Melvin and Howard Page #2

Synopsis: This movie tells the possibly true story of Melvin E. Dummar. Melvin is a nice guy, but he is a total loser: unlucky, impractical and can't keep a job. One night, however, he helps an old man who has had a motorcycle accident in the desert. Melvin laughs when the old man says he is Howard Hughes, the eccentric multimillionaire. But when Howard Hughes dies, Melvin is mailed a will leaving him part of the estate!
Genre: Comedy, Drama
Director(s): Jonathan Demme
Production: Universal
  Won 2 Oscars. Another 15 wins & 9 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
90%
R
Year:
1980
95 min
209 Views


[# Creedence Clearwater Revival:

Fortunate Son]

# Some folks are born

made to wave the flag

# Ooh, they're red, white and blue

# And when the band

plays Hail to the Chief

#Ooh, they point the cannon at you

# It ain't me, it ain't me,

# I ain't no senator's son

# It ain't me, it ain't me

# I ain't no fortunate one

[music stops]

[Horse whinnies]

- Going to work now?

- No, honey...

I'm workin' nights this week.

Go to sleep.

Hey.

[Melvin snores]

[Banging, dog barks]

Oh, no... Repossessed again.

[Car engine starts]

Right.

[Dog barks]

[Yawns]

[Car horn toots]

[Snores]

- Mom.

- Shh!

Shh!

Goodbye, Melvin.

Lynda!

- Mom! What's going on?

- We have to leave.

- [Lynda] Where are we going?

- [Man] Headed to Reno.

- [Girl] Reno?!

- Hey!

- Lynda!

- [Girl] So long, Dad!

- [Lynda] You said no strings attached!

- [Man] You said no strings attached!

[Lynda] Doing me a favour!

- You deserve each other.

- [Girl] How'll we pay for this?

- With a job.

- Whatjob?

Oh, I don't know. I guess...

I don't know.

- Oh... a job.

- I think I wanna go home.

- I can't go home.

- I miss my friends.

- And Daddy?

- Yeah, I miss him.

I'm sorry.

[PA] Making all local connections

bound for Las Vegas,

stopping at Sparks,

Stillwater, Bathertown...

- Did you get it?

- Yeah.

Come on, let's get you something to eat.

- Hey, mister. Got a knife?

- [Man] You bet.

Darcy, go get the knife.

Don't cut yourself with it now, OK?

Can I help you?

- Thank you so much.

- [Waiter] You're welcome.

Hand me that plate up there, Darcy.

Hurry up.

Go get some mustard.

Excuse me.

When you get to Gabbs,

be sure you get off, all right?

- All right.

- Don't get off before then.

Anybody talks to you, anybody

suspicious, just don't talk back.

- Ketchup?

- Yeah.

Well, go get it.

Just go right up and talk to the driver.

I want you tell Helen Morris hello...

- Everything OK there?

- Just fine, thank you very much.

[PA] Final call for the Las Vegas bus.

That's you.

[Woman] Bye, bye!

Here's your ticket.

Go sit down.

Hey, hey!

- I forgot your apple.

- Thanks.

Thanks for the sandwich, Mom.

Hey, hey, wait, wait, wait.

How's your mom doing?

She's fine.

Good.

Let's go.

[Machinery roars]

- You can't go on like this.

- What you talkin' about?

Mopin' around like a baby.

Lynda'll be back.

- Yeah?

- They always come back.

Huh.

Take me, I can't stand my wife.

But I always go back.

I'm going back this weekend.

Wanna come?

- What, and see your wife?

- I got a sister.

Oh, yeah? What's she like?

Oh, tall, thin, bluish hair.

She takes the tolls

on the Golden Gate Bridge.

- You'll like her.

- Yeah.

You wanna come, Melvin?

I'll tell you what, though.

I'll ride with you to Reno. How's that?

- OK?

- Well...

Yeah.

[Friend] How are you

going to find Lynda?

Darcy told me

where she's been staying.

[Radio. # Daniel Dean Darst:

Love Can't Hold a Ramblin' Man]

Here, you go, Mel.

Oh, man, get rid of that.

Put that away.

You sure are good, Mel.

[# The Rolling Stones:

Satisfaction (Can't Get No)]

[Man whistles]

Oh!

Woo-hee!

[Applause]

[Woman screams]

You wanna sit over there?

Come here!

Hey!

- Here they come...

- There's a guy waving.

- You ready?

- There's a guy there waving at you.

Oh, my God, it's Melvin.

Hi, Melvin!

[Whistling]

What is this? Come down from there.

Come home, come on.

- You go home.

- Get outta here.

You're my wife.

You can't be working here.

- I get off in ten minutes.

- [Man] Sit down, buddy.

I'm not waiting. Come out of here.

[Woman screams]

[Woman] What's he doing?

[Music stops]

- Come on, let's go!

- I can't.

- Why not?

- I love to dance.

- OK, you wanna dance. Here.

- Oh!

Hey, get off the stage...

[screaming and shouting]

- How's Darcy, Melvin?

- She's all right.

- [Lynda] I'm sorry, Jerry.

- I feel for you.

But this can't happen in my place.

- I know. I was going to leave anyway.

- Good. OK, come on.

Let's go, girls!

Bye, Chrissy!

- Bye, Elizabeth! Thanks a lot.

- [Woman] Take care of yourself.

[Engine roars]

[Machinery roars and whines]

[# Henry Mancini and his Orchestra:

Windmills of Your Mind]

How are you doing?

Excuse me, Lynda,

there's someone here to see you.

What's the matter?

- What do you want, Mel?

- I don't want to fight or argue.

I'm complying with the law.

Notification of an Interlocutory Decree.

Final in six weeks.

- Oh...

- Keep your ring if you want.

Wait a minute, Melvin.

Melvin! You wait!

- What does it say about Darcy?

- I get custody, that's what.

What, you get custody?

You think I want her being

around a weird place like this?

- Oh, Melvin, Goddamnit!

- [Man] Lynda!

- Now take it easy, pal.

- All right...

Hey, don't hurt him.

Let me go. I'm leaving.

Make sure he doesn't come back.

Look, Lynda, I'm sorry,

but I can't accept this.

- Oh, never mind. I quit!

- That's great. Thanks, Lynda.

Two-bitjoint. Bye!

Bye, you take care!

[Shouting and whistling]

[Birds sing, dog barks]

# It's a bummer since we parted

# We had so much

we could look forward to

# Like getting drunk and petting

till our necks were blotchy red

# Then watch TV

and pass out at nearly two #

Where's the butter?

There it is.

Put that on, yeah.

[TV] OK, Rocky.

What do you think? $500, not bad, eh?

- I wanna go for the gate.

- You wanna go for the gate?

You'll have to kiss this little

chequey-wequey goodbye.

Goodbye, Mr Chequey-Wequey.

Ho, ho, ho...

There he goes. Welcome to Mr Pocket.

OK. Tell me, Rocky. Listen.

Which gate would you like?

Number One?

- Two? Three?

- [Darcy] Number Two!

- Number Two! Two...

- Three, Number Three.

- Three!

- Two!

OK, gorgeous guardians of Easy Street,

it's Gate Number Threel

Well, hey. I told you, didn't I?

[TV]... provide Rocky with interesting

subjects for her new Yashica,

a trip to Hawaii, on United Airlinesl

- United, the friendly airline.

- I'm jealous.

What for? Honey, that's great.

They'll go to Hawaii,

fly the friendly skies, lie in the sun.

You should be happy for them.

Wally's huggin' her. See her smile?

- Can I go and play?

- Yeah, turn off the TV.

Sure.

[Phone rings]

- Hello?

- Hello, Melvin.

- Hey, Lynda, how's it going?

- How's what going?

Well, you know, anything.

Whatever you got going.

Could Darcy come down and see me?

- Are you drunk?

- No, I'm not drunk.

Are you pregnant?

What do you mean, am I pregnant?

What do you wanna ask me that for?

How pregnant are you, anyway?

Tell you what. For your sake,

you'd better hope it's a girl.

- What are you talking about.

- I'm telling you, if that's a boy...

- Juice.

- Thanks, Mom.

...and it doesn't look like me,

you're both in big trouble.

- I just wanna see Darcy.

- Why don't you come out here?

- Where?

- Vegas.

[Melvin] We'll do it in Vegas.

I'll marry you there.

What do you want to marry me for?

You just divorced me.

Cos I want to, that's all,

I just want to. Right?

- Melvin.

Rate this script:0.0 / 0 votes

Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

All Bo Goldman scripts | Bo Goldman Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Melvin and Howard" Scripts.com. STANDS4 LLC, 2024. Web. 26 Dec. 2024. <https://www.scripts.com/script/melvin_and_howard_13615>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Melvin and Howard

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Who directed the movie "Forrest Gump"?
    A Quentin Tarantino
    B Martin Scorsese
    C Robert Zemeckis
    D Steven Spielberg