The Haight (Act II)




INT. GINO AND MEASLE'S APT. - DAY

We are in the large kitchen of what appears to be a good sized apartment. Moby Grape is blasting on the stereo. CATHY, Measles's live-in girl friend is preparing the spaghetti dinner that we heard about earlier. She is an average looking twenty year old with long straight black hair and bangs. She wears an indian print dress that goes to the floor. She's quick to smile and has a quick mind. With her, seated at a formica kitchen table is SAM. He is also in his early twenties with long thick wavy blonde hair that spills over his shoulders and a full moustache. His hair is clean and shiny, obviously an object of pride. He is busy constructing a long thin pipe out of tin foil.

SAM
(to Cathy)

You going out tonight?

CATHY
(draining the noodles)

I don't know . . . I'm still wasted from that acid we took last night. Who's playing tonight?

SAM
(holding up the pipe for inspection)

Uhh . . . let me see . . . Country Joe . . Sparrow . . . and some group from L.A.

CATHY
(stirring the sauce)

I think I'll pass. I could use a quiet night at . . .

Someone in the b.g. is banging on the door. Sam looks up.

SAM
(loudly but unconcerned)

It's open!

We hear the door open and the sound of Jon, the dog, running in. He bursts into the kitchen. Both Cathy and Sam recognize him and call him by name. He runs up to both of them and nuzzles them. RON and CHRIS walk in all smiles. Everyone knows each other. The boys shake hands and Cathy gives them each a kiss. They all bring each other up to date on their adventures, and we find out the Sam is working for the legendary Family Dog, the group responsible for putting on weekly concerts and lightshows at the Avalon Ballroom. RON and CHRIS are eager to go to the show tonight.

SAM
(to the boys)

Yeah, no problem. I can get us in for free.

He unfolds another piece of tin foil to reveal some white powder.

SAM

Want to smoke some DMT?

RON and CHRIS speak at the same time.

RON What's that?

CHRIS DMT?

SAM

It's like acid - except it only lasts about fifteen minutes.

RON Sounds good to me.

CHRIS Lead the way.

ANGLE ON BEDROOM

Suddenly, it's as if we are inside a Bedouin tent. The entire ceiling of the room is hidden by billowing near eastern tapestries. Oddly enough, the windows of the room are down at floor level. The view out the windows allows us to see that we a few floors off the street, probably in an attic apartment. Large cushions and pillows strewn around the floor. On the far side of the room, on the floor, is a double bed mattress. It too is covered in an exotic print. Sam grabs an ashtray off of a low table and sits down cross legged on a Persian rug. CHRIS and RON follow suit. Sam lays the tin foil of DMT on the floor and scoops some into the bowl of the makeshift pipe.

An early bootleg instrumental EP by Country Joe and the Fish is playing on the stereo in the room. They all pass the pipe, taking long deeply inhaled tokes. Sam leans over and puts another album on the stereo. It's the first album of the notorious 13th Floor Elevators. The music is weirdly pulsating, almost spooky, threatening. As the DMT starts to hit, RON and CHRIS look at each other and chuckle. Their

PUPILS

dilate so completely that there is no color in their irises.

CHRIS

turns and looks out the window in slow motion. Everything slows way down. Everyone moves in graceful ballet motions.

POV CHRIS



Out the window, we see downtown San Francisco and, in the distance, the Bay Bridge. It's a beautiful sunny day. Suddenly, the sky above the city and the bridge shatter as if they were glass. The million fragments stay in place for a second, and then they start to move toward the center of the frame. As they squeeze slowly together, they take on the form of a huge wide winged bird which proceeds to fly gracefully out over the bay to the hills beyond. A brilliant flash of white light fills the screen, and then we are back in the room.

ANGLE ON CHRIS

He is obviously taken back a little by his vision. He looks from side to side without turning his head. Then, slowly, he turns his head and looks at RON who is still seated next to him. As soon as RON sees his face, he breaks out laughing. CHRIS looks at him like, "Whoa! What happened?" Then he, too, laughs.

CHRIS
(to Sam)

What did you say this was?

SAM

Di-methyl-tryptomine. DMT. Want another hit?

CHRIS

When does this stuff take effect?

They all laugh as we go back to an

ANGLE ON THE WINDOW - TIME LAPSE SHOT

We watch the skyline as it slips from afternoon into evening and then night. We slowly slip through the window and hang suspended over the jewel-like city lights of the city. Then we hear voices.


CATHY
(b.g.)

Aren't you guys going to eat?

CUT TO:

KITCHEN TABLE - NIGHT

Gino, Measles, Cathy, RON, and CHRIS are sitting around the table eating spaghetti. Everyone, that is, except RON and CHRIS. RON is examining each noodle before he eats it. CHRIS is sitting back in his chair watching RON. Measles is woofing down the last morsels on his plate. CHRIS smiles - totally content, eyes bright and alert.

CHRIS
(responding to Cathy)

Oh . . . sorry . . . just lost my appetite.

Measles stands up, taking his plate over to the sink and rinsing it off.

MEASLES

Well, let's go then. (he comes over to Cathy, bends over her shoulder, and embraces her tenderly) You sure you don't want to come?

CATHY

Yeah, you go ahead. Show these guys the town.

Measles kisses her, then stands up very erect and performs some kind of convoluted salute.

MEASLES

Okay, Space Cadets . . . the city awaits.

CUT TO:

LOBBY - AVALON BALLROOM - NIGHT



The lobby is a large high ceilinged room in the old Victorian style. It is crowded with young people coming in for the concert. The crowd is made up of the same colorfully dressed types that we saw earlier on Haight Street. Sam is standing by the ticket counter, scanning the crowd. Measles, RON, and CHRIS enter and cross the lobbing, talking amongst themselves. Sam spots them, waves and directs them past the counter and into the main ballroom. He talks quickly as they move through the crowd.

SAM

I got a line on a pad for you guys. Some friends of mine are moving up north tomorrow. They got a place up on Clayton and Waller - four bedrooms - $250 a month. You can probably start moving in tomorrow.

Everyone's eyes light up.

MEASLES

Sam! Alright! He does it again! The guy's a god-damned magician!

CHRIS and RON start to thank Sam, but suddenly they are in the main ballroom. The place is packed. The music is loud. Strobe lights are flashing across faces. Sam turns and disappears. Measles grabs RON by the arm who in turn grabs CHRIS, and they swim through the flickering faces in the crowd. Smiles are everywhere. Everyone is genuinely happy to see everyone else. They've been given the chance to be happy and love each other. You can see the joy and relief on their faces. The music is too loud to talk.

The room is very large with a thirty foot high ceiling. The band is up on a quarter round stage tucked in a corner on the far side of the room. A cinemascope, multi-colored, ever-changing light show fills the walls around the band. The light show is made up of slides, old movies, liquid overhead projectors, pulsing to the music, overwhelming the crowd. It's a kaleidoscopic dream scape of famous faces, cellular amoebas, nude bodies, outdoor landscapes, geometric figures - shifting - always shifting - never repeating - never staying the same.

In front of the stage, there are rows and rows of people just sitting on the floor watching the band. Our boys come across the dance floor and stop at the outer most fringes of the seated crowd.

CHRIS

gets a slightly puzzled look on his face. He looks around as someone would do who hears their name called. Finally, he focuses on a

YOUNG MAN

seated on the floor about five rows from the stage. We see him from behind. Suddenly, he sits up straight and cocks his head like a dog listening to an inaudible high pitched whistle. Then he turns around quickly and looks straight at CHRIS.

ANGLE ON BOTH

They look at each other for a second with questioning looks. CHRIS smiles in a disbelieving fashion and raises his hand in a wave. The other man smiles, waves, and turns back to the band as if nothing too unusual has happened. RON watches the exchange.

RON

You know him?

CHRIS looks at RON, then at the man, then back to RON. He shakes his head. They both smile at each other. The band comes to the end of a song. No one really applauds, but it's obvious that the crowd is happy with the band. A portly man with long grey hair and a thick beard comes out on stage. The lightshow stops.

MAN

Okay . . that was Sparrow. Yeah, yeah they were good. Sally, (addressing someone in the crowd) where's Jack? Yeah, I got that thing he wanted. Yeah, cool. (back to the crowd) Okay, so next up we got a band from down in Venice. Yeah, California - not Italy. I don't know -- things must have changed since I was down there last. It used to be just bums and beatniks and drunks. I don't know what to tell you about these guys. They're new, but I think we're going to see a lot of them. Ladies and Gentlemen, from Venice, California, I give you THE DOORS.

Morrison and the rest of the band run onto the stage and explode into "Break On Through To The Other Side". The walls around them break into a wall of flame. Their energy is so intense that it rocks the crowd backward. A wave goes through the crowd like wind through a field of wheat, starting with those nearest the stage and rippling outward. It's electrifying. When the wave reaches the

POV RON AND CHRIS

THE CAMERA FALLS BACKWARD IN SLOW MOTION

DISSOLVE TO:

A SERIES OF DISSOLVES

The rest of the concert is a blur, as we go through a medley of songs from the Door's first album, ending with "Light My Fire". What we see in the faces of the crows is ecstasy, exhilaration, and cathartic release. Everyone is included in the experience. There is no hostility, no posturing, no one trying to be cooler than the next. Everyone joins in like soft mad children.

DISSOLVE TO: ANGLE ON RON AND CHRIS

CHRIS is lying flat on his back on the hardwood floor. RON is dancing with a young girl.

MEASLES

comes walking up. He gives something to RON and then to CHRIS. They talk but we can barely hear them.

CHRIS

What is it?

Measles leans down.

MEASLES
(leaning down to him)

Owsley's latest. Just hit the street.

CHRIS pops a tablet in his mouth and swallows. He stands up and yells in Measles' ear.

CHRIS

Let's take a walk. I don't want to come on in here.

CUT TO:

STREET OUTSIDE AVALON - NIGHT

The three boys come out and start walking down the sidewalk. Measles heads for his car - a beat up white 1951 Ford.

CHRIS

Hey, Measles, why don't we just walk for awhile?

MEASLES

Okay. Where to?

CHRIS

I don't know . . . just walk . .

It's the kind of San Francisco night when the fog comes in suddenly in thick clouds over the nearest hill, dissolves, and then comes again - thick, enveloping, moody. It's obviously chilly. CHRIS is wearing a light green rip stop air force jacket. Measles is draped in his dark blue pea coat. RON has traded his corduroy sport coat for a brown leather aviator jacket. They head off down the street.

DISSOLVE TO:

NORTH BEACH STREET - NIGHT

They are in the Beat section of North Beach. Walking past the crowded coffee shops and jazz clubs. Measles is turning as he walks, slowly waving his hands in front of himself as if parting curtains, swimming through the fog.

MEASLES

Wow . . . this is good ac - (he stops, suddenly looking down at the sidewalk) Hey, look!

They all stop and look down. CHRIS and RON stare at Measles with large pupils - deadpan. He looks at them, back to the sidewalk, and back at them.

MEASLES

It's just me, huh?

POV MEASLES

We see an astrological sign (Sagittarius) in the shape of an arrow glowing neon pink on the sidewalk. It slowly disappears and is replaced by one just like it ten feet further up the sidewalk.

MEASLES
(b.g.)

It's my sign.

RON
(b.g.)

Your what?

MEASLES
(b.g.)

My astrological sign. It's glowing pink.

CHRIS and RON laugh in the b.g.

CHRIS
(b.g.)

That's good, man. Class A hallucination.

ANGLE ON MEASLES

He doesn't register the remark. He is absorbed. MEASLES

It's . . . it's . . . leading off . . (he points) down there . . .

He starts down the street after the sign. He stops and looks back to the other two.

MEASLES
(wide-eyed, mystified, possessed by the moment)

C'mon . . . Let's follow it . . . see where it leads . .

CHRIS

starts laughing and pulls on RON's jacket, urging him to come along.

CLOSE ON RON

The fog suddenly gets pea soup thick. It swirls around his face. His dark hair falls across his forehead. His glasses fog up. He impersonates Measles voice exactly.

RON

Yeah . . . C'mon . . . Let's follow it . . . see where it leads . .

DISSOLVE TO:

A SERIES OF SHOTS

We watch as the three young men follow the sign through the city. The first place it takes them is the topless bar area of north beach. The neon signs and sleazy pitchmen along the avenue seem exceedingly loud and garish - leering, sweaty, greasy. The boys follow the sign into one particular bar. There, on the stage, is a stripper with enormous fake breasts. The camera ZOOMS in and the tits fill the screen in slow motion.

Next we see them in China Town. Oriental whores, enigmatic old men, threatening tong boys, skinning dogs hanging from meat hooks in shops. Chinese neon lettering in saturated color. Still, undaunted, Measles follows the glowing symbol --

into a peculiar three story apartment complex where all the apartments face a central courtyard. They walk past scene after scene of middle class Americans in their living rooms, stopping finally in front of one apartment where both the door and the drapes are open. Inside, an enormous fat man sits in an overstuffed chair with a beer in one hand and a tiny poodle in the other. He is watching the late news on t.v.. Vietnamese children run screaming from exploding napalm.



They pass through neighborhood after neighborhood, finally ending up at Coit Tower just as the sun is coming up. For some unknown reason, they are creeping comically up to the crest of a grassy hill, as if they are sneaking up on something, Measles still following the now fading symbol.

MEASLES
(whispering)

Yeah I think this is it . . . there's something over this hill . . . (looking back at the other two) something . . .

RON yawns, starting to come down. They creep to the top of the rise.

CUT TO:

POV ALL THREE

As they top the very crest, suddenly a huge barn owl, all white on his underside, silently swoops up in front of their startled faces and hangs there for a quivering second, staring right at them. With a soundless flap of his wings, he cartwheels away from them and is gone. To a man, they collapse on the grass. In the distance, the bay and the Golden Gate bridge glisten in the early morning sun. They all look at each other, speechless.



CUT TO: ANGLE ON ALL THREE

They look like the boys of summer, high on a grassy hilltop, under a sunny blue sky. From an apartment below, music plays. It's "Expecting to Fly" by Buffalo Springfield. Someone else has been up all night. CHRIS turns to RON. The serene look on his face is one of someone who has finally found their place in the scheme of things. It's the definition of beatitude.

CHRIS
(to RON)

Let's go check out the new pad.

RON just smiles from ear to ear, as the music below grows louder and seques into "Rock and Roll Woman".

CUT TO:

SERIES OF SHOTS

The music continues as we watch as RON, CHRIS, and Jon, the dog appear at their new apartment on the corner of Clayton and Waller, one block off of Haight Street. As before, the streets are teeming with young people. As the old tenants are moving out, RON and CHRIS move in.

It's a large gracious apartment on the top floor of an older three story building. The apartment covers the entire upstairs of the building and is mostly already furnished - with beds and a particularly large and beautiful antique oak table in the dining room which also houses a large fireplace.

With the song still playing, we see them enter a crowded shop front on Stanyan Street. The sign on the window reads, "Free Job Clinic". Inside, the place is crowded with people, rushing in and out. RON and CHRIS talk to long haired man in his early thirties who wears a top hat a la the Mad Hatter. There are papers all over his desk.

Next, we see a montage cut to the music of them settling into their new life - during the day, hauling people's belonging and junk from one place to the next, up and down the crazy quilt hills of the city - during the night, partying with the folks over at Measles' or having those same friends over to their apartment - fixing dinner, getting stoned, laughing, talking - talking of the new world, the new way - reading from texts like "The Way of Life by Lao Tzu" or "The Four Quartets" by T.S. Eliot while the fire burns in the hearth.

Life is good. As the song ends, we -

CUT TO:

FREE JOB CLINIC - DAY

RON and CHRIS are stepping up to the desk of the man who gave them their first job. The place is still mobbed.

RON

Hey, Pete, got anything for us today?

PETE
(pointing across the room)

Yeah, some guys in a band need to haul their equipment over to Berkeley.

RON

Thanks, man.

As RON and CHRIS turn to see who it is that needs help, they both shout out in unison.

RON AND CHRIS

John!

A tall, thin, young man with long black hair cut like somebody in a heavy metal band from the eighties looks up. He has the perfect face for the job. High cheekbones, pouty lips, long eyelashes. His levis are so tight that they're about to pop. He recognizes our boys and smiles wide.

JOHN

Hey, you guys! We heard you were here somewhere. I was about to go up to Measles' to see if he knew where you were. (he laughs) It's good to see you! How are things going?

CHRIS

Unbelievable, man. You're going to love it. What are you guys up to?

JOHN

We found this great pad over in Berkeley, for way cheap, but our van broke down, so I came here this morning looking for help.

CHRIS

Too much! C'mon (he makes a motion for the door) Is the whole band here?

They all start to walk outside.

JOHN

Yeah. We got up here about a week ago. Things are going great --

CUT TO:

INT. MILK TRUCK - DAY

They truck is crammed with rock and roll equipment and rock and rollers. They are coming up the hill into Berkeley. The other members of the band have the same proto-type heavy metal look as John - long teased up hair and skin tight clothes. Jon, the dog, sits on top of one of the amplifiers. John is still talking.

JOHN

So that's all good and next week we play the Fillmore with the Airplane -

Further up the hill now, they take a right hand turn and head up toward Telegraph Ave. which is two blocks away. Two student-looking types come running down the hill past them at full speed.

JOHN

- and then if that goes good, the Avalon next weekend with Quicksilver -

We hear the sound of people shouting angrily in the b.g. CHRIS turns left onto -

TELEGRAPH

and suddenly they are in the middle of a full scale riot. Thousands of college students are running down the street right at them. Behind the sea of screaming, running students we can see a phalanx of riot suited police chasing them. The mob sweeps around the truck. Some students stop to throw bottles and rocks at the cops. Tear gas canisters land near-by. "Get the fuck out of Viet-Nam, now!!! "Eat, shit, pigs!!" A tear gas canister bounces off the windshield, cracking it. CHRIS ducks and rips the wheel to the right, going up a side street, almost hitting a girl holding a placard.

CHRIS

Jesus Christ!

A young man, running with the mob, jumps onto the milk truck at the open door on the passenger side. He hangs on to the outside of the truck. He is bleeding profusely from the left side of his head, blood coursing down his face. The dog starts barking at him.

BLEEDING MAN
(yelling at CHRIS)

The cops went fucking nuts! Just waded into the crowd and started clubbing people!! - girls!! -- it didn't matter!! (he looks back to the street) Fucking pigs!! Fuck you!!!!!

CHRIS looks out his open door back to Telegraph. It's ugly. A pitched street battle. He sees a girl that he almost hit get clobbered in the head with a tear gas canister. She goes down. He looks back into the truck.

BLEEDING MAN
(somewhat calmer, but in a state of disbelief)

They just went crazy . . .

His voice echoes on the soundtrack and we -

CUT TO:

INT. APARTMENT - DAY

CHRIS

is sitting at the oak dining room table, talking on the phone. His hair is noticeably longer. He is growing a moustache.

CHRIS

Yeah . . it's all set . . PSA flight 137. It leaves Phoenix at 1:00 in the afternoon. Yeah . . . Billy, too. I'll pick you up. (he listens) You won't believe what's going on here. (he smiles) It's really out of control. Better than we ever imagined. It's magic. (pause) I love you, too. I can't wait til you get here.

In the middle of his last statement we -

CUT TO:

INT. PASSENGER JET - DAY

ANGLE ON JERRY AND HER SON BILLY

Billy is a four year old cherub with a thick head of straight black hair and blue eyes. He's irresistible. Full of love and joy. He's on an adventure.

BILLY

I hope Cwaig brings Jon to the airoport. I like Jon.

GERRY
(leaning over and straightening his hair)

He probably will. He takes him everywhere else.

An older lady sitting next to them leans over.

LADY

He's such a darling. (looking at Billy) I just want to reach out and squeeze those fat little cheeks.

Billy gets an apprehensive look on his face, but fortunately the lady doesn't carry out her threat.

CUT TO:

AIRPORT GATE - DAY

CHRIS and Jon are waiting at the gate as Gerry and Billy come through.

GERRY'S POV

CHRIS is tan and healthy looking. His hair is longer and he now definitely has a moustache. His levis are ripped at one knee. He has a small hoop earring in his left ear. People give him strange looks. Everyone around them is so straight in appearance that he really stands out.

ANGLE ON ALL

CHRIS and Gerry rush together and embrace. Jon gets excited and licks Billy's face like an ice cream cone. Billy laughs and hugs Jon. CHRIS reaches down and lifts Billy up with one hand. The lady who was so friendly on the plane walks by, sees who Gerry is with, and gives her a cold, disapproving stare. CHRIS doesn't notice. They turn and start walking to the baggage area.

CUT TO:

INT. MILK TRUCK - DAY

They are traveling along the edge of Golden Gate Park. It's a rare sunny summer day in the city.

CHRIS
(talking over the engine)

I want to stop at the park before we go home. They're having a smoke-in

GERRY

A smoke-in?

CHRIS

Yeah. They've got a few thousand people in the park, all smoking dope at the same time. The cops can't do anything about it. You'll see. It's cool.

He pulls up and parks. He gets out without closing his door and comes around to the passenger side.

CHRIS

C'mon.

Gerry looks into the back of the truck and then to him.

GERRY

What about our stuff?

He looks at her with a small smile.

CHRIS

It's alright. No one is going to take anything.

She looks at him as if to say, "Are you serious?". He just smiles and lets it sink in.

CHRIS

We're home free, kid.

He offers his hand, and she steps down from the truck, smiling, hoping that it's all not just a dream.

TRACKING SHOT FOLLOWS

They all walk into the park and over a near-by hill.

POV GROUP AND CONT. TRACKING

There, on the rolling meadows of the park, we see thousands of young people lying in the sun, walking, playing guitars and bongos, eating basket lunches, and, most of all, smoking weed in an assortment of joints, pipes, hookahs, and other strange contraptions. Here and there colorful banners fly in the breeze. CHRIS and his new family thread their way through the friendly crowd. Finally, they find their friends. RON is there with the whole crew from Measles' house. They are all doing their part to make the smoke-in a success. Everybody but Cathy immediately recognizes Gerry and Billy. There are hugs all around, and someone passes Gerry a joint. It's a warm day and everyone is stripped down as much as possible. Some girls go topless. Somewhere nearby a radio is playing "She Has Funny Cars" by the Airplane. The music gets louder as CHRIS and Gerry and their friends lie back and enjoy the afternoon.

Suddenly, the music slows down in a warped fashion as if someone is putting their finger and the turntable, and we hear Darrell's voice.

DARRELL

God-damned machine!

CUT TO: INT. DARRELL'S MAROON VOLKWAGEN BUS - DAY

Darrell smacks an eight track tape machine under his dash with the heel of his hand. The music is still weird. He smacks it again. It starts playing properly. Outside the windshield we see that he is driving on the same highway that RON and CHRIS took to San Francisco.

ANGLE OUT DRIVER'S WINDOW

At that moment, a white Cadillac convertible as big as a yacht pulls up along side. Slagge is driving. In the passenger seat is Anne, her tight skirt hiked way up on her thighs. Her pretty breasts hanging free under an open silk blouse. She and Slagge wear very dark sunglasses. She holds up a hand written sign - "Stopping for gas" The Caddy passes us and speeds ahead.

EXT. GAS STATION - DAY

By happenstance, they pull into the same gas station that we saw earlier. The same boy comes out to pump the gas, followed by the same large bully. Darrell gets out to stretch his legs. He is dressed in the same preppie-type clothes as before, but his hair has gotten a tiny bit longer. He walks around to talk to Slagge but is interrupted by the bully in the baseball hat.

BULLY

Where you folks headed?

Darrell looks up and immediately recognizes the type. He pulls some sunglasses from his shirt pocket and puts them on, feeling fairly safe with his straight appearance. But obviously, not that safe.

DARRELL

Headed up to Frisco actually. Have a little fun. See some friends.

The bully looks at the VW and then at Darrell's suspiciously uncut hair.

BULLY

You wouldn't be going to that Haight-Ashbury place, would ya?

Darrell starts to get worried.

DARRELL

Hate what? Where's that? I never heard -

At this point, Slagge gets out of the Caddy and walks over to the man. He dwarfs him. Puts himself between the man and Darrell so Darrell can't see what he is doing. Darrell fades back into his VW. Slagge looks around to see if anybody else is watching and then leans in close to the bully with a serious look.

CLOSE ANGLE ON SLAGGE AND BULLY

Slagge takes his wallet out of his pocket and flashes a badge at the man. He puts the wallet back before the guy can really look at it. He turns so that the man can see that he is wearing a shoulder holster under his white sportcoat.

SLAGGE
(believably serious)

CIA. Special ops. (looks at the man intently) Don't worry about the hippies in San Francisco. I can tell you're worried because you're a good American. But we've got it all under control. Who do you think invented LSD?

The man stares wide-eyed as Anne walks up. His eyes rivet to her breasts.

SLAGGE

It's all part of a larger plan. We're trying to weed out all the wimps and fags and perverts and make this country strong again.

He pats the man on the shoulder condescendingly. His eyes dance.

SLAGGE

I can see that I can trust you and let you in on this, but, remember, this is top secret. You've never seen us. As far as you know, we don't even exist.

The bully stares at them, not really knowing what to think. The boy is finishing fueling the cars. Darrell is back in his van. Slagge puts his arm around the man's shoulders and steers him over to the driver's side of the Caddy.

SLAGGE
(confidingly, true sorrow on his face)

It just pains me to see good Americans in doubt about their country's future.

The boy comes up and tells Slagge what he owes. Slagge gives him a twenty and tells him to keep the change. He climbs into the Caddy and fires it up. Anne climbs back in, her skirt sliding up her thighs again.

SLAGGE
(in his best John Wayne)

But I can tell you this, pilgrim. As long as there are people like me around - (he pulls down his sunglasses and looks at the man affectionately) - it will be safe for you and your loved ones watch Bonanza and the Price is Right. All day. All night. Cause we're on your side.

He shoots his eyebrows up and down like Groucho Marx and hits the accelerator, ripping out of the station, spitting dust and gravel in his wake.

CUT TO:

CHRIS'S APARTMENT - NIGHT

Gerry is looking into a darkened bedroom at Billy who is fast asleep in his bed. She closes the door and walks down the hall to the dining room.

DINING ROOM

CHRIS sits at the dining room table watching the logs burn in the fireplace. Outside the bay windows of the room, we can see thick fog drifting by. The only light comes from the fireplace. Gerry comes in and sits on his lap, nuzzling against him.

CHRIS

How's Billy?

GERRY

Out like a light. It's been a big day for him.

CHRIS pulls two tablets from his shirt pocket, hands one to Gerry, and pops the other into his mouth. She smiles and swallows hers. Then she gets up, walks over to the stereo, and puts on Getz/Gilberto . She comes back over and sits again on his lap. They caress gently and slowly begin to kiss, letting the passion build leisurely, waiting for the acid to kick in. CHRIS unbuttons her blouse, pausing between each button. When he has them all undone, he opens her blouse, revealing one full pendulant breast with one perfectly erect nipple.

C.U. ON BREAST

CHRIS's hand and face come into frame. He gently lifts her breast and takes the nipple between his teeth. He teases it to become more erect, then begins to suck tenderly on it. We hear Gerry's intake of breath and then a quiet moan. Her hands eventually come into frame and lift his face up to hers.

ANGLE ON BOTH

Now they kiss long and deep, Gerry being the more aggressive, her tongue probing deeply, her breathing becoming faster and heavier. She's rushing on the acid. She pulls back reluctantly.

GERRY
(grabbing his shirt at the shoulders to steady herself, breathing through her mouth)

Where's RON?

CHRIS
(biting her on the neck)

He went to Howie's. He'll be gone for a while.

Her eyes close as he hits just the right spot. Her head falls back, giving him complete access to her neck. Her whole body shivers and jumps as if a bolt of electricity went through her. She moans more loudly. She comes forward and her eyes open, pupils dilated, a smile of animal passion on her lips.

GERRY

Let's go into the bedroom.

CUT TO:

INT. BEDROOM - NIGHT

ANGLE ON GERRY

She is bending over a nightstand by the bed lighting a candle, stripped to the waist. Her skin glistens slightly with sweat. Carrivaggio lighting.

ANGLE ON ROOM

The room is empty except for the metal frame bed and nightstand. Blonde hardwood floors. Tall ceiling. Bay windows with a Captain's seat. Off, white plaster walls. Fog rolls by outside. The candle light flickers, throwing moving shadows across the walls. CHRIS lies on his side on the bed, facing Gerry. He is completely naked, his athletic body golden in the candle light. He leans on his elbow watching Gerry as she finishes undressing.

POV CHRIS

Gerry slips out of her pants, revealing her whole self. She stands there for a second, letting CHRIS see. She then steps forward and comes up onto the bed, kneeling next to him, looking down.

ANGLE ON BED

Gerry's back is to us. She is still kneeling. She bends over and takes CHRIS in her mouth. We see after shadows as she bends forward. Her back conceals the actual act. Now it's CHRIS's turn to moan.

He reaches out, stroking her rear, and slowly turning her 180 so that her legs straddle his face and they are in a sixty-nine position. They roll away from us in slow motion leaving more and more aftershadows in their wake. We, now, go through -

A SERIES OF DISSOLVES

As they make love in one position after another, each one double exposed over the next, building in intensity, triple exposed, quadruple exposed. A constant layering of archetypal sexual positions. They are Gerry and CHRIS and, at the same time, every two humans who ever made love. They are lost in it. An open sea of sexuality.

POV CHRIS

Gerry is on top, looking down. Her face begins to change, ever so slowly. Her hair turns darker and curlier, ] and suddenly she looks like someone from ancient Greece. She changes again and looks like an american indian. She changes again and again - too fast now to pick out particular cultures. She becomes everywoman.

POV GERRY

A similar thing is happening to CHRIS, whose head is lying peacefully on the pillow. A beard appears and then disappears. His eyes seem for the fleeting second to be those of an asian man. Suddenly, there is a primal wolfish cast to his features. That leaves and he looks like a prince out of a fairy tale. The last look lingers and then fades away.

ANGLE ON BOTH

Gerry leans over and kisses him deeply. The passion rises and they are off again. We hear laughter and Measles yelling.

MEASLES

Howie! Hey, where's Howie!?

CUT TO:

INT. ATTIC ROOM - NIGHT

ANGLE ON MEASLES

He's laughing. Happy and high. Smoking a joint. He is sitting at a table with a dozen other young people. We don't recognize anybody. Everyone is enjoying the party. The Rolling Stones "Between the Buttons" album is blasting on the stereo.

MEASLES

Howie! Where are you, man?!

ANGLE ON ROOM

It's a long narrow room with an attic window at the end. The party goers are sitting around a long narrow table which is suspended from the ceiling by ropes and hangs fifteen inches off the floor. Everyone sits on pillows. The table swings slightly back and forth.

HOWIE ENTERS THE ROOM WITH RON

They both come and sit by Measles. As RON sits down, the person on each side of him passes him a joint. He already has one in his mouth. He crosses his hands over his chest passing the two joints along.

CLOSER ANGLE ON THE THREE OF THEM

MEASLES
(to Howie)

Alright, man, tell me the truth. Gino told me that you've got some Buddhists monks stashed away in a bedroom downstairs. Now, that's bullshit, right?

Howie takes a toke on a joint.

HOWIE

Tibetan . . . Tibetan monks. Four of them. Emmett brought them. Says their head cheese sent them over. Apparently, they think what's going on here is the most important thing that's happened on the planet in a few hundred years.

As Howie and Measles talk, RON gets a preoccupied look on his face. His forehead wrinkles up. He looks around the room and sees a cute girl with very short dark hair looking right at him, with a stunned look on her face.

MEASLES
(still talking to Howie)

So, what are they doing downstairs?

HOWIE

I don't know . . . fasting . . meditating . . fuck if I know. They've locked themselves in the room. Been there for three days now.

Measles tries to hand a joint to RON, but he is oblivious to it. He is staring at the girl.

MEASLES
(to RON)

Hey, she's cute. (realizes that RON doesn't hear him) RON . . hey, RON . . . earth calling. (he touches him on the arm) Hey, man - (RON jerks suddenly and looks over quickly to Measles and then back to the girl) You alright? What's happening?

RON

I . . . (he raises his hand to indicate the girl) we . . . I know . . .what she's thinking. Her thoughts . . . (he raises both hands to his temples) are all in here. I . . . we . . . know what we feel. (he looks quickly at Measles) There's no . . . difference . . . between us.

The girl is smiling now in wonder. Measles and Howie (who is now listening in) are intrigued.

MEASLES
(excited, whispering now)

That happened to me and Cathy last week, man! When we were tripping. When she took a piss, I felt my bladder empty! Every feeling, right? (RON nods) Every thought. (RON nods again) Yeah! Is that a trip or what?!

HOWIE
(to RON)

Hey, listen, man. If you want to use my bedroom to be alone, go ahead.

RON is not really listening to them. He and the girl stand up at the same time. RON walks over to her, without saying anything, takes her hand, and they leave the room.

ANGLE ON STAIRS LEADING TO THE OUTSIDE

RON and the girl walk down the stairs side by side, not talking. Someone is banging on the front door. When they reach the bottom of the stairs RON opens the door. Darrell, Slagge, and Anne come bustling in, yelling in surprise and pleasure to see RON.

DARRELL
(to RON)

Alright! The gang's all here!

He hugs RON who smiles faintly and from far, far away.

RON

I . . we . . can't talk . . now . . . Howie . . upstairs . . .

The three new arrivals figure that RON is blasted on acid. They look at each other knowingly.

DARRELL
(more gently now)

It's okay. Listen, have a good trip. We'll see you tomorrow.

As RON and the girl leave, we hear RON speaking almost to himself.

RON

Tomorrow? . . . (he shakes his head slightly and smiles) . . . tomorrow? . . .

Darrell and Slagge chuckle.

DARRELL

Severely fucked-up.

TRACKING SHOT FOLLOWS

as they start climbing the stairs.

SLAGGE

Brain jello.

ANGLE ON PARTY ROOM

Darrell, Slagge, and Anne enter. Measles jumps up immediately and starts doing a little dance, hands fluttering in the air, as he recognizes his friends. He collects joints from around the table and hands one to each of the newcomers, while calling their names affectionately. Slagge declines his joint.

ANNE
(to Measles)

He's on an acid fast.

MEASLES

Groovy! You want acid. We got acid!

He dances over to the stereo and turns it up.

ANGLE ON MEASLES

He turns back to his friends, genuinely happy to see them.

MEASLES

Alright! Let's party!

With his dancing long red curls and his floppy clothes he looks a little like Bozo the clown.

CUT TO:

INT RON AND CHRIS'S APARTMENT - NIGHT

RON and the dark-haired girl climb the last steps into the long hallway of the apartment that leads to the bedrooms. The dying flames in the fireplace flicker at the end of the hallway. RON takes her into his bedroom without bothering to turn on the light. They sit on the edge of his bed, facing each other. In the b.g. we can hear Gerry building toward another climax. Her voice is pure sexual joy. RON takes both of the girl's hands in his. The only light comes from the street lamp outside an uncurtained window. They look at each other for a minute, then RON leans forward slowly until his forehead is resting lightly against hers. They remain there, still and peaceful and calm. We still hear Gerry in the b.g.

LONG DISSOLVE TO:

INT. CHRIS AND RON'S APARTMENT - DAY

Little Billy sits at the dining room table eating cereal. The phone is ringing on a table over by the bay window. Gerry comes in. She looks radiant. She tousles Billy's hair as she passes, walks over, and picks up the phone. Jon lies under the table, eating what Billy drops.

GERRY

Hello . . . (excited) Ginger! How are you!? (pause) Things are going great. It's unbelievable! (pause) Yeah . . . yeah . . . He's sitting right here eating his favorite cereal. We'll probably go to the park later. (pause) Really? That would be great! Yeah . . . we've got plenty

POV GERRY

She is looking into a very large living room area, empty of furniture. Large bay windows run along the whole wall, opening the area to the daylight.

GERRY

- of room. We've got this gigantic living room that we're not even using. Yeah, come on up! (pause) Wait a minute. (she turns to Billy) Billy, Ginger and Guy and Bobby are coming up to stay. (Billy raises his spoon above his head and cheers. Milk dribbles down his little arm. Gerry goes back to the phone) It'll be great for the boys. Yeah . . Golden Gate's right down the street. (pause) Okay, great! So when will you be here?

ANGLE ON DINING ROOM

CHRIS comes walking in. He is barefoot and wearing only levis. His hair is disheveled. He looks a little fried from the previous evening, but happy. He sits down next to Billy with a spoon and starts eating out of Billy's bowl. Jon comes out from under the table.

BILLY

Cwaig! Dat's mine. (turning to Gerry) Mommy! Cwaig is eating mine cereal!

Gerry motions for him to be quiet so she can talk. She gives CHRIS a look. Billy turns back to CHRIS who is making a weird face and letting cereal drool out of his mouth back onto the table. Billy laughs wildly. Jon licks the cereal off the table.

GERRY

Next week-end! Okay, sure . . . Wait a minute. (she looks over to CHRIS) CHRIS? Is it alright if Guy and Ginger and Bobby come to stay for awhile?

CHRIS

Cool. Yeah, that'll be great. Wait til they see what's going on here. It'll blow their minds.

RON and his girl come into the room and then walk into the kitchen. They are almost glued to each other's side. CHRIS starts rough housing with Jon.

RON
(from the kitchen)

Morning. This is Sally. We met last night. We're sort of married or something. (he laughs) I don't know . . . (to Sally) That's CHRIS and Gerry and the little one is Billy.

Sally is shy. She says hello but stays close to RON. We see them in the kitchen making coffee and kissing. Gerry is still on the phone.

GERRY

Okay, see you then. Say hi to mom. Bye.

CHRIS
(to RON)

You got married last night?

ANGLE ON RON AND SALLY

RON is putting a pot of water on the old gas stove.

RON
(to CHRIS)

Well . . . (he looks at Sally and kisses her) How would you describe it?

She looks at him with raised eyebrows.

SALLY
(to CHRIS)

I wouldn't even know how to begin. I never became somebody else before.

The telepathy between them has apparently faded.

RON
(to CHRIS)

Let's just say that we're totally inseparable.

Gerry sticks her head in the kitchen door.

GERRY
(to CHRIS)

I never knew you were such a romantic, RON.

CUT TO: EXT. HAIGHT STREET - DAY

CHRIS comes walking down Clayton to the main drag. The street is packed with people and cars. Jon trots along at his side. They thread their way through the crowd. Straight people view the scene from the safety of their cars - windows up, doors locked. They stare open mouthed at what they view as the exotic, weird "hippies". The Haight has become a tourist attraction

CHRIS turns the corner and walks along with the crowd. Sixteen year old kids lean up against the buildings.

KID
(hawking his wares)

Acid, speed, hash, reds, weed . . .

CHRIS is happy. The people around him are more colorful than ever. He stops briefly in an old Russian bakery and buys a pastry. Coming out of the bakery, he runs into Gino.

GINO
(recognizing CHRIS)

Hey man, what's happening?

CHRIS

Just loving life, brother. What are you up to?

GINO

Going to work up at the Oracle. You know they're having a free concert in the Panhandle?

They continue to walk in the same direction. Music blares out from various second story windows above the street. There is a party going on in one. CHRIS looks up and sees a young man leaning out a window, laughing. The man sees him and drops a smoking joint down to him. CHRIS catches it, waves, takes a hit, and walks on.

CHRIS
(weaving in and out of the crowd)

Groovy. You know who's playing?

GINO

That all-girl group, the Ace of Cups, and a couple of other bands. (Gino turns in the door to the offices of the Oracle) See you later, man.

TRACKING SHOT FOLLOWS CHRIS

He turns on Clayton and walks down the hill toward the Panhandle, two blocks away. We can hear live music now and see a crowd forming in the trees of the park. As he passes Howie's place, he looks up and sees a figure in the upper window.

CHRIS
(yelling up at the window)

Hey! Is Howie up there!?

ANGLE ON BOTH

The man at the window turns and looks out. It's Emmett. Their eyes meet and they both instantly recognize a kindred spirit - a similar energy. Emmett smiles. Howie sticks his head out the window. In the b.g., up on Haight Street, a troop of Hell's Angels roar by on their bikes

HOWIE
(yelling down at CHRIS)

Yeah! What's up?

CHRIS
(yelling up at the window)

Did Darrell and Slagge make it up!? I heard they were coming!

HOWIE

Everyone's down at the concert!

TRACKING SHOT FOLLOW CHRIS

He waves and heads down the street. Arriving at the Panhandle, he sees a crowd of two hundred people standing, sitting, milling about. The all-girl band is playing up a storm on the back of a flat bed truck. They are singing about some gypsy boy and how they would like to have his baby. CHRIS chuckles and scans the crowd. He sees Darrell and Slagge leaning up against a huge eucalyptus tree. Just as he is about to start in their direction, someone calls his name. He looks around and sees Frank, the peyote dealer, seated on a navajo blanket with a woman and a small baby. Frank waves and calls him over. The band comes to the end of their song and leaves the stage to hearty applause. CHRIS sits down on the blanket. He and Frank shake hands. The older man introduces CHRIS to his lady and baby. In the b.g. some roadies come up on stage and set up the equipment for a new band.

FRANK

You're looking good. They must be treating you right here.

CHRIS

Believe me, I've got no complaints, brother.

ANGLE ON SCENE

A black man comes up on the flatbed and straps on a white Stratocaster upside down and left-handed. He is dressed in a fancy old military parade jacket, tight pants, and high boots. His boots are wrapped in animal skins. Feathers and beads hang off of him everywhere.

FRANK (to CHRIS) You should come see us up north. We're living on the land with some folks in Mendocino. Got twenty acres, right on the river. It's beautiful. CHRIS Love to. Would it be cool to bring a couple of friends? FRANK Sure. (he rips a piece of paper off a brown paper bag that holds a wine bottle and starts writing on it with a pencil.) Let me draw you a map . . .

BLACK MAN (into microphone) Hey, it's good to see so many freaks in the same place. (he starts to tune up his guitar) We're going to take a minute to tune up. We don't usually bother, but, in this case, we care. A bass player and a drummer come up on the truck. They are dressed as wildly as the black man. They tune up quickly.

ANGLE ON STAGE



Jimi Hendrix and the Experience break into "Purple Haze". Almost every face in the crowd lights up. The music is new and has never been heard before. The crowd immediately realizes that this is the music they've been waiting for, without even knowing it, ever since they turned on . This is their music. They are surprised. They are pleased. The applause and shouts start after the first three chords. Hendrix is surprised at the immediate appreciation. He smiles and pours it on.

ANGLE ON MAP IN CHRIS'S HANDS

The music continues as we examine the map and -

DISSOLVE TO:

EXT. COUNTRY HIGHWAY - DAY

"Purple Haze" continues as we watch the milk truck cruise through the beautiful countryside of northern California.

INT. TRUCK - DAY

RON, Sally, CHRIS, Gerry, Billy, and Jon bounce along the two-lane country road. They talk and laugh, but we can't hear them - only the music. After a couple of dissolving shots showing the beautiful scenery, they pull up to their destination.

DISSOLVE TO:

EXT. LARGE FARMHOUSE - DAY

The sprawling old farm house sits on top of a grassy hill overlooking nearby hills and small valleys. In the distance, in back of the house, we see a couple of tee-pees and a large geodesic dome. A new wing is being built onto the farm house. A crew of long-haired young men are hard at work. The sound of electric saws cuts through the soundtrack and music comes to an end. The milk truck pulls up by the house, stops, and everyone piles out.

ANGLE ON NEW WING

Frank, stripped to the waist and holding a hammer, is standing on the rafters on the unfinished roof. He sees the new arrivals, waves, swings down, and comes walking briskly over to CHRIS. Frank, in his mid-thirties, is easily the oldest man there. He and CHRIS shake hands, as does RON, and introductions are made all around.

FRANK

Glad to see you guys could make it! Listen, I've got to keep working. We want to get the lid on today. You guys want to lend a hand? We'll have some dinner and a party later.

RON and CHRIS look at each other and then to the unfinished structure.

RON

I've never built anything before . . .

FRANK

There's nothing to it. (turning to Gerry and Sally) Some of the ladies and kids are down by the river. (pointing in its direction) That path will take you down. It's not too far.

ANGLE ON GERRY

She turns to CHRIS, smiling, stands on her tip toes, and gives him a kiss.

GERRY

You boys have fun. Sally and I are going to the river.

CHRIS laughs.

CHRIS

Well, that decides that. Okay, we'll see you later.

DISSOLVE TO:

CLOSE ANGLE ON NEW WING OF THE HOUSE

A young man with long blonde hair in a pony tail yells from the rafters.

YOUNG MAN

Hey! More music!!

As Frank instructs RON and CHRIS as to how they can help, someone inside the house puts on Henrix's first album. The needle jumps on the record and the music blasts out through an open window.

A SERIES OF SHOTS

We watch RON and CHRIS get into the swing of things - carrying lumber, cutting boards to length, whatever.

CUT TO:

EXT. COUNTRY SIDE - DAY

We follow Gerry, Sally, Billy, and Jon as they walk down the path. It takes them through a stand of old oak trees and knee high grass. They come around a corner and see the river. At the same time, we hear the sound of female voices and children playing.

POV GERRY AND SALLY

The path leads down to the slow moving river. Lying on the grass at the river's edge are a half a dozen young women. None over twenty-five. None with any clothes on. They lie leisurely on the grass, talking amongst themselves, watching the children playing in the water, soaking up the sun, passing a joint.

ANGLE ON THE RIVER'S EDGE

Gerry and Sally approach and introduce themselves. They are met with openness and acceptance like sisters. One of the girls passes Gerry the joint. Just off to the side is a low wide wooden structure that looks like a small cabin.

ANGLE ON WATER

Four kids, two boys and two girls, none over five, play in the shallow water, laughing and splashing. They are also nude.

ANGLE ON BILLY

He is excited.

BILLY

Mommy! Can I go swimming?

ANGLE ON BOTH

Gerry is already undressing.

GERRY

Sure. Just don't go where it's deep.

WIDE ANGLE OF SCENE

Billy strips down and runs into the water with the other kids. Jon follow him in. In the distance, we can hear music from the house. One of the women walks into the river and starts swimming strongly against the current. The women are young and fit. The children happy. The sun shining.

CUT TO:

EXT. WING OF THE HOUSE - LATER IN THE DAY

In the b.g., the sun is setting. the entire wing has now been sheeted in plywood, and the men are rolling on the black tar paper that goes under the shingling. We see the women and children coming up from the river, wrapped in towels and chemises. The children run ahead with Jon who chases them, barking.

ANGLE ON ROOF OF HOUSE

Frank and CHRIS are laying down the last strip of black paper across the peak of the roof. RON and two other young men proceed to nail it down. Frank cuts off the excess and then stands back to survey their work. He pulls a joint out of his carpenter's bags and lights it. The other men finish nailing the piece down. When they are done, they all sit or stand in a circle and pass the joint, watching the sun go down.

CUT TO:

INT. KITCHEN OF HOUSE - NIGHT

The scene is lit with kerosene lamps - the old fashioned kind. Two women bustle around the large wood burning cook stove, tending the meal.

Along one wall, a long wooden table is set for dinner. More than a dozen places are set. The men come in from the outside. People mingle around - men putting away tools and washing in the sink. The kids run in and out of everyone's legs. The women set the table. As if in a well choreographed dance, people move in and around each other, and suddenly, everyone is seated at the table. They all grow quiet. The residents of the house hold each other's hands. RON, CHRIS, and their ladies are slightly surprised at the ritual, but quickly join in.

PANNING SHOT

The camera moves along the table, examining the silent faces of the young people as they pause in a communal spirit before they eat. As we observe one after another, we see men and women in their early twenties. They are not strangers. They are not weirdoes. Most have recently dropped out of some university somewhere. They are well educated, middle class, American kids who are striking out in a different direction. Hoping to find a life more meaningful than the one they've left behind. As we see them now, with the perspective of history, they don't look radical at all. A couple of men have long hair, but most don't look much different than young college kids today. We also realize that even the children have grown quiet. The silence does not last long. Naturally, without anyone having to say anything, they break the circle of hands and begin to talk and pass the food around.

DISSOLVE TO:

C.U. ON BILLY

He is leaning over his plate, wolfing down the last of his dinner. He takes a piece of bread and sops up the last drops of gravy. He leans back and is about to put this last bite in his mouth when something makes him look to the side. Jon is staring at him with laser-like concentration, ears forward, head cocked slightly to the side.

ANGLE ON WHOLE TABLE

As Billy looks around to see if anyone is watching him, the young blonde man we saw earlier gets up from the table. Billy tosses Jon the piece of bread. The dog catches it before it reaches the ground. The blonde boy walks toward the outside door. His name is Dennis.

DENNIS
(to the table in general)

I'm going to go start a fire for a sweat, if anybody else is interested. It should be ready in about a half an hour

Other people get up and start clearing the table. When Dennis makes his announcement, almost everyone makes sounds of approval, especially one or two of the women. As Dennis closes the door, we -

CUT TO:

EXT. RIVER'S EDGE - NIGHT

The moon is full over the river. The water shines silver in its light. Smoke rises from a chimney on the roof of the low, wide, wooden structure. We hear crickets and night birds and frogs.

CUT TO:

INT. SUANA BUILDING - NIGHT

Dennis sits naked on a wooden bench in front of a wood burning stove which is surrounded by a wire cage of river rocks. He is putting some wood into the stove which is already red hot where it meets the stove pipe. The low ceilinged room is lit by one candle. It's a sauna with red wood benches placed at different heights. Sweat runs off Dennis' body. The door opens and a half of a dozen people, including RON, CHRIS, Sally, and Gerry come in. The door is low, and they have to stoop to get through. One pretty brunette about eighteen years old comes over and sits next to Dennis. She kisses him on the neck and then stretches out languidly on the bench behind him. She, like everyone else, is naked. Dennis picks up a large jug of water at his side and sprinkles the rocks around the stove. A cloud of steam fills the room and people moan in pleasure.

DISSOLVE TO:

ANGLE ON RON

his head lies across Sally's lap. He isn't wearing his glasses. His hair is wet and slicked back - his hawk-like face, totally relaxed.

RON
(quietly to Sally)

You know, in the back of my mind . . . I always hoped . . .

ANGLE ON RON AND SALLY

In the background CHRIS is pouring water over his head from the jug. He then throws some on the hot rocks, creating more steam.

SALLY
(almost whispering - stroking his forehead)

Hoped what?

RON

That life could be like this . . .

Sally bends over and kisses him full on the lips.

SALLY
(still whispering)

Me too.

She kisses him again. The kiss lingers and deepens as the steam from the rocks once again obscures the scene.

DISSOLVE TO: EXT. RIVER'S EDGE - NIGHT

RON and CHRIS lie on the grass, wisps of steam rising from their bodies. Sally and Gerry are walking into the river. They are all still naked. The girls stop when the river reaches their upper thighs. Jon lies by CHRIS.

CLOSE ANGLE ON CHRIS

In the b.g. someone is again playing the Hendix album up at the house. "The Wind Cries Mary" drifts across the night.

CHRIS
(looking at the girls in the river)

I feel like Columbus or somebody.

RON
(lying back, looking up at the stars)

What do you mean?

CHRIS
(looking at the girls in the river)

Imagine how he felt. What must have seemed like ages on an alien dangerous ocean - a mutinous crew - the possibility of falling off the edge of the fucking world - just living on hope. And then - bam! A totally new world. The Caribbean for Christ's sake. Paradise.

CLOSE ANGLE ON SALLY AND GERRY

They stand in the water under the full moon light. Gerry scoops up water in her palms and pours it down Sally's back. Their skin glistens with moisture.

CHRIS
(cont. in b.g. in an almost disbelieving tone)

We made it, man. Into a new world . . .

RON
(b.g.)

I know. It's perfect.

As we watch Gerry and Sally, we hear Ginger, Gerry's twin. Her voice is deep with pleasure.

GINGER
(b.g.)

Oh god, Guy! That's it. It's perfect . . . !

CUT TO:

C.U. OF GINGER'S ARM UNDER A HARSH LIGHT

Her arm is tied off with surgical tubing, causing the veins just below her inner elbow to bulge out. Stuck in the most prominent vein is a needle. Guy's hand is slowly injecting the contents into her arm. He is laughing softly.

(End of Act II Click here to go to Act III)

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The Haight      by Terry Molloy       Copyright 2006      All Rights Reserved

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