POINT BREAK
by
James Cameron
&
Kathryn Bigelow
From the Screenplay by
W. Peter Iliff
FADE IN:
We are in the belly of a wave.
Light refracts in a constant collision of water.
SLOW MOTION, the hallucinatory prisms, like liquid
diamonds taking flight, dreamlike...
EXT. OCEAN - DUSK
Backlit against a flaming sun a solitary SURFER glides
across the green glassy peak. TIME IS STRETCHED until his
movements gain a grace and fluidity not of this world.
Total Zen concentration. Body weight centered, eyes
forward and on the next section.
EXT. URBAN STREET - DUSK
SLOW MOTION ON a black sedan.
Creeping along store fronts. Past a Winchell's.
PEOPLE splash steps down rain-washed sidewalks in DREAM
MOTION. The sedan turns past the FIRST VIRGINIA BANK and
into an alley.
INT. BLACK SEDAN
TWO MEN and ONE WOMAN in SUSPENDED TIME put on overcoats
and hats. Under their hats strips of Scotch tape stretch
taut from the base of their nose to their forehead,
hideously distorting their features. Makes them look like
human PIGS.
EXT. OCEAN
SILVERY in this light, almost metallic, as if from some
future-scape. The lone surfer SHREDS a long, endless
right wall.
ACCELERATING INTO REAL TIME -- as he stares into the pit,
digs in, drops into the sweet spot on the wave, hunkers
down.
His moves becoming aggressive, frenzied--
INT. BLACK SEDAN
An M-16 clip is SMACKED into place and cocked with a
CACHACK! Ammo clips are SNICK-SNICKED into handgun butts
and a long clip is SSSNICKED into an UZI.
Watches are checked. The PIG NOSE people nod to each
other.
EXT. BANK
Pig Nose #1, steals into position near the glass doors,
slams his back to the wall, weapon to cheek, breath fast.
EXT. OCEAN
FAST NOW -- the surfboard rips a brutal gash in the face
of the wave. The surfer TRIMS down the line, pivoting the
board and going straight down, CARVING the bottom. He
slashes viciously back toward the lip and--
In a radical INVERTED AIR ATTACK sails SIX feet above the
wave in an explosion of water--
INT. BANK
--BAAAAAAMMM!
Glass doors explode OPEN and Pig Nose #1 SPINS inside. He
fires a burst into the ceiling. BRRAAMM!!
PIG NOSE #1
EVERYBODY on the floor!
PEOPLE drop.
VERY FAST HERE--
Two bandits handle BANK EMPLOYEES and customers--
Another PIG NOSE watches the door--
Pig Nose #1 moves behind counter, Uzi and canvas sack in
hand.
INT. SURVEILLANCE VAN
Dark. Monitors SHOW SLOW SCANS of the bank INTERIOR.
Two MEN wear headphones and black windbreakers with FBI
stenciled on the back. One watches with binoculars.
BINOCULARS
Bingo. We're on. Let's go.
Where's the big college
quarterback?! Are you with us,
Utah?
EXT. BANK WALL
A MAN in his twenties. His head spins revealing rain-
slicked hair and face, eyes wide, bright. An edgy
handsomeness to him.
He pops a stick of Wrigley's in his mouth, rests a shotgun
on one leg and leans against the wall. He wears a
headset... through which we hear the FBI guy yelling for
him.
This is JOHNNY UTAH.
BINOCULARS (FILTERED)
Utah, where the hell are ya!?
Utah takes his headset off...
INT. BANK
Pig Nose #1 LEAPS over the counter, holds a canvas sack
filled with booty from tellers' drawers.
PIG NOSE #1
Fuckin' shake it!
Pig Nose #2 nods with his snubby nose, hurries toward the
exit.
EXT. FIRST VIRGINIA BANK
The bandits burst through the doors and sprint to the
alley where they jump into the SEDAN. THE DRIVER, the
WOMAN PIG NOSE, punches it and the TIRES WHIRRR on the
slick pavement.
The sedan launches down the alley.
Utah running. Like a freight train. Splashing through a
cross-alley. He doesn't break stride as he slams his
shoulder into a large, steel GARBAGE DUMPSTER.
DRIVING it like a football training sled into the ALLEY
where--
THE SEDAN LOCKS 'EM UP seconds too late as it SKIDS and
SLAMS into it, CRUNCHING into the brick wall and--
Still alive -- GRINDS into reverse back down the alley,
HEADLIGHTS SMASHED, it guns it backward as--
UTAH leaps over the dumpster and sprints after the car.
He has a brick in his right hand. He cocks it back.
Johnny HEAVES the brick thirty yards and--
SMASH! The brick EXPLODES into the windshield,
SPIDERWEBBING the glass.
Lady Pignose flinches from the glass fragments thrown into
her face.
LADY PIGNOSE
Son of a bitch!
The car slews backward onto the street, slamming a parked
car. Lady Pignose slams the thing into DRIVE, cuts the
wheel hard, and punches it, skidding on wet pavement.
UTAH hurtles from the alley. He leaps, somehow TACKLES
the DRIVER'S door handle and is dragged along the street.
He pulls himself up, reaches inside the window, and whips
the steering wheel hard right.
The SEDAN fishtails into a parked Toyota. Utah bounces
forward, slamming into the asphalt. Glass shards and
crushed steel are strewn everywhere, as radiator steam
whistles hot.
Pig Nose #2, riding shotgun, is trapped. Can't get his
crushed door open. The DRIVER pushes open her door.
Gropes for her pistol. Utah springs -- no respect for a
lady. He slams the door, pins her arm and slams again and
again until the gun drops. Utah kicks it away as the
woman collapses in pain.
Pig Nose #1 bails out and runs across parking lot. Utah
leaps up onto the crushed hood and draws down with the
shotgun.
UTAH
Halt. FBI!
Pig Nose #1 spins. We sense reckless anger. He raises
the UZI. Utah squeezes the trigger.
No death. No blood.
Just buzzers and flashing bulbs.
Pig Nose's flak vest lights up like a pinball machine.
Utah's laser weapon hit the "kill zone". Pig Nose rips
the tape off his face and the FBI CADET shakes his head in
disgust.
OBSERVERS step forward. Bank customers. Bank tellers.
All FBI personnel. MEDICAL STAFF offer the woman driver
assistance. Pig Nose #1 heads for Johnny, but is subdued
by other agents.
PIG NOSE #1 (FBI CADET)
I wanna say just two words to you,
asshole, SIMU-LATION!!! Johnny-
fuckin' Utah. Guys like you will do
anything to win!
Utah stares back in defiance.
The SURVEILLANCE van pulls up nearby.
BINOCULARS runs out and pinches two fingers together,
right in Johnny's face.
BINOCULARS
This far, Utah! You're this far
from being the most overqualified
guy Burger King ever had. Get me?!
UTAH
Yes sir. Sir?
BINOCULARS
What?
Johnny gestures to the car.
UTAH
I did stop the perpetrators.
Utah turns to go. As he passes he casually raises his
laser-shotgun and re-triggers Pig Nose's flak vest.
LIGHTS AND BUZZERS.
Pig Nose explodes. More agents restrain him.
Screams and shoving matches and pissed off guys.
Utah walks off, down the simulated street, past a sign
which bears the FBI SEAL and reads "Combat Village,
Quantico, Virginia."
DISSOLVE TO:
EXT. PACIFIC OCEAN - DAY
Red sky. A luminous Pacific. Five foot faces. Nice
curl. A lineup of SURFERS wait outside the break.
Silhouetted, bobbing like a pack of sea mammals.
INT./ EXT. TAXI
A flood of orange through the windshield as the cab crawls
down Ocean Park to the sea. CAMERA HANDHELD from the back
seat.
The driver turns to us.
DRIVER
Anywhere? You don't care?
UTAH (V.O.)
Anywhere. I've just never seen the
ocean before.
CUT TO:
EXT. VENICE BEACH
JOHNNY UTAH trudging across the sand, holding his shoes.
Garment bag and a big duffel over his shoulder.
He looks silly in his dark suit, tie loosened, wearing a
turned around baseball cap.
He wiggles his toes in the sand, looks around like a kid.
A pack of BOUNCING BEAUTIES jog through frame.
Utah grins, reaches up and turns his cap around.
It reads "I Love L.A."
CUT TO:
EXT. FEDERAL BUILDING
Looking down the face of the concrete monolith at Wilshire
and Veteran. Ant-like, Johnny Utah's tiny figure moves
toward the entrance.
VOICE (OVER)
Day One in LA, special agent Utah.
You may have been top two percent of
your class at Quantico but you have
exactly zero hours in the field
here. You know nothing...
INT. FEDERAL BUILDING - FBI BULLPEN
Supervising Agent BEN HARP leads Utah across the bullpen.
Rows of desks. Agents sitting at computer terminals.
Data hell. Looks like he got a job at Xerox.
HARP
You know less than nothing. If you
even knew that you knew nothing, at
least that would be something, but
you don't.
UTAH
Yes, sir.
Utah is wearing a suit, carrying a briefcase. Harp is
mid-thirties, confident of stride, tanned of skin, perfect
of hair. GQ. Aggressive.
HARP
Eating solid breakfasts, Utah?
UTAH
Sir?
HARP
All the food groups? Avoiding
sugar? Caffeine? I see to it that
my people maintain cardiovascular
fitness. We stay off hard liquor,
cigarettes...
UTAH
(poker face)
I take the skin off chicken.
Harp glances at him, eyes narrowing. They reach a
glassed-in compound of small offices. Harp swings the
door open and the other agents look up as Utah enters.
HARP
This is us. Bank Robbery. And
you're in the bank-robbery capital
of the world--
UTAH
1322 last year in LA county. Up 26
percent from the year before.
HARP
That's right. And we nailed over a
thousand of them. We did it by
crunching data. Good crime-scene
work, good lab work, good data-base
analysis. Nobody had to tackle a
car once. You getting the signal,
special agent?
UTAH
Zero distortion, sir.
He picks up a donut from someone's desk, a succulent
glazed jelly.
UTAH
I love these things.
He looks right at Harp. Takes a big fuck-you bite.
HARP
You're a real blue-flame special,
aren't you, Utah? I don't know why
they sent you to LA. Must be an
asshole shortage.
UTAH
Not so far.
CUT TO:
UNDERWATER
A blue field with a pulsing network of rippling lines.
VOOM! A figure rockets down INTO FRAME in a curtain of
bubbles. A gawky AGENT, in less than stylish FBI trunks,
flails around blindfolded looking for bricks at the bottom
of a pool.
INT. GYMNASIUM POOL - DAY
The pool casts wavy distortions upon TWO DOZEN MEN, all
grumbling as they stand in line, wearing T-shirts with FBI
logos, sweats and sneakers. We hear a splash, and the men
shuffle forward.
PAPPAS (V.O.)
The dolls love this baby. It brings
them luck when they rub it -- right
between their buttons.
CLOSE ON tape measure wrapped around a generous belly.
PULL BACK to reveal VETERAN AGENT COREY measuring the
ample waist of ANGELO PAPPAS. This 54 year old silver
haired Greek stands rubbing his belly like a Zulu chief.
COREY
Angelo, we need a bigger tape.
PAPPAS
Just read the goddamn number.
COREY
Still a 46. Maybe we can cinch it
down, wear a girdle--
PAPPAS
Screw you and this holistic fitness
crap! At least my arms don't flap
in the wind.
Corey secretly squeezes his bicep as...
A whistle blows. A broad shouldered MAN wearing an FBI
cap barks at the Greek.
BIG SHOULDERS
Okay, Pappas, let's put on the
blindfold. Wanna see you retrieve
at least two bricks from the bottom.
JOHNNY UTAH enters the pool area in the distance. Says
something to one of the agents. Is pointed toward us as--
Corey ties the blindfold and guides Pappas to the edge of
the pool.
PAPPAS
I've been in the field 33 years,
fired my piece 23 times in the line
of duty, and I got no idea what a
blind man fetching bricks has gotta
do with being a Special Agent!
Johnny has walked up. Pappas, blindfolded, turns directly
to Utah as he continues, thinking it's Corey.
PAPPAS
Added to which indignity, I got
three months left to retirement and
they saddle me with some blue-flamer
fresh out of Quantico for a partner.
Some quarterback punk, Johnny Unitas
or something.
UTAH
The shit they pull, huh?
Pappas snorts agreement and cannonballs into the pool.
Huge backblast of water. The other agents hoot and
holler.
Corey swears and wipes off his clipboard.
Johnny steps to the edge, looks down.
We see the blindfolded Pappas groveling along the bottom.
The other agents cheer as Pappas heads for the surface.
COREY
Here he comes. Hold up a fish,
he'll take it right outta your hand.
Pappas surfaces in an explosion of spray as he sputters
for breath. He grabs the edge and angrily slaps two
bricks on the tiles. He rips off the blindfold looks up
and frowns.
A HAND ENTERS FRAME to help him up. Pappas takes it and
Johnny hauls him on deck.
COREY
Hey Shamu, this is your guy.
Pappas eyes the new agent warily. Extends his hand.
PAPPAS
Pappas. Angelo Pappas.
UTAH
Punk. Quarterback Punk.
PAPPAS
(grinning)
Welcome to Sea World, kid.
INT. SEDAN - DAY
SERIES OF TIGHT SHOTS
ECU sweep hand of a dive watch clicks through the
seconds.
Magnum shells are fed into a pump shotgun.
Velcro straps of Second Chance body armor are fastened.
White gloves are pulled snug over strong hands.
A silk tie is straightened. A shotgun slide is cocked.
The sweep hand approaches the twelve.
A LATEX MASK is pulled over the back of a man's head.
VOICE
The little hand says...
The mask turns into FULL CLOSE-UP. It is RONALD REAGAN.
REAGAN
... let's rock and roll.
INT. BANK OF AMERICA
Business as usual. The scene so normal you know something
is about to happen. An exiting MAN stuffs bucks into his
wallet, reaching for the door which--
SLAMS INWARD. He is hit by a wall of EX-PRESIDENTS.
REAGAN charges in with his buddies RICHARD M. NIXON,
LYNDON BAINES JOHNSON and JOHN F. KENNEDY.
Reagan throws the poor guy skidding across the floor.
Nixon buttstrokes a guard, hard in the nuts, with his 12
gauge.
The other guard goes for his holster -- finds himself
facing three shotguns and one very large handgun.
Reagan sights down the pistol.
REAGAN
Use a gun, go to heaven.
The guard freezes. White and sweaty.
Tricky Dick slips up to him and collects the pistol.
Kennedy covers the stunned customers.
Johnson backs up against the door jam, watching the
street, and the sedan idling at the curb.
REAGAN
EVERYBODY FREEZE!! That's right.
ALL TELLERS step back from the
counter! Hands on heads! MOVE!!
Nixon and Reagan move quickly to the counter as the
tellers comply.
REAGAN
Everybody else on the floor! Do it!
On the floor, let's go.
NIXON
SUCK LINOLEUM, BITCH!! You got
earwax?!
Nixon grabs a stunned woman by the arm and hurls her to
the floor.
She lands hard. Everyone is on the deck by now.
The Presidents move fast.
Reagan leaps onto the counter. Stands up where he can see
all.
Nixon hurdles to tellers' side and they start moving down
the line together. Reagan controlling the room as Nixon
quickly empties the tellers' cash drawers into the sack.
His hands move like lightning.
REAGAN
Just stay cool. Everybody stay
cool. Heads down. Eyes down. The
money's insured--
TIGHT ON -- MONEY flying into the sack.
REAGAN
-- it's not worth dying for.
Another 45 seconds of your time.
That's all. Then -- Whoa, Tricky
Dick!
Nixon pulls a pack of twenties back out of the bag and
tosses it to the BANK MANAGER. Who reflexively catches
it.
Then drops it like a hot-potato just before--
It EXPLODES into a cloud of blue ink. The manager is dyed
blue.
Burnt money showers on the terrified customers.
LBJ looks at his watch and WHISTLES.
The bandits sprint for the front doors.
Kennedy exits first, followed by Reagan.
LBJ pauses under the surveillance camera, drops his
trousers and MOONS. Thank you is written across his white
butt.
BLACK AND WHITE VIDEO MONITOR--
High angle, distorted wide shot. LBJ hoists his pants and
splits, followed out by Nixon, who exits backward with the
famous double peace-sign held high overhead.
IMAGE FREEZES. Victorious Nixon, grainy... something from
a time warp. The image SUDDENLY GOES INTO HIGH-SPEED
REVERSE. The bank robbery sequence zips backward.
PAPPAS (V.O.)
Twenty-seven banks in three years.
In and out in 90 seconds. Nobody
ever gets shot. We're talking solid
professionals.
WE ARE IN--
INT. BANK CRIME SCENE - LATER
UTAH & PAPPAS are watching a monitor in the glassed-in
office. The robbery REPLAYS on grainy BLACK & WHITE
videotape.
The bandits barge in, raise shotguns and order everybody
to the floor.
UTAH
Good move.
PAPPAS
Yeah, they control the room well.
Stick strictly to the cash drawers.
VIDEO TAPE -- Utah is reverse-scanning. The bandits walk
BACKWARD into the bank. The explosion of blue ink is
sucked back into the pack of money, then leaps back into
President Nixon's hand.
UTAH
They don't go for the vault?
PAPPAS
Never go for the vault. They never
get greedy.
UTAH
Smart. You burn time in the vault.
PAPPAS
Reagan usually drives. Stolen
switch car, they leave it running at
the curb, looks parked from a
distance. When they run, they dump
the vehicle and vanish. And I mean
vanish.
Utah stops the video, now FAST-FORWARDING it, stopping
where President Nixon separates the exploding "dye pack"
planted with the money, before he tosses it aside.
UTAH
Surgical. Look at them separate the
dye packs. Dick and Ronny know
their jobs.
PAPPAS
The Ex-Presidents are the best I've
seen, kid.
Outside the windowed partition POLICE OFFICERS interview
frightened customers.
Hotshot agents MUNOZ and COLE enter from the main floor of
the bank. Think they're very slick.
MUNOZ
Anytime you two are finished jerking
off watching MTV I need to get a
look at that tape.
COLE
(sloppy grin)
Hey, Pappas, you tell the kid your
theory on the Presidents?
PAPPAS
Just take the tape, Cole.
Now Munoz starts to smile.
MUNOZ
Hang ten, Pappas, like totally
rad...
(to Utah)
I gotta tell ya, the department
loves it.
UTAH
What's he talking about, Angelo?
Harp raps glass. Cole and Munoz look sharp.
Harp enters addressing Pappas and Utah.
HARP
They found the drop car up on
Mulholland. I want you two to go
work it.
PAPPAS
What? Now I'm working the drop car?
Who's handling the scene here?
HARP
Cole and Munoz. I'm uh... letting
them run with the ball for a while.
Cole and Munoz gloat.
PAPPAS
Cole and Munoz? I been on this case
for two years.
HARP
(zeroing in on
Pappas)
That's the point, isn't it?
PAPPAS
Yeah, I get it. Time to play let's
dick the old guys, huh, Harp?
HARP
Supervising Special Agent, Harp.
Now I want you to go work the drop
car, okay, Angelo? Okay?
The Greek rises like a proud bull.
PAPPAS
Sure. No problem. How about your
office? Your office need vacuuming?
We could do that too.
Pappas and Utah move toward the door. It's a tight
squeeze as they pass Cole and Munoz. Especially Pappas.
PAPPAS
Excuse me.
Read as fuck you.
EXT. MULHOLLAND SCENIC TURNOUT - NIGHT
The diamond field of LA glitters below. The small parking
area off Mulholland is filled with squad cars. Red and
blue disco.
A flock of UNIFORMS milling about a non-descript CHEVY.
INT. SEDAN FRONT SEAT
FLASHLIGHT BEAM prowls the interior, stopping on a small
printed card, folded like a pup tent, left upon the bench
seat. It reads "Sanitized For Your Protection."
PAPPAS
Cute huh? They love to fuck with
us.
UTAH & PAPPAS pull their heads out of the sedan. Forensic
expert, HALSEY, stands behind them.
PAPPAS
Don't tell me, let me guess. The
switch-car was stolen this morning...
(Halsey is nodding
his head)
They vacuumed and 409'd the
interior, did the windows, emptied
the ashtrays...
HALSEY
Yeah, the usual drill.
Utah pulls on a rubber glove and lifts the card off the
seat. Studies it. Talks to Halsey like Halsey's the one
that just out of Quantico, not Utah.
UTAH
Could've taken their gloves off
before setting that card. Laser it
for prints. Maybe held it to his
teeth -- check the edges for saliva.
(a beat)
Today was a scorcher. This Chevy
doesn't have air conditioning...
HALSEY
Sweat secretions in the seatbacks?
PAPPAS
You through, Mr. Wizard? Let me
know if you find Jimmy Hoffa under
the seat while you're at it.
(looks at his watch)
Hell, it's only 7:30. The night's
still young... you can solve this
case and start on another one.
UTAH
Well, what're your ideas on these
guys?
PAPPAS
Forget about it, kid. They're
ghosts. Let the goddamn yuppie
Mormon affirmative action assholes
handle it. See I'm almost 55... so
I must be senile, right? They
better get me out before I start
pissing myself in public. Drooling.
It would look bad for the Bureau,
right?
UTAH
So you're gonna coast to retirement,
when you could nail these guys and
go out with come dignity.
PAPPAS
You watch your fucking mouth!
(pounds his chest)
Mr. Hoover himself pinned the Seal
of Honor right here!
The two men glare at each other. Utah looks away.
UTAH
Sorry.
PAPPAS
Yeah. That was thirty years ago
anyway.
(stares out at the
bright horizon)
L.A.'s changed a lot since then.
The air got dirty and the sex got
clean.
(after a beat)
So you want to nail the Ex-
Presidents? Be a big hero?
UTAH
Yeah. What's your theory?
PAPPAS
The fucking punks are surfers.
CUT TO:
GRAINY BLACK & WHITE VIDEO WITH TIME CODE
Ex-Presidents charge into bank, raise shotguns.
Image STOPS, then FAST-FORWARDS to the end.
WE ARE IN--
INT. FEDERAL BUILDING - BULLPEN - NIGHT
Dark, lit by the TV at the far end of the bullpen. PAPPAS
and UTAH sit in front of the flickering Sony in the big
empty room. Angelo punches a button on the VCR.
ON THE SCREEN--
LBJ turns his back to the fish-eye lens, drops trousers
and moons the camera. Thank you.
Angelo FREEZES on LBJ'S butt.
PAPPAS
I'm tellin' ya, kid, it's in our
face. Lookit the tan on this guy.
The young agent looks forward.
Stares at the white inscribed butt bracketed by deep
bronze tan lines.
UTAH
Oh well he must be a surfer.
PAPPAS
Shutup, you might learn somethin'
you're not careful... So last year
Nixon scuffs a counter going over.
There was a soil sample. Non-
specific mud traces of asphalt,
oils, blah, blah... sand and...
carnuba wax. So I became a wax
expert. There's 80 some uses for
this stuff, something like five
hundred products.
He tosses Utah a ream of computer printout. Utah scans
lists of brand names.
UTAH
Candle wax. Car wax. Mustache wax?
Could be anything. Guy's waxing his
mustache at the beach. Gets sand in
it. Wipes it off with a shoe. Shoe
scuffs the counter.
PAPPAS
The lab made three possible matches,
this was one of 'em.
Pappas opens his desk drawer, takes something out and
throws it to Johnny. A pastel blue hockey puck wrapped in
cellophane.
A block of "Mr. Zog's Sex Wax".
UTAH
(reading)
Sex wax? You're not into kinky
shit, are you Angelo?
PAPPAS
Surfers use it on their boards.
They rub sand into it for traction.
UTAH
Thanks for the tip. I needed this
knowledge.
Pappas shoves a thick file folder toward Utah.
PAPPAS
Now lookit the dates on the
robberies. This is strictly a
summer job for these guys.
Johnny leafs through it.
UTAH
... Four months. June to October.
Mmmm...same the year before.
PAPPAS
Another month and we don't see 'em
again 'til next summer.
Utah stares at Angelo as it dawns. Grins suddenly.
UTAH
They're traveling the rest of the
year on the money, going where the
waves are...
Pappas starts to smile. Suddenly, he jumps up onto his
desk, gets down in a speed-crouch, arms extended.
PAPPAS
(to one and all)
The Ex-Presidents rip off banks to
finance their endless summer!
Johnny watches, grinning. The night security GUARD walks
in. Utah turns to the guard, shrugs.
UTAH
I think he needs a vacation.
The guard nods understanding.
CUT TO:
INT. SURFSHOP - MALIBU PIER - DAY
Long stack-up rack of gleaming SURFBOARDS.
A HAND reaches in, pulling out a board from the middle of
the deck.
JOHNNY UTAH hefts it. Sights along it. Trying to look
familiar with alien equipment. Behind him is a whip-thin
15 YEAR OLD SALESMAN. Nut-brown with platinum hair,
jammed day-glo shorts, sleeveless T-shirt, unlaced Ug-
boots.
15
Highest performance, very kind. If
you want to get aggro, man, this
stick can handle your best rage.
Where you surf?
UTAH
I don't.
15
Whoa!! Back up! This's a 5'6" tri-
fin squash-tail thruster. You'd eat
major shit on this, dude.
ACROSS THE ROOM we see Pappas trying on purple wraparound
sunglasses.
The salespunk pulls down a wide board with a garish
firebird paint scheme. Like a lowrider flame-job. The
logo reads "Dance with the Universe."
15
Here, you need a rhino chaser like
this one to learn on. Good board.
I mean for a pig board.
Utah hefts the board. Scowls. Hates anything he's not
great at.
PAPPAS sets his purchases on a counter: the glasses, some
plutonium-pink shorts, T-shirts, sun-block. The GIRL
behind the counter is sixteen, barely contained in a
macrame bikini-top and "Dolphin" shorts. Angelo picks up
a package of Sex Wax from a rack. Sniffs it.
PAPPAS
(reading the label)
"Best for your stick", huh? This
might not be enough. I better get
two.
The girl stifles a grin. Thinks he's cute. At the other
end of the counter, 15 is ringing up Utah's board.
15
Hey, man, guys your age learning to
surf, it's cool, there's nothing
wrong with it.
UTAH
I'm twenty-five.
15
See that's what I'm saying, it's
never too late.
Utah picks up the board and moves to leave.
15
Hope you stay with it. Surfin's
the source. It'll change your life.
Swear to God.
EXT. MALIBU PIER - DAY
Utah and Pappas walking back to the car.
Two FBI agents in suits and ties walking with a day-glo
orange surfboard. Surreal image. The ocean shimmers in
B.G.
PAPPAS
Johnny, it's the only way.
UTAH
Why can't I just walk around with
this thing under my arm and act
stoned? Ask a few questions.
Angelo stops at the railing, points toward the ocean.
PAPPAS
Look. Look at them out there.
LONG LENS on packs of surfers sitting outside. Bobbing
slowly. Hunched like sea birds. Waiting for an unseen
sign. Disappearing and reappearing beyond the break.
PAPPAS
They're like some kind of tribe.
Got their own language. You can't
just walk up to these guys. You've
got to get out there. Learn some
moves. Get into their head. Pick
up the speech.
UTAH
Angelo, this stuff is for little
rubber people who don't shave yet.
PAPPAS
It's all balance, right? And
coordination. How hard can it be?
CUT TO:
EXT. SURFRIDER BEACH - DAY
WHAAAAAM! Johnny is CLOBBERED by a wave.
He's flipped off his board and hits the water face-first
as the wave crashes over him. Other surfers steer clear.
PAPPAS lounges in a beach chair in his plutonium pink
shorts, purple Vuarnet's and a T-shirt emblazoned with
"Surf This" across the chest. A picnic basket sits close
at hand. He winces at Utah's wipeout. Shouts from his
beach chair.
PAPPAS
I think you gotta hit them straight
on!
UTAH
(out of breath)
Got it...
UTAH holds the tip steady, gouges the face of a wave and
squirts out the other side. Another wave rises and Utah
glides up over the hump. He clears the swell and the
ocean suddenly smooths out like a giant lake. Triumphant
over having made the lineup, he sits up on the board, and
falls over.
PAPPAS slices a green apple, some feta cheese and eats off
the knife.
UTAH climbs back on his board. WHISTLES and HOOTS sound
as SURFERS spot a new swell. Utah watches as the regulars
start catching rides. Suddenly he feels like a lost dog
on a busy freeway.
A young LOCAL in a neon wetsuit slashes past him, inches
away.
LOCAL
Outta the way, you dick!
Another, shredding viciously, is blasting toward him.
LOCAL 2
Move it, kook!
Johnny paddles rapidly, ducks under.
Sees another, bigger wave coming.
Pissed off... at himself, at the downy-cheeked hotshots,
at the frustration, he turns his board around and starts
paddling hard.
He somehow gets the soles of his feet in contact with the
top of the board, then struggles up. He's standing --
sort of.
Arms pinwheeling, he topples in a nasty crash...
Right in front of a SHAVED-HEAD SURFER on full
afterburner.
Johnny vanishes in an explosion of spray. His board
SHOOTS OUT.
It SMASHES SIDEWAYS INTO RAZORHEAD.
The guy does an ugly endo.
Utah comes up GASPING for air, arms flailing.
His board, floating a few feet away, tugging at his ankle.
He drapes his torso across the board and pants for breath.
Razorhead, already back on his board, paddles over.
Points to a small dent in the fiberglass.
RAZORHEAD
You dinged my board, kook!!
Utah looks up in apology as--
A CRUSHING RIGHT HOOK SMACKS HIS FACE!
Knocks him under.
Razorhead pulls a KNIFE from a sheath held by a thong
around his neck. As Johnny surfaces, Razorhead slashes in
a vicious arc--
Severing Utah's leash, close to the board.
His flame-job surfboard bobs away.
RAZORHEAD
Politeness counts, ASSHOLE!
The surf punk plunges under a wave, disappearing.
UTAH
Goddamn son-of-a--
Before Utah can finish, another wave engulfs him and he
tumbles to shore, Razorhead nowhere to be seen.
ON PAPPAS as Johnny's flame-job board washes in at his
feet. He calmly picks it up as Utah staggers INTO FRAME
out of the knee-deep whitewash. Johnny rubs his jaw.
Spits blood.
PAPPAS
Kid, maybe this ain't your sport.
Utah grabs the board out of Pappas' hands and stalks off
across the beach.
INT. UTAH'S BEDROOM - NIGHT
Johnny dead asleep. Silence. Then BRRRRR!!
He jacknifes up like he just took 20,000 volts. His eyes
read panic. He rolls up, legs scissor against tangled
sheets and he collapses over empty boxes. He stumbles
like a blind man through the mess until he finds--
A tiny Indianapolis Colts FOOTBALL HELMET with a digital
clock for eyes. 5:00 a.m. Johnny emits a drawn out
groan.
EXT. OCEAN - DAWN
Deafening BOOM as a monster wave CRASHES below a sky the
color of slate. A distant Pacific storm has brought the
swell. 10 foot faces. Glassy, green walls the size of
houses beckoning from beyond the soup.
A lone FIGURE bobbing out beyond the break.
The surfer disappears behind the swell.
Then REAPPEARS, grinning across the smooth offshore
barrel.
UTAH wearing a wetsuit stands beside his surfboard,
craning forward to get a better look.
The surfer is a WOMAN.
She moves with liquid grace, in perfect harmony with the
sea, long hair flying out behind her. She undulates like
a dancer.
Dipping, carving, slicing, making it look sooooo easy.
Johnny shakes his head. Oh man, if she can do it...
UTAH
Fuck it.
He stands, grabs his board and heads out into the icy
foam.
OCEAN BREAK
A horizon of whitecaps churn behind him.
He lies on his board, rising and dropping with the swell.
So far so good. He spots a wave. A fluid gray-green
house rising, forever rising. Utah turns. Paddles. The
house catching him, lifting him high upon its roof.
Utah is committed. He gets to his feet as his board
slices along the lip. He peers over the falls, down the
face -- holy shit! -- it looks like Niagara. He loses
balance and spirals airborne, falling bullseye into the
IMPACT ZONE. The entire force of the wave crashing upon
him, plunging him down into the--
WASHING MACHINE (UNDERWATER)
where he SPINS like a whirling dervish, LASHED to a
slamdancing surfboard at the mercy of God.
He is held prisoner in a grey-green churning nightmare,
like a six-ton pit bull has him by the neck, shaking him.
He looks around. Can't tell up from down.
WHAM! His head slams into the bottom -- rocks and sand.
Stunned, he struggles toward the light, finally bursting
to the--
SURFACE. Gasping for breath.
The good news is he's breathing, the bad news is he's
surfaced in the impact zone. Another wave crashes down,
stuffing him back into the washing machine. Leaving no
sign of life in the white froth. The orangeade surfboard
launches high into the sky, spinning like a misfiring
Trident missile, trailing its broken leash like a kite
tail.
IN THE WASHING MACHINE, Utah tumbles in a cold green hell.
His chest is convulsing, needing air now.
Suddenly a FIGURE lunges down INTO FRAME.
A hand snatches a fistful of his hair and yanks him
toward--
THE SURFACE. The WOMAN SURFER bursts through the foam.
Grabs her board for leverage. Hauls Utah's head above the
water with one strong arm.
He is choking, coughing, slapping fatigued arms against
the surf, panic registering in his movements.
WOMAN SURFER
(yelling above the
roar)
Swim, goddammit! Come on! Move
it!
The woman gets her board under one of his arms for support
and sidekicks fiercely into the wave, holding him in a
painful grip.
With powerful strokes, she helps Utah make it to calmer
water outside the break. The big waves, just forming up,
lift them and drop them as they pass. Muted thunder when
the waves hit the beach. She drags him half onto her
surfboard.
Practically slamming his face into the board.
He's coughing out saltwater.
ON THE WOMAN, our first good look at her.
She is EXQUISITE. Hair slicked tight to her high-
cheekboned face, she looks sleek and feral, with eyes that
burn bright.
Especially when she's pissed.
WOMAN
Look crazy son of a bitch! You
wanna commit suicide, you do it
someplace else!
She undoes her leash and swims rapidly off, returning in a
few seconds with Johnny's board. He takes it from her and
flops over it, still coughing.
Wipes at the salt-snot running out of his nose.
There is a cut over his eye from when he re-arranged the
rocks on the bottom.
WOMAN
Look at this pig-board piece-a-shit.
It's still got the price tag on it,
for Chrissakes. What'd you do, buy
it yesterday? You've got no
business out here whatsoever.
Still gagging and gasping, Johnny manages a goofy grin.
UTAH
Well, I saw you and--
WOMAN
Yeah, you saw me and you figured
that if a mere girl can do it, a big
strong stud like you shouldn't have
any problem. Right?! Well you
figured wrong, dork!
She yanks her board around and strokes powerfully away
from him.
UTAH
Hey! Uh, how do I get back in?
WOMAN
(without turning)
Carefully, tough guy. Very
carefully.
UTAH
(yelling now)
My name's Johnny Utah!
WOMAN
Who cares!
UTAH
I'm telling you so when you look
back on this moment, you can
think... there was this guy named
Utah and he was pretty much a dork
but maybe not such a bad person and
I let him drown in conditions he had
no business being in whatsoever...
when I could have easily helped him.
Johnny calmly starts paddling toward shore.
Thundering white water pounding the rocks ahead of him.
He's stoic in the face of certain death.
UTAH
(over his shoulder,
gamely)
Bye.
WOMAN
Wait! Jesus Christ!
(swimming back to
him)
You're fucking crazy, you know that?
You go in there you're gonna eat it
on the rocks. Here, follow me.
The woman paddles parallel to the shore and Utah pumps
along behind her. She gets him away from the rocks, then
starts watching the incoming swell, timing it to the lull
between sets...
WOMAN
Go when I say. But stay down. Just
lie on the board. Alright, let's
go!
Utah paddles rapidly, following her, watching what she
does.
He is borne up by a low glassy wall.
He bellyboards all the way into the mushy shorebreak.
Tumbles. Stands unsteadily, grabbing his board. Runs
clumsily out of the retreating foam as another wave comes,
sucking water out.
On terra firma he looks back to see the woman kick-out
gracefully and disappear beyond the wave.
He flops on the sand. Shivering. Miserable.
EXT. COAST HIGHWAY - LATER
LONG LENS... the woman is peeling off her wetsuit next to
a BATHTUB PORSCHE that needs a paint job. Her board is
propped in the passenger seat. Stereo is pumping.
UTAH WATCHES THROUGH BINOCULARS from 50 yards up the road.
THE WOMAN, in a bikini, towels off briskly.
Swimmer's shoulders. Long muscular legs. Lean and mean.
She jumps into the car without bothering to open the door.
Looks at her watch -- her manner is late, in a hurry.
Through the tiny windshield we watch her shimmy and shake
as she pulls her bottoms off and struggles into something
else, not too concerned about the morning traffic right
next to her.
She pulls on a T-shirt and them performs a Houdini act to
extract the bikini top out of one sleeve hole.
UTAH WATCHES IMPASSIVELY. He starts his car and pulls out
onto PCH to follow as the bathtub Porsche zooms past.
EXT. NEPTUNE'S NET
Utah cruises up slowly, pulls off the road.
Up ahead the Porsche turns into the parking lot of
NEPTUNE'S NET, a Coast Highway hangout that serves high-
grade steamed sea-critters and beer to low-grade road
trash, bikers and surfers.
Lean-and-Mean, wearing jeans and T-shirt, jumps out of the
Porsche. She hurries to the door of the Net, unlocking it
for a couple of Mexican cooks -- helpers wearing
expressions like they wait like this for her every day.
UTAH puts down his binoculars and jots the Porsche's
license number down on a Tastee-Freeze bag. 867CDH.
CUT TO:
INT. COMPUTER ROOM - DAY
Green glow washes the intent faces of Utah and Pappas as
MISS DEER data specialist, enters 867 CDH into her
computer.
She is purebred American Indian, strong featured and
beautiful.
The screen freezes and the hard disk churns.
The DMV rap sheet scrolls down the screen.
PAPPAS
This is your surfer contact?
Female. Blond hair. Green eyes.
5'6". 119 lbs?
MISS DEER
Hmm, not bad, Utah.
UTAH
Tyler Ann Endicott. Born 11-27-64.
The rap sheet scrolls and scrolls and scrolls. There is
something frightening about the length of this file.
UTAH
(reading from the
screen)
... Exhibition of speed. Indecent
exposure inside moving vehicle...
MISS DEER
Hot, very hot.
UTAH
Felony arrest! "See adjoining
file"...
(he types quickly)
Kidnapping?!
Pappas crowds over Johnny's shoulder, reading.
PAPPAS
This is great. She ties some guy
up. Nude. Leaves the scene and
fails to return for 24 hours. No
convection.
MISS DEER
Gotta avoid the rope tricks, Johnny.
Utah gives her a "very funny" look. More data scrolls
forth.
UTAH
What else they got on her? I still
haven't found anything I can really
use. I gotta find an approach, a
way in -- here we go...
(he reads)
Both parents deceased. Plane crash.
San Diego, '84. Mmmm. Yeah,
definitely.
CUT TO:
EXT. NEPTUNE'S NET - DAY
A fat biker pulls out on a loud Harley (like there's any
other kind). The place is almost empty in the weekend
lull between lunch and dinner.
Utah's car pulls in off PCH.
INT. NEPTUNE'S NET
Tyler Endicott is working the counter. She jams an order
on the wheel and turns TO US.
TYLER
Next! Oh, no.
REVERSE ON Johnny standing there. Her only customer.
TYLER
What do you want?
UTAH
Shrimp and fries.
TYLER
I mean, what do you want? What are
you doing hanging around here.
UTAH
(very serious)
I need you to teach me.
TYLER
Gimme a break.
(to cook)
One shrimp and fries to go!
(to Johnny)
Anything to drink?
UTAH
I'm serious.
TYLER
I can see that. But forget it.
Stick to tennis, or whatever you're
good at. Miniature golf. Here,
your number's 37.
UTAH
Well, I'm just gonna go back out
there till I catch on to it or break
my neck.
She's looking at him. This guy's nuts. She laughs.
TYLER
What is it? You all of a sudden got
this bug you had to go surfing?
This is a line, right?
UTAH
No, no. See, all my life I've done
things for other people. In high
school I played football because my
old man expected me to. Then my
parents always figured I'd go to law
school, so I did. Football
scholarship. Graduated Phi Beta
Kappa--
TYLER
This gonna take long?
UTAH
Wait, so I'm a big hero to my folks,
right?
(he leans forward, a
little awkward)
But two years ago they got killed in
a car wreck and I just suddenly
realized all my goals had been their
goals. And I hadn't been living my
own life. So I wanted something for
myself. Something that maybe didn't
make any sense. You know what I
mean?
Tyler's smile has faded during this. He's managed to
touch her, break through the tough-waitress act. Now
she's looking him right in the eye.
UTAH
I came out here from Ohio a month
ago. Never saw the ocean before. I
didn't think it would effect me so
much. Like I'm drawn to it, or
something. I want to do what you
do. It's the truth.
TYLER
Tomorrow, 6 AM. Here. If you're a
minute late I'm gone.
(he's grinning)
And Stud... I didn't take you to
raise. I can show you a few things
but after that you're on your own.
That'll be four fifty.
He plunks down a ten and backs out the door, grinning.
UTAH
Keep the change, Teach.
CUT TO:
EXT. BEACH - DAWN
UTAH & TYLER walk across the sand.
Tyler drops her board.
TYLER
Stop here.
(she turns to him)
Do you agree to do exactly what I
say when I say it?
UTAH
Sure.
CUT TO:
UTAH pops INTO FRAME, arms extended, one leg in front of
the other, torso bent at the waist: classic surfing
stance.
Suddenly, he drops OUT OF FRAME.
WE PULL BACK -- Revealing Utah on his board, on the sand.
TYLER
Do it again.
Tyler is making him "pop" up to his feet. Again and
again. GAWKERS stop to watch. Utah fights humiliation.
He pops again. And again. Quick cuts.
On the next pop we--
PULL BACK to reveal Utah on his board, in a wave. He is
surfing.
For about three seconds. He flies off the deck, ass over
teakettle.
On the SPLASH we start--
A SEQUENCE OF TIME CUTS
Tyler and Utah straddle their boards outside the break.
She nods as the set comes, mellow right tubes. Utah digs
in, arms pumping.
He feels the bite as the wave picks up his board and
starts down the wall.
And endos.
CLOUDY PLATINUM DAWN...
Tyler shouting at Utah as he fights for balance.
He flies off again.
BLINDING BRIGHT SUNRISE. TYLER NEXT TO UTAH in the
lineup, straddling boards. She moves her hands like a
fighter pilot explaining a dogfight maneuver. Utah
watches intently.
Utah, backlit in glorious slow motion, tries a little turn
and feels his feet slip out. He slams down butt-first on
the board, flips over, feet sticking straight up out of a
blast of diamond spray.
Tyler cringes, giving a look like it's hopeless.
TYLER AND UTAH, at their cars, skinning out of their
wetsuits. Utah looks exhausted, downcast. She snaps her
wet towel at his ass, cheering him up.
MALIBU PIER. RAIN. Tyler jumps out of her Porsche and
sees Utah sitting in his car. She goes to him, opens the
door and starts pulling him out. Come on you pussy.
UTAH and TYLER wait their turn in the lineup. Rain pelts
their faces. The waves are depressing inside mushers
under a gray sky.
Utah starts to paddle. Tyler shakes her head no. Utah is
committed to the I'face. Tyler stifles a laugh.
TYLER
(to the other
surfers)
I'm not with him.
Johnny gouges the lip, pops and begins the drop.
Suddenly, miraculously, he catches an edge and, still
standing, is carried along the tiny wall.
The wall begins to sag. Utah shoots along the mush
hooting and continues hooting madly as he thrashes all the
way to shore.
He turns and grins foolishly out to sea.
Tyler bursts out laughing.
EXT. MALIBU PIER - DUSK
Big surf. Rough conditions. Closeout set.
UTAH, board in arm, follows Tyler out of the whitewater
onto the beach.
TYLER
It's closing out completely. Let's
call it.
Utah nods. His eyes track the unruly break.
UTAH
Who's that?
A LONE SURFER slashing through the pilings of the pier. A
real kamikaze run as the whitewater walls thunder behind
him.
SILHOUETTED against a crimson sky and backlit spray the
figure pumps among the pier pilings in a frenzy of motion
that is somehow balletic.
Laying out bottom turns, torquing his body and blasting
the lip a few times, moving so fast his long dark hair
stands straight back as if he were leaning out a car
window on the freeway.
TYLER (V.O.)
That's Bodhi. They call his the
Bodhisattva.
Utah watches as THE BODHISATTVA gets vertical with a snap,
trims down the volcanic wall, carves the bottom, pivots,
pumps to the top, gouging the lip, getting six feet of
air.
Gawkers HOWL and shout praise at the manic surfer.
TYLER
The modern savage. Guy's even
crazier than you, Johnny Utah.
C'mon.
They start to walk. The sky darkens as the sea finally
closes out completely. The Bodhisattva seems to levitate
through the shapeless mush to shore.
ROACH (O.S.)
Brah!
Suddenly a football whistles through the air above Utah's
head.
He watches as--
The Bodhisattva, board under arm, walking out of the
whitewater, makes a one-handed chest catch.
A few yards away two teams of SURFERS play football.
Utah gazes down the beach at the Bodhisattva.
Almost 30 years old, his body lean and hard as a tree
trunk. Hardness in the face accented by long Comanche
hair.
BODHI
Hey Tyler!
She whirls. Bodhi pumps his arm. Tyler jogs back for the
catch. Bullseye. She shoots Bodhi a look. Something
crosses her face.
Bodhi smiles. Tyler doesn't. Then it passes.
She chucks the ball to Utah.
Who drops his board and makes the catch in one move.
He SPINS the football on his fingertip, drops it on his
foot, kicks it up into his hands. Razzle dazzle. He
grins evilly.
EXT. BEACH - NIGHT
Rimmed by a dozen car HEADLIGHTS at the edge of the sand.
Utah crouches, waiting for the snap from NATHANIEL,
ponytailed and powerfully built. Facing them on defense
are Bodhi, Tyler and three others: ROACH, gonzo and
spiked-haired. GROMMET... 17 and thin as a stick, and
ROSIE, a biker with piggy eyes and arms blue with tattoos.
MONTAGE STYLE -- Utah tosses a flurry of mindboggling
passes. Every one picture perfect. Nathaniel scrambles
z-out left, turns and the ball is practically waiting for
him. Touchdowns galore. Endzone dancing. Bodhi stares
at him curiously.
Tyler rushes. Utah enjoys scrambling, ducking left and
right, twisting her into a pretzel. Play after play.
Utah tosses another touchdown, but Tyler keeps coming.
Sacking him.
They lie together in a heap, laughing.
Bodhi quarterbacks. Utah rushes. Bodhi fakes a pass then
runs, ball tucked in his arm. Utah tears after him. Flat
out speed run.
Roach attempts a block. Utah hits him like a freight
train.
Roach hits the sand face first.
Grommet and Rosie the biker in a squeeze play.
Utah, fierce now, blasts between them. No mercy.
Utah can't play for fun. We see his expression.
Something scary there. What we will call "juggernaut
mode".
Tyler just steps aside.
Bodhi running along wet sand as a wave sweeps up the
beach. Looks back. Sees a demon shooting up roostertails
of spray behind him, gaining. Pours it on. Both of them
pistoning through curtains of water. Not a game anymore.
Closing on the endzone. 5 yards. Utah is airborne.
SLAMS BODHI LIKE A SAM MISSILE. They crash and burn
together in the surf.
The other surfers run up. Who's this newcomer that just
centerpunched their main man? Industrial strength
tension.
ROACH
The fuck you doin' man?! You
fuckin' crazy?
Bodhi flashes a million dollar smile.
BODHI
Chill, brah. You know who this is?
Johnny Utah. Ohio State, all-
conference.
(to Utah)
Rose Bowl three years ago. Right?
Johnny nods. Tyler looks at him -- no shit?
ROACH
Johnny fuckin' Utah! Fuckin'-A!
Yeah, I remember that game, man.
You were on-fire. They could not
stop your ass.
GROMMET
Radical! Head-butt, dude!!
Johnny gestures "Please no".
Enthused by the concept, Grommet turns to Nathaniel.
GROMMET
Head-butt!!!
They do. Their foreheads CRACK together. They stumble
backwards in giddy euphoria. Nathaniel laughs like Pee
Wee Herman.
BODHI
Something happened. You got nuked
in the last quarter.
UTAH
Yeah, my knee got folded about 90
degrees the wrong way.
BODHI
And that's why you never went pro?
UTAH
Two years of surgery. I missed my
window. Limped through law school
instead.
BODHI
Mmm. A lawyer, huh?
(like it's a disease)
Too bad. But at least you're
surfing now. So your life's not
over yet, right?
UTAH
Not yet.
CUT TO:
INT. FEDERAL BUILDING - 16TH FLOOR - DAY
Utah, in shorts and T-shirt, carries his flame-job
surfboard past surveillance cameras and portraits of Bush,
Hoover and Webster. Special Agent Cole walks by. Eyes
the board. Speaks deadpan.
COLE
Like totally rad stick, dude.
INT. BULLPEN
Utah tries to act casual as he carries the board to his
desk on the other side of the room. He has to walk past
the entire gauntlet to get there.
SEVERAL AGENTS
Gnarly, man... hang ten...
cowabunga... surf patrol... rip it
up!
Harp comes straight for him like a homing missile.
HARP
How was the beach?
UTAH
Fine.
HARP
Surf conditions okay?
UTAH
A little mushy.
HARP
A little mushy! You think the
taxpayers would like it, Utah, if
they knew they were paying a federal
agent to surf and pick up girls?
UTAH
Babes.
HARP
What?
UTAH
The correct term is babes, sir. Uh,
this type of undercover operation is
entirely dependent on picking up the
idiom of the speech. Otherwise
penetration is not possible, sir.
Of the social infrastructure, I
mean.
Harp inhales through his nose. A bad sign.
HARP
Where is Pappas?
Utah points across the room. Harp turns.
PAPPAS, sitting behind his desk in his "Surf This" T-shirt
and pink shorts, lifts the purple Vuarnets like Tom Cruise
in Risky Business.
Looks directly at Harp. Smiles innocently.
INT. HARP'S OFFICE
Harp paces. Type-A suppressed rage.
Utah and Pappas endure Harp's wrath.
HARP
Special Agent Utah, this is not some
job flippin' burgers at the drive-in.
Yes, the surfboard bothers me. Yes,
your approach to this case bothers
me. And yes, you bother me. You
two have produced squat in the last
two weeks, during which time the Ex-
Presidents have robbed two more
banks!! Do you have anything even
remotely interesting to tell me?
UTAH
Caught my first tube this morning.
Pappas signals, unseen by Harp, for Utah to shut the fuck
up.
INT. CORRIDOR TO COMPUTER ROOM
Johnny and Angelo walking.
PAPPAS
What, you couldn't have just left
the thing in your car?
UTAH
It sticks out, so I can't lock it.
Look, Angelo, you think I joined the
FBI to learn to surf? This was your
lame-o idea in the first place. You
gotta back me up on this.
PAPPAS
Johnny, all I can say is we better
come up with something real soon.
Johnny cocks an eyebrow and opens the door to the computer
room ceremonially, like a doorman at the Ritz-Carlton.
Miss Deer looks up as they enter.
INT. COMPUTER ROOM
TIGHT ON CRT as a lab report scrolls up the screen. Gas
chromatography and spectroanalysis. Columns of elements
and compounds, listed as percentage-of-sample.
MISS DEER (V.O.)
Encino Savings & Loan guard grabbed
LBJ's ponytail. We recovered one
hair.
WIDER, showing Utah and Pappas over her shoulder at the
terminal.
PAPPAS
Yeah, yeah, I remember, last year.
Guy got his jaw broken for it.
MISS DEER
One four centimeter strand. Color
brown. Oily. Slight wave.
PAPPAS
Hell, what're we waiting for, let's
go pick the guy up.
UTAH
Angelo, pay attention. There's
gonna be a test afterward. Lab is
showing traces of toxins. PCBs.
Heavy elements... selenium, titanium
and arsenic.
PAPPAS
Guy's the Toxic Avenger.
Utah is excited as he fits the pieces together for his
partner.
UTAH
The beaches are always being closed
because of waste spills, right? And
surfers are territorial. They stick
mostly to certain breaks. If we can
get some hair samples, and get a
match to a certain beach, we'd know
which break the Ex-Presidents surf.
You buyin' this?
PAPPAS
No. But let's do it, anyway. It's
gonna bug the shit out of Harp.
CUT TO:
EXT. LATIGO - DAY
Department of Health sign reads, "Beach Temporarily
Closed." Beyond it crashes a wasted northwest swell.
Two frustrated teenage SURFERS huddle underneath a towel.
Marijuana smoke seeps upward.
A sandaled FOOT enters frame and taps their leg. Angry
heads poke up from beneath the towel, nostrils and mouths
billowing smoke.
The two wear T-shirts which read "Passion for Slashin" and
"Psycho Stick".
PAPPAS smiles, standing there in his beach wear, trying to
blend in. He doesn't.
PAPPAS
When you two are done makin' out, I
need to talk to you.
"PSYCHO-STICK" T-SHIRT
Hey, I ain't no butt-bouncer, dude.
We're from the valley. Mall babes
'n shit.
The kids proudly high-five.
PAPPAS
I just want to know if you surf here
a lot.
"PASSION FOR SLASHIN'" T-SHIRT
Shit yeah, like totally everyday
when it's jammin'. What is this,
fucking narco entrapment or what,
dude?
Pappas flashes his FBI star. He whips out a pair of
scissors.
Brandishes them like some over-the-hill "Jason".
PAPPAS
Not exactly, dudes.
EXT. COUNTY LINE - DAY
Row of SURFMOBILES parked along a cliff, facing the ocean,
doors open, stereos blasting, SURFERS hanging, sitting on
hoods.
Utah moves along the cars, looking surfed-out.
He's tanned, relaxed. Hair starting to bleach out. One
of the tribe.
UTAH
Whoa, brah, easy now... Don't move!
(Utah bends close,
reaching for Surf-
Rat's ear)
Got some huge sucker crawling into
your--
(he plucks at a tuft
of hair)
Got it! Uuuughhh.
SURF-RAT
Leave some fuckin' hair, man!
Utah squashes, then inspects the mysterious creepy-crawler
hidden in his palm. He wipes his hand on his towel, which
he keeps balled up in his other hand.
SURF-RAT
What was it?
UTAH
Saved your butt, bro. Close one.
Utah shivers in disgust, then coyly turns and walks away.
The surf-rat desperately pats his ear for traces.
CUT TO:
INT. FORENSICS LAB - NIGHT
A long series of ENVELOPES are displayed on a desk. Each
has the name of a Southern California beach and is
attached to a forensic printout.
HALSEY inspects each envelope.
HALSEY
Naw, this isn't it.
UTAH holds up an envelope with a skinny woven ponytail
sticking out.
PAPPAS shrugs.
PAPPAS
He moved.
Halsey picks up an envelope marked "Latigo Beach".
HALSEY
PCBs, selenium, titanium, arsenic.
The percentages look right. Here's
a match.
UTAH
Latigo Beach.
Pappas grabs the envelope, studies it, crooks his head.
PAPPAS
Surf's up, ace.
CUT TO:
EXT. LATIGO BEACH - DAY
EXTREME LONG LENS scans the beach from a height. A gray,
miserable day. Beach crowd thin except for diehards.
The image drifts across faces, BODIES. Surfers walking
with boards.
Talking, sitting with pubescent girls.
The image settles on Johnny, astride his board, bobbing
beyond the break.
ON PAPPAS, scanning with powerful binoculars from his car.
CLOSE ON UTAH, out among the flock of hardcore surfers.
Ostensibly waiting for a wave, his eyes search the others
around him, clicking methodically from face to face.
Finally he swings his board around and awkwardly catches a
ride.
The modest wave carries him toward the beach as he
balances, tense and style-less.
He passes someone we've seen before. The RAZORHEAD from
the first day. In concentration, Johnny doesn't see the
guy.
But Razorhead definitely sees him.
JOHNNY reaches the beach and jogs up the sand. He picks
up a towel and talks into it as he dries his hair. A
glimpse of the walkie-talkie hidden beneath.
UTAH
Big zippo so far. How about you?
PAPPAS (RADIO)
Patience hotshot. Patience. It'll
be subtle, if it's here at all.
PAPPAS WATCHES as Johnny crosses toward the outside shower
next to the public restroom.
LONG LENS view of Utah passing OUT OF SIGHT behind the
building.
AT THE SHOWER Johnny sets down his gear and opens his
wetsuit to the warm, salt-free jet of water. TRACKING
SLOWLY IN on him as he lets it pour over his face.
A HAND ENTERS FRAME, shutting off the water suddenly.
TIGHT ON UTAH, his eyes opening.
REVERSE, revealing RAZORHEAD and THREE OTHERS.
They are powerfully built SURF-NAZIS.
Scalps shaved on the sides. Hair military short on top,
lengthening into pigtails in the back. Tattoos. Wrist
chains.
TONE, ARCHBOLD and WARCHILD. The one who socked Utah
before is BUNKER. They spread out flanking him.
WARCHILD
This the guy?
BUNKER
Yeah.
UTAH
(good natured)
Okay, so this is where you tell me
all about how locals rule and yuppie
insects like me shouldn't be surfing
your break and all that, right?
BUNKER
No.
TONE
Waste of time.
WARCHILD
We're just going to fuck you up.
UTAH
Oh.
As they lunge, Utah grabs his board and swings it in a
whistling roundhouse. Its edge slams Warchild in the gut
and folds him double. The bad news is... Warchild gets an
arm around it and brings a pile-driver hammer-punch down.
The board splits into two pieces.
Utah drops his end as the others close. A flurry of
punches and kicks, most of which he blocks. But he's lost
the offensive.
Bunker takes him to his knees with a vicious karate-style
side-kick.
TIGHT ON Utah's towel, talking with Pappas' voice.
PAPPAS
Johnny? You there?
ANGELO gets out of the car fast. He jogs twenty feet and
raises the binoculars. Catches a glimpse of the carnage
around the edge of the building. Breaks into a run,
massive legs pistoning.
JOHNNY HITS THE GROUND hard. He rolls and comes up fast.
The razorhead brothers are a little surprised.
ARCHBOLD
The dude can fight!
Warchild grabs Utah from behind. Gets him in a headlock.
Archbold and Tone pin his arms. Bunker starts working him
like a practice bag. At this moment, Johnny is getting
the proverbial shit beat out of him.
SUDDENLY, a new figure blurs INTO FRAME.
BODHI seizes Bunker and flings him aside. He spins with
remarkable agility and drives his heel into Warchild's
face.
Utah breaks free, staggering back on the sand. The fight
is still there in his eyes.
Bodhi is at his side -- holding the others at bay with a
raised hand and an evil look.
BODHI
Back off! Now!! Just let it go!
BUNKER
Stay outta this, Bodhi!
BODHI
He's with me. Now back off.
Seriously.Just do it!
(they relax slightly)
You alright Warchild?
WARCHILD
(holding his bleeding
nose)
Fuck you.
Everybody has backed off a bit, panting.
Utah steps toward Bunker. Like he's maybe going to shake
hands.
UTAH
What's your name?
BUNKER
Bunker.
UTAH
Well, listen, Bunker... I'm actually
kinda glad you found me.
BUNKER
Yeah? Why?
Johnny answers with a LIGHTNING ROUNDHOUSE that hits with
a CRACK! They can hear it in Pomona.
BUNKER HITS THE GROUND. Flat out. Lights out.
Tone, Archbold and Warchild lunge like dogs.
Bodhi yanks Utah out of the line of fire.
BODHI
Whoa! Whoa! Hold it, ladies. Give
it a rest.
(to Utah)
Let's go.
He literally turns Utah around.
They begin to walk, stepping over the pieces of Johnny's
board.
BODHI
(under his breath)
Do me a favor, Johnny, just keep
walking.
Tone starts to go after them. Archbold grabs his arm.
They help Bunker up. Warchild holds he bleeding nose.
Utah and Bodhi start up the stairs, turn a corner and run
HEAD-ON into a huffing PAPPAS.
The big man clocks a battered but intact Utah.
We see him shift gears in his head in 2 tenths of a
second.
PAPPAS
(out of breath)
Uh, you guys seen a kid, maybe 10,
12, running with a car stereo?
Stole the fucking CD too, you
believe it?
Utah is grateful for the cover.
UTAH
No, but there are four guys back
there you might check out.
PAPPAS
Thanks, buddy.
He shoves on.
EXT. PARKING LOT
Bodhi and Utah weave among the cars and motorcycles,
beach-types coming and going.
UTAH
Friends of yours, huh?
BODHI
The one you decked is Bunker Wiess.
The big one is his brother,
Warchild. The other two always
hang. They think they're some kinda
death squad around here.
UTAH
What's their program?
BODHI
They're punks. Nazis. Their brains
are wired wrong. They hurt surfing
because they give nothing back, and
they have no respect for the sea.
They just want to get radical. It's
mindless aggression. They'll never
get it, the spiritual side of it.
UTAH
You always talk like this? You're
not gonna start chanting or anything
are you?
BODHI
(laughing)
No.
(beat)
So I was up the beach. I saw it
going down. you didn't hesitate...
they never backed you up an inch.
That's rare in this world.
UTAH
Thanks for stepping in.
BODHI
De nada.
Bodhi keeps on walking as Utah reaches his car and stops.
Five paces on, he stops and turns back. A moment of
decision...
UTAH
Gonna be some people at my house
tonight. Maybe you can make it.
UTAH
Where?
BODHI
Come with Tyler. She knows.
Bodhi turns and saunters away. Utah considers his last
words, wondering how well Tyler and Bodhi know each other.
CUT TO:
INT./ EXT. CAR - PCH - SANTA MONICA - DAY
Utah is struggling into a T-shirt as Pappas drives,
intently following a beat-to-shit JEEP. Paramilitary
olive-drab and full of surfboards. And razorhead.
PAPPAS
Ten seconds you're out of sight.
Unbelievable.
Johnny is equipment-juggling now... cradling a cellular
phone at his ear while steadying Pappas' binoculars in
front of his eyes.
UTAH
You're losin' them.
(into phone)
That's right. Two-denver-four-sam-
niner-five-niner. Late seventies
Jeep.
LONG LENS, JOHNNY'S POV through binoculars. Bunker's jeep
weaves aggressively through traffic ahead. Horns honk.
Tone flips off the driver of a Toyota.
PAPPAS
Look, if you're gonna go leavin'
your piece and your shield in the
car, you can damn well stay in
sight. Okay?
UTAH
Okay, Dad.
EXT. VENICE STREET - DAY
Low rent street off Washington.
EXTREME LONG LENS on Jeep as it pulls onto the dead front
lawn of a brown stucco house with bars on the windows.
The razorheads get out, pulling boards and wetsuits from
the Jeep. They are dressed now in ripped jeans, GI boots,
sleeveless Megadeth T-shirts, etc.
Watching, we become aware that two of them have brown hair
in a radical style... shaved sides and a short ponytail.
UTAH (V.O.)
The jeep is registered to a Bradley
Wiess. My buddy. Guy's got quite a
sheet.
(into phone)
Yeah, yeah... skip all that. Gimme
the greatest hits. Misdemeanor
possession of cocaine. That's
good...
INT./ EXT. CAR
Utah on the cellular, Pappas behind the wheel as they
slide to a stop half a block from the stucco house.
UTAH
... Felony B and E, three months in
juvey. Better. Felony assault.
Postgraduate work at Chino.
Excellent. I'm lovin' it. What
about the brother?
(Utah is grinning)
Great! Another model citizen.
These guys really fit the profile.
PAPPAS
Remember, all bank robbers are
losers, but not all losers are bank
robbers.
LONG LENS POV of Razorheads house. Through the windows we
see the four moving inside. Tone throws Archbold and
Bunker a Coors from the fridge. Archbold shakes his and
opens it in Warchild's face. Warchild, in no mood, slams
him against the wall. We feel the revved-up, chaotic
energy of the group in silent pantomime.
Bunker is met by a GIRL coming from the back of the house.
She is wearing only panties and a black leather vest.
Short black hair and tattoos stark on her white skin.
Bunker puts one arm around her neck in a head lock embrace
and slides his other hand under her vest. Tone pulls the
curtains.
UTAH
These are the guys. I can feel it.
I say we lay it on Harp.
CUT TO:
EXT. STREET NEAR HOUSE - NIGHT
TELEPHOTO VIEW of house.
Bunker and Archbold have partially disassembled the engine
of a Kawasaki 1100 parked in the living room. They are
drinking beer and arguing about the carburetors, lit by
the blue glow of the TV. Warchild is watching a living-
dead movie on tape.
He replays the gory parts. Not a happening night at the
Razorheads.
REVERSE, as binoculars are lowered, revealing Cole.
WIDER, to show the dynamic team of Cole and Munoz
glowering in a plain sedan, Utah leaning in the side
window.
MUNOZ
This is bullshit. This is a
bullshit lead. This is totally
bullshit. Harp must be fucking
desperate if he's listening to you
two flakes.
UTAH
See you bright and early, guys.
Pappas walks up with a grease-stained box. Jams it
through the window.
PAPPAS
Cold pizza? It's great for
breakfast.
INT./ EXT. PAPPAS' CAR - NIGHT
Pappas pulls away from the curb, roaring past the other
agents sedan. Utah and Cole flip each other off
perfunctorily as they pass.
UTAH
When did Harp say they'd have the
warrant?
PAPPAS
He's pushing it through first thing.
You better get some sleep tonight,
it could be an interesting morning.
CUT TO:
EXT. BODHI'S HOUSE - NIGHT
A bunker-like structure built of stone and glass on a
cliff overlooking the Pacific. Surfmobiles and
motorcycles parked in front. A strong backbeat thumps
through the open front doors.
Tyler's Porsche pulls into the driveway. She and Johnny
get out and head for the entrance.
UTAH
Nice place.
TYLER
He rents it for the summer. Bodhi
always gets some slick place and
throws it open to every surf burnout
around. Most a these guys can't
keep a job. When the swell comes,
they're gone, they have to ride.
INT./ EXT. BODHI'S HOUSE
Tyler leads Utah through the steady flow of SURF-RATS and
other PCH NOMADS toward a large outdoor deck where a
barbecue is in progress. Moonlit waves pound the shore
eighty feet below.
They are immediately distracted by the small crowd
gathering around GROMMET who has his nose pressed flat
against the center of a dart board.
His eyes swivels back to ROACH, standing fifteen feet
away, dart in hand, getting ready to throw.
GROMMET
Do your worst, man!
Roach drains a beer in one gulp, spies the sharp needle
point of the dart, then squints at the target.
ROSIE moves through the small crowd collecting bets.
Suddenly Roaches arm snaps back. A collective hush...
In a blur of tattoos the small feathered missile is
airborne.
TWAAAPPPPPP! Bulls-eye. Centimeters from flesh. Grommet
secretly exhales. Roach howls as Rosie rains money on his
head.
The crowd goes wild.
BODHI stands nearby with his arm around a BEAUTIFUL WOMAN.
Pleased to see Utah, he motions him over.
UTAH
Don't you gamble?
BODHI
Only make bets I can't afford to
lose. Only way to be 100%
committed.
With that, Bodhi smiles, then he and the woman vanish into
the crowd. Utah watches them go, turns to Tyler.
UTAH
Who's the girl?
TYLER
Catch of the day.
UTAH
Oh, oh. That sounds personal.
TYLER
People are expendable to Bodhi.
UTAH
Meaning you were expendable.
TYLER
(shrugs)
We went out for about five
minutes... which is four minutes
longer than most of them. But you
can't hold it against him, he's...
different.
UTAH
Sure, he's "the Bodhisattva".
TYLER
(she chuckles)
Yeah, he thinks he's evolved to a
higher plane of existence, or
something.
(thoughtful)
Maybe he has. You've seen him
surf... that frenzy. It seems like
anger. It's not. It's the energy
of lovemaking. The sea is the woman
in his life. She's his only true
lover.
Utah studies her a moment. He's caught the faintest hint
of regret in her voice. But also the straight-ahead
pragmatism. He looks down at the waves pounding
mercilessly against the rocks.
UTAH
All she does is beat the shit out of
me.
DISSOLVE TO:
PARTY - LATER
Lingering surf-rats stoned and drunk.
Nathaniel stands on the railing of the deck, Corona in
hand, gazing out at the black water. He grins sloppily,
body wavering dangerously as he hunkers down into a
surfing stance.
NATHANIEL
(beer soaked speech)
... Okay, so you're in the face,
it's twenty-five feet straight down,
your balls are about this big.
(like he's holding up
two BB's)
And the whole thing's moving, right,
roaring like you're stuck to the
front of a freight train. There
ain't nothin' like it, man. The
ultimate rush. Forget about sex, it
doesn't even come close.
ROACH
You lose it right then, you're
history. The fish'll be pickin' you
outta the coral.
Nathaniel cackles that absurd Pee-Wee Herman laugh. He
starts to flail, arms pinwheeling.
Utah catches him by the back of the shorts and pulls him
back. Nathaniel spins and drops clumsily onto the deck.
NATHANIEL
(matter of factly)
Thanks, brah.
Tyler sits next to Johnny, sipping a beer. Bodhi is not
in sight.
ROACH
See, it's all dynamic, it's all in
motion. You can't just stop and
walk on in to the beach if you don't
like the way things are going, y'
know what I mean? You gotta ride it
out man, all the way.
GROMMET
You ride the monsters, you gotta
know you're ridin' a line between
life and death. There ain't no
forgiveness.
UTAH
So what's the biggest? Waimea?
BODHI (V.O.)
No, Bells Beach, Australia.
Bodhi glides into the group and sits, his expression dark
and enigmatic. The beautiful girl kneels behind him,
massaging his neck. He seems not to notice.
GROMMET
Shit, yeah! I remember that day...
gnarly fuckin' ass! Was your
birthday--
ROACH
The set was northwest. Jacking up
like a fucking mountain of gray
glass--
BODHI
I made that one mistake you pray
you'll never make--
NATHANIEL
You shoulda fuckin' seen it... it
was like he fell for-ever. Then the
curl crashes down and he's gooone--
GROMMET
-- held down in the washing machine,
man... it was severe, we couldn't
see nothin' thought it was all over
for sure--
Nathaniel HOWLS.
Tyler watches Utah watching Bodhi. Notices how he is
mesmerized by these war stories. Bodhi smiles,
unexpectedly.
BODHI
Not tragic to die doing what you
love. You want the ultimate thrill,
you gotta be willing to pay the
ultimate price.
NATHANIEL
Fuckin' A.
GROMMET
(draining a Corona)
Hell, I ain't gonna see 30.
He and Nathaniel slap a warm, brotherly handshake.
Utah notices that Tyler is giving him a dark look.
She gets up suddenly and walks away from the group.
UTAH
(to the surfers,
covering)
Uh. I need another beer.
He heads out after Tyler.
INT. HALLWAY - DEN
Johnny moves through the house, looking for her. As he
passes the den, he sees Tyler standing inside, and goes
into the dark room.
It is the only personalized space we have seen in the
house.
A kind of shrine to the Bodhisattva.
Shelves filled with books and artifacts from his travels.
Maori masks, a blowgun, a skeletal shark mouth two feet
across, a huge fossil ammonite... an unbelievable variety
of tribal artifacts and marine specimens.
The books include political literature, eastern religion,
philosophy. A strange hodgepodge of titles and authors:
Nietzsche, Marx, the Tao, "Steal this Book", "The Book of
Five Rings", Frederick Forsyth thrillers.
Tyler is looking at a wall of photographs and Johnny walks
up behind her. Shots of Bodhi surfing a monster wave,
mountain-biking, skydiving, flying an ultralight airplane,
bungee-cord jumping, cliff diving.
Every kamikaze activity in the book.
TYLER
Bunch of goddamn adrenaline junkies.
I hope you're not buying into this
banzai-bullshit like the rest of
Bodhi's moonies.
UTAH
What are you talking about?
TYLER
I've seen that kamikaze look,
Johnny. You've got it. And Bodhi
can smell it a mile away. He'll
take you to the edge... and past it.
(she looks past
Johnny, sees
something)
Hey, Bodhi.
Utah turns. Bodhi is in the doorway.
BODHI
Johnny has his own demons, don't
you, Johnny?
Bodhi seems to stare into him.
Utah breaks the look. Turns back to the photo gallery.
Bodhi's eyes swivel. He ponders something. Looks at
Tyler.
BODHI
Feel it?
Roach and some of the other surfers appear in the hallway,
wondering what happened to their leader. He turns to
them.
BODHI
Gentlemen, it's time.
HOOT AND CHEERS. Everyone bursts into motion. Yelling
and running through the house.
UTAH
What's goin' on?
TYLER
Swell's here, Johnny. Bodhi always
knows.
Bodhi returns from another room with... AN ALL-BLACK
SURFBOARD. It gleams like obsidian. Near the tip, in
small gray letters it says "Stealth Fighter". Bodhi
thrusts it into Johnny's hands.
The others WHOOP maniacally.
Johnny feels the challenge. The pull of the tribe.
BODHI
Let's go, Utah. Time for a little
stealth mission.
CUT TO:
EXT. LATIGO BEACH - NIGHT
SIX DARK FIGURES walk toward us out of shafts of light...
the headlights of Bodhi's CHEVY 4WD and Tyler's Porsche.
The figures are Bodhi, Johnny, Tyler and the other
surfers.
ROSIE hangs back with the idling vehicles, tattooed arms
crossed. He puffs on a cigarette.
A WIDE SHOT (MATTE) of the beach shows a pool of light
from the headlights, beyond it a vast silver ocean under a
black sky. The full moon casts the world in cold
monochrome. The little figures reach the sea.
ROACH
(a voice in the
distance)
Gaping barrels! Way overhead, man!
CLOSER, as moonlit figures run into the water.
Utah stands on the beach, hoping his eyes will adjust.
UTAH
I can barely do this in broad
daylight.
TYLER
Come on. At least no one's gonna
see how bad you are.
Johnny clenches his jaw and charges past her into the
water.
He strokes powerfully out through the black swell.
UTAH'S EBONY BOARD pierces the wave and he slides down the
backside to where the others are waiting. Roach and
Nathaniel, silhouettes nearby, see one they like and take
off yelling.
Johnny turns as a figure glides up next to him.
UTAH
I gotta be fucking crazy.
BODHI
Yeah, but are you crazy enough?
Grommet gets a ride, slicing across in front of them.
A ghost moving off into the silvery distance.
Tyler waves jauntily and takes the next one. It's
Johnny's turn.
BODHI
Football's a man-made game. You
keep score with numbers. But in
this, there's no field, no rules, no
opponent. Just you and the wave.
UTAH
I know that part. Tell me something
I can use, here.
BODHI
I've watched you once or twice. You
surf like it's some kind of street
fight. You jerk along from moment
to moment, fighting everything that
comes at you. Always trying to win.
UTAH
A flaw I'm working on.
BODHI
The only way to win out here is to
surrender. You have to feel what
the wave is doing, accept its
energy, get in sync. Just feel it
all moving in the blackness... you
don't need to see.
UTAH
Yeah, right, vision is highly over-
rated.
Bodhi is looking at the lights along the shoreline.
Without looking back, he senses the incoming swell.
BODHI
This one's got your name on it,
Johnny.
Utah looks. Huge glassy face, perfectly formed. Black
and terrifying.
BODHI
Let's go.
Bodhi digs in with both hands, driving himself forward.
Johnny starts grabbing water right behind him. The wave
picks them up.
UTAH
Shit, I'm gonna die. I'm gonna die
now.
Johnny uses the patented Tyler-pop and makes it to his
feet. Suddenly he's going like a shot.
He moves back on the board, trims out, slowing down.
Maintains a fragile control.
On pure adrenalized instinct, heart pounding, he falls in
behind Bodhi, taking the same line along the roaring black
face.
Bodhi is like the Silver Surfer, ahead of him in the
moonlight.
Not wanting to drop too far behind, Johnny walks a little
forward on the board. The nose dips, picking up speed.
Johnny starts letting the speed work for him, learning
that he can make long floating turns up and down the
glassy face.
Feeling the water under his feet, the tons of water piling
up behind him... feeling its awesome power and borrowing a
little of it.
The Silver Surfer and the quarterback rocket through the
night.
Utah has a big feral grin plastered on his face.
Bodhi looks back. Gives him a thumbs up.
Then he cuts left and drops giddily down to the bottom,
slashing back and climbing.
Utah tries it, feels the drop like freefall... feels the
speed.
He makes his bottom turn, nearly falling.
The grin dropping off his face.
He falls in behind Bodhi again as the wave wraps over them
like a great black wing.
TYLER, paddling back out, watches them shoot past her.
Utah raises his arms above his head and HOWLS like a gonzo
wolf as they go by.
She grins to herself, watching him.
Knows he's gotten the ride that will make him a surfer for
life.
EXT. BEACH PARKING LOT
Rosie sits on the sand next to a blazing fire in a cement
firepit.
ANGLE THROUGH THE HEAT HAZE above the flames. Tyler
punches through, a few feet away. She paddles toward him,
coming alongside.
TYLER
You had enough?
UTAH
Yeah. I just want to sit out here
for a minute.
He watches the lights along the shoreline as the gentle
swell between sets lifts and drops them. His face is
somehow childlike.
A slow grin spreads itself across his face.
TYLER
Look at you.
UTAH
What?
TYLER
Well, usually you have this sort of
intense scowl of concentration, like
you're doing this for a school
project or something... I don't
know, like something's driving you.
(she puts her
fingertip to his
forehead)
See, it's gone. If I didn't know
better I'd say you looked almost
happy.
UTAH
I... I don't know. I can't describe
what I'm feeling.
TYLER
(smiling)
You don't have to.
Her face seems luminous in the moonlight. The ocean
silver. The shore a shimmering line of gold. The sky
black velvet.
Utah turns to Tyler, eyes exploring her, as in a dream.
Water beads on her dark skin like crawling diamonds.
He glides closer, holding her board like an uneasy horse
alongside his.
He runs his fingertips down her arm.
UTAH
Goosebumps. Come here.
She leans closer and he rubs his hands up and down her
arms, warming her. His hands stop on her shoulders.
He pulls her to his mouth. Her tongue meets his.
She wants this.
He is surprised by the fierceness of her kiss, which
overwhelms his.
TIGHT ON THE ZIPPER of her shorty wetsuit as Johnny's
fingers draw it down. Slowly down, to where it ends
between her legs.
He spreads the front and slips his hands inside, along her
ribs.
TYLER
Those are cold.
UTAH
Warm them up.
She moves his strong hand onto her breast.
His fingers massage her cold-stiffened nipple.
She moans and grabs his wet hair in her other hand,
pulling him into another intense kiss.
EXT. OCEAN - UNDERWATER
Looking up from the bottom, we see the silhouettes of two
boards surrounded by pulsing shafts of moonlight.
CAMERA TILTS DOWN to show the bottom.
The dreamlike blue light shimmering on the sand and rocks.
A big shark browses gracefully, ignoring the lovers.
Their moment of harmony with the sea will be honored.
DISSOLVE TO:
EXT. BEACH - NIGHT
Tyler's Porsche stands alone in an empty lot.
Her surfboard sticks up in back, next to Utah's "stealth
fighter".
Rosie's fire is burning low.
Tyler, half-wrapped in a blanket from the car, straddles
Johnny on the sand like she straddles her board. The
blanket slips down.
Naked silhouettes in the firelight.
She arches her back as they move together in prefect sync.
Grips his shoulders and stares into his face, her teeth
bared in a grimace of pleasure that looks like pain.
She makes love like she does everything... with honesty
and intensity.
Utah, surprisingly, is gentle and slow.
He strokes her hair after she collapses onto him.
DISSOLVE TO:
EXT. BEACH - DAWN
ECU JOHNNY as he cracks one eye open, registering the dawn
light.
He bolts up, looking around. Tyler is asleep beside him,
with the quilt from the car pulled up tight to her chin.
She looks radiant in sleep.
He grabs his watch out of the sand and looks at it.
UTAH
Holy shit.
CUT TO:
EXT. ALLEY BEHIND RAZORHEAD HOUSE
LONG LENS on UTAH'S SEDAN fishtailing through the alley,
narrowly missing dumpsters and parked cars.
He pulls up next to several unmarked FBI sedans. No one
in sight.
UTAH jumps out tucking in yesterday's shirt, stuffing his
Beretta into his waistband. He also shoves a small
leather case into his belt.
Utah pulls open the door to one of the unmarked cars and
rips a walkie-talkie out of the charging rack on the front
seat.
Running, he passes a gate. Goes back. Looks.
HIS POV -- FOUR MEN huddled behind a garage. COLE, MUNOZ,
AND TWO OTHER AGENTS. All with guns and walkie-talkies.
UTAH
(whispering)
You guys need any help?
COLE
(not amused)
You're late.
We hear Pappas' voice over the radio.
PAPPAS (V.O.)
Did that worthless punk partner of
mine ever show up?
UTAH
(grinning)
Right here, partner.
EXT. STREET - NEARBY
Pappas has his shirt hiked up as another agent, BABBIT,
tapes a microphone transmitter to his stomach. Pappas
talks into his top button.
PAPPAS
Good of you to join us, hotshot.
(to Babbit)
Watch it. I told you, not on the
hairs, goddammit.
Babbit moves the transmitter, putting the tape on
differently.
UTAH
I'm ready to rock, Angelo. Where
you want me?
PAPPAS
Cole and Munoz are going in the back
door. Babbit is backing me. So I
want you at the side window by the
hedge. You're strictly backup, got
it?
UTAH
Got it.
PAPPAS
Awright. Get into position. I'm
rolling.
Pappas pulls the loose Hawaiian shirt down over the radio-
mike gear and his stalwart .38 snub.
He steps out from behind a fence and walks along the
sidewalk toward Bunker's house, two doors down. He is
wearing polyester shorts and sandals, and carrying a DOG
LEASH.
PAPPAS
Here Scooby! Where are you boy?
Here Scooby!! You furball piece of
shit.
COLE AND MUNOZ snap around the corner of the garage and
sprint low toward the rear of the brown stucco house.
UTAH circles back out through the alley. TRACKING WITH
HIM as he makes it to the neighbor's back hedge and crab-
walks toward Bunker's house. BABBIT and ANOTHER AGENT
make it to the front corner of the stucco house, staying
out of sight of the windows.
ANGELO is walking up to the falling-down porch of this
low-rent roach-hotel.
JOHNNY is elbow-crawling between the house and a tall
hedge.
He slides quietly in below a bedroom window.
He pulls out the little leather kit he tucked in his
waistband. Removes something from it. A DENTAL MIRROR.
Moving slowly, he raises it above the window sill, angling
it where he can see inside.
TIGHT ON DENTAL MIRROR, Johnny's POV.
We see a bedroom through a gap in the venetian blind.
Tone is lying on the bed, wearing headphones. Cranked up
speedmetal.
His eyes are screwed shut, and his fists pump to the beat
like karate on 40,000 volts.
The door to a bathroom is open, and the black-haired girl
can be made out behind rippled shower glass.
TIGHT ON DOORBELL as Pappas rings it.
UTAH JUMPS at an explosion of sound. He spins in a
microsecond, pistol aimed at... A LAWN MOWER.
Through the hedge we can just see THE NEIGHBOR, sixtyish
and polyester clad, as he adjusts the choke on the roaring
machine about two feet from Johnny's face. Utah exhales
and lowers the gun. Wipes sweat from his eyes.
TIGHT ON PAPPAS, smiling open-faced and goofily charming
as...
THE DOOR opens, revealing a GIRL we haven't seen before.
She has hair like bleached fiberglass, black eye-makeup
and nails. Ramones-style wardrobe. She looks tense, and
won't open the door very far.
FIBERGLASS
Yeah? What?
PAPPAS
Have you seen a little dog? Kind of
a cockapoo lookin' thing. About
this big.
FIBERGLASS
No.
UTAH blinks at what he sees.
HIS POV, in the little mirror.
Like a silent pantomime under the ROAR OF THE MOWER, he
sees Bunker and Warchild come flying into the room.
They are hyper and manic. Eyes wild.
Bunker leaps clear over the bed.
Grabs a COMBAT SHOTGUN from the closet. Throws it to
Warchild. Tone is oblivious.
Bunker thumps him in the chest and Tone leaps up like an
overwound toy, gaping "What the fuck?!" we read his lips
saying.
Bunker grabs a STEYR ASSAULT RIFLE, white knuckled, while
Tone fumbles around and comes up with a .45 COLT AUTO.
UTAH
(into his headset)
Babbit. Get Angelo out of there.
They're pulling out a fucking
arsenal! Babbit, you copy? Cole?
Don't let him pull his badge!
EXT. BACK YARD
Cole and Munoz push their earpieces in deeper. Scowl.
MUNOZ
Utah, say again. What?
(to Cole)
I can't hear jack shit over this
lawnmower. Christ.
INT. RAZORHEAD'S HOUSE
In the bedroom, Bunker looks through a slit of door at
Fiberglass. We hear Pappas just outside.
PAPPAS (V.O.)
... and the guy next door said he
saw it go into your backyard. My
wife'll kill me if I lose the little
bastard. Me, I could care less.
Whole house smells from it's liftin'
its leg all the time...
Bunker looks like he's on paranoia overdrive.
BUNKER
Something's goin' down, man. This
ain't right.
TONE
(freaked)
No, man, it's nothin'. It's
nothin'.
BUNKER
Will you shut the fuck up! Check
the windows. Do it!!
EXT. RAZORHEAD'S HOUSE
Utah sucks up against the wall as Warchild looks furtively
out the window. We see them both, but Warchild doesn't
see Johnny, plastered right below him.
Johnny closes his eyes and grits his teeth. Shiiiiittt!
PAPPAS, AT THE FRONT DOOR, is bobbing his head, trying to
look inside.
PAPPAS
You sure he isn't out back? You
mind if I go take a look?
FIBERGLASS
Look, I don't know anything about
your dog, okay--
PAPPAS
Well is there anyone else here that
might have seen him?
FIBERGLASS
There's nobody else here...
INT. HOUSE
Warchild slams into the wall next to Bunker.
WARCHILD
There's two guys by the back door.
Ducked down.
TONE
Oh, shit. Shit!! We're fucked,
man.
BUNKER
That fat fuck comes through the door
I'm gonna pump him up. Swear to
Christ, man, I'm gonna blow the dude
up!
Scared and vicious, like a cornered dog. We believe him.
Bunker jacks the bolt on the Steyr. Warchild cocks the
shotgun.
EXT. HOUSE
JOHNNY is pissing himself. He can see it all going down.
So fast he doesn't have time to think.
He goes into motion -- slipping rapidly along the wall to
the next window.
The bathroom window.
PAPPAS, AT THE FRONT DOOR, makes his move.
He pushes the door open, breaking the security chain, and
jams his FBI shield in the girl's face as he grabs her
arm.
PAPPAS
FBI, gorgeous. Now let's take a
look around--
INT. HOUSE
Bunker's eyes bug out as he sees Pappas coming through the
door. He snaps the assault rifle to his shoulder.
Suddenly Johnny is behind him -- half-in the bathroom
window, pistol gripped double-handed like they taught him
in Quantico.
UTAH
FBI!! DROP IT!
Bunker whips around. Squeezing off a wild burst! B-B-B-
BLAM!
It rips the plaster next to Johnny's shoulder.
Shatters the shower door behind him. The BLACK-HAIRED
GIRL screams.
Johnny flinches, FIRING RAPIDLY. Wild.
Bunker drops, hit.
Warchild lets go with the 12 gauge. KABOOM!
Takes a chunk like a shark bite out of the doorframe by
Johnny's head.
Deafening in the confined space.
Johnny flattens himself behind the doorframe.
Tone just splits. Down the hall like a greyhound.
PAPPAS is on one knee, his piece drawn fast, holding
Fiberglass in a neck-lock with one massive arm.
Bunker, wild-eyed and bleeding, is on his knees in the
bathroom doorway.
He raises the Steyr. Mistake.
Angelo FIRES. 30 years in the field tends to show.
Three rounds. Chest. Chest. Head.
Bunker is off the planet.
MUNOZ KICKS THE BACKDOOR IN like they do in the movies.
He and Cole charge into the rancid kitchen. Badass FBI
agents.
JOHNNY, hotwired and hyperventilating, pops out for a shot
around the doorframe. He gets a glimpse of Warchild's
back disappearing into the hallway. FIRES. His shot is
wasted, punching plaster.
Suddenly a pink freight-train hits him.
He forgot about the girl in the shower.
Naked except for her tattoos, she bodyslams him face-first
into the wall.
As he tries to turn she grabs his hair in both hands and
hammers his head into the medicine-cabinet -- CRASH --
shattering the mirror.
Then she knees him in the balls as he ricochets off the
wall into her.
She drives her elbow into his back as he drops.
"FREIGHT TRAIN" lands knee-first on his gun hand, and
viciously kicks the pistol away with one bloody foot. It
skitters under the bed.
She's cut up from flying glass. Demon-eyed and wired, her
body lithe and muscular under white skin. She sprints
across the bedroom, leaving Utah slumped, heaving for
breath.
IN THE HALLWAY, Tone is hidden behind a doorway.
White-knuckling the forty-five. A wild-eyed kid with a
big gun and not the slightest idea how to use it.
He hears footsteps POUNDING behind him and spins.
It's Warchild, running with the shot-gun.
WARCHILD
Move it, man. Let's get the fuck
out of here!
Off-guard, Tone is SLAMMED BY THE DOOR as Munoz drives
into it with his shoulder.
Pounded between the door and wall, Tone is wired so tight
he pulls the trigger and blows a hole through his own
right foot.
He screams and drops to the floor.
Munoz sandwiches him with the door and draws down on
Warchild, who dives into a doorway.
Cole drives past Munoz, who has Tone pinned, and pounds
down the corridor.
Cole reaches the doorway and goes for the shot on
Warchild.
"Freight-train" appears behind him from another door.
She raises a pair of scissors and drives them into his
back up to the hilt.
Pulls them out, going for another stab, when--
Pappas spins her around and slams her face-first into the
wall.
UTAH, in the bedroom, sees Warchild blur across his field
of vision.
On pure instinct, he kicks into overdrive. Johnny leaps
the bed and goes ballistic. His flying tackle catches
Warchild at the window.
EXT. HOUSE
The window EXPLODES OUTWARD in a spray of sunlit glass.
Utah and Warchild crash to the ground.
The razorhead, with 50 pounds on Johnny, rises like a
bull.
Bleeding from superficial lacerations, Warchild plows
through the hedge.
Johnny dives after him.
The Polyester Neighbor stands paralyzed as the two crazed
figures careen toward him. He is knocked flying, and the
ROARING LAWNMOWER is flipped onto its side.
Utah and Warchild are locked together.
The shotgun lies nearby, out of play.
Warchild jerks a 6 INCH KNIFE free from its sheath,
hanging from a thong around his neck. He trusts straight
at Johnny's throat.
Johnny deflects the thrust -- INTO THE WHIRLING LAWNMOWER.
KA-WHANGGG!!! The knife is hammered out of Warchild's
hand.
Whistles away, spinning.
Warchild grabs Johnny as they scramble, and heaves him
bodily toward the spinning blade. Utah catches the rim of
the mower with both hands, stopping himself inches from
the rotor.
Warchild puts all his weight on Johnny.
Pushing him face-first toward the blades.
Johnny feels the wind on his face.
The engine is roaring, full throttle.
PAPPAS APPEARS BEHIND THEM.
He aims the .38. FIRES TWICE.
The little Briggs & Stratton dies young, its casing
shattered.
The rotor spins to a stop.
Warchild looks up into the black eye of Pappas' gun.
Two inched from his face.
PAPPAS
Speak into the microphone.
The razorhead sags, the fight going out of him.
Babbit kicks him off Johnny, face down onto the lawn.
Cuffs him.
INT. BATHROOM - BEDROOM - LATER
UTAH dry heaves over the sink. Turns the faucet on full
blast and hoses his head. He lifts a dripping face, wipes
water out of his eyes, stops on the reflection in the
mirror. Pappas is there.
PAPPAS
It's always been lasers and paper
targets until today, right?
Utah looks up at him and nods. He glances through the
doorway at Bunker, dead in a pool of blood. Tone is
wailing as paramedics work on his foot. Cole is being
taken out on a stretcher.
PAPPAS
No difference, Utah. Just a little
more to clean up.
(squeezes the
rookie's shoulder)
It's alright. You did good today.
Across the bedroom AGENT BABBIT rips the back off a big
speaker unit. Behind it, taped to the woofer, are two
large packets of a white substance.
PAPPAS
Oh shit.
Utah stares at the dope.
CUT TO:
INT. POLICE HQ - OUTSIDE INTERROGATION ROOM - NIGHT
TIGHT ON WARCHILD manacled to the chair screaming his head
off. We cannot hear him through the glass. It looks like
pantomime.
UTAH and PAPPAS watch through the one way observation
window.
THWAAAAAP!! The two taped packets slam the wall inches
from Utah's right ear. Johnny snaps his head around.
Stares into the face of DIETZ who looks like Warchild's
meaner brother.
And he's pissed as hell...
DIETZ
You know what this is?! Two keys
uncut crystal meth!
UTAH
What the hell's your problem?
Dietz manically grabs a clump of his stringy hair.
DIETZ
You think I like this haircut? My
wife wants me to stay at Ramada -- I
been working on these guys for THREE
MONTHS! Finally -- finally--
(nodding to Warchild)
-- I get dickwad in there wantin' to
play wheel of fortune so I can find
out their supplier!
HARP emerges from the interrogation room, we hear a sliver
of Warchild's battle cry. He spies Utah.
HARP
This is agent Dietz, DEA. He's got
a record of your suspect's movements
every day for the last three months.
DIETZ
(stabbing the air
with the packets)
All I wanna know is how are these
guys supposed to be holding up
Tarzana City National on August 2nd,
when they are in Fort-fucking-
Lauderdale August 2ND!!!
HARP
Not an easy thing to do, is it,
Utah?
UTAH
Aw shit.
PAPPAS
Nice tattoo, Dietz.
We hear a faint BUZZ, growing louder as we...
CUT TO:
INT. BEDROOM - UTAH'S APARTMENT - DAWN
The doorbell BUZZ shrieks through the room. It stops.
Starts again. A ghostly dawn finds UTAH and TYLER
sleeping peacefully, limbs entwined like vines.
Johnny's eyes snap open. Spies the clock. 4:00 a.m.
Tyler stirs beside him, coming out of sleep.
Johnny wraps a blanket around his waist and staggers to
the door.
BODHI stands outside the door wearing a lunatic grin.
Behind him NATHANIEL, ROACH and GROMMET hoot from the
pickup.
BODHI
C'mon brah, there's a righteous
swell. Let's go! Let's go!
Tyler comes into the room, wrapped in a sheet.
Utah sees her knowing smile.
TYLER
He does this.
CUT TO:
EXT. BEACH - PREDAWN
Vampire morning. A misty predawn, bled of all color.
Steel gray tones. The ocean vanishes in the fog a few
feet from shore.
Tyler and Johnny, carrying their boards, walk toward the
water.
TYLER
Come on, Utah. Everybody's out
there catchin' all the good rides.
She realizes he has stopped ten feet behind her, like a
great weight has dragged him to a halt.
TYLER
What's wrong Johnny?
(goes back to him)
You're like a different person.
He stares at her. His expression dark... wrestling with
something.
UTAH
I am a different person, Tyler.
He lets out a long breath and looks away, out to sea.
JOHNNY'S POV... the water receding into a backlit wall of
mist.
FIGURES APPEAR, faint silhouettes in the fog.
Shades of gray in the gray.
IN SLOW MOTION they weave hypnotically across the screen,
their shapes merging and unmerging as they cross each
other.
STACKED UP BY THE EXTREME LONG LENS, Bodhi, Roach, Grommet
and Nathaniel crave and slash toward us with mystical
grace.
In SUSPENDED TIME we see them hooting and grinning at each
other as they cut aggressive moves close to each other.
Dolphins playing.
Challenging each other in mock combat.
So good, their boards slash past each other with inches to
spare.
There is an incredible sense of freedom and exhilaration.
Bonding forged through mastery of this arcane art.
For the first time we see the core group of Bodhi's tribe,
by themselves. It dawns on us...
There are four of them.
And at that moment Nathaniel drops in front of Bodhi,
laughing at the near miss, and drops his pants in a nasty
wig-wagging moon.
TRACKING SLOWLY IN ON JOHNNY staring, mouth open.
Watching the four horsemen of the Apocalypse ride toward
him.
IN SLOW MOTION, BODHI grins as he slashes past Nathaniel's
shining white butt.
ON JOHNNY, as he reacts to the dawning certainty.
He feels weak, dizzy... like the ground is moving under
him.
TYLER
Hey. You okay? You look like you
saw a ghost.
SHOCK CUT -- ANGELO TURNING TOWARD HIM, at the drop car
scene. Eons ago. The sound of his voice ringing...
PAPPAS
Forget about it, kid, They're
ghosts...
BACK TO JOHNNY, as he backs away from Tyler. Still in
shock, recoiling from the situation.
UTAH
I... I gotta go.
TYLER
Johnny... what's going on? I don't
get it... did I do something?
UTAH
No. I'm sorry. I have to go.
I'll, uh... I'll call you later.
I'm sorry.
He sets off running up the beach.
Tyler stares after him. Confused and hurt.
DISSOLVE TO:
EXT. PAPPAS' HOUSE - NIGHT
Early evening. Utah pulls into the driveway. When he
kills the engine we hear Greek music from inside the
house.
AT THE ENTRANCE Johnny finds the door ajar. He pushes it
open a little to reveal--
INT. HOUSE
Pappas dancing alone in the living room with his shirt
off, holding a glass of ouzo. Facing away from the door
the ample Greek hears Utah's tentative knock. Without
breaking from his dance or turning he calls out--
PAPPAS
Hey, babe. Get on over here so the
big dog can teach ya how to bark.
Pappas howls like a bloodhound, then twirls around.
UTAH
Woof, woof.
We see the startled Pappas, at a loss for the first time.
PAPPAS
Johnny! Uh, you, uh... should call
first, you know? Hey, where the
hell were you all day? You gotta at
least call in or something. You
okay?
UTAH
Angelo, we gotta talk.
Pappas moves toward him, kind of subconsciously herding
Utah back out the door.
PAPPAS
Listen, uh... if you're okay, can it
wait till tomorrow morning, kid,
I...
Johnny hears footsteps and turns.
Miss Deer comes through the door like it's not the first
time, carrying a bag of groceries.
MISS DEER
Angie, they didn't have the kind of
wine you like but I got... oh, hi
Johnny!
Her icy office persona obviously got left there. Her hair
is unbound and flows around her shoulders, and in halter
top and jeans she looks delectably off-duty.
Angelo looks at Utah like don't you say a fucking word.
CUT TO:
EXT. HOUSE
A few minutes later. Utah and Pappas leaning on his car.
The younger agent seems to have regained his hunt-down
fever.
UTAH
... so I started tailing him.
PAPPAS
This Zen master surfer.
UTAH
Bodhi, yeah. I'm on him all day,
right. He goes here, he goes there,
he goes to Tower Records and buys
come CDs, he has lunch at Patrick's
Road House...
(mock casual)
... he goes into the Assured Trust
Savings and Loan.
PAPPAS
Did he rob it?
UTAH
Cute. He was inside for about 20
minutes. The other guy, Roach,
waited in the truck. They were
scoping it out, right?!
UTAH
Yeah, or cashing a check.
UTAH
Wait, wait. Then these guys go back
to their beach house and box up all
their shit. Load it in Bodhi's
truck and take it to a public
storage unit. You see? Summer's
almost over. They're splitting.
They're gonna pick up a little
traveling money tomorrow. The next
day at the outside latest. I got a
feeling.
PAPPAS
Last time you got a feeling I had to
kill a man, which I always hate
because it looks bad on the report.
UTAH
Angelo... I'm right this time. We
can still win this one.
Angelo looks at the conviction in the other agent's eyes.
Pappas sighs and puts a hand on Johnny's shoulder.
PAPPAS
Alright, look... banks are closed.
Nothing's gonna go down tonight,
right? So we'll be on these guys
like white on rice... first thing
tomorrow morning. Okay? Tomorrow.
Okay?
Utah nods. Then grins. Pappas starts backing up, like a
long rubber band which was stretched taut is pulling him
back into the house.
UTAH
Woof, woof.
CUT TO:
EXT. STREET NEAR BODHI'S HOUSE - DAY
LONG LENS POV scanning Bodhi's house. There is a "FOR
RENT" sign out front. The driveway and carpet are
empty... no vehicles in sight.
UTAH (V.O.)
They're gone. Son of a bitch. We
missed them.
UTAH LOWERS HIS BINOCULARS. He's standing next to the car
while Pappas sits on the hood, sipping coffee from a
thermos.
PAPPAS
They're on their way to Maui.
UTAH
No way. Not yet. Come on.
Utah jumps in and starts the car. Pappas is screwing the
cap on the thermos. Johnny puts the car in gear, forcing
Angelo to scramble in as the car starts to roll.
PAPPAS
Jesus Christ, kid! The banks don't
open 'till nine.
EXT. CITY STREET - TRAFFIC - DAY
Johnny weaves the sedan among the creeping commuters.
Long glittering lines and heat waves.
UTAH
I say we call it in. Get some
backup. But you gotta do it. Harp
won't listen to me.
PAPPAS
Sure. No problem. I'll just call
up and tell him his favorite agent
saw this one surfer moon another
surfer yesterday and it looked real
suspicious. Shit, he'll probably
call out the National Guard.
UTAH
I say we don't call it in. Under no
circumstance are we to call this in.
PAPPAS
Look, we handle it ourselves, for
right now, okay? We cover the bank,
whatever. You and me. That way if
nothing happens, or more accurately,
when nothing happens... I don't get
my tits any further into the wringer
than they already are.
CUT TO:
EXT. ASSURED TRUST SAVING AND LOAN
SLOW PAN from the facade of the bank halfway up the block
to Utah's sedan in the TIGHT F.G. Head flopped back over
the seat, Angelo snoozes in the hot sun with a sports page
over his face. Johnny looks at his watch for the fiftieth
time. Whole lot of nothing going on.
Angelo slides the sports page down to his chin, without
otherwise moving.
PAPPAS
Time for lunch.
UTAH
Angelo, it's eleven thirty.
PAPPAS
That place up the street has
meatball sandwiches. Get me two.
Utah slides out of the car. Feeling a little exposed he
pulls his Dodgers cap down a little tighter, and adjusts
his sunglasses.
He trudges off through the sidewalk crowd toward the FAST-
FOOD STAND nearby.
Pappas pulls the sports page back up to block the sun.
CUT TO:
EXT. FAST FOOD PLACE
ON A LONG LENS, very stacked up, we see Johnny standing at
the grody pick-up window. He keeps looking at the bank,
visible B.G.
The pick-up window opens and food appears, sliding out.
Utah turns, pulling out his wallet.
VOICE FROM INSIDE
Two meatball, one tuna on wheat,
two lemonades. Total's seven eighty
four.
As Johnny is counting out the bills, a BURGUNDY
THUNDERBIRD pulls up in front of the bank. The doors fly
open.
The Ex-Presidents jump out.
They sprint for the entrance. All this OUT OF FOCUS, B.G.
Johnny misses it as he picks up the food order.
The Presidents disappear inside.
Johnny looks toward the bank again. There is no movement.
REVERSE, as Utah walks back toward his car. Pappas is
still under the paper. He slides it down when he smells
food.
UTAH
Here, yours is the one that looks
like a road kill. Enjoy.
Utah throws a big stack of napkins through the window into
Pappas' lap. Still standing next to the car.
UTAH
Here's your lemonade.
(he looks down the
street)
Did you see that T-Bird pull up?
Pappas pulls a disgusting mass from the bag, unwrapping
one end.
PAPPAS
(without looking)
Damn, I could eat the ass out of an
elephant. I shoulda had you get me
three a these. What T-Bird?
Pappas is about to take a huge bite when a meatball falls
out of the end of the sandwich. It lands on the seat next
to him.
He looks at it. Picks it up. Pops it into his mouth
and--
Freezes, mouth open. Eyes focused on...
The Ex-Presidents, in living color, flashing through the
doors of the bank 80 feet away.
Johnny is so astounded he doesn't do anything for about
two seconds. Pappas coughs out his meatball, eyes
bugging.
PAPPAS
Jesus Christ!! It's them!
The Presidents are piling into the car.
Johnny reacts characteristically. He whips out the
Beretta and yells--
UTAH
FBI!! Freeze!! Right now!
NIXON spins, raising his shotgun.
But Reagan knocks the muzzle down with his hand. Shoves
him into the car. Then Reagan jumps behind the wheel.
The back wheels light up, smoking, as the T-Bird launches.
Utah FIRES.
BLAM! BLAM! BLAM!
He puts two into the trunk and blows the back window into
junk jewelry. The T-Bird peels out into traffic, clipping
a Subaru which locks them up and spins.
PAPPAS
Come on, kid, get in the car!
Jesus!
INT./ EXT. SEDAN
Pappas reaches across, starting the engine as Johnny jumps
in the driver's side. Utah buries the throttle into the
firewall and charges aggressively through the medium
traffic.
Their sedan slews around the back of an eighteen wheeler,
fishtailing. It straightens out. No T-Bird in sight.
UTAH
The hell are they?!
PAPPAS
They took a left at the next light!
UTAH
You sure?!
Utah is totally wired. Totally concentrated. The
adrenalin is kicking in, flashing through his system. His
brain is on turbo boost, reacting a thousand times a
second as they hit sixty through the traffic, which seems
to be standing still.
UTAH
I got 'em. I see 'em. I'm on it,
I'm on it.
High-speed slalom through cars and trucks.
The world passes by in a hysterical blur.
PAPPAS
You even watching the road?
A car pulls out, straight ahead.
Utah swerves wildly, mostly gets around him. The guy's
bumper and front grille are removed. Utah does a smoking
skid-recovery. Doesn't even slow down.
The late model T-Bird is weaving manically. It makes a
sliding turn onto a cross street half a block ahead of the
FBI agents.
Utah cuts the wheel into a huge Ralph's parking lot.
Pedestrians scatter. Utah center-punches a week's supply
of groceries in a cart.
INT./ EXT. T-BIRD
The Presidents hold on desperately as Reagan white-
knuckles it through civilian traffic. They're looking all
around, trying to see where Utah went.
LBJ
Where are they, man? I don't see
'em. We lose 'em?
Not exactly... THROUGH THE WINDSHIELD we see an airborne
Utah hurtling from a Ralph's entrance. The sedan lands on
the street, tearing chunks out of the asphalt with the
undercarriage.
An instant later it hammers into the side of the T-Bird.
The two cars spin out of control. Utah cuts the wheel,
slamming into them again. Side by side demolition derby.
WHAM!! Utah hits them again. The Presidents lose
control, jumping a curb, losing the right front tire in
the process.
Utah's car starts to swap ends. Hit the center island
broadside.
The sedan flips onto its back in an explosion of glass.
SCREECH of steel on concrete as it comes to rest.
Hanging upside down, Pappas is mightily pissed off.
PAPPAS
Nice fuckin' work, hotshot.
Christ!
They can see the T-Bird still moving.
It slews drunkenly as the driver maintains speed on
flapping rubber.
Johnny shimmies out of the wreckage, sliding on his back
in broken glass. Pappas is packed in, upside down,
wriggling to get out through the side window. A tight
fit.
INT./ EXT. T-BIRD
The Presidents are hammered up and down by the flailing
tire.
REAGAN
Emergency sanitization! Here we go!
EXT. GAS STATION
The T-Bird vaults into the parking lot and slides to a
smoking stop at one of the pump islands. The Presidents
explode out of the car in a blur.
Reagan bodyslams a TEENAGER putting gas in his MUSTANG.
He flips his big pistol to LBJ as the other Presidents
charge past him. Nixon jumps behind the wheel of the
Mustang. LBJ and JFK pile in.
Reagan grabs the gas nozzle out of the car.
He pulls out a ZIPPO LIGHTER.
Reagan raises the gas nozzle like a gun and holds the
zippo below and slightly in front of it. He flicks the
flame.
Then pulls the trigger on the nozzle.
Like an impromptu flame thrower, the nozzle spews A TWENTY
FOOT JET OF FIRE which engulfs the T-Bird in an instant.
Any physical evidence in the car is rapidly incinerated.
Customers are running, screaming.
Nixon has the Mustang fired up.
NIXON
Let's go! Move it, Ronny!
Ronny's eyes sparkle behind his mask as he paints the
scene with the jet of fire. You can see it getting good
to him. In a second he's going to blow up the whole
block. But he's getting his rocks off. He sets two other
cars on fire.
A FIGURE BLURS INTO FRAME.
In a flying tackle, Utah catapults Reagan off his pins.
They roll, skidding across the oily concrete.
Spraying wild, the fire swirls around the pump island.
Out of the black smoke, PAPPAS charges like an angry bull,
his snubnose held high. NIXON sees him and floors it.
The Mustang smokes out of the gas station as Pappas' shots
blow out the back window.
Utah and Reagan roll away from the blaze. Johnny's pants
are burning. He gets to his knees in time for Reagan's
kick to take him square in the solar plexus. He folds in
half. Drops to the cement.
Reagan kicks him again and takes off running.
The President is burning.
His suit jacket is ablaze. He shucks out of it as he
runs.
Gasping, Johnny rapidly slaps his jeans. Puts himself
out. He comes up running, pulling his Beretta. Sees the
back of Reagan's head disappearing into an alley behind
the gas station.
EXT. ALLEY
A non-descript L.A. alley... commercial buildings on one
side, walled suburb on the other. Two men running all
out.
A recent President and a wild-eyed cop trailing smoke like
a crashing jet fighter.
Beyond the buildings behind them A FIREBALL EXPLODES
SKYWARD. We hear sirens and shouting, which recede as the
two pelt along the alley. It gets quieter. Just the
machine-gun slap of the shoes on pavement, and the hard
breathing of the two men, each in overdrive, going all out
in long blurring strides.
REAGAN looks back. Sees the demon cop behind him,
gaining.
Utah has become an engine, a running machine... juggernaut
mode.
AHEAD OF THEM a BLACK AND WHITE swings into the alley.
Reagan hangs a hard left and blasts a wooden gate half off
its hinges. Utah whips through the gate a second later.
Diving into suburbia.
INT./ EXT. NEIGHBORHOOD - FOOTCHASE SEQUENCE
It becomes a blur. Pure kinetic energy. Two meteors
rocketing through a low-rent suburb. And God help anyone
who gets in the way.
Reagan crosses a cluttered backyard.
Broken field run through toys, swing set, stacks of god-
knows-what.
He runs through a Mr. Turtle Pool in an explosion of
spray.
Crashes through a hedge.
Through the narrow gap between houses.
Utah powers into the tight space behind him.
Blurring along between stucco walls.
They emerge into the front yard.
A WOMAN watering her lawn is so surprised she yelps and
falls down.
Reagan and Utah both hurdle her.
AHEAD, KIDS ON BIKES, racing along the sidewalk.
Reagan dodges the first, Utah slams into the next two.
He crashes, rolling, tangled up in bikes and squawking
teenagers.
He comes out of a pile-up somehow still in high gear.
Reagan flashes across the sunlit street.
Dodges in front of a GARBAGE TRUCK which locks up the
brakes.
It stops so fast, one of the guys falls off the back.
The GUY is getting up as Utah whips around the back of the
truck.
Knocks him sprawling.
Utah doesn't stop. Doesn't look back.
Like he doesn't see anything in the real world but the
figure running ahead of him. Like it's some kind of
hyperkinetic video game.
Everything is a blur. Suburbia smeared into staccato
impressions.
The house across the street is blocked by fence on both
sides.
A MAN is picking up his mail.
Reagan pounds past him. Right through the front door of
the house.
Utah follows.
Panting as he sprints down a dark hallway.
A WOMAN with a basket of washing SCREAMS as Reagan blasts
past her, knocking her flying.
Utah leaps over her sprawled legs.
Cats blur underfoot. Utah crunches down on a tail. A CAT
EXPLOSION. Screeching merges with the woman's shrill
shouts as Utah slams the back screen door off its hinges.
Across the back yard. Fence. Over it. Running on.
REAGAN looks back.
Sees Utah still behind him like in a bad dream.
He enters the next house. Sliding glass door.
Utah sees Reagan pull it closed. Locking it.
Without breaking stride Johnny grabs a potted plant off a
patio wall.
Heaves it ahead of him.
The glass BURST INTO A WALL OF DIAMONDS.
Utah blasts through a microsecond later.
Topples the kitchen table. Furniture and crockery
crashing everywhere.
He sprints down a hallway after Reagan.
A FIERCE WOMAN in a housecoat shouting at them as they
pass, holding a vacuum cleaner like it's shot-gun.
WOMAN
Get the fuck out of this house!
What the fuck do you think you're
doing--
Around a corner. A VICIOUS SNARLING SOUND.
Utah sees something flying at him. Reflexively catches
it.
Reagan has thrown a PIT-BULL.
The Fierce Woman's fierce dog.
UTAH'S POV -- the snarling little demon right in his face.
He drop-kicks it like a goddamn field-goal right through a
doorway and runs on.
Another door. Another explosion of sunlight. Another
yard.
Sprinklers this time. Reagan and Utah running through
sunlit walls of rain. They crash through another hedge.
Emerging drenched.
The ground drops away. Slipping and sliding on iceplant,
they skid down a steep slope. Reagan reaches bottom.
A TEN FOOT RETAINING WALL, dropping off like a cliff to
pavement below.
Reagan falls, landing on his feet.
Panting now, feeling it, he stumbles up and runs on.
Utah rips down through the iceplant like a human
lawnmower.
Slides over the edge. Falls -- lands hard.
TIGHT ON HIS KNEE and SLOW MOTION.
Taking the impact.
We HEAR something go.
Utah crashes to the pavement, his face contorted with
pain.
He grabs his tortured knee with both hands.
UTAH
Not now. Not now!
Reagan runs on. They are in an enclosed storage yard of
some kind. Ten foot chainlink all around.
Utah struggles to get up and run.
He sprawls forward, biting back a howl of pain.
We see the incredible will driving him on.
He gets up and again, hobbling. Trying to run.
Reagan reaches the fence.
He is heaving for breath. Holding his side.
Utah stumbles, gets up, clutching his knee.
Hobbling forward. His eyes wild, the veins in his neck
bulging.
Reagan starts to climb. Utah collapses to his knees. He
can't go on.
Reagan reaches the top of the fence. He looks back.
UTAH HAS THE BERETTA POINTED RIGHT AT HIM.
Twenty feet away. The muzzle rock-steady. He can't miss.
They both are frozen, panting. Locked into the moment.
REAGAN
You want me, there's only one way.
PAPPAS reaches the top of the hill, 200 feet away, panting
like he's about to collapse. He sees the tableau.
ECU -- UTAH'S FINGER on the trigger. Tightening.
RACK TO his eyes. Blinking, water running into them.
God, he wants to.
ECU -- REAGAN'S EYES, through the mask. Locked with
Utah's.
UTAH suddenly snaps his hand up and FIRES VERTICALLY.
HE HOWLS WITH RAGE, FRUSTRATION AND PAIN.
FIRES AGAIN. And AGAIN.
Slumping back, his shoulders slam down onto the concrete.
Straight-arming the Beretta he FIRES RAPIDLY...
Bulleting the blue sky.
HIGH ANGLE, looking straight down on the tableau.
Reagan leaps off the fence and runs OUT OF FRAME, as Utah
empties the magazine straight at us, the shots merging
with his agonized howl, echoing as we--
CUT TO:
INT. FBI BUILDING - BULLPEN - NIGHT
UTAH sits next to the DISPATCHER waiting for news like a
sailor in a storm. His leg is popped up on a chair with
jeans split to the thigh and an ace bandage wrapped around
his knee.
His face is a nasty patchwork of scratches and bruises.
He drains his coffee and gazes out at the empty bullpen.
PAPPAS comes through the doors, wiping the remains of
dinner off his mouth.
PAPPAS
Nothing?
UTAH
Nothing.
The Dispatcher talks into his headset, glances up at
Pappas, shakes his head.
PAPPAS
Go home, kid. Get the hell outta
here. Get some sleep. You look
like shit. They get anything even
resembles your guy, I'm on your
beeper. Here. You like feta?
He smiles warmly, handing his younger partner a brown
paper sack.
UTAH
Feta. My favorite.
Managing a weary smile. Lifts his body out of the chair,
turns to go.
Angelo ponders something.
PAPPAS
Johnny...
Utah stops. Looks back at the man.
PAPPAS
All I wanna know is one thing, why
didn't you just take the shot?
Johnny's gaze turns inward.
UTAH
I don't know.
CUT TO:
INT. BATHROOM - UTAH'S APARTMENT - NIGHT
UTAH sits on the bathroom floor as Tyler dabs Betadyne
antiseptic over his wounds. Utah cringes.
UTAH
Ouch.
TYLER
Betadyne doesn't hurt.
UTAH
You're kneeling on my hand.
She laughs, shifts her weight and keeps tending him.
TYLER
So what'd the other guy look like?
UTAH
Never saw him, was your basic hit
and run.
TYLER
But you look like you been in a
train wreck, how'd he just drive
away?
Utah acts like he wants to say something but his mouth
won't quite form the words. Tyler dabs his face, touches
a finger to his forehead.
TYLER
Johnny, what is it with you? You
have that look again, it's like
you're about to tell me something
and then you don't... or you can't.
What's going on?
Johnny searches her eyes.
She stares at him, becoming fragile suddenly.
TYLER
What? What do you want to tell me?
Utah's brow unfurls. The thought has passed. He slowly
cups his hand over hers. Gently pulling her close.
UTAH
I'm glad you pulled me out of the
water that day...
He presses his lips to the smooth curve of her forehead.
A kiss to each downcast eye. Searching out her mouth with
his own as his hands glide down the small of her back.
Their reflection in the mirror as Utah slowly lowers Tyler
to the bathroom floor. She clings tightly in a breathless
kiss.
EXT. CLIFF - NIGHT
A Buddha in the moonlight, BODHI sits crosslegged upon the
cliff, staring at the ocean.
CAMERA CIRCLES AROUND HIM, focusing in upon his eyes.
DISSOLVE TO:
INT. BEDROOM - NIGHT
UTAH asleep, flopped in a spread-eagled X.
WE HEAR the bedroom door opening, see a slash of light
fall across the bed.
Johnny doesn't stir.
A shadow appears on the wall, moving toward him.
An outstretched arm holding a gun.
Utah snores softly, sleeping like a baby.
CAMERA TRACKS IN on his peaceful face.
A single eyelid flutters. Total silence, until...
KABOOOOMMM! The Pillow beside him EXPLODES into a
blizzard of goosedown. Johnny rears up, eyes wide, mouth
agape.
TYLER stands above him, recovering from the kick of the
smoking 9mm Beretta in her hand.
TYLER
A lawyer!? You lied to me!
She throws his FBI gold star at his face.
TYLER
Look, Tyler, I can--
BOOM! Tyler SQUEEZES off another round.
Cascading goosefeathers falling like snow.
Utah flinches sideways.
TYLER
Jesus Christ, Johnny -- you've been
using me! Your jacket's on the
floor in the bathroom -- this
goddamn thing's half out of the
pocket... Oh God, it's all part of
some case, isn't it?
UTAH
Tyler, put the gun down.
TYLER
You tell me the fucking truth
Johnny... did your parents really
die in a car crash? DID THEY?!
She waves the Beretta in his face.
UTAH
No. They live in Columbus Ohio.
Tyler lowers the pistol slowly, the strength leaving her.
Her face begins to flood with tears.
UTAH
I work bank robbery. Guys I'm after
are surfers. I needed you, at
first, but not--
TYLER
Fuck you, Johnny Utah. Fuck you!!
Don't you have a soul? Goddamn you
to hell!
She goes limp as the sobs rack her body. The gun flops
from her grip.
Utah sweeps it under the bed with his foot.
He moves to gently comfort her.
She bolts at his touch, running from the bedroom.
Utah is up and hopping into his pants to follow her. He
stumbles.
UTAH
Tyler! Wait!!
From the living room we hear a rattling of keys, the front
door opens and slams shut. He hobbles to the door,
favoring his knee. Opens it. We hear the Porsche
screeching away.
Utah sags, the breath coming out of him long and slow.
CUT TO:
UTAH on the bed staring up at the ceiling. Phone cradled,
listening to--
TYLER (V.O.)
Hi, it's me. Leave a message.
BEEP! He rests the telephone on his chest, letting the
tape roll a moment before he speaks.
UTAH
Tyler I... look, I fucked up, okay.
I know I fucked up. I wanted to
tell you, but I couldn't -- I was
afraid you'd leave... good guess,
huh?
(grimacing)
Fuck, why can't I ever say what I
really mean? I lied to you. I'm an
asshole... but I need you, Tyler. I
want you to know that I've never
known anyone like you before in my
life... and I... I hope you change
your mind...
He cradles the receiver, looks out the window. Black of
night. Dead still.
DISSOLVE TO:
UTAH asleep, telephone still perched on his bare chest.
BUZZZZZZ! The rasp of the doorbell.
Johnny is airborne, phone flying across the floor.
Hunting for his pants, realizes they are already on, limps
in fast motion to the door.
UTAH
Tyler! Wait, I--
Whips it open.
BODHI standing in the doorway, smiling like an excited
child.
BODHI
Howdy brah.
NATHANIEL, ROACH, and GROMMET are there behind him.
They look like sentry dogs. Johnny freezes.
Bodhi walks past Utah, into the room.
BODHI
C'mon, get your gear on, we're
rollin'.
Cheerful, hardly able to contain his exuberance.
He moves through the room, grabbing Johnny's shirt from a
chair, a pair of sneakers on the floor.
Utah sees his FBI shield sitting on the dresser in plain
sight.
He palms it when Bodhi is turned away, and slips it into
his hip pocket to conceal it.
UTAH
What going on, Bodhi?
Bodhi plucks a couple socks off the couch, hands them to
Utah.
BODHI
Here.
(spying Johnny's cut
face)
Hey, what happened? Ya cut
yourself shaving?
Johnny meets Bodhi's cold stare.
UTAH
I don't think I wanna surf right
now.
Bodhi's face takes on a crazy glow.
BODHI
Naw, this is different, Johnny.
This is something totally
different... you're gonna love this.
He winds an arm around Johnny's shoulders, guides him
toward the door.
BODHI
C'mon, let's go, let's go. Time's
wastin', brah.
Bodhi claps Utah on the back, ushering him outside.
Nathaniel, Roach and Grommet fall into step beside them.
The door closes behind them.
CAMERA DRIFTS back through the apartment, coming to rest
on the 9mm Beretta, on the floor under the bed... useless.
CUT TO:
EXT. BODHI'S PICKUP - PREDAWN
The pickup is a funnel of dust along the desert road.
Black mountains against a silver sky.
INT. BODHI'S PICKUP
The tapedeck blasts. BODHI and UTAH sit inside the cab.
Through the rear window, we see NATHANIEL, ROACH and
GROMMET in the flatbed.
Bodhi swivels his eyes to Johnny, lowers the volume.
BODHI
Life's sure got a sick sense of
humor, don't you think so Johnny?
Face splitting into a shit-eating grin.
UTAH
How you figure?
BODHI
(slight laugh)
News, last night... those guys, the
Ex-Presidents... they robbed my bank
yesterday. And I was just there the
day before, cashing a check. See...
look. Assured Trust... same place.
He takes a beat up checkbook off the dash and flips it to
Johnny.
Utah opens the cover and looks.
Sure enough. Assured Trust Savings and Loan.
BODHI
I was picking up some bucks cause
we're leaving town. Bizarre, huh?
If I'd waited a day I'd been right
in the middle of it. Kinda sorry I
missed it. I'd liked to've seen
them.
A long pregnant pause. Utah breathes deeply, remaining
calm, his voice carrying a chilling bravado.
UTAH
Takes guts to rob a bank. All that
adrenalin pumping, waving loaded
guns, taking out the guards, getting
everybody on the floor, never
knowin' who's gonna burst in...
(looks right at
Bodhi)
... wondering what it's like to take
a bullet. Must be some ride.
Utah's smile is a personal challenge. Bodhi sits
perversely intrigued. The mental warfare escalates.
BODHI
Banks are insured, brah. Long as
nobody gets shot, it's really a
victimless crime. Just gotta scare
'em a little, would be my guess.
(ponders something)
Now if I was gonna rob a bank, with
all those guys wearin' body armor
these days, know what I'd carry?
Bodhi reaches his hand underneath the seat.
He pulls out a huge holstered handgun, rests it in his
lap, draws and holds the gun up against his cheek.
BODHI
.454 Casull. Most powerful handgun
on the planet. Muzzle velocity of
2000 feet per second. Twice the
kinetic energy of a .44 Magnum.
Bodhi stares at Utah, then flashes his signature smile.
Utah says coldly.
UTAH
One shot stopping.
BODHI
(laughs)
'One shot stopping'... good, very
good. I like you, Johnny. I like
you because you'll sacrifice
anything to win. I respect that.
It elevates you a little above the
drones who have learned compromise.
Here, hold it. Check out the
weight.
He twirls the gun, grabs the barrel and extends the handle
to Utah.
Johnny takes it slowly. Now it's aimed at Bodhi.
BODHI
(cheerfully)
Whoa. Careful. You got the muzzle
pointing right at me, brah.
He casually pushes the barrel away, looking back at the
highway.
Johnny swings a stiff arm out his window and pumps a ROUND
into open desert. KABOOOM!! The recoil blows Johnny's
arm back over the top of the truck. Practically breaks
his wrist.
Thunder rolls across the dark hills.
From the back of the pickup Nathaniel howls.
Grommet and Roach high five.
Johnny turns to Bodhi, breaking slowly into a feral grin.
UTAH
Nice.
He hands the smoking weapon back to him.
As if to say "two can play this game".
Bodhi stands challenged.
Each snared in the other's power...
Bodhi takes the weapon back, casually. Slips it under the
seat.
BODHI
It's a special day, Johnny U. A
very special day...
Utah's gaze travels beyond the windshield.
Where tentacles of brand new morning light vein the sky.
CUT TO:
EXT. DESERT AIRSTRIP
TIGHT ON A turbo-prop engine ROARING.
WIDER reveals a big Cessna twin. The PILOT, a weaselly
guy we haven't seen before, fires up the second engine.
The plane shudders eagerly in the metallic predawn light.
A desert airstrip near Palmdale. A couple of aluminum-
siding hangers and no tower. A few other planes around
but no activity besides Bodhi's rock-steady crew.
UTAH watches Grommet whip back a tarp in the bed of
Bodhi's truck and starts tossing out PARACHUTE PACKS.
Roach tosses one to Bodhi, who chucks it to Utah.
BODHI
Ever done this before?
UTAH
Once.
BODHI
Pure adrenalin, right?! The
ultimate rush. Other guys snort for
it, jab a vein for it -- all you
gotta do is jump.
UTAH
Sure, it's a blast, but listen, I
sorta screwed up my knee yesterday--
BODHI
Yeah, I noticed you limping.
(grins)
But don't worry about it, brah.
Don't worry at all. We're not gonna
land on land!
Bodhi grabs his sleeve, ushering him into the plane.
UTAH
Oh, well, that's fine then. I feel
so much better.
CUT TO:
INT. CESSNA
Utah sits, wearing a day-glo jump suit, hugging the chute
in his lap. Next to him is the gaping door. Beyond... a
spectacular down sunburst at 10,000 feet. ROAR of wind
and engines.
Utah watches Bodhi, Nathaniel, Grommet and Roach wriggling
into their colorful freefall suits. Nathaniel pulls on a
pair of purple shorts over his suit. Looks real dorky.
Grommet has on duck feet. Bodhi, apparently, is going to
jump barefoot.
Nobody has their chutes on yet.
Johnny hefts his, as if weighing it, somehow judging the
contents. His brain is racing. Bodhi shouts over the
roar.
BODHI
It's a little ceremony we always
have at the end of summer. One last
speedstar.
UTAH
So, who... uh, who packed my chute?
BODHI
I did. What's the matter? Don't
trust me?
UTAH
You gotta earn trust.
BODHI
Then we'll earn it together. Here,
take mine.
Bodhi swaps chutes with Johnny.
Utah looks at the new chute uncertainly.
Is this a game? Poker moves?
Did Bodhi anticipate this step?
ROACH
Hey... you don't want Bodhi's, man.
His pack-jobs suck... they only open
half the time. Take Grommet's, man.
Roach's grin is evil as he grabs Grommet's chute out of
his hands and switches it with Johnny's. Keeps that one
and gives his to Grommet.
GROMMET
Whoa, unfair, dude!
Grommet grabs his chute back and hands Johnny the one he
had, which was Roach's. I think.
Johnny looks at the pack in his hands. Then at the
grinning faces.
Russian surfer freefall roulette. Shit.
Bodhi studying him. Some kind of test.
Fuck it. Utah starts putting the damn thing on.
UTAH
We gonna jump or jerk off?
BODHI
My man!
EXT. 10,000 FEET - DAWN
Multi-colored figures explode from the plane. Leaping
into freefall. Tumbling end over end.
WEARING HEADSETS, they hurtle downward.
BODHI (RADIO)
Utah, you copy bruddah?
UTAH (RADIO)
Whoooaaah! Shhiiittt! Whoooaaah!
BODHI
I'll take that as a yes.
One by one they stabilize. Falling face down, knees bent,
they angle their hands and feet minutely to move
laterally. Utah flails, the last to trim out. But he's
holding his own.
Grommet, working his duckfeet, pitches himself into a wild
spin, rotating like a dervish in a head down dive. He
flares out and "flies" back to the others.
Rocketing through the void at 120 mph they seem to
paradoxically hang above the world, almost unmoving... on
a separate plane of existence.
A hurricane of wind. Wild HOOTING.
Despite his terror, Johnny has to grin at Nathaniel,
falling butt first like he's sitting on a big inner tube
in the pool.
ROACH
Whip it out dudes! Cheap sex with
the cosmos!
BODHI
Ten thousand feet. Let's do it.
The group stabilizes, moving together.
First Bodhi and Roach link arms, trimming constantly.
Concentrating. Nathaniel flips over onto his stomach and
maneuvers toward them. He grabs Roach's arm.
Grommet works his way next to Nathaniel. Locks in.
They need Utah to complete the ring.
Four faces beckoning to him, distorted by the hurricane
wind.
BODHI
Come on Johnny. Get in here!
Johnny moves his hands like flippers and glides clumsily
toward them. Bodhi and Grommet grab him. He's in.
A perfect five-man star.
BODHI
Relax, brah. I got you, I got you.
GROMMET
Righteous-ass speedstar, dudes!
BODHI
You diggin' this?
UTAH
Great! GREAT!
Johnny is exhilarated more than he could have thought.
Screaming down through the dawn sky at 130.
Locked into the ring. Part of something.
Connected to these guys far above the planet.
Less far every second... Bodhi's chest altimeter reads
6,000 feet.
BODHI
Purty-thirty and we're meat waffles,
folks. See ya downtown!
He releases Roach's arm and the star disintegrates,
drifting apart.
Bodhi stays with Utah, falling parallel to the horizon,
facing each other, holding hands. 4000 feet. Airspeed
140.
Grommet pulls his ripcord. He seems to be jerked upward
by a great force. Suddenly he is far above, a brightly
colored disc of fabric.
Utah is suddenly aware of the earth rushing up at him.
Nathaniel pulls, then Roach. They shoot upward,
disappearing.
Bodhi and Utah fall on, alone.
BODHI
You gonna pull?
UTAH
After you, Alfonse. I insist!
Bodhi looks at Utah. A slow grin. The meter on his chest
harness reads 2000 ft. 150 mph. 12 seconds to Valhalla.
BODHI
Don't screw around man, pull it!
UTAH
You do it... you first!
BODHI
One thousand feet. Pull the goddamn
cord!
UTAH
You first!
BODHI
Okay!
Bodhi reaches out suddenly and pulls Utah's ripcord
handle.
He waves goodbye as Johnny's canopy deploys. Utah is
jerked upward. He feels his weight hanging brutally in
the harness.
Johnny looks down.
Impossibly close to the ground. Bodhi's canopy BURSTS
OUT, an explosion of color. Below him is the shimmering
mirror of a LARGE RESERVOIR. Two seconds later the bright
yellow canopy meets its reflection and goes slack. An
explosion of white water marks Bodhi's impact.
LOW ANGLE AT WATER LEVEL as Utah hits.
IN SLOW MOTION a glorious wall of backlit spray shouts
skyward.
Molten glass falling back in the bright desert dawn.
Utah surfaces, sputtering, and shucks out of the harness.
He floats like a jellyfish, gasping for breath.
UTAH
Jesus Christ. I gotta be losin' it.
CUT TO:
EXT. AIRFIELD - DAY
Bodhi walks toward us, dripping wet and grinning.
He wraps his arm around Utah's shoulders as the others
walk up.
They're all soaked and stoked.
BODHI
Ya see... I told you Johnny U was
gonna be just fine!
Roach and the others clap him on the back. A moment of
acceptance into the tribe. Utah isn't sure what it means
yet.
BODHI
C'mere. There's something you need
to see.
Bodhi leads him toward a PLAIN UTILITY VAN parked nearby.
It was there earlier but Utah had no reason to notice it.
Bodhi opens the rear doors and motions Johnny inside.
Utah, puzzled and suddenly alert, steps in. Bodhi
follows.
INT. VAN - DAY
The interior is empty except for several canvas duffel
bags and a small portable VCR. It is one of the new sales
presentation models, with deck and monitor together in one
tiny unit.
UTAH
What's this?
BODHI
Insurance policy. Now this is going
to sting a bit, but it's for your
own growth, brah. Press play.
Utah hits the button and an image comes up on the tiny
screen.
TIGHT ON SCREEN. A night shot. Rosie the biker has Tyler
in a powerful grip. Her hands are cuffed behind her, and
her mouth is taped. He has his switchblade up to her
throat. Her eyes are wild, but with rage, not fear.
She's trying to struggle out of his grip, kicking at him
viciously.
He controls her efficiently.
Bodhi stops the tape.
BODHI
She's a wild one, isn't she...
Special Agent Utah?
Utah lunges, pinning Bodhi to the wall of the van... an
elbow across his throat.
UTAH
You're a fucking dead man--
BODHI
(gasping for breath)
Whoa, whoa!! Think it through! I'm
the only one knows where they are.
Just let me talk for a second.
Johnny pulls back. Barely in control.
UTAH
Talk.
BODHI
She'll be fine, Rosie won't do
anything. At least not as long as I
meet him at a certain place and time,
about... let's see...
(he looks at his
dive Rolex)
... six hours from now.
Utah's voice sounds kind of strangled.
UTAH
You call him... right now... and
tell him to let her go.
BODHI
Sorry, can't do it, brah. He's on
the road. And where they're going
there's no phones. Damn, I hate
this Johnny, I really do. I hate
violence. See, that's why I need
Rosie. I could never make this
thing work, myself. No way I could
hold a knife to Tyler's throat, man!
She was my woman, once. We shared
time in this world. But Rosie, he's
kind of a... mechanism. Once you
set him in motion, he won't stop.
That's his gift, a kind of...
blankness. Noon comes, straight up,
he'll gut her like a pig and try not
to get any on his shoes. Nothing I
can do, unless I get there.
Utah blanches as he takes this in. Knows Bodhi well
enough now to know he means business.
BODHI
So that makes us partners, doesn't
it? Because now we both have the
same goal... to get me where I need
to go. Right?
Utah's expression turns suddenly cold as an executioner's.
UTAH
We're wasting time.
BODHI
See! That's what I like about you,
man! You're just sharp as a razor
blade.
Bodhi jumps out of the van and approaches the others,
gathered nearby. He addresses the pilot first...
BODHI
Get the plane down to Santa Monica
and top up the tanks.
(to the others)
Let's go. Let's saddle up!
CUT TO:
EXT. L.A. STREETS - DAY
A STYLIZED LONG LENS SHOT stacks the cars into a dreamlike
mirage. The van weaves slowly among them with predatory
stealth.
BODHI (V.O.)
Okay. All I'm askin' for is ninety
seconds of your life, Johnny.
That's all.
INT. VAN
EXTREME CLOSEUP ON the velcro straps of Second Chance
armor. Tanned fingers cinch it tight. A SHELL slides
into the cylinder of the Casull. A SHOTGUN is cocked.
KACHACK!
BODHI
It's basic dog psychology, brah. If
you scare them, get them pissing
down their leg, they submit... you
control them. If you project
weakness, you draw aggression...
that's how people get hurt.
WIDER, revealing that Bodhi is in the back with Utah and
Roach.
Nathaniel and Grommet sit up front.
The duffels contents are strewn around. Masks. Weapons.
They're all pulling on suit pants and jackets. Tying
ties. Slipping on white gloves. Snappy Oxfords.
Bodhi is pulling a suit jacket on over his BODY ARMOR.
Utah is fumbling with his armored vest. He works with
vicious, jerky moves. His jaw locked. Eyes down.
BODHI
Fear causes hesitation, and
hesitation will cause your worst
fears to come true. You project
strength to avoid conflict.
ROACH
Peace through superior firepower,
babe.
Bodhi conspicuously empties all the shells from a PUMP 12
GAUGE.
Pockets the shells. Tosses the weapon to Utah.
BODHI
Here, you need this. You can't be
comin' through that door with your
dick in your hands, right?
UTAH
I can't do this.
BODHI
Sure you can! You may even like
it... it's a killer rush. You'll
see. Hey, don't I show you things,
Johnny U?
UTAH
Bodhi, this is your wake up call,
man -- I... am... an... Eff...
Bee... Eye... Agent!!
BODHI
Wild, ain't it?! See, we exist on a
higher plane, you and I. We make
our own rules. Why be a servant of
the law Johnny U... when you can be
it's master?
GROMMET
Fuckin' A!
BODHI
Ninety seconds, man, door to door.
A small price to pay for someone who
loves you.
(he looks up)
She does you know. It's not her
style to fall so hard... I don't
think she did with me.
He pulls the Ronald Reagan mask over his head smoothly.
Roach pulls his on. NIXON. Nathaniel becomes KENNEDY.
Grommet transforms into LBJ.
Bodhi looks in the bag -- no more masks.
BODHI
Sorry, Johnny. Guess you don't get
to be president.
JOHNNY'S POV -- the back doors of the van. And the
promise of what is beyond. Bodhi enters FRAME. Looks
straight at us.
BODHI
Rock and roll!
BOOM -- THE DOORS bang open, REVEALING--
EXT. STREET - BANK - DAY
STILL IN POV (HANDHELD) we hurl ourselves from the dark
van into blasting daylight. Bodhi is ahead of us in the
sprint for the bank doors. Dizzying forward momentum as
we hammer through the doors into--
INT. BANK
THE HANDHELD POV CONTINUES as we follow Bodhi, a wolf
plunging among the sheep. A FAT GUARD inside the doors.
He turns to us just as Bodhi butt-strokes him hard in the
gut.
Someone screams.
BODHI
Everybody freeze!! Don't move!!
AHEAD of us GROMMET/LBJ covers the SECOND GUARD with his
12 gauge.
GROMMET
Don't fucking do it, man!
The guy has his hand on the grip of his pistol but it's
like the thing suddenly weighs eight tons, he can't seem
to lift it from the holster. ROACH/NIXON slips up next to
him and helps him with it. The guy is visibly trembling.
A YOUNG JOCK makes a move to run.
'OUR' SHOTGUN comes up like a reflex, right in his face.
Roach/Nixon throws the guy to the floor by his hair.
AHEAD OF US, Bodhi is in action. Moving to the counter,
shouting--
BODHI/REAGAN
All Tellers back away from the
counter! Hands on your heads!
RIGHT NOW!! That's right. You know
the drill.
It's like a replay of the robbery Utah saw on video. But
he's right in the middle of it, like in some kind of
nightmare.
WE'RE STILL IN POV, the image WHIPPING wildly from side to
side as Utah scans the room. We whirl dervish among the
statuary of the customers and bank employees. Our gaze
drifts across THE FLOOR MANAGER, a short guy in a brown
suit standing with his hands clasped behind his back.
BODHI/REAGAN
All customers on the floor. Let's
go! Move it! Get down! On the
floor! Right now! Let's go.
Roach and Grommet are pushing them down.
Utah stands stiffly with the shotgun. He seems dazed.
He catches the eye of a CUSTOMER. In a tenth of a second
we see Johnny see the customer see his uncertainty. Fear
has them both hyper-aware.
Johnny gestures fiercely with the shotgun.
UTAH
On the floor, asshole! What's your
problem?! I blow your fucking
kneecaps out, you'll be on the
floor!!
The guy hits the deck like a sack of cement.
BODHI/REAGAN floats beside Johnny, scanning with the
Casull. He speaks without turning his head.
BODHI/REAGAN
Kick in the ass, ain't it? Gonna be
kinda hard to explain though... when
they play the tapes back down at the
bureau. Could look bad on your
monthly evaluation.
Johnny looks up at surveillance camera. He's quite
fucked.
UTAH
Can we just get the goddamn money
and get out of here?!
BODHI/REAGAN
That's the spirit!!
(to the room)
Head's down! Eyes down! Just a
couple minutes of your life and
we're gone.
Bodhi leaps to the counter, commanding the room.
But at this point they diverge from their time-proven
plan.
Roach isn't going for the drawers... he's sprinting for
the VAULT.
BODHI/REAGAN
You!
(reading a name-tag)
Miss Jennings... of New Accounts.
Be a dear and open the inner gate
for my associate. NOW!!
MISS JENNINGS
He -- he -- he has the keys. Mr.
Duggan.
BODHI/REAGAN
Whatta say, Mr. Duggan? Wanna give
her the keys or do I pick through
the blood and chunks for them?
DUGGAN, the bank manager, is surprisingly calm as he takes
the keys from his pocket. Holds them out to the terrified
woman.
DUGGAN
Do whatever they say, Terry.
MISS JENNINGS hurries to comply.
She unlocks the STEEL CAGE inside the big vault door.
Roach/Nixon and Grommet/LBJ take her inside with them.
A CUSTOMER, lying on the floor near the fat guard catches
his eye.
The guard, face jammed against the linoleum, blanches as
he sees the customer lift a corner of his shirt to reveal
THE BUTT OF A PISTOL. The customer mouths the words "I'm
a cop".
The guard is hyperventilating.
AT THE FRONT DOORS A WOMAN comes in out of the bright
sunlight.
JFK pulls her in fast and throws her to the floor. Then
goes back to watching the street.
JOHNNY is next to Bodhi/Reagan.
UTAH
You're blowing it, man! You're
breaking your own rules... pulling
too much time!
BODHI/REAGAN
JFK, how we doin'?
NATHANIEL/JFK
All clear, man!
INSIDE THE VAULT Grommet and Roach are pillaging rapidly.
Their hands blur as nice fat STACKS OF 20s and 100s are
dumped into canvas sacks.
ON THE MAIN FLOOR the OFF DUTY COP slips his hands slowly
around the butt of his pistol, concealing the move with
his body.
He signals with his eyes to the fat guard, glancing at the
guard's ankle.
TIGHT ON THE GUARD'S ANKLE where we can see a sliver of
BACK-UP GUN, a tiny .25 auto in an ankle holster.
The guard's eyes are pleading with the hard-on cop.
"Don't make me do this".
The guy is sweating, shaking. A yellow liquid spreads
across the tiles next to his quivering hips. He's
actually pissing himself, he's so scared.
TIGHT ON the off-duty cop. Watching like a ferret. He
cocks his .38.
ECU GUARD'S EYES, wide with terror.
It happens like lightning. The cop pops to his knees,
straight-arming the .38. The guard goes for his ankle
holster.
REAGAN spins.
The cop FIRES. BLAM!
Reagan is catapulted backward off the counter by the
impact.
He crashes onto a desk on his back. Slides off,
scattering papers.
A teller screams. The cop spins toward Utah.
Johnny throws down the shotgun. Shows his palms. He's
holding out his gold star.
UTAH
Federal agent! Undercover!
The cop FIRES TWICE. Two in the chest. Utah is hurled
back. Slams into the tellers' counter.
NATHANIEL/LBJ lets go with the 12 gauge. BOOM!
The cop spins, hit by some 00 buck pellets.
The guard caps-off like a maniac. BLAM, BLAM, BLAM,
BLAM!!!
All of them wild, but serving to get Nathaniel pinned down
behind a check-writing island.
ROACH/NIXON LEAPS THE COUNTER and lands behind the guard.
The guard's shoulder explodes as Roach's 12 gauge
detonates. He pitches onto his face, screaming and
holding the wreckage of his upper arm.
Grommet/LBJ is coming over the counter behind Roach as the
off-duty cop spins and fires. BLAM! BLAM! Roach takes
it in the chest. Staggers back, firing into the floor.
Trips and drops his shotgun.
Grommet clutches his throat as blood streams over his
fingers.
IN SLOW MOTION Reagan's face rises above the counter.
The mask is askew. In order to see, Bodhi pulls it off.
The Casull comes up in a slow, deliberate arc as--
THE COP turns, terrified now, whipping his gun around,
nightmarishly slow as--
BODHI COCKS THE CASULL in dream-time and--
KABOOOOM!!! The world's most powerful handgun proves its
claim at 2000 feet per second.
A gout of hamburger explodes out of the cop's chest.
He is lifted off his feet. Hits and slides across the
floor leaving a two-foot wide red smear.
Echoes slap the walls. Then all is still. Plaintive
whimpering and moaning. The air is blue with smoke.
Johnny is trying to catch his breath. He rips his shirt
open to see two deep indentations in the Second Chance
vest. Flattened .38 slugs caught in the Kevlar mesh. But
no blood.
Bodhi drops over the counter near Utah.
The two men look at each other.
Bodhi's eyes seem lost. He stares around at the carnage
he has wrought, the bloody wreckage of his ego game.
His expression changes to something new -- truly crazed
now. We feel that the madness which has been held in
check so long has been let off its leash.
BODHI
Don't anybody fucking move!
Roach, clutching his side, moves to Grommet, who is on his
knees.
Beneath LBJ's stony countenance a river of blood flows
down Grommet's chest. Roach pulls off the mask.
Revealing a terrified kid.
Grommet pulls his blood-drenched hand away from his
throat, stares at it bug-eyed.
GROMMET
Oh no, oh my god, oh god... it's all
comin' out man, gotta stop it...
it's all gonna come out... do
something!!
He's trying to hold it in with his hands. This doesn't
work.
A paste-white frightened kid. Eighteen years old.
Suddenly realizing that this is not some video game. That
death is real.
He slumps back, losing the battle for consciousness.
WE HEAR SIRENS APPROACHING.
ROACH
(freaking to Bodhi)
We gotta bug out, man! We're eatin'
it bad on this one. Let's go!
Bodhi reaches down and picks up Johnny's FBI shield off
the floor.
He considers it for a long time. Then looks up at Johnny.
His eyes seem to ask for forgiveness...
A moment before he smashes the Casull into Johnny's skull.
JOHNNY'S POV, as he drops to his knees. Everything going
dark as we see Bodhi's face distantly, his mouth moving
slowly...
BODHI
Goodbye, Johnny.
The floor rushes up and smashes us in the face.
A view of shoes, running away from us, leaving bloody
footprints. Then total darkness.
CUT TO:
INT./ EXT. FIRST SECURITY BANK - LATER
Ten minutes later the bank "crime scene" is in full swing.
UNIFORM COPS are everywhere, trying to get statements from
sobbing witnesses. HARP, MUNOZ, COLE AND PAPPAS represent
the FBI contingent. Cole has one arm strapped to his body
in a fairly elaborate sling, and he moves slowly.
Harp is barking orders to everyone in sight. Outside
(visible beyond the doors) it's total pandemonium, with
cops and ambulances, and of course a huge crowd of
rubberneckers. A MINICAM CREW shows up. Harp starts
shouting at them.
COLE, with evident pleasure, cinches down a pair of
handcuff's on Utah's wrists with his good hand. Johnny
has a deep cut on his forehead, and the blood is trickling
into his eyes, but he seems not to notice. Not to hear
MUNOZ speaking monotonously--
MUNOZ
-- if you so desire, an attorney
will be provided for you free of
cost. Do you understand these
rights I have explained to you?
Utah?
Pappas charges through the crowd, pushing Munoz aside.
PAPPAS
He knows his goddamn rights!
(looks at Utah)
Jesus, kid. I knew you were getting
too close to these guys.
(turns to the other
agents)
Gimme the goddamn key to these
things, Cole. Christ!
He gestures to the cuffs still cutting into Johnny's
wrists.
Cole hands him the key.
Harp storms toward them.
HARP
Don't take those off. Just leave
them on! Your partner's an
accessory to murder. You realize
that?
Harp spins Johnny by the shoulder to look at--
Paramedics carrying the covered body of the off-duty cop.
Beyond, still on the floor, is Grommet, his eyes staring
in death.
He was right about not making thirty.
HARP
Three men dead. One of them a cop.
How's that sit in your gut, Utah?
UTAH
(cold and scary)
Take your hand off my shoulder right
now.
Harp pulls back instinctively. Utah's eyes burn into him.
Looks like Johnny's not in the FBI anymore.
PAPPAS
Look, Harp. Don't turn him over to
the uniforms like some punk. Let me
ride him in.
HARP
Yeah, sure. Why not? You two
screw-ups deserve each other.
That's why I put you together in the
first place. Christ Pappas, you're
as bad as he is... talk about the
blind leading the blind--
Pappas steps close to the Supervising Agent.
PAPPAS
Harp, let me tell you something. I
was an agent in this bureau when
your mommy was still wiping your
shinny pink ass, and you know one
thing I learned in all those years
that you still haven't?
HARP
What that?
Angelo steps in with a roundhouse that has all of his 280
pounds behind it.
Harp's head snaps back, and he flops in a heap.
PAPPAS
Respect your elders.
(he takes Utah by
the arm)
Let's go kid.
Harp struggles to sit up, rubbing his jaw, as Pappas
stuffs Utah into his car. Harp is so shocked he doesn't
say a word.
CUT TO:
INT. PAPPAS' CAR
They drive for a couple of blocks in silence, side by
side.
Utah in disgrace. Contrite. Stony. Finally...
UTAH
I know where they're going.
PAPPAS
Figured you did.
Angelo flips Johnny the key.
Johnny lets himself out of the cuffs. He sits rubbing his
wrists.
UTAH
Only problem is... we can't arrest
them or shoot them.
ON PAPPAS' "what the fuck?!" expression we--
CUT TO:
EXT. SANTA MONICA AIRPORT
LONG LENS SHOT through a forest of small planes as Pappas'
sedan glides INTO FRAME. It moves sharklike among through
the Cessna forest. Slows to a stop.
Through the jungle of wings and fuselages we see Pappas
get out of the car and start working his way among the
aircraft.
Utah slides behind the wheel and drives on.
TIGHT ON TURBOPROP ENGINE roaring as it warms up.
The same aircraft as before.
Bodhi and Nathaniel are loading duffel bags into the open
back door as the pilot completes his pre-flight checks.
The Ex-President's suits have been removed, along with the
body armor, and no guns are in sight. Just a couple of
guys getting ready for a charter flight. Bodhi looks up
and stops his work as...
THE FBI SEDAN stops about 50 feet away.
Nathaniel pulls a shotgun out of one of the duffels.
Utah gets out. He holds his hands out from his body and
turns completely around. Without his jacket on, it is
evident that he is not carrying a gun.
He walks forward.
UTAH
I'm not armed.
BODHI
But you're not alone.
UTAH
Good guess. There's a gun on you
right now.
Bodhi feigns casual interest. Looks around. He can't
see...
PAPPAS nearby. Moving cat-like behind a row of service
vehicles. He gets his snubnose .38 propped on the bumper
of one, with a clear shot at Bodhi and Nathaniel.
UTAH
Where's Roach?
BODHI
Around somewhere. Listen, I'm in
kind of a hurry, Johnny U. What can
I do for you?
UTAH
You gotta tell me where she is.
BODHI
And let my policy expire? Sorry.
UTAH
Look, Bodhi man. People are dead.
The ride is over.
BODHI
I say when it's over!
UTAH
The guy you killed was an off duty
cop! If you get out of here they'll
nail you wherever you land. They
have a new thing called radar.
Maybe you've heard of it.
Though he can't hear what's going on. THE PILOT has
clocked the tension between the two men. And the shotgun
in Nathaniel's hands. He blanches, and starts to shut
down the plane's power.
By his reaction we see that he's obviously not in on it.
ROACH comes out of the hangar building nearby. Neither
Utah nor Pappas see him. But he sees Pappas drawn down on
Bodhi. He drops quickly to one knee and opens the duffel
he was carrying.
TIGHT ON DUFFEL BAG, as it opens. The pistol grip of a 12
gauge riot-gun sticks out of lots and lots of money.
Roach's hand slides the gun out slowly.
UTAH IS VERY CLOSE to Bodhi.
UTAH
I know you man, when they fall on
you, you won't back down. They'll
have to burn your ass to the ground.
And I can't stop them... I'm the
last person they're ready to listen
to right now. Thanks to you.
UTAH
Shit may or may not happen.
UTAH
Look, you got a death wish, you want
to ride to glory... fine! But don't
take her with you, man. I'm begging
you... tell me where she is. Then I
walk away. We've earned that much
trust, haven't we?
The pilot opens the door and is climbing out when
Nathaniel wheels on him. The pilot goes cross-eyed
staring down the muzzle of the 12 gauge, inches from his
face.
BODHI
(to the pilot)
Back in the hotseat, campadre.
NOW!
BEHIND THE TRUCKS, Pappas senses something.
His head snaps around.
Roach is behind him with the 12 gauge. He FIRES.
Pappas hurls his weight sideways, as the buckshot punches
into the truck fender. Some of it catches Pappas in the
hip. He hits the ground hard and whips up the .38 BAM!
BAM! BAM!
Roach flips onto his back.
The shotgun blows a hole in the sky as he hits the deck.
Pappas is on the ground, totally exposed, 20 feet from the
others.
NATHANIEL fires once, wild. Terrified. His shot blows a
divot out of the asphalt next to Pappas.
He pumps the slide, chambering another round.
Then Pappas' fourth and fifth rounds drill into him.
He slams back against the Cessna's fuselage.
Slides down. Two red smears on the white aircraft.
Bodhi lunges for the fallen 12 gauge.
Pappas takes aim. One round left.
Utah sprints between them.
UTAH
Angelo! Don't fire!
PAPPAS
Kid, get outta the way!!
UTAH
NOOO!!
Utah is blocking Bodhi with his body.
Bodhi's fingers are poised, frozen, a few inches from the
shotgun.
Standoff.
PAPPAS
GODDAMMIT!!
He snaps the pistol up, aimed at the sky.
Pappas stands panting. Enraged and frustrated. Pain
searing his leg. Everything is tense and electrified.
BOOM!! Pappas' chest EXPLODES with a spray of blood!
BEHIND HIM, ROACH is lying on one elbow in a pool of
scarlet.
He cocks another round into the chamber and fires again.
BOOM!
Angelo drops to his knees, holding his ruined body like
he's hugging himself. Johnny lunges toward him, his face
distorted with shock.
UTAH
NNNOOOOOO!!!
Angelo's eyes meet his for a moment.
In his dilated pupils is the great question.
Then he slumps forward and lies very still.
The breath leaves his body and doesn't go back in.
Johnny moves toward his friend in a daze. Drops to one
knee beside him.
Roach aims the shotgun at him, coughing blood.
Utah doesn't notice. Or is beyond caring.
Bodhi holds his hand up in a gesture like a benediction.
Roach's finger relaxes on the trigger.
Utah puts his hand on Angelo's white crewcut hair.
He hears the scraping of steel on asphalt behind him as
Bodhi picks up the other twelve gauge.
Roach is working himself to his knees. His breath is
sucking through a bloody hole in his chest as well as the
customary breathing orifices. Bodhi crosses to him and
helps him up. He covers Utah with the shot gun as he
half-carries Roach to the plane. The pilot is white with
shock. He'd run if he could remember how.
PILOT
I ain't flyin' you guys to San
Phillipe man, forget it. Not now--
BODHI
Thanks for telling the nice FBI
agent where we're going.
Roach works his way up into the plane. He waves the
shotgun at the pilot, his face a vicious, blood-flecked
mask.
ROACH
Get in the fucking plane.
Bodhi stands behind Johnny, the shotgun aimed at his head.
Their expressions are lethally cold.
We see that Utah hates this man who was his friend, his
teacher, more now than he dreamed it was possible to hate.
BODHI
We're gonna ride this out, all the
way, Johnny. You and me. Let's go.
Johnny nods slowly, as if accepting that this was all
somehow pre-ordained, and that they both knew the game
would take them this far and beyond. He stands and walks
to the plane.
CUT TO:
EXT. MEXICO - DAY
THE SCREEN EXPLODES WITH A BLUR OF MOTION.
POV of the ground racing below us at 180 mph.
REVERSE, preceding the plane as it rockets through barren
canyons.
As close to the earth as the terrified pilot will take it.
Under the radar.
INT. PLANE
The aircraft bucks like a bull as the pilot jinks and
banks wildly.
Bodhi has the Casull aimed at the base of his skull from
the jump seat just behind him.
Roach holds the shotgun on Utah, seated across from him in
the rear seats.
Roach is a pale, sweaty mask. He is propped against a
bulkhead, seemingly collapsed in on himself like a
discarded coat.
His entire shirtfront and lap are slick with blood.
But his gaze is steady, and the shotgun is aimed into
Utah's guts.
No one talks or moves on this grim hell-ride.
EXT. ARROYO
Near noon. The sun blisters a landscape out of time.
The white Cessna rockets above the saguaros, its shadow
pumping up and down over the broken terrain like some
manic alter ego below it. It WOOSHES over us, raising
dust devils.
INT. PLANE
The pilot yells over his shoulder to Bodhi...
PILOT
Look, we been in Mexico the last
half hour... can I quit mowing the
lawn here or what? I'm getting more
brush in the wheels than I usually
like, you know what I'm saying?!
BODHI
Yeah, get some height. Take her up
to eight thousand on this heading.
The pilot pulls back on the yoke and the plane climbs.
Bodhi moves back next to Roach, who's fading.
ROACH
We're gonna pop up on their screens.
BODHI
Doesn't matter now. We're almost
there, man. Here, let me help you
get your gear on.
Bodhi drags a parachute pack up onto the seat next to
Roach and starts helping him into the harness. Roach
keeps the shot gun pointed at Johnny.
ROACH
I'm cold.
BODHI
You're gonna be fine. Just fine.
Johnny, toss me that money bag will
you. Easy does it.
Utah hefts the duffel. Weighs its contents, and their
price.
UTAH
You're cold because all the blood is
running out of your body, Roach.
You're going to be dead soon.
(he tosses the bag)
I hope it was worth it.
Roach clutches the canvas sack to his chest like a Teddy
bear. Glares at Utah. He hooks the strap of the duffel
over one shoulder.
BODHI
Hey, Johnny's just trying to psych
you man, forget it. Just keep
thinking about all those senoritas
nursin' you back to health. Come
on, amigo, let's get you set for the
jump.
Bodhi props Roach next to the open door and takes a
walkie-talkie from the seat, keying it.
BODHI
Rosie, Rosie, this is Air Force One,
do you copy, over?
A burst of static is followed by a surprisingly clear
voice.
ROSIE (V.O.)
Copy you, Air Force One. We have a
visual on you. Lookin' fine.
UTAH
Tell him to release Tyler.
BODHI
Why should I?
UTAH
What if your chute fails, Bodhi?
Rescind the order. Let her off the
hook, she's served her purpose. Do
it, man, you owe me that much. Let
me hear it before you check out.
Bodhi meets his eyes and considers for a couple of
seconds, then keys the walkie.
BODHI
Rosie, listen carefully. Surgery
is canceled, is that clear? Repeat
it back to me.
ROSIE (V.O.)
Copy you. Surgery is canceled.
I'm lettin' the bitch go.
Bodhi looks out the doorway. Gauging distance, airspeed,
the geography below. He looks at Utah, aiming the Casull
at him.
Johnny stares back at him like a pit viper.
BODHI
I know it's hard for you Johnny.
You want me so bad it's like acid in
your mouth. But not his time.
(he braces Roach at
the door)
Let's go.
Bodhi signals the pilot and Utah feels the plane drop as
the engines are cut back to an idle. Bodhi slaps Roach on
the shoulder and Roach slumps backward out of the plane.
Bodhi braces to jump, looking at Johnny for a last split-
second.
BODHI
You lose, campadre.
He chucks the Casull onto the seat beside the door and
bails.
Bodhi tumbles out into space. It's over.
Utah's knuckles are white, gripping the seat. There's a
dynamo, spinning out of control in his head. He leaps up
in an explosion of rage and drives his fists into a
bulkhead. Looks around like a rabid animal. TWO SECONDS.
THREE SECONDS. Then...
UTAH
FUCK IT!!!
Utah grabs the Casull off the seat and dives out of the
plane.
EXT. PLANE
UTAH, WITHOUT A PARACHUTE, but carrying a very large gun,
rockets downward. He presses his arms to his sides and
falls head-down, building speed.
Three hundred feet below him is Bodhi, freefalling in a
spread-eagle position. Utah moves his feet and hands,
angling toward him.
Bodhi doesn't see him. Falling flat, he tops out at
terminal velocity for that position. 130 mph.
Utah slashes downward at 160 mph. The gap between them
closes.
Utah is almost blinded by the windstream. His eyes burn.
His lips are peeled back by the blasting air.
Bodhi is eighty feet below him... 4000 feet to terra
firma.
Utah focuses all his incredible will and concentration.
He's only going to have one shot at this.
Bodhi is right below him.
Utah is closing like a SAM missile.
He trims a little, and...
WHAM! Slams into Bodhi in a mid-air tackle.
Bodhi's eyes are wide with amazement as they tumble
together.
Utah has made the grab and locked his arms around Bodhi in
an iron grip.
He pulls the Casull's muzzle up to Bodhi's head and
screams in his face.
UTAH
Pull the parachute!!
Bodhi looks at the gun. Looks at Utah. Grins wildly.
BODHI
Pretty radical, Johnny. Even for
you. Why don't you pull it?
UTAH
No games, Bodhi. Pull the cord!
Now!!
BODHI
Naw, you pull it!
Utah looks down. The earth is rushing at them. 2500
feet.
BODHI
Go on, Johnny. Pull it. But you
gotta drop the gun, first! Right?!
You use your other hand what you
gonna hold on with?
UTAH
Pull it right now or I'll blow your
fucking head off and pull it myself!
BODHI
Well that's the only way it's gonna
happen, man. Do it! Come on, you
want to do it. You're gonna die,
Johnny. Five more seconds. Four...
1000 feet. The ground is close enough to see details.
Cactus, sagebrush. They rocket past the bright yellow
canopy of Roach's chute a hundred feet away.
UTAH
You fucking crazy!? Pull it!!
They're right in each other's faces. Taking it way beyond
the edge.
Bodhi's eyes are wild. A gleeful, adrenalized madness...
his pupils are the entrance to Hell.
BODHI
Three seconds... two... one...
UTAH
SHIT!!
Utah flings the Casull away and pulls the rip-cord so hard
he almost loses his grip anyway. POOM! The canopy cracks
out.
Full and round and bright red.
The ground roars at us.
WHAP! Utah and Bodhi hit. Hard.
They slide and tumble down the slope of an arroyo in a
cloud of dust.
Rocks and debris clatter into silence.
NEARBY Roach hits the ground limp as a rag doll.
He moves listlessly as his chute lines tug at him but his
eyes stare without blinking right at the sun. Next to him
the money satchel's contents are spilled right into the
sand. Roach's lifeless hands lie limp among the bills
that caper in the desert wind.
UTAH AND BODHI are both completely still as the dust
clears. Finally they groan and stir. Necks move, hands
move, legs move. Bodhi rolls to his knees. He is cut and
scraped, the blood running bright down his dust-covered
skin.
Utah looks around, blinking.
Surreal that he should be plopped down here in the red-hot
Mexican desert.
Bodhi staggers to his feet and grins at him.
BODHI
Wild ride, huh?
UTAH
(gasping)
Jesus Christ, Bodhi!
Utah tries to rise and -- grabs his knee in agony. We see
by his mask of pain that it's totaled inside.
BODHI
That pesky knee, huh? Too bad.
He looks up at the sound of an engine.
BODHI'S POV of his big four-by roaring toward us with a
meteor tail of dust. It slides to a stop next to them.
Rosie gets out of the driver's side and stands calmly with
a sawed-off over his shoulder.
Utah blinks through his sweat and pain at--
TYLER running toward him out of the dust. She kneels next
to him and puts her arms around him. Bodhi limps to the
truck. Through the swirling dust we see him look back.
BODHI
You had me worried there, for a
second, Johnny U.
He swings up into the four-by and guns the engine. Rosie
hops into the shotgun seat and the truck hurls up
roostertails as it tears out across the desert toward
Roach's billowing gravemarker.
Johnny touches Tyler's face tenderly, leaving a smear of
blood.
He gives her a wan version of the Johnny Utah grin.
HOLD ON the truck moving off in a heat-shimmered cloud of
dust, becoming a mirage, then a memory as we--
DISSOLVE TO:
AN ENORMOUS WAVE which FILLS FRAME, seeming to rise
endlessly before thundering down in a holocaust of spray.
EXT. BEACH DAY - DAY
An unfamiliar beach laid waste by monster waves under a
storm sky.
Wind whips sand across the narrow beach-road, throwing it
against the front doors of the LIGHTHOUSE PUB.
TITLE OVER: ONE YEAR LATER...
INT. LIGHTHOUSE PUB - DAY
Dark. Almost empty. A snarling crocodile head is mounted
above a tapper of Guinness Stout. A Koala bear with
plastic eyes holds a Foster's. A BARTENDER with leathered
skin washes glasses.
At the bar, a single disheveled customer... human
driftwood.
GUST OF WIND blows open a shuttered window.
The bartender moves to close it.
BARTENDER
Gonna close early today, mate, 'fore
the bloody storm hits.
JOHNNY UTAH swivels toward CAMERA. His tanned face is
barely recognizable, jaws hidden underneath a slight
beard, long bleach-out hair swept behind an ear. His
muscular shoulders pop from a sleeveless football jersey.
The man seems deadly focused.
UTAH
Storm's already here... It's
bringing me the swell.
Johnny stares into his drink.
ANOTHER BLAST OF COLD as the front door opens.
Johnny turns at the sound.
TYLER takes a step inside. Her hair is different, more
bleached out, frazzled from the sun. Her eyes adjust to
the dark room.
TYLER
John, they're here.
Utah downs the drink and slides off his stool. He has a
pronounced limps as he crosses to Tyler at the door.
They exit into daylight under an old wooden sign which
reads: LIGHTHOUSE PUB - BELL'S BEACH, AUSTRALIA
CUT TO:
EXT. LIGHTHOUSE PUB - DAY
UTAH and TYLER walk out onto the roadway as several
Australian Police cars converge on them. A dozen
uniformed OFFICERS step out. The ranking officer, a
fortyish LIEUTENANT, walks up to Utah.
LIEUTENANT
D'you see him, Mr. Utah?
UTAH
No. But he's here.
LIEUTENANT
Now, look, I know you used to be a
federal agent up in the states and
all that, but you're a citizen now,
so just find him and we'll handle it
from there.
UTAH
No problem. Just give me a couple
minutes with him first.
Johnny limps out across the huge expanse of sand alone.
CUT TO:
EXT. BELL'S BEACH - AUSTRALIA - DAY
WALL OF SOLID WATER FIVE STORIES HIGH CRASHES straight
down in a holocaust of spray...
Rising up from the ocean to meet a tormented sky, roll the
most terrifying waves any surfer has ever seen. They
close out, pummeling the ocean floor, casting a shockwave
up the shore.
SURFERS gather on the sand, gaze out to sea.
1ST SURFER
Jesus Almighty, the bloody sand's
shakin'.
The beach sounds like a MORTAR RANGE.
JOHNNY passes among the brahs.
2ND SURFER
Totally closed-out. It's fuckin'
death on a stick.
ON BODHI, sitting crosslegged in the sand, arms folded
around his knees. He stares pensively out at the waves.
His hand reaches out and absently strokes a surfboard
lying next to him.
UTAH (V.O.)
I knew you wouldn't miss the fifty
year storm, Bodhi.
Bodhi smiles, the odd smile of a sportsman who appreciates
the cunning of his opponent. Utah sits beside his prey
and stares at the ocean. Bodhi stares with glittering
eyes at the heaving ocean before him, face splitting into
that feral, death's head grin.
BODHI
And I always knew I could count on
you, Agent Utah.
UTAH
I'm not FBI anymore.
BODHI
You never were...
UTAH
I asked them to give me a couple
minutes...
Utah calmly glances over his shoulder.
Bodhi follows Johnny's gaze to the cops watching from the
road.
BODHI
It went bad, brah. Real bad.
(smiles inwardly)
I just felt it was time...
A BOOMING ROAR sounds from the ocean.
Bodhi just stares at the waves, with awe and perhaps fear.
BODHI
Time to dance with the universe.
(he turns to Utah)
I could never handle a jail cell.
You'll do this for me, won't you
Johnny? Haven't I earned this
much?
Utah doesn't move to stop him as he stands, hefting the
longboard.
He half smiles, then turns toward the water, and starts
walking.
He stops. Turns around.
BODHI
Thanks, brah.
Bodhi doesn't wait for a reply. He walks to the water's
edge, and never looks back. He throws his board into the
foam and paddles, the riptide pulling him out. The
monsters dwarf his body as they quickly suck him into the
trough of the holocaust.
UTAH stands and solemnly waits for the universe to deliver
final justice. The cops are running clumsily across the
sand, too late to stop Bodhi. Tyler steps up behind
Johnny, and puts her hands on his shoulders.
BODHI is nothing more than a SPECK as he shoots across the
lip of the colossal wave, carving the board downward -- AN
UNTHINKABLE FOREHAND BLAST sends him into a 180 degree
slide straight down the enormous face, eyes wild, his
mouth opens in a soundless howl -- Bodhi and the outer-
limits wave are locked for one impossible yet glorious
moment in perfect harmony, perfect symmetry, perfect
union... There is no fear in his face, only awe as the
mountain of water closes out, burying the Bodhisattva in a
whitewater grave... Pieces of broken surfboard explode
upward, only to fall back into the raging whiteness and
vanish.
UTAH remains pensive, eyes fixed on the riderless surf.
Tyler lowers her head. A fragment of surfboard washes up
onto wet sand. The wind gathers force.
Johnny finally turns to his woman, curls an arm around her
shoulder, gathering her close. Tears are streaming down
her face as she stares at the sea.
UTAH
He rode it all the way.
CAMERA PULLS BACK AND UP, rising high above their heads as
the liquid vertical walls continue to hammer the
Australian shore...
FADE TO BLACK
BREAK
OLIVER STONE
Copyright @ 1969
Anthony's trip through three moods/locations:
1. The City -- Speed and Fear
2. The Forest --Decreasing Speed Fading Into Dream
3. Prison -- Silence (The Death of Words)
Freedom (End of Movie)
1. Small, student's French-type garret decorated
in deep-red, suitcase on bed. Anthony to his desk,
hurriedly examining his thick papers and books, and
throwing them on the floor. Takes a book (closeup
photograph of Genet, book's author, a photo from early
50's, in his burglar's T-shirt, his name in large, Visible
letters at base of photo) off night table, puts it in
suitcase, locks suitcase, opens door, suitcase out
door. A. back into the room, wine bottle from mantelpiece,
pouring red gasoline over books and manuscripts piled on
floor, spreading the gasoline around the small room.
Looks it all over, bends, lights match, tosses on fire,
backing up, an instant later sound of wind popping a tent
Shot of A.
and red flames shooting up. A. forced hack.
through the jumping flames, sweating with the heat and
watching. Shot of closing door through
Opening the door.
fire. A's fleeing footsteps down the gothic stairs,
trotting. Fire. cut.
Footsteps (running).
2. Voice Off:
So you ran away from school.
(Pause)
Yes.
Shot of father and son, son in jeans, boots and vest,
long hair, early twenties, his hair getting longer with
the progress of the movie, his features, icily handsome,
becoming more and more expressive and tender.
You quit.
A :* : (Inwardly)
Yea.
(A.'s small pocket knife is out, playing the edge with his
nail, shot close of his hands slightly quivering with
inner tension.)
I can see you're on acid,
Father:
Probably on
you're on pot.
pills. God knows what else!
(Laughing 'at himself)
A .-.
sex . . .
Dancing. Mushrooms.
my mind is blown.
(Gently out of tension rubs the inside of his upper leg)
(Looking at him as he
Father:
does this)
I think you're sick.
(Puts knife away)
A*: tun
I love you, you're
Anthony,
P. :
my boy*
A. striking match, watches it burn. Telephone rings.
Father picks up phone. Pause.
Strange voice hissing over the phone:
sssssss.
Hanging up.
Father, bothered, hanging up. The match in A.'s hand
burns out. Father sees it go out.
A; rising, not looking at his Father, walking to elevator
which opens directly on the luxurious apartment.
3
I think your fire is out
A:
I think
Dad . . . I'm sorry.
I need a woman, Dad. I'm
going out and find a woman, Dad-
F. startled, very distant, slowly wondering aloud:
You really are sick . . . You
have no idea really of what
reality is.
A, turning around at entrance to elevator which opens
as he talks. Then softer:
Looking at Father hard.
Right here.
Reality I have.
(Gesturing with his
hand to his genitals)
Right here.
(Head)
Right here.
(Heart)
So man . . .
(Softly)
Dad . . . don't ever tell
me I'm sick.
Shot: footsteps into elevator. Hand pushing elevator
button. Elevator drifting across Father's face,
disappearing,
3. Anthony's
Elevator opening another floor.
mother with Siamese cat on her arm getting into elevator
4
first, group of friends following dressed in fancy threads
ready to go someplace.
ITother, looking at in elevator, at first unable
A. to
recognize him: Anthony?
Yes, Mom.
A:
How are you?
Marina:
Elarina, who says this, is Russian looking, is tall with
She locks down closely
a husky voice and long black hair.
at A., who is leaning up against a side of the elevator.
Mother from distance:
Come with us.
Where you going?
A .:
Looking at Iilarina, who is looking at him.
Mother turning bored to her son, looking at :him, blowing
smoke out of her mouth:
To Hell! What difference
A .:
does it make?
A Dylan-type, freaky hair
4. opening.
Elevator
and corduroys and knee-high boots (seen later as Lerner)
is leaning up against the side of the elevator in same
pose as A's as elevator opens. Looks at the party of
people wth cold blue eyes. Goes in elevator after last
has left.
A. combing his hair in the reflection
5.
Marina
of the glass doors, with a large light-blue comb.
standing behind him. To the side.
5
A .: No.
!I. : Why not:
A .: No.
14. : why not?
A .: No.
Anthony returns to pocket of his jeans.
comb
6. Faces of party going out the glass door, mother
first, son the last.
7. Anthony at front of door, waving to them as the
doors of the limousine close.
A. (off in low whisper):
Ciaou,
8. A. gloved hands in pocket not wearing jeans
but fancier, better clothes, walking down a city sidewalk
in the damp night. A young, cautious, slightly tense walk.
Passes
A belted raincoat on, drawn up around his neck.
a tall black standing in the shadows of a doorway, very
well dressed, a silk scarf about his neck, a distant
green light blinking on and off. To the negro's right
there is a fence with a manifesto tacked on. A. stopping,
looking at the black, at the manifesto, approaching, reads
it. Camera follows down the manifesto, line by line with
his eye.
Hen Wanted
Are You a Man
Can you Kill
Are A Realist.
You
Can You Rape.
Can You Steal.
Can You Die!
Assure Yourself.
Go East.
Go To War
Today.
Shot of spade treading past A.'s back, as he reads.
9. Camera follows spade from side walking down
Reading
street. Stopping at lighted newspaper stand.
a Glamour magazine. Pull of white models.
Marina, in
Fleeting full-screen shots of the model:
Russian leather and Egyptian outfits.
A, looking, Pan his eyes to newstand where the
spade is casually walking away with magazine.
Voice off (low), ALEXANDER's soft
cultivated voice:
I fled moral courage. I
read Vogue magazines and
Comic Books . . . and suffered
as I looked across the abyss
at Beauty, such complacent
Beauty . . .
Quick full-screen blowup ?.larina; then the Silver Surfer
(a comic-book hero).
&walking down another street. It is starting to rain.
7
Cut to A. as he is trying to close a window in the middle
of the night, the cold air blowing on his naked.body. He
finds the window stuck. It will not close.
Voice off:... but then I was a
soldier . . . a soldier is a
soldier . . . and a soldier
never cries . . .
Close, A. wearing a horrible white face mask, a cigarette
stuck in the mouth hole of the mask, smoke blowing out.
Voice off:... he dies.
A. walking faster, hands in pocket of raincoat.
10.
Voices off, reeling by fast:
I know exactly how you
feel, man.
I know exactly what you went
through over there darling.
I'm hip man, you're emerging
from a cosmos of insanity.
Full screen blowup: Eisenhower, smiling, in a golf cap-
REAK H To The Other Side.
Drums starting up. B ON THROUG
Drums fade.
Voices off:
Cool it man, cool it.
Another voice:
See Alexander.
8
Voices off:
It's a fcDl man, who plays
it cool.
(Pause)
A-'s voice, off:
. . . on the loneliness tri?
they all split. Dad's face
I leave behind in the elevator.
Shot.
A's voice, off:
My mother's voice dies on
the telephone. She . . .
Shot of Marina in the hall behind A. combing his hair.
A's voice, off:
splits. I split.
...
Shot of A. in student room at fire, his fleeing footsteps.
A's voice, off:
We all split . . . We all
fade.
(Pause)
My mouth feels dry.
A. passes camera, his back to it,
11. Anthony in coffee shop next to movie theatre,
standing, eating, what he's eating. Beautiful blonde girl
waiting at the counter for her change, catch each other's
eye, the voice on the radio saying:
Drive slowly, don't gamble
with your life, remember . . .
the stakes are too high.
9
A. following her.
Shot of her moving out the door.
Superimposed images of the two walking separately.
Voice off (Alexander's):
. . . the streets are full of
The City is the fear.
fear.
The sfi>dOWS
The wind is fear.
off the buildings are fear.
The plastic people are fear . . .
the silence is fear.
Blonde girl arrives outside her doorway, sees shadow of
A. coming up to her silently, his hands on her neck,
Kissing her cheek, lightly kissing
softly kissing her.
her on the mouth again, his finger gently under her chin-
She responds gently.
Her fear melts into tenderness.
Cut to Blowup (full screen) of Joanna (seen later) in
the woods with a thin Egyptian band shaped as a snake on
her head, her face painted green, not a model but a
member of a strange tribe living in the forests.
12. Voice off, (A.'s):
I wanted to sleep with you
as soon as I saw you.
She is a painter, her comfortable
Set: Diana's apartment.
pad full of large unframed colorful paintings on the wall.
She has long silken white hair, a pale face, green eyes,
is in her late twenties, speaks with an arrogant British
tone. Together they are lying on a rug next to the fire,
10
a lion's head telling us what sort of rug. She is
Her Doberman Pincer
warming A's cold feet in her lap.
is quietly resting on the couch above them, surveying.
Sound of fire crackling.
D-. (answering):
Oh we will eventually. It
takes time. Right now you're
perfectly dreadful . . .
You don't know
you're uptight.
Look
what to do with yourself.
They're beautiful
at your hands.
long creative hands,
Shot of hands.
D .: but they're tense, quivering
as if you'd had malaria in the
East.
Smells him, a bit of disgust in her face.
D .: You're giving off no scent.
You're cold . . .
No smell.
You're clammy.
Shot: painting of black man with large red flaming
D' S
eyeballs, black on red background, an edge
semi-abstract,
insanity to it.
of
A: (off): Wow like some oyster in
his shell on a seashore.
D, (off): No, an oyster is wet,
It isn't at all
damp.
the same thing.
11
Pause, looking at A's e'yes closely. A. not relaxing
with her,
A .: Wow what do I say.
Don't say Wow, it doesn't
D .:
mean anything to me.
A But baby,
l :
(bqoving his head
with emphasis)
wow means a lot to me.
-
Shot of A. at Temple in the Forest, with black brothers,
A. saying with
Slow motion.
in their primitive clothes.
great feeling and adoration WOW (no sound).
D.'s voice, off, the camera returning to her
apartment as she talks (petulantly):
Hide Hide Hide1 Why do you
You don't have
Hide things?
to perform with me . . . if YOU
...
want me . . . be yourself
don't be honest either . . .
there's no such thing as honesty
. . . those who try it inevitably
come off smelling stained.
Cut: Coming closer together on the rug.
Shot his fingers kneading the inside of her mouth,
Shot D. playing with his zipper.
Shot A. taking his brown leather pants off.
Shot dog watching,
12
Shot D.'s face examining his naked body from above,
judging,
observing,
Shot Anthony on his back, his eyes wander to the painting
semi-abstract, examining a butterfly
of a naked woman, also
This painting,
cupped in her hands between her knees.
unframed I grows almost to full screen as camera zooms in
slowly.
D.,off: Now your bones are getting
softer. You have a lot of
bones and very little flesh.
Didpu know that?
(Pause)
A ., off: No, what does that mean?
D *, off: You're not a fish anyway.
Camera has panned across wall to closeup of painting of
black man. The voices Off;
Now you're tasting good.
D.:
You're being yourself.
A .: The fire's out.
D .: Let's go into the bedroom.
A .: Let's stay out here,
Voices, off, trailing into the bedroom:
A .: Maybe I'll go in the back.
D .: No, you may attack me from the
rear, but you will enter at the
front.
13
Shot: door closing on dog who attentive to his mistress,
is circling at the door.
Shot (sharp tense freeze) of D. upthrust on bed, arching
herself, a green scarf clinging by its tip to her mouth.
Ai's left hand, with a leather wrist band on it, on the
In her face, eyes open,
side of her head, framing it.
a sudden and surprising fear -- fear of A., fear of
release, fear of sex.
Shot close on A's face, looking at her under him, curious,
not passionate.
cut. D. naked combing her long hair with a brush in the
mirror above her boudoir, wearing small black reading
spectacles on the tip of her long nose. In the mirror, we
see the big dog lying warily on the bed with A.
You've got a nice body.
D.
You've got nice hands.
But
You've got nice hair.
I can get a thousand nice
bodies and nice hands in this
Therefore, if you're
city.
going to come back, produce.
But a little
Not just a tool.
more of everything: guts, talent,
intelligence . . . and then
together . . . we'll work.
Is hurt, not
A* on bed, hands behind head, listening.
to show it, gets up, going towards bathroom.
14
Oui, mama.
A. (bored):
D. sees him in mirrur, turning, coming towards him aslant
as he moves, black spectacles on her nose, green scarf
tied around her neck, putting herself up against him,
Dog raising
his
tapping buttock with brush reassuringly.
his head, looking at them quietly.
D .: If you are what I think
you are . . . it'll work . . .
we'll run away . . . we'll
get out of the City -..
A- (deadpan):
Oui, mama.
As he says this, earlier picture of Genet full-screen
Blowup, passes on screen through his mind.
A. goes to bowl.
Shot of solitary red rose floating in the toilet bowl.
Shot A. curious about it.
D ., off: I want to watch you
pee.
Shot of rose being destroyed by the urine.
A ., off: why?
D ., off: I'm curious.
(Pause)
What do you want from me?
A ., off:
A. in
Shot, the dog on bed looking at them both naked.
Growling lowly,
at the door watching him.
the bathroom. D.
menacingly.
cut.
15
13. The sound of jazz now, as an increasing
Clash.
We go faster.
senseof unreality envelopes the city.
It's cold, he
Anthony walking the dark night streets.
briskly, driving on in spite of his
hugs himself. Walks
growing fear. Pliles-Davis-type jazz playing off.
Shot of cat (Alexander's cat seen later) from the top,
his striped back undulating, gliding, jumping up, sitting.
Shot of A.'s other cat, the Siamese, sitting, watching the
striped cat.
The former
Shot of the street, a homosexual is digging A.
wearing a fur overcoat festooned with flower patterns and
Xoroccan lace.
Shot of A. through the homosexual's orange-colored shades
(jazz growing intense, into the drums, mimicing his
Orange shades melting into red stoplight.
fantasy-passion).
A. crossing the street at the red light, in the drizzle,
quick image shot ofa speed limit sign marked with the
twin zeroes representing infinity.
Pan across thevine covered abandoned Temple in the Forest
-(used later for second set).
Pan into the cat's eyes, cat's eyes fusing into the eyes
of spade in super-threads sitting at a small table in the
A. is only white
middle of a jazz club, decorated in red.
at the table, with the spade and a couple of heads, each
One brother with goatee very
isolated from one another.
lightly sleeping on his muscles, another softly shaking
his head like a snake riffing on the music, the third, the
16
spade with an African head sitting there perfectly stoned
within himself, eyes open, looking ahead, almost not even
paying attention to the beat.
Shot of candle.
Shot of jazz group leader, close, a slight sweat on his
himself, starting to grow more intense,
face, carrying
playing the same jazz that began the scene.
Voice, off:
Betray: Explode . . . I:
Negative . . . Betray:
Explodef
Quick shot candle.
Shot: terrifying explosion of a mine in a tree (seen later).
A. rising from table quickly, sweating, flushed, treading
Freaking on the jazz, needing
shakily towards men's room
Heavy soul James Brown, coming
something stronger. music,
UP fast on the jazz score, beginning at the moment of the
explosion in the tree . . . Brown moaning "I got the feeling".
Shots quicker in rhythm with new music.
Shots: Sweating jazz leader's face
The blacks at his table, individually
A's burning room back at the university
feet running
His
A. shakily gliding through club to men's room.
Goes in. White walls of john momentarily break his mood.
Shots Two cats locked in the toilet, their feet visible
Snorting.
under the door. Sounds of strong sniffing.
17
Bumping up against the door of the toilet as they hear A.
coming in. One of them saying in husky drugged voice
Yea . . . well a . . .
Shot: A. combing his long hair in the mirror with the
light blue comb. Closer.
Shot: A's calmer face.
Shot: A. in his forest threads, his hair longer, in the
forest, combing his hair with a small jagged pocket mirror.
His face reflected on a jagged screen.
Long shot from side of in woods combing his hair.
A.
Shot: same explosion. James Brown beginning all over
again *.. I got the feeling!
Shot: A. dancing to the music with a colored chick, alone
in his apartment, working it out. Both dance well, fast
slow, never strenuously.
Superimposed images: A. back in the jazz club
Candle
Jazz man swinging
His books and papers in flames
Smashing his photograph (seen later)
Cat, moving, watching
14. These superimposed images fading, A. and the girl
dancing to the music. I Got The Feeling peaks.
cut. No sound but that of the rain falling on the streets.
Still night.
A. getting out of the car at the corner.
One of the brothers, with the goatee, driving in the front,
the spade next to him, in the back in the shadows the third
The window wipers rubbing the
head, very high and silent.
windshield.
18
open, talking to brother in back.
A. keeping the door
Listen man think we're
A .t I
on two different trips
tonight and wow . . . it's like
we're still circling each other.
Brother in back, shy smilk-ng, not quite looking at A.
Well you kfiow how it is . . .
3rother:
we all got our secrets --
the man at the wheel's got
his. I got mine.
The
Shot of driver looking out at the rain, bored.
spade next to him adjusting his scarf.
A. looking at brother in back.
A .: Would you like to come up
We'll get so
to my place?
high, we'll have to unite.
Brother (still shy, elusive):
. . . Well it's getting late
and we gotta be at the Man's
Fe got your
in the morning.
number. FTe.11 give you a ring.
(Pause)
A .*0 Okay, man, have it your way.
Brother: Keep it cool.
A. closing door to car.
Shot of two in front looking ahead through the wet
windshield.
Car driving off.
19
A. walking through a cloud of steam rising from the sewer.
15. A girl in motorcycle gear (same girl who later
as member of the tribe is killed by Bunny; some
distinguishing feature so as to be recognizable) looking
closely at Rodinls sculpture The Kiss.
Voice, off:
I never knew why before,
There's
why it was so beautiful.
no sex.
follows her gloved fingers as they probe the area
Camera
of the male's missing parts.
16. On a wall
A. coming through the steam cloud.
A cop
behind him is painted "Freedom For Italy's Young!"
in a blue overcoat with a stick is leaning up like a
prostitute against a building down the street, trying to
keep out of the rain. walking past him.
A.
Shot: A. trying to close the window in the night. It
won't close.
turning his face -on Anthony, coming out of the shadows,
Cop
taking his cap off, long white hair tumbles down from the
cap. A. sees Diana, dressed in blue. NO look of surprise
in A.* s face, rather an acquiescence to the fear. He sees
what happens to him, not as unreality or dream, but as
objects of fear. Only later, does this Fear fade into
Dream.
20
17, Voice off, Ibther's regalvoice, previous scene
dissolving into bedroom of Mother's who is in bed looking
like a fiery wreck.
Mother, I just don't know I have
pains all over my ears, my
eyes, my spine . . . I can't
tonight I thought I
move -*.
was going to die.
Oh I'm suffering Anthony since
the East,
you've been back from
you leave this apartment in such
a mess, you're a pig! I can't
have it . . . I'm going to . . . Oh
IRm in pain it doesn't matter.
want my place impeccable all the
I
do you understand that?
time,
A * I distracted, flicking his cigarette in the waste basket
at his mother's bedside. Fire erupts immediately as if
gasoline had been soaking the trash. Mother shrieking as
the red flames jump up and block her off from A. Through
the fire, her voice:
I4OTHER: Oh you fool, you've put the
place fire.
1'11 go and tell father.
A.:
18. Shot of father sitting cross-legged on a divan
in an afghan-type robe, smoking long Turkish hashish pipe.
21
Father's voice, off:
My son, blessed be the stars
that bring f7ou to me.
-
Cut to A. picking up his young boy's face,
19.
encased in a photograph frame and throwing it out the
Father in robe behind him,
picture window onto the street,
looking off distracted somewhere else.
sound of breakage,
Long shot from above of it dropping. NO
His face in the street, the rain pouring down On it.
20. Cut to shot of telephone.
Telephone voice, off (soft):
Keep it cool.
Cool it man.
Slow fade.
21. This scene done in deadpan semi-documentary style,
mostly medium and long shots, Anthony treading lightly
into the subway, no longer wearing raincoat, but looking
more like a cat, wrapped in a light beige wool overcoat
down to his knees with hood which he has over his head and
light-blue sunglasses over his eyes, tan warm tight pants
It's about two in the morning
and heavy warm moccasins.
and the underground station is deserted save for a colored
cat well dressed in a silk scarf and wearing light-pink
shades over his eyes, leaning up against a tier on the other
side of the tracks.
Long shot of them across the tracks from one another,
22
glancing through their shades at each other, unconcerned.
An utter silence,, A. casually strolling back and forth.
Advertisements on walls for soups, intermixed with posters
Dean. Dette Davis.
of people's faces,blownup. Brando.
Superman, Batman, Wonder Woman-
Edward G. Robinson, etc.
A. stops at Blowup of The Silver Surfer.
Walks on. Shot of him through colored cat's
light pink lens across the tracks. A. reading a Poster:
Believe That Love is the Greatest Thing
w I
in The world; that It Alone Can Overcome Hate, That Right
Can and Will Triumph over Might. " --John D. Rockefeller Jr.
As A. reads the poster, a whistle down the tunnel.
An express train whistles by, shot of moving people's
Express disappears.
zombie faces shooting by in the night.
Utter silence returns; whistle from down pedestrian
corridor. Ri'ch croesus-rockefeller type emerging dressed
He's old with grey
in rich furs, a red flower in his fur.
Walking back and forth near the
hair, distinguished.
tracks, a bit nervously but detached and rich.
Puts a pair of light yellow shades on, looks at
A, on his side of the track and the brother across
the track, Sees them both looking at him with their
variously colored shades (shot of them through his yellow-
He doesn't
shades). Puts them away.
He takes ihem off.
like them.
shot of rich man pacing through A.'s blue shades
23
(if in black and white, a frontal view of A. looking is
good enough) and then through the brother's pink shades.
Suddenly train whistles down tunnel, coming down
A.'s track. Then brother's. -Train
Shot through A-Is eyes.
approaching, screaming. Shot through rich man's eyes.
Nervously pacing at the very edge of the track. Roar of
train. Rich man jumping head on into the tracks. Roar as
train goes by, pulls to a stop. Long shot A. casually
getting into subway. Shot of brother, left
Pulls away.
alone. on subway platform. Watching the train pull out.
Train through his pink shades. Looking at the bloodied
tracks. Do not see what he sees. Camera on his unsurprised
eyes. Greys can kill greys.
22. seated, a white wall behind
Solitary shot. Woman
her. First shot, her beautiful legs. The
Tilting up.
face and body of an old woman. Staring at the camera.
23. Blow Wp Pull Screen of Mureyev. Momentary.
(Nureyev the ballet dancer)
24. Shot A., narcissistically examining his own face
in the mirror , proud that it is icy. Trying suddenly to put
expression into it. Not satisfied.
2s. Cut to Anthony throwing his photograph into the
street (seen earlier). Slow motion as it descends onto
sidewalk, shot from above. Shot Nureyev's face smashed in
the street.
24
26. Anthony in a stark white walled toilet, a violin
Anthony
softly playing off screen a classic Mozart melody.
writing with pencil on wall in large capitals:
To Be Real!
To Feel!
FREE!
(semi-documentary effect to this scene)
Camera dwells on Free.
cut to
27. Some stock footage out of the great fencing scene
in The Sea Hawk (1940) with Errol Flynn battling his adver-
sary in the castle, their two huge silhouettes leaping up
on the stone wall behind them.
Its effect camping the seriousness of A.'s feelings perhaps
This
implying his own ability to see himself comically.
ability being what makes him go on and not give up, the
difference between him and Alexander.
Violin is still playing through this scene. Footage is
cut at the moment Flynn kills his adversary.
Violin continues.
28. Camera panning a park, discovering Man in the
Cold, in the day, not raining, his head in his hands,
looking at a small fire burning in wired trash barrel.
a
Dwells on him.,
A dime mister?
Voices off:
A: If you need bread man, steal it
(pause)
25
A: (cont'd): Can I steal it from you?
(pause)
Here, take this key . . .
(low mumbling follows and fades)
29. Shot of father in business suit, speaking
Scene
on telephone, his arms gesturing, angry, disgusted,
done in silence except for violin which is still playing.
Pan from father's gesturing arm across to his
looted apartment, drawers on floor, food eaten in kitchen,
liquor bottles open, the mirrors stolen from their frames.
Pan across his library full of rich leather bound
books, left untouched, Panning across this, camera comes
to a young boy with long hair (Anthony) in a Cardin-type
suit playing the piano (the same child is seen later as
Anthony's own child). The off screen violin fading, and
Anthony picking UD the same gentle melody on the piano.
Camera not stopping long at him, keeps panning to his
young ITother, much younger, virginal, in a long dress
reaching to her ankles as in the early 50's, looking in
profile out the window at the garden, an afternoon sun
shining.
(soft, a boy's tiny voice)
Voice off:
The world is sorrow, nothing more,
and in its bosom I play . . . the
practice of my heart.
Camera panning out to the garden. Dissolve very slow.
26
(off 1
30. There are no Truths outside the gates
of Eden.
Shot of
Shot: unframed blowup of Dylan on wall.
ALEXANDER'S back on side, looking at pester, hating just
spoken this. Turns around:
I was what you are . . . I am what you're
going to be.
Alexander, handsome all in voluptuous black, walking
This
away from poster, down a few steps, into his apartment.
scene, as very important to the
well as the apartment, are
theme of the movie, Alexander being a throw-back to the
A blow up
feelings expressed through Words, through Poetry,
Of Dylan in his apartment and a romantic unframed portrait of
Anthony,
Rimbaud, the young French poet he identifies with.
in the apartment with him, is more modern, more uncertain Of
his symbols (so far Genet, Movie Actors, Vogue and Glamour
Models being his only glow ups; he makes Alexander's trip here
in the Apartment and later again one last time, in Prison,
where Alexander's destiny is unfolded along with Anthony's*
Two different roads, but sprung from a similar source.
Alexander's dark brooding clothes accentuate the
idea of a modern bewildered Hamlet lost in a sea of words in
a world where Words are dying.
During the course of his monologues, the camera Will
pass through his Apartment, picking up objects such as his
two cats, one striped, one Siamese, the paintings, the blow-
ups of Comic-Book characters Alexander has but on his VJall~
27
a poster of Jim Morrison of the Doors, and several large
plants (optional) -- and flowers. The Apartment's colors
could be plain white and black, either black walls and
ceilings and bright white furnishings or vice-versa, but a
Plastic
stark contrast between two schemes, old and modern.
white chairs, bubble tables with neons glowing on them,
abstract portraits, that of Rimbaud could be semi-abstract
red and green, contrasted to this single classic furnishing --
Alexander -- all in black, pacing through his large one-room
apartment studio. A picture window looking out on the
dark city way below. Also a fireplace above which hangs a
torch. Not an Apartment stressing Wealth, as Alexander is
beyond it, almost mythic to Anthony.
As written, the camerats effect is to circle the
room time and again 1 panning the objects as the spoken words
themselves encircle themselves.
The Siamese sits in a white plastic chair, looking.
The striped cat is on the move.
Alexander gliding past his objects, finding a
cigarette, Anthony is sitting across
lighting it, standing.
from him in a chair, dressed in a light motif -- contrasting
to Alexander's black. Looking at Alexander, Anthony in his
clothes looks like he's burned his lar;t candle.
Alexander looking at him, understanding::
(softly) What's happened, Anthony? Tell
me.
A, pausing, shrugging, saying "Oh" like the French
say it. Lighting cigarette. Camera wandering away from him-
28
His voice off, soft, almost an interior monologue:
Strange things happen to me .-- feel like a
I
little boy inside a crazy crazy city, trying to close a
window . . . and the window's jammed . . . (Pause) .-. I keep
having accidents,
Camera moving around room takes in another Anthony
sitting there, in another outfit, spilling champagne on
himself, camera continuing past him as if nothing has happen-
ed. Quick cut to A. flicking the cigarette into his Mother's
wastebasket but before fire can erupt, cut to sight pf auto-
mobile accident, an anonymous body lying in the street . . .
Cut to A.'s face close, worried:
I met a girl yesterday in the park . . .
I was walking my Mother's dog.
Shot of A. in the park walking his Mother's little
Diana walking her Doberman. The Doberman swarming over
dog.
A.'s dog. Talking
Diana berating her dog. Leashing him in.
A. talking to
to A, who holds the little dog in his arms.
her. Both talking.
I: didn't know it then . . . but she was
the law.
Shot of Diana, her long white hair, in the blue
policeman*s overcoat, her voice off:
You may attack me from the rear but You
will enter by the front,
Fading into her freeze in bed, the green scarf
clinging to her teeth by its edge, draped on her bosom, the
29
fear of release written in her eyes:
. . . so I was the thief (&net B~CJW UP)
explanations, in contrast to Alexander=,
Anthony's
are mostly made in images:
... cop a cigarette case from her.
I
Shot A. leaving her apartment, taking a gold cigar-
ette case.
. . . she sees me . . . (D. sees him) . . . she
pretends she hasngt.
Shot Diana acting as normal, the dog still growling
at A., soundlessly.
. . . says goodbye . . . says call me soon . . .
knows I won't . . . I stole . . . I'm caught . . . I don't return . .
(pause) . . . she adores it . . . I do what she wants . . . she's
a thief . . . doesn't know it. (camera dwelling on Alexander's
portrait of Rimbaud) . . . she paints . . . she steals . . .
Shot of full screen of Diana's painting of the
woman and the butterfly. Shot A. photograph, similar to
Shot
Genet's, in a t-shirt, looking sensitive and a thief.
A. close, talking, blowing cigarette smoke out mouth.
. . . but she doesn't admit it . . . stays a
COP . . . loves . . . like a cop.
Shot Diana in bed, freeze, green scarf, etc.,
fading into shot of red rose sitting in the toilet bowl,
slow fade.
Alexander: But you're not a thief, are you?
Anthony, looking up at Alexander. (Pause)
Alexander: Any others?
A. mood, starting
changing to smile:
Oh . . . I met this crazy chick at an auto-
mobile wreck .., (shot of same wreck, seen previously) . . .
she takes me home to her place ,.. we talk . . . she's incredi-
bly warm .-. we go to bed . . . then very suddenly ehe says,
do you like to dominate or be dominated? . . . I say it doesn't
make any difference . . . I don't think about it . . . she says, I
want to beat you . . . okay ..* she weighs about a hundred
pounds . . . it's passionless . . . I feel foolish . . . she says,
man, you're so square . . . beat it .-. beat what? ..- get Out
of here! . . . she throws a boot at me (shot of boot hitting the
wall next to A.)
Closeup; A's face:
We just couldn't get together . . . (pause)
(A. reflecting) . . . You walk around and you meet so many
squares you begin to think you're square ,.. then sometimes
just everybody's out of his head . . . then YOU
you think meet
the freaky obsessed ones like that chick . . . snake people,
cat people, dog people .,. (pause; closeup A.'s face) . . .
and YOU just don't know where you're at.
punish yourself-
Alexander: (a tender look) YOU
A: this crazy chick
Yeah, that's just what
said, Why do you punish yourself, That's what they always
say when you want to find something and you're looking very
hard. You'll it) anything just to
try anything (emphasizing
find out, and if nothing is available, you go out and force
A, in street, walking) and because YOU
yourself to look (shot
31
force yourself, these crazy people pin a label on it --
Masochist, why do you punish yourself?
Alexander: So now what?
(pause)
A: (shrugging, shifting mood)
(Camera dwelling on timbaud, shifting
to the Comics) ...I'm sick of sitting in movies . . . there's
some kind of real war in the East . . . they need men . . . I
need new faces . . . It11 enlist.
Alexander and Anthony, looking at each other. A.
going on almost in apology:
.e. the money's good, you keep what YOU
take . . . you find out . . . if you can kill . . . if you can't
(shrugs at his own morbid
.-. (pause) . . . do you get killed?
thought),
A soft
Alexander picking it up-
Telephone rings.
feminine voice, husky, saying over the phone:
Is Diana there?
Alex&tier: She's gone,
Is she coming back?
Alexander: No.
This is Luna. How are you, Alex?
Alexander looking at wall, reflecting, hesitant
about something. The voice continues:
I have a partin a
I'm going to the East,
Will you still be
new movie of Godard's, I'll be back.
here?
Alexander, looking puzzled:
I don't know.
32
Alexander hanging up, pacing to front of abstract
Able.to be read:
lettering hanging on a canvas on the wall,
"Painters paint, Writers write, Poets sing, Killers kill (read
by camera going down from line to line).
Alexander turning away from tableaux, asking A:
Are you a killer who kills, Anthony?
(going on) You have never . . . ever ,., betrayed yourself to
me .., ever, it's sad that you're this way . . . you insist
really on being your own hero in your own little tragedy.
Shot: face. His offscreen voice:
A,`s
Words
The images begin. Four quick images from Anthony's
mind tumble on screen, each image running through his mind
with a click, as from a slide viewer:
1. A. killing the anake with his knife (seen later).
Shot from A.'s
2. A. as sole survivor of massacre.
shoulder, of desolate stream bed in the forest (seen later).
In profile.
A. being decorated in dark shadows.
3.
A dark hand in a greta garbo glove putting an orchid on his
afghan-type uniform.
The silver bird (airplane) flying across the
4.
sky (seen later). Silver bird on airfield runway, stopped,
Alexander,
the door opening. Parents,
The hero returned.
Diana, others there. Four strong black brothers in furs
bearing a pink marble coffin strewn with yellow and black
flowers from the plane. Shot of horror on Parents' faces-
looking
Diana
Alexander bowing his head, tears on his cheek,
hard, offended by this heroic act.
33
Images end.
Alexander: . . . I don't think you know yet whether
you want to live or die.
Close shot A's face. Pause,
(becoming hard] . . . I see before me with
A:
my eyes. I see a Siamese sitting pn a chair (camera follows
these objects he mentions) . ..I seeposters of Dylan---Morrison`
Superman . . . people with secret identitie . . . I see a library
full of exalted expectations -written by people who've been
eaten by worms .-. I see a portrait of Rimbaud . . . young,
tender, bold . . . (camera dwelling on portrait) who after all
his travels and adventures was delivered back to the beginning
dying of syphilis
into his mothergs arms . . . (bitterly)
l . .
. . . and I see one writer (camera directly on Alexander,
humbling him, beginning to reveal his identity) - He
wrote a poetic book at the tender age of
eighteen. He's lived inside these
He's done nothing since.
four walls for more than a year now wrizing to all hours, dream-
ing thinking imagining having his women around him like little
insects, and without knowing it himself, becoming an ultra-
sensitive, very tender plant,
An interior
This wounds Alexander. A long pause.
monologue delivered offscreen between the two of them, in
urgent, intimate whispers, something they might have said to
each other before somewhere in the past:
(soft, said quickly) . . . when I die will
A:
Will you let me in?
I see your face at the Gates of Eden?
I don't think I'd let myself in.
Alx:
34
Camera which has been panning the room during this
short interior dialogue, returns to Alx. who is talking more
to himself in a wistful vein:
It's
We really live like plants though.
the wordless part of ourselves where things just happen to
us .., we're hard on our animal selves, so hard, and we travel
such a long way, looking at Dylan blow Up "it's so hard to
very few of us young ones ever
get on" . . . and so few, SO
really make it, (Turning to A. After a long pause) I've been
here tco long--. like yousay.. My mindistooloose, my legs
.areinstagnantwaters- Last night...1 took mylasttrip,..., I
asked my -.,"insect woman",--to leave me-.-She did-
Shot of A. listening to Alx's conversational story,
imagining it. Alx on floor in lotus position, Diana, his
Diana, painting ~1~'s face with long snaky luminescent colors
Alx
sprouting from the eyes, the nose, about the forehead.
She
looking very Indian, very intense, about to be brutal.
is finishing. stands, looks in the mirror, says something
He
to her, looks at her tenderly. She leaves,
A: . . . as soon as she left, I set my Poems
and my books, everything on fire (shot of flames seen in
same 1) . . . it was everything I had done #is last year we-
I took a bag -- writing -- and
but it made no difference.
went to the end of it, as far as could go, and you know
I
All else had
what I found . . . I found nothing but myself.
fallen -- Truth Illusion, whatever it is, and The Dream had
very suddenly come down to an inescapable almost implacable
35
unmerciful factor, factor-inanition One. Me! . . . I, like some
poor poet would say, had punctured by beautiful beautiful
quintessence. Quintessence is a lung. Bang SSSSS.
He hisses. Walking to a flat table designed as
a chess board, with the pieces on it, all of them white, A~x
picks up a castle in his hand, rolling it over, saying a bit
more gayly:
Alx: So I started playing a game of chess with
myself today (turns to A.) it makes sense . . . (camera on
the all white chess pieces, A~X replacing the castle) . . . and
I shall play until I've completely lost track of which piece
belongs to which, of what belongs to what, of who belongs to
who . . and then when the game is over (he pauses) . . .
You'll what?
A:
Camera on Superman Blow Up, shifting to one of
Tarzan.
Alx: You know, Anthony, what the most beautiful
dream in the world is . . . it's the iris of a glistening green
serpent snowfloating on a film of mosspink water,
perforating pupil gazes at your naked back, it slices
its
through the fluid brim . . . it goes on and on, fingers of the
dawn.
A.indifferent to any meaning Alexander attaches
to it:
words.
These are just
A: I don't understand.
Words fall out of
Alx: But words are thoughts.
the sky like this rain. They glide from street corner to
36
street corner *.. (Camera dwelling on cat, the striped one,
moving, the Siamese looking at him, the cats play a little
game as the monologue continues) . . . thinking, there's
always one more word* one more thought nonetheless, isn't
there? Train of thought. On the last
On the next corner,
corner. I pass. What was it?
I go. I passed it by. YOU
search, You fail, You wish perfection in the mind, YOU
are close, closer , yesterday but one, tomorrow but one, SO
close you are almost there. Tomorrow! It collapses and
where are you? Thinking, dimly thinking. On and on, through
a threnody of streets, through words made of rain. (A.
looking at the Rimbaud portrait).
Interior monologue. hollow distant boy's
A
I
I wrote the inexpressible, I fixed frenzies in their flight.
I purged my mind of all human hope. strangled joy. 1
I
pounced with the stealth of a wild beast. called to the
I
executioners. I gnawed their rifle butts as I died.
Oh! the banner of raw meat against the
silk of seas and artic flowers. veerings of chasms!
Music,
and the clash of icicles against the stars (pause) I*11 re-
turn with limbs of iron, dark skin and furious eyes; people
will think to look at me that I am of a strong race made-of
I will cover myself with gashes, tattoo my body, as
gold.
I'11 howl through the streets.
ugly as a Mongol, you'll see,
37 1 will be raving mad and never work and never show my jewels
- . . . and one night (pause) the demon will seize me. and embrace
me and we will wrestle on the floor and one night I will lose
and come to regard as sacred the disorder of my mind1
Shot of Anthony's face, closer up, closer, his face
dissolving into the trees blowing in the forest right after
the explosion (seen later),
Shot of Alexander, looking out the window down at
the city. Goes on talking. As he talks, camera casually
panning Anthony as he rises, puts his coat on, and leaves,
He has be-
to go back outside (to the street) which calls.
Alexander
come really just another object in the apartment.
His back is
accepts his leaving without saying anything.
The camera alter-
turned. He is speaking as if to himself.
nating between the Apartment and the rainy street Anthony is
walking down,
Last night I was alone
Alexander: (his voice off)
. . . at the musicend of death .,. staring flatfaced into a
pond . . . the sea, the ghosts of the lungs . . . the promise of
things to be . . . A bony damp cavern where women grow like
in the night,
seaweed from the sea, they owl iboo iboo. cry
her hand like an edge on my isolated shoulder -- so sweet as
I rest, in her breath in her breast my head on her shoulder
and weep. Weep Weep! (shot of Comic Book Blow Up fading to
shot of Anthony chasing Joanna through the woods, seen later)
. . . the fingers of the dawn they weep . . . all is seen through
an eyeccave of bonepillars that redound . . . percussive 0-m
38 . . . porous . . . stumbling towards spectrum . . . slipping on
sound ,.t eating air. I tell myself, reminding myself, it
is wet in my shell, in my strong, strong shell, it is wet and
0 now I feel . . . I feel the days melting into years and light-
years liquidating the years and time itself crumbling . . .
through the lungs the ghosts sing, their songs carry into the
air, air atmmsphere, air all about (shot Al%% face, quick
Cut to A. emerging in the street, sniffing gratefully the wet
air) . . . air air, fixed and silent, how silent . . . long
silences inhabit this air, the drip drop of it in my ear, in
the air perched, sounds, tedium's sweat, like the movies, a
forgetive imago, in black and white and chevied with chiaro-
Yes --
scuro . . . and in the zoo it takes two days to say Yes.
the only word that matters in the language . . . it's in Eden
. . . Yes.
A. walking down a street hooded with construction
On the wall painted in red are
timber, the walls in blue.
the words, Freedcm for Greece!
Alx: (concluding) Out on the ocean (slow shot
of ocean late just before the sunset) when it is green and
desolate and cold, and the big waves come up (slow shot of
Seagreen blue
waves rising and falling) out of the emotion.
water, Thrashing on the skull . . . I dip my face inwards
(Camera panning to an anonymous youth floating by himself in
the water) and float my starved eyes on the wide window of
the sea. And lull my eyesockets to a wide-eyed sleep . . .
strange sample of the sea, transfusing the spark of ingenuity
39 (shifting, asking) there is no ingenuity in the sea is there?
... I wonder: what sharks are poised between here and there,
what fish lie lonely under the waves.
Shot A. walking, back Cut to Alx.
to the camera.
looking in a mirror , puzzled, perhaps realizing A. has left
and he is alone, his words are much slower now:
A face . . . is a face . . . nothing more?
The end of Truth . . . is this face? . . . (pleading, his voice
off) flee the fugitive dream . . . it glistens in the moon . . .
it dances on slithery serpents (shot of slithering snake in
(Shot
theTemple . . . by rushing waterfalls.
(seenlater)
Squeezed inwards by
the stream in the forest, seen later)
flesh-fed pythons that coil slimes of eternity about my eyes
(Shot Anthony being bitten by the snake, seen later) and . . .
To die . . . to
forgive, forget . . . free to finish my hope.
be - . . . no more . . . Dead!
me (both question and exclamation).
Shot: Francis at the stream, dying, seen later.
Cut to Alexander's sad face. Alexander approaching the end,
which is played out later in Prison.
street, these words following him,
Anthony, on the
He's tired, exhausted, worn
leans up against the blue fence.
out. His offscreen voice whispering, fighting off the
desire to give it all up:
Words . . . just Words wrapped around
Words.
Anthony in the
Dissolve to Previous Scene 26.
bathrobe, scrawling on the wall with the pencil:
bleak white
40 To Be Real!
To Feel!
FREE! (But instead of the previous semi-documentary
style, this scene is shot again with a closer, realer camera,
catching the strong desire in Anthony to achieve what he
writes.
Dissolve
Forest - Stream - Temple
The City
Time and place and worlds have changed.
has been unreal, frightening. Here a much more relaxed
primitive world -- that of snakes, slow quiet, but suddenly
Anthony moves
very fast, very violent, and very dangerous.
from the Fear of the Cat into the Dream of the Snake. He
And never for-
will be bitten by it, and he will kill it.
getting it, will journey on into the final, deep-sea world
of silence. Then Freedom.
A, has gone to the East to fight with the mercenary
He's part
soldiers against the wild tribes of the Forest.
of a small detachment of fifteen-twenty men resting deep .
in the jungle-forest of a small old abandoned Buddhist
temple. The relics are broken, the statues on the floor,
mixed with the mercenaries' light individual equipment --
41 rifles, small knapsacks, grenade belts. In this temple
Buddha still stands , some stray unknown forest people still
coming to worship here, There are fresh joss sticks burn-
ing. Several mercenaries, mostly black in their early
twenties r are inside the temple, sprawled on the floor on
their ponchos, a small fire going. One is sleeping,
another reheating a piece of meat; they have killed a wild
deer and his half-eaten corpse is still slowly roasting on
a stick built over the fire. Several of the blacks are
smoking the Forest Hash which they are passing sound in
They wear an
two pipes which are very long and beautiful.
individual mixture of uniforms although their pants are all
If they wear
the same -- light tight-fitting breeches.
shirts -- several are bare-chested with medallions (Bud-
dhist, Christian, sharks' tooth, other designs) and tattoos
-- the shirts are loose, some of them ruffled, and mixing
with the camouflage of the jungle -- green and tan gold,
Some wear head bands around
black and white striped, etc.
their long hair, silver bracelets, beads, one wears sun-
glasses, another brother with a thin hawklike nose wears
a black bandanna tightly wrapped on his head, as if, like
the other brothers, he was just off the city block taking
This is to be kept in mind for the
a trip in the Jungle.
Fate that befalls this outfit results from the fact that
they are not really part of The Forest.
Very few of them
spite of their disguises, from The City.
will be able to survive the primitive ordeal of this world,
42 Though th@ outfit has been several weeks in the Forest,
the blacks have no beards. A small transistor.radio plays
inside the Temple and two of the Brothers are dancing
softly to the sound of soul music.
The white world is for the most part outside the
Temple, sprawled about it in the thick grass, relaxing.
Some have beards, others have shaved, but their faces are
hard and dirty, dust and dirt is deeply ingrained in the
cracks of skin, Anthony is an exception, he has kept him-
self clean, his beard barely visible, although there are
small lines of fatigue under his eyes and a small scar
under his left eye, the result of a previous wound, not
serious. He tends to rub it occasionally. Ironically, in
the war, he has become even softer. Time has crumbled:
he is spacing himself.
The contrast is made then, by camera CloseuPs,
of the black and white features, The Blacks are tenderer,
softer. The Whites are tired, cruel. The blacks Sing-
Dance. Although inside they are as blue as the sky, and
scared.
Opening Shot (set to Music, contrasting to the
World of Words Anthony has just left behind in the City.
31. A black soldier with rifle and grenades, but hat-
less like all the rest, is striding through thick elephant
grass and thicket, the camera with him as he walks, catch-
ing the effect of the green elephant grass splitting apart
43 as he walks, the sun gleaming through the trees, almost
moving with him, seen and then not seen and seen again.
From a distance, inside the temple, on the radio, Sam
Cooke's song "Cupid" is playing loud, and sort of sad like
all Cooke's songs , giving a texture of music and sunlight
to his walk.
He breaks through the thicket into the crystal
clear sun shining over the tiny clearing around the
Temple. The Whites sprawled about.
As he breaks through the thicket, Anthony, wear-
ing silver bracelets and a Buddhist medallion around his
neck and a ruffled dirty shirt, his hair unkempt, longer
than before, is taking his picture from a distance through
a telephoto-lensed camera, which for the first time, he
A. snap-'
carries with him, Radio still playing "Cupid".
the shutter again. Photographic freeze of Robinson
ping
and Anthony's first use of his eyes
(the soldier), XUS~C
are themes inherent to The Forest.
Camera on A. as he moves about the clearing,
pictures of the White soldiers. Their photographic
taking
freezes. Introducing their hard faces.
A. shooting Lee, who is at the head of the out-
fit (later described).
A. shooting Bunny, the youngest soldier, who is
handsome and tender looking, though later his actions
describe him as stupid and cruel.
A. pausing, walking a little bit further away
44 from the temple.
* Isaac, a
A. approaching from a distance moder-
with sharp attractive
ately tall, slender, muscled Indian,
features, no beard whatever, his long black hair curling
down over his forehead, could look like a little boy but
he stands there away from the rest, sharpening his long
glistening hunting knife. His chest is without hair and
he wears a thin loose-fitting vest of black cloth hanging
from broad The way he sharpens
unbuttoned hLs shoulders.
his knife, with stone and cloth, it is obvious this is his
most important possession.
A. raising the camera to his eye to take his
, sees Isaac raise his head
picture. Through the lens, A
Shakes
as he feels the camera on him. Looks at camera.
his head. Turns away from the camera-
A. walking back into the Temple after his trip
32. the scene in the Temple as described
into the white world.
Two Brothers.dancing to the music- He
previously,
stops at the threshold of sunlight, thinks about taking
in here cannot
can't, this wrld
a picture but knows he
goes and sits by Francis, a brother
be photographed, He
has tender features-
He
who is very close to Anthony.
A. listening, smoking the bowls as they come
directions.
around, from both They are all feeling -very
nice. On the radio, Smokey Robinson's "Tracks of My Tears"
45 is playing, and as the two brothers dance, Francis, who
has a very high singing voice, though not as good as
Smokey's whom most people mistake for a woman he sings so
'tenderly, starts to sing with the radio:
People say I'm the life of the party
cause I tell a joke or two
Although I may be able to laugh loud and hardy
deep inside I'm blue
So take a good look at my face
You'll see my smile looks out of place
If you look closer
It's easy to trace
The tracks of my Tears
I need you . . . Need you
Since you left me, if you've seen me with
another girl
Seeming like I'm having fun
although she may be cute
She's just a substitute
because you're the permanent one
So take a good look at my face
You'll see my smile looks out of place
Look a little bit closer
It's easy to trace the Tracks of My Tears
etc.
song, his brand of blues, the camera
As Francis sings
closes on him; in the backdrop, Buddha sits.
46 As he sings, the rest do not look at him sing,
they know he can sing, they've heard this song a hundred
times, they know it too. They lie where they are, look at
what they do, and deep inside, where it's blue, they listen.
The two brothers, on their feet, dance slowly, a
gestures with their hands about shoulder level, and
few
their feet moving in a tiny circle of tenderness,
The pipes continue to circulate, Francis even
interrupting his singing momentarily to smoke, hold, ex-
He is not performing, he is
hale, and then sing again.
just singing along. The smoking of the Hash naturally has
some relationship to the surrounding dream world of The
Forest, but isn*t really significant and like the singing,
is very casual , going almost unnoticed by the camera.
The song ends.
33. Camera dwells on Buddha at peace, another long
The camera moving to
afternoon in The Forest drifting by.
Adams who is very high, off by himself in a corner of the
temple. He is one of the whites, wandering through his
head, his low interior monologue . . . The monologues here
are done swiftly, voices following quickly on other voices.
Adams: {off) There's no entertainment out
here. There's no movies, no shows . . . no girls . . . I live
in a beautiful world .., where things don't make any dif-
ference. It will take them a long time to come where I am
at . . . maybe they think I'm crazy . . . but I'm not . . . I
have friends.
47 Camera moving from Adams to the ones he calls his
friends. To King, who is the biggest brother, very black,
with big white cotton picker*s nails. His large pink hand-
some tongue, as he says:
Adams: The King has a pink tongue es. He says
he eats a lot of chicken *.. there ain't no chicken here
.a. in the forest.
King's voice off following quickly on Adams@:
King: Cotton is easiest to pick, it's tall,
I could pick 600 pounds in a day.
Camera on Francis who's talking to Anthony,
b
Camera moving to King,
Francis: (voice off) There's nothing harder than
a hard Mexican, ain't that right man, Anthony says there
ain't nothing harder than a hard Mexican ..-
Another Voice: (off) How old are you Anthony?
Ageless,
A. Francis: As old as water hunh?
All these voices are off.
Adams: Francis got soul . . . he got it in his
voice . . . he got it just all over the place.
(off - following quickly on Adams') Z:
Voice:
myself to sleep at night wondering what it's all about.
cry
Voice: Candy,
Voice: Is that what she calls herself.
Voice: No.
Voice: What she call herself then?
48
Voice: Louise.
Voice: Louise?
Her real name's Daisy filae.
Daisy Mae? Daisy Mae what?
Another voice: Daisy Mae Highway.
Shot of Manny chuckling, wearing sunglasses,
very skinny and nervous.
Manny: Louise . . . Almond Joy. (chuckling)
The rest picking it up, (chuckling) off:
Veronica . . . Big valley
Lili *.. Jazzfingers
Patsy Pinkbottoms
Irma Greasepit
Olive Oil
tit fades)
Camera to Adams examinging a photograph of his
girl at home, who is fat, his voice off:
I miss you baby .., I miss you so
much . . .
Hey man, put your woman away .-. we
Voice off:
got a long walk ahead of us.
Camera on A. who is smiling having just taken
part in the name game. Scratches his scar.
(off) I used to think he was crazy .*.
Adams:
he was always taking pictures with that camera . . . really
he's very kind of smart and is good at it too . . . once he
49 told me when I asked him why he took allthcse pictures, he
said he'd never used his eyes before . . . he says this
wasteland is beautiful . . . that's what makes him crazy . . .
talking like that . . . those kind of people never seem to
get killed though . . . he got grazed below the eye . . . we
thought he was dead . . . somebody somewhere looks out for
him 0.. me I'd never used my ears before I came to the
forest . . . I'd like to write when I get out, I'd like to
write down what I hear. First I'd go back and get some
schooling and catch up on my spelling . . . there're a lot
of questions I have but they'll probably never get answered
. . . like how high is the sky, how many flies there are in
the world . . . how do they know people don't live in the
stars?
As Adams is wandering around in his head, camera
moves from A. to Jeremiah (called Rhah) who is strutting
up very confidently, his walk snake-like, all waves, un-
dulating. He looks older than the rest, his Origins seem
He speaks with a slight
obscure, probably from the South.
Southern twang. He's white.
arriving, standing above the relaxing group,
34. Rhah
over, a slight malicious smile on his face.
looking them
Francis looking up, smiling
What's happening Rhah?
pausing, fixing the whole circle in his
Rhah,
eye, settling on Buddha for his address, smiling:
50
Rhah: I'm what's happening and if you don't
dig me, Your shit is hanging in the wind, that gentleman,
is what say ..- Baaaaaa (he delivers this last like a
I
growl, a neigh, implying I am what I am).
Lerner, the only other white with Anthony and
Adams in the Temple, a Jewish looking boy from the City,
young and freaky with curly hair, thin (he was the boy at
the elevator in scene 3) looks back at &ah, his tongue
hanging out like an alcoholic grotesquerie.
And Baaaaaaaal back on you (delivers it
with all the contempt and venom he can, shaking his head,
a stuporific look in his eye, making a grotesquerie Out Of
what Rhah delivered with a certain style).
Rhah looking at Lerner hard with distaste.
Rhah: If you're going to do it, do it right.
(Rhah winds himself up and with a dramatic downsweep of his
fist, at the same time taking a step with his foot, de-
livers a huge convincing Baaaaaaaaaa! his head shaking,
staring wide-eyed at Lerner.)
The group laughing. aah
Draws himself up.
smiling and proud of himself.
Laughing dies.
Lerner looking at Shah with half-closed eyes.
I didn't like it.
Rhah coming right back,
You're a child. I
Screw yourself.
don't waste time talking to a child.
51 Lerner taking his head into his hands, shaking
his hair, pretending to weep:
I'm a child. I'm a child.
aah looking away in disgust. Shot of A. looking.
Francis to Lerner:
Wow man don't take it so bad,
Werner, raising his head:
Oh it doesn't bother me what Rhah says.
He can't even begin to bother me. see I know what he
YOU
is and (his eyes looking at phah, malicious and gleaming
like he was going out of his head too here in The Forest)
he's just a tangled up screwed up scared up little man ..*
getting old.
Pause. Shah his back to Lerner, getting annoyed,
turning back on him, suddenly serious:
And I'm
I'm little.
Dig it. I'm old.
scared, and I done the crimes of stealing and killing, 1
I been in the United States
been in the Foreign Legion.
I been to Africa, China, Vietnam and countries You
Army.
never heard, been a truck driver, a
I been a cook, I
picked cotton till
parachutist, an officer, a scout, I
Then I picked
there weren't no more cotton to be picked,
smoked more shit
rocks and sold those. I done my time. I
been busted four five
than you`ll smoke in a lifetime. I
times. Ask King (looking at King who is lying on his cl-
bows, his eyes closed, almost ready to crash) we been the
same way in life, we smoked our brains out together, we
52 =li-&ed the walls, we balled ourselves ask a King young
ma, ask him if in all the time we been together he ever
Once. (waving his finger) once saw me lose my cool . . .
Hever! Right King?
King, barely able to speak:
Yea, F?hah and me been the same way,
done the same things.
Rhah: (looking hard at Lerner, who is looking
at the floor, bored) And dig it baby I got silver stars,
bronze stars, Croix de guerres, all kinds of silver and
maybe a hundred and sixty stitches says I made the scene.
(Stopping) Whatch you got? (Shot A. looking up at
Rhah's face, forced to pay his respecgs, because Shah is
really telling the Truth) Rkrah going on, concluding, draw-
ing himself back up; more humorously:
So put it this way, if I want to
pretend I'm Superman, if want to let my hair grow
I I will,
as long as Thor's, I will, and if anybody points his little
be in his shit so fast he'll think
pink finger at me, 1'11
speed was going out of style . . . he'll be hanging out there,
in the wind, wondering (Shah wagging his head) Who was
that. That was Rhah!
pause
Lerner, head bowed, saying: Whew.
Anthony has listened.
On the radio, which had temporarily broken down
during Rhah's appearance, starts up again, Manny playing
53 with it. As when Francis was singing, most of the brothers
have not seemed to listen to F&&I make his scene, They
hear but they don't look, as if their ears, eyes, and mind
were all separate senses.
Manny toying with the radio, gets it playing
again but some crazy station and Lili Marlene is being
sung by Marlene Dietrich, about ten seconds before Nanny,
slightly embarrassed behind his black shades, turns to
the soul station, saying:
that's some old time sides they're
WOW
throwing at us.
1s smoking like an old
F&ah has seated himself.
bull.
Outside, Camera moving to the
Commotion.
35. windowless sunlight hole on the side of the temple (several
Shot
such holes around the walls, about 3 by 4 feet.)
Cries.
through this frame of some whites chasing around.
"Get the snake!" "Food!" etc.
Camera outside closer, shot of a large yellow
black and red snake, moving very fast over the ground,
The snake moves
fluttering white hands trying to catch it.
with great twists of its body, making you wonder how it can
Camera
move so fast. Knowing these hands are Death.
dwelling on this snake, moving at about five miles an
hour, sliding through, over, under, but unable to get Out
of the large circle the whites have made around it. We
54 almost sympathize with the poor snake, fighting wildly,
through the circle and they .are running
Suddenly it breaks
after it again. They cannot catch it, but the powerful
snake, making one mistake and unable to pick out Isaac,
the Indian, who is standing perfectly still watching,
slithers unknowingly through Isaac's spread silent legs.
We haven't seen Isaac yet. First shot of his
legs and the snake sliding through. His hand speeding
downandpinning it by the neck. Tilt up, medium shot, to
his face as he scoops it up. A grimace of pleasure on his
face, snake dangling by its neck, its tongue flickering
Sees it
helplessly. Lets it dangle,
Isaac hisses at it.
Wraps it around his
is non-poisonous. Stops hissing.
wrist; on the other wrist, coincidentally, he has a replica
of a snake done in silver, smaller, three or four coils
The snake crawls up his arm
wrapped around his wrist,
towards his neck. This scene with Isaac and the snake is
shot fairly fast, not too dramatically.
Long shot of Isaac and snake through the Temple's
Taking a
sunlight hole. A. focusing his telephoto lens-
picture. Freeze of picture.
Isaac seeing A. take the picture (close shot of
Isaac's eyes) a virile smile on his face, and wordlessly,
because it is his snake, walking out of the small throng
of whites who are around him, admiring the snake,
walking in his soft tread towards the temple, the snake
now wrapped around his neck (by now it should be obvious
55 that it is not poisonous) its tongue and head swaying over
Isaac's chest. On his bicep, Isaac has a small graceful
tatoo Born To Kill,
Long shot of him approaching Temple.
Francis: [off) Crazy people dig snakes, crazy
people.
A. Violence is like snakes.
We hear the snap of his shutter as he takes
another picture of Isaac approaching . . . very quick ,o,
Veq unexpected ,,., Click.
Quick freeze of snake's head swaying.
Side shot of Isaac moving, from the waist up.
The camera zooming out slowly on Isaac, till it
brings Francis and Anthony into view looking through the
sunlight hole at the moving Isaac.
He scares me man, he's
Francis: (off at first)
He plays his knife like she was
wild, crazy in the head.
a woman.
(taking another picture) He moves nice
A. man 0.0 it's funny it's tender, it's soft ..O it's SO all
alone.
Nothing.
Shot out to front of what they see.
Isaac has already glided in around them, in the tiackdoor
of their Temple.
36. As the camera is focused out through the light
hole, there is a slight rustling behind them, the sound a
56 snake makes when it sways. Frontal
They turn swiftly.
shot of Isaac standing right behind them the snake wrapped
around his arm, its head swaying out in front of Francis.
Francis doesn't move, but his face muscles tighten and his
eyes dilate a little.
Francis: Don't fool with me man, don't fool
with me,
Isaac smiling. Behind him, still sprawled
around, the radio Flaying, are the brothers and Shah and
Lerner and Adams, but things are quieter and without look-
ing they listen.
Isaac
Anthony is also repulsed by the snake.
sees this. Smiling a bit, says slowly,
Isaac: You been staying a long time in the
shade Anthony. fixing to get a tan? . . . Like his
YOU
(nodding at Francis) or red like mine? (he smiles)
Isaac coiling the snake in the cup of his hand,
it up to A.
Offering
A. hesitating a moment, putting the camera away,
looking at Isaac, takes the snake, not looking at it as
its wet living body winds through the fingers of his hands,
The snake
Isaac smiling. A. looking directly at him.
A look of comprehensix and re-
winding up Anthony's arm.
Isaac sees it,
laxation coming into his face.
Isaac: It's alive, isn't it?
nodding, taking the snake in his hands,
Anthony
passing him around his neck, his waist, beginning to feel
57 a tremendous joy in this living wet damp creature, his
fear of it disappearing. The snake responding P beginning
to calm down on Anthony'sbody. At this point, Isaac says:
Give it to me.
Anthony hesitating. Attracted by the power in
Isaac's eyes.
He gives the snake back. Isaac cups it in his
palm.
Isaac: (to Anthony) Come,
They go down together, down the three steps
which separate the raised floor around the inner wall of
Isaac leads Anthony
the Temple from the worshipping floor.
up to the Buddha,
As they walk, we pick up from the radio the
hollow voice of Sam Cooke again, singing "Let's Twist The
Night Away' -- almost a four o'clock in the afternoon
voice, at the dead end of the day, this accent on Twist,
Twist, Twisting the Night Away.
Isaac places the snake on
Buddha has many arms.
The
one of these arms. Anthony to his side watching.
snake, in the arms of this new almost golden object,
starts glistening and sliding wildly through its many arms*
Isaac drawing his long hunting knife with his right hand
from his left hip, his features dedicated, as a priest
before the blood-letting.
Isaac: (not looking at A.) We sacrifice.
Quickly he pins the snake's speeding head With
58 his left hand and without hesitating violently slices its
head off, a cruel look of brutality on his face.
With his left hand, Isaac whips the snake's
*im?iw head in the air, as if it were a scalp. His arm
is quivering. His head is down, the gesture not deing
that solemn, but more spontaneous, quick, contemporary,
the gesture has already faded, he pulls in his arm. Puts
the head to his lips. Drinks.
A. looking
Turns to A. Offers him the head.
at Isaac, powerfully attracted by the look of strength in
Drinks.
Isaac's eyes. Takes the snake head.
it goes down
Tastes the blood in his mouth.
strong. A smear of it on his lips making them corral-
Close shot of Isaac's
colored. Close shot of his lips.
wide strong mouth.
A shot, a single rifle shot is heard from out-
side.
Its echo dies.
They look at
Anthony and Isaac haven't moved.
Isaac's eyes alight with anticipation at the
each other.
Anthony's eyes completely
- rifle shot, the call of danger.
lost in Isaac's animal eyes, feeling a powerful attraction
to this almost human fire.
Shot of fire. Scene 1.
Anthony under-
close, of Isaac's face.
Shot,
standing the fire is in people and between them-
The other soldiers
The rifle shot is repeated.
59 are hurrying out of the temple now, not having been
alarmed by the first shot. The radio going with them.
Shot of Isaac and Anthony standing in front of
Buddha.
Solitary shot of the rifle that fired being
raised by an arm into the air. Resting in the sky, flat,
in Indian style. A cry is heard. (Explained later, the
cry is "Freedom" but in a strange language).
Dissolve
37. The screen is in blackness for several seconds.
Then a chant begins in the blackness, a Dionysl'an chant
or something similar.
What is the name of the father
What is the name of the son
What is the name of the father
What is the name of the son
. . . Dionysos Dionysos
God of Joy
God of Love
. . . Dionysos Dionysos Dionysos
(example taken from "Dionysos in
'69" off-Bdway play)
The chant is repetitive, accompanied by a tarn-
bourine, but in this repetitiveness, in this lack of desire
to search for new interpretations, there is a real feeling
for love, which is really a source without words.
60 The screen slowly comes to light and we see a
young tribe, maybe a dozen, dancing freely in the forest by
a stream. Perhaps they are the enemy, it is not made clear
yet. They are a mixture of young men and women and their
children, white and black. They dance hugging each other,
their long hair jumping, in all sorts of love contortions
that display their freedom. They are all in love with each
other, with And easy as it iS
forest.
their god, with the
to make fun or laugh at, this scene at first must be done
with the camera truly involved in their spirit of joy and
freedom.
The hair
Some are blondes, some black haired.
long; the players young and contemporary looking and above
to preserve the spirit of the scene, they must move
all,
well, in some sort of time to the tambourine, throwing
their bodies into it. Ideally, they are naked, and some
But barring that, they wear fiasy
of them body painted.
threads, hand made, of beautiful colors,
primitive tribal
A few wear colorful head-
exposing their handsome bodies.
bands, all of them some kind of ornament -- bracelets,
beads, native jewels, clasps, etc. The colored tribesmen
do not exactly wear the same clothes, as I think they would
look sort of silly. Their threads suit them and nobody
else and there is no need,to establish any equality/
similarity as far as clothes go, saying that Freedom has
If they're not naked, then let them
no respect for clothes.
What they
look beautiful with their own motif in mind,
61 want to be is left up to them, In his mind, the writer
forms the image of the black panther -- a sort of ineradic-
able wariness at the root of their Freedom, unlike the
White who when he loses his mind, really proceeds to lose
it, and to embrace the new. Whether the blacks actually
dance is left up to them. They could be sentinels in the
woods, they could be on the stream watching the others do
their dance.
38, Camera paning up slope from the tribe into the.
Long shot
woods. Their singing carrying with the camera.
of soldiers moving slowly in single file through the woods,
in the same combination of clothes as at the Temple, carry-
ing rifles, small knapsacks on their backs, hatless.
Having cautiously,
Camera zooming slowly into the point man, who is
Bunny, the youngest one, set out to prove he's as good as
any man, his features assuming a distorted hardness.
Camera now encompassing Lee who is second in the file,
He is small
carrying a map in his hand, a young sergeant.
with a heavily repaired face indicated by the seam of scar
tissue running from his ear along his jaw to his chin. He
wears a red bandanna around his neck.
Bunny still in the camera's eye, turning back
Lee gives him
to Lee as he hears the sound of the music.
a tight look, squinting; he frequently squints, nervously
assuring himself of which part of his face is really his.
62 Comes up on Bunny. Puts binoculars over his
eyes. Do not know what he sees. Brings binoculars down.
Looks at his map. Is puzzled. around.
Squints. Turns
Motions to the men with his arm to sweep out downslope,
slowly. Finger to his lips to indicate silence, although
the men know what they are doing anyway and can hardly see
his gestures.
Frontal shot
The men disappearing in the forest.
of them inching down the slope to the stream. Then side
There are
view of them approaching. Music growing louder.
no sentinels around, oddly.
They approach the stream and quietly crouch down
behind rocks, trees, dead logs. Take off their knapsacks.
What they see at first does not really excite them, they
are much too wary and as a group have up to now functioned
as soldiers.
Shot of A's face. A. moving up further, very
interested. They have been watching for a while and Un-
Francis and
controllably, they start inching further up.
They pass
another brother joining A. from different sides.
Anthony, putting his rifle and
each other a puzzled look.
knapsack down, taking his camera out and shooting the
tribesmen.
Others.
Shots of Adams, Lerner.
Shot of Lee, his tight body on the ground, his
39. binoculars to his eyes , propped on his elbows looking.
63 Puts the binoculars down. Picks his rifle up, puts it to
his shoulder, his eye squinting, medium to close shot, he
is an expert marksman, his legs loosely spread and the
stock of his rifle deeply imbedded in the shoulder, the
rifle slightly twisted inward, his rear elbow coming up
off the ground as he sights in; for a little man, he
shoots high off the body, very confident, very precise.
Camera dwells on him as he is about to shoot.
But he hears footsteps behind him. Takes his eye from the
stock, squinting, not looking around. The footsteps
getting closer. On the feet
Shot of the feet next to Lee,
are moccasins, they are Isaac's, Lee looking up at Isaac,
who has a small French submachine gun cradled in his arms,
and is looking down at the stream bed. Isaac giving Lee
a look and proceeding down to the stream, his action fore-
stalling a massacre. Lee with hate in his eye, staring at
Isaac's back. He squints.
40, As Isaac walks down to the stream in the Openl
The tambourine stops.
a female in the tribe sees him.
Shot of one of the tribe's blacks
They stop dancing.
standing up from where he was watching and warily looking
at Lsaac, Proud, but
who walks on down to the stream.
He stops a little
puzzled for the first time in his life.
dis tame away.
The leader of the small roving tribe, no older
than his early thirties calls to him.
64 (Making with his hand
Peace and Joy1
a small sincere gesture, something like this: 9x1 the word
Peace, showing the back of his hand, Joy: the front of
his hand, implying an empty hand, stretching it, saying:)
Join us.
Isaac pausing, puzzled.
J&O are you? What tribe?
The leader, smiling, turning around to give the
sign for more singing, dancing.
Find out.
Join us.
The tambourine resumes playing and the tribes'
people resume their dancing and singing as if nothing has
happened. The few blacks are still wary but the whites
fall to it and soon are becoming more intense than ever,
perhaps thrilled that they are dancing the Passion Dance
in the eyes of the cobra with the gun. They carry no
weapons.
41. Shots of individual soldiers seeing what has
They start creeping slowly down to the stream.
passed.
Isaac puts
Spreading out on the logs and rocks watching.
his weapon away and sits watching by himself. The blacks
in the tribe have become more wary seeing these other
soldiers but they cool it although they rightly feel
Lee remains up in the wood.
there's going to be trouble.
The black soldiers more
is the last to leave him.
Bunny
or less assemble together on a huge fallen log and watch.
65
Anthony with them. The whites
other more thinly spread.
A shot of Shah looking.
The dancers growing increasingly erotic, their
limbs interlaced, men on the ground, women passing their
bodies closely over them, feeling everywhere with their
hands. Shots of the soldier's faces growing more and more
desirous. Isaac, perhaps feeling this desire, wanting
suddenly to be alone and think, retreats into the woods by
himself, without a rifle, pensive looking. His disappear-
ance is fatal as he was the only force that could have
Suddenly,
prevented what occurs. The dancers writhe.
with a yell, Lerner rips off most of his clothes and jumps
in with them and starts to writhe and join in the spirit of
freedom. The tribe accepts him but with no display. He
mixes well, Hs belongs, but his action only agitates
further the other white soldiers.
Shot Rhah's face. A hatred for Lerner's fool-
ishness on it. Shakes his head slightly, saying quietly:
You child -.. You fool.
Not
The dancers almost copulating to the music.
even singing anymore.
Shot: one of the males on his knees his head
buried in a woman's belly, her arms around his head,
writhing against his head.
cut
Bunny heaving the same girl up on his chest,
42.
66 hugging her. She is so far gone into the ecstasy she
doesn't notice really who it is. He grins madly and
The other
starts making off into the woods with her.
whites with shouts following him, hugging the women like
satyrs at the rape, kicking the almost unconscious, help-
less men away with their boots, some knocking them away
with their rifles. Lerner fighting for the women but
The women begin to realize what is
being knocked aside.
One
A few screams.
happening and start struggling.
heavily bearded white chasing a girl, no more than sixteen,
Shah wading out to
into the stream, thrashing with her.
help her, struggling with the big soldier who throws him
off. Shot of Lee in the woods raising his rifle and
expertly firing into the water around Rhah, warning him
off. A black
Rhah looking wildly up into the woods.
tribesman jumping on him. They scramble in the water-
Shot of Lee, putting the rifle away,
Doesn't
He squints,
looking down at the chaos, pleased.
move.
Shot of Isaac deep in the woods hearing the
Turning around slowly, his face muscles hard, but
shots.
He doesn't
his eyes already resigned to what has happened.
move.
Shot of the Rape from behind the brothers who
Anthony is no longer there.
are still on the log watching.
Camera moving to their side, shooting them in profile,
watching, resigned, indifferent.
67
Robinson, the soldier who was coming through the
bush at the beginning to the sound of "Cupid"; rises.
I might as well cut myself a piece too.
One starts
He looks back. They look at him.
eating the food he has carried. Robinson shrugs, moves
off.
43. Cut to Anthony. He's way out in the woods, on
the far bank of the stream, opposite his companions, with
The
his rifle looking intently for something he has seen.
music is still playing in the distance but fades as he
runs after Joanna. He is not aware of what will happen
at the stream. It is before Runny began the Rape, which
will be simultaneous with his.
Cut to Joanna leaning, her hands behind her, up
against a tree. Her naked body painted green like a sn*e-
Her face as well. She is a stunning
Her hair is blonde.
sight.
Anthony at last finds her, approaches hesitantly,
looking at her as if she were unbelievable, but naturally
He stops, p uts his rifle downc
drawn to her primitiveness.
takes his magazine belt off, not taking his eyes from her.
A snake is hanging from the tree above her head.
A long pause.
You're not scared of snakes are You?
Joanna:
Anthony: No, not any more.
you're not scared of me are you?
J*
68 A: (hesitating) No.
She smiles.
Camera on Anthony, as Joanna says:
Joanna: Take your clothes off then.
The snake in the tree rustles, Anthony takes
his clothes off. Stands there naked in front of her.
Joanna: Vho are you?
Anthony: (hesitating) Anthony,
J: 01 .*. Anthony.
Here she either takes the snake down off the
tree and she wraps it around her neck, its head swaying
over her breast or, more easily done, puts her hand up
into the tree and the snake glides around her hand and arm,
or she just simply slides off the tree, saying:
I am called Joanna .., but Anthony
Joanna:
(looking at him smilingly with her eyes and shaking her
head) will never have Joanna because he is scared of her
arEI he will never catch her . . . (she laughs and starts
moving away).
Snake rustles and dry
Anthony watching her.
bird calls out of the trees. The distant sound of the
tambourine. Anthony who has never really pursued before,
He hears
The bird calls increase.
begins to follow her.
the dry dangerous clicking rustle of snakes, which seem to
She walks faster,
inhabit the forest. He walks faster.
They move from
not bothering to look over her shoulder.
The chase
tree to tree, both naked in the green forest.
69 begins, a long sequence. Their movement is deeper into
the forest away from the fast-fading music. They increase
their speed until they are running as fast as they can
through the trees. Joanna is as swift as a deer and al-
But
ways seems to elude Anthony, who is also very swift.
rather than lose him, she hides, and he finds her or she
lets him see her, and the chase begins again, the only
sound their speeding naked feet on the forest floor- As
Anthony runs, he sees the snakes in the trees and at their
foot, and in his path too but the chase has made a young
savage out of him and he runs by these hissing snakes
without thought or concern. Just to take her, like his
companions are taking back at the stream.
The chase is long. He catches her at the base
of a tree, perhaps the same tree where they began, the
same snake hissing in the tree. They entwine, taking long
deep breaths (shot in slow motion) they are falling togeth-
er onto the forest floor, their eyes closed, Anthony SO
happy f so out of breath, his breathing her breathing, his
(Shot
animal moan the only sound now in the forest .
low
as they fall together of a snake biting Anthony in the
arm (seen later), #is shot in slow motion so that it
melts into their fall, also in slow motion, possibly a
superimposed image). The camera on them as they writhe in
each other's grasp like two snakes, feeling, touching, in
the wild freedom seen at the dance, all over each other,
Anthony's face in close up, a picture of pleasure and pain
70
and breaking through that to freedom, a great expressive-
ness in both their faces. The camera leaving them alone,
panning slowly back to the stream, passing the trees, the
snakes. The pan dissolving, putting the screen in dark-
reluctantly, we come back to The Rape at
ness. Slowly,
the stream.
Bunny's boyish
The screen still in darkness.
44. angry voice off:
F?hat's the matter do I smell bad? Am
I dirty? (Sound of hitting her) Hunh, Don't
Am I ugly?
you people believe in sex or do you just dance, hunh.
(hits her)
You people
Her voicetYou coudln't understand!
could never understand.
Bunny: What do I got to understand? Hu.nh.
(hits her)
How to feel! she screams very loud,
like a bird dying.
The dull monotonous
He hits her again and again,
The echo fading-
echo of slaughter on the black screen.
On the screen, a shot of the girl lying beaten
45. shot emphasizing
to death, draped on a broken tree limb. A
horror. She is already very white and looking stuffed.
She is the same girl seen earlier in the motorcycle suit,
Fossibly a silent shot Of
looking at Rodin's The Kiss.
Camera dwells on this
this previous scene, cut short.
71 dead girl.
Trying to kill
46. Cut. Anthony springing on Bunny.
Bunny, Butit'san even match and they go on fighting use-
lessly and camera, losing interest in them, pans to tribe
people running off into the woods on the other side of the
stream like fauns. Some soldiers are standing around the
dead girl, some of them amazed that the rape should end in
murder. Anthony and Bunny, both exhausted, are struggling
off to the side, out of breath. The Leader of the Tribe
striding up to the girl, picking her up, she dangles wax
white in his strong arms, a lifeless puppet. He speaks to
the soldiers, clearly, slowly:
. All of you will pay for this, black as
well as white . . (shouts) you are animalsi you are beasts1
l
47. Cut to Leader moving away in the rain across the
stream from them, the girl lifeless in his arms, moving up
the other slope (it has begun to rain but we did not see it
begin, it is already in progress in this shot; the rain
will continue till the very last scene in the Forest, when
it suddenly breaks). On the opposite bank, Joanna (clothed
now) waits at the woodline for the Leader in the same pose
of waiting that she uses later when she waits for Isaac at
the edge of another woodline overlooking this same stream.
AnthonYceases to struggle with the exhausted Bunny and on
his knees, dirt all over his face, he looks up and sees her.
She sees him. Then vanishes in the wood, following The
72
Leader. Anthony still looking after her.
Shot: Anthony running through the woods after
Joanna.
Shot: Anthony entwining and falling on the floor
The camera doing the same Pan
of the forest with Joanna.
as before across the trees back to the stream.
His voice: You'll have our child.
I'll have the child of many fathers.
Her:
Pause
1'11 go.
Him:
Go and Kill,
Yes.
Her:
I'll come back.
Him:
Her: No,
The camera pans right into the rain as it heads
48. downstream (the above voices do not begin until the camera
is into the rain) and picks the mercenaries up later on
their march. Long shot through the woods of them walking
right down the stream itself, which comes up around their
knees. The bush on both sides of the stream is now to0
They are walking in a staggered
thick to walk through.
double file, one on the right side of the stream, another
further back on the left, another further back on the
Occasionally, crack6 of thunder come out Of
right, etc.
the sky. Cries of the deepening
The rain grows worse.
forest.
Lee, at the front with
49. The men are soaking wet.
73
They squat on
Bunny, motions for them to take a break.
the rocks on the edge of the stream, pulling their ponchos
out and covering themselves up completely, looking like
great sad useless tents, hardly paying attention to the
surrounding forest.
Shot: whiskered old looking Rhah pulling his
poncho out, getting into it, his tired lined face peering
Thinking.
out from under the hood. Squatting on a rock.
Pilling the
Pulling out a bowl and a small plastic bag.
bowl with the last of his Forest Nash. Throws the bag in
Wearing his
the stream. Anthony slowly comes up on him.
poncho which he drapes over Rhah's head as Rhah strikes a
Smoke
match and lights the bowl. A crack of thunder.
Rhah*s face
rising from the poncho. Coming off his face.
glowing with contentment as the thunder peals again.
Offers the bowl up to Anthony who, taking it, seats him-
self next to Rhah and smokes. They both look out into the
Camera
hard rain thinking. Shot of Rhah's exhausted face.
to Anthony who is staring into the woods on the side of the
stream, the rain beating in his face. The camera going to
what he sees -- a tangle of forest, and leaves falling off
the trees, and rare cries.
:, Diana's petulant voice off:
why do you hide things?
Hide Hide Hide.
He answers in a
His eyes slowly pan the trees.
tired voice, off:
Because.
74
His voice,
Shot: A's face, his eyes cast down.
off:
Without you
Joanna .*. I loved you.
. . . it is darkness.
Shot of the woods.
His eyes rising.
Thinking. Even tu-
Shot: F&ah's face in profile.
ally, he says in passing:
Isaac didn't come back.
During this scene of thought on the rocks between
Rhah and Anthony, Francis and a few other brothers, includ-
ing the white smoker, Adams, make a slow individual pro-
They
cessional by Rhah and A. to take a pass on the pipe.
come by in ones and leave again to go back to their own
rocks; the effect is almost of a ceremony celebrated for
the last time.
50. Lee (at the front) semi-shielded from the rain,
sniffs the weed in the wind. Looks hostilely towards
Nmh and Anthony. His hand goes out to move out and re-
luctantly Bunny the point man, moves out, the others taking
their time rising.
Shot from side fading into shot from front of
mercenaries moving down stream, Bunny way out in front.
It is
The battle that now erupts is not heavy.
like the snake, very quick and deadly, and violent, it is
over fast, brutally, it is achieved in silence, and
almost
the revenge is almost entire.
75
Bunny, still way out front,
Thunder peals again.
passes a water snake reclining on a rock, the snake not
bothering to move at the sight of these heavy waterlogged
tired objects inching by.
toward the snake*
Camera, passing Bunny, ZOOIIIS
Off-screen, the trickles of stream water and a fast rus-
tling, like a snake. But the rustling is heavier now,
like bodies moving very quickly on both sides of the stream
He wades out to inves-
Bunny's face as he hears.
The stream is
tigate. The men behind him haven't heard.
deeper where he wades and the gurgling water rises to his
waist. He advances down the stream.
The noise stops.
His eyes, almost
Shot the bush he sees. He pans it.
of
naturally, come to settle on a pair of bare feet painted
green like the bush. He goes by it almost, comes back.
His eyes tilt up and he sees Isaac standing there next to
a tree, looking down at him proudly, knowingly, his face
painted with brilliant colors, his whole body, nearly
The paint ingrained in the
naked, striped like a snake's,
skin, not dripping off in the rain.
Zoom to closeup of Isaac, his submachine gun
still cradled in his arms.
Cut. Closeup: Bunny's amazed frightened face-
Several cracks of a rifle.
Closeup of the blood spreading on his young face.
He falls into the stream.
Closeup: a huge mine set in a tree.
Quick Cut.
76
It explodes. Same shot repeated three times, in quick
succession.
shot of the trees
Silence. A bird crying.
blowing with the force of the explosion (the same shot
Anthony saw in his mind, back at Alexander's), leaves and
branches flying through the air, noiselessly.
Quick black out.
In the silence, the screen opens again With a
Francis
full screen Blow Up of Francis' face as he is hit.
Panning to a bandanna floating
collapsing into the stream.
The
by itself in the stream. A body tumbling onto it.
heavy machine gun the body was carrying crashing on the
rocks next to him. Camera zooming out slowly, catching the
living trying to fish the dead and woulded out of the
stream, Manny, one of the wounded still gesturing to his
radio which is sinking in the stream. A brother reaching
for it. He jerks back, shot in the head.
Camera still zooming out on the chaos, still the
silence, catches the brother, Robinson, coming out on the
bank Opposite to the one on which the dead machine gunner
lies, and sprinting closely past the camera into the bush.
Sound returninq
We see his white eyes, full of fear.
momentarily. Sound of firing and cries of the wounded,
and from the opposite bank the cries of the attackers,
all painted, man and woman, black and white charging down
to the stream. Camera swivelling around as Robinson hurls
a grenade. On one knee, trembling, pulling another grenade
The
Out from his belt. Sound of first grenade exploding-
last sound. Back to silence. Robinson pulling the pin
from the grenade across his body, it's a faulty device,
the grenade blows right in his face.
Sound. The same explosion that killed Robinson.
Shot: a poisonous snake slithering through the rocks tryin9
to escape this madness, Anthony being hurled by the close
explosion down over the snake, The snake in reaction
Anthony jerks, g rimacing with the
biting him in the arm.
pain. Anthony on his knees
The snake slithering off.
Pins the hissing
in quick reaction pulling his knife out.
snake. (Fleeting third-of-a-second images of 1. Isaac
slicing the snake's head off in the temple, fading swiftly
into 2. Anthony and Joanna in the woods, falling together
entwined. cut. A's knife slicing the poisonous snake's
head off. He recoils from his action samgely, a bit
stunned, his eyes glazed with savagery. The butt of a
One of the tribes-
rifle no sooner crashes on his head.
men straddles him as he lies on the ground, his head bleed-
ing, about to scalp him, a brutal look of revenge on his
face. It is the former leader of The Tribe. His knife
in the air. The tribes-
A hand grips it hard. Stays it.
man turning to Isaac. Hesitates. RUGS off to kill again.
Isaac looking at the unconscious Anthony. His smashed
camera lies next to him. Seeing the dead snake, taking
it all in with a little gleam of the eyes, perhaps amused
78
by the irony, and as Joanna runs up on him, carrying a
rifle, Isaac bends to quickly cut the poison out of A'S
arm. Joanna feeling Anthony's brow and the would on his
head, her savage look of revenge melting into tenderness,
looking at Isaac who nods quickly to indicate he'll be
alright, she runs her hand over his forehend quickly one
last time, and runs off to fight.
This whole scene could be ridiculous
if it isn't done brusquely, swiftly, like a dream in
PLqthonyts head.
The battle coming to an
The sound is off again.
The attackers
end. The next scenes speeding by dreamlike.
pouring down in mass onto the Stream, even little children,
Fade into:
A black tribesman on top of a young black
soldier, both of them straining, the tribesman's knife is
back in his hand pressing against the soldier's belly, the
latter's hand gripping his wrist. They are both looking
each other in the face, straining. The soldier's hand
slips. He cries out and dies
The knife enters his belly.
in his black enemy's arms. Fade into:
One of
Adams, wounded, crawling on his belly.
the women picking up a heavy rock and hurling it down On
his head. Fade into:
Lerner, glazed, drugged, running crazily out of
the woods. Rhah who is slightly wounded, clubbing him
with his rifle. Lerner on the ground, crying in pain.
79
Rhah above him, breaking the silence, saying quickly:
You fool, you crazy fool!
Then clubbing him again so he won't crY- Rhah
Rutting Lerner's headband
quickly ripping his clothes off.
on, taking his old rifle and despite the lad of Warpdlt,
runklg off into i?.~ woods, hollering like mad.
Fade into:
Raising
King (closeup) stumbling into a thicket.
his e:+- Y
_ IL Sis large face spreading with fear, as Joanna
stands there with a rife. Shooting him.
Fade into:
Isaac dragging Bunny's corpse out of the stream
onto the bank and taking his scalp.
Dissolve.
The battle is over. Lee
The rain has broken.
is bloodied on the stream bank on his back, still
lying
barely breathing, his eyes closed, he is squinting madly
like a fish on land trying to breathe. His bloody red
bandanna is loosely draped around his neck on his belly.
Medium shot. Sees
A passing female member of the tribe.
him, The
Shoots him. Long shot of her shooting him.
,'
hollow clack of her rifle. Still the long shot as she runs
i
t:
into the woods with the rest of the tribe. In the distance
The stream iS
we hear the drone of a helicopter coming up.
Same long
deserted but for the bodies littered around it.
80
Camera turning to catch Isaac, at medium range,
shot.
The
looking down at the stream, the last to leave.
The trees conceal
helicopter approaching. Helooks up.
the stream from the sky. The wind from the hovering
helicopter's blades is blowing the trees wildly back and
forth. Standing on the slope looking down at the stream,
he raises his rifle in the classic Indian fashion, flat
in the air (the same shot seen earlier at the Temple
except we only saw his arm) and shouts a word in a
strange language. A subtitle flashes on the screen:
FREZDUM!
Isaac runs off into the woods, the wind in the
trees blowing wildly. Joanna waits for him at the edge
of the woodline, -J'ust as she waited for the Old Leader.
She follows.
He disappears in The Forest.
Dissolve.
81
Prison
Anthony awakes as from a
The story goes on.
dream, at first isn't sure of what he is anymorel falls
back on his distrust of Life, is arrested, put in Prison-
Here in endless silence, the Silence of the Fish, he cuts
his final tie to the world of Alexander and regains his
. sense of feelings in the person of Jonah, who is a briefer
of Isaac, At the same time, Alexander, his Own
form
prisoner, wrapping his words about himself, severs his
every link to the World. Anthony's relationship to Jonah
From it he accepts that
is brief, dreamlike, beautiful.
Feelings are
A Movie.
Love, Life itself, is just a Dream.
Dreams, Dreams are Feelings. Dream is
Freedom is Dream.
Freedom. Anthony dreams on, makes movies, and in his
He's free.
dream/in his life, he leaves Prison.
51. Anthony's eyes looking up, opening from a dark
screen onto light, a kind face looming above him, asking
just as he opens his eyes:
Would you like me 40 say a prayer for
your. my son?
fading into darkness as
Screen
Anthony closes his eyes. The Father's
Opening them again.
questioning eyes, The camera moving a little higher as A-
begins to rise up, look around, make sure he is not dying-
He is in a hospital, all
He is slowly looking around.
blazing white, The patients, including A. are in black
82
pyjamas with pink hospital monograms on their breast. fn
bed next to him one of the patients has died and the white
is spread over his face but his hand is stiffly
sheet
hanging out from the sheet.
(as he looks around the hospital)
A:
Cigarettes'11 do.
Father: 0 . . . any particular brand
A. Menthols if you have any?
F: (smiling, producing two separate
brands, one pack full, one almost empty) Take your choice
A. taking the last cigarette from the empty pack.
The Priest striking a match, lighting his cigarette. A
sucking in on it, looking over at the dead patient's
outstretched hand,
The Priest seeing this, looking at hand, saying:
We couldn't preserve him . . . I think
the boy was Protestant. (Walks to the bed, puts the hand
back under the sheet, lifting the sheet as he does this,
Anthony sees the puffed white face of Adams. He is jolted.)
Rhah is strutting down the aisle to visit A.,
wearing his dress uniform. His coat is afghan with a lot
of sheep's fur. Taking it off as he comes up on A., the
same thief's smile on his face. Under the coat, wearing
f
`.
a pink Cossack shirt with black vest and black leggings
and a large Macedonian belt with a snake's head on it. His
boots are laced to his knees, and from outside the cossack
shirt, on a looping thick necklace hanging from his neck, a
83
black skull and ivory white cross hang side by side. He
looks like he just came out of the forest -- wild, crazy.
Vhat's happening Father . . . IS Our SOn
F&ah:
going to get well? or did the snake put the evil seed into
him.
Father: (surprised by this visitor) No, I
think Our Father's son is in . . . good hands
Shah, kissing Anthony on both cheeks, rising,
turning to face the Father:
He both must be . . . because (smiling
(As he says
crazily) dig it, Father . . . I'm still here.
this, the dead patient's hand casually drops down from the
sheet once again, and the Father sees I&ah's strange neck-
Feeling uncomfortable
lace, his eyes growing a little wider.
in his presence.)
Shah turning back to Anthony taking some comic
books out of his coat.
Rhah: Look here, I brought you some books to
kill the time.
Anthony examining the covers. Enemy Ace (a long
thin ghastly looking drawing), Spider Plan, and another one
(Doctor Strange) with a cover drawing of an immense creature
of evil with huge green eyes and hair hanging to his
shoulders and immensely long fingernails. Opening the book,
he finds a few thinly rolled cigarettes taped to one of the
pages. F&ah points to
Looks up at Rhah who is smiling.
the huge creature on the cover. says both to the Father and
84
Anthony, wiggling his shoulders a little:
that huge ugly creature's got
Actually
IRhah:
a soul. It blew my mind when he said to himself, "C'mon
If keep up this nutty
I now, Beast, get a hold of yourself.
1'11 be a candidate for the funny farm."
soul-searching,
Rhah snickering
Anthony doesn't join in.
The Father, more uncomfortable than ever, Produces
a pocket Bible , giving it to Anthony:
Here
Yes . . . well I must be on my way.
is a small Bible for you Anthony .,. it will pass the time
. . . I will return. (Leaves, ignoring Rhah.)
Rhah bending over Anthony's face, and sneering at
the departing Priest. His fist goes out in a gesture Of
triumph. He is laughing now.
Anthony, unable yet to attach himself to Shah,
saying in a monotone:
Wow, I think you blew his mind, man.
Rhah: (interrupting his laughter) Yea
Putting his fist out again. A returning the
fist, tapping Rhah's fist from the top, Rhah coming over
and tapping A's fist with his fist, Rhah sneering and
laughing again, stopping again.
Yea
Pause (Rhah scratching his nose, fingering his
skull and cross. A. scratching the scar below the eye)
85
II: Listen man,whereyou headed for when
you get out of here?
F= .. California
Then
I?: Wow I'm going that way myself.
back to Mississippi.
A: I'll miss you man
Yea man, and I'm going to miss You.
R: never passed up a
You were boss. You and Francis. YOU
smoke, you'd stay up all night with me if I asked you ..=
poor Francis (Shot: Francis dying at the stream) ... he was
a prince and you were a prince . . . pant (shaking his head
with admiration)
A not looking at Rhah.
Rhah:-.. (rearing up a bit) Take care of yourself
They
man, you hear. The forest made beasts out of US.
cut us no slack in the World . . . and California
Won't is
the worst man ,.. It's a bummer police state (Shot: the
barricade of twenty-five motorcycle policemen, seen later)
I can go back to Mississippi and plant all the seeds I want
in all the swamps and become the new Johnny Appleseed of
the South. But you (pointing his finger) No! (his finger
Waving) There's going to be an earthquake in California.
The farms and prisons are full of the young, and there's
going to be hell to pay for. (Shot: the fire scene 1)
A: (thinking) I was going to take some
Forest Hash back with me.
R: Where?
86 On my back
A: (thinking) Do it. It'll work. You got
R: border police and informers all over the place, but wear a
heavy coat and they won't shake you, they're too busy
busting brothers . . . (taking his coat) here man, take this
coat, it'll wrap you up like an iceberg
A: What you going to wear man?
Take it. (Puts
Hell, me, I stay warm.
R: it next to A)
A: (feeling the warm coat) You never
mentioned the others.
R: (shrugging his head) None of them made
it man. I was lucky to split . . . I didn't know how you
felt,
A: (pausing) I don't know. Like it was
all just a dream. (Turning a page in the comic book, almost
talking to himself) It was all just like a dream.
(Coincidentally, in the comic, there is a large final
Picture Of a villain behind bars, Camera catches this)
Rhah: You
You got to be strong man, to live.
got to be strong to smoke. got to be strong to do what
YOU
you did. You got to be strong to survive.
A, not really hearing him, reflecting, putting
the comic down, not looking at him, in a weak wondering
voice :
I wonder what prison is like . . . IS
that a dream too? (,Blow Up of Genet, A. turning to Rhah,
directly) Tell me about prison, shah.
87
Rhah, not liking Anthony's
attitude, not really understanding, frowning, he hesitates,
shrugs, says:
Prison? . . . it's a fish world . . . silent
. . . you take it slow and easy (Shot: tropical fish slowly
swarming in an aquarium) . . . it's a whole trip, you dedicate
your life to it. (Same Blow Up full screen: Genet -- very
quick)
Anthony looking up at him, dreamily, as if he is
envisioning the fish swimming around in eternity
You know . . . prisons and palaces . . . are
Rhah:
the two trips I never made (spoken wistfully)
Anthony looking at him
Phah: (a little water in his eyes) Well man
, you're a tough cat to lose . . . take
I'm going to miss you
. . . swim,
care of yourself . . . and if you do go to jail
and don't give too much if you ain't getting anything back
. . . see you.
He kisses Anthony affectionately on both cheeks-
Anthony kissing him also, his eyes a little bit watery as he
loses another friend.
Shah strutting back down the aisle in his Cossack
and vest. Anthony turning to the dead soldier lying in the
On the sound track, a short riff of the
bed next to him.
Spanish guitar, very sharp, dangerous, mellowing, ending
softly.
88
Shot: The silver bird (airplane) flying in the
52, c&ouds.
Shot inside: Anthony and Flash sitting together.
Anthony loosely wearing the afghan coat Rhah gave him8
underneath wearing a green shirt with large ruffles and
brown leather breeches and the tightly laced boots of his
Flash is very black, wearing Polaroid shades
uniform.
He has
which conceal his eyes and reflect what he sees.
shiny red beads around his neck and wears a green ma0 shirt.
very quiet and silent, he is blown out of his head and his
four front fangs are framed in gold; the two outside
top
teeth have green rubies mounted on them, the inner two
teeth have heart-shaped red diamonds mounted, so on the
rare occasions that he smiles, his teeth glisten in red
and green.
-Anthony bored, reading a comic, putting it away:
Let's go get stoned
Fullscreen Blow Up of Dylan (seen at Alexander's)
They walk down
Flash rising. Anthony following.
the aisle. They check the stewardess out as they meet in
the aisle. She smiles, sees Flash's fangs, which we also
see for the first time, is horrified. Anthony smiles at
6. her, maliciously. She fades on him too.
Don't smoke in the aisle please.
A rat-faced stewardess very tiny (close up as she
speaks) confronts them. Flash and Anthony running up
against her, they lightly bump into each other. Getting
89
Putting sticks out.
by her. their smoking
A stewardess
rear.
They approach the john in the
Lights her cigarette with
is sitting relaxing in the back.
Looks up
Puts the pack and lighter down,
a gold lighter.
She stares at him.
at them. Flash smiles.
Smiles.
Shot
Anthony meanwhile looking at the pack and lighter.
close. The lighter is shaped in the form of a fish.
They go into the lavatory together.
They come out of the lavatory together, both very
Light
high. Anthony now, like Flash, wearing his shades.
blue glasses. Blue like soft water.
Shot of them in the back talking with the seated
stewardess.
Giving them
The rat-faced stewardess returning.
a disapproving look.
Wonder Woman
Blow Up from the comics.
Shot: They are sitting back down in their seats,
the airplane droning on.
A taking a cigarette from his gold case (the one
he stole from Diana ages ago) and lighting it with the fish-
shaped lighter he just copped from the stewardess. He
smokes, shot close of his face. He has a reverie which is
noiseless except for the music.
Long
Shot: He is in black leather and boots.
hair. A black thin
Looking like a rock and roll singer.
Putting the
suitcase in his gloves. Inside his weapon.
blood money in the pocket of his tight leather pants. A
90
Picking the
few hippies hanging from statues watching.
Walking slowly like High fqoon down the
suitcase up.
little sidestreet.
Shot: Twenty-five California cops in motorcycle
boots and plastic helmets with Brando goggles and gun belts
Pan of their
and sticks and badges gleaming like diamonds.
bodies and faces, the camera going down the barridade they
have set up. The faces, all white, are strong, their thighs
husky.
Music off, starting
Shot: A walking towards them.
very lowly: When I wake up, put on my makeup . . . and I
I
A small
Aretha Franklin.
say a little prayer for you.
portion of the song. A approaching
Cut to silence.
closer, zooming out from him to catch him with machine gun
in his gloves. Rlow Up of Joanna on
Stopping. Close up.
the cover of a magazine, the title of the magaiine in large
letters CINEPTA.
Sound returns, but an echoing semi-documentary
type clatter. Side view of the cops crashing all over the
trash barrels violently. Shot: One dedd..oop in the middle
of the street, all alone, sprawled on his back, his helmet
off his head, hand flung out, his yellow goggles have
slipped down over his eyes, looking like an anonymous fish
with blood trickling out of his mouth,
The cops firing back with their popguns, and
A. sprinting behind a trash barrel leading into a side-
street, Firing like a daredevil, like a French gangster
91 Explosion
picture. A. throwing his huge pineapple grenade.
(top view) causing general silence from the cops. Anthony
standing excited and panting at the street corner, trying
Suddenly a girl in a black
to decide where to escape.
vampire costume with a black hood on her head appears on
of Joanna on the
the side street. Blow up, momentary,
cinema magazine. The vampire girl waving her hand for A-
to come fast. He pauses, runs wildly down the street after
her. They take hands and tear down the street together-
On the sound track the Beatles' Revolution starting up- Fade
Anthony in airplane, lighting another cigarette.
Offering one to Flash, who takes it. As A. lights his
cigarette with the lighter, he asks:
A: What are you going to do now?
Flash: (deadpan, from behind the shades.
Anthony's face reflected in them) I'm going back to
Florida and be a cop.
Flash glancing at
A clicking the lighter shut.
it, smiling, saying:
It works out nice. The law pays me
my bread, and 1 roam free in their backdoor.
A: (his face reflected in the shades)
You were a cop man?
Flash: I was a cop before I went on this
Eastern trip.
Pause. Drone of the airplane
A: A soul cop hunh?
92
cut to : stock footage from Godard's Pierrot
lie Fou. Belmondo leaning up against the wall, mimicking
Americans, saying several times:
Yea, Yea . . . Okay . . . Yea
posters advertising
53. The California airport.
Anthony, his shades on, in his afghan coat having
THE SUN. his bags examined. Flash is one counter down, also being
examined. They are both very stoned: at least Anthony is
and everything he sees is through a detached fish-eyed
lens, slightly colored blue. They look up, catch each
other's eye.
A looking around through his fish-eye at the
roving officials who circle outside the baggage line, their
hands behind their backs, watching the examiners and the
examined.
Shots of exiting passengers/soldiers, in forms
of eastern dress, contrasting with the square neckties the
Officials all in black with badges wear. As these
passengers leave the building, a few are intercepted by
the roving officials and pointed towards a side door --
the physical examining room. The majority however walking
out the door to freedom, Anthony sees this -- first a
( passenger being intercepted, then his eyes moving to the
Looking
door where there's fresh air and sun waiting.
down at the official who is repacking his suitcase full Of
rich clothes -- purple shirts, etc. a large flamboyant hat-
93
He looks up and sees Flash, baggage in hand,
moving towards the doors, walking slowly and ultra-
steadily. He is stopped by one of the old grey-haired
Flash talking to him slowly, turning his
jowly officials.
Anthony's
back to Anthony, the -official turning with him.
Flash seems in command of the
eyes taking this in.
situation and as the loudspeaker announces a departure,
Flash, with the official following, turns back around
slowly, his dark mirror-like shades panning slowly down
the baggage line, panning past Anthony, as he continues
to move his lips,
Starts a slow
Anthony picks his baggage up.
slightly stiff walk towards the doors. Sound of his foot-
steps. Flash, ahead of him, exiting through the doors, a
gleam of sunlight shining into the airport as he opens the
door. Anthony's eyes feeling dizzy. The camera swirling
around the Airport quickly one time, A large ad for The
Sun, and a big red fireball with an airplane gliding past
it. TO his side, Anthony carefully watching one of the
officials, hands behind his back, bouncing up and down on
his heels. Anthony walking past
Camera dwelling on him.
him. Shot of a hand lightly touching his shoulder.
Just a moment please.
Face hardening.
A. stopping. Looking ahead.
Turning. Looking at this old decrepit looking official.
who says:
Will you step into our examing room
94 This way.
please.
Long shot of the official pointing to it.
Looking
Anthony walking stiffly to the door.
His voice off:
one last time to the exit doors.
Run!
The
54. Shot: Anthony at the examining room door.
official from behind, opening it.
Stepping inside.
Anthony scratching his scar.
Officials behind a large police station type desk.
One brother in front of it, putting his things back in his
pockets, smiling at A. giving him the fist of triumph sign.
Heavyset official looking up at A. disinterestedly:
Well, you know the procedure.
Pause
A: No
Take every-
Official: We run a bodysearch here.
Put it on the desk.
thing out of your pockets.
Shot: desk
A. slowly, resignedly but still hoping, taking
The
items out of his overcoat. Taking his coat off.
contraband tightly laced to his back under his green,
ruffled shirt. The official running through the items On
the desk, holding a pistol slug in the air, a couple of
teeth, a small black skull (a present from Rhah), glancing
critically at A.
Official: Okay (comes around the counter) Arms
out please. Stretch the legs.
95
He feels under the arms, down the chest, into
the crotch, the legs, straightens back up, looking A. in
the eye, circles his back with his arms.
Close shot of his hands tapping very lightly and
just once the plastic bulge under his shirt- A' facial
S
muscles tightening. official straightens, looking
triumphant.
Okay take the shirt off SlowlY.
Anthony, a distant smile on his face, unbuttoning
his shirt, taking it off. The flat p3astic knapsack is
revealed,
Anthony unhooks the two shoulder straps. Takes
it off in one hand. Tosses it on the counter.
The second official at the counter immediately
dipping into it.
Anthony: Burn me.
Take it, burn it . . . Take me-
Second official, at the counter, leaning it,
on
the weed in hand. Says off, the camera on A's face:
We have the evidence here to run you in
on a federal government smuggling charge . . . voll'll be
you'll be behind ba r s for five years,
found guilty.
Thcr-e is no lighter sentence. ?qe have all
probably more.
the evidence we need . . . If you cooperate however and you
give us information leading to the apprehension of any
contraband , your sentence could possibly
person carrying
be reduced to as little as two years.
Camera still on Anthony's face. He doesn't speak.
96
Shot of Flash leaving the airport (seen previously)
Rhah's low voice off: They won't shake you. They're too
busy busting brothers ---
Official: Okay, search him. (Turning to desk man) Get the FI
55. Shot: A, leaning forward on a speaker's podium
He is totally
in another room, warmthless and white.
shot from
naked, His body is hard and tight and cold.
the rear of his buttocks squeezed together in a noose-
The second Off
first 6fficial standing behind him.
The
to the side, watching.
First: (off) Now spread the cheeks.
He is
Shot from side, A's hard facial muscles.
coming to understand the reality of his situation, the
ignominy of it. His hands go back to his buttocks.
First: (off) Wider . . . F!ider! Okay, hands
back on the desk.
Side shot of A. putting his hands back, leaning
forward, the moment he does this, the first official kicks
A'S legs from under him,
Anthony's face orashing into the podium as he
falls. On the floor, wiping his mouth
Sound of falling.
where it hit the podium, It's slightly bleeding.
The FBI is
Second official: Okay that's all.
here. Get your clothes on.
Into the hall. men in black suits with
TWO FBI
narrow lapels, and hatless, waiting, the one in charge
giving A. an amused look of disgust. A in his furry afghan
97 coat. The FBI man, nodding his flat crewcut head as if
to say 'I like it'.
An attractive, rich-looking in her thirties
woman
is handcuffed to a chair in the hall, looking as if she is
about to cry, lines of fatigue under her eyes, as if this
was her first narcotics arrest.
The
The FBI man unlocking her from the chair.
handcuffs are shiny and big and silver. His key very
small. He smiles and
She is hassled and twists her wrist.
says to her:
The more you move, the tighter they get.
She hardly looks at
He handcuffs her to Anthony.
him, she is so distracted. The blood
He looks at her.
smeared on his mouth.
FBI: Let's go,
56. Shot: Getting into their black sedan, the FBI men
in the front, the assistant driving, the one in charge
seated with his back to the road not taking his eyes from
the two prisoners in the rear. The windows are sealed up.
The woman,
The sunlight outside is sparkling, They drive.
distracted, looking out the window nervously at the passing
streets. Anthony looking at her, beginning to fully
i
understand what is going to happen to him now. He is no
longer stoned. The
Looking out the window with her.
streets assume a fish-eyed aspect. cut
57. Prison. Shot of an electronic door sliding shut.
98
Sound of other electric doors opening and closing. Grating
metal on metal, followed by this underwater hollow silence.
A momentary sound of bubbling water in a fish tank. A shot
tropical fish swimming in the aquarium. Fading into
Of the
a shot of a strong muscled black standing, gripping the
bars, looking out blankly, his t-shirt off, muscled arms
and his powerful chest exposed. A sardine-
A black beard.
Fading into shot of
shaped ring hanging from his left ear.
Anthony in shabby light beige prison pyjamas. the top
removed, revealing a sleeveless t-shirt, exposing his under-
arms. He is sleeping on a mattress on the floor of his
cell. Blankets lying messily about, a few prison books.
His long hair is completely
His sleep is simple, childlike.
unkempt. He sleeps with his mouth closed, on his belly, one
arm loosely wrapped around his neck, the other flung Out.
Camera dwelling on him, fading again into the
aquarium full of tropical fish, fading from there to the
prison block; about ten cells to the block and one dayroom,
The shot is
five-six prisoners in each overcrowded cell.
of the prisoners, in singles, walking about pointlessly,
just to move, not more than six or seven treading.
The prisoners are all young except for one or
two old lifers; they are mostly smugglers, hard types, out
of motorcycle gangs, repair shops, broken families and in
California style, very hip. young, they have smiles that
say they know the score. Quite a few have beards and
tattoos, but no external ornaments, which is not allowed,
99 S* as distinguishing marks, they use their threads.
Each walks differently from the
other, like different types of fish in an aquarium. There
is also a large minority of old 'hippy' types, Youngr not
so tough, a fatalistic young romantic look about them,
Society was unchangeably lame and it was inevitable they
should end up behind bars. tr3hen they get out, they PJill
probably split into the hills, to llexico, South America,
Their hair is very long,
islands unheard, and never return,
a lot of golden brown beards and once-suntanned faces, very
quiet, keeping to themselves, not even talking, each sits
They look very primitive in their
by himself and meditates.
shabby pyjama pants and t-shirts.
Voice off:
58. Camera panning through the block.
Getting into the car.
Over there,
Camera fading to catch three of the prisoners,
swarming high up near the ceiling on the barsI like fish
rather than monkeys, looking out the small slit of a window
looking down into the parking lot.
VOICE : The yellow chick in blue.
Side Shot (close) of their faces, catching the
sunlight. One of them sucking in his breath.
Shot: Blonde getting into the car in the Sun-
light, slamming the door. In the background we see the
sealed prison building, modern, small windows, in the
heart of the city.
100 Shot: their faces looking out through the bars,
wide eyed, exaggerated effect. Fading into
Shot of the head trustee (also a prisoner)
bearded, coming up behind the prisoners. Pointing.
Get down.
59. Camera following trustee as he walks on down the
block. Stops at a
He is a powerful looking young man.
cell. Looking inside. Anthony lying on the mattress,
still sleeping, though he has changed positions and is
sleeping childlike on his side, his arm still about his
neck, the other arm outflung. toilet bowl and in
A basin
Trustee glancing
the cell. One bunk bed. Very cramped.
to see everything is in order.
Passes two
Walks further on down the block.
60.
brothers with pompadours sparring with each other in the
Passes by them
space between the cells and the bars.
unconcernedly and passes out of the camera's eyes8 as the
They move well,
camera remains to dwell on the brothers.
taking it easy, equally sized. They start slapping a
little harder, noses bristle, sweat starts up: a few others
gather round, coming from separate directions, alone,
digging the action. The camera observing their faces as
the fighters pass out of the camera's eye; the mixture of
hard types and nomadic types.
One
The fighters come back into view, dancing,
of them with a brother
is now Anthony, jabbing, sparring
101
who is probably an amateur boxer and is getting the better
of A, slapping him harder and harder with his open palm,
his own nose starting to open and close, his mouth working
small cries, as if he were taking a black vengeance on the
white boy. The hard unsympathetic faces of the gathered
crowd. A'S blurring vision; his opponent's face fades into
that Of Francis hitting him harder and harder, his face
fading into the Blow Up at the stream -- his dying face
crying
61. Voice: (off very-loud) Ulysses1 Albert0
Ulysses!
Camera panning to one of the guards walking down
The
the corridor outside the bars, calling this name.
fight breaks up. The two brothers (not Anthony) who were
originally sparring calmly quickly walk off in separate
directions.
Ulysses walking past them towards the sliding
The door
door at the far end of the block. v?aiting there.
slides open, Camera catching him walking
Another door.
The guard
down the corridor with the guard behind him.
stopping at a box tied to the bars and taking the Slips
full of special requests, following Ulysses out the
corridor. They disappear.
Fade.
62. A. waking up from his sleep, his hair very
dishevelled, lines under his eyes (he has slept most of the
102
days and nights away) Looking around in a daze at the
blankets. The little shelves on the wall are neat, with
small personal possessions on them. A young prisoner
lying on the top bunk.
A: Can I get some cigarettes?
The young cat reading a Reader's Digest, turning
the page, his voice distant:
Sunday
I haven't had
A: Can I get one from you.
a smoke in days.
Long pause
(Turning the page of his magazine) No
Fade
The water
63. The sparring brother in the shower.
The
He pushes a button.
squirting out like a fire hose.
shower stops. Comes out. Dries himself, humming, then
singing.
Fade
64. Anthony on the mattress trying to read a prison-
book. Rutting himself in the
Putting it down in boredom.
Disliking
yoga position. Breathing in deep like a fish.
it. Getting up, walking, in his singular tread, towards
the dayroom, passing the brother drying himself outside the
Going to the small stove
shower, which is in the dayroom.
The
Looking at it.
where the coffee pot is brewing.
brother coming over in his towel, taking the lid off the
coffee.
103
smelling just nice.
Urn,
A: Yea, all I need is a coffee cup
Brother, heading back towards the shower to pick
up his soap and slippers. Looking back over his shoulder?
It's hard to get a coffee cup in here.
Walking on) Ain't no sugar either
A: (to himself) No, ain't no writing
paper, Ain't no pens. Ain't no telephone
Ain't no beds.
calls. Ain't nothing
Ain't no lawyers. Ain't no women.
is there?
Brother from distance, going back to his cell:
No, ain't nothing
Fade
Close shot: an old lifer crying "Chow"
65.
Low anin\al mumbles, following his cry, down the
block. Prisoners heading back to their individual cells.
It is late afternoon, but the clock on the wall is broken
The corridor outside the cells
it doesn't really matter.
SO
is now empty. A silver dinner tray, glistening chrome, the
center of attraction, wheels past the electric door into
the cell. The trustee, by himself, rolls it down the cells
into the dayroom, some of the men's faces looking at it as
it passes their cell.
The Trustee: (calling out) Four Five Six!
The men from these cells eagerly pour out, heading
Two pieces of white
for the dayroom. They eat voraciously.
104 bread, no butter, ravioli and a small sticky piece of cake,
Nothing to drink but coffee. Anthony eating with them, his
undershirt still on, his hair a mess. There is little talk.
The sparring bro.ther, the same one who was in the shower, is
sitting with another brother across from A. Looking at A.
curiously. Asks:
Whatcha ya in for man?
A: (tired of the whole gig) Crime
The Brother: (smiling, persisting) You look like
one of them cats gets stuck for the first time on a grass
rap.
A shrugging, eating
Brother, finished, lighting a cigarette, offers
one to A. Brother smiles at his friend.
He shakes his head.
Brother: This is my
Don't get uptight man.
ninth trip. James Brown here (indicating his friend) is
facing life. Whatcha you facing. Five years.
A. has finished eating. Doesn't know why he is
hanging around.
Brother: It's
Shit, you might pull a probation.
all depending on the Plan. Federal?
A. nodding
Brother: Judge Lowery'll
Then you're SO-SO.
he'll hang five on you.
Brown: (interrupting) They call him The
James
Vulture. He's black (laughing) yea he's as black as my
daddy.
105
Brother: Monroe. He's soft on kids. He'll rap
to you an hour about Justice till you think he's gonna put
you away for ten lifetimes. Then he'll hand you a probation,
saying, "Stay Clean"
Brown:: Yea, but your riff in court better
James
be nice . . . just nice
A. rising, going to the sink in the dayroom,
drinking water out of the tap, turning around, taking a long
deep breath, wondering what he's going to do next
Fade
66, Anthony, later at night, is looking out the bars.
He has pulled himself together, has combed his hair,
showered, removed his t-shirt, stands barechested, has
washed his face; he is thinking.
Fade; into his thoughts
He sees the faces of Joanna, Isaac, Francis, and
Joanna standing painted green
-*ah, each of them separately.
Francis singing his
under the tree where he first saw her.
Rhah
blues. Isaac offering him the snake's head to drink.
giving him the coat in the hospital.
They fade. On the other side of the bars, looking
in, he sees Alexander, The camera panning past him casually;
no element of magic in it.
around, walking back to his Cell.
Anthony turning
Alexander's voice (off, low as an interior
monologue):
106 Once I spoke to you of long silences
where we stare, just stare at air. Once spoke to you and
I
said life was but a dream, it's been said, I said, I was
what you are. I am what you're going to be
Closeup Anthony's face.
He enters the cell.
Anthony's voice off as in interior monologue:
Don't the winds ever change?
67. He sees Sonah huddled up in a blanket, on the
floor, slightly trembling as if this prison were too cold
for him. He's rubbing himself slightly under the blanket.
His hair is black, Indian, long and wavy, hanging to his
shoulders, the reincarnation almost of Isaac but younger,
about seventeen, eighteen. He has a beautiful face, much
warmer features than Isaac, his two eyes bright and looking
straight straight ahead as if he were on a permanent high.
His voice is soft and when he talks he smiles tenderly
He has a slight
with his eyes and sometimes his mouth,
accent -- sounding almost Israeli or European.
Anthony sits down next to him on the floor, not
feeling any need to explain why he sits down next to him.
He is simply attracted by him, by his warmth and by the
i
sensitivity that makes him tremble in the cold prison.
Jonah looks at Anthony with his wide eyes. He
Anthony is forced
smiles, trembles, but doesn't speak.
to ask:
107 What did you do?
Jonah, smiling, wrapping his hands around his
shoulders under the blanket:
They call it White Slavery
Anthony looking at him puzzled
Jonah: The little girl told the Judge she was
raped steadily for half a year . . . and she was so beautiful
in a pink dress in the court the Judge he believed her . . .
(laughing a little) so they take me to the big prison
tomorrow,
A: For how long
J: (looking ahead, trembling: For five
years
Jonah seeing
Pause. Sorrow on Anthony's face.
his face. Changes the subject:
J: Where do you come from?
A: From the East
J: I was over there (smiling) Yhen I was
just a boy. They call me Jonah.
I fought with the Tribes.
A: I fought with the soldiers. I'm
Anthony.
Jonah looking straight into A's eyes:
glad you came and talked to
I'm
Good.
me. I needed somebody to talk to ma. (Turning away) I'm
scared tonight. (Trembling)
Anthony almost touching his shaking shoulder
with his hand. pulling it back in.
Hesitating.
108 Jonah: (not him do this, a slight
seeing
smile on his face) I was twelve when first killed. I
I
lay in a tree all day. The soldiers came
Xtd set a snare.
by late in the afternoon, and they tripped it. It was
an old-fashioned bow and arrow, but it killed. And I was
so happy? Have you killed?
Anthony: (pause) No
Isaac: (smiling) did you rape the women?
A: (pausing) No
Isaac: (smiling) You didn't steal anything?
A. shakes his head
Isaac: Are you proud?
A: (at a bit of a loss) Sometimes
Isaac: Who is your woman?
Anthony puckers his smile, shrugs
Isaac (Also smiling) It doesn't matter any
more, does it?
Anthony : i40
Isaac: (smiling) HOW old are you;
I don't
Anthony: (smiles a little, shrugs)
think I remember.
His interest
Pause. Jonah has stopped trembling.
in Anthony has brought him out of his fear of the future.
Jonah-, (looking at A. tenderly) I- remember.
I'm eighteen. Xy mother and father were killed by the
soldiers. I was taken from the Forest, imprisoned here.
The City
They set me free and I wandered into the City.
109
was cold and hard and I was lost but there were people like
YOU Anthony in the City. There are a lot of them. We
shared together. r've loved more beautiful
We made love.
things than there are stars and I'm only eighteen and
You're older but Anthony (looking straight into his eyes)
believe me, believe me you never . . . good god you never
lose track of your heat . . . (taking his hand from the
blanket) Take my hand *.* Feel it
Anthony feeling it
Jonah: Mine are warm.
Yours are cold.
Shot, short: Anthony chasing Joanna through the
woods. His voice off in a whisper:
I remember.
You have to kill Anthony (Shot, very
JOnali :
You
short: Ant.bony killing the sneke) You have to love.
to be free (Shot: Anthony chasing Joanna through the
have
woods. His voice off: I pemember) . . . and you have to be
warm (Shot: Anthony catching Joanna in the WOOLS (no sound)
toppling over on the ground, their bodies
in si~w motion
entwining. His voice off in a whisper: I remember)
Pause, Anthony feeling the warmth coming off
Jonah. Jcnah's eyes smiling encouragement and tenderness
i
at him,
Jonah: you're warm. (lithely moving over
,
NOW
closer to Anthony) you've been warm before . . . I Can tell.
It isn't solemn,
(He kisses Anthony lightly on the cheek)
the kiss) His
it's light, joyous, easy. (Anthony returns
110 voice off: I remember. Anthony slowly takes Jonah's head
in his hands, brings it together with his. Anthony
releases his breath. Jonah's hand feels his cheek, gropes
along on it. They kiss each other's mouth, tenderly, their
eyes closed. Fade, past the faces of Joanna, Francis,
Isaac, Rhah, in that order back to the face of Alexander,
who sits all in black by himself in his apartment, slumped
in a chair, his hands between his knees, looking very sad,
his head hanging off his left shoulder. His voice off,
very low:
We dreamt
68. Your mind was mine Anthony.
together. We discovered reality and it died with the dream
We grew another
and what we dreamt, we could never have.
mind, We emancipated our souls, and the cost . . . was that
our feeli:;gs died. We buried ourselves in the security Of
thought and not knowing it, we fell prey to our own minds.
If ir. cannot eat other minds and
Our thought was hungry.
other minds cannot eat it, then like some horrible plant,
which yc~ accused me of being, the mind will curl in and
eat its own self.
Fading into
Alexander rises from the chair.
Anthony and Jonah together fading into
69. Alexander's face returning, painted in vivid
His
tribal colors -- yellow, black, red, blazing colors.
books and papers are strewn on the floor in fl-c)nt of him.
He is pouring gasoline through his apartment, The posters
111
and paintings are ripped off the walls, except for the
Rimbaud which he now stops to look at.
His voice: (off) Big explosions pockmark our
skies, Joyce . . .
Aristotle. Shakespeare.
Aquinas.
Rimbaud . . . ending like literature, in death and disease,
Rimbaud's hollow boy's voice off:
and one night I will lose and come
to regard as sacred the disorder of my mind!
Alexander taking the Rimbaud off the wall and
throwing it with the rest on the floor.
Alexander, his voice off, kneeling to examine
what he has devoted his life to:
For this? . . . descend sin by sin into
a maelstrom, full of false dreams arising like twilight,
false words tilxt dance by the moon and mirror themselves
God! I
at the bottom of the ocean's floor . . . for this?
swallowed sleeping
did my very best. I opened moons. I
forms. Sighs too
I sang songs that sighed with effort.
deep for words and prayers from the deepest pit of the
brain 0 God! Emerging
I was in you and you were in me.
from Leaping up, like winter-spring ardor, to
mists.
light sodden coals of creativity, it was patience and it
was passion, it yearned in the horrifying silence Of
infinity . . . Does appetite grow again? . . . and I a god am
I reborn? Did Zeus swallow his own flesh in order to
preserve it, do I not swallow my own self in order to live
again?
112 Alexander rising on camera. His voice still
off, in parody of what he has just said:
I was conceived by my father, born of
my mother, suffered under both, was crucified for this
(pointing at papers), died and soundly buried but the third
day I rose again from Hell, and ascended unto Heaven where
I sit on the right hand of God The Father Fiction, from
whence I shall come to judge . . . all painters, all poets,
all creators . . . you . . . amen
Walking towards his fireplace, taking the old
medieval torch off the hall, shifting moods, his voice off:
Must smash the
sin, must rise up.
Xust
Fire. Flew.
barrier of my selfish Ego. Must free . . . Free.
I go. Through the Ego he . . . Malked
Walking to and fro.
thrcagh the Eg;-. To and fro he walked .-. Through the Ego-
Through the garden of Ego.
I& holds it next to him,
Lighting the torch.
burning brilliantly, casting a weird surreal light on his
painted face. His voice, mocking: .
In many centuries from now .-- when the
futurians dig up theageold crusts of our earth . . . they
will discover a bronzed likeness of a human being from the
Twentieth Century, and they will marvel at this figurepiece,
and they will hang it in their lighted museums for all the
survivors to see, and they will flock about it, and they
will celebrate it, and they will never again commit it to
earth, for . . . and . . . it . . . wrll be Me. (laughs. Checks
himself)
113 What, who is this laughing at who?
Which Alexander laughs at which Alexander? . . . Which
Alexander shall inherit the Earth? . . . - shall inherit
Ye
the Earth. (Shifting, a mock puzzled look on his face)
The voice is gone. (Shifting again, theatrical) but alas!
A face is a
the birth of faith follows. Faith and face.
face. For have I not functioned on, samefaced everyday
forever, believing, having to believe in as simpk a thing
. . e as divine good, divine aid, all the divinities my fear
urges me to snatch at ..* at any time, at any 5pace, I came
cracking downward, creativeness I thought forever purloined
. * . how shall I function on, miracle of miracles -- sprung
from the Holy Ghost loins of the Virgin llary, Alexander
made flesh in it ball of fire, come to cleanse the Earth,
turn water to b lood . . . (Tausing, shifting again) O=. turn
life to death .*. turn death back again . . . To Life!
(Taking a random sheet and setting it to fire,
As he does this, his voice, businesslike:)
The world, it was writ, shall be
cleansed this time, not by water, but by fire. (The sheet
Alexander
with his large looping handwriting on it burning.
looking at his two cats who are circling uncomfortably under
a table) It burns . . . like cats slinking away, slowly at
first, it grows. It is a - wind,
high
It flies higher.
The long romantic loops of my
bowelbound and visionary.
hand, scratched by the she pen, she knows everything I know
and am about to know (Flame has engulf&d the sheet, Alexander
114 still holding it in his hand, tasting the fire) disappears
in an insanity of flame, The fire in my eye.
La Lune.
(The Siamese hissing at Alexander, Alexander smiling) SSSSSS,
go! gargoyle, sit on my mind no more, petulant and fed with
boiling seething creatiousness . . . like a succubus! like
a sea! like a vast Cinerama leech!
Alexander putting the torch to the books and
Then
papers. It starts up just as in the opening scene.
The cats, the hair
it quiets and starts to spread and burn.
on their hacks, retreating up against the wall, hissing.
Al*: (off) The fire rumbles like a pig in
frightened, so very frightened still of its
the slough,
fate, its awareness that I am real, not unreal, not false.
Mow in the hot heart of hell this real I burns the she out
of it (indicating the papers} stealing the light out of my
love, stealing stealing killing killing. 0 fantastic
insanity. My eyes are pearls of religious light, lit with
a lustre of wrath, spiking the skulls of dead demons lying
in the burning slough of hell, o Fantastic, these insane
words and words and words marching over my mind an army of
cannibals icccold sinfraught moistness of these words Gush
pond Foam! Livid skins. Of enemy kings cast in viper pits
to wheeze themselves out in celestial slowities of Death,
the little pigs grunt the sizzling snakes stand on the wall
and black butterflies sail up into the air and there in
the air die, asphyxiated. Spineless reptiles, as swift as
doom-ridden windswept poetry, snow floating in blood washed
115 Gush pond . . . foam, roll over and
by ice, alerted. Alert1
over, rise and roll, rise and roll (he pauses)
(The flames spreading wildly through the apartment.
The cats,
Shot of Anthony's fleeing footsteps (scene 1).
screaming. Alexander backing off from the heat, his eyes
alight with madness, sounds of breaking and tearing and the
roar of the flames)
Sound fades. His voice off, calmer, more lucid,
bringing to an end:
In the garden when I was young the
They are beasts of a fabulous
small graceful lions run.
elegance they sniff flowers and crack open pink parasols,
when I was young, in the aethiopian gloom, in the shaded
of afternoons splendid with ambitious odors and
memory
primitive yearnings and I embraced it all, sing! that once
1 stood in front of the dawn and bathed my sandals in the
sea, that once on freezing frontiers my armies roamed, that
I kissed the hands of fantasy queens and bade my time
pausing on flowers, these and arabia too where the winds
shrive, in the sapphire waters off moorish Spain, fields
Of flanders and wheat so golden it devoured the sun, songs
Of Swedish castles and sonqs of spiders, groans of feeling
from dungeon corners and keening organ music in german
towns and nights in the forest and days so black widow's
tears ran with the Ehine . . . The Christ was long distant
and light so far ahead and I lay my cheek down on the side
of an alp, and ran my toes through the wows of afghanistan.
116 In the north was the nothing, towards the south the void,
and over it an old God had hung an invisible mantle he
(Veaningless-
called Life .*. it's so sad, so meaningless.
ness in his voice) In its bosom we play the practice of
our hearts . . . our hearts expire, puff adders vex the desert
sand . . . we titter . . . we stop . . . without warning, we see
the genesis and the genius . . . and harmonies collide . . . and
the eye is lost in puzzles of fire
(Alexander is now a negative)
His voice.- (off) My throat above the fire.
Fire . . . my throat in the fire floating backwards *.. the
last secret to madness . . . the core the rot .-. beinglessness,
embrace the steel .*. spit .O. clog . . . choke on the semi-
circles of the moon . . . fantasy blood, purple flamed . . .
then gut and sink ..+ into the wealth of fire at the music
end of Death.
Alexander's negative engulfed in the fire.
Slow fade on the fire, engulfing everything.
69. Fading into -Anthony and Jonah embraced, but
Anthony's face, as if he knows what has happened, is looking
up, looking at nothing. There is sadness in his face.
Fading into mirth; the realization of dream.
His voice: (off) Feelings are dreams, dreams
It's
are feelings. Dream is Freedom,
Freedom is Dream.
all nothing but a Dream.
They embrace.
He kisses Isaac.
117.:
Fade.
The movie camera begins to purr offscreen,
coming to the end, fading from the characters, implying
that Life is just a Movie.
From the death of Words, we start a sweep Up
Beginning by making a Movie of
into Anthony's Future.
what has passed.
First still photographs come on the screen,
The
freezes of the faces and things Anthony has known.
purr of the movie camera is heard offscreen until the End.
Photographs, Blow Ups
1) The Fire
2) Father
3) Vother
.. 4) Diana
5) Rimbaud
6) Alexander
7) Francis
8) Rhah
9) Isaac
10) Buddha
11) Joanna
12) Flash
13) Genet
14) Jonah
15) Anthony
These shots fade very quickly into one another.
118
They could be closeups, distant shots, shots in action,
shots mixed in time, but an effect of passing speed and
dream,
1) A shot of Alexander as a young boy, writing
poetry. 2) Then a shot of him in his apartment with
Anthony. 3) Lastly a shot of him as a negative.
1. F&ah at the hospital
2. Rhah clubbing Lerner in the woods
3. F&ah rapping in the Temple
[Reversing Time)
The stills starting to move with the purr of
the camera
1) Isaac at the Temple in front of Buddha slicing
the snake's head off, fading into
2) Buddha with the living snake crawling through
his arms, fading into
3) the candle at the jazz club Anthony rising from
the table sweating, fading into
4) Isaac with the machine gun in his arms
the leader of the Tribe at the stream
COnfrOnting
5) Isaac in his classic pose at the stream after
the battle
6) a comic strip Blow Up of The Silver Surfer
7) Joanna following Isaac into the woods
8) Anthony coming on screen-chasing her
9) Anthony drinking the snake blood
10) Anthony and Joanna entwining
119
11) Francis singing his blues
the r&ream.
12) Francis crying for help in
13) Anthony dancing to the James Brown with the
colored chick, the sound of the song breaking the silence
of the movie camera's purr.
14) Anthony and Jonah touching each other for
the first time
15) Anthony in a cardin double-breasted suit and
turtleneck, wide brimmed hat, expensive gators, flowery
handkerchief, looking very strange and out of character
passing between two chicks (their off screen whisper, in awe:
Where does he come from? Where is he going?
161 Footage from the Errol Flynn swordfight in
the Seahawk
An offscreen voice, loud and distant, the guard
calling "Darnell! .., Anthony Darnell!
17) The guard walking down the corridor, calling,
fading into
An off-screen voice (the guard's):
Tell him he's wanted
18) Joanna and Isaac bendingoverAnthony at the
stream, nursing him
19) Anthony kissing the snake
The snake biting Anthony
20)
21) Anthony embracing Isaac after Alexander's Death
22) Frontal shot, medium range, taken from the
Anthony
eye level, of two horses riding with the camera.
120
his hair blowing in the wind on the first horse, a chestnut
stallion. Almost abreast of him, his young (future) son
(seen earlier playing the piano) his long hair- blowing in
the wind also. They gallop.
Sound of hooves beating, Camera holds on them.
Side shot as they pass the camera, riding off.
A slow Spanish guitar melody starting up, movie
camera's purr fading into the music
23) Son and father on street, the father a little
bit ahead, both hands in his pocket, his shoulders hunched,
back to camera. The son, younger than the one in the
previous shot, like his father wears a sweater, and leather
pants. The guitar riffing.
The purr of the camera.
24) The guitar fading.
The son, now a baby, is building a sandcastle on the beach.
His father approaching him. Baby waving him awayr as if to
say Don't play with my sandcastle. Father opening his face,
like a little boy his eyes wide, showing his son he is hurt.
The son looking, beginning to smile. The guitar starts up
again, Father laughing. Going to son and lifting him up
on his shoulders where he rests, Walking down to the sea.
His left arm going out and Joanna running across the camera,
under his arm, they laugh, turn their backs on the camera
and baby on shoulder, wife under arm, walking off down the
beach, fading into
25) The big muscled black with the gleaming ear
ring, seen at the beginning of The Prison sequence, his hands
121
on the bars (the purr of the camera), now his hands
movie
wrapped around the guard's neck, who is ninncc? against
up
The black making cold .Eaces of
the bars, struggling.
exertion, bringing the guard lower and lower, finishing
Look of intense
him on the floor. Back up to the bars.
He takes the bars in hand and
concentration on his face.
He just about makes
like Steve Reeves, bends them apart.
a circle out of the two bars, bending them inwards, giving
The rest
Going through the breach.
them a concave look.
of the prisoners following, caution and excitement on their
faces, emerging three or four at a time.
In a double-breasted
Anthony through the bars.
Little gangster gun in his
suit, a flower in the lapel.
hand, an ultra-broad brimmed hat on his head.
The prisoners moving fast down the corridor.
Anthony way behind them banging a guard on the head with
the gun. Standing there over the guard, turning one way
The
Shooting him.
Can't up his mind.
then another. make
hollow clack breaking into the purr of the camera. A.
looking around, he hasn't moved, sees a vase full of flowers
Shoots it.
Pauses.
sitting on a table in this corridor.
A still hasn't
Vase and flowers breaking and falling.
Sees himself filting
moved, looks off down the corridor.
himself on camera, his double in looser threads, without a
Shot
hat. Pauses. Aims his little gun his double's way,
The hollow echo breaks the silence.
of it (close) firing,
Anthony picking a strawberry out of a strawberry bowl.
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Fade, The prisoners running much faster through
the corridors of green and blue and pink sudr!enly breaking
Cra.sy
out into an open green field full of flowers.
Prisoners running like wild through the field some rolling
in the grass, some hugging each other, some pissing, some
picking flowers, the rest running very fast in separate
The last shot of the black Bar Bender tearing
directions.
through the grass (eye level shot) lively music playing off
the guitar.
The purr of the camera
This abruptly stops.
Anthony as some kind of
Blow Up Comic strip.
caped crusader, very fast.
70. Fading into Anthony kissing Jonah goodbye, fading
into Anthony at the electric door waiting for it to open.
It opens. Anthony disappearing in his
Going through it.
Sound of another electric door opening.
light beige pyjamas.
Anthony, in a cardin suit and turtleneck, no hat walking dowr
the corridor on the other side of the bars (camera behind
bars) e Side view as he walks on down the corridor and
disappears.
The purr stops
The screen dissolves into colors shaped like
molecules, perhaps a theme to it of three separate worlds
merging (cat: white, snake: green red yellow black etc. and
3Ielt .
fish: stripes, dots) Collide,
They merge.
End of Movie
