The Haight (Act III)
CUT TO:
INT. HOWIE'S BATHROOM - NIGHT
Darrell, Guy, and Ginger are in the process of shooting speed. Ginger sits on
the toilet with its seat down. Her eyes shine with a sexual energy. She is
still beautiful, but thinner than the last time we saw her. Darrell stands in
the bathtub, shifting back and forth on his feet, watching Guy. By the speed of
his dialogue we know that he's already wired to the gills.
DARRELL
(babbling)
|
You got four ounces of this stuff, huh? I should be able to help you move it. You're not going to cut it, are you? You should leave it like it is. I can get you premium dollar. I'll help you break it into bags. What do you wanna do - grams? - eights? - quarters? Whatever you wanna do, I'll help you. I can't believe Taco fronted you the whole pound. Is he coming up? Probably not, knowing - |
Guy laughs again and
interrupts Darrell.
GUY
|
Jesus, Darrell! Shut the fuck up! Why don't you go make some calls and see what you can do. |
DARRELL
|
Yeah,
okay, that's a good idea. I know some musicians who'll eat this up. These guys
are crazy for it. Then there's those guys over in |
He steps out of the tub and opens the door to leave. Guy interrupts again.
GUY
|
When
did you say CHRIS and Gerry will be back? |
DARRELL
|
- Tomorrow - and maybe those strippers over in the Tenderloin. Listen, I'll make some calls and - |
He begins to close the door.
GINGER
|
Darrell, check on Bobby will you? Make sure he hasn't fallen out of bed or something. |
DARRELL
|
Yeah, sure, no problem, sure thing, and then I'll make some calls and - |
He closes the door and
leaves.
CLOSE ANGLE ON GUY AND GINGER
Guy has finished with Ginger and pulls out his spoon to cook himself up a hit.
He sits on the edge of the tub. Ginger, eyes still glowing with sexual energy,
slips out of her slinky dress. She's naked underneath. She kneels in front of
Guy, undoes his belt and unzips his pants. As she begins to go down on him, we
-
CUT TO: TRACKING SHOT OF DARRELL
He walks down the hall from the bathroom, stopping at a closed door. There is a
sign on the door.
CLOSE
The sign reads, "Monks at Work - Do Not Disturb". Darrell looks at
the sign, looks around, sees no one is watching, and reaches for the door knob.
He opens the door a crack and peeks in. We do not see what he sees. He closes
the door with a very perplexed look on his face. Something here is beyond his
understanding. He closes the door quietly and proceeds down the hall and looks
in another room with its door already open.
POV DARRELL
We see Bobby, Ginger's son. He is blonde. About the same age as Billy. He is
fast asleep. We hear people talking in the b.g.
Darrell turns and walks toward the sound of voices coming from the kitchen. We
hear Howie. He is angry.
HOWIE
|
They're
full of shit! I'm fed up with these so-called |
Darrell enters to find Howie, Anne, and Slagge sitting at the kitchen table.
Emmett stands over by the sink.
HOWIE
|
And the god-damned media! Shit! They're trying to co-op this whole damn thing by turning it into some middle-class, free love, wet dream. |
Darrell goes over to a
phone hanging on the wall.
|
Darrell dials a number. DARRELL Measles?
Listen, I got some incredible speed. Yeah. Uncut. Pharmaceutical. Yeah
(pause) From |
EMMETT And they'll succeed unless we flood this country
with acid. If we don't get ahead of them, it won't be long before we see
paisley hula hoops, hippy sunglasses, |
|
|
HOWIE Darrell. I want Guy and Ginger out of here by tomorrow. I hate speed freaks. |
|
DARRELL Hold on a minute. (to Howie) Yeah, yeah. Don't worry. They're going over to CHRIS's in the morning. (into the phone again) I'll check with Guy on the price for that amount. Maybe, he'll cut you a deal. (pause) Yeah, I'll be right over. (pause) Yeah, I'm on my way. |
|
|
|
Slagge and Anne stand up. Slagge walks over and
shakes Emmett's hand. SLAGGE It's been nice meeting you. We're leaving for |
CUT TO:
INT. STAIRWAY - NIGHT
Darrell bounds up a dark stairway in an old apartment building. At the very
top, he approaches a door, knocks, and then enters without waiting.
INT. APARTMENT
It's Measles' apartment. Darrell walks quickly through the empty living room
into the kitchen. Cathy and Measles are there with two strangers. Both men are
extremely thin. One has curly red hair and a clipped Vandyke beard. His long
hair is pulled up on top of his head in a top knot. His face is so thin as to
be skeletal. He wears (for the first time in the film) a paisley shirt, tight
pants, and high pirate-type black boots. He is grinning from ear to ear. The
other man has long dark hair and a moustache. He wears an expensive long
leather coat and pants. Darrell hands Measles a small plastic bag containing
the meth and Measles hands him a wad of cash.
DARRELL
(indicating the strangers)
|
These the guys that need the ride?` |
Measles steps forward, starting to introduce the two, but the one with the red
hair interrupts him.
RED
(in a thick English accent/pointing to his friend)
|
This is . . ah . . Derek . . yeah . . Derek. (he sticks out his hand to shake) And I'm Clive. |
Cathy rolls her eyes.
CATHY
|
Christ!` |
Everyone in the room knows that the charade is pointless, because everyone
recognizes the two men.
DARRELL
(to Measles)
|
So where are they going? |
Sam enters from his bedroom.
|
CATHY Over
to the |
SAM Remember. |
|
MEASLES It's that old Victorian with the chair nailed to the front porch roof. |
RED Don't worry, son. Rain, hail, sleet, or snow couldn't keep us from doing our sacred duty. Isn't that right, Derek? |
|
DARRELL Oh yeah, I know where you're talking about. |
|
CUT TO:
INT. DARRELL'S VAN - NIGHT
Darrell is driving. The two rockers are in the back, on the floor, passing
around a bottle of Jameson's. They are trying to compose a
song.
It's a variation on an English pub ditty about having a baby so small that it
gets washed down the bathtub drain. As they sing we -
CUT TO:
It's late. Most of the other houses on the street are dark. It's easy to see
which one is the
TRACKING SHOT
We follow the men through the open front door. The living room, although
brightly lit, is empty. We hear voices from the kitchen. Upon entering -
THE KITCHEN
we see two young men and three girls in their late teens.
"Waiting For My Man" by the Velvet Underground roars on the stereo. It seems as if everyone in the
kitchen is talking at once, and no one is listening. The females are the first
to recognize the rock stars. One very thin girl, whose clothes just seem to
hang off of her, jumps up and comes over to Red, continuing to talk.
GIRL
|
Oh, I know who you are! You guys did that song, "I Feel Free". I love that song. You guys are great! |
RED
|
I'm sorry, luv, you got us confused with - |
GIRL
(interrupting)
|
Oh, stop! We're all cool here. And we got some great shit. I got a really clean fit . . . |
The other two girls are just a little slower to react, but they both come on to
the other rocker right away, drawing him over to the table where the boys are
cooking up the hits.
ANGLE ON DARRELL
Looking at the strung out speed freaks that inhabit the Palace, Darrell gets a
troubled look on his face. The young men at the table are painfully thin, their
skin, white and pasty, their eyes, haunted. One holds his lighter under the spoon,
watching the dope bubble. The other looks on hungrily.
DARRELL
(to Red)
|
Hey, listen. I'm going to split. Catch you later. |
No one really hears him. They all continue with their cooking and jabbering.
CUT TO:
Darrell comes walking quickly out of the house and down the steps. When he gets
to his van he looks back up at the man on the roof.
DARRELL
(yelling to the man)
|
How's the view!? |
TIGHT C.U. OF MAN ON THE ROOF
His hair is plastered back on his head. His chin juts forward and his jaw
muscles are knotted up. His eyes are bugging out of his head. In the b.g. the
lights of the city dance and sparkle.
MAN IN CHAIR
(whispering)
|
Crystalline, man! |
CUT TO:
Approaching the bridge from the
ANNOUNCER
(through light static and hiss)
|
- headlines
on the hour. In |
CUT TO: INT. MILK TRUCK - DAY
RON is driving. Sally stands next to him. He leans over and turns down the
radio. He points to the city across the bridge.
RON
(to everyone)
|
Look at the fog. |
CHRIS and Gerry are lying on a mattress in the back of the truck with Billy and
Jon. They sit up and look across the bridge.
POV GROUP
Although the sun is shining everywhere around them, across the bridge the city
is entirely shrouded is a thick fog bank. We can't see one building, just a
large, dense, gray cloud lying on the city like a blanket.
GERRY
|
Amazing. |
BILLY
|
Mommy. How come that cloud is on the gwound? |
CHRIS
|
That's fog, Billy. |
ANGLE ON GROUP
We can see that CHRIS's explanation doesn't satisfy Billy,
but suddenly there is a loud metal banging from the engine of the truck.
Obviously, something major has happened. They are on the middle of the bridge.
The engine does not seize up and stop, but a large cloud of white smoke starts
spewing out the back.
POV GROUP
Although the sun is shining everywhere around them, across the bridge the city
is entirely shrouded is a thick fog bank. We can't see one building, just a
large, dense, gray cloud lying on the city like a blanket.
|
RON Oh shit! |
GERRY What's that?! |
CHRIS Trouble! |
|
RON We threw a rod or blew a piston or something! |
CHRIS Or something! Let's see if we can get home before it blows completely. |
|
CUT TO: WIDE SHOT OF THE BRIDGE
We see the truck, spewing a large cloud of white smoke, enter the fog bank and
disappear.
DISSOLVE TO:
The milk truck turns on to Haight from Stanyan. The street is even more crowded
than before. Cars are bumper to bumper, moving at a crawl. The sidewalks are
packed. Tourists look out from the safety of their locked cars as if they were
watching bears in
POV GROUP IN MILK TRUCK
Up ahead, on the right, a troop of ragged looking Hell's Angels have parked
their bikes outside of a bar. They stand around yelling back and forth to the
people in their cars. One biker turns, drops his pants, and moons the tourists.
CHRIS
(b.g)
|
Jesus. It's really getting out of control. |
As the truck moves down the street, we see Measles and Cathy being accosted by
a television crew. As we draw closer, Gerry leans out the passenger door and
yells to Cathy.
GERRY
|
Hey, Cathy, what's going on?! |
Cathy and Measles are standing next to a t.v. news announcer who looks
extremely out of place with his very short hair and conservative suit. He is
holding his microphone and facing his camera and sound men. Cathy looks up when
she hears Gerry and waves happily.
CATHY
|
Hey, you guys! We're going to be on T.V.! |
CLOSER
He looks seriously into the camera.
ANNOUNCER
|
RON Stillman here. KHHK News. In the heart of Haight Ashbury. Who are the hippies? What do they want? Are they, in fact, the vanguard of a social revolution that will sweep all the time honored values of Western Civilization before them in a psychedelic deluge as they loudly proclaim with the catch words of Free Love and Peace? Or are they, in fact, self indulgent, drug taking middle class drop outs who would rather party their lives away than take on the responsibilities of growing up in a complex and demanding world. We have come here to find out. (turning to Cathy who smiles and waves into the camera and then to Gerry) Excuse me, Miss. What is it like being a hippy? |
She looks up at him with all the innocence that her nineteen years can muster.
CATHY
|
Beats the shit out of me, RON. |
This is obviously the last answer he expects. He stares at her with his mouth
open for a second. Measles steps in quickly and snatches the mic away from him
and addresses the camera.
MEASLES
|
You're probably all wondering why I called you here - |
The announcer grabs the microphone back from him.
ANNOUNCER
(to cameraman-irritated-waving his hand)
|
Cut! |
It turns the corner onto Clayton and goes up the hill to their apartment.
turning the corner at Waller, we see Guy, Ginger, and Bobby sitting and
standing around the open door of Guy's green and white VW window van. The milk
truck pulls up in back of them and parks.
CLOSER ANGLE ON GUY'S VAN
Gerry runs up and hugs her twin sister, very happy to see her. Billy and Jon
run up to Bobby. The two little boys look at each other, and, for some unknown
reason, just start laughing. They continue to laugh and babble at each other as
RON and CHRIS walk up. Everyone hugs and says hello. There is genuine love
here. These people have tripped together, and it has created a kind of bond
that few things will. Guy is holding a hard shell guitar case.
CLOSER
His face is getting that white pasty look that we saw earlier on people at the
As they walk through the apartment house door and up the stairs to their place,
RON and CHRIS exchange looks. They recognize immediately that Guy and Ginger
are on a speed run. They know it means trouble. The little boys and Jon race by
them and up the stairs.
RON
|
Losing the truck is going to set us back. Rent's due next week. If we can't haul shit, we're going to have to come up with something quick. |
CHRIS
|
Yeah, I know. (he turns and smiles slyly at RON) You know what we gotta do. |
RON reads his mind, and they both speak at the same time.
|
RON We'll deal dope! |
CHRIS We'll deal dope! |
They laugh and give each other five.
RON
|
Yeah, and I know just the guy to see. |
CUT TO:
CHRIS and RON thread their way through the circus scene on the street. We see
our first blacks on the street - young males up from the Fillmore, strutting
around, emanating anger and possible violence. CHRIS and RON duck into a coffee
house.
CUT TO:
INT. COFFEE HOUSE -DAY
The cafe has two levels. The floor level is conventional enough. It looks like
an old soda fountain. White tile floors, a counter with stools, round oak
tables with bent metal chairs. Something out of the forties. RON and CHRIS walk
up a set of stairs to a loft area that overlooks the main floor.
The loft area is very different from below. The tables are low to the ground.
Everyone sits on cushions on the floor. Tapestries are draped overhead, giving
the place a tented look. It's as if, suddenly, we are somewhere in
Sitting there is a sixteen year old boy with long straight brown hair. He has
an androgynous look - flawless complexion. Next to him sits a blonde nymphet
who can't be more than fifteen. RON and CHRIS sit down. The boy takes two small
espresso cups from a china tray and pours some thick coffee from a brass
decanter. Introductions are made. The boy is ANGEL. The girl is GINA. She is
smiling. There is a purity of heart about her. The boy may have the name, but
she is truly an angel. An unselfconscious joy emanates from her. She is most
herself in this community where love has value. She is unaware that her loving
nature makes her all that more beautiful.
ANGEL
|
So, what can I do for you boys? |
RON
|
What's available? |
Angel nods toward various tables as he talks, and we realize how exotic our
surroundings are.
ANGEL
|
The
guy over there with the long blonde curls and African dashiki has got pounds
of black Moroccan hash. Overpriced, but then he had to bribe his way out of a
Moroccan jail. (Angel shrugs) Those two old guys with him (two bearded men in
their thirties in white arab robes) are with the Mystic
Arts Brotherhood in Laguna. They just came overland from |
As Angel talks, the camera moves around the room, spotlighting various people.
It's a room full of outlaws, many of whom dress the part.
ANGEL
(b.g.)
|
Those guys with the embroidered Huicholy outfits just got back from Jalisco. They got pounds of mushrooms. Very high quality. (he chuckles) Huh, baby? (Gina laughs softly) Good prices, too. |
CHRIS
(interrupting)
|
How about kilos of good weed? |
As Angel talks, he fills his cup with the thick coffee.
ANGEL
(smiling)
|
Well, that would be me. I can get you good Mexican for seventy-five a kee. No stems, no rocks or golf balls to boost the weight. Mostly bud. |
CHRIS
|
Seventy-five? That's kind of high. |
ANGEL
(shrugging)
|
You know how it is - the further from the border - the higher the price. Still, it's not bad. You pull 37 oz's at $10 a pop, you're still clearing about three bills. |
RON
(to CHRIS)
|
Two kee's will cover the rent, give us a stash, and some spending money. I say we go for it. |
CHRIS
(to Angel)
|
Got a sample? |
Angel smiles, lifts a cigarette case from the table, and opens it. It's fully
lined with fat joints.
CUT TO:
C.U. OF A MARTIN D-28
Guy's fingers dance across the strings. He is playing
"Anji"
by Bert Jansch. It's beautiful, haunting melody, and Guy plays it perfectly
- early speed run perfect. No one wRONg note or buzzing string. The Martin
rings out in the room - the only other sound is that of wood burning in the
fireplace. The hardwoods of the guitar glisten in the firelight.
Guy sits at the large oak dining room table. Ginger sits next to him, watching
and listening. Gerry sits in an overstuffed chair over by the bay windows doing
the same. Jon lies in front of the fire on a Persian throw rug. As he finishes
the piece, we hear RON and CHRIS coming up the stairs. The spell is broken.
Ginger leans over and kisses Guy. Jon looks up, wagging his tail.
GINGER
|
That was beautiful, Guy. |
Guy smiles sweetly and takes a cigarette out of a pack on the table as RON and
CHRIS come in the room. CHRIS carries a bag.
On closer inspection, it's obvious that time has passed. CHRIS's hair is noticeably
longer, as is RON's. They both sport facial hair, giving their features an
older cast.
CHRIS
(swinging the bag on the table with a thud)
|
We're starting to get this whole thing down. Time for another kilo party! |
He sits down next to Guy. RON sits across the table. CHRIS takes a compressed
kilo of weed from the bag and lays it on the table. He looks at Guy with a
concerned expression.
On closer examination, we can see that Guy has lost weight. There is a real
pallor to his face. He smiles faintly at CHRIS and stands up. As he walks back
toward the bathroom, CHRIS looks over to Gerry.
CHRIS
|
How often has he been hitting it today? |
Gerry looks at Ginger, who has also gotten painfully thin, and then back to
CHRIS.
GERRY
|
About every half hour. |
Ginger stands up.
GINGER
|
Don't start in, you guys. He can handle it. We both can. |
CHRIS
(unable to contain himself)
|
Ginger, look at yourself, for Christ's sake! You look like death warmed over! |
GINGER
|
I knew this would happen. Guy was right! He said you guys would turn on us! You just don't understand. You want everybody to be just like you. You can't stand it when someone goes beyond what you understand. We're getting in touch with real magic and you're afraid of our power! You're all part of a conspiracy - |
Gerry stands up and walks over and gets in Ginger's face.
GERRY
|
Ginger! Stop it! The speed is fucking you up! You're talking crazy! |
By this time, the loud voices have awakened Sally, who comes into the dining
room wearing one of RON's shirts. She goes over to RON sleepily and hugs up
against him. She has cut her hair very short, and it sticks out all over like a
punk cut.
Gerry is holding Ginger by the shoulders. This close together, it's even more
obvious how Ginger has deteriorated compared to her twin. Gerry talks to her
softly.
GERRY
|
You know that I know exactly how you feel. You know that. I always have. And I know it's not good. You've got to stop! |
Ginger looks at her for a second and then starts to cry. She pushes Gerry away,
suddenly, gets up, and runs down the hall.
GINGER
|
You guys are all against us! Leave us alone!! |
CHRIS is starting to break up the compressed kilo so they can bag it into
ounces. He is shaking his head. RON leans over from across the table.
RON
|
Hey, just because you're paranoid doesn't mean - |
CHRIS
(meeting RON's eyes)
|
- that they're not out to get you? |
CUT TO:
EXT. STREET IN front OF MEASLES' APARTMENT - DAY
Measles, Cathy, and a couple of other long hairs are in the process of painting
Measles' white, 51 Ford. The style is psychedelic graffiti. Flowers, mystic
symbols, abstract swirls, pop slogans like "Make love, not war!",
rainbows, sunbeams, etc.
Darrell pulls up in his van, climbs out, and walks over, laughing. Measles
looks up, paint all over his face, brush in hand.
MEASLES
|
Pretty psychedelic, huh? |
DARRELL
(coming in close and pinching both of Measles cheeks at once)
|
It's just beautiful! You're a genius! |
Gino comes down the steps from the house and says a cheerful good morning to
everyone. He, too, laughs at the car but with good humor.
GINO
|
That's what I like about you, Michael. Always low profile. No one would ever suspect that deep inside you're such a freak. Cathy, where did you find this guy? |
Cathy looks up from painting a heart with wings.
CATHY
|
You introduced us. |
GINO
(laughing)
|
Oh, yeah. Well, see you guys later. I'm going down to the office. |
MEASLES
(laughing)
|
You want a ride, man? We were just about to go get some gas. |
GINO
(laughing)
|
No thanks. I'd rather walk. (heading down the hill) See you later. |
CLOSER
He leans forward and paints a small star of David on the rear fender with the
paint on his fingers from Measles' cheeks.
DARRELL
(laughing)
|
I got that gram you wanted. |
Measles finishes a yin/yang symbol, puts his brush and can of paint in a box in
the open trunk of the car, closes the trunk, and walks around to the driver's
door.
MEASLES
(laughing)
|
Great. C'mon, let's go for a ride. |
CUT TO:
INT. MEASLES CAR - DAY
The radio is on.
Eleanor Rigby by the Beatles is playing. Measles
is in the middle of an idealistic rant.
MEASLES
|
The media is where it's at. We have to infiltrate the media. It's the only way to affect people in any major way. We have to get the message out, man. We have to reprogram this entire country so that it runs on love and not fuck your buddy competition. This whole civilization is going to flush itself down the crapper unless it entirely reorders its priorities. |
CUT TO:
INT. MEASLES CAR - DAY
By this time, the have gone down the hill into the all black Fillmore district.
Measles is driving. Cathy sits next to him. Darrell sits next to her. They pull
up to a stop light. Next to them is a carload of young black males. It's the
summer of '67 and the black community is boiling over. Anger and potential
violence emanate from the men in the car. Darrell looks over at a group of
black faces staring back at him. It seems as if they would just as soon cut him
up as look at him. He sinks down a little in his seat. Measles doesn't even
notice. He's on a roll.
MEASLES
|
I mean, think about it. Imagine the power the Beatles would have if they came out and admitted that they're taking acid. Christ, it's obvious from their last album. Their influence for change would be enormous. We got to get the message out. (he looks over to Darrell and then to the blacks next to them. He addresses the men, not intimidated at all.) Hey, how do you like my paint job? |
The driver looks at him stonily and then lets his gaze drift along the car. He
tries to keep a straight face, but when he sees all the crazy images and
colors, he starts cracking up. The light changes. The black men start to pull
away.
BLACK DRIVER
(yelling and laughing0
|
It's real nigger work! |
Measles flashes him the peace sign and pulls through the intersection. The
Beatles' song comes to an end, and the excited announcer comes back on.
|
MEASLES I think that was a compliment . . . I think. DARRELL You're going to have a tough time convincing people
like that, that love and brotherhood are in their best interests. MEASLES Well, that's the whole point. If we don't succeed, we're going to have all the major cities in this country burning down around our ears. |
ANNOUNCER Well, it's been over a year now since the Beatles released an album and the rumors are flying. The new album is due out any day now, and, as soon as we get it, we'll be playing it in its entirety. Insiders say that their new album is going to be unlike anything you've heard yet. And now a song by another British group, Procol Harum. If anybody out there understands the lyrics to this one, call me. |
"A
Whiter Shade of Pale" comes over the radio as a carload of what appear
to be fraternity boys passes them on the right.
MEASLES
|
I'm telling you, if we can reprogram the media, we can reprogram the country. |
The boy in the rear of the car rolls down the window and spits at Darrell.
WHITE BOY
(face distorted in hate)
|
Fuck you! You fucking hippies! |
DARRELL
(wiping the spit from his face)
|
You got a lot of reprogramming ahead of you, man. |
CUT TO:
INT. ORACLE NEWSPAPER OFFICE - DAY
Editor Cohen stands at his second story window looking down on the impossibly
crowded street scene. Gino sits in a chair with wheels, his feet up on the
desk.
COHEN
(his hair pulled back in a short pony tail)
|
- I know. The time has come to get out of the city. It's gotten out of hand. I'm dedicating the whole next issue to the establishments of communities on the land. |
CUT TO:
POV COHEN
Below, we watch as the sea of people and cars surge back and forth. The quality
of people on the street has changed along with the quantity. The large majority
of young people on the street are still the freaks we've seen from the
beginning - young, idealistic, happy, celebratory. But by now the magic has
attracted everyone else. We see small knots of angry blacks pushing their way
along the sidewalks. Winos sleep in doorways. Very young kids panhandle
passers-by, even begging at the windows of the gridlocked tourist cars. Hells
Angels have become a permanent fixture.
COHEN
(his hair pulled back in a short pony tail)
|
All this media attention is killing us. Every mental case and runaway kid in the country is coming here expecting free sex and free food. I don't know how Grogan and the Diggers can keep putting on those free dinners in the panhandle. I heard there was a stabbing the other day. Here! I makes me sick. |
ANGLE ON THE OFFICE
GINO
|
That's one of the reasons I wanted to talk to you today - to tell you that I'm moving up to Marin. I'm going after the funeral parade on Saturday. |
Cohen turns from the window.
COHEN
|
What parade? |
GINO
|
Emmett didn't tell you? He's organizing a parade called "The Death of the Hippie". They're going to parade down Haight with a coffin and bury it in the park. He's hoping to convince the media that the whole movement is dead and that they should go back to covering the war and the racial situation and things the country really needs to know about. |
Cohen comes over to his desk, chuckling.
COHEN
|
Fucking Grogan. |
The red-headed girl that we saw in an earlier office scene comes in holding a
garishly printed flyer. Her name is Karen.
KAREN
|
The Communication Company just put this out on the street. I thought you'd want to see it. (she hands Cohen the flyer) |
As Cohen reads the flyer, Gino addresses Karen.
GINO
|
Hey, sweetheart. How you doing? You're looking fine. |
She comes over, sits on the arm of his chair, and hugs him.
COHEN
|
Great! This is just what we need. (he reads) "Citizens of the Haight. Be prepared. Our black brothers and sisters in the Fillmore district are reaching the end of their patience with the capitalistic, racist, war mongers of this country. We are within days of a full scale uprising in the Fillmore ghetto. Since the Haight borders on the Fillmore district you are advised to stay in your homes at night to avoid accidental violence to you and yours. The Communication Company will be bringing you daily updates as developments warrant. |
He looks up to Gino and Karen. Another worker sticks his head in the door.
WORKER
|
Hey, did you hear about the riot? |
CUT TO:
C.U. OF GINGER'S BOY, BOBBY
At our first real glance of Ginger's boy, we see that he is a little imp - the
kind that girls will not be able to resist when he grows up. His straight
blonde hair is cut in bangs. His eyes sparkle with mischief. His button nose
and cupid's mouth mark him as a real cherub. He is up to something. As the
camera pulls back, we see that he and Billy are sitting on the floor in front
of the fireplace in the dining room. Jon, the dog, lies next to them. Bobby is
taking crayons out of a box, throwing them into the fire, and watching them
melt. He has created an interesting, multi-colored blob on the burning logs. We
hear the radio in the b.g. Once again the announcer is gushing about the
upcoming Beatles' album. He goes on to play
My Best Friend by the
CHRIS
|
Hey, what's that weird smell? |
CUT TO:
CHRIS comes into the dining room from the hallway. Through the kitchen door we
can see Gerry and Sally cooking dinner.
GERRY
(not looking up)
|
I don't smell anything. |
CHRIS spots the boys by the fire, comes over without saying anything, and sits
down with them.
CLOSE
Bobby looks at CHRIS with a look that says, "Don't tell". CHRIS looks
at their two little faces and can't help cracking up. They all start to laugh.
We hear RON.
RON
|
You guys seen CHRIS? |
RON has come in and is looking into the kitchen, asking the women.
CHRIS
|
Yeah, over here, RON. |
RON looks over the big table and sees them by the fire. He smiles and shakes
his head. He puts on his leather jacket.
RON (to CHRIS)
|
I'm going to go pick up the weed from that new guy Angel turned us onto. |
CHRIS
|
Want me to come along? |
RON
(to CHRIS)
|
Nah. It's alright. I'll take care of it. |
Bobby speaks up. He has a gravelly little voice like a hip frog or something.
BOBBY
|
Catch you latoh, Won. |
CHRIS and RON look at each other - to Bobby - and back. RON rolls his eyes.
CHRIS laughs.
CUT TO:
RON is walking through almost totally deserted fog bound streets. Litter blows
along the gutters. An occasional wino peeks out from a doorway. RON looks
around, bewildered by the empty streets. One of the Communication Company's
flyers catches his eye as it blows by. He stoops down, picks it up, and reads
it. His face grows more concerned as he looks around quickly and hurries on.
DISSOLVE TO:
EXT. LARGE
RON bounds up the steps of a large three story house and gives a special knock
on the door. He stands and waits. Wraps his jacket around himself against the
cold. we hear footsteps, then a voice.
VOICE
|
Who is it? |
RON
|
My name is RON. Angel introduced me to Bart today. |
Silence. He waits. Finally, the door opens. An immense black man in a green army
t-shirt and fatigue pants scrutinizes him. Then he nods for RON to follow him.
TRACKING SHOT
We follow them through a long entry hall. The house is bare. No furniture
anywhere. we come into a large living room, empty except for a large wooden
table and a very expensive stereo set-up sitting on the hardwood floor. Two
huge speakers sit on either side of the room. Behind the table stands BART. He
is dressed entirely in black - tight fitting t-shirt and pants. His long
platinum hair falls loosely around his shoulders.
Tim Hardin's first album plays on the stereo. Bart looks up. His young face is
hard and has seen much pain.
BART
|
Okay. Let's do this. |
He pulls a plastic wrapped kilo from a duffle bag under the table. He puts the
package on the table, then pulls out an army issue .45 from the waist band of
his pants. RON approaches the table.
RON
(with a sour look)
|
You don't need the gun, man. |
BART
|
Says you. Spend some time in the bush and tell me that. |
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