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Original Blues Brothers Movie Script

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This is an early version of the Blues Brothers movie script, containing several sequences that were either never filmed, or were cut from the final version of the movie.

Some highlights include:
  • The 'Whorehouse' Scene
  • Elwood eating shaving cream
  • Murph and the MagicTones singing "Just the Way You Are"
  • Sink the Bismarck at Bob's Country Bunker
  • Many of Murph's lines are labelled "Paul", as they were originally intended for Paul Shaffer
  • An extended car-chase sequence

This is NOT Dan Aykroyd's original phonebook-sized screenplay, that has never been released anywhere.

The cover of the script looked like this:
Original Blues Brothers Movie Script

Original Blues Brothers Movie Script

SCRIPT

NUMBER 00601

EXECPRODUCER Bernie Brillstein

PRODUCER Robert K. Weiss

DATE June 6, 1979

TITLE THE BLUES BROTHERS

WRITERS Dan Aykroyd and John Landis

Camera: FADE IN

SCENE 1

Location: EXT. JOLIET PRISON - DAWN - WIDE ESTABLISHING SHOT
as the sun begins to rise. Joliet, an ancient sandstone fortress. The morning sun lends a bright red hue to the walls and parapets. A dog barks o.s. A black 1974 Plymouth Fury, four-door sedan pulls up and parks. The driver cuts the motor -- it dies with a rumble. The motor and metal cool down with a series of pings. The driver hunches down in the front seat.Camera: CUT TO

SCENE 2

Location: INT. JOLIET CELL BLOCK
four stories of tiers. The sound of many men snoring. Two GUARDS enter through electric doors and walk down the gangway on one of the tiers. They stop in front of a cell.Camera: CUT TO

SCENE 3

Location: INT. CELL - GUARDS' POINT OF VIEW - A BLACK INMATE
in jockey shorts and T-shirt is lying on his back smoking a cigarette on the bottom bunk. A white man in a prison blue shirt and jeans sleeps on his side on the top bunk facing the wall.GUARD #1: He slept in his clothes.
GUARD #2: Yeah. A lot of them do the night before.
GUARD #1: Deputy Warden told me to get this one out of the block early. He wants to get it over with fast.
GUARD #2: Okay. Let's do it.
GUARD #1: Sssst! Hey! Sssssst! Wake up! Come on, it's time.
Guard #1 pokes his night stick through the bars, nudging the man in the top bunk in the ribs. He sits up wearily. We are unable to see his face.GUARD #1: Let's go, Jake. It's time.
The BLACK PRISONER sits up and offers his cigarette to Jake. Jake takes a long drag. As Guard #l unlocks the cell door, Jake hands the cigarette back to the Black Prisoner.'BLACK PRISONER: So long, Jake.
Jake and the Black Prisoner exchange a soul handshake.

SCENE 4

Location: INT. GALLERY AT CELL - DAY
Both Guards step back into the gangway and stand shoulder to shoulder, obscuring the prisoner who turns and walks out of the cell. Guard #1 slides the cell door closed.

SCENE 4-A

Location: EXT. GANGWAY
They escort the prisoner down to the end of the gangway, away from the camera. The electric door slides open. They exit.Camera: CUT TO

SCENE 5

Location: INT. CELL
The Black Prisoner watches Jake and the Guards as they disappear down the hallway.BLACK PRISONER: Sleep tight, Jake.

SCENE 6

Location: INT. PRISON
Guards hustle the prisoner through a series of electric doors, a set of caged-in stairs, past a guard station down a hall to a thick door with a small, round, wire-mesh porthole. The Guard presses a button.GUARD #1: Well, this is it.
A loud buzzer sounds as the door latch clicks open. The Guard and prisoner enter the room.

SCENE 7

Location: INT. PROPERTY ROOM
It is divided by a counter. Behind the counter is a wall of small cubicle shelves, like the stockroom of a shoestore. There are numbers over each shelf. A CORRECTIONAL OFFICER emerges from behind the shelves. He walks to the counter.GUARD #2: (reading off a clipboard) 7474505-B
OFFICER: What wing?
GUARD #2: Maximum wing, Block 9.
OFFICER: Standard release?
GUARD #2: Parole, three out of five, good behavior.
OFFICER: Okay. Give me a minute.
The officer behind the counter disappears into a row of shelves. The Guards move the prisoner tight to the counter.Camera: CUT TO

SCENE 8

Location: CLOSEUP - COUNTER - PRISONER'S TORSO
His belly is pressed up to the counter, his hands are drumming a clear, rhythmic beat on the counter top. The Officer returns and enters frame, placing two boxes on the counter. He opens them, dispensing various articles.OFFICER: One unused prophylactic, one soiled, one man's hair comb. One Timex digital watch, broken. Two gold-plated finger rings. One black suit jacket. One pair black suit pants. One yellow... er... white Arrow shirt. one black necktie. One pair sunglasses. Twenty-three dollars and seven cents. Sign the receipt, please.
The prisoner signs with an "X".GUARD #2: I don't want to see you again, Jake.
Camera: CUT TO

SCENE 9

Location: EXT. JOLIET - PRISON GATE - DAY
The huge electric gates slide slowly open with blinding light coming from within revealing the silhouette of the man: Joliet Jake in his suit, sunglasses, and hat. He adjusts his tie.Camera: CUT TO

SCENE 10

Location: EXT. PRISON - JAKE'S P.O.V. - THE BLACK CAR
A man gets out. He wears identical sunglasses, suit, and hat. He is taller, greasy-looking. He is Jake's brother, ELWOOD.

SCENE 11

Location: EXT. PRISON - HIGH WIDE SHOT - THE BROTHERS
walk toward each other solemnly until they stand face to face. The huge electrical gate slams shut with a clang.Camera: CUT TO

SCENE 12

Location: EXTREME CLOSEUP - JAKE
As music comes in hard, the first title is supered -- JOHN BELUSHI.Camera: CUT TO

SCENE 13

Location: EXTREME CLOSEUP - ELWOOD
Second title is supered -- DAN AYKROYDCamera: CUT TO

SCENE 14

Location: EXT. PRISON - WIDE SHOT
As the brothers embrace super title -- THE BLUES BROTHERS.

SCENE 15

Location: EXT. PRISON - JAKE AND ELWOOD
without a word get in the car, Elwood in the driver's seat.

SCENE 15-A

Location: EXT. SIDE STREET
The car drives along the street running parallel to the prison walls, turns down a street behind the prison and parks a few buildings in.

SCENE 16

Location: EXT. WHOREHOUSE BEHIND PRISON - THE CAR
parks in front of a little brick bungalow. Jake and Elwood get out of the car and walk up to the front door of the house. Jake knocks inten

SCENE 17

Location: INT. WHOREHOUSE - VESTIBULE - DAY
Bright red, shag carpeting covers the hall and a set of stairs. The wallpaper is red and gold embossed velveteen. CECILLE, a good-looking, black-Woman in her forties ushers the brothers into the hall and closes the door. She is built, an ex-stripper, wearing a double-knit pantsuit and high, red beehive wig.CECILLE: Hi. Are you from the prison?
JAKE: Yeah, I'm Joliet Jake; this is my brother, Elwood.
CECILLE: When did you get out, honey?
JAKE: Ten minutes ago.
CECILLE: Well, I'm Cecille. Come on in. I'm sure you're going to enjoy my new girls.
She shows them into a room off the hall.Camera: CUT TO

SCENE 18

Location: INT. GIRLS' LOUNGE
The room is furnished in bright orange shag carpeting, a couple of loud, plaid, convertible couches, chrome coffee table, a hot plate and toaster oven. A large poster version of "Sexual Positions of the Zodiac." There is a big 21-inch color TV console with a video game orogramned. There are three women in the room. CONNIE, a slight blonde, white, waif-like creature no more than 20, a runaway. She is playing the video game with PENNY, a young, well-rounded black lady. Another woman STREAK, watches them play. She is a mature, statuesque woman of thirty, who wears a short-cropped, black haircut with a pink streak down one side of it. All of these women are clothed in light housecoats.CECILLE: Girls, I'd like to introduce a Mr. Joliet Jake and his brother....
ELWOOD: El-wood.
CECILLE: Now, who wants to take Jake upstairs?
CONNIE: I'll take him.
CECILLE: Uh, uh, not you, honey ... Streak... ?
The girl with the streak opens the door to the hall and motions for Jake to go upstairs. Jake pauses, looks at her, raises his eyebrow above his shades, turns and goes out into the hall. She follows him, closing the door.CECILLE: Now, Elwood, what can we do for you?
ELWOOD: How about a cup of tea?
CECILLE: A cup of tea? Why sure. Penny, put on the kettle. Connie, take care of Elwood.
Penny gets up from the couch and puts a-kettle on the hot plate. Elwood sits next to the little blonde.

SCENE 19

Location: ELWOOD AND CONNIE
ELWOOD: So, what's on the TV?
CONNIE: Just some games, like you can put different games on.
ELWOOD: Ya ever watch Highway Patrol with Broderick Crawford? ... Used to be my favorite show.
CONNIE: No. Like this is cable TV. They don't got that show on cable. Like with cable you get movies and these games. Ya wanta play?
ELWOOD: Sure.
Connie gets up to program a video game.

SCENE 20

Location: WIDE SHOT - ROOM
The kettle whistles. The door opens and Jake walks in. He knots his tie.JAKE: Okay, Elwood, let's go.
CECILLE: But your tea is ready.
ELWOOD: It's okay. We have to go.
Jake hands Cecille his $23.07.CECILLE: 'Bye now. Come again.
Jake and Elwood exit.Camera: CUT TO

SCENE 21

Location: INT. BLUESMOBILE, - MOVING - CALUMET CITY - DAY
Jake puts a cigarette in his mouth. He punches the car's lighter.JAKE: What's this?
ELWOOD: What?
JAKE: This car. . .this stupid car. . . our Cadillac ... ?
The lighter doesn't work. Jake tosses it to the -floor.JAKE: The Caddy...where's the Caddy?
ELWOOD: The what?
JAKE: The Cadillac we used to have .... The Bluesmobile!?
ELWOOD: I traded it.
JAKE: You traded it?! you traded the Bluesmobile for this?!
ELWOOD: No ... for a microphone.
JAKE: A microphone! (considers a moment) Okay, I can see that, but what, the hell is this?
ELWOOD: It's a bargain. I picked it up at the Mt. Prospect City Police auction last spring. It's an old Mt. Prospect Police car.
JAKE: Thanks a lot, pal. The day I get out of prison and my own brother picks me up in a police car.
ELWOOD: You don't like it?
JAKE: No, I don't like it.

SCENE 22

Location: EXT. BLUESMOBILE
as it pulls up and stops behind a line of traffice waiting behind a barrier at a split swing bridge.Camera: CUT TO

SCENE 23

Location: ELWOOD
He boots the accelerator.Camera: CUT TO

SCENE 24

Location: INT. BLUESMOBILE - MOVING - SWING BRIDGE - DAY - EXTREME CLOSEUP - SPEEDOMETER
Numbers from 0 to 140. Cantered are the words: MPH CERTIFIED CALIBRATION. The needle jumps -from 30 to 65. Pan to Elwood

SCENE 25

Location: EXT. BLUESMOBILE
it swerves around the waiting traffic, around the barrier and up onto the elevating swing bridge.

SCENE 26

Location: INT. BLUESMOBILE - P.O.V. THRU WINDSHIELD
The car is travelling vertically up.

SCENE 27

Location: EXT. SWING BRIDGE - WIDE SHOT
The barge passes through the bridge. The car jumps the canal, landing safely on the far section of the swing bridge.

SCENE 28

Location: INT. BLUESMOBILE - MOVING - DAY
Elwood is proudly straightening his tie.JAKE: Car's got a lot of pick up.
ELWOOD: It's got a cop motor, a four hundred and forty-cubic-inch plant. Cop springs. Cop shocks. Cop suspension. Con tires. It was a model made before catalytic converters, so it runs on regular gas. What do you say? Is it the new Bluesmobile or what?
JAKE: Fix the cigarette lighter.
Camera: CUT TO

SCENE 29

Location: EXT. ORPHANAGE IN CALUMET CITY - DAY
The Bluesmobile pulls up and parks in front of a narrow three-story red brick building wedged in between two-huge soiled factories. The building is one-third the size of the two buildings beside it with a small, fat stone cross on its roof, and a slab of stone below on which a legend is carved.Camera: CUT TO

SCENE 30

Location: CLOSEUP - SMALL BUILDING
A block with chiseled letters. ST.-HELEN OF THE BLESSED SHROUD ORPHANAGE - 1923

SCENE 31

Location: ORPHANAGE
Dwarfing the little orphanage on either side are factories with expanses of small, gritty windows. Large sign on each top story. On the left: ILLINOIS DRAG LINE COMPANY. On the right: CHICAGO PRESSED HEADS METAL MILLING.

SCENE 32

Location: INT. BLUESMOBILE - PARKED AT ORPHANAGE - DAY
JAKE: Where are we?
ELWOOD: You promised you'd visit the Penguin the day you got out.
JAKE: Yeah, so I lied to her.
ELWOOD: You can't lie to a nun. We gotta go in and visit the Penguin.
Camera: CUT TO

OMITTED: 33 thru 39

SCENE 40

Location: INT. 0RPHANAGE DORMITORY - DAY
A long, chamber with rows of little iron frame cots, a sink, table and chair next to each one. The windows have wire mesh grating over them. Jake and Elwood enter and walkthrough the room. Elwood stops at one of the cots.ELWOOD: Look, our old beds ....
JAKE: Yeah ... with chairs! Boy, these kids really got it plush.

SCENE 41

Location: WIDE ANGLE - DORMITORY
Jake and Elwood continue through the rows of beds to a small door in one corner of the room. Jake opens it.

SCENE 42

Location: JAKE'S P.O.V.
A small, narrow set of stairs leading high up into an artificially-lit crevice. Jake and Elwood start climbing. There is a gravelly woman's voice o.s.VOICE: Close the door--!!!

SCENE 43

Location: DORMITORY
Elwood reaches out and closes the small door in the corner, sealing them both inside.

SCENE 44

Location: INT. ORPHANAGE STAIRWAY - DAY
It is pitch black except for full doorway's light at the too, (vaguely reminiscent of Psycho). Suddenly, a full, husky silhouette fills the light. Jake and Elwood freeze.VOICE: Who is it?
JAKE: Jake and Elwood.
VOICE: Get up here!
Jake and Elwood hustle Up the stairs.Camera: CUT TO

SCENE 45

Location: INT. SISTER MARY
An austere, rooftop garret, the attic with sloped ceiling. SISTER MARY STIGMATA is sitting in an old high-backed, red leathered armchair behind a heavy oak desk littered with files and papers. Along one wall there is a kneeling stand and a few small grade-school writing desks. Sister Mary is hefty, stern, and wears the traditional nun's habit. She stands as Jake and Elwood enter. Her wire rimmed glasses glisten eerily.

SCENE 46

Location: SISTER MARY'S P.O.V. - JAKE AND ELWOOD
They stand just inside the doorway. Elwood shifts uneasily - from one foot to the other. Jake is slouching, his hands in his pockets, hat pulled low. They look like two aimless, shambling hoods.SISTER MARY: Hello, boys, nice to see you. Close the door and take a seat.
Elwood closes the door. Jake casts a darting glance around the room for chairs. There are no chairs except for the few one-piece, grade-school writing desks against one wall. They shuffle over and each squeezes into a desk.SISTER MARY: No, no, boys, come over here in front of me...I want to see your faces ....
Elwood gets up and grudgingly carries his desk over in front of Sister Mary. Jake attempts to do the same, however, after several tries, he is unable to extricate his bulk from the small desk. He is stuck. He pulls and scrapes himself across the floor, positioning himself next to Elwood. Sister Mary comes out from behind her desk, folds her arms and occupies a dominant stance over Jake and Elwood. The boys look like midgets, pressed into little desks. They wince up at her with real defensive attitudes.SISTER MARY: So, Jake ... was it worth it?
JAKE: What?
SISTER MARY: Turning a gun on your fellow man, threatening a life for a few miserable dollars and going to prison for it.
JAKE: No. . .I guess not.
SISTER MARY: Did you learn anything from your experience?
JAKE: Yeah. Never hit an all night gas station before six p.m.
SISTER MARY: Wiseacre!! Elwood, where were you while your brother was stealing?
ELWOOD: I was in the car waiting for him.
SISTER MARY: And you didn't betray him to the law?
JAKE: It was my rap. Why should I?
SISTER MARY: Elwood, what were you doing when Jake was in prison?
ELWOOD: I took a job, Sister, I waited for my brother.
SISTER MARY: So now, what do you two have planned... another cheap robbery...?
Jake and Elwood shuffle in their seats uncomfortably.

SCENE 47

Location: SISTER MARY
She paces around her desk and sits down.SISTER MARY: Such a pair of ingrates, you don't Realize how lucky you were. A lot has Happened since you two lived here. It was church money that clothed, fed, and bed you. No more.
ELWOOD: Are them orphan kids downstairs
She opens the drawer of her desk and withdraws a 24-inch, steel-edged ruler which she fingers tenderly.SISTER MARY: Some of those children you saw downstairs live here. Most are just attending class. You see, that's a class we run in supplemental mathematics for gifted children... as long as we run these classes, the Board of Education gives us money.
She begins tapping the ruler on the desk.SISTER MARY: These days education is a business ... a tough business. School systems now spend their money these days on high-priced audio-visual aids.
She slams the ruler on the desk causing Jake and Elwood to jump.SISTER MARY: The county did a tax assessment on this property last month.
She stands up continuing to tap the ruler on the desk.SISTER MARY: They want five thousand dollars.
ELWOOD: Doesn't the Church have to pay that?
SISTER MARY: They would if they were interested in keeping the place...but they aren't. The Archbishop wants to sell this building outright to the Board of Education.
JAKE: What'll they do with it?
SISTER MARY: (bitterly) They'll turn it into an audiovisual aids warehouse.
ELWOOD: What'll happen to you?
SISTER MARY: I'll be sent to the missions ... Africa, Latin America, Mexico ....
JAKE: Forget it. Five grand... no problem. We'll have it for you tomorrow morning ... Come on, Elwood.
She slams the ruler down hard.SISTER MARY: No! ... No!....I will not touch your filthy stolen money....
Jake lights a cigarette, tilts his head back and exhales.JAKE: Well ... then, I guess you're really up Shit Creek.
Sister Mary wells up, towering with rage. She begins swatting him on the arm with a rulerSISTER MARY: I beg your pardon...what did you say?
JAKE: I offered to help you. You said you wouldn't take our money, I said I guess you're really up Shit Creek.
She swats him again.ELWOOD: Christ, Jake, take it easy.
She backhands Elwood with the ruler.SISTER MARY: Elwood!
She cracks him on the knuckles.ELWOOD: Ow, shit!
She swats him again on the back of his head.ELWOOD: Oww, ya fat penguin!
This incenses Sister Mary Stigmata. She beats them both. A crack to the back of Jake's head and a backhand slash to Elwood with the ruler. She has the precision and concentration of a martial artist. She wields the ruler two-handed like Kendo sword. She lands a series of blows on Elwood. He jumps out of the desk, runs to the door, opens it and runs downstairs. Jake is still wedged

SCENE 48

Location: INT. DORMITORY - BOTTOM OF STAIRS
Jake and the desk hurtle, as a unit, from the room, stairs (taking out bits of the wall), splinter the crash into a row of beds. Sister Mary emerges and over Jake and Elwood. Jake painfully extricates the shattered desk.SISTER MARY: You are such a disappointing pair. I prayed so much for you. It saddens and hurts me that two young men whom I raised to believe in The Ten Commandments should return to me as two thieves with filthy mouths and bad attitudes. Get, out and don't come back until you've redeemed yourselves.
Sister Mary turns and slams the door. Jake and Elwood get up painfully.CURTIS: Boys, you gotta learn not to talk to nuns that way.
Jake and Elwood turn and see CURTIS, an old, black man dressed exactly like the Blues Brothers and wearing a big smile. The boys are obviously very happy to see him. They rush up and pump both of his hands vigorously.JAKE: Curtis! Curtis, it's good to see you, man.
ELWOOD: Curtis, you look fine, man!
CURTIS: Buy you boys a drink?
Camera: CUT TO

SCENE 49

Location: INT. ORPHANAGE BOILER ROOM - DAY
This is where Curtis lives. The boys sit on his cot as he sits in an old rocker. They pass around a bottle of Jack Daniels. Two very weathered-looking guitars hang on the wall. There is an enormous boiler with pipes leading out and steam hissing. It's hot and horrible down there.CURTIS: Boys, things are bad. They're gonna sell this place to the Board of Education and I'll be on the street.
JAKE: They wouldn't turn you out, would they?
CURTIS: Shit! What's one more old nigger to the Board of Education?
ELWOOD: What about them orphans?
CURTIS: That's the real tragedy. The children come in this place and I get to talk with them and they get to talk to me... orphan boys ... boys with no mother and father. I never had no children and you boys and all those boys are like my sons. They're gonna take all my sons and put them in state institutions.
JAKE: (stands, says fervently) We'll get the money, Curtis. Elwood and I will get the five thousand bucks.
CURTIS: Boys, that money's gotta be in the Cook County Assessor's Office within eleven days. Now how you gonna get five thousand bucks in eleven days without ripping off somebody?
ELWOOD: (considers) You're right. Stealing don't sit well with Christ.
JAKE: Then how the fuck are we gonna get five thousand dollars in eleven days?
ELWOOD: You heard the Penguin. We got to get redeemed.
JAKE: (disgusted) Jesus never done me any favors...
ELWOOD: Curtis, you and Penguin are the only family we've got and you're the only one who was ever good to us.
CURTIS: Well, the Sister's right. You boys get down to the Triple Rock Baptist Church. You listen to Cleophus James, the preacher there. You boys listen to what he's got to say.
Jake stands up.JAKE: Curtis, I don't want to listen to no jive-ass preacher talk to me about heaven and hell.
CURTIS: Jake, you-get wise and you get to church!
Camera: CUT TO

SCENE 50

Location: EXT. TRIPLE ROCK CHURCH - DAY
A large, old, white clapboard church with four elaborately backlit pillars at the front entrance. An old, thick, blue neon sign over the top of the pillars reads: "Triple Rock Baptist Church." The Bluesmobile pulls up and parks outside. Jake and Elwood get out of the car and pause in front of the church.ELWOOD: Now remember, we have to get that money honestly.
JAKE: That could be a problem.
ELWOOD: It's like she said, we gotta make that move toward redemption. We gotta go to church.
JAKE: (mimicking in falsetto) We got to make that move toward redemption. We gotta go to church. (normal voice) Bullshit.
Jake and Elwood go up the stairs and into the church.

SCENE 51

Location: INT. TRIPLE ROCK CHURCH - JAKE AND ELWOOD - DAY
stand against the back wall of the crowded church. Jake mutters under his breath, not at all happy-about being there. The church is filled with black men, women and children. An organ plays softly as the choir files in and up onto the stage. In the the center of the altar is an ornate, elevated, white pulpit with a gooseneck microphone. Behindthe pulpit is a bandstand with four black musicians in dark blue jackets playing, respectively, drums, piano, bass, and rhythm guitars. The choir wears yellow robes, the band wear violet robes.CHOIRMASTER: And now this week's sermon from the Reverend Cleophus James.

SCENE 52

Location: CLEOPHUS JAMES
wearing a royal blue robe with gold trim, steps into the pulpit, rests his hands on the speaker stand and looks around the hall dramatically. Jake and Elwood wait expectantly. (Various congregation members Punctuate the following sermon with "Amen." The organ plays throughout.)

SCENE 53

Location: CLOSEUP - CLEOPHUS
CLEOPHUS: Now people, when I woke up this morning, I heard a disturbing sound. I heard this sound in my car and in the streets and it shook me up, people.
Several members hum and moan in harmony to the organ.CLEOPHUS: What I heard was the jingle jangle of a thousand lost souls. I'm talking about the souls of mortal men and women who departed from this life and were not received into the Kingdom of Heaven.

SCENE 54

Location: JAKE AND ELWOOD
Elwood's head is bowed reverently. Jake is biting his lower lip, visibly moved by the sermon.CLEOPHUS: Lost, anguished souls roaming unseen over the earth, beyond any hope of salvation, seeking a divine light they'll never find, because it's too late for them to ever see again the

SCENE 55

Location: WIDE SHOT - REVEREND CLEOPHUS
in the pulpit; His hands grip the sides of the pulpit as he leans out into the congregation.CLEOPHUS: And people, every tire one of these poor, lost souls meets another one, there is a jingle-jangle as they pass each other in their tormented wanderings. And this day I have heard a thousand and one jingle-jangles. So wake up, people. Don't be lost when your time comes. Get yourselves ready, 'for the day of the Lord cometh as a thief in the night.' Amen.
The organ and band come in-hard as Cleophus and the choir begin a rousing gospel song (to be determined). As more and more people get the spirit and the music becomes hotter and hotter, various members of the congregation leap from their seats and do flips and splits in the best holy roller tradition. The place is really rocking now.Camera: CUT TO

SCENE 56

Location: CLOSEUP OF JAKE
Something seems to have come over Jake. His head is moving rhythmically to the music.ELWOOD: (concerned) Jake, are you all right?
The music swells.Camera: CUT TO

SCENE 57

Location: EXT. TRIPLE ROCK CHURCH - WIDE SHOT - MATTE PAINTING
showing the church and huge Michelangelo-type clouds. The music and shouting grows even more powerful as a ray or light (as if from God) comes from the heavens and bathes the church in a celestial glow.

SCENE 58

Location: INT. TRIPLE ROCK CHURCH - DAY
The light streams through a small stained-glass window and lands on Jake alone.JAKE: (softly, possessed) The band....
Cleophus points from the pulpit across the dancing congregation to Jake.CLEOPHUS: (shouting) My little lost, white lamb, have you come to join our flock?

SCENE 59

Location: CLOSEUP - JAKE
still glowing.JAKE: (softly) The band....
CLEOPHUS: (shouting) Have You got the spirit, brother? Do you possess the spirit, brother? Do you know the spirit, brother?
JAKE: (softly at first, and then shouting) The band... the band ... Jesus H. Christ! THE BAND!
CLEOPHUS: Do you see the light?
JAKE: (shouting back) Yes! Yes! Jesus H. Tap Dancing Christ! I have seen the light!
CLEOPHUS: Have you seen the light?
JAKE: I have seen the light!
ELWOOD: What light?
CLEOPHUS: Praise God!
The gospel song is now in full pitch. The congregation is rocking and rolling and leaping about the room as if some Baptist-martial-arts movie. Jake, shaking and filled with the spirit, leaps in the air doing the most spectacular flips across the floor of the church and back. He grabs Elwood by the shoulders.JAKE: The band, Elwood! The band!
ELWOOD: The band?
Slowly Elwood begins to get the spirit.ELWOOD: The band?...The band...THE BAND!
CLEOPHUS: (shouting down from the pulpit) Praise God!
ELWOOD: (shouting) And God bless the United States of America!
Jake and Elwood together now join in with the dancing congregation to bring the now gloriously crazed gospel number to its conclusion.Camera: CUT TO

SCENE 60

Location: EXT. ADLAI STEVENSON EXPRESSWAY - NIGHT
The camera remains stationary on the expressway. We begin to hear music very faintly. It grows in volume until the Bluesmobile has entered the frame, zooming down the highway.Jake flicks his burning cigarette butt out the window. It hits the pavement and bursts into bright ash.

SCENE 60-A

Location: EXT. STREET NEAR FREEWAY - NIGHT
The Bluesmobile leaves the freeway and winds down the exit ramp, backfiring slightly.Camera: CUT TO

SCENE 61

Location: INT. BLUESMOBILE - STREET - MOVING - NIGHT
An eight-track tape player has been crudely installed where an AM radio used to be. Elwood punches an eight-track into the slot. It is labeled: "The Best of Sam and Dave" -- their hit "Hold On, I'm Comin" blares through the car door speakers.JAKE: (intense) We'll get the band back together. We'll get some gigs. We'll make some bread and BANG -- five thousand bucks!
ELWOOD: Jake, getting the band together might not be that easy.
JAKE: What are you talking about?
ELWOOD: They split. They took straight jobs.
JAKE: So?! You know where they are. You said you were keeping it together.
ELWOOD: Well... I got a few leads ... I got some phone numbers but... I mean... how many of them wrote or visited you, huh?
JAKE: Well, they aren't the kind of guys who write letters. You were outside! I was inside! You were to keep in touch with the band. I kept askin' ya' if we were gonna play again.
ELWOOD: What was I gonna do? ... take away your hope? ... take away the thing what kept ya' goin' in there? I bullshitted you, okay?

SCENE 62

Location: EXT. INTERSECTION - NEAR GAS STATION - NIGHT
The Bluesmobile goes through a yellow light as a police car turns on its headlights and rolls out from behind the pumps onto the street after Jake and Elwood.

SCENE 63

Location: INT. BLUESMOBILE - MOVING - JAKE AND ELWOOD - NIGHT
"Soothe Me" is playing softly through the tape deck. The police car appears in Elwood's rear-view mirror. It startles him. He glances over and straightens up in the seat.

SCENE 64

Location: ELWOOD'S P.O.V. - NIGHT
The police car lights flashing. There are two really clean-cut, OFFICERS with moustaches in the front seat.

SCENE 65

Location: INT. BLUESMOBILE - MOVING - NIGHT
ELWOOD: Shit.
JAKE: What?
ELWOOD: Rollers.
JAKE: No.
ELWOOD: Yap.

SCENE 66

Location: EXT. BLUESMOBILE - NIGHT
The Bluesmobile and cop car pull over. An Officer approaches Elwood.ELWOOD: What? What did I do?
OFFICER #1: Failed to stop on red signal.
ELWOOD: The light was yellow... sir.
OFFICER #1: May I see your license, please?

SCENE 67

Location: INT. BLUESMOBILE - NIGHT
Elwood produces his driver's license from above the sun visor. It is a plastic plate. He hands it to the cop. The cop leaves and walks back to his car.JAKE: (angrily) God damnnit!
ELWOOD: Damnnit! I haven't been pulled over in six months. I bet those cops have got SCMODS.
JAKE: SCMODS?
ELWOOD: State-County-Municipal-Offender Data System.

SCENE 68

Location: INT. POLICE CAR - CLOSEUP - ANGLE DASHBOARD AND FRONT SEAT - NIGHT
Across and under the dashboard, on top of transmission hump, there is a computer: video display console, punch keyboard and telephone receiver. A shotgun is clamped vertically on the dash next to the video display. Officer #1 slips Elwood's plate into a slit on the keyboard. He switches on the video console - it lights up green. The license number appears On the screen.

SCENE 69

Location: POLICE OFFICERS
OFFICER #2: So what do we have here?
Officer #1 puts his finger to his face and bends his nose sideways.OFFICER #1: I don't know. They look like they're from Cicero.

SCENE 70

Location: CLOSEUP - COMPUTER VIDEO SCREEN
The following display begins line by line:ILL. B263-1655-2187BLUESELWOOD J.LICENSE STATUSCURRENTLY UNDER SUSPENSIONWARRANTS OUTSTANDINGSTATEWIDETRAFFICMOVING VIOLATIONS56WARRANTSPARKING - COOK CO.117ARREST DRIVERIMPOUND VEHICLEThe last two lines start flashing.OFFICER #2: Mmm-hmm....

SCENE 71

Location: EXT. STREET - POLICE CAR AND BLUESMOBILE
Both Officers get out of the car and approach the Bluesmobile.

SCENE 72

Location: INT. BLUESMOBILE - JAKE AND ELWOOD - NIGHT
The cop appears in the window.OFFICER #1: Elwood. We show your license currently under suspension. Step out of the car, please.
Jake and Elwood exchange quick glances. Elwood starts the car and guns the engine.

SCENE 73

Location: EXT. STREET - THE BLUESMOBILE -
burns away from between the two cops. They run to their car climb in and screech after Jake and Elwood.

SCENE 74

Location: JAKE AND ELWOOD'S P.O.V. - WINDSHIELD AND REAR VIEW MIRROR - NIGHT
The car is speeding down a quiet residential, divided thoroughfare in Park Ridge. The police car's -flashers wink in the rearview mirror.JAKE: (Pissed off) First you trade the Cadillac for a microphone, then you lie to me about the band, and now you're gonna put me right back in the joint!
ELWOOD: They're not going to catch us. We're on a mission from God.
JAKE: They'd better not catch us. I don't want to go back into Joliet Prison. The pepper steak they serve on Thursday nights is the worst.

SCENE 75

Location: EXT. STREET - THE BLUESMOBILE
flies through a red light, weaving and narrowly missing cars passing through the right of way.

SCENE 76

Location: INT. POLICE CAR MOVING - OFFICER #2
He is talking on the telephone receiver.OFFICER #2: State 12 in high speed pursuit southbound on Route Six-Two. Black 1974 Plymouth sedan with Illinois plates. Request assistance.

SCENE 77

Location: INT. BLUESMOBILE - JAKE'S AND ELWOOD'S P.O.V.
They are travelling down a four-lane highway. There is an intersection a few blocks ahead. Another police car rolls out into the middle of the right of way. The police car stops in the middle of the intersection. An officer gets out of the car and starts waving a flashlight.

SCENE 78

Location: EXT. INTERSECTION - NIGHT - THE BLUESMOBILE
roars up to the intersection. Stops for a split second. The two policemen run to grab the car. The rear wheels spin. In a squeal and cloud of burning rubber, Elwood cranks the steering wheel to the left and executes a stationary U-turn rocketing up the opposite lanes of the divided road.

SCENE 79

Location: INT. FIRST POLICE CAR - OFFICER'S P.O.V. - THE BLUESMOBILE
burns past them on the other side of the divider in the oncoming lanes.OFFICER #1: That's him.
The second police car passes them, following the Bluesmobile.

SCENE 80

Location: INT. BLUESMOBILE
JAKE: Elwood, I am seriously comtemplating killing you.

OMITTED: 81 thru 86

SCENE 87

Location: INT. BLUESMOBILE - MOVING - RESIDENTIAL STREET - NIGHT
They're speeding down a dark, quiet street. The police are right behind them.ELWOOD: We'll be all right if I can just get back on the expressway.

SCENE 87-A

Location: EXT. SHOPPING MALL PARKING LOT - NIGHT
Elwood turns in the parking lot of a large shopping mall, the police cars in pursuit.

SCENE 87-B

Location: INT. BLUESMOBILE - MOVING - NIGHT
The speedometer shows he's doing 90 miles an hour. Pan up to Elwood.

SCENE 87-C

Location: INT. BLUESMOBILE MOVING - SHOPPING MALL PARKING LOT - NIGHT
JAKE: This don't look like no expressway to me!
ELWOOD: Don't
JAKE: What the hell do you want me to do, motorhead?
ELWOOD: Try not to be so negative all the time. Why don't you offer some constructive criticism?
JAKE: You got me into this, pal. Now you get me out.

SCENE 87-D

Location: EXT. SHOPPING MALL PARKING LOT - NIGHT
They are rapidly approaching the main entrance of the shopping center. The police car is gaining.

SCENE 87-E

Location: INT. BLUESMOBILE - MOVING - SHOPPING MALL PARKING LOT - NIGHT
JAKE: What do you suggest?
ELWOOD: I suggest we go shopping.
Jake and Elwood regard each other for a beat and then Jake nods.Camera: CUT TO

SCENE 88

Location: INT. TOY STORE
A MAN at a cash register asks the SALES GIRL politely.MAN: Three D batteries, please
Elwood's car crashes through the wall, crosses the store, and crashes through the other wall, followed by the two police cars.

SCENE 89

Location: INT. SHOPPING MALL PLAZA - NIGHT
The Bluesmobile smashes out the front of the store followed closely by the two police vehicles. All three cars roar down the center of the shopping mall causing pedestrians to scatter wildly. They smash through displays and store fronts as Elwood tries to elude his pursuers. A series of screaming 180's and the second police car smashes sideways into a store front coming to a halt. Elwood makes his move and heads toward the rear of the mall, the other car maneuvering zooms after him. The entire shopping mall is a screaming mess.

SCENE 90

Location: EXT. SHOPPING MALL - NIGHT
The Bluesmobile roars through a window, scattering pedestrians and merchandise in its wake.

SCENE 91

Location: INT. BLUESMOBILE - MOVING - SHOPPING MALL - NIGHT
ELWOOD: (brightening) The expressway, the slab, man.

SCENE 91-A

Location: EXT. SHOPPING MALL - NIGHT
He steps on the gas and does a complete 360 turn into an aisle of the parking lot to what he thinks will be the freeway on-ramp.As he bears down he sees that it is a dead end and slams on the brakes causing the Bluesmobile to flip up and over the pursuing police car which crashes into the restraining wall. The Bluesmobile lands and safely gets away.Camera: CUT TO

SCENE 92

Location: INT. BLUESM0BILE - MOVING - HIGHWAY - NIGHT
ELWOOD: (extremely satisfied) The Bluesmobile.
Camera: CUT TO

SCENE 93

Location: INT. SMASHED POLICE CAR #1 - NIGHT
The two white, young, clean-cut cops look at each other slowly.OFFICER #1: (calmly) I'm gonna nail that sucker, if it's the last thing I ever do.
Officer #2 nods in solemn agreement.Camera: DISSOLVE TO

SCENE 94

Location: EXT. DOWNTOWN CHICAGO - STATE STREET - NIGHT - THE BLUESMOBILE
rumbles slowly down State Street with the traffic, past the hookers, pimps, and the street people hanging out in front of the all-night movie theatres.Camera: CUT TO

SCENE 95

Location: EXT. ALLEY BEHIND BOND HOTEL - NIGHT
A street of dark theatre marquees and elevated train tracks. Elwood is taking the car down under the el tracks. There are alleys and freight bays. Elwood stops the car, throws it into reverse, turns it to train the headlights on a building on one side of the alley and walks over to a steel door in the wall.

SCENE 96

Location: CLOSEUP - STEEL DOOR
A plaque is bolted on it: C.T.A. E-TRAIN POWER TRANSFORMER - HIGH VOLTAGE - DANGER

SCENE 97

Location: CLOSEUP - ELWOOD'S HANDS - RING OF KEYS
He unlocks a heavy brass padlock and flips the latch on the steel door. Elwood opens the door out into the alley, The headlights illuminate a 7 foot wide blind crevice between two buildings. Elwood walks over to the car and gets in. Jake gets out of the Bluesmobile. Elwood drives into the crevice, the rear bumper scraping both walls. It is a tight fit with no room at all to open the doors. Elwood shuts the car off, turns off the lights and crawls out the passenger window onto the car's roof, He walks over it to the back, jumps to the ground, closes and padlocks the steel door. Jake and Elwood walk out toward the street.

SCENE 98

Location: EXT. BOND HOTEL - NIGHT
The Bond Hotel is a weathered old building crammed up against a set of elevated train tracks. A neon sign swings over the entrance: TRANSIENTS WELCOME. A red 1977 Pontiac Grand with body damage rolls up and parks across the street from the hotel.

SCENE 99

Location: INT. PONTIAC
A beautiful woman is smoking a cigarette in the dark, as Jake and Elwood walk into view towards the hotel. On the other side of the street she raises a Solethean Anti-Tank Rifle onto her shoulder and sights down the infra-red sight.

SCENE 99-A

Location: P.O.V. THRU INFRA RED SITE - JAKE IN CROSSHAIRS
the crosshairs centered on Jake's head

SCENE 100

Location: EXT. BOND HOTEL - FRONT DOOR - NIGHT - JAKE AND ELWOOD
They approach the seedy Bond Hotel unaware of their danger.ELWOOD: It ain't much, but it's home.
The MYSTERY WOMAN opens fire, getting off four tracer shells in rapid succession. Jake and Elwood hit the dirt as the three projectiles, explode spectacularly taking out a good chunk of the front of the Bond Hotel. The red Pontiac burns rubber and roars away. Jake and Elwood get up and brush themselves off. They look at each other, shrug and enter the hotel.

SCENE 101

Location: INT. BOND HOTEL LOBBY - NIGHT
Aside from the newly-made gaping holes in the stairwell which are still smoking slightly, there is nothing in the lobby to indicate anything extraordinary has just happened. The floor and bottom half of the walls are made of small black and white mosaic tiles, badly chipped and stained with urine. Elwood walks up to a floor-to-ceiling cage made of 3-inch-thick plexiglass armor with a small porthole in the center. Inside an old man, LLOYD, sits watching wrestling on television. He speaks with a raw hoarseness.ELWOOD: Hey, Lloyd, anybody call me on the phone?
LLOYD: No, no calls. Some guy left this card, though. A cop...said he'd be back.
Lloyd slips a business card to Elwood through a slit in the armor. Elwood hands it to Jake.

SCENE 102

Location: INSERT JAKE'S P.O.V. - THE CARD
ILLINOIS STATE DEPT, O

SCENE 103

Location: JAKE AND ELWOOD
Jake spins the card to the floor. Elwood leans into the hole in the cage.ELWOOD: Lloyd, this here is my brother Jake. He just got out of the joint and he'll be staying with me for a few weeks.
Lloyd growls in approval.Camera: CUT TO

SCENE 103-A

Location: INT. CORRIDOR TO ELWOOD'S ROOM - JAKE AND ELWOOD WALK TO ELWOOD'S ROOM
Camera: CUT TO

SCENE 104

Location: INT. ELWOOD'S ROOM - NIGHT
The room is a slit with a window at one end that adjoins the elevated train track outside. A train roars by. The room shakes. A yellow Illinois Highway NO PASSING sign falls off one wall onto Elwood's hot plate, a few tins of food and a Radio Shack stereo system.ELWOOD: Nice place, huh?
JAKE: How often does the train go by?
ELWOOD: So often, you won't even notice it.
Elwood puts an old '78 record on the stereo and takes a wire coat hanger off the hook on the back of the door. He goes over to the hot plate, opens the little fridge, pulls out a loaf of Wonder Bread. He presses a slice of bread on the coat hanger. He then takes the coat hanger with the bread on it and lays it on the hot plate.JAKE: What are you doing?
ELWOOD: Making dinner. Want some?
Jake sits down on the cot.JAKE: Tomorrow we've got to get the band together.
ELWOOD: (munching on the burnt, Wonder Bread) I'll quit my job tomorrow morning, first thing.
JAKE: How you gonna get to work, Mr. Leadfoot?...Mr Hotrodder... Mr. Motorhead. Those cops took your driver's license away. They got your name, your address.
ELWOOD: No, they don't got my address, I falsified my renewal. I put down 1060 West Addison.
JAKE: 1060 West Addison?...That's Wrigley Field!
Elwood smiles. Jake lies back on the cot.ELWOOD: Well, I better hit the sack.
Jake starts snoring.ELWOOD: Hey, you sleeze, that's my bed.
Elwood leans over and folds part of the blanket on the cot over Jake. The last chorus of "Saturday Night Fish Fry" comes up: "They were reeling, they were rocking, they were reeling and rocking up until the break of dawn," Elwood walks to the window. A train roars by.Camera: DISSOLVE TO

SCENE 105

Location: EXT. BOND HOTEL - DAY
The Pontiac with the Mystery Woman slowly drives by the hotel.Camera: CUT TO

SCENE 106

Location: INT. ELWOOD'S ROOM
Jake and Elwood, still fully-dressed, are asleep Jake on his back on the cot as we last saw him. Elwood curled in a fetal position on the floor.

SCENE 107

Location: EXT. BOND HOTEL - DAY - TWO POLICE CARS
one marked, one plain, pull up and park in front of the hotel. Out of the unmarked police car steps BURTMERCER: This, gentlemen, is the elegant abode of one Elwood Blues.
OFFICER #2: Thanks for your help, Mr. Mercer. How did you find him so fast?
OFFICER #1: Actually I put in some overtime last night. When Mr. Blues' license address checked out to be Wrigley Field, I cross-fed the data we had into the Illinois State Crime Computer.
MERCER: And our friend, Mr. Computer, printed out the parole records of one Jake Blues, my little jailbird and the brother of your pinch Elwood. See, Jake gave this address as the place to notify in case of his death. I kind of like the Wrigley Field bit.
OFFICER #1: Yeah, real cute.
The three men enter the building.Camera: CUT TO

SCENE 108

Location: INT. RED PONTIAC - DAY
Inside the Pontiac, now parked a block away from the hotel, sits the Mystery woman. She is busy assembling some sort of electronic device.Camera: CUT TO

SCENE 109

Location: INT. BOND HOTEL - LOBBY - DAY
Mercer knocks on the wall of the plexiglass cage.LLOYD: Yeah?
Mercer flashes his badge.MERCER: Has my friend arrived? He didn't report yesterday.
LLOYD: I don't want no trouble.
OFFICER #1: (leans in) You just tell us where they are and there'll be no trouble.
Camera: CUT TO

SCENE 110

Location: INT. RED PONTIAC
The Mystery Woman attaches two wires to a car battery.Camera: CUT TO

SCENE 111

Location: INT. CORRIDOR OUTSIDE ELWOOD'S ROOM - DAY
Officers #1 and #2 draw their weapons and stand on either side of Elwood's door. As Mercer steps back ready to kick it in....Camera: CUT TO

SCENE 112

Location: INT. RED PONTIAC - DAY
The Mystery Woman throws a small switch.Camera: CUT TO

SCENE 113

Location: EXT. BOND HOTEL - DAY
Explosions blow out the inside supports of the hotel and the building collapses in a pile of rubble, burying the two police cars in debris.Camera: CUT TO

SCENE 114

Location: INT. RED PONTIAC - DAY
The Mystery Woman smiles grimly, starts the car, and drives off.

SCENE 115

Location: EXT. RUINS OF BOND HOTEL - DAY
We pan with the Pontiac and as it passes the hotel, we move in on the rubble.

SCENE 115-A

Location: JAKE AND ELWOOD
Through the smoke and dust, we can see several large chunks of concrete and building materials start to move. Jake and Elwood arise out of the destruction and brush themselves off. They survey the damage.ELWOOD: (checks his watch) It's almost nine o'clock. I gotta get to work.
Camera: CUT TO

SCENE 116

Location: EXT. HAMMOND - DAY
The

SCENE 117

Location: EXT. MANUFACTURING PLANT - DAY
A recently constructed factory with a high chain-link fence around it. The Bluesmobile drives past.

SCENE 118

Location: EXT. PLANT ENTRANCE - DAY
A set of gates. A parking lot inside the fence. There is a sign on the fence: PROPELLANTS PACKAGING CORP. -- EMPLOYEE PARKING ONLY.- Several cars drive through the gates. The Bluesmobile drives through and parks.Camera: CUT TO

SCENE 119

Location: EXT. PARKING LOT - DAY
Elwood parks the car and turns to JakeELWOOD: Don't go away, Jake.
JAKE: (aggravated) Where am I gonna go?
Elwood exits the car.Camera: CUT TO

SCENE 120

Location: INT. PLANT - PUNCH CLOCK - DAY
Elwood lines up with the others at a digital time clock. He takes a card, punches in, replaces his card and moves on. The clock clicks and beeps.

SCENE 121

Location: INT. PLANT MIXING ROOM - DAY
Elwood walks past a series-of 15-foot high closed vats and through the door.

SCENE 122

Location: INT. PLANT - ASSEMBLY ROOM - DAY
Thousands of aerosol cans sit on long conveyors and belts. Employees stand at various posts on the lines. The cans are clattering through various stages of production. As Elwood walks through the plant he occasionally lifts a can from the line and covertly slips it into his jacket.

SCENE 123

Location: INT. PLANT - FINISHING LINE - DAY
A different section of conveyor. It is humming, stationary. A BIG WOMAN in safety goggles sorts through the cans, pulling them off and placing them in boxes.

SCENE 124

Location: ELWOOD
He approaches the woman, gives her a small wave, picks up a can from in front of her.

SCENE 125

Location: CLOSEUP - CAN
An 11 oz. can of Gillette Hot Shave.

SCENE 126

Location: ELWOOD AND WOMAN
Elwood holds the can of shaving cream above his mouth. The woman shakes her head "no!" Elwood nods "yes" and fills his mouth with shaving cream. He swallows the cream, smiles licks his lips and rubs his stomach with enjoyment. The woman shakes her head resignedly. Elwood continues to walk down the line and quickly lifts two more cans and slips them into his coat pocket. He stops at a door marked SUPERVISOR.Camera: CUT TO

SCENE 127

Location: INT. SUPERVISOR'S OFFICE
A bulky man in a blue shirt sits at a desk. Two knocks are heard on the door.SUPERVISOR: Come in.
Elwood enters and approaches the Supervisor's desk.ELWOOD: Sir....
SUPERVISOR: What is it?
ELWOOD: I gotta quit.
SUPERVISOR: Why is that, Elwood?
ELWOOD: I'm... I'm going to become a priest.
TSUPERVISOR: Okay...I'll call payroll and get your severance ready...good luck...

SCENE 128

Location: ELWOOD
ELWOOD: God bless you, sir.
Camera: CUT TO

SCENE 129

Location: EXT. BLUESMOBILE - PARKING LOT - STATIONARY
Elwood is rummaging through the glove compartment. Beer cans, receipts, scraps of paper, wire, matchbooks, bits of n.d. metal bulge out onto Jake's lap. Jakes sorts through the refuse and locates a Marlboro cigarette box, the seams of- which have been torn and separated to flatten the box into a writing surface. It is covered with crude ink scrawlings.JAKE: What's this?
ELWOOD: (smiling) It's the last known address of Bones Malone and Blue Lou Marini.
Jake lights a cigarette.JAKE: The Lord works in mysterious ways.
Camera: CUT TO

SCENE 130

Location: EXT. FACTORY PARKING LOT - DAY
as the Bluesmobile roars out of the parking lot. For the first time we hear "The Peter Gunn Theme" which will become the Blues Brothers signature tune for the rest of the picture.

SCENE 131

Location: EXT. HIGHWAY - DAY
"The Peter Gunn Theme" builds as the Bluesmobile roars towards the skyline of Chicago.Camera: CUT TO

OMITTED: 132 thru 136

SCENE 137

Location: EXT. CICERO TRIPLEX - DAY
"The Peter Gunn Theme" comes in hard as the Bluesmobile rumbles unobtrusively down the street and comes to a halt, double parking in front of a late sixties pink triplex. Jake and Elwood get out of the car and hustle Webb/Morgan style up to the front door.Camera: CUT TO

SCENE 138

Location: EXT. TRIPLEX - WIDE SHOT
Jake and Elwood stand rigidly at either side of the front door, an outer aluminum one graced with painted bullrushes. Jake hammers on the glass with the back of his knuckles. Jake and Elwood wait grimly. The inner door opens. MRS. TARANTINO an elderly, darkly-handsome woman dressed for mourning, peers inquistively through the glass.ELWOOD: (with a hint of Jack Webb) May we come in, ma'am?
The lady admits them.

SCENE 139

Location: INT. TRIPLEX HALLWAY - DAY
Jerry Vale sings Italian love songs through a phonograph o.s. The hall abounds in modern American porcelain sculpture. Jake reads off the torn-up cigarette pack.JAKE: Mrs ... Taranto... ?
MRS. TARANTINO: Tarantino....
JAKE: Ma'am, do you have a Mr. Thomas Malone and a Mr. Louis Marini living here?
MRS. TARANTINO: No. They moved out a long time ago. I don't take any more boarders... not for a long time.
Camera: CUT TO

SCENE 140

Location: WOMAN'S P.O.V.
Jake and Elwood in their suits, glasses and hats, with the Bluesmobile in the b.g. outside.JAKE: Did they leave a forwarding address, a phone number...?
ELWOOD: Did they live quietly... w
MRS. TARANTINO: They were good boys, but they made a lot of racket at night. Are you the police?
ELWOOD: No, ma'am, we're musicians.
"The Peter Gunn Theme" comes up hard.Camera: CUT TO

SCENE 141

Location: INT. BLUESMOBILE - STATIONARY - IN FRONT OF TRIPLEX - DAY
Elwood has started the car when Mrs. Tarantino comes running up.MRS. TARANTINO: Oh, Mr. Man!
ELWOOD: Yes, ma' am?
MRS. TARANTINO: They leave this card. Maybe it help you.
Elwood takes the card.Camera: CUT TO

SCENE 142

Location: INSERT ELWOOD'S P.O.V. - CARD - DAY
DISCO POLKAMURPH and THE MAGICTONESPARTIES WEDDINGSCall Murph:(312) KL5-7000Rm. 302"The Peter Gunn Theme" comes in hard.Camera: DISSOLVE TO

SCENE 143

Location: EXT. RAMADA INN - NIGHT - WIDE SHOT
A Ramada Inn that is buried under expressway ramps. In the parking lot there is a pole with a sign lit, up on it next to the freeway: WELCOME EXTERMINATORS - DANCING - MURPH AND THE MAGICTONES. The Bluesmobile pulls into the parking lot. Jake and Elwood get out and enter the Ramada Inn.

SCENE 144

Location: INT. RAMADA INN - COCKTAIL LOUNGE
A small Mediterranean-decor lounge -- a tacky place with tacky waitresses. Jake and Elwood enter and sit at a table in the back. The room is sparsely populated. A stage with orange curtains is sat up at the end of the lounge. A five-piece band is playing in front of Fender speakers and amplifiers all covered in orange shag upholstery. The group is playing an up-tempo, percussive version of "Di Mi, Quando, Quando, Quando." The band members all wear ruffled shirts, bow ties, and burgundy tuxes. They are Murphy at the organ, Donald "Duck" Dunn on the bass guitar, Willie Hall on drums, Tom "Bones" Malone on horns and Steve "The Colonel" Cropper on guitar. Murphy is singing the lyrics in Italian. His heart is in the song.

SCENE 145

Location: JAKE AND ELWOOD
They exchange pained looks.

SCENE 146

Location: STAGE
The band finishes up the song; the audience applauds politely.MURPHY: (soothingly) Thank you, thank you. You're marvelous, Marvelous! I'm Murph and these are the Magictones: Duck, The Colonel, Willie and Bones Malone. To those of you who are here With us for the first time, we extend a Very warm welcome. This is the Armada Room of Indiana's newest Ramada Inn here at Exit 128 of the Tollway. There, you know where we are, who we are and who we love to see, you, so please come back anytime after six p.m. weekdays and seven p.m. weekends. From Murph and the Magictones, here's how we feel about you.
The band breaks into a loud, symphonic rendering of "Just The Way You Are." Murphy sings two verses. The instruments build to a crescendo.

SCENE 147

Location: WIDE SHOT - LOUNGE
The stage lights go out. The audience applauds politely. Cash registers bang into action. The waitresses move in to serve. Jake and Elwood get up and make their way to the stage.JAKE: Hello, boys.
Murphy looks up and sees Jake. He laughs. The other band members don't look very happy to see either Jake or Elwood.MURPHY: Ho! Ha! Haa! You mad men, I don't believe It. Jake, you monster. Ha! Incredible. Ha! I love you, you maniac! What are you doing out so early? I thought they gave you five years.
JAKE: Parole. Good Behavior.
MURPHY: Ho! Good behavior...you party animal, I Love ya. Amazing! How's your brother? I'm asking you because I know he can't answer that. He never talks ...he's a robot...you never talk, do you, Elwood?
ELWOOD: No, I guess not.
MURPHY: Ha! Ho! I say, 'You never talk, do you?', Then he says, 'No!' I love you guys, you're maniacs. I love ya!
The other members of the band eye Jake and Elwood with open hostility.ELWOOD: (to band) Nice to see you guys.
Murphy steps on stage, grabs a microphone.MURPHY: Ladies and gentlemen... excuse me. Two very dear, very close, very old friends of mine just dropped in. I once had the priviledge of arranging their music and playing in their band. In fact, all of the Magictones were once part of their band. Who here remembers The Blues Brothers!?!
There is no response from the audience.MURPHY: (undaunted) Jake and Elwood!! Get up here, you maniacs. Come on up here.
Jake and Elwood mount the stage and stand politely, their hands clasped in front of them.

SCENE 148

Location: STAGE - WIDE SHOT
MURPHY: Beautiful Thank you. One day you I play a gig with these guys, the next day they're out cultivating their criminal records...that's the kind of maniacs I have for friends. I'll be back with the Magictones for the Armada Room's two-hour Disco Swing Party after this short break...thank you!
Murphy switches on a tape recorder which fills the room with muzak.Camera: CUT TO

SCENE 149

Location: INT. RAMADA LOUNGE - MURPHY'S TABLE - NIGHT - JAKE and ELWOOD
They are sitting at Murphy's table with the rest of the band. Jake and Elwood exchange polite handshakes with the band.JAKE: Hey, Willie ... Bones ... Hi, Duck, Colonel, Steve.
DUCK: Hello, Jake.
WILLIE: Hey, man. Aren't you out too early I thought they gave you five years.
JAKE: Yeah, thanks for all your kind and thoughtful gifts ... the letters, the visits....
BONES: Hey, come on, man, you know hospitals and prisons bring us down ... you understand.
MURPHY: Liz, get over here, you slinky dame.
Liz, the waitress, joins them.MURPHY: Beautiful. Bring us a bottle of bar whiskey and seven shot glasses....
WILLIE: So, Jake, you're out. You're free ...you're rehabilitated... what's next? What's hap
JAKE: We're putting the band back together.
MURPHY: Ha! You monster, how? Forget it. It's not possible.
COLONEL: (laughs) Really, man. You still owe us our wages from the last gig.
JAKE: Come on, you guys, this is different.
ELWOOD: This time we're on a mission from God.
BONES: Hmmm. Is God arranging for the bread you owe us?
JAKE: All right, so I owe you a few nights wages. So what? I tried to make good on it.
WILLIE: Yeah, one time you spent our money on a case of wine for yourself.
DUCK: Okay, okay, ease up. In the first, place, the way I heard it, Jake got locked in jail for sticking up a gas station to pay us.
COLONEL: He did?
BONES: What?
ELWOOD: Yep. We did it to pay the band's room service bill from that gig in Coal City.
COLONEL: You did!?
DUCK: Now, I believe he did! I believe he did. So just ease up on poor old Jake.
JAKE: Thanks, Duck. You guys like it here? Oh! This is a class place! Murph and the Magictones. You were the backbone, the nerve center of a great rhythm and blues bard. You can make it live and breathe and jump again.
ELWOOD: We were wicked. Wicked.
JAKE: Listen, pal. Who here at this table can honestly say that they have ever played as fine as they did with us or have it feel as good as it did when you were a Blues Brother? "Murph and the Magictones." Look at yourselves in those candy-ass monkey suits! I thought I had it bad in Joliet.
WILLIE: At least we got a change in clothes, sucker. You're wearing the same shit you had on three years ago.
The band laughs.DUCK: He ain't lying, though, we had a band powerful enough to turn goat piss Into gasoline.
BONES: But we'll never get that sound again, not without another horn. We'll never get Mr. Fabulous!
JAKE: Yeah! Where is he?
WILLIE: Forget it. Mr. Fabulous is the top maitre d' at the Belle Cuisine Restaurant. He's drawing three hundred bucks a week.
COLONEL: And Matt Murphy up and got married
JAKE: Where is Matt "Guitar" Murphy?
BONES: Dig it. He opened up a soul food restaurant with his old lady on Maxwell Street.
JAKE: Don't worry about Matt and Mr. Fabulous.
WILLIE: You'll never get Matt and Mr. Fabulous out of them high paying gigs.
ELWOOD: The Lord will show us a way.
JAKE: (slowly smiles) God and I have an understanding.
"The Peter Gunn Theme" comes in strong.Camera: CUT TO

SCENE 150

Location: EXT. SIDEWALK CAFE/RESTAURANT - NIGHT
Reproduction antique gas lights illuminate diners outside an old restored brick house. A reproduction anitique gilt sign hangs above the doorway: CHEZ PAULCamera: CUT TO

SCENE 151

Location: INT. RESTAURANT - NIGHT
Quiet, formal, elegant. The Maitre d' assists in seating a straight, well-to-do Mom, DAD and their children, a boy of eight, and two daughters in their twenties. The Maitre d' is Allan "Mr. Fabulous" Rubin. He gracefully holds a chair for Mom. A look from Mom as he places her chair her betrays a trace of his magnetism to women.AL: Might I say, sir, that you have a lovely family, and although I'm sure the waiters we have assigned to serve you this evening are more than competent, I urge you to summon me if I can be of any assistance, in any capacity, please.
DAD: Well, thank you. How about some menus?

SCENE 152

Location: WIDE SHOT
Al nods his head sharply. A very gay, young man in crisp, white shirt and apron glides over to the table and begins handing out menus.AL: This is Kent. I concur with his selections this evening. We serve an excellent Vichyssoise, not too salty, not too creamy, made with leeks.
Camera: CUT TO

SCENE 153

Location: EXT. RESTAURANT - NIGHT
"The Peter Gunn Theme" comes in hard as the Bluesmobile rumbles up and parks.Camera: CUT TO

SCENE 154

Location: INT. RESTAURANT - NIGHT
Al is at his reservation podium writing in his book, talking on the phone.AL: Mainly French cuisine... no, sir ... Mayor Daley no longer dines here ... he's dead, sir.
Jake and Elwood enter and lean on Al's podium.AL: ... an excellent wine cellar. stunned.
AL: ... private dining rooms are available... oh no ... I-thought it was supposed to be five years ...didn't you get five years? ... no, sir ... not you...and your name, sir?... Rizzolo ...for eight at eleven-thirty, thank you.
JAKE: Mr. Fabulous! You look younger than ever, how marvelous it is to see you.
AL: Wait, you guys can't here come in here.
JAKE: Nonsense, my dear fellow, my brother and I have come to dine...to celebrate my early release from the service of the state.
AL: Wait. Let's talk outside...let's have a cup of coffee outside.
JAKE: Why, heavens no! we seek a full meal and all the compliments of the house. Come, Elwood, let us adjourn ourselves to the nearest table and overlook this establishment's board of fare.
The phone rings. Al picks it up.AL: Good evening ... Belle Cuisine de Helene ... wait! Hey!

SCENE 155

Location: JAKE AND ELWOOD
as they cruise past Rubin to a table near Mom, Dad, and the family.

SCENE 156

Location: JAKE AND ELWOOD'S TABLE
The family sits in the b.g. Jake and Elwood settle comfortably at the table, tuck their napkins into their shirts.

SCENE 157

Location: AL
He is showing two elderly couples to a table.

SCENE 158

Location: JAKE
He inserts his fingers into his mouth and whistles shrilly for a waiter.

SCENE 159

Location: INT. RESTAURANT - WIDE SHOT
The customers glance in Jake's direction. A Waiter hustles over to the table.

SCENE 160

Location: JAKE AND ELWOOD
JAKE: Bring us a bottle of your finest, champagne, five shrimp cocktails and a double order of white toast for my brother.

SCENE 161

Location: AL
He assists in seating one of the elderly ladies. He looks nervously over at Jake and Elwood.Camera: CUT TO

SCENE 162

Location: AL'S P.O.V. - JAKE AND ELWOOD
He sees Jake talking and gesturing to the Waiter.Camera: CUT TO

SCENE 163

Location: AL
He gasps and hustles over to Jake and Elwood.AL: Excuse me....
Camera: CUT TO

SCENE 164

Location: JAKE AND ELWOOD'S TABLE
Mom, Dad, and the family in the b.g.WAITER: We have a Roger Steuben, Blue Label at thirty-eight dollars or ---
JAKE: That'll be fine, pal.
The Waiter leaves. Al leans in to whisper to Jake and Elwood.AL: Hey, c'mon, seriously, you guys, the food here is really expensive... the soup is fucking ten dollars ... c'mon, let's go outside ... I'll buy you a cup of coffee.
JAKE: (intense) We're putting the band back together.
AL: Forget it. No way.
ELWOOD: We're on a mission from God.
The Waiter returns and starts setting down the five shrmp cocktails.AL: Hold it, hold it...what is this?
In the b.g. Dad motions for Al.DAD: Sir ... waiter... sir....
Al walks over to his table.AL: Yes, sir. How are your salads?
DAD: The salads are fine...it's just that ... we.. .we'd like to move to another table... away from these two gentlemen.
He indicates Jake and Elwood Al looks back at them.

SCENE 165

Location: AL'S P.O.V. - JAKE AND ELWOOD
The Waiter is uncorking the bottle of champagne as Jake tosses a shrimp into Elwood's mouth.

SCENE 166

Location: AL
is very concerned.AL: Why? Have they been disturbing you?
DAD: No... it's just that...

SCENE 167

Location: AL'S P.O.V. - JAKE AND ELWOOD
as they clink their glasses in an elegant toast.

SCENE 168

Location: INT. RESTAURANT - WIDE SHOT
A group of pin-striped businessmen enter and wait at the reservation podium.AL: Excuse me, sir, I'll see if I can locate another table for you.
He leaves to greet the new customers.

SCENE 169

Location: ANGLE - JAKE AND FAMILY
Jake slides over and growls at Dad through a mouthful of shrimp.JAKE: How much for the little boy... the women ... how much for the women?
DAD: What ... ?
JAKE: Your women... I want to buy your women... the boy... your two daughters... sell them to me... sell me your children....
DAD: Waiter.. sir ... please ... waiter!

SCENE 170

Location: JAKE AND ELWOOD
Al returns to their table.AL: (pleading) Hey, cut it out. The manager is going to ask me to call the cops.
JAKE: Al, would you do that to me?
ELWOOD: He just got out ... he's on parole... you can't call the cops on him, man.
JAKE: (emphatically) We're putting the band back together.
AL: I said no -- absolutely not!
Jake growls at Dad.JAKE: You! How much for your wife?
AL: I can't! I don't play anymore.
JAKE: We're putting the band back together. We need you. We need your horn.
AL: I can't. I really can't.
ELWOOD: We got everybody else except Matt 'Guitar' Murphy and we're getting him next.
AL: Forget it. No way..
Jake lets out an enormous belch. The entire restaurant is now watching with horror. Elwood eats an entire loaf of white bread.JAKE: If you say no, Elwood and I will come here for breakfast, lunch, and dinner every day of the week.
AL: Okay, okay, I'll play ... You got me!
DAD: Sir....sir ....

SCENE 171

Location: INT. RESTAURANT - WIDE - JAKE AND ELWOOD
get up and quickly leave the restaurant. Al holds up the bottle of champagne and shakes it...it is empty.

SCENE 172

Location: EXT. SIDEWALK CAFE - STREET - WIDE - NIGHT
A Chicago City Police motorcycle is Parked behind the Bluesmobile. An officer is placing a parking ticket on the windshield, Jake and Elwood come out of the restaurant, to the Bluesmobile.

SCENE 173

Location: ANGLE ON ELWOOD AND COP
Elwood opens the car door, scoops the ticket off theELWOOD: Thank you.. thank you very much, Officer, thank you and good night.
"The Peter Gunn Theme" comes in hard as the Bluesmobile makes a radical U-turn into traffic. Three cars have to swerve to avoid hitting the Bluesmobile, Two crash into parked cars, the third demolishes the officer's parked motorcycle.Camera: DISSOLVE TO

SCENE 174

Location: EXT. INTERSECTION AT NAZI BRIDGE - DAY - THE BLUESMOBILE
is stuck in a line of cars halted by police officers in front of a high bridge. An angry crowd of demonstrators can be seen in the distance, people yelling and making threatening gestures with fists. Jake calls one of the officers over to the car.JAKE: What's going on?
OFFICER: Aw, those bums won their court case and they're marching today,
JAKE: What bums?
OFFICER: The U.S. Nazi Party.
ELWOOD: (knowingly) Illinois Nazis.

SCENE 175

Location: EXT. BLUESMOBILE
Goosestepping across the intersection ahead is a full contingent of flag-bearing Brown Shirts in jackboots and armbands. The marching on the very high bridge.JAKE: I hate Illinois Nazis!

SCENE 176

Location: EXT. INTERSECTION - WIDE - THE POLICE OFFICER
turns to watch the march. Elwood puts his foot firmly on the gas pedal. The Bluesmobile roars on towards the marching Nazis.Camera: CUT TO

SCENE 177

Location: MARCH LEADER
A Black Shirt, lean, and ugly.BLACK SHIRT: Hey Gruppenfeulirrer... gruppenfeuhrer,
A bull-necked Brown Shirt runs over to him.BROWN SHIRT: Yes, Sir.
BLACK SHIRT: Look at that car.
Camera: CUT TO

SCENE 178

Location: BLACK SHIRT'S P.O.V. - THE BLUESMOBILE
is heading right towards them.BROWN SHIRT: Yes, Sir?
BLACK SHIRT: What do you think he's trying to accomplish?
BROWN SHIRT: Don't know, Sir.
BLACK SHIRT: One thing's for damned sure, he's not gonna disrupt our parade.
The Bluesmobile bears down on the Nazis.BLACK SHIRT: (barks command) Attention!
The soldiers snap to attention.BLACK SHIRT: We'll show those nigger-loving Jews and their simpering Catholic friends what the American Nazi Party stands for. We will hold our ground! Nothing will move us!
The Bluesmobile is now right upon them and all of the Nazis run for their lives, leaping over the side of the high bridge, landing in the muck below.Camera: CUT TO

SCENE 179

Location: INT. BLUESMOBILE
Elwood straightens his tie.Camera: CUT

SCENE 180

Location: BOTTOM OF BRIDGE
The Nazis are all splashing around in disarray. The Black Shirt stands furiously.BLACK SHIRT: Gruppenfeuhrer!
The Brown Shirt, looking much worse for the wear, splashes over to him.BROWN SHIRT: Yes, sir!
BLACK SHIRT: Get that car's license plate number. We're gonna kill that son-of-a-bitch.
Camera: CUT TO

SCENE 181

Location: EXTREME CLOSEUP
of the Bluesmobile's rear license plate. "The Peter Gunn Theme" comes in hard. The plate pulls away from us as the Bluesmobile zooms down the highway.

SCENE 182

Location: EXT. MAXWELL STREET - DAY
Music: Boom, boom.The Bluesmobile cruises down the famous street, We see the open-air market places of automobile parts; crazy merchandise -- a real street festival. The Bluesmobile pulls up and parks where two old black men are playing guitars hooked up to small amps right on the sidewalk. Jake and Elwood exit the Bluesmobile and stand with the crowd listening.

SCENE 182-A

Location: EXT. MAXWELL STREET
JAKE: Street Slim and Baby Boy Red; still playing Maxwell Street.
The two black men finish the tune.OLD BLACK MAN #1: Thank you, that was the 'boogie' which I wrote.
OLD BLACK MAN #2: You're lying if you say that 'cause the first boogie I ever heard come offa my mother's church organ and after that offa Pinetop Perkins' piano and offa Tampa Red's guitar. You're lyin'.
OLD BLACK MAN #1: You callin' me a liar?
OLD BLACK MAN #2: Yes sir.
The two men begin to argue in earnest as Jake and Elwood walk past them to....

SCENE 183

Location: EXT. SOUL FOOD CAFE
A large neon sign flashes "SOUL FOOD CAFE" erratically, The place was obviously once a very snazzy diner and has gone through considerable wear and tear over the years. Handpainted signs on the walls advertise the menu. It's one of those places that looks funky and you can almost taste how good the ribs are when you drive by.

SCENE 184

Location: INT. SOUL FOOD CAFE
The restaurant is manned by one WAITRESS (Aretha Franklin), one Dishwasher (Blue Lou Marini) and the Cook, a big, handsome black man with a powerful build, (MATT "GUITAR" MURPHY) The place is fairly busy with 7 or 8 customers. At the counter sit three women. Matt is in the back cooking, Blue Lou is in the back washing dishes. Jake and Elwood enter, size up the place, and sit at the counter. The Waitress approaches them.WAITRESS: Can I help you boys?
ELWOOD: Got any white bread?
WAITRESS: Yes.
ELWOOD: I'd like some toasted white bread, please.
WAITRESS: You want some butter or jam on that toast, honey?
ELWOOD: No, ma'am, dry.
JAKE: You got any fried chicken?
WAITRESS: Best damned chicken in the state.
JAKE: Bring me four fried chickens and a Coke.
WAITRESS: You want chicken wings or chicken legs?
JAKE: I want four fried chickens and a coke.
ELWOOD: And some dry white toast, please.
The Waitress looks at them as if they're crazy, but shakes her head resigned.WAITRESS: You want anything to drink, honey?
ELWOOD: No, ma'am.
JAKE: A Coke.
WAITRESS: And four fried chickens -- I know, I know. It'll be up in a minute.
She goes back into the kitchen.

SCENE 185

Location: INT. KITCHEN
WAITRESS: We got two honkies out there dressed like Hasidic diamond merchants.
MATT: Say what?
WAITRESS: They look like they're from the CIA or something.
We can see on Matt's face that there's a glimmer of recognition in her description of Jake and Elwood.MATT: What'd they want to eat?
WAITRESS: The tall one wants white bread toast with nothing on it.
MATT: (whispers) Elwood....
WAITRESS: And the other one wants four whole fried chickens and a Coke.
MATT: (aloud) ...and Jake! Shit, the Blues Brothers!
Matt rushes out from behind the kitchen stove into the restaurant.

SCENE 186

Location: INT. RESTAURANT
Jake and Elwood stand on seeing Matt and the three clap hands warmly.MATT: Jake, Elwood, how you doin'!? How was Joliet?
JAKE: It's bad. on Thursday nights they serve a wicked pepper steak.
MATT: Can't be as bad as the cabbage rolls at the Terre Haute Federal Pen.
ELWOOD: Or that oatmeal at the Cook County slammer.
MATT: They're all pretty bad.
JAKE: So are you, man and that's why we need you. Elwood and me, we're putting the band back together.
The Waitress has come out from the Kitchen and is watching this scene warily.MATT: Oh man, don't talk that way around here. My old lady, she'd kill me.
Elwood sees the Waitress.ELWOOD: Ma'am, you have to understand. This is bigger than any domestic problems you might be experiencing.
WAITRESS: (starting to get pissed) Matt, what the hell's he talking about?
MATT: Don't get riled, sugar....
WAITRESS: Don't you, 'don't get riled, sugar' me! You're not going back on the road. You're not playing in no two-bit sleazy dives any more. You're living with me now. You're not going to go sliding around with your white hoodlum friends!
MATT: But, sugar, this is Jake and Elwood, the Blues Brothers!
WAITRESS: The Blues Brothers! Shit, they still owe you money!
JAKE: Ma'am, would it make you feel better if you knew that what we're asking Matt to do here is a holy thing?
ELWOOD: You see, we're on a mission from God.
This really pisses the Waitress off.WAITRESS: Don't you blaspheme in here! This is my restaurant and this is my man and you two are just gonna walk out that door without your dry white toast and your four chickens and without Matt 'Guitar' Murphy!
Now Matt's starting to get angry.MATT: Now you listen to me! I love you, but I'm the man and you are the woman and I'll make the decisions concerning my life.
Now the Waitress is really angry.WAITRESS: You better think about what you're saying! You better think about the consequences or your actions!
MATT: (exasperated) Oh hush up, bitch.
With that, Waitress turns on her heels and launches into a spirited rendition of "Think" ("You better think, think about what you're trying to do to me. Think, think, think before you let yourself go free. I ain't no psychiatrist, I ain't no doctor with degrees, but I don't need no high I.Q. to see what you're doing to me"). At the proper moment in the song, the Dishwasher reaches under the counter and comes up with a saxophone. He removes his hairnet, revealing long hair. He plays the solo-break. The women at the counter become the Waitress chorus and the soul food diner becomes a Motown spectacular with everyone including Jake and Elwood involved in the Choreography.When she's finished singing, there is silence as the Waitress and Matt stare at one another. Finally, Matt makes his decision. He takes off his apron, puts it on the counter, reaches behind the counter and brings cut a guitar case. Matt turns to Jake and Elwood....MATT: C'mon, let's boogie.
Matt exits, followed quickly by The Blues Brothers. The Dishwasher stands torn. He wants to go with Matt, Jake and Elwood, but feels loyalty to the Waitress. Finally, the Waitress turns to him and says:WAITRESS: (annoyed) Well? Go ahead, dammit ....
Joyfully, Blue Lou, still clinging to his sax, runs out of the restaurant. The Waitress looks around at the other diners who quickly look down and pretend to be busy eating. She composes herself and begins to clear some dishes from the counter.WAITRESS: Shit!
Camera: CUT TO

SCENE 187

Location: EXT. SOUL FOOD CAFE
The Bluesmobile, with Jake and Elwood in the front seat and Matt and Blue Lou in the back, takes off. "The Peter Gunn Theme" comes in hard.Camera: CUT TO

SCENE 188

Location: EXT. CURL UP AND DYE BEAUTY SALON
A little storefront with a brightly lit red a

SCENE 189

Location: INT. BEAUTY SALON
It's closed, empty, except for the Mystery Woman who sits in a swivel chair at the counter. She is pouring over some books and pictures.

SCENE 190

Location: HER P.O.V. - CLOSEUP - PICTURE
It's a photo of her and Jake in front of an old house. We can see that she has just lacquered the fingernails on her left hand bright red. She puts a heavy book on the table. She opens the book.

SCENE 191

Location: CLOSEUP - THE BOOK
She opens the flyleaf. U.S. ARMY MATERIAL COMMAND COMBAT ORDINANCE PUBLICATION 400 FLAME THROWER. She carefully opens a bottle of red nail polish and begins to study the book as she paints the fingernails on her right hand.Camera: CUT TO

OMITTED: 192 thru 207

SCENE 207-A

Location: EXT. CHICAGO CITY STREET - DAY
"The Peter Gunn Theme" blares as the Bluesmobile cruises down the city street. It is closely followed by a big purple Cadillac. On the side of the Caddy was painted very elaborately "Murph and the Magictones." A large spray-painted "X" crosses out the Murph and the Magictones logo and "The Blues Brothers Band" has been written on both sides and trunk of the car. The Blues Brothers band is crammed into the Caddy - Murphy is driving.Camera: DISSOLVE TO

SCENE 208

Location: EXT. RAY'S MUSIC EXCHANGE - DAY
The Bluesmobile and Cadillac pull up in front of a big shop. on South State Street. A tremendous sign proclaims: RAY'S MUSIC EXCHANGE - RADIO - TV - APPLIANCES. The entire band gets out of their cars.Camera: CUT TO

SCENE 209

Location: INT. RAY'S MUSIC EXCHANGE
The place is jammed with boxes of merchandise. The walls have all kinds of musical instruments hanging off them from horns to drum kits. Amplifiers are stacked on high. At the back of the store is a counter enclosed in wire mesh. Murphy walks up to an electric organ and begins playing Jimmy Smith riffs. The Colonel takes an electric guitar from a rack and plugs it in. He begins gradually chording Chuck Berry progressions. Willie picks up two sticks and begins fooling around with the drums. Other members check out horns. The band begins to jam. There is a sound of bolts snapping, locks springing free. A large section of the counter's mesh slides up and RAY (Ray Charles) appears.RAY: Pardon me... but we do have a strict policy concerning the handling of the instruments... an employee of Ray's Music Exchange must be present. Now, can I help you?
Jake and Murphy leave the instruments and walk to the counter.JAKE: Ray, it's me -- Joliet Jake. I once rented column speakers From you for my band, The Blues Brothers.
MURPHY: (a big smile) Hey, Ray, it's me, Murphy...of Murph and the Magictones. Remember me? I bought three Fender amps.
RAY: We sell a lot of amplifiers.
MURPHY: Not like these. They were beautiful, upholstered in thick orange shag.
RAY: Right, right. I remember. I'll buy them back, three-fifty apiece.
MURPHY: (shocked) Three-fifty!? I paid eight hundred apiece not six months ago!
RAY: (smiling) We must reme
JAKE: Ray, we're here to buy stuff. We need a piano, mikes, the works.
Ray disappears from behind his counter. There is the sound of bolts snapping o.s. Ray comes out from behind the mesh cage. A YOUNG BOY of 16 or 17 has entered the shop during this. The boy is slowly reaching for a Fender guitar, his fingers close around the neck softly. He has it off the wall and is on his way out the door when Ray suddenly whips out a .45 automatic and fires three times. The slugs hit an inch away from the boy's head.RAY: Just put it back, son.
The boy, terrified, replaces the guitar.RAY: Now go on, git!
The boy runs for his life. Ray puts the gun back.RAY: (muttering) Boy that young going bad, it breaks my heart.
MURPHY: Tell me about this electric piano, Ray.
RAY: You have a good eye, my man. That's the best in the city of Chicago.
JAKE: How much?
RAY: Two thousand bucks, it's yours carry it out. I'll throw the black keys in for free.
JAKE: Two thousand for that chunk of shit... come on, Ray....
Murphy tickles the keyboard. He pumps it.MURPHY: Really, Ray. It's used... there's no action left in this keyboard.
Ray politely moves Murphy away from the piano.RAY: Ex...excuse me...there is nothing wrong with the action in this piano.
Ray sits down and plays his version of the Du-Tones' classic, "Shake A Tail Feather". The band picks up instruments and jam on with Ray, Jake, and Elwood on vocals.

SCENE 210

Location: EXT. RAY'S - DAY
Traffic slows and the pedestrians on the sidewalk turn and crane their necks as the joyful music pours out from Ray's shop.Camera: CUT TO

SCENE 211

Location: EXT. RAY'S SHOP
People begin gathering at the door and dancing.Camera: CUT TO

SCENE 212

Location: INT. RAY'S SHOP - DAY
The place becomes packed and the rousing rendition of "Shake A Tail Feather" is in full throttle. The number winds up, ends, and everyone is happy. Jake turns cooly to Ray.JAKE: Okay, man. We'll takes these axes.
Jake puts his arm around Ray's shoulder.RAY: Naturally, and as usual, I gotta take an I.0.U.
"The Peter Gun Theme" comes in hard and carries us through...Camera: CUT TO

SCENE 213

Location: EXT. EXPRESSWAY - NIGHT
The Bluesmobile zooms down the road with the Cadillac right, behind it. The Cadillac is now driven by the Colonel. Murphy, Bones, and Mr. Fabulous are in the Bluesmobile.Camera: CUT TO

SCENE 214

Location: INT. BLUESMOBILE - MOVING - EXPRESSWAY - NIGHT
JAKE: (to Elwood) So I said I'd get us some instruments and amps and I did, didn't I?
ELWOOD: Yap!
AL: Oh, Jake? I have one question -- where's our first gig?
MURPHY: Yeah! We're aching to swing. What spot have you lined up tonight, Jake?
BLUE LOU: Yeah, is it a big room... a bar... a dance?
MURPHY: We want to groove.
BONES: Yeah!
JAKE: Look we got a gig. Just relax. All right? Elwood, pull over. I've gotta make a phone call.

SCENE 214-A

Location: EXT. EXPRESSWAY - HOWARD JOHNSON'S - NIGHT
The Bluesmobile and the Cadillac pull off the road into the parking lot of a Howard Johnson.JAKE: You guys get yourself a bite to eat. I've got to make a phone call.
AL: Now, does this phone call concern our first gig, Jake?
JAKE: Have I ever lied to you?
Mr. Fabulous doesn't even bother to answer that one. He and the rest of the band go in the restaurant leaving Jake and Elwood by the cars.ELWOOD: What are we gonna do, Jake? We don't got no gig.
JAKE: How much money you got?
Elwood reaches into his pocket and comes out with one coin.ELWOOD: I got a quarter Jake.
JAKE: Well that's enough for a phone call. Come on.
Jake and Elwood walk over to the phone booth. It is behind the Ho-Jo kitchen door, next to the propane tank. Jake opens the door and Elwood tries to join him in the booth. There is a moment of awkwardness but the two manage to squeeze in together.

SCENE 215

Location: INT. PHONE BOOTH
Elwood and Jake stand pressed together in the phone booth, Jake's face in Elwood's chest.JAKE: What are you doing, Elwood?
ELWOOD: You said we were gonna make a call.
JAKE: I said I was gonna make a call.
ELWOOD: Who you gonna call, Jake?
JAKE: Remember Maury Sline?
ELWOOD: Sline? Oh yeah, the booking agent. What about him?
JAKE: He got us some good showcases in the old days. He got us the Morgan Park, the Tick-Tock and I got him laid. He owes me.
Just then the red Pontiac Grand Prix screeches to a stop 30 feet from the phone booth. The Mystery Woman jumps out of the front seat carrying a U.S. Army Flame Thrower. She releases a 30-foot stream of fire at the phone booth. The flame engulfs the propane tanks causing a tremendous explosion which dislodges the phone booth and sends it hurtling intact across the parking lot. The rear of the Ho-Jo burns. The Mystery Woman retreats behind a stream of flame, jumps into the Pontiac and drives off.

SCENE 216

Location: PHONE BOOTH
on the other side of the parking lot on its side, scorched and twisted.

SCENE 217

Location: JAKE AND ELWOOD
They are crammed inside the mangled phone booth.JAKE: Still got that two bits?
Camera: DISSOLVE TO

SCENE 218

Location: INT. AMERICAN NAZI PARTY HEADQUARTERS - NIGHT
We find ourselves in an extremely tacky, fake-wood paneled office. There is a Formica desk, a plastic chair, and a portrait of George Lincoln Rockwell in civillian dress. The Black Shirt sits behind the desk and Brown Shirt, now in civilian dress, stands in front off the desk.BLACK SHIRT: What did you find out?
BROWN SHIRT: Okay. I called a friend at the Motor Vehicle Department. That license plate is like a rash all over the computer. The car belongs to a known traffic menace.
BLACK SHIRT: What's his name?
BROWN SHIRT: His name is Elwood Blues. He's got a record a mile long and he's Catholic.
BLACK SHIRT: Did you get his address?
BROWN SHIRT: Of course. 1060 North Addison.
BLACK SHIRT: Let's go.
Camera: CUT TO

SCENE 219

Location: EXT. WRIGLEY FIELD - NIGHT
The Nazis new fake-wood paneled station wagon pulls up at the gate where the sign reads WRIGLEY FIELD. The Brown Shirt is driving, the Black Shirt sits in the front, and four thugs sit in the back.Camera: CUT TO

SCENE 220

Location: INT. NAZI STATION WAGON - NIGHT
BLACK SHIRT: Anyone with that kind of record is gonna make a mistake. I want all party members in the tri-state district to monitor the city, county and state police on their C.B.'s. Mr. Blues is gonna fuck up and when he does, he better pray the police get there before we do.
Camera: CUT TO

SCENE 221

Location: EXT. HIGHWAY - NIGHT
The Bluesmobile and the Cadillac continue down the road. Jake, for the first time, is a little worried. He is in the front seat and Mr. Fabulous and Murphy are still in the back. The other band members follow in the car behind.

SCENE 222

Location: INT. CADILLAC - MOVING - NIGHT
Colonel is driving. Duck sits in front.COLONEL: What are they doing? Are we just going to ride around in this boat all night?
DUCK: Jake swore we were heading down to play some place in the south.
BLUE LOU: Yeah, like where, man? Some place, like Florida?
Willie lounges in the back seat.WILLIE: Lies... lies... lies... The man is slipping us the hose... I say we give The Blues Brothers... one hour... that's all... just one hour.

SCENE 223

Location: INT. BLUESMOBILE - MOVING - NIGHT
MR. FABULOUS: All right, Jake. We've been in this car for four hours now. Where the hell is this place?
JAKE: (worried, scanning the horizon) I told you it'd take a little while to get there.
MURPHY: Yeah, what's the name of this place, Jake?
JAKE: (worried) The name, uh... why uh...
Jake looks up.

SCENE 224

Location: JAKE'S P.O.V. - EXT. BOB'S COUNTRY BUNKER - NIGHT
On the side of the road is a long, wide, one-story cinder block road house. A neon sign with a rocking cowboy hat flashes: BOB'S COUNTRY BUNKER. The parking lot is empty except for two pickups and a semi. At the entrance to the parking lot is a big marquee with plastic supermarket-type letters that read: TONIGHT ONLY - THE GOOD OLE BOYS.

SCENE 225

Location: INT. BLUESMOBILE
JAKE: (excitedly) Bob's Country Bunker! Here we are!
ELWOOD: (under his breath) Bob's Country Bunker?

SCENE 225-A

Location: EXT. BOB'S COUNTRY BUNKER - NIGHT
The Bluesmobile and the Cadillac pull into the parking lot. The band members all get out and stretch.MR. FABULOUS: Jake, the sign says, 'Tonight- only, the Good Ole Boys.'
JAKE: Must be a mistake. The Blues Brothers It's supposed to read, 'Tonight only, The Blues Brothers triumphant return.'You guys start unloading the stuff. Come on, Elwood.

SCENE 226

Location: INT. BOB'S - NIGHT
A long, dark space with black cinder-block walls and a bar in the front at which sit three men drinking beer. Other than the three patrons, the place is empty. Jake and Elwood go to the bar. CLAIRE, the owner's wife, approaches them.

SCENE 227

Location: BAR
CLAIRE: Now, what would you boys like? You thirsty or hungry? Are you just driving through? You want to see our supper menus? Like a beer or something hard? We make the state's best pepper steak.
JAKE: Well, ma'am, we'll probably end up sucking down a few beers later. We're going to be here all night. We're the band.
CLAIRE: You are? That's nice. I'll go get Bob.
Elwood stops her.ELWOOD: What kind of music do you usually have here?
CLAIRE: Oh, we have both kinds -- country and western.
Claire goes off to get Bob.ELWOOD: Jake, are you sure this is the place?
JAKE: Yeah, yeah. Sure, sure this is the place.
A tall husky man in a cowboy shirt approaches Jake and Elwood. He is big and a little scary. This is BOB, Claire's husband and the owner of the place.BOB: You the Good Ole Boys?
JAKE: That's us. The rest of the band's out in the parking lot getting our stuff together.
Elwood looks at Jake amazed. He's about to speak, but Jake gives him a shot in the ribs with his elbow.BOB: (shaking Jake's hand) Well, it's nice to have you here. I'm Bob and this is my place.
JAKE: It's a beautiful place, Bob.
BOB: I guess you fellows will want to set up
The other members of the band come in carrying their instrument cases. Claire hits some switches beneath the bar.Camera: CUT TO

SCENE 228

Location: INT. BOB'S DRINKING ROOM - NIGHT
Spotlights illuminate a stage at the rear of a sparse expansive beverage room filled with tables and booths. The stage consists of a slight elevated platform, with a wire cage in front of it and bales of hay on either side. The band members walk towards the stage exchanging worried looks.BLUE LOU: Chicken wire?
Camera: CUT TO

SCENE 229

Location: STAGE
From wall to wall across the apron there is a seven-foot-high fence of double chicken wire, held up by black 4' x 8's. At the base of the stage there is a bin on the floor. The band members group around.MATT: What's the chicken wire for?
DUCK: Damn sure ain't for chickens.
JAKE: Hey, Bob, just for tonight, how about losin' the cage?
BOB: I really couldn't do that, boys. You see, that's all part of the fun here at the Country Bunker.
He laughs.BOB: Hell, later on tonight, you'll be real glad that wire's there.
Jake turns to the band.JAKE: Okay, let's set up for a sound check.
The band members disperse. Bob stops Bones.BOB: I guess I'll give this to you. You're the tall one.
He hands Bones a piece of paper.BONES: Okay. What is it?
BOB: It's the list of songs you're gonna play tonight.
BONES: Hmmm...
Camera: DISSOLVE TO

OMITTED: 230

SCENE 231

Location: INT. BOB'S COUNTRY BUNKER - PATRONS - NIGHT
in peaked "name" hats, work boots, and vests cram the place. There are two man for every woman and the women all have names like Lucille.Camera: CUT TO

SCENE 232

Location: STAGE - THEE BAND
is set up. Bones and Elwood confer.ELWOOD: (reading list) I don't think we know any of the songs on this list.
JAKE: That list doesn't mean anything. They're just requests. we'll. do our regular set. Let's start with "Gimme Some Lovin'."
MURPHY: "Gimme Some Lovin'"... one... two... three....
The band starts the Stones' "Gimme Some Lovin'."ELWOOD: (into microphone) Good evening, ladies and gentlemen. We're sure glad to be here in Kokomo tonight. We're The Good Ole Blues Brothers Band... Boys from Chicago. We hope you enjoy our show. I'm Elwood. This is my brother Jake.
Jake starts the vocal.Camera: CUT TO

SCENE 233

Location: BAR - CLAIRE AND BOB
are pushing drinks. Bob looks up.BOB: (disturbed) That's not a Hank Williams number.
Camera: CUT TO

SCENE 234

Location: BOOTH
Four mean, weathered-looking patrons exchange looks. Two of them are sitting with, their backs to the stage, They twist around to lock at the band.PATRON: Eeeeeyushit whut're those damn freak pecker heads playin'?
Camera: CUT TO

SCENE 235

Location: BAR - BOB
leans over and hits a switch.

SCENE 236

Location: STAGE - THE LIGHTS
on stage go out. The band stops playing. The audience begins hurling bottles, cans, and ashtrays at the stage. They bounce off the chicken wire into the big bin on the floor.

SCENE 237

Location: STAGE - THE BAND
is in darkness and confused.MURPHY: Why did they turn out the lights?
WILLIE: Maybe they blew a fuse.
BLUE LOU: I don't think so, man. We're in the dark on purpose.
JAKE: What?
DUCK: Jake, this isn't the Tick-Tock Lounge or the Paradise Ballroom.
JAKE: What do you mean?
COLONEL: The owner wrote down the songs he wanted us to play on a piece of paper. We are not playing them.
Camera: CUT TO

SCENE 238

Location: JAKE
begins to understand. He turns towards the audience. They hurl bottles, ashtrays...Jake moves towards the audience clenching his fists.MATT: Tranquilize yourself, boy. We are performers. We're here to perform, not to fight.
Elwood approaches Murphy.ELWOOD: Let's figure out something these people like...fast.
MURPHY: I've got it. Do you remember the 'Theme From Rawhide"?
The band, with Murphy leading at the Piano, begins to play the "Theme From Rawhide'. Elwood starts to sing.ELWOOD: 'Rollin', rollin', rollin'. Keep those doggies rollin'. Rawhide!'
JAKE: 'Don't try to understand 'em. Just head 'em up and brand 'em. Soon we'll be ridin' far and wide. Rawhide!'
The lights come on as the audience responds to the country-flavored tune with gusto. Elwood and, Jake begin to really get into the song:

OMITTED: 239

SCENE 240

Location: INT. BOB'S COUNTRY BUNKER
Elwood and the band finish the "Theme From Rawhide" and are greeted with righteous applause and a barrage of glasses and ashtrays.ELWOOD: Thank you. 'Theme From Rawhide.'. Thank you.
Jake takes the microphone.JAKE: Ladies and gentlemen, The Blues Brothers Band would like to Sing a Country and western favorite of mine and I hope a favorite of yours -- "Stand By Your Man." We sure hope you enjoy it.
MURPHY: One... two... three....
Murph and the band members sing backup on "Stand By YJAKE: Sometimes it's hard to be a woman, giving all your love to just one man
Camera: DISSOLVE TO

OMITTED: 241 thru 246-A

SCENE 247

Location: INT. BOB'S COUNTRY BUNKER - NIGHT
It is the end of the night. Many persons are drunken casualties. The band does the last verse and chorus of "Sink The Bismarck." The audience stomps, applauds, and hurls objects.JAKE: Thank you. 'Sink the Bismark' ... a request tune by the late Johnny Horton.
The band vamps on "Rawhide".JAKE: Well, folks, the time has come to call it a night. So do what you feel and keep both feet on the wheel. Until next time....
Jake sings.JAKE: 'Just head 'em up and brand 'em. Don't try to understand 'em. Soon we'll be ridin' far and wide, Raaawhiiide'.
They finish. The stage lights go out.

SCENE 248

Location: STAGE
JAKE: (to band) Okay, let's get the hell out of here fast.
The band immediately begins to break down the equipment Bob Comes up on stage as the place begins to clear out.BOB: Shit, that combo of yours is good! Best bunch of songs we've had in the Country Bunker for a long time.
ELWOOD: Sorry we couldn't remember the 'Wreck of the Old 97'.
BOB: 'S okay, just make sure you learn it for next' time.
JAKE: Bob, about, uh, our money for tonight....
BOB: That's right... hundred dollars. However, there is the matter of all that beer you guys drank.
ELWOOD: Oh, well, when first came in, the bar lady never charged us for the first round. We figured beer was like complimentary-like for the band, you know.
The camera takes in the hundreds of empty beer bottles on the stage. Bob laughs quietly.BOB: Noo, noo.
JAKE: Oh, okay, well I'll just go out and take a collection from the boys.
BOB: I'd appreciate it.
Jake and Elwood go out....Camera: CUT TO

SCENE 248-A

Location: EXT. BOB'S COUNTRY BUNKER PARKING LOT - NIGHT
... to the Caddy and the Bluesmobile where the band is assembled ready to go.PAUL: Did you get the money?
JAKE: He wants us to pay for the beer we drank.
There is a gasp from the band members.COLONEL: I'd say we poured down at least a couple hundred dollars worth of hops.
MR. FABULOUS: I should have known.
BLUE LOU: What do we do now, Jake?
JAKE: You guys go on ahead. We'll meet north of Lafayette in Battle Ground Park at the fork of the Tippecanoe and Wabash Rivers. Elwood and me, we'll stall 'em
The band members all crowd in the Cadillac with Murphy driving.WILLIE: One more chance, Jake. As far as I personally am concerned, you got one more chance.
The Cadillac pulls out onto the highway. Elwood puts his arm around Jake comfortingly.ELWOOD: Don't worry, Jake. We got almost two days before the deadline. We'll get the five thousand bucks for the Penguin. God won't let us down.
JAKE: (muttering) Yeah, yeah. Sure.

SCENE 248-B

Location: INT. CADILLAC - MOVING - HIGHWAY NEAR BOB'S - NIGHT
Paul is driving with Matt, Bones, and Blue Lou in front. Willie, The Colonel, Duck, and Al are in the back wedged among pieces of equipment.MURPHY: Good set guys. We slayed 'em. Real nice job on "Stand By Your Man."
WILLIE: Real nice club, too.
AL: Oh, yeah ... beautiful, beautiful spot.
MATT: Hey...I thought we were supposed to be the Blues Brothers again...but that sure wasn't the blues we, were playing.
LOU: Yeah. When are we gonna play some blues?
BONES: Do any of you cats even know where the next gig is?
AL: Wait a minute ... seriously now. What do you think? Can we expect to get paid for this tour or what?
COLONEL: Or are we just making a free contribution to Joliet Jake's rehabilitation?
WILLIE: I say this trip is nowhere. I say we gotta quit.
MURPHY: What?! Quit?! You'd better make up your minds! I'll have to call the Ramada Inn ... talk to Mr. Rozzini ... see if we can get our old gig back.
LOU: (heavily) Back at the Armada Room.
There is a low moan from the former Plushtones.COLONEL: Well I can't go back to the Armada Room. When I'm there I feel about as comfortable as a boll weevil in a baby's crib.
WILLIE: Okay, one more chance I say we give the Blues Brothers one more chance.
DUCK: Why not? Hell if the shit fits, wear it.

SCENE 248-C

Location: EXT. BOB'S COUNTRY BUNKER PARKING LOT - NIGHT
Jake is leaning with one hand on the side of the building peeing on the wall when he sees a deluxe, white Winnebago pull into the parking lot. Emblazoned on the side is a beautiful painting of a rearing Palomino and written in script painted like a rope in large gold letters, THE GOOD OLE BOYS. Underneath in smaller letters, DIRECT FROM NASHVILLE. Jake quickly finishes and runs over to the Winnebago just as the six members of The Good Ole Boys are getting out. They are dressed in resplendent rhinestone cowboy clothing. All wear snow-white cowboy hats and loads of diamond rings. These guys are clearly shitkickers.
JAKE: (officiously) Excuse me, gentlemen. Are you The Good Ole Boys?
TUCKER: Why yes, we are. I
Jake flashes his wallet quickly.JAKE: I'm Jake Stein from the American Federation of Musicians, Local 200. I've been sent here to see if you gentlemen are carrying your permits.
TUCKER: Our what?
JAKE: Your union cards. May I see your cards, please?
TUCKER: Sheeit. We're very late, son. Step out of the way.
JAKE: Gentlemen, I don't want to have to get rough with you. May I see your cards, please?
Tucker puts his hand on Jake's shoulder threateningly. Jake stands firm.JAKE: I don't think that would be wise, sir. I've got a number of law enforcement officers at my disposal for just that kind of behavior. Something we've come to expect from country western musicians.
TUCKER: You're gonna look mighty funny, Stein, trying to eat corn on the cob with no teeth.
JAKE: All right! That's it! You stand right here, mister. I'll be right back. I don't want you to move from this spot.
Jake turns and strides back to Bob's Country Bunker as Bob comes out of the bar with a handful of chits. The Good Ole Boys' Winnebago, Bob's pickup, and the Bluesmobile are the only vehicles left in the lot. Tucker McElroy and The Good Ole Boys stand by the Winnebago eyeing Jake suspiciously as Elwood joins him with Bob.BOB: Boys, that beer total is two hundred and thirty-eight dollars.
JAKE: (under his breath) Get in the car and start it up.
Jake aggressively approaches Bob who is looking through his chits. He smiles and offers his hand to Bob.JAKE: Bob, we loved playing here. My brother is writing out an American Express Travellers Cheque to cover our extensive bar tab.
BOB: I'd appreciate it.
Jake walks to the car.JAKE: Ah, let me see if he's ready. I have to sign it too. I usually sit down in the car and use the glove compartment lid.
Jake gets into the car and shuts the door.

SCENE 249

Location: JAKE'S P.O.V.
Tucker and the rest of The Good Ole Boys stand watching Jake confused.JAKE: Hit it, Elwood.
The Bluesmobile roars out of the lot. Bob runs after but stops out of breath among The Good Ole Boys.TUCKER: Was that guy from the union?
BOB: Union?! What union? Those boys ran out on me. They owe me two hundred and thirty-eight dollars!
Bob looks over The Good Ole Boys.BOB: What are you boys dressed up for?
TUCKER: We're The Good Ole Boys.
BOB: You're The Good Ole Boys?!
Camera: CUT TO

SCENE 250

Location: INT. THE BLUESMOBILE - MOVING - NIGHT
tooling down the highway. The window is open, Jake is sleeping, not a care in the world. Elwood looks in the rear-view mirror.

SCENE 251

Location: INT. BLUESMOBILE - MOVING - HIGH WAY - NIGHT
Elwood's P.O.V. in the mirrors, side and windshield, show Bob's pickup is rapidly gaining on them. In the cab with Bob is Tucker. The rest of The Good Ole Boys, armed with axe handles and shotguns, are in a 6-pak camper ton mounted on the pickup.

SCENE 251-A

Location: EXT. HIGHWAY- BOB'S PICKUP - NIGHT
Tucker, leaning out the side of the cab, opens fire with the shotgun, both barrels blazing.

SCENE 251-B

Location: EXT. HIGHWAY - BLUESMOBILE REAR WINDOW - NIGHT
A giant, spectacular explosion as glass shatters and flies out and back.

SCENE 251-C

Location: EXT. HIGHWAY - NIGHT
The Bluesmobile speeds away and the pickup roars in pursuit.

SCENE 252

Location: INT. BLUESMOBILE - MOVING - HIGHWAY - NIGHT
ELWOOD: Our Lady of Blessed Acceleration, don't fail me now.
Camera: CUT TO

SCENE 253

Location: EXT. SIDE OF THE ROAD - NIGHT
Behind a billboard is parked a police car, a speed trap.Camera: CUT TO

SCENE 254

Location: INT. POLICE CAR - NIGHT
Inside are the same two clean-cut Officers we have met before. Both have small bandages on their faces. The Bluesmobile roars past.OFFICER: (breaking into a big grin) I don't believe it!
OFFICER #2: Those bastards are ours now.

SCENE 254-A

Location: EXT. HIGHWAY - NIGHT
Its lights flashing siren blaring, the police car roars onto the highway just in time to be hit broadside by Bob's pickup. Both cars go rolling and crashing across the expressway, and the 6-pak camper comes flying off Bob's pickup as they land upside down in a ditch. The two officers crawl out of their car, pull out their guns, and walk over to Bob and Tucker who are struggling to get out of the mangled pickup, and The Good Ole Boys who are crawling out of the dislodged 6-pak camper. #1 points his gun at the dazed country western contingent.OFFICER #1: Fellas, you are in big trouble.
Camera: DISSOLVE TO

SCENE 255

Location: INT. STEAM ROOM - DAY
In the steam room sit three men, Jake and Elwood Blues and MAURY SLINE, the booking agent. Maury is a man in his fifties. He is nude, but for the towel across his lap and the cigar in his mouth. Jake and Elwood are also nude, but for the towels in their laps, their hats, sunglasses, and watches.JAKE: Maury, you owe me. we'll play anytime, anywhere, for anybody.
ELWOOD: Put us in the Double-Up Lounge or the Morgan Park Theatre or the Crystal. We always knocked 'em dead in those joints.
MAURY: Discos ... they're all discos ... singles ...mixed singles ... gay singles...these people like to dance with each other.
JAKE: But we are a dance band.
MAURY: ... Discos...they want string sections ... look-how many pieces you g
JAKE: Seven...
ELWOOD: Eight....
JAKE: Nine...nine pieces.
MAURY: How far do you want to drive?
ELWOOD: Anywhere within a two-thousand mile radius.
JAKE: Relax, I can't go into Ohio, Kentucky, Florida, or Canada.
MAURY: Gee fellas, I don't know. Times have changed. What are you guys gonna do? The same act in those same suits? You'll scare people away! Don't you guys even wear blue jeans or jump suits, like Wayne Cochran and the C.C. Riders?
JAKE: Maury, you've gotta come through. We need five thousand bucks fast.
MAURY: Five thousand bucks! Who do you guys think you are, the Beatles? You know the size of the hall you gotta play to take in that kind of money?
JAKE: We can kill any hall in the country, except Ohio, Kentucky, Florida, or Canada.
MAURY: (considers) You guys familiar with the Palace Hotel Ballroom?
JAKE: Never heard of it.
MAURY: Nice place up north -- built in the forties up in Lake Wazapamani. Seats 'five thousand. If you guys can fill that place, you could make five thousand bucks easy.
JAKE: Book us for tomorrow night!
MAURY: Hold it. A gig like that, you gotta prepare the proper exploitation.
ELWOOD: I know all about that stuff. I've been exploited all my life.
MAURY: Forget it. There's no way.
JAKE: How's Mrs. Sline? I got some information she might like to know.
MAURY: Are you blackmailing me, Jake?
JAKE: If you want to put it that way. Maury, we need this gig.
ELWOOD: We're on a mission from God.
Maury looks at the two of them.MAURY: You boys are gonna feel awfully sorry playing to twenty-five people in a hall that seats five thousand.
JAKE: You get us the hall, Maury. We'll pack 'em in from miles around. Come on boys.
The camera widens to reveal the entire band has been with them in the steam room all wearing nothing save towels and sunglasses. They all get up and exit.Camera: CUT TO

SCENE 256

Location: EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY
In the middle of the asphalt playground is a tall pole atop which is a large horn, an an air-raid siren -- a relic of the early fifties. Several members of the band walk through the playing youngsters with block and tackle towards the air-raid siren.Camera: CUT TO

SCENE 257

Location: EXT. LAKE WAZAPAMANI - THE BLUESM0BILE - DAY
with the air-raid siren mounted on top rolls down a main street. Blaring from tELWOOD: Tonight only from Chicago the famous Blues Brothers Rhythm, and Blues Show and Revue -- tonight at the Palace Hotel Ballroom. For your dancing pleasure that's the Blues Brothers Band at ten o'clock tonight -- From Chicago, the famous Blues Brothers Rhythm and Blues Show and Revue
Camera: CUT TO

SCENE 257-A

Location: EXT. ORPHANAGE - MORNING
A Cook County Marshall is supervising the movement and seizure of various pieces of school furniture. A group of twenty young boys comes running down the steps. They are cheering, clapping, and jumping.Curtis pulls up in his 1962 black, flatbed Cadillac flower transporter. He gets out of the car and approaches the hoard of boys.CURTIS: Hey ... hey ... hold it...what's going down here? Where you all going?
BOY: We're splittin', man. They're taking away our desks. We don't have to go to school any more!
The hoard cheers.CURTIS: So that's it. You've all just given up. Fine, bye-bye, boys. Old Curtis'll come visit you at the State Home in Galena! Is that what you want?
The hoard ripples.BOY: Uh-uh no...we don't want that.
CURTIS: Listen, you boys heard me talkin' about Jake and Elwood. Well they used to live here just like you and I used to sing to them, like with you. Tonight Jake and Elwood are gonna sing and play to raise money to help you children. Your lazy butts are in this too, so get up on that wagon. We're gonna get people to see the Blues Brothers tonight. We're going north to out the word in the streets!!
As the kids all clamber aboard the Cadillac we....Camera: DISSOLVE TO

SCENE 257-B

Location: EXT. LAKE WAZAPAMINI - HIGH NOON
The flower wagon cruises down the main street of a prosperous summer vacation town. Curtis' herd jumps off one by one at key intersections.Camera: CUT TO

SCENE 257-C

Location: EXT. STREET
A YOUNG BOY offers handbills to elderly shoppers.YOUNG BOY: Check it out. Check it out. Tonight only from Chicago. The Blues Brothers Rhythm and Blues Revue. One night only. The fabulous Blues Brothers.
Five large, blonde JOCKS stop.JOCK: Hey, chief, let's see that.
The Jock peruses the handbill.JOCK: Blues Brother Rhythm and Blues Revue. Genuine Dance Music. Palace Hotel Ballroom. Hey, this is tonight and it's only a two buck cover charge.
Camera: CUT TO

OMITTED: 258

SCENE 259

Location: INT. SOUL FOOD CAFE - DAY
one of the Little Boys is talking to the Waitress.LITTLE BOY #2: So please put this up in your window, lady. It's real important.
The Waitress looks at the handbill and shakes her head. After a moment's consideration, she goes to the front of the restaurant and places it prominently in the window.Camera: CUT TO

SCENE 260

Location: INT. RAY'S MUSIC EXCHANGE - RAY - DAY
is taping a Blues Brothers poster to the front window off his store. He steps back to admire hiCamera: CUT TO

SCENE 261

Location: INT. MEN'S BATHROOM
At a long line of urinals we find Tucker McElroy and The Good Ole Boys taking a leak. Tucker is reading the graffiti on the wall as he pees.

SCENE 262

Location: TUCKER'S P.O.V.
FOR A GOOD TIME CALL 555-1739ASK FOR SIDDISCO SUCKSTONIGHT ONLY, THE BLUES BROTHERS GENUINE RHYTHM AND BLUES SHOW AND REVUEPALACE HOTEL BALLROOMTONIGHT ONLYNext to the scrawled Blues Brothers ad on the bathroom wall is a crude caricature of Jake and Elwood. Tucker regards the drawing carefully.Camera: CUT TO

OMITTED: 263

SCENE 264

Location: EXT. PALACE HOTEL BALLROOM - DUSK
The purple Caddy pulls into the parking lot.Camera: CUT TO

SCENE 265

Location: INT. PALACE HOTEL BALLROOM
The big, beautiful ballroom is empty. The band members and Curtis stand on the stage looking out at the cavernous auditorium.MURPHY: Ha! Ho! Classic! What a room. This place is gonna swing tonight.
MR. FABULOUS: It's a barn. We'll never fill it.
Willie enters with part of his drum kit.WILLIE: Hey! Where's Jake and Elwood?
BONES: They went out to do some more advertising.
CURTIS: We'd better fill this hall. A lot of young children are depending on it.
BONES: Young children? Why? What do you mean?
CURTIS: Jake and Elwood are donating the band's share of the door money to pay the taxes on the St. Helen's Orphanage in Calumet City.
THE BAND: What!!??!!
Camera: CUT TO

SCENE 266

Location: EXT. BLUESMOBILE - DAY
The air raid siren is still on the roof. They are rolling through a quiet northern community.

SCENE 267

Location: INT. BLUESMOBILE - DAY
ELWOOD: ...Tonight only ... dance ... drink and enjoy some rhythm and blues music Wazapamani ... tonight. Thank you.
Elwood drops the mike. Jake is checking a road atlas.ELWOOD: How we doin'?
JAKE: Well ... we've covered a fifteen county radius.
ELWOOD: Good, let's get to the gig.
He stomps the gas. The Bluesmobile sputters. Elwood pumps the accelerator. The Bluesmobile coughs.JAKE: What is it?.
ELWOOD: We're out of gas.

SCENE 268

Location: INT. BALLROOM
The band is setting up its equipment, tuning up, and preparing for sound check.Camera: DISSOLVE TO

SCENE 269

Location: EXT. GAS STATION - SUNSET
A big sign reads:UNLEADED - 3.656REGULAR - 2.507A couple of old pumps and a concrete hut under some tall pines A few cars whisk by. The Bluesmobile slowly comes into frame. Elwood and Jake are pushing it. They roll it up to the pumps. Jake wheezes and hauls a bottle of wine from his jacket pocket Elwood goes f0or the pump nozzle. A large, slow-moving man comes from behind the station. He is the OWNER.OWNER: We're outta gas.
ELWOOD: Yap. Mind if I fill 'er up?
OWNER: Nope. I said we're outta gas. Tanker truck's late. Shoulda been here two hours ago. Always late on Thursday.
ELWOOD: Okay. We'll wait.
OWNER: Uh-huh. Tell that tanker driver I'm around the back.
ELWOOD: Sure.
The owner lumbers around behind the-station. Jake hauls on the wine.Elwood replaces the nozzle onto the pump.A chocolate brown XKE convertible pulls into the station. It is driven by a very beautiful and elegant CHIC LADY.CHIC LADY: Excuse me, sir.
Elwood looks around and points to himself.CHIC LADY: Yes, you. Would you please fill it up with premium and check under the hood?
ELWOOD: (smiles) Sure. You want I should wash the windows?
CHIC LADY: No, that's all right. I'm in kind of a hurry.
Elwood pulls the nozzle, squeezes it, and nothing comes out. He sticks the nozzle in her tank anyway and walks over and leans on her window.ELWOOD: So what kind of mileage you get with this machine?

OMITTED: 270

SCENE 271

Location: EXT. PALACE HOTEL BALLROOM - DAY
The parking lot is beginning to fill with cars and hundreds of kids are waiting in line. Curtis checks out the line and looks at his watch with worry.Camera: CUT TO

SCENE 272

Location: EXT. GAS STATION - DAY
Elwood still leaning on the Chic Lady's window.ELWOOD: So maybe you would like to come around and see the show tonight?
CHIC LADY: (smiles) I'm awfully sorry, but I have a prior dinner engagement.
The tanker truck pulls in. The DRIVER commences standard refill procedures. Elwood locks the nozzle on the pump already in the tank of the XKE. The Driver approaches Elwood.DRIVER: Where's old Jim?
ELWOOD: Around the back.
Elwood leans in the Chic Lady's window.ELWOOD: I'm sorry you won't be able to catch the show. We got a hot band. Maybe after the gig we could... you know... hang out together.

OMITTED: 273

SCENE 274

Location: INT. PALACE HOTEL BALLROOM - BACKSTAGE
The band is backstage and are pacing nervously back and forth.

SCENE 274-A

Location: THE CROWD
The hall is beginning to fill up.

SCENE 274-B

Location: INT. PALACE BALLROOM - BACKSTAGE
WILLIE: Another free gig!
MATT: I just want to play.
MR. FABULOUS: Where the fuck are they?
COLONEL: They'll show up, man. Take it easy.
PAUL: What can they be doing?
Camera: CUT TO

SCENE 275

Location: EXT. GAS STATION - DAY
Jake is lying on the hood of the Bluesmobile nursing the wine. Elwood is chatting with the Chic Lady, gas pouring out of the XKE.

SCENE 276

Location: INT. PALACE HOTEL BALLROOM - THE CROWD
The place is now packed.

OMITTED: 276-A

SCENE 276-B

Location: INT. MERCER'S OFFICER - NIGHT
Mercer sits at his desk holdin g a Blues Brothers poster advertising the Palace Hotel gig.Mercer picks up the Phone.MERCER: Gentlemen, I have some good news.
Camera: CUT TO

SCENE 277

Location: THE CROWD
The auditorium is packed and the kids are starting to grow restless. They begin whistling, clapping, and shouting for the show to begin.Camera: CUT TO

OMITTED: 278 thru 279-A

SCENE 280

Location: EXT. GAS STATION - NIGHT
The gas pump has now spilled many gallons of gas on the ground. Elwood absentmindedly puts the nozzle back on the pump.ELWOOD: You're all set. That'll be ninety-four dollars.
The Chic Lady hands Elwood the cash.CHIC LADY: Thank you very much...Elwood.
ELWOOD: (leans in the window) So if your date don't work out, there's a motel on the interstate. We can meet there say around midnight.
CHIC LADY: (smiles) I'll think about it, Elwood.
Jake, still leaning on the Bluesmobile, drinks the last drop out of the bottle, lights a cigarette, and then notices the clock in the gas station window. Jake goes over and punches Elwood.JAKE: Son-of-a-bitch!
ELWOOD: Owww!

SCENE 281

Location: INT. PALACE HOTEL BALLROOM - BACKSTAGE
Curtis is doing his best to calm the members of the band. The noise from the crowd on the other side of the curtain is deafening.MATT: I've always liked performing for angry mobs.
CURTIS: You can't give up now.
DUCK: Shit, why not?
COLONEL: I ain't had so much fun since the Hogs ate my baby brother.
Camera: CUT TO

SCENE 282

Location: EXT. GAS STATION - NIGHT
Elwood is finished fueling the Bluesmobile. He then jumps into the car and begins to pull out of the station. Jake absentmindedly flicks his cigarette out the I wi

SCENE 283

Location: INT. BLUESMOBILE - NIGHT
Jake and Elwood do not notice the conflagration behind them.JAKE: Step on it, pal.
Camera: CUT TO

SCENE 283-A

Location: EXT. GAS STATION - NIGHT
The station is burning away. The tanker explodes and flies into the air.

OMITTED: 284

SCENE 284-A

Location: EXT. PALACE HOTEL - PARKING LOT - NIGHT
Bob, Tucker McElroy and The Good Ole Boys pull into the parking lot and park in their big Winnebago. They all climb out looking extremely serious.Camera: CUT TO

SCENE 285

Location: INT. PALACE HOTEL BALLROOM - THE CROWD
The audience is turning truly hostile now, stamping their feet, clapping their hands.

SCENE 285-A

Location: BACKSTAGE
MR. FABULOUS: That's it. I'm going. I don't need this.
WILLIE: (throws down his sticks in disgust) Man, we were so close.
CURTIS: Do you boys know "Minnie the Moocher"?
MURPHY: I knew a stripper once named Minnie Mazola.
CURTIS: No, the song "Minnie the Moocher".
COLONEL: Yeah, so what?
CURTIS: Hit it!
Curtis tears off his clothing with one tug to reveal a dazzling white satin tuxedo. The band members look in astonishment at the transformation and realize that they themselves are also wearing beautiful tuxedos and the entire set changes.

OMITTED: 285-B

SCENE 285-C

Location: THE STAGE
As the curtain goes up, the band launches into "Minnie the Moocher" and Curtis knocks the audience dead.Camera: CUT TO

SCENE 286

Location: INT. PALACE HOTEL BALLROOM - REAR OF THE CROWD
Bob Tucker and The Good Ole Boys, all holding axe handles, watch the show grimly.BOB: (to Tucker) I don't see The Blues Brothers.
TUCKER: We'll wait.
Camera: CUT TO

SCENE 287

Location: EXT. PALACE HOTEL PARKING LOT - NIGHT
Twenty police cars pull up with their lights flashing, but sirens silent.

SCENE 287-A thru 287-D

Location: VARIOUS POSITIONS AROUND THE BUILDING - NIGHT
Armed officers take up positions at the entrance and exits of the building.

SCENE 287-E

Location: EXT. PALACE HOTEL PARKING LOT - ANGLE ON POLICE CAR - NIGHT
The two-young clean-cut officers and Burton Mercer (the parole officer) get out of their car.OFFICER #1: There is no way they're going to elude us this time.
MERCER: Just deliver Jake to me, and frankly I don't care in what condition I receive him.
OFFICER #2: Good.
Camera: CUT TO

SCENE 288

Location: EXT. EXPRESSWAY - NIGHT
The Bluesmobile zooms through the night.Camera: CUT TO

SCENE 289

Location: INT. PALACE HOTEL BALLROOM - NIGHT
Curtis finishes up "Minnie the moocher" to tremendous applause.Camera: CUT TO

SCENE 290

Location: EXT. STREET NEAR PALACE HOTEL BALLROOM - NIGHT
Jake and Elwood see the cop cars from a half mile away. Elwood turns off the lights.ELWOOD: Rollers!
JAKE: Yeah. Lots of 'em too.
ELWOOD: I think we gotta disappear.
Elwood leaves the highway and drives the Bluesmobile off the road into the woods.Camera: CUT TO

SCENE 290-A

Location: EXT. VIADUCT - NIGHT
A two-lane bridge over a big, wide, metal drainage culvert. The bridge is lined with police vehicles with radios squawking. A dark shape suddenly looms in the culvert underneath the bridge.

SCENE 290-B

Location: INT. CULVERT
The Bluesmobile rumbles in and parks right under the bridge. Jake and Elwood exit the car.JAKE: (whispering) My head hurts. That Turner's Old Sailor is a mean wine.
ELWOOD: You'd better get bright, pal. We got a show to do, then we got to figure out how to collect the gate money and get it into the Cook County Assessor's Office as soon as they open in the morning.
JAKE: Let's go.
They creep out of the culvert and up the side of the embankment.

SCENE 291

Location: EXT. PALACE HOTEL BALLROOM - PARKING LOT - NIGHT
Jake and Elwood move commando-like between the parked cars toward the ballroom. They crouch behind a police car.ELWOOD: Wait a second.
As Jake watches, Elwood opens his briefcase and takes out an aerosol can. He removes the valve on the back tire, inserts the can into the valve, and empties the contents of the can into the tire. He then moves around to the other side and does the same to the other rear tire.JAKE: (whispers) What are you doing?
ELWOOD: This is isopropyl butane. It expands when heated.
JAKE: (impatiently) Will you come on!
Camera: CUT TO

SCENE 292

Location: INT. PALACE HOTEL BALLROOM - NIGHT
Curtis and the band are back in their regular clothing and the audience is yelling for more.Camera: CUT TO

SCENE 293

Location: EXT. PALACE HOTEL BALLROOM - PARKING LOT - NIGHT
Elwood stops by Tucker's Winnebago and opens the car door. From his briefcase he removes a can that says "Air Grade Marine Epoxy."JAKE: (exasperated) Now what the hell are you I doing?
ELWOOD: (spraying the gas pedal of the pickup) This is glue -- strong stuff.
Jake grabs Elwood by the collar.JAKE: Will you come on!?!
Camera: CUT TO

SCENE 294

Location: INT. PALACE HOTEL BALLROOM - CURTIS' P.O.V. - N
Curtis can see past the applauding crowd to the back of the hall as it fills with police officers.CURTIS: (to crowd) The stars of our revue will be here in just a minute
Camera: CUT TO

SCENE 295

Location: EXT. PALACE HOTEL BALLROOM - WALL - NIGHT
Jake is boosting Elwood up through an open frosted wire glass window.

SCENE 295-A

Location: INT. WOMEN'S WASHROOM - NIGHT
Jake and Elwood drop down into the room, tip their hats politely to the startled women as they make their way quickly out.

SCENE 296

Location: INT. PALACE HOTEL BALLROOM - CURTIS - NIGHT
is on stage.

SCENE 297

Location: CURTIS' P.O.V.
Jake and Elwood are running toward the stage.CURTIS: (big smiles) And now, ladies and gentlemen, it is the distinct pleasure of the management to present the evening's star attraction. For your listening and dancing participation and enjoyment, tonight on this stage, it will be my privilege to give you one of the world's last living, working rhythm and blues reviews. Here they are, back after their exclusive three-year tour of Europe, Scandinavia and the sub-continent. Won't you please welcome from Calumet City, Illinois, the show-band of Joliet Jake and Elwood Blues, The Blues Brothers.
The band goes right into The Blues Brothers entrance music. Jake and Elwood stride right on stage and do their unlock the briefcase bit. Jake ends with his cartwheel.Camera: CUT TO

SCENE 298

Location: CROWD
A sea of deadpan faces. They are not impressed.Camera: CUT TO

SCENE 299

Location: REAR OF BALLROOM
OFFICER #1: Let's go.
Burton Mercer stops them.MERCER: Wait a minute. I've never heard these boys sing.
OFFICER #2: All right, they're not going anyplace.
Camera: CUT TO

SCENE 300

Location: THE STAGE - IN CONCERT - THE BLUES BROTHERS
do "Everybody Needs Somebody To Love" to riotous response -- they are great. The band is hot. The crowd goes berserk. During the songs we see Jake and Elwood take notice of the number of cops in the hall and the presence of Bob and The Good Ole Boys.After the song, Jake pauses to wipe his face with a towel and get a drink of water. Curtis points from o.s. and Jake sees that there is a trap door behind the drums. Jake nods acknowledgement and the group launches into their second number, "Sweet Home Chicago.", During one of the guitar solos, Jake confers with Elwood.JAKE: How many miles is it to Chicago?
ELWOOD: Two hundred and forty.
JAKE: We got gas?
Elwood nods affirmatively. Jake and Elwood dance the boogie-woogie with each other to the delight of the audience. They dance over to Paul.JAKE: (stage whisper) In the middle of the next tune, Elwood and I are gonna make a break for it. You guys keep on playing.
PAUL: You maniacs! I love ya!
The number finishes, the crowd applauds wildly. A big ELWOOD: My God, the mafia is after us!
Before he and Jake can get away, the tremendous man puts his arms around both of them.His name is Klenfner.KLENFNER: You guys are great! Hot! Insane! I want to record you!
JAKE: Bullshit!
KLENFNER: I don't bullshit. I run Clarion Records... the biggest label in the country.
He pulls an envelope out of his pocket.KLENFNER: Here! Here's ten thousand in cash. An advance on your first session. Is it a deal?
He offers his hand. Jake shakes it and takes the envelope. He opens it and removes half the money, handing it back to Klenfner. The rest he shoves in his pocket.JAKE: Give fourteen hundred to Ray at Ray's Music Exchange in Calumet City and the rest spread among the band.
KLENFNER: You got it.
ELWOOD: Hey, man. You know a back door outta this place? Like we gotta split without nobody seein' us.
KLENFNER: Are you kidding? I used to be head bouncer here. There's an electrical service trapdoor right behind your
The band continues "Sweet Home Chicago", Jake doing a blistering vocal and Elwood a spirited harp solo. As The Colonel steps out into the spotlight for a magnificent guitar riff, Jake and Elwood duck behind the drums. Willie gives them a thumbs-up signal and they disappear through the trap door.Camera: CUT TO

SCENE 301

Location: REAR OF BALLROOM
OFFICER #2: Something's wrong.
MERCER: Where's Jake?
Camera: CUT TO

SCENE 302

Location: TUCKER MC ELROY
TUCKER: Where'd those Blues Brothers go?
The band continues its soulful music.(NOTE: The band is playing "Sweet Home Chicago." This version continues over the entire following chase sequence.)Camera: CUT TO

SCENE 303

Location: INT. CONCRETE TUNNEL
Jake and Elwood are hustling down a long concrete tunnel.ELWOOD: I hope this thing leads someplace.
JAKE: Elwood, we're gone, man.
Suddenly machine gun fire blasts out. Jake and Elwood hit the ground as bullets chew up the concrete around them.Camera: CUT TO

SCENE 304

Location: THE MYSTERY WOMAN
brandishing an AR-15. She stands fifteen feet from Jake and Elwood, blocking their way out.Camera: CUT TO

SCENE 305

Location: JAKE AND ELWOOD
on the ground.ELWOOD: (to Jake) Who is that girl?
MYSTERY WOMAN: (voice full of bitterness) Jake, you scumbag! You won't get away from me this time.
She opens fire, the bullets ripping up the cement all around Jake and Elwood.JAKE: (to Elwood) Let me handle 'this.
Jake stands, his hands palms up, outstretched in front of him.JAKE: (sweetly) It's good to see you, sweetheart.
MYSTERY WOMAN: (full of hate) Jake, I saved myself' for you and you left me standing on the church steps. You humiliated me in front of my friends and loved ones. You made a fool of me, Jake, and now I am going to give the devil his due.
JAKE: (aside to Elwood) No problem.
He walks slowly forward to the Mystery Woman. She trains the gun right at his gut.

SCENE 306

Location: CLOSEUP
Her fingers slowly wrap around the trigger.

SCENE 307

Location: BACK TO SCENE
Jake continues to walk forward until they stand face to face There is a pregnant pause, the showdown. Jake, stern and forbidding, considers a moment and then makes his move. He falls to his knees screaming and crying.JAKE: Oh, please don't kill us! You know I love you, baby! I didn't mean to leave you! It wasn't my fault! Oh please don't kill us! Please! Please, don't kill us!
The Mystery Woman looks at Jake with complete disgust.MYSTERY WOMAN: You contemptible pig. You think you can talk your way out of this now? You betrayed me!
JAKE: (pleading) No I didn't, honest! I ran out of gas! I had a flat tire!., I didn't have enough money for cab fare! My tux didn't come back from the cleaners! An old friend came in from out of town! Someone stole my car! There was an earthquake! A terrible flood! Locusts! It wasn't my fault! I swear to God!
Jake looks up at her and for the first time in the movie, takes off his dark glasses, revealing big, soulful, brown eyes. The Mystery Woman begins to soften as Jake looks up at her like a puppy begging for some food. Finally she lowers the gun.MYSTERY WOMAN: Oh, Jake...Jake ....
Jake, in a flash, is up, his glasses back on, grabs the Mystery Woman in a passionate embrace, giving her a fabulous Clark Gable type kiss. The Mystery Woman is overcome, Jake turns quickly to Elwood.JAKE: Let's go.
He drops the Mystery Woman on her ass and he and Elwood tear out of the concrete tunnel.

SCENE 308

Location: EXT. CULVERT BRIDGE - NIGHT
Elwood and Jake run into the culvert and jump into the Bluesmobile, firing it up.

SCENE 309

Location: INT. BLUESMOBILE - NIGHT
ELWOOD: It's two hundred and forty miles to Chicago. We got a full tank of gas, half a pack of cigarettes, it's dark and we're wearing sunglasses.
JAKE: Hit it.

SCENE 309-A

Location: EXT. CULVERT - NIGHT
The Bluesmobile roars out of the culvert and up onto the road. The Mystery Woman runs after them and shoots at the retreating car.Camera: CUT TO

SCENE 310

Location: INT. BALLROOM
The band continues to play "Sweet Home Chicago." The officers hear the o.s. gunfire.MERCER: Let's check that out!
Camera: CUT TO

SCENE 311

Location: EXT. PALACE PARKING LOT - NIGHT
All of the police and Bob and The Good Ole Boys run out to the parking lot to see the Bluesmobile disappearing down the street. Everyone jumps into their respective vehicles and after much Screeching, backing up, and pulling out, all of the vehicles go off in pursuit of the Bluesmobile.

SCENE 311-A

Location: EXT. ROAD NEAR HOUSE
One of the many police car's back tires suddenly begin to inflate and blow out causing the cop car to roar off in the direction of a model home development, sparks streaming from the rear axles grinding on the street.Camera: CUT TO

SCENE 312

Location: INT. MODEL HOME - NIGHT
A family sits watching television in the living room. On the screen is a chase sequence involving police ears. One of the police cars on the television screen swerves and comes straight towards camera. In perfect sync the real police car crashes through the wall of the living room taking out the television and a good deal of the house.Camera: CUT TO

SCENE 313

Location: INT. CLEAN-CUT OFFICER' S POLICE CAR - MOVING - NIGHT
OFFICER #2: (on the radio) We are in pursuit of a black and white, 1974 Dodge Monaco heading south. Request assistance.
Camera: CUT TO

SCENE 314

Location: INT. I.B.I. OFFICE - NIGHT
A sign identifies this ultra modern office as the: ILLINOIS BUREAU OF INVESTIGATION, OFFICE OF INTELLIGENCE, TACTICAL DIVISION. In the office, officers are manning radio control boards and futuristic tracking devices. one of the I.B.I. officers reads from a computer screen into his headset.I.B.I. OFFICER: Request assistance in pursuit of a black and white, 1974 Dodge Monaco heading south on Interstate 101. Dispatch cars number 12, 21, 17 ....
Camera: CUT TO

SCENE 315

Location: INT. NAZI HEADQUARTERS - NIGHT
The Black Shirt sits listening to his C.B.C. B.: ... 19, 54, 27, 33, 14, 29, 32, 20, 22 and 23. immediate assistance required. Occupants of vehicle, one Joliet Jake Blues, one Elwood Blues. Considered extremely dangerous. Use of unnecessary violence in the apprehension of the Blues Brothers has been approved.
The Black Shirt leans up.BLACK SHIRT: Gruppenfeuhrer!
Camera: CUT TO

SCENE 316

Location: EXT. TOLLWAY - NIGHT
Jake and Elwood zoom down the tollway with the cop cars and The Good 'Ole Boys' Winnebago in pursuit.Camera: CUT TO

SCENE 317

Location: INT. WINNEBAGO - NIGHT - TOLLWAY
Tucker is driving.BOB: Shit, can't you get this thing to go any faster than this?
Camera: CUT TO

SCENE 318

Location: INSERT
Tucker's foot glued to the gas pedal which is glued to the floor.

SCENE 319

Location: BACK TO SCENE - TOLLWAY
TUCKER: Bob, I've got a little problem....
Camera: CUT TO

SCENE 320

Location: EXT. MOTEL - NIGHT
The brown XKE is parked in front of the motel and the Chic Lady leans on the hood. She looks around waiting for her tryst with Elwood.Camera: CUT TO

SCENE 320-A

Location: EXT. TOLLWAY - NIGHT
The Winnebago is passing all of the other cars on the road.

SCENE 321

Location: INT. BLUESMOBILE - NIGHT
The speedometer shows 125 m.p.h.. Pan up to Elwood as the Winnebago flies by.

SCENE 322

Location: EXT. TOLLWAY - NIGHT
The Good Ole Boys' Winnebago roars onto the off ramp of the tollway.Camera: CUT TO

SCENE 323

Location: INT. WINNEBAGO - MOVING - NIGHT
BOB: (screaming) What the fuck are you doing!?! Slow this thing down!

SCENE 323-A

Location: EXT. INTERSECTION - NIGHT
The Winnebago roars through an intersection causing several near misses.

SCENE 323-B

Location: INT. WINNEBAGO - MOVING - NIGHT
BOB: (screaming) Slow down! Stop this damned thing!
TUCKER: (resigned) I'd be happy to oblige you if I could, but I can't, so I won't.

OMITTED: 324 thru 324-A

SCENE 324-B

Location: EXT. STREET - NIGHT
The Winnebago slams into the front window of a Rolls Royce dealership, crashing into several gorgeous cars and out the back, crosses an alley, and smashes into the front of a disco smashes out the back of the disco a moment later, demolishes a hamburger stand, continues up an embankment and crashes into a river.Camera: CUT TO

SCENE 324-C

Location: INT. CLEAN-CUT OFFICERS' POLICE CAR
Mercer is in the back seat.MERCER: Boy, that Elwood can drive, can't he?
OFFICER #1: (grim) Mr. Mercer, I'd advise you to hold your comments to a minimum.
Camera: CUT TO

OMITTED: 325 thru 335

SCENE 336

Location: INT. I.B.I. OFFICE
A large graphic radar screen (animated) shows the dynamics of the chase as it is now unfolding. Chicago is clearly marked on the map. Jake and Elwood's car is a flashing blue blip. The remaining four police cars are flashing red blips.I.B.I. OFFICER: (into headset) The suspect vehicle is now approaching the City of Chicago. Take defensive action number 394, repeat three, niner, four.
Camera: CUT TO

SCENE 337

Location: EXT. CHICAGO CITY LIMITS - OFFICERS - DAWN
are busily erecting road blocks.Camera: CUT TO

SCENE 338

Location: EXT. TOLLWAY - HELICOPTER SHOT - DAWN
An aerial view shows us the Bluesmobile roaring down the tollway as more and more police cars join the pursuit at every on ramp.Camera: CUT TO

SCENE 339

Location: INT. BLUESMOBILE - ELWOOD - DAY
looks in his rear view mirror.

SCENE 340

Location: ELWOOD'S P.O.V.
A massive wall of police vehicles occupy all four lanes of the tollway behind him.

SCENE 341

Location: INT. BLUESMOBILE - DAY
ELWOOD: Jake, I gotta pull over.
With that Elwood turns the wheel sharply.Camera: CUT TO

OMITTED: 342 thru 344

SCENE 344-A

Location: EXT. TOLLWAY
The Bluesmobile glides at a 90 degree angle to the right ovCamera: CUT TO

SCENE 345

Location: ANOTHER ANGLE
The 50 pursuing police cars repeat Elwood's maneuver. A good many of them are unable to negotiate the embankment and flip over and crash. The clean-cut officers' car swerves to avoid collision with a disabled police car, swerves violently, and zooms back up the embankment, flying into the air....Camera: CUT TO

SCENE 345-A

Location: INT. POLICE CAR AIRBORNE
... and into a semi.MERCER: Jesus fuck!
Camera: CUT TO

SCENE 345-B

Location: EXT. TOLLWAY
This is clear across the tollway so that traffic is moving in the opposite direction of the Bluesmobile. The flying police car crashes broadside into a semi.

SCENE 345-C

Location: INT. SEMI
The clean-cut officers' car now sits 3/4 of the way inside the trailer of the semi which is busy driving in the opposite direction.OFFICER #1: (into mike) Suspect has eluded us. You guys catch that mother fucker.

OMITTED: 346 thru 349

SCENE 350 thru 350-F

Location: EXT. CITY STREET - THE BLUESMOBILE - DAY
swerves around a corner and heads for the roadblocks at the Chicago city limits. The Bluesmobile smashes through them without a moment's hesitation. The police at the roadblock jump into their cars and give chase. The Bluesmobile and the police cars roar under the el tracks at speeds of over 100 M.p.h.Camera: CUT TO

SCENE 350-G

Location: EXT. CHICAGO RIVER - DAY
Three Chicago Police boats filled with armed men cruise up the river at high speed.

SCENE 350-H

Location: EXT. BUCKINGHAM FOUNTAIN - DAY
Chicago cop cars criss-cross, sirens wailing in front of the fountain.Camera: CUT TO

SCENE 351

Location: INT. NAZI STATION WAGON - PARKED - THE BLACK SHIRT - DAY
The Brown Shirt sits in front. The four thugs are parked behind in a Nazi sedan. All wear uniforms and armbands and hold Lugers.

SCENE 351-A

Location: EXT. ALLEY - DAY
The Bluesmobile roars past their alley. The Nazi station wagon and Nazi sedan speed after them.

SCENE 352

Location: INT. BLUESMOBILE - MOVING - DAY
There is a loud thump from under the hood o.s.ELWOOD: Oh, no....
There is a loud metallic clatter o.s.JAKE: What is it?
ELWOOD: Con rods, the engine. We've thrown a rod, maybe two.

SCENE 353

Location: JAKE'S P.O.V. - OIL
starts to spill and jets up from under the hood onto the windshield. The windshield is thick with oil spraying everywhere.

SCENE 354

Location: EXT. BLUESM0BILE - JAKE - DAY
leans out the window. He wipes away the sheet of oil with his sleeve. The metallic clattering increases.Camera: CUT TO

SCENE 355

Location: EXT. CONSTRUCTION SITE - DAY
Large signs read: DANGER - CONSTRUCTION. The Bluesmobile smashes right through them, the Nazis close behind. The Nazi wagon Camera: CUT TO

SCENE 356

Location: INT. NAZI PINTO - THE BLACK SHIRT.- MOVING - DAY
has a complete crazed look in his eyes.BLACK SHIRT: They cannot hope to escape us. We'll prove to the American people just who is destined to lead the Arian race to victory!

SCENE 356-A

Location: EXT. RAMP - DAY
The Bluesmobile streaks up a steep ramp. The Nazi's follow close behind.Camera: CUT TO

SCENE 357

Location: INT. BLUESMOBILE - ELWOOD'S P.O.V. - THE RAMP
Elwood can see that the ramp is still under construction and it comes to an abrupt end.

SCENE 358

Location: INT. BLUESMOBILE - ELWOOD
hits the brakes and turns the steering wheel at the same time.Camera: CUT TO

SCENE 359

Location: EXT. BLUESMOBILE
The Bluesmobile literally does a back flip up and over the Nazi station wagon. It now roars down the ramp as the. Nazis go up and off the ramp.Camera: CUT TO

SCENE 360

Location: INT. NAZI PINTO - THE NAZIS
look out in complete shock as the car climbs higher and higher in the sky.

SCENE 360-A

Location: INT. NAZI PINTO - DAY
When it reaches its highest height, there is a moment's pause before the car begins its descent. The Black Shirt seizes the Brown Shirt by the throat and begins to throttle him in frustration.

OMITTED: 360-B

SCENE 360-C

Location: EXT. CITY SKYLINE
The Pinto plummets the 3000 feet toward the City of Chicago.

SCENE 360-D

Location: EXT. STREET BELOW RAMP
The Bluesmobile is speeding along when the Nazi Pinto lands directly in front of them. It. hits the street and continues to go straight down creating an enormous hole which the Bluesmobile leaps deftly over and the second Nazi car piles into.Camera: CUT TO

SCENE 361

Location: INT. BLUESMOBILE - DAY
JAKE: (pointing) That's the place!
Camera: CUT TO

SCENE 362

Location: EXT. COOK COUNTY BUILDING
An imposing neo-classical structure with many stone steps leading up to the columned entrance. The Bluesmobile roars straight up the steps and stops. Jake and Elwood leap out of the car slamming its doors. The car shutters and collapses into many pieces Elwood takes off his hat and puts it over his heart. Jake grabs him by the arm.JAKE: Come on!
As the first of many police cars screech to a halt in front of a building....Camera: CUT TO

SCENE 363

Location: INT. COOK COUNTY BUILDING - DAY
Jake and Elwood rush in and slam shut the big doors. They run over to the high back wooden benches in the center of the lobby and shove them against the doors. They move candy machines, anything they can, and pile it up against the door.Camera: CUT TO

SCENE 364

Location: EXT. COCK COUNTY BUILDING - DAY
More and more police vehicles pull up and cops begin storming up the front steps.Camera: CUT TO

SCENE 365

Location: INT. COOK COUNTY BUILDING LOBBY - DAY
Jake and Elwood run over to the building directory and peruse it slowly.ELWOOD: Cook County Assessor's Office 1202.
They rush to the sole elevator.Camera: CUT TO

SCENE 366

Location: EXT. COOK COUNTY BUILDING
The police try to push open the front doors as fire engines and ambulances join the many official vehicles parked in front. Crowds are beginning to form.Camera: CUT TO

SCENE 367

Location: INT. COOK COUNTY BUILDING LOBBY - DAY
The elevator doors open and they rush in and push 12.Camera: CUT TO

SCENE 368

Location: EXT. COOK COUNTY BUILDING
Firemen have joined the police at the top of the stairs and begin to smash down the front doors with their axes.

SCENE 369

Location: INT. ELEVATORS
Jake and Elwood stand patiently as the muzak plays softly.Camera: CUT TO

SCENE 370

Location: EXT. COOK COUNTY BUILDING
Troop trucks pull up and hundreds of heavily armed soldiers stream out the back, rush up the stairs, and join the men smashing down the front doors.Camera: CUT TO

SCENE 371

Location: INT. ELEVATOR
Jake and Elwood rock on their heels waiting patiently.Camera: CUT TO

SCENE 372

Location: INT. LOBBY
The front doors smash oven and the soldier, police and firemen pour into the lobby.Camera: CUT TO

SCENE 373

Location: INT. COOK COUNTY BUILDING - 12TH FLOOR
The elevator doors open. Elwood takes a key from his pocket and jams it into the elevator panel. Several sparks spurt as he sorts out the controls. Jake and Elwood then see a door clearly marked STAIRS, which they again start. piling furniture up against.Camera: CUT TO

SCENE 374

Location: EXT. COOK COUNTY BUILDING
Tanks are now rumbling into position, their cannon turning toward the building. Helicopters hover overhead.Camera: CUT TO

SCENE 375

Location: INT. COOK COUNTY BUILDING - 12TH FLOOR
Jake and Elwood run down the hallway to Room 1202. When they get there, there is a piece of paper scotch taped to the door. It reads: BACK IN FIVE MINUTES. Jake and Elwood look at their watches, look at each other, clasp their hands behind their backs, and-wait.Camera: CUT TO

SCENE 376

Location: INT. STAIRWELL
The hundreds of armed soldiers are pouring up the stairs, followed closely by police, and firemen.Camera: CUT TO

SCENE 377

Location: INT. COOK COUNTY BUILDING - 12TH FLOOR
Jake and Elwood wait, Elwood whistling softly.Camera: CUT TO

SCENE 378

Location: INT. STAIRWELL
The soldiers come charging up the stairs screaming, their bayonets ready like Teddy Roosevelt at San Juan.Camera: CUT TO

SCENE 379

Location: EXT. ROOM 1202
Jake and Elwood stand, Jake inspecting his fingernails.Camera: CUT TO

SCENE 380

Location: EXT. COOK COUNTY BUILDING - DAY
Fire trucks in position.Camera: CUT TO

SCENE 380-A thru 380-F

Location: EXT. CITY ROOFS - VARIOUS - DAY
as SWAT Teams assume positions on the nearby roofs.Camera: CUT TO

SCENE 381

Location: INT. STA
The troops arrive at the 12th Floor landing. They try to open the door and find it locked. They fire upon it with their machine guns and quickly dispose of the obstacles.Camera: CUT TO

SCENE 382

Location: INT. CORRIDOR AT ROOM 1202
The door opens. A young CLERK munching a sandwich looks at Jake and Elwood.CLERK: Can I help you?
Jake and Elwood push their way in.

SCENE 382-A

Location: INT. ROOM 1202
They pull the Clerk over to the counter.JAKE: This is where you pay taxes, right?
CLERK: (terrified) Right.
JAKE: Okay, pal. This money is for the St. Helen of the Blessed Shroud Orphanage in Calumet City, Illinois.
Jake pulls the cash out of his pocket and hands it to Elwood. Elwood flips through it incredibly fast.ELWOOD: Five thousand bucks. It's all there.
Jake takes hold of the money and together the brothers slap it against the counter. In the shot of the money hitting the desk, handcuffs slap on Jake's and Elwood's wrists.

SCENE 383

Location: EXT. JOLIET PRISON - DAY
The first two chords of "Jailhouse Rock" are heard.Camera: CUT TO

SCENE 384

Location: INT. JOLIET PRISON CELL BLOCK
Jake and Elwood stand in adjoining cells in their Blues Brothers clothes. They snap their fingers simultaneously to the music. The brothers launch into a gutsy rendition of "Jailhouse Rock". The camera pulls back to reveal that ever member of the band is in prison with them, including the black inmate from scene 3.(Note: This spirited rock and roll number is the climax of the film. The band will be identified and as each one does solo, their names are supered. All of the guest stars, etc. will each sing several lines of the lyrics in the location in which we found them).

SCENE 385

Location: INT. RAY'S - DAY - CLOSEUP - RAY
singing part of "Jailhouse Rock".

SCENE 386

Location: INT. SOUL FOOD CAFE - DAY - CLOSEUP - WAITRESS
singing part of song.

SCENE 387

Location: INT. CHURCH - DAY - CLOSEUP - REVERAND JAMES
singing part of song.

SCENE 388

Location: INT. ORPHANAGE BOILER ROOM - DAY - CURTIS
singing part of song.

SCENE 389

Location: EXT. SOUL FOOD CAFE - DAY - TWO SHOT - OLD BLACK MEN
wave bye-bye.The movie is now over. Everyone will immediately leave the theatre and tell their family and friends about the marvelous picture they just saw. Eighty percent of the audience will see it at least twice.Camera: FADE OUT
Camera: THE END