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The Doors Page #25
- R
- Year:
- 1991
- 140 min
- 1,501 Views
The Crowd yelling something. An INSANE TEENAGER stands on
the railing of a balcony above the auditorium, poised to
swan dive some 18 feet into the crowd. Which he now does,
arms held out like wings.
The Crowd yells, parting to allow his bulk to smack the floor.
Pause. Cops rushing to the spot. The KID suddenly stands up,
unhurt, with a stoned out look on his face.
TEENAGER:
Wow!
Then splits at a full run thru the crowd chased by the
perplexed Cops. Everybody surging back towards the stage as
JIM looses one of his primal SCREAMS.
JIM:
YAAAAAOOOOOOOOOOWWWWWW!!! Love my
girl!
(song)
Five to one
One in five
No one here gets out alive
You gets your baby
I'll get mine
Gonna make it, baby
If we try
He slobbers, drunk, slouches, stumbles, regains his balance.
The Crowd loves it, but Ray senses something wrong. Robbie
starts to feel the effects of the acid Jim gave him -- his
eyes registering fear.
JIM & DOORS
The old get old
The young get stronger
May take a week
And it may take longer
They got the guns
But we got the numbers
Gonna win yeah -- WE'RE TAKING OVER!!
During the instrumental break, Jim picks up one of the roses
from the floor, pokes it at John on the drums, who whacks it
to death on his skins. Jim starts to whirl the mike cord
like a slingshot or bolo, in an ever-widening arc...
...it flies off and smashes into the head of the PROMOTER at
the edge of the stage arguing with SIDDONS. The man is
staggered, weaving, Siddons helping him to a FIRST AID TEAM.
JIM:
YAAAAAAOOOOOOWWWWWWW!!!
The crazy VEGETERIAN HIPPIE runs out on stage to give Jim
the white lamb to make this political point. Jim holds the
lamb in his arms. It's purring, gentle. DOG chases the HIPPIE
off as he gives the microphone back to Jim and takes the
lamb from him... he staggers over to ROBBIE and goes down to
his knees, pretending to give him head on his frantic stoned
guitar solo.
JIM & DOORS
Your ballroom days are over baby
Night is drawing near
Shadows of the evening
Crawl across the years
You walk across the floor
With a flower in your hand
Tryin to tell me no one understands
PHOTOGRAPHERS flashing cameras. BAKER urging him on from the
wings as he passes out. A GIRL runs onto the stage, dumps a
bottle of champagne on Jim's head. Jim takes his shirt off,
soaking wet. The CROWD is also stripping in the heat, shirts,
blouses, screaming so much now they are obviously way past
listening to any song. It has become a view of the future --
the NAKED GIRL and BOY dancing stark naked drugged out in
the middle of it all, the FAT GIRL prowling naked on the
edge of the stage before she's arrested, the FIGHTS in the
Crowd, fists, blood, a black man chased and beaten, the sense
of Altamont here, the hippie flower trip gone to sh*t --
it's all come down here tonight, the end of an era.
JIM & DOORS
Trade in your hours for a handful of
dimes
Gonna make it baby -- in our prime
Get together one more time
Get together
He stops singing suddenly, squinting out into the madness.
The arena echoes with the uncomprehending chant of the Mob...
MOB:
...one more time
Get together one more time
Get together one more time
SPECIAL EFFECT -- the INDIAN GHOST is leaving Jim's body --
spectrally moving off him, hovering there in the air, its
eyes -- the face of a dying Indian on an Arizona highway --
then gone. A moment, only three, four beats. An optical
illusion? Maybe. Or is it saying, 'now you are just a white
man'... maybe not. As it drifts off in a cloud, into the
vast audience's EYEBALL.
JIM:
YOU'RE ALL A BUNCHA F***IN SLAVES!!!
The instruments continue to vamp but there's a hush to the
CROWD.
JIM:
Lettin people tell you what you're
gonna do! Lettin people push you
around! How long you think it's gonna
last! How long you gonna let them
push you around!!
He waits. INTERCUTS of the FACES in the crowd.
VOICES:
(ignoring Jim)
"Light My Fire"! Play "Light My
Fire"!! Come on Jim...
(some boos sprinkled
in)
Take your clothes off man! Get wild!
F*** me baby. F*** me girl, suck my
cock honey around the world! Mexican
whore suck my prick! Keeper of the
royal sperm man! CELEBRATE THE LIZARD
JIM:
C'MON GET IT ALL OUT! ALL THE LITTLE
HATREDS, Everything inside you...
LET ME HAVE IT!
CROWD:
F*** YOU!
JIM:
THAT'S THE ONE LITTLE WORD I WANTED
TO HEAR! THAT'S THE VERY LITTLE WORD!
THE WHOLE WORLD HATES ME! THE WHOLE
VOICE:
(girl)
SAVE US... SAVE US, JIM... JIM!
EEEE... I TOUCHED HIM.
JIM:
Maybe you love it, maybe you love
gettin your faces pressed into the
sh*t of the world! You'd all eat
sh*t wouldn't ya!! Adolph Hitler is
ALIVE AND WELL HERE IN MIAMI!! YOU'RE
ALL A BUNCHA SLAVES!!
The Crowd BOOS back at him, surging suddenly with hatred for
Jim. Intercut the Crowd -- feel this hatred.
JIM:
WHAT ARE YA GONNA DO ABOUT IT! WHAT
ARE YA GONNA DO ABOUT IT! WHAT ARE
The Band has petered out by this point but out of nowhere,
ROBBIE, zonked on his version of LSD, starts up with "TOUCH
ME BABE."
JIM & DOORS
(going with it)
Come on, come on, come on and F***
me babe! Can't you see that I am not
afraid
(cuts the music)
HEY WAIT A MINUTE...
(music cuts off
raggedly)
Miami Beach Florida hunh? I was BORN
and RAISED not far from here... went
to Florida State...
(cheers)
Then I GOT SMART. I went to California
where you can let your hair grow
long and walk down the street without
people calling you a FREAK... They're
trying to CHANGE THE WORLD out there
in California.
VOICES:
Yeah, STOP THE WAR MAN, PEACEEE...
JIM:
NO I'm not talkin' 'bout NO
REVOLUTION. I'm not talkin 'bout no
DEMONSTRATION. I'm talking 'bout
HAVING SOME FUN. I'm talkin' 'bout
DANCIN. I'm talkin 'bout LOVE. I'm
talkin' 'bout some LOVE. LOVE LOVE
LOVE LOVE... LOVE!!!! Grab your friend --
and LOVE him. Come oooooaaaannnnn.
Yeah!
Jim pulling his shirt off -- barechested -- waving it like a
toreador in front of his leather crotch.
VOICES:
(cheers, giggles)
"Light My Fire"! Come on Jim -- play
"Light My Fire"!
The audience seems to be paying no attention to what he is
doing or saying, which drives him to deeper rage.
JIM:
Ain't nobody gonna love my ass? Come
on... I need ya. There's so many of
ya out there and nobody's gonna love
me! C'mon -- what'cha come here for
anyway? You didn't come here for
music. You didn't come here to see a
good band. You came here for THIS
didn't ya...
He saunters to the edge of the stage. Hisses at them. He
clasps his crotch, leering at a cute LITTLE GIRL in the front
row, shaking it at her. Her BOYFRIEND, pissed at Jim, runs
for the stage. Jim unzips his leathers.
JIM:
I'm lonely out here -- Ya wanna SEE
IT... COME ON SWEETHEART... I need
it, I NEED IT, need ya, need ya,
NEED YA, COME OOOOOAAAANNNNNNN...
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"The Doors" Scripts.com. STANDS4 LLC, 2025. Web. 21 Feb. 2025. <https://www.scripts.com/script/the_doors_978>.
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