
(CONTINUED)
77.
FRANKIE
So we do it. You want a contract?
Here -- a Jersey contract.
He puts his hand out. Bob takes it. The handshake.
117 EXT./INT. TURNPIKE/CADDY - DAY 117
VVRROOM! Two brand-new Caddy convertibles. In one, Bob

drives, Tommy shotgun. In the other, following, Nick
drives, Frankie shotgun. Shiny chrome glints in the
bright sunlight.
On both car radios, “WALK LIKE A MAN” continues under:
FRANKIE
But I already have a car.
NICK
The Chevy is transportation. What
you want is a statement.
FRANKIE
A car’s a car.
NICK
(leaning in)
Frankie, come on! You are riding
in the Great American Wet Dream.
And this baby gets almost 8 miles
a gallon.
FRANKIE
What if everything blows up?
NICK
What if it doesn’t? You gotta
stop and smell the roses.
Pointing to Bob’s Caddy ahead of them --
NICK
Look at that beauty. Those
curves, those headlights, that
rear end. You know what she’s
saying? ‘I want you inside me.’
FRANKIE
Nick, you really need help.
A sign advises: ATLANTIC CITY -- NEXT RIGHT.
The Caddys exit, over the final “WALK, WALK, WALK” board
fade of “WALK LIKE A MAN.” Then:
(CONTINUED)
78.
117 CONTINUED: 117
HEAR: The base/drum intro to “MY BOYFRIEND’S BACK” as we --
CUT TO:
118 CLOSE ON A SENTRY-BOX CARD 118
Announcing: FOUR SEASONS NATIONAL TOUR: FEATURING

FRANKIE VALLI, ALSO FEATURING THE ANGELS: ONE NIGHT
ONLY.
119 INT. ATLANTIC CITY HOTEL - THE BIG ROOM - NIGHT 119
The ANGELS, on stage:
LINDA
(an Angel)
HE WENT AWAY, AND YOU HUNG AROUND
AND BOTHERED ME EVERY NIGHT...
120 INT. BACKSTAGE - NIGHT 120
Nick and Tommy watching from the wings.
NICK
The one on the right.
TOMMY
Uh-uh. No dibs. Share and share
alike.
121 INT. ATLANTIC CITY HOTEL - THE BIG ROOM - NIGHT 121
ANGELS
MY BOYFRIEND’S BACK AND YOU’RE
GONNA BE IN TROUBLE
HEY LA, HEY LA, MY BOYFRIEND’S
BACK!
The song continues under:
122 EXT. HIGHWAY (OHIO) - AFTERNOON 122
Bob’s Caddy leads, Nick’s Caddy follows. Maybe we see a

highway sign I.D.-ing what state we’re in.
POV FROM CAR
Four “Burma-Shave” style roadside signs.”
(CONTINUED)
79.
122 CONTINUED: 122
-- TAKE 2 BRAND-NEW SPIFFY CADDYS
-- FILL ‘EM WITH 4 HANDSOME LADDIES
-- ADD 3 FOXES BORN TO PLEASE
-- ENDLESS POSSIBILITIES.
123 INT./EXT. BOB’S CADDY - DAY 123
Bob and Frankie, an Angel between them.
124 SERIES OF TOUR POSTERS 124
“One night only” tour posters, I.D.’ing the different

venues, favoring the South and Midwest...
INTERCUT WITH:
125 DIFFERENT COMBINATIONS OF THE THREE ANGELS AND THE FOUR 125
GUYS AND THE TWO CARS
As the Angels are passed around.
The “One night only” posters refer as much to the hook-

ups as to the gigs.
126 INT./EXT. NICKY’S CADDY - DAY 126
Tommy drives, Angel #1 next to him. Nicky’s alone in

back.
NICK
Hey, Tommy -- you put that ten
grand back in the tax account?
TOMMY
Get off my back, okay, Nick?
NICK
It’s adding up. Plus the 3,500
you dropped at the track last
Saturday --
TOMMY
Okay, that’s it. We’re gonna have
a new arrangement.
NICK
What?
(CONTINUED)
80.
126 CONTINUED: 126
TOMMY
Frankie rides with me. You ride
with the genius.
NICK
That’s kind of up to Frankie,
isn’t it?
ANGEL #1
Yeah, and Bobby, too, right? I
mean, the two of them, they’re
always together. They’re like a
pair of -- what d’ya call it --
Chinese twins.
TOMMY
Try not to say anything for the
rest of the day, okay, sweetheart?
127 EXT. HIGHWAY - DUSK 127
Nick’s Caddy streaks by, followed by Bob’s Caddy,

revealing a highway sign -- “ENTERING ILLINOIS: THE
PRAIRIE STATE.”
Song continues under...
128 INT./EXT. BOB’S CADDY - DUSK 128
Frankie drives, Angel #2 next to him. Bob and Angel #3

are in back, asleep, her head on his shoulder.
FRANKIE
(to his Angel)
Lemme explain. You’re out on the
road. A thousand miles from home.
You do a show, you get charged up,
you’re ten feet tall... and then
it’s midnight and what’re you
supposed to do? Go back to the
hotel and rinse out your socks?
(then)
Everybody has a girlfriend, honey.
Everybody.
ANGEL #2
Then why get married?
FRANKIE
Are you kidding? Family is
everything.
81.
129 EXT. HIGHWAY - NIGHT 129
The car speeds into the night.
SONG (”My Boyfriend’s Back”) ENDS and we’re back in --
130 EXT. NEW JERSEY - STREET - NIGHT 130
Bob’s Caddy arrives at a nice middle-class house. Kid’s

bike on the lawn. Frankie takes a suitcase from the back
seat, exits the car, walks wearily to the house as Bob
drives off.
131 INT. FRANKIE’S HOUSE - NIGHT 131
Mary holds a drink. She’s halfway gone.
MARY
You show up for a couple of days
and you think that makes you a
father?
FRANKIE
At least when I’m here I’m here.
Not stoned out of my mind. You
think the kids don’t know what
you’re doing?
MARY
You wanna switch places? Any
time. There’s the kitchen,
there’s the washing machine, knock
yourself out.
FRANKIE
Okay, you go on the road, we’ll
all live off what you make.
Now we see little Francine’s head peek around the corner

at the top of the landing. She stays, listening.
MARY
No thanks, I wouldn’t want to
cramp your style.
FRANKIE
Listen, the road is the road. I’m
out there busting my hump to
provide for this family --
MARY
(riding over)
Bullshit.
(MORE)
(CONTINUED)
82.
131 CONTINUED: 131
MARY (CONT'D)
Your family’s out there. You
think I don’t know what goes on?
She removes her wedding ring and throws it on the floor.
MARY
Here. Give it to one of your
‘special friends.’ Go tour outer
space for all I care. You’ll
still be what you always were -- a
dumb wop from Jersey who never
even graduated high school.
Mister Vally with a ‘y.’ Give me
a break.
FRANKIE
Pick that up.
She just stares at him defiantly and takes a big drink.

Frankie bends down to pick up the ring, which has landed
near the stairs. He looks up.
Francine, sitting on the top stair, wide-eyed.
132 INT. FRANCINE’S ROOM - NIGHT 132
Frankie is tucking Francine in.
FRANCINE
Is Mommy very sick?
FRANKIE
Why do you ask?
FRANCINE
Sometimes she drinks a lot of
medicine and then goes to sleep on
the couch.
FRANKIE
Medicine, huh?
(then)
Well sometimes that medicine makes
her real tired.
FRANCINE
Daddy, do you love me?
FRANKIE
More than anything.
FRANCINE
But do you like me?
(CONTINUED)
83.
132 CONTINUED: 132
FRANKIE
I like you more than the whole
world with the sun and the moon
thrown in extra. Now go to sleep.
FRANCINE
Sing me.
FRANKIE
(a capella)
MY EYES ADORED YOU
THOUGH I NEVER LAID A HAND ON YOU
MY EYES ADORED YOU... (ETC.)
Add band to the vocal as song continues under --
133 EXT. FRANKIE’S HOUSE - DAY 133
Frankie, leaving. Mary and Francine at the door, saying

goodbye. He has some suitcases. He kneels and talks to
Francine. She nods but isn’t happy. He embraces her.
FOLLOW him as he walks to the sidewalk. Waiting at the

curb is Bob in his Caddy convertible. The back seat is
filled with boxes and Frankie’s personal stuff. One last
look at Francine, he gets into the car, it drives off.
Francine and Mary, drink in hand. Francine waves. Mary

takes a drink. They recede as we PULL AWAY. Mary pulls
Francine in and closes the door.
134 INT. CBS - ED SULLIVAN STUDIO - NIGHT 134
Frankie under a street lamp on a stylized set, an

industrial skyline behind. He continues singing “My Eyes
Adored You” and is eventually joined by Tommy, Bob and
Nick.
APPLAUSE SIGN flashes, we’re at...
135 INT. CBS - ED SULLIVAN SHOW - BACK STAGE - NIGHT 135
Studio people rush on, touch-up, makeup, set flies out,

curtain flies in.
ED SULLIVAN (O.S.)
And now, for the youngsters,
everybody's favorite Italian mouse
-- Topo Gigio!
(CONTINUED)
84.
135 CONTINUED: 135
Bob’s sitting in a chair, being patted down, someone

fooling with his hair. On a monitor, we see Topo Gigio’s
act.
STAGE MANAGER
One minute, people.
Bob and Frankie are ushered by a STAGE MANAGER past the

backstage clutter toward the stage for their next number.
As they move, makeup follows along, doing last minute
touch-ups. Crewe walks along with them.
Now they’re at the edge of the set, waiting for their

cues.
CREWE
(to Bob)
Remember, you’re not playing to
the house, you’re playing to the
camera. Don’t move too much and
don’t look down. And smile.
STAGE MANAGER
One minute.
Norm the Bag appears.
NORM
Hey, Frankie! Fabulous show. You
guys get better and better.
Norm has his hand out. Frankie doesn’t take it.
FRANKIE
Thanks.
NORM
Tommy around?
FRANKIE
Who wants to know?
NORM
Norman Waxman, Frankie. Friend of
Tommy’s.
FRANKIE
What’s this about?
NORM
Money.
FRANKIE
Listen, Mister --
(CONTINUED)
85.
NORM
Waxman. Norman Waxman.
FRANKIE
You got business with us, you talk
to our attorney. Now, if you’ll
excuse me --
NORM
No, no. You got a little success
now, right? You got the records,
the TV, the personal appearances.
And we’re all proud of you --
STAGE MANAGER
Excuse me, you can’t be here.
NORM
(ignoring him)
Tommy’s put me in this awkward
position. I’ve stalled my people
as long as I can. But he’s in too
deep. They want their money now,
before something unfortunate
happens to one of you and it all
goes up in smoke.
FRANKIE
(turns to leave)
This is bullshit.
BOB
How much does he owe you?
NORM
One hundred and fifty large.
FRANKIE
Excuse me?
NORM
One hundred and fifty thousand
dollars.
BOB
Oh, Jesus.
A SECOND STAGE MANAGER appears with Nick and Tommy.
NORM
Hi, Tommy.
TOMMY
Hey, Norman. What’s up?
(CONTINUED)
86.
POV OF ED SULLIVAN
from the side, in silhouette:
ED SULLIVAN
Now, ladies and gentlemen, another
song from the fabulous Four
Seasons!
BACK TO SCENE
The Stage Manager pushes them onstage.
136 INT. ED SULLIVAN SHOW - SET - STAGE - NIGHT 136
Applause, then we hear the famous vamp for “Oh, What A

Night.”
CLOSEUP OF EACH OF THE FOUR GUYS
None of them very happy with the latest news about Tommy.
BACK TO SCENE
Bob has to sing lead here, and it’s hard for him to
smile. But he does, for Sullivan and America.
We dial down the song and FAVOR NICK...
NICK (V.O.)
Bob’ll tell you it was all smooth
sailing right up until we hit the
iceberg with Tommy and the hundred
and fifty thousand. That’s Bob --
he was always looking so far into
the future he never saw what was
going on under his nose. Fact is,
the trouble didn’t start at the
Sullivan show. It started long
before that.
137 EXT. OHIO STATE FAIR - DAY 137
Piles of pumpkins and corn, haystacks, bushels of

apples...
SUPERIMPOSE: FALL
SUPERIMPOSE: TWO YEARS EARLIER
(CONTINUED)
87.
137 CONTINUED: 137
Painted signs offering the pumpkins for sale for $1.

Carousel, small Ferris wheel, carnival rides.
138 INT./EXT. OHIO STATE FAIR - PERFORMANCE AREA - DAY 138
Backstage. A shed or tent with a platform/performance

area.
An assortment of appropriate fair-oriented entertainers

and prize winners. A kid with a giant pug wearing a blue
ribbon. A juggler, practicing. A guy in lederhosen and
an accordion.
A uniformed policeman stands and watches.
FROM THE WINGS
-- we see the four. They’re still playing their own

instruments and are not as slick or coordinated as they
will be later. They are singing “Dawn.” They finish
their song and we hear applause.
TOMMY
Thank you, folks! See you next
year!
They walk offstage to be greeted by the police OFFICER.
OFFICER
Great show, fellas. Welcome to
Cleveland. You’re under arrest.
Tommy and the guys keep walking. The Officer keeps up

with them and we LEAD them.
TOMMY
For what?
OFFICER
Defrauding an innkeeper.
TOMMY
What?
OFFICER
You fellas played here last year?
TOMMY
Yeah.
OFFICER
You stay at the Holiday Inn?
(CONTINUED)
88.
138 CONTINUED: 138
TOMMY
I don’t remember.
OFFICER
They do. You skipped without
paying the bill. You owe the
Holiday Inn one hundred and twenty
dollars.
BOB
Tommy, for crying out loud!
TOMMY
A minor oversight. I can take
care of that right now.
He snaps his fingers and someone hands him an airline bag

and he hands them his guitar.
OFFICER
Gotta see the Judge about that.
TOMMY
Can’t we deal with this privately?
He’s opened the bag and waves a wad of bills.
OFFICER
You’re not offering me a bribe,
are you? Because that’s a Class B
felony.
BOB
Okay, Tommy, I want a lawyer!
TOMMY
Hey. This is Ohio. I’m dealing
with it.
(to the Officer)
One-twenty, was it? Let’s make it
a round three hundred and we all
have a nice day.
SFX: CLANG! Cell door slams. We’re at a --
139 INT. JAIL - DAY 139
Three adjoining cells.
Tommy’s in one, playing 3-card monte with an unsuspecting

cellmate. He makes the throw. The guy points to a card.
Tommy flips it over -- it’s not the queen.
(CONTINUED)
89.
139 CONTINUED: 139
TOMMY
Wrong again. That’s forty you owe
me.
Frankie and Nick are in the center cell.
In the third cell is Bob. His cellmate is a 350 pound

biker-type from hell, with no teeth, too many tattoos,
face piercings, and a come-hither smile.
TOMMY
(from his cell)
Hey, Nicky -- remember when we
couldn’t get arrested?
BOB
(fuming, from his
cell)
When was that? When you were
three?
TOMMY
Calm down, genius. A couple of
days. No big deal.
BOB
Uh-huh. This may come as a big
shock to you, Tommy, but I don’t
have a police record.
TOMMY
Never too late to start.
(then)
Hey -- maybe you’ll get a song out
of it.
(sings)
OH ME OH ME OH MY-O,
DID SOME TIME IN OHIO --
FRANKIE
Tommy, can it.
TOMMY
Well, calm the kid down.
BOB
I’m not gonna calm down! I’m in a
jail cell, you cretin! With a --
a --
His scary cellmate is staring at him.
BOB
-- person.
(CONTINUED)
90.
QUICK CUTS of the four of them, mug shots.
140 EXT. JAIL - DAY 140
The four, exiting, shaking hands with the cops and

guards. Frankie, besieged for autographs, signing 45s
and LPs.
NICK (V.O.)
Bob never forgave Tommy for that
weekend. Me, I let it slide,
because the group comes first.
We’re all in this together, right?
(then)
Right.
141 INT. ACCOUNTANT’S OFFICE - DAY 141
ACCOUNTANT
We shouldn’t be drawing down from
this account, Tommy. We gotta put
something aside for Uncle Sam.
TOMMY
Lou, this is November. April is
nine months away.
ACCOUNTANT
Six, actually.
TOMMY
(a joke)
That’s why you’re the accountant.
ACCOUNTANT
Yes, and that’s why I think --
TOMMY
Don’t think, okay? Just do what I
tell ya. 20 grand to Bellevue
Apartments, I.N.C.
NICK
(looking at a folder)
What’s ‘GaVa’?
ACCOUNTANT
Bobby and Frankie’s partnership.
NICK
What partnership?
(CONTINUED)
91.
141 CONTINUED: 141
TOMMY
They got some kinda cockamamie
partnership.
NICK
About what?
TOMMY
Frankie sings, Bobby writes, some
kinda split.
NICK
You knew about this?
TOMMY
Yeah, so?
NICK
So when were you gonna tell me?
TOMMY
Don’t make a braciole. It doesn’t
cut into your share.
NICK
I dunno, Tommy. A group is a
group. It’s not two guys with a
side deal.
TOMMY
Don’t worry about it, it’s not
gonna last. Not with those two
egos.
NICK
You know, I think maybe I should
start my own group.
TOMMY
You’re not gonna start anything,
Nicky.
NICK
Why not?
TOMMY
Because you gotta get up before
noon to start a group.
Accountant hands Tommy a check. As he signs it...
(CONTINUED)
92.
NICK (V.O.)
Okay, I let that slide, too. I
mean, we were doing good --
concerts, club dates, cover of
Cashbox. Six more weeks at number
one -- that covered a lot of sins.
142 INT. RESTAURANT (DETROIT) - BAR - NIGHT 142
NICK (V.O.)
Until we hit Detroit. This
reporter comes to do a feature on
us. And Frankie falls hard.
Frankie alone at a banquette. He looks up, sees:
LORRAINE, attractive, smartly dressed, being shown to the

banquette by the maitre d’. Frankie rises, they shake
hands.
143 SAME SCENE - MOMENTS LATER 143
The banquette. Lorraine has her pad and pencil out,

takes an occasional note.
LORRAINE
You were how old?
FRANKIE
Fourteen, fifteen... you gotta
understand, we didn’t have
playgrounds or what do you call
these -- after-school programs...
what we had was hanging out on the
corner and B and Es and picking up
numbers and driving guys to card
games...
LORRAINE
B and Es?
FRANKIE
Breaking and entering.
(then)
Here. Look.
He pulls out a few snapshots from his wallet.
CLOSE ON SNAPSHOT
of Frankie’s parents, staring into the lens.
(CONTINUED)
93.
143 CONTINUED: 143
BACK TO SCENE
FRANKIE
My mother. Best meatball
sandwiches in America. Five feet
two. But don’t mess with her.
(then)
She really wanted me outta that
neighborhood, but now I can’t get
her out. She won’t leave her
friends. I tell her, Ma -- take
‘em with you, I’ll move ‘em all.
No way. I send her cash, it goes
in the drawer. The washing
machine breaks, she won’t spend
the money to fix it. So she goes
to the laundromat and tells
everybody she’s Frankie Valli’s
mother. So now people think I’m
the kinda son who makes his mother
go to the laundromat.
Lorraine, charmed, has put her pencil down to listen.

There’s a moment between them.
FRANKIE
So... what else do you wanna know?
LORRAINE
(really asking, are
you married?)
Kids?
FRANKIE
Three girls. They’re with their
mother now.
LORRAINE
(pointing to a
snapshot)
Who’s that?
SNAPSHOT OF FRANCINE
Now about 12, sitting on a pony at a pony ride

concession.
BACK TO SCENE
FRANKIE
Francine. My youngest. She wants
to be a singer, God help me.
(MORE)
(CONTINUED)
94.
FRANKIE (CONT'D)
Used to get up on the coffee table
and sing, ‘I Can’t Give You
Anything But Love, Daddy.’
144 PICK UP TWO HIGHBALL GLASSES 144
on a tray, carried by a waiter, MOVE WITH him, during:
NICK (V.O.)
Sometimes it just clicks with
people, and after the nightmare
with Mary... this was a nice girl,
smart, great-looking... they were
crazy about each other.
Waiter has LED us TO Nick at a table in the corner, where

he’s drinking alone. Waiter puts both glasses in front
of Nick and takes two empty glasses away. Nick slugs one
drink back.
NICK (V.O.)
And then she interviewed Tommy.
Thing about Tommy is, he was only
used to dealing with a certain
class of woman.
145 FLASHBACK - INT. TOMMY’S GIRLFRIEND’S APARTMENT - NIGHT 145
Tommy’s girlfriend from scene 33, with the beautiful hair

is tied to a chair with gaffer’s tape over her mouth.
There’s evidence of a struggle -- overturned chairs, etc.
As the girlfriend weeps and struggles and moans, TOMMY’S
WIFE is shearing off her hair with a nasty-looking pair
of scissors.
TOMMY’S WIFE
I’m the wife. You’re the whore.
Capisce? Just so we have our
priorities straight.
NICK (V.O.)
... so when he went up against
Lorraine, it was like, no contest.
146 OMIT 146

95.
147 LORRAINE AT THE BAR 147
different day, different outfit. She’s interviewing

Tommy and is bemused at his arrogant self-confidence.
TOMMY
So what’d Frankie say about me?
LORRAINE
Not much. More about him and
Bobby. How the group never really
took off until Bobby --
TOMMY
(cuts her off)
Did he tell you I hired Bobby?
LORRAINE
He said it was more like a group
decision.
TOMMY
Oh, he said that, huh?
Tommy’s hurt that Frankie failed to give him credit for

running the group. So he decides to hit on Lorraine to
hurt Frankie back.
TOMMY
Did Frankie tell you, before I
took him on, he was studying to be
a hairdresser?
LORRAINE
No.
TOMMY
Oh, yeah. The kid was lost.
Between you and me -- and don’t
print this, because he doesn’t
want it out there -- I taught him
everything he knows.
LORRAINE
(writing)
Really.
TOMMY
But not everything I know.
LORRAINE
Ah.
(CONTINUED)
96.
147 CONTINUED: 147
TOMMY
I even had to get him laid the
first time. Give him a little
tutoring.
LORRAINE
(touche)
Well, you tutored him very well.
TOMMY
(smile)
Why don’t we just cut to the chase
here, Lorraine?
LORRAINE
How do you mean, Tommy?
TOMMY
You’re a big girl. I can see you
been around. So... when you get
tired of high school, you might
wanna check out the graduate
course.
A laugh of disbelief from Lorraine at Tommy’s crude

pitch. Tommy, thinking she’s interested, joins in the
laugh.
Underscore: “BIG MAN IN TOWN.”
148 INT. HOTEL SUITE (DETROIT) - LATE MORNING 148
Frankie is shirtless and doing up his trousers. Pacing,

furious. Lorraine is in bed.
There's a room service table with the remains of

breakfast.
FRANKIE
He hit on you?
LORRAINE
Only like with a sledge hammer.
FRANKIE
That sonofabitch. I'm gonna kill
him.
LORRAINE
Frankie -- it was funny.
FRANKIE
It's not funny. You don't do
that.
(CONTINUED)
97.
148 CONTINUED: 148
LORRAINE
He's pathetic. Leave it alone.
FRANKIE
You don't do it! You don't! And
now I'm supposed to go out on
stage with him? Sing with him?
Make jokes? What is he, crazy?
LORRAINE
He might be just a little stupid.
Did you ever think of that?
FRANKIE
No, he's not stupid. Tommy's not
stupid. He's evil. Did he put
his hands on you?
LORRAINE
No, of course not.
Frankie is pouring himself some coffee.
FRANKIE
This is bad.
He spills some hot coffee on his hand.
FRANKIE
Shit! Shit! Son of a --
He flings the cup against the wall.
Underscore ("BIG MAN IN TOWN") continues for:
149 INT. LOCATION - DAY 149
Tommy has a deck of cards. Reminiscent of their first

scene. He fans the deck, offers it to Frankie, who's
passing.
TOMMY
Pick a card.
Frankie pointedly keeps walking. Tommy bends the deck

and shoots the cards after Frankie -- "Fuck me? Fuck
you!"
150 INT. HOTEL ROOM - NIGHT 150
Tommy is drying off after a shower, throwing towels onto

a pile on the floor while Nick watches, furious at the
mess.
(CONTINUED)
98.
150 CONTINUED: 150
TOMMY
He's freezing me out. What'd I do
so terrible? Take him off the
street? Put him in the group,
hustle with him all these years,
make him a star? And now he won't
even look at me? Over a piece of
ass? I mean, is there an ounce of
good that I did? One ounce? Hand
me that, willya?
Meaning the last clean towel. "BIG MAN IN TOWN"

underscore echoes out on the lyric: "You'll be proud of
me..."
151 INT. ACCOUNTANT'S OFFICE - DAY 151
The four guys and the Accountant. Tense.
FRANKIE
I want Bobby to handle the cash
from now on.
TOMMY
What?
FRANKIE
I want Bobby to handle the cash.
TOMMY
Lemme explain something. When I
leave this group or they carry me
out, Bob can handle whatever you
want him to handle. While I'm in
this group, he's not gonna handle
a dime. Not one stinkin' dime.
NICK
Maybe we should put it to a vote.
TOMMY
I see. Now we got a democracy.
Okay, we'll have a vote. Should
Bobby handle the money, yea or
nay?
He picks up a chair and in a paroxysm of rage smashes it

to kindling on the Accountant's desk. The Accountant
retreats against the wall, wide-eyed. Tommy remains
holding one piece of wood. He tosses it onto the desk.
TOMMY
Okay, that's my vote. Anybody
else?
(CONTINUED)
99.
151 CONTINUED: 151
FRANKIE
Tommy --
BOB
(hand on Frankie's
arm)
Let it go.
TOMMY
Okay, the nays have it.
(then, calmly)
So, who's hungry? Lunch is on me.
Music begins, the famous intro to "OH WHAT A NIGHT" --

building under the following sequence and re-connecting
us to the fateful Ed Sullivan broadcast:
NICK (V.O.)
Tommy won that one but it was the
beginning of the end. Something
just snapped and after that it was
just a long slow slide...
152 INT. HOTEL ROOM - NIGHT 152
Poker game. Tommy and a bunch of serious players. He

loses a big hand. The winner rakes in his money.
153 INT. TOMMY'S HOUSE - BEDROOM AND CLOSET - NIGHT 153
Tommy pulls a shoebox off a shelf. Inside, lots of cash.

He takes a wad.
154 INT. SPORTING GOODS STORE - DAY 154
Tommy paying cash for a set of fancy new golf clubs.
155 INT. ACCOUNTANT'S OFFICE - DAY 155
The Accountant, hands in helpless gesture, is shaking his

head, no, sorry, can't do it.
156 INT. CONEY ISLAND AQUARIUM - DAY 156
Tommy getting another loan from Norm who writes it in his

little book.
100.
157 INT. APARTMENT HOUSE - CORRIDOR - DAY 157
Tommy presents a girlfriend with a set of keys, she opens

the door to her apartment, red ribbon on the door, hugs
him.
158 INT. TOMMY'S HOUSE - BEDROOM AND CLOSET - NIGHT 158
Tommy opening the money-shoebox. It's empty.
159 INT. SOMEBODY'S BASEMENT - NIGHT 159
Poker game. Lower class of players than the first game.

Tommy deals. Suddenly the guy next to him grabs his hand
and reveals he's dealing seconds. Someone pulls a gun.
Tommy upends the table and flees. Now we --
RETURN TO:
160 INT. CBS - ED SULLIVAN STUDIO - NIGHT 160
Frankie and Bob, as they were, waiting to go on for "Oh

What A Night." Norm is approaching.
NICK (V.O.)
Fact is, we had no idea how deep
in he was until Norm Waxman showed
up at the Sullivan show and blew
the lid off.
We repeat the scene, but now from --
NICK'S POV
during which Norm breaks it to Bob and Frankie about

Tommy's debt, but MOS.
Tommy approaches Norm.
CUT TO:
TOMMY
as he says to Norm:
TOMMY
Hey, Norman. What's up?
101.
161 ANOTHER ANGLE 161
The scene continues MOS, Bob singing "Oh What a Night,"

Frankie and Nick eyeing Tommy with loathing, Tommy
playing to Sullivan's TV camera like he owns it•••
NICK (V.O.)
You'd think after everything that
went down, Frankie woulda cut
Tommy loose right then. That's
what you think, you're not from
Jersey.
SONG FADES OUT.
Full house. Frankie stands at Gyp DeCarlo's ringside

table.
FRANKIE
Tommy's in a little trouble.
DeCARLO
How little?
FRANKIE
A hundred and fifty thousand.
DeCARLO
So why isn't he standing here
talking to me?
FRANKIE
Because he can't sing ‘My Mother's
Eyes’ like I can.
Frankie holds out his half of the hundred dollar bill

from that long-ago night. DeCarlo takes it.
DeCARLO
You take care of family, Frankie.
I like that.
FRANKIE
(wryly)
Yeah.
DeCARLO
I'll see what I can do.
(CONTINUED)
102.
162 CONTINUED: 162
EMCEE
Ladies and gentlemen, The Sea
Breeze Lounge is proud to present
the special return engagement of
international recording stars, The
Four Seasons!
Applause. Bob, Tommy, and Nick cross to their mikes.

The band hits the opening chord of "Beggin'."
Frankie sings the intro and first chorus directly to

DeCarlo.
Then the song becomes underscore, as we see --
163 EXT. DeCARLO COMPOUND - DAY 163
Gated. One of Gyp's soldiers watching the gate. The

Seasons arrive in their two Caddys. Gyp's guy opens the
gate, waves them in.
164 INT. GYP'S KITCHEN - DAY 164
Gyp and Norm the Bag waiting for them. Greetings,

embraces, signs of respect. The guys descend a
staircase. A few of Gyp's Soldiers nearby follow them
down.
165 INT. GYP'S BASEMENT - DAY 165
A large table in a finished basement. Gyp invites the

Seasons to be seated. Tommy is going for one chair, but
Gyp sharply points to a chair near him.
At the large table: Gyp, Tommy, Bob, Nicky and Frankie.

Gyp and Norm the Bag at each end. In the b.g. the two
torpedos stand and watch.
CUT TO:
Gyp, wine glass in hand, raises a toast. Everyone has a

glass.
DeCARLO
We're here to resolve a problem.
We're all gentlemen and we will
act in a civilized manner.
(raises glass)
Salud.
(CONTINUED)
103.
166 CONTINUED: 166
ALL
Salud.
DeCARLO
Okay, how much are we talking
about?
NORM
(consults a small
notebook)
As of noon today, including the
vig -- one hundred and sixty-two
large.
DeCARLO
What were you thinking, Tommy?
TOMMY
I dunno, Gyp. It crept up on me.
DeCARLO
(to Norm)
I'm surprised he's still walking
around.
NORM
I'll be honest with you, Gyp. We
like their songs. Anybody else,
he'd already be in the hospital.
TOMMY
What, you gonna put your goons on
me? You two-bit shylock --
NICK
Tommy, shut up. The man's trying
to work with you.
TOMMY
Hey. Whose side are you on?
NICK
Mine.
TOMMY
You're right about that.
FRANKIE
Tommy --
NICK
Asshole.
TOMMY
I'm the asshole?
(CONTINUED)
104.
NICK
From day one, my friend.
DeCARLO
(sharply)
Gentlemen.
(then)
Our friend Mr. Waxman has a
legitimate --
NICK
(rising)
No. No. Excuse me. All due
respect, he opened it up, I'm
gonna say something.
(then)
I've been rooming with this guy,
on and off, for -- what is it --
ten years? This was not a walk in
the park. This was a sentence. A
ten-year sentence.
FRANKIE
Nicky --
NICK
The man is a personal nightmare.
He wears the same underwear three
days running, he takes no pride in
his appearance. In the simple
amenities of life. You wanna talk
about towels?
FRANKIE
Nicky, this isn't --
NICK
(riding over)
The man cannot be in a hotel
without using all the towels. I'm
talking face towels, bath towels,
the bath mat, the little
washcloths. Like he's living
alone. You need a towel, you know
where it is? In a wet pile on the
floor.
FRANKIE
Nicky --
NICK
I come back to the room one time,
the man is pissing in the sink --
(CONTINUED)
105.
TOMMY
You're crazy, I never pissed in
the --
NICK
Right in the sink! I say, 'Tommy,
what's wrong with you? There's a
toilet over there.' He says,
'This was closer.' This is what
I'm dealing with. The man is not
properly socialized. Frankie
doesn't have to deal with it,
Gaudio doesn't -- I've had to deal
with it.
(screams)
Ten. Years.
He sits, takes a swig of wine. Pause.
DeCARLO
Okay, Nick, thank you for sharing
that.
(then)
Now, Norm and me're gonna take a
little walk and work things out.
I want you boys to put your heads
together and see what you can come
up with.
(to Tommy)
And you -- stay outta the
bathroom.
Norm and DeCarlo leave, climbing the stairs up to ground

level.
FRANKIE
Maybe Gyp can talk some sense into
this guy.
TOMMY
Forget sense. I got some things,
I can put together enough to --
NICK
What? Pull a job? He's gonna
roll a 7-11, like the old days.
TOMMY
Drink your wine, Nicky, and shut
your trap. DeCarlo's not running
this group, I am. I don't even
know what we're doing here.
(MORE)
(CONTINUED)
106.
167 CONTINUED: 167
TOMMY (CONT'D)
Beggin' Gyp for help -- you make
me look like an asshole.
NICK
You do that all by yourself,
Tommy.
FRANKIE
Fellas -- can we --
TOMMY
You know what'd be nice, since I
was here before any of you? A
little respect!
NICK
For what -- getting a hundred and
sixty-two in the hole?
TOMMY
(riding over)
You think it's easy, running a
group? Dealing with the club
owners, the managers, the record
companies, everybody trying to
screw you five ways from Sunday?
You don't care how it gets done,
only that Tommy's taking care of
it! Well, I took care of it!
ME!!
FRANKIE
(quietly, ominously)
Sit down.
(then)
Tommy, you don't give a shit about
the group. You never have. It's
always been whatever it is you got
going, and then there's the group.
TOMMY
You don't know what the hell
you're --
FRANKIE
(seething)
You never wanna rehearse, you
drive Nicky to drink, you put Bob
through the wringer, forget about
trying to mess with my head, which
you've done from day one...
(then)
God help me, Tommy, part of me
would really like to see you hurt.
(CONTINUED)
107.
TOMMY
Tu stronzo dis graziato!
Tommy lunges for Frankie; they're separated by the

others. Gyp's two goons just watch.
DeCarlo and Norm have appeared at the top of the stairs.

As they descend...
DeCARLO
School kids! Leave that outside.
Macche caffoni! Davanti da lui da
Bruculino, macche vergogna! (You
embarrass us in front of Brooklyn
here!)
(then)
All right. Here's how it's gonna
go down.
FRANKIE
Excuse me, Mr. DeCarlo. The group
-- we've come to a decision.
NICK
We have?
FRANKIE
(to Norm)
We're gonna pay back every penny
Tommy owes you.
TOMMY
(stunned)
What?
NICK
Frankie, wait a min--
FRANKIE
(sternly)
Let me handle this.
(then)
It's a lousy few hundred grand.
We got something going here, took
a lot of work and a lot of years --
NICK
So --
FRANKIE
So the group takes the debt.
(CONTINUED)
108.
168 CONTINUED: 168
NICK
This is his problem. Why do we
take his debt?
FRANKIE
'Cause we're not gonna let it come
apart.
BOB
Well?
(rises, all eyes on
him)
Is that good enough, Tommy?
TOMMY
For what?
BOB
Because Frankie's singing was
never good enough, his ideas were
never good enough, nothing he ever
did was good enough --
FRANKIE
Bobby, lay off --
BOB
(riding over)
-- the kid who was never good
enough is bailing you out. So is
that good enough?
DeCARLO
I'm afraid it's a little more
complicated than that.
FRANKIE
Why?
NORM
My people are very angry. They
want a message sent.
FRANKIE
What message?
NORM
(to Tommy)
You're moving to Las Vegas.
TOMMY
What for?
(CONTINUED)
109.
NORM
Your health. We’re gonna keep an
eye on you. We see you outside
Nevada, it gets ugly.
TOMMY
No way. Not Nevada. Better throw
me in the river.
NICK
Your choice.
FRANKIE
Wait a minute. For how long?
NORM
Until it’s paid off.
FRANKIE
(to DeCarlo)
But we’re in the middle of a tour!
DeCARLO
Best I could do.
FRANKIE
But what happens to the group?
TOMMY
I’ll tell you what -- nothing.
Because I’m still 25 percent of
this thing and it’s all on paper.
So suck on that.
BOB
Okay, we buy him out. A clean
break.
TOMMY
But me out! You don’t buy me out.
I buy you out.
BOB
With what, Tommy?
TOMMY
Fine. Buy me out. It’s over
anyway. How many more hits you
think you’re gonna write?
FRANKIE
All right, wait a minute, wait a
minute --
(to Tommy)
Anything else we don’t know about?
(CONTINUED)
110.
TOMMY
I maybe borrowed a little from the
tax account.
FRANKIE
How much?
TOMMY
Half a mil, in that neighborhood.
Frankie looks at Bob. Bob nods.
FRANKIE
All right, we’re gonna take that,
too.
NICK
Frankie, what’re you --
FRANKIE
(edge)
I said let me handle it!
(to Tommy)
The loan, the taxes, we take it
all.
DeCARLO
Okay, that’s it then. Norm,
Tommy, would you excuse us?
Tommy looks to Frankie, to Bob, finally, to Nick. They

all look away, refuse to meet his gaze. The two
torpedoes appear on either side of Tommy and escort him
and Norm upstairs.
DeCARLO
Frankie, you’re digging a million
dollar hole for yourself.
FRANKIE
Tommy took me off the street, Gyp.
What’s that worth?
DeCARLO
You’ll be on the road till you’re
ninety. You want, I could arrange
a loan.
(CONTINUED)
111.
169 CONTINUED: 169
BOB
Thanks, Mr. DeCarlo, but I don’t
want anybody involved in our
future but me and Frankie.
Nick, stunned, turns way.
NICK
Hey, I just realized something.
(as they all look)
I don’t want to be in this group
anymore.
FRANKIE
Not now, Nicky.
NICK
No, forget that. I wanna go home.
FRANKIE
What’re you talking about?
NICK
I wanna go home.
FRANKIE
Okay, good idea. After the tour,
we all take a break --
NICK
No. Now.
(then)
I quit.
BOB
You can’t quit.
NICK
Hey, I got his attention. Hi,
Bob.
BOB
Nicky, we’re in the middle of a
tour!
NICK
Yeah...
(oddly)
You know, I always hated the
touring... the hotels... those
tiny little bars of soap. You’re
supposed to wash with that soap?
You can’t even see it.
(CONTINUED)
112.
FRANKIE
Nicky, you’re talking crazy. Now
calm down and we’ll figure it out.
Nick has moved to the stairs.
NICK
I already figured it out. I’m
gonna make it real easy. I don’t
want any money. I don’t want any
side deals. All I want is out.
He starts up the stairs. Frankie moves toward him.

DeCarlo gestures, let me handle this. Frankie holds
back.
DeCARLO
Nicky, wait --
DeCarlo follows him up the stairs.
170 EXT. DRIVEWAY IN FRONT OF GYP’S HOUSE - DAY 170
Gyp walks Nick to Nick’s car. We LEAD them during...
DeCARLO
Let me understand. You put in all
this time, you have all these
hits, and you’re just gonna walk
away? That is crazy.
NICK
You wanna hear about crazy? Me
and the wife had a little trouble
last year, so you know what I did?
I put my kids with my parents.
And then I told ‘em -- my own kids
-- I made up this thing where I
told ‘em I was really their uncle.
Uncle Nick.
DeCARLO
I don’t understand.
NICK
So I could screw around. Do what
I wanted. I figured if I wasn’t
home to put ‘em to bed and stuff,
they wouldn’t feel deprived of a
father.
DeCARLO
I don’t know what to say, Nicky.
(CONTINUED)
113.
170 CONTINUED: 170
NICK
All due respect, Mr. DeCarlo --
you sell a hundred million
records, see how you handle it.
Nick gets in the car. Slam. He starts the engine.

Driver’s window is down. DeCarlo leans down.
DeCARLO
Frankie and Bob, they’re gonna
take this hard.
NICK
I’m not worried. With all their
talent, they’ll never even know
I’m gone.
He drives off.
171 INT. STUDIO - DAY 171
Bob and Frankie and an instrumental backup group are

performing “Let’s Hang On” for a few RECORD COMPANY
EXECUTIVES.
Bob stops the number. The EXECS are underwhelmed.
BOB
Of course it’ll be fatter when I
get some brass and strings --
RECORD EXEC
May I speak freely? The people
want the Four Seasons, not the Two
Seasons. And so do we.
172 INT. DINER - NIGHT 172
With the small jukebox selection modules at each booth.
FRANKIE
Well, as Nicky would say -- that
went well.
BOB
Look, Frankie -- you may not want
to hear this, but performing was
never really my thing.
FRANKIE
You’re right. I don’t wanna hear
this.
(CONTINUED)
114.
172 CONTINUED: 172
Someone in an adjoining booth puts a coin in and “Stay”

by the Four Seasons comes up on the jukebox.
Frankie and Bob hear the song off the jukebox. The irony
is not lost on them. The song continues under the scene.
BOB
You’re a single, Frankie. You
should be up in front.
FRANKIE
But they said --
BOB
Forget what they said. They’re
morons. We try and get the group
back we’ll go crazy. Because
we’ll never get it back.
FRANKIE
(finally)
You want me to get out there by
myself? What are you, nuts?
BOB
There’s a lotta great backup guys
out there. Joe Long and Charlie
Calello. We find two more, put
you in front, and it’s ‘Frankie
Valli and the Four Seasons.’ A
great drummer, a horn section like
we talked about --
FRANKIE
And what do you do?
BOB
Write and produce.
FRANKIE
I don’t like it.
BOB
Why?
FRANKIE
Because you’re crapping out on me!
I thought we had a handshake.
BOB
We do. Look, you want me to stay,
I’ll stay --
FRANKIE
Good. I want you to stay.
(CONTINUED)
115.
BOB
-- Only we’ll do better if we make
money from both ends and dig
ourselves out of the Tommy thing.
FRANKIE
What if they don’t like me as a
single?
BOB
What makes you think they liked
you before?
FRANKIE
You always know what to say, huh?
(then)
I dunno, Bobby -- it’s such a
goddamn roller coaster. I wake up
in the middle of the night, I
don't know where I am. I think,
what the hell happened? What’s
gonna happen? Everybody leaves.
(looks at Bob)
Why does everybody leave?
BOB
Frankie, this is your time.
FRANKIE
How do you do that?
BOB
What?
FRANKIE
Get me to agree to stuff.
BOB
(smiles)
It’s a gift.
Bob extends his hand. They shake.
173 EXT. MIAMI BEACH - HOTEL - ON PALM TREES - DAY 173
SUPERIMPOSE: WINTER
TILT DOWN to reveal: Two airport vans turn into the

hotel arrival area. The place is a little worn, not the
Fontainbleau.
Over this, we hear...
(CONTINUED)
116.
173 CONTINUED: 173
FRANKIE (V.O.)
You listen to Tommy, he’ll tell
you he taught me everything I
know. Except I was making records
when I was fifteen, before anybody
ever heard of Tommy DeVito. And
then, when we had The Four Lovers,
he was paying me twelve bucks a
night when he was getting a
hundred fifty. Well, what the
hell, that’s Tommy. I’m from the
old school. You come up together,
that’s a promise and it’s like
iron. You don’t forget where you
come from.
Frankie and his team disembark. The Four Seasons are now
his backup group: Joe Long, Charlie Calello, plus two
other musicians.
Under this, we hear the opening verse and chorus of “Opus

17/Don’t You Worry ‘Bout Me.”
Hotel STAFF and PORTERS help unload the luggage and

instruments. Frankie lays some bills on the porters and
we LEAD him INTO the hotel to the registration desk.
During this...
FRANKIE (V.O.)
The one who really gets me is
Nick. He was the real article.
We had something going and he just
walks away. Nicky said we
couldn’t handle success. I’ll
tell you the truth. I got no
problem with success. My problem
is being on the hook for a million
bucks, and Bob gets to be home
with his family while I’m on the
road 200 days a year, taking
anything I can dig up.
Nightclubs, hotels, private
parties, anything...
As he passes into the reception area, we --
REVEAL the hotel marquee: TONIGHT ONLY: LUFKIN/MILSTEIN

WEDDING: ENTERTAINMENT BY FRANKIE VALLI AND THE FOUR
SEASONS. THE COMEDY OF STEWIE STONE.
117.
174 INT. HOTEL - REGISTRATION DESK - DAY 174
DESK CLERK
Welcome to the Beachcomber, Mr.
Valli.
FRANKIE
Glad to be here.
DESK CLERK
Could I ask a question?
FRANKIE
Yeah?
DESK CLERK
What ever happened to the real
Four Seasons?
175 INT. HOTEL CABARET - NIGHT 175
Christmas decorations.
Onstage, Frankie and the (new) Four Seasons, performing

the continuation of “Opus 17/Don’t You Worry ‘Bout Me.”
176 SERIES OF MARQUEES 176
of hotels, nightclubs and other venues, announcing

Frankie and the Four Seasons on tour, and, behind the
marquees, ghostlike images of Frankie and his group
performing in unimpressive environments.
177 EXT. ALLENTOWN LOUNGE - NIGHT 177
“THE ALLENTOWN LOUNGE: FRANKIE VALLEY AND THE FOUR

SEASONS: FREE SALAD BAR.”
178 INT. ALLENTOWN LOUNGE - NIGHT 178
Crowd gone. Cleanup. Frankie and the manager. The

manager counts out Frankie’s salary in bills.
179 INT. MOTEL ROOM - NIGHT 179
Frankie has two stacks of tens, twenties and fifties. He

takes one stack and stuffs it into a envelope.
118.
180 EXT. VICTOR’S CABARET - NIGHT 180
“VICTOR’S MILWAUKEE’S HOT SPOT: FOOD -- DINING --

ENTERTAINMENT: TONIGHT ONLY: FRANKIE VALLI.”
The “I” in Valli is tilted, falling off the sign.
181 INT. VICTOR’S - NIGHT 181
Crowd gone. The manager counts out Frankie’s salary in

bills.
182 INT. HOLIDAY INN COFFEE SHOP - MORNING 182
Frankie, alone in a booth, sipping coffee. He’s dividing

a stack of bills into two stacks. Puts the cup down and
sees:
A paper place mat with the United States, featuring lots

of Holiday Inn locations in most of the 48 states. An
arrow on the one in North Dakota says “YOU ARE HERE!”
A cockroach is running around on the map.
FRANKIE
You and me both, pal.
He takes the sugar dispenser and brings it down on the

roach.
The Holiday Inn CLERK interrupts Frankie’s thoughts.
CLERK
Mr. Valli! You got a collect call
from New Jersey.
183 INT. FRANKIE’S HOUSE - KITCHEN - NIGHT 183
Phone on the table.
FRANKIE
Okay, where is she?
MARY
You tell me. She’s your daughter,
too --
FRANKIE
We gonna work together on this or
turn it into a contest?
(CONTINUED)
119.
183 CONTINUED: 183
MARY
(riding over)
-- she never knows if you’ll
visit, when you do, it’s always
last minute --
FRANKIE
I’m an entertainer, remember?
Things get moved around --
MARY
She doesn’t need an entertainer.
She needs a father.
FRANKIE
How about a mother? Why’nt you
pull yourself togeth--
The phone rings. They both go for it. Frankie grabs it.
FRANKIE
Hello?... Hello?
INTERCUT WITH:
184 EXT. MANHATTAN - HELL’S KITCHEN - NIGHT 184
Bad neighborhood. Francine, now 16, on a pay phone.

Nearby hovers a BAD-NEWS DUDE.
FRANCINE
Could I talk to Mommy?
FRANKIE
Francine! Where are you,
sweetheart? Your mother and I are
worried sick.
FRANCINE
I’m in the city, okay? Don’t have
a cow.
The BAD-NEWS DUDE is impatient. He grabs her arm, get

off the phone. She shrugs him off.
FRANKIE
Sweetheart, you don’t just
disappear off the face of the
earth for two days, you gotta
leave a note or something --
FRANCINE
Don’t yell at me, Daddy.
(CONTINUED)
120.
184 CONTINUED: 184
FRANKIE
Look, I just took a plane halfway
across the country --
(fighting to keep his
patience)
You got money for a cab? Just get
in a cab and come home.
FRANCINE
So now you’re gonna be my father
all of a sudden?
MARY
(hand out for the
phone)
Frankie --
FRANCINE
It’s two lousy days, Daddy. You
disappear for months at a time --
FRANKIE
That’s different, Francine --
FRANCINE
I know, I know. You’re working.
You’re slaving away on the road so
you can give us a good life. I’ve
heard it a billion times. Gimme a
break. Can I please talk to Mom!
FRANKIE
Don’t talk to me like that,
Francine, I’m your fath--
The BAD NEWS DUDE puts his hand on the hook, cutting off
the call.
FRANKIE
Francine -- ?
The dial tone is overtaken by the sound of Frankie’s new

record.
FRANKIE AND THE NEW SEASONS

(V.O.)
OOO OO OO OO OO OO Oo... AH!
He replaces the phone.
MARY
Good job, Dad.
And we’re into the chorus of the number:
(CONTINUED)
121.

(V.O.)
BYE, BYE, BABY, BABY, GOODBYE
BYE, BYE, BABY, DON’T MAKE ME CRY.
SONG CONTINUES UNDER:
185 EXT. HELL’S KITCHEN - DAY 185
Francine is getting her cigarette lit by her bad-news

BOYFRIEND.
A large gentleman we will call JOHNNY approaches.
JOHNNY
Francine?
FRANCINE
Yeah?
JOHNNY
Your father would like to see you.
BOYFRIEND
Can I help you?
JOHNNY
No.
(to Francine)
C’mon.
BOYFRIEND
Who the hell are you?
JOHNNY
Get lost before I snap your neck.
FRANCINE
It’s okay. I’ll call you.
186 INT. HELL’S KITCHEN - DINER - DAY 186
Frankie, in a booth, nursing a cup of coffee. Johnny

enters with Francine, escorts her to the booth. On the
jukebox: “Bye, Bye, Baby.”
FRANKIE
Thanks, Johnny.
JOHNNY
Any time, Frankie.
Johnny exits.
(CONTINUED)
122.
186 CONTINUED: 186
FRANKIE
Sit down, Francine.
FRANCINE
How’d you find me?
FRANKIE
I have friends who have friends on
the street.
FRANCINE
You mean your friends in the mob?
FRANKIE
(decides to ignore
it)
You want something?
FRANCINE
Coke.
FRANKIE
(calls)
Coke over here!
She looks at him, defensively, now what?
FRANKIE
Look, Francine. I’ve been a bad
father. I don’t know what
happened. Actually, I do. I was
never around, and your mother --
well, you know all about that.
She just couldn’t handle it and I
should have stepped in, but it’s
hard to balance the home and the
work... I screwed up, okay? The
thing is, I wanna make it right.
Francine has taken out a pack of cigarettes, put one in

her mouth. He reaches over and takes it out.
FRANKIE
You wanna be a singer, first thing
is you stop that. You could be a
great singer. You got my chops
and your mother’s beauty and you
could have it all if you’d just
get it together. I know how hard
it is. You got something you
wanna give to the world and nobody
gives a shit. But then it turns
around. We’re gonna turn it
around.
(MORE)
(CONTINUED)
123.
FRANKIE (CONT'D)
You’re gonna take singing lessons
and start eating good and
exercising and I set it up with
Bob Crewe -- you’re gonna record a
demo -- four songs -- and this
nightmare’s gonna end.
By the end, her face has softened and she’s weeping.
SONG (”BYE, BYE, BABY”) CONTINUES UNDER:
187 EXT. UPPER EAST SIDE STREET (MANHATTAN) - DAY 187
FAVOR a particular brownstone.
188 INT. FRANKIE’S APARTMENT - DAY 188
Lorraine is packing. Frankie paces (music out).
FRANKIE
It’s funny. Back in the day we
almost left Crewe because he
wouldn’t record us a demo -- four
songs. And now he’s doing it for
Francine. I swear, the kid was
about to go under. You know what
it’s like out there with the kids
and the drugs... and her mother --
is it ever about the kid? No.
It’s about winning, who’s right,
who’s wrong, who screwed up. I
mean, people turn into something --
FRANCINE
Frankie --
FRANKIE
What?
LORRAINE
I can’t do this.
FRANKIE
What do you mean?
LORRAINE
This is a small apartment.
There’s not enough room for your
whole family.
FRANKIE
(re: her packing)
Can you stop that for a minute?
(CONTINUED)
124.
188 CONTINUED: 188
LORRAINE
What’s the point? I gotta be out
of town for the next week, then I
come back and you’re on the road,
I don’t see you for six more
weeks --
FRANKIE
I’m working! It’s not a vacation!
LORRAINE
(riding over)
-- and it goes on and on and
nothing changes --
FRANKIE
I need these dates! I got a
million dollar hole that I gotta
get out of!
LORRAINE
That you dug for yourself --
FRANKIE
Don’t talk about things you don’t
know about!
LORRAINE
He used you, he ridiculed you, he
did everything he could to destroy
the group, and you take his debts!
FRANKIE
He couldn’t help himself!!
LORRAINE
Oh, my God. Saint Francis, is
that it? Kind to animals?
(then)
You know, I thought if you could
get out of the neighborhood maybe
we’d have a shot. But you’re
never gonna get out, are you?
FRANKIE
What if we got married?
LORRAINE
You and Tommy? I don’t think
that’s legal in Nevada.
FRANKIE
You don’t give an inch, do you?
(CONTINUED)
125.
LORRAINE
I’m never gonna be first in line.
I’ll always be standing behind
Tommy, and Bobby, and Nicky and
Joey...
(then)
Listen, I gotta go.
FRANKIE
Go tomorrow.
LORRAINE
Come to Boston. We’ll spend the
weekend.
FRANKIE
I can’t do that. I got things --
LORRAINE
I know. Family and work. And
what’s left, Frankie?
FRANKIE
Don’t do this. Not now.
LORRAINE
Why? So we can have a drink and
go around one more time?
(kisses him)
I’m sorry, sweetheart. I gotta
get off the merry-go-round. It’s
no fun anymore.
She kisses him and leaves.
OVER FRANKIE, as he watches from the second story window.

Lorraine exits the building.
Makes a decision. Grabs his coat, is moving toward the

door when the phone rings. Torn for a beat, he finally
picks it up --
FRANKIE
Yeah! Francine!... What?...
what’s wrong? Take it easy. Stop
crying. Talk slower. Just tell
me -- no, no, of course you’re
not --
Carries the phone to the window. Lorraine is hailing a

cab. The cord isn’t long enough for him to get all the
way to the window.
(CONTINUED)
126.
FRANKIE
Francine, honey, can you hold for
a second, just a second --
He puts phone down, tries to open window, can’t, raps on

window to get Lorraine’s attention. She doesn’t hear.
She gets into the cab. It’s too late. Frankie picks up
the phone.
FRANKIE
Hello... no, I’m here. Now,
what’s the problem?... Crewe? I
know... He’s a perfectionist.
He’ll make you crazy until you get
it right. Francine, listen to me.
I never said it was gonna be easy.
Frankie, staring out the window as the cab pulls away.
SONG (”BYE, BYE, BABY”) enters again, building to:

(V.O.)
BYE, BYE, BABY, BABY, GOODBYE...
BYE, BYE, BABY, DON’T MAKE ME
CRY...
The cab is gone. Frankie’s alone.
189 INT. FRANKIE’S NEW APARTMENT - MORNING 189
Frankie’s moved in, mostly unfurnished, stuff leans

against the wall, coffee table with bubble wrap still on
the legs, a few unpacked cartons. Norm the Bag counting
out a large stack of bills. Also present: Gyp DeCarlo
and Bob.
Frankie’s in pajamas, bathrobe and bare feet.
NORM
Fourteen-nine, fourteen-nine-
fifty, fifteen thousand.
(makes a neat pile)
Okay, we’re good.
DeCARLO
Everybody’s whole now, right?
NORM
Frankie -- you know it was nothing
personal --
DeCARLO
Norm. Say goodbye.
(CONTINUED)
127.
189 CONTINUED: 189
Norm hastily sweeps the money into a gym bag and exits.
Gyp pours champagne.
DeCARLO
I told you, ‘do the work and
everything follows.’
(as they laugh)
Long life.
DeCARLO/FRANKIE/BOB
(toast)
Long life.
The phone rings.
FRANKIE
Ten o’clock. That’s my daughter,
Francine. She calls every Friday.
DeCARLO
That’s good, Frankie.
FRANKIE
She’s playing at Victoria’s in
Plainfield.
(phone)
Hold a minute, sweetheart --
Frankie and Bob embrace. Bob and DeCarlo leave.
FRANKIE
(phone)
Francine? You’ll never guess who
was just -- what? Yes... this is
her father. Is something wrong?
Is she all right?
HEAR: Opening vamp to “MY EYES ADORED YOU,” the lullaby

he’d sung to his daughter so many years before.
190 EXT. CEMETERY (NEW JERSEY) - GRAVESITE - DAY 190
Francine’s funeral. Music continues under. As the

PRIEST intones, we PAN OVER the neighborhood family:
Bob and his wife, Frankie’s Mother and Father, Gyp

DeCarlo and his wife, Francine’s mother Mary, Officer
Mike Petrillo (in uniform), Joe Pesci, Bob Crewe,
DeCarlo’s two bodyguards in the b.g., ENDING ON Frankie,
PUSHING IN ON him...
DISSOLVE TO:
128.
191 THE CEMETERY 191
Frankie sits alone on a stone bench near the new grave.
FADE TO BLACK.
FADE IN:
192 INT. COFFEE SHOP - AFTERNOON 192
Snowing outside. Frankie sits in a booth, wearing his

coat, nursing a cup of coffee. Bob enters. He carries a
large manila envelope. He sits. Frankie, desolate.
BOB
How you doing?
FRANKIE
Never better.
BOB
I got something I think is yours.
He pushes the envelope towards Frankie. Frankie doesn’t

move.
BOB
You gonna open it?
Frankie opens it. A lead-sheet. He glances at it and

then shoves it back in the envelope and pushes it away.
FRANKIE
You want me to sing a love song?
Are you out of your fucking mind?
Were you at the funeral?
BOB
You gotta climb out of this,
Frankie, or it’ll kill you.
FRANKIE
She had a bigger range than me,
you know that? And in here, she
had it.
(off his heart)
What was I supposed to do? Put
her on a leash? Chain her to the
bed? They grow up, they go out,
and some strugatz with a bottle of
pills is waiting, and it’s over.
BOB
Don’t blame yourself.
(CONTINUED)
129.
192 CONTINUED: 192
FRANKIE
(flaring)
Really? Who then?
A beat between the two friends. Bob pushes the envelope

over to Frankie.
BOB
Do me a favor. Just take it home.
Something’s not quite right in the
release. Maybe you’ll have an
idea.
FRANKIE
I don’t think so.
BOB
Just look at it.
Bob takes off his scarf and hands it to Frankie.
BOB
And wear this, will ya? No point
in getting pneumonia.
193 EXT./INT. ROAD/FRANKIE’S CAR - NIGHT 193
Deserted road. Frankie at the wheel. His eyes, dead.
SERIES OF SHOTS
Frankie cranking the car up, way past the limit, faster
and faster and faster.
SEE: his face, eyes wild; sweating, heart pounding; the

speedometer, the tach moving to red; white-knuckling the
steering wheel --
The car flashing by --
-- building to a sudden detour, road construction. At

the last instant he snaps out of it and screeches to a
halt, leaving thirty yards of rubber and just missing
destroying the car and himself.
And then, his face relaxes, he comes to; something has

been purged, released, relieved.
194 INT. BOB’S BEDROOM - NIGHT 194
Bob and his wife asleep. Phone rings. Bob torn from
sleep.
(CONTINUED)
130.
194 CONTINUED: 194
BOB
Yeah --
INTERCUT WITH:
195 INT. FRANKIE'S APARTMENT - NIGHT 195
Frankie is lying on the bed, fully clothed, looking at

the lead sheet.
FRANKIE
The problem is, you're modulating
up after the B section and I don't
think you should. You listening?
BOB
(now awake)
Go ahead.
FRANKIE
Goosing it up is, I dunno -- it's
cheesy. It's fine like it is.
Maybe a couple of notes here and
there.
BOB
Why't you come over tomorrow and
we'll fix it.
FRANKIE
I dunno. Maybe.
BOB
How's two o'clock?
FRANKIE
I'll check my schedule.
BOB
Good idea.
196 INT. MIRROR SOUND RECORDING STUDIO - DAY 196
ENGINEER #2
Okay, people -- take five. Five
minute break.
Full orchestra, including strings, about 30 pieces.

Frankie is checking his lead sheet. Crewe is talking to
the conductor, going over the charts. Musicians sipping
drinks, chatting, etc.
131.
197 IN THE BOOTH 197
Bob is in an intense conversation with FINNEY, a record

executive.
FINNEY
Look, I sprung for the session.
What else do you want from me?
BOB
Release the song.
FINNEY
I don't know what to do with it.
It's too hard to be pop and too
soft to be rock.
BOB
It's a new kind of song, Al.
You're the head of a record
company. Do your job. Find the
next thing.
FINNEY
Bobby, what are you busting my
chops? You drag me down here to
hear some kinda fuckin' art song,
you're never gonna get air play.
BOB
Listen. Frankie's made you a
shitload of money. I want you to
do this for him because deep down,
you're a decent human being.
FINNEY
I'll be candid, my friend.
Frankie's okay but he's no Neil
Sedaka.
BOB
Okay, then I want out of our
contract and I'm gonna take you to
court to get back our masters.
FINNEY
Bobby, I own those masters.
BOB
Not after a jury gets a look at
your books.
FINNEY
You don't have the balls.
(CONTINUED)
132.
197 CONTINUED: 197
BOB
Try me.
FINNEY
(finally)
Okay. Call me sentimental, here's
the deal. You get some stations
to play it, I'll release the damn
song. They say no, you can take
your little work of art and stick
it where the sun don't shine.
BOB
Thanks, Al, you're a class act.
Bob leaves the booth, leaving Finney to puff reflectively

on his cigar. THROUGH the glass, we watch Bob enter the
studio proper and go over and talk with Crewe. Over
this:
FRANKIE (V.O.)
You wanna break a song, it's all
about air play. At least then
you're in the game. Then it's up
to the song to click. Without air
play, you got nothing. And the
program directors were the ones in
the toll booth. They were tough.
And greedy.
198 IN THE STUDIO PROPER 198
ENGINEER #2
(on the PA)
Okay, folks, we're back.
The musicians start drifting back to their places.
CREWE
No problem. Where do you wanna
break the song?
BOB
Detroit. The Rooster Tail.
Bob and Crewe start walking back to the booth.
CREWE
Detroit. That's WJR. I know that
guy. Marty something. Mr. First
Nighter. About three hundred
pounds. We get him in there, we
lay on the food, the booze, the
full treatment.
(MORE)
(CONTINUED)
133.
198 CONTINUED: 198
CREWE (CONT'D)
He may be a moron but he's not
stupid. Once he hears the crowd,
you'll get air play, don't worry.
BOB
But that's just Detroit.
CREWE
So we follow up. Philly -- Boston
-- Chicago -- San Francisco. You
start a little movement. Word
gets out.
Bob and Crewe, entering the booth.
CREWE
Stations start getting calls --
(building)
'Where's that song?' 'We wanna
hear that song!' 'What's wrong
with you people?'
The Engineer clicks on the PA mike to make an

announcement --
ENGINEER #2
Okay, everybody --
CREWE
(screams)
PLAY THE FREAKIN' SONG ALREADY!
This last echoes through the place. Everyone in the

studio looks quizzically at Crewe in the booth.
Engineer clicks off the PA mike.
CREWE
And it'll work. You know why?
BOB
Why?
CREWE
I did Frankie's chart. His moon
is in Taurus.
Over the monitors we hear --
FRANKIE (V.O.)
Bobby!
134.
199 IN THE STUDIO 199
Bob and Frankie, isolated from the rest of the room by

sound baffles. Frankie covers the mike with his hand.
FRANKIE
What if we're wrong? What if it's
a turkey?
BOB
If it's a turkey I'll buy the
cranberry sauce.
FRANKIE
What the hell's that supposed to
mean?
BOB
I dunno. But in ten minutes we're
into heavy overtime.
FRANKIE
Bobby, I'm drowning here. Say
something.
BOB
You can always go back to cutting
hair.
FRANKIE
You have no heart, you know that?
That's why Crewe has to do the
lyrics.
The conductor gives the downbeat and the orchestra starts

the intro to "Can't Take My Eyes Off Of You."
FRANKIE
YOU'RE JUST TOO GOOD TO BE TRUE
CAN'T TAKE MY EYES OFF OF YOU
YOU'D BE LIKE HEAVEN TO TOUCH
I WANNA HOLD YOU SO MUCH --
We continue the number and --
CUT TO:
200 INT. ROOSTER TAIL (DETROIT) - PALM RIVER ROOM - NIGHT 200
Where the song actually broke. An upscale entertainment

facility overlooking the Detroit River. A few hundred in
attendance at tables with real linen and floral
centerpieces.
(CONTINUED)
135.
200 CONTINUED: 200
Frankie onstage, band behind him, as he continues singing

"Can't Take My Eyes Off You."
NOW FAVOR --
One table, ringside, with Bob, Marty, the fat program

director from WJR, a few associates and flunkies.
Remains of lobster dinners, seafood platters, steaks,
champagne, the full-court press. Bob is lighting Marty's
cigar.
Horn players enter. Frankie finds Bob, acknowledges the

gift -- he got his horn section.
Around the room, people are silent, listening. The

waiters stop moving. At tables, hands meet, couples
responding.
Marty, the program director, is now very interested, puts

down his cigar. Bob watches him as he watches the crowd,
rapt, breathless, hearing for the first time the now-
famous chorus of the song.
Song ends. Silence. Then, a tsunami of applause. Then,

people start standing up and applauding.
Marty takes a cigar, gives it to Bob and lights it for

him.
Outside, through the giant windows overlooking the river,

fireworks explode.
Over the fireworks and the applause:
201 EXT. ROCK AND ROLL HALL OF FAME - NIGHT 201
Crisscrossing Klieg lights ballyhoo over the iconic I.M.

Pei glass pyramid with the giant guitar sculptures in
front.
SUPERIMPOSE TITLE:
ROCK AND ROLL HALL OF FAME
1990
Red-carpet, photogs, journalists and fans crowd around

the drive-up as the honorees' limos arrive.
PICK UP --
(CONTINUED)
136.
202 CONTINUED: 202
Frankie, Bob and Nick in tuxes, in a group of journalists

and photogs.
JOURNALIST
So you guys haven't sung together
in how long?
NICK/FRANKIE/BOB
(simultaneously)
25 years. /12 years. /19 years.
They laugh.
NICK
A while.
JOURNALIST
You were one of the top groups of
all time. What happened?
FRANKIE
What didn't happen.
JOURNALIST
Of course you've remained friends.
FRANKIE
Oh, yeah. Whenever Tommy's in
town he sleeps on my couch.
Nick smiles.
Now there's a disturbance. A local taxi has pulled up,

depositing Tommy, in a brown sports jacket. Late, as
usual.
The three, facing off with Tommy as flashbulbs pop.
Tommy approaches the three, gives a curt nod in greeting,

Frankie nods back coolly. Tommy moves closer, offers his
hand to Nick, who takes it and they embrace; then with
Bob, ditto, a reserved embrace. Then --
TOMMY
Good to see you, Frankie.
FRANKIE
How's life, Tommy?
TOMMY
(trying)
Can't complain. A little golf, a
little money laundering, the
usual.
(CONTINUED)
137.
Frankie gives a wan smile: nothing's changed. Tommy

offers his hand. Frankie leaves him hanging for a beat,
then finally takes it and Tommy pulls him into an embrace
and holds him longer than necessary.
CREWE (V.O.)
It's been more than twenty years
since these guys have appeared on
the same stage, and what better
stage for a reunion than this one!
203 INT. ROCK AND ROLL HALL OF FAME - AUDITORIUM - NIGHT 203
Crewe is onstage continuing his introduction. As he

speaks, we scan the audience.
CREWE
Ladies and gentlemen, please
welcome my old friends and brand
new Hall of Famers, the original
Four Seasons!
The guys appear (perhaps holding their awards) and begin

"Rag Doll." After a chorus, the music holds and goes
under, Tommy leans into his mike and the other three fall
back:
TOMMY
Know what I do now? I work for
Joe Pesci. Little Joey Fishes.
Same kid I used to slap around.
(then)
Couple of months ago, I'm driving
him somewhere, he says, 'Tommy,
how do you remember yourself back
then?' And I says, 'I think I was
a pretty stand-up guy.' And he
says, 'I gotta be honest with you.
You were a total prick. Nobody
would've put up with your shit
except we all needed something.'
Everyone remembers it how they
need to, right?
(starts to go, then
stops)
By the way -- you're ever in
Vegas, walk into any casino, and
say 'Tommy DeVito.' My hand to
God, you'll be outta there in
about twelve seconds.
Tommy withdraws. Applause from the crowd. Bob leans in

next:
(CONTINUED)
138.
203 CONTINUED: 203
BOB
I'm not drawn to the old
neighborhood, my life never
revolved around the old
neighborhood, I don't give a fuck
about the old neighborhood. I'm
from wherever I happen to be. Me,
my beautiful wife -- and a good
cigar, quiet and peaceful in the
knowledge that none of this
could've happened... without me.
Applause. Nick leans in:
NICK
Everybody asks the same question:
'Why'd you do it, Nicky? Why'd
you walk away?' Lemme clear that
up. It wasn't the side deal. It
wasn't the touring. It wasn't
even rooming with Tommy. It just
came outta my mouth. And once I
said it, I knew it was what I
wanted. I wanted to go home.
(then)
All right, I'll be honest with
you, it coulda been an ego thing.
Everybody wants to be up front.
But if there's four guys, and
you're Ringo...
(then)
Better I should spend some time
with my kids.
Applause. Frankie steps up to the mike.
FRANKIE
They ask you, what was the high
point? The Hall of Fame? Selling
all those records? Pulling
'Sherry' out of the hat? It was
all great. But four guys under a
streetlamp, when it was all still
ahead of us... the first time we
made that sound -- our sound --
when everything dropped away and
all there was, was the music --
that was the best.
(then)
That's why I'm still out there,
singing -- like that bunny on TV
with the battery, I just keep
going and going and going.
(eyes the audience)
(MORE)
(CONTINUED)
139.
FRANKIE (CONT'D)
Chasing the music. Trying to get
home.
Band kicks in and Frankie starts "Who Loves You" --

joined by Tommy, then Bob, then Nick, then various other
artists holding trophies, and the number becomes the jam
session finale that is a trademark of the Rock and Roll
Hall of Fame induction nights.
Now we see the Four Seasons, SHOT FROM BEHIND, spotlights

flaring the lens and then --
204 SERIES OF MEMORIES 204
each giving way to an earlier memory:
THE ROOSTER TAIL, FIREWORKS OVER THE RIVER
THE PACKED SEABREEZE
THE OHIO STATE FAIR
THE SULLIVAN SHOW
THE VINTAGE CHOREOGRAPHY
IN THE RECORDING STUDIO
REHEARSING AROUND FRANKIE'S KITCHEN TABLE, ENDING ON --
205 EXT. NEW JERSEY - STREET - NIGHT (1957) 205
Frankie, Nick, Bob and Tommy -- under a streetlamp,

everything ahead of them, singing their hearts out.
The streetlight gets super bright, the four of them

indelibly fixed in memory -- together, forever.
FINITA LA COMEDIA
FADE TO BLACK.
THE END

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JERSEY BOYS

Marshall Brickman & Rick Elice

This script is the confidential and proprietary

1 EXT. STREET - DAY 1

Local commercial district. Small mom-and-pop shops.

SUPERIMPOSE: BELLEVILLE, NEW JERSEY, 1951

FADE TITLE OUT and UP ON another TITLE:

PICK UP TOMMY, early 20s. Snappy suit, confident walk.

There’s a free-standing telephone. He sticks his finger

He flips the coin like a winner.

2 INT. VITO’S BARBERSHOP - DAY 2

CLOSE ON a figure in the chair, hot towel over his face.

FRANKIE VALLI, 16 years old, is sweeping up hair with a

He brings DeCarlo an espresso.

VITO starts to lather up DeCarlo for a shave.

Louie moves closer to the chair.

Gyp closes his eyes. Frankie approaches him, razor out.

3 EXT. BARBERSHOP - DAY 3

Standing outside is another bodyguard, TRULIO.

TRULIO nods. Tommy pulls out a deck of cards, fans it.

Trulio rolls his eyes, picks a card.

4 INT. BARBERSHOP - DAY 4

Frankie shaving DeCarlo very carefully.

Tommy bursts in, slams the door --

Frankie slips, nicking Gyp. Spot of blood on the shaving

They all look at Tommy.

Somebody passes it to him. He applies it to the cut.

5 INT. DeCARLO’S CAR - DUSK 5

In the back seat, Frankie and DeCarlo.

Now we see that Tommy is driving.

ON Tommy, driving, checking the two in the rearview

6 EXT. STEPHEN CRANE HOUSING PROJECT - NIGHT 6

Simple housing for lower-income families. The car stops.

7 INT./EXT. CASTELLUCCIO APARTMENT/STREET BELOW - NIGHT 7

FRANKIE’S MOTHER is watching from the window. She sees

DeCarlo embraces him, kisses him on both cheeks. His

8 INT. CASTELLUCCIO APARTMENT - NIGHT 8

Spare. Crucifix on the wall flanked by two pictures:

Goes to kiss her. She smacks him on the back of the

9 INT. CASTELLUCCIO APARTMENT - NIGHT (LATER) 9

Frankie and his PARENTS finishing dinner.

Doorbell rings. Frankie jumps up from the table to open

Frankie opens door, it’s Tommy.

Frankie’s Mother has appeared with a brown paper bag.

Tommy inhales the bag like it’s ambrosia.

He embraces and kisses Frankie’s Mother.

10 INT. STUDEBAKER - NIGHT 10

Frankie, Tommy and Tommy’s brother NICK DeVITO. Singing

11 EXT. STREET - DELI - NIGHT 11

The car, a beat-up 1948 Studebaker Commodore pulls up

The car pulls away in a cloud of exhaust and noise and

A SIGN in the deli window tells us the period: HAMBURGER

12 EXT. DELI - REAR - NIGHT 12

They wrestle it to the car. Tommy opens the trunk.

13 EXT. DELI - FRONT - NIGHT 13

Frankie, acting nonchalant. A POLICE OFFICER approaches

A window across the street opens and an ANGRY WOMAN peers

Frankie saunters away. When he reaches the corner he

14 EXT. DELI - REAR - NIGHT 14