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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.
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)
(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,
                                              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
                               does this)
                        I think you're sick.
                                (Puts knife away)
             A*:        tun
                                    I love you, you're
             P. :

                        my boy*
A. striking match, watches it burn.            Telephone      rings.
Father picks up phone.         Pause.
Strange voice hissing over the phone:

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.

                      I think your fire is out
                                              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.
                      Right here.
                      So man . . .
                      Dad . . . don't ever tell
                      me I'm sick.
Shot: footsteps into elevator.        Hand pushing elevator
button.   Elevator drifting across Father's face,

3.                                                Anthony's
           Elevator opening another floor.
mother with Siamese cat on her arm getting into elevator

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.
                                    How are you?
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.
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
of the glass doors, with a large light-blue                                  comb.

standing        behind       him.     To the side.

           A .:        No.
           !I. :       Why not:
           A .:        No.
           14. :       why not?
           A .:        No.
           Anthony returns             to pocket of his jeans.

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):

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.
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.

                        Can You Rape.
                        Can You Steal.

                        Can You Die!
                        Assure Yourself.
                        Go East.
                        Go To War
Shot of spade treading past A.'s back, as he reads.

9.        Camera follows spade from side walking down
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.


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.
          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.


          Voices    off:
                         It's a fcDl man, who plays
                         it cool.
          A-'s voice, off:
                         . . . on the loneliness tri?
                         they     all    split.        Dad's face
                         I leave behind in the elevator.
          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
                         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.


                                      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.
                                           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,

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.
                           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
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
     insanity to it.

                 A: (off): Wow like some oyster in
                            his shell on a seashore.
                 D, (off): No, an oyster is wet,
                                      It isn't at all
                            the same thing.


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,


Shot D.'s face examining his naked body from above,

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

             D.,off:     Now your bones are getting
                         softer.   You have a lot of
                         bones and very little flesh.
                         Didpu know that?
             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.
                         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


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.
                     You've got nice hands.
                     You've got nice hair.
                     I can get a thousand nice
                     bodies and nice hands in this
                             Therefore, if you're
                     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.


                                  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
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
Shot of rose being destroyed by the urine.
            A ., off:      why?
            D ., off:      I'm curious.
                           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.


13.                      The sound of jazz now, as an increasing
                                                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.
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


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:
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

              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
under     the        door.     Sounds      of     strong       sniffing.

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.

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
                                   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.


                              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 . . .
                              we all got our secrets --
                              the man at the wheel's got
                              his.   I got mine.
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.
               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
Car driving off.


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,
                                     why it was so beautiful.
                                     no sex.
         follows her gloved fingers as they probe the area

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.

Shot: A. trying to close the window in the night. It
won't        close.
       turning his face -on Anthony, coming                           out    of    the   shadows,

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

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

                                   do you understand that?

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.

18.          Shot of father sitting cross-legged on a divan
in an afghan-type robe, smoking               long Turkish hashish pipe.

             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,

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,

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

(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.


26.                 Anthony in a stark white walled toilet, a violin
softly       playing        off      screen       a     classic          Mozart    melody.

writing       with        pencil     on     wall        in     large      capitals:

                             To Be Real!

                             To     Feel!


                                      (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

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.
Dwells on him.,

                                               A       dime      mister?
                    Voices        off:
                    A:                If     you       need     bread      man,    steal     it



           A: (cont'd):        Can I steal it from you?
                       Here, take this key . . .
                        (low mumbling follows and fades)

29.        Shot   of father    in business    suit,   speaking
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
                                      (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.


                       (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
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

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~


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
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

                 A,      pausing,       shrugging,             saying         "Oh"        like     the        French
say it.         Lighting         cigarette.               Camera        wandering           away     from        him-


His    voice       off,      soft, almost               an     interior              monologue:

             Strange        things         happen       to     me         .--                 feel      like           a

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
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


fear     of     release      written         in     her          eyes:

                                      . . . so I was the thief (&net B~CJW UP)

                                       explanations, in                   contrast         to Alexander=,
are     mostly       made    in       images:

                                      ...         cop        a     cigarette        case      from      her.

                 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
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

force yourself, these crazy people pin a label on it --
Masochist, why do you punish yourself?
            Alexander:                     So now what?
            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?
                                                                        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.
            Alexander,    looking        puzzled:
                         I don't know.


             Alexander hanging up, pacing to front of abstract
                                              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:

             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.

A dark hand in a greta garbo glove putting an orchid on his
afghan-type       uniform.
                    The silver bird (airplane) flying across the

sky (seen later).        Silver bird on airfield runway, stopped,
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-
Alexander bowing his head, tears on his cheek,
hard, offended by this heroic act.

                  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
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
                                                    Will you let me in?
I see your face at the Gates of Eden?
                               I don't think I'd let myself in.


                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:
                                         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
sprouting       from        the      eyes,        the       nose,          about        the       forehead.
looking       very       Indian,          very        intense,            about     to       be      brutal.

is    finishing.                     stands, looks                in        the     mirror,          says      something
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

                                                                                                  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


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?

           Camera on Superman Blow Up, shifting to one of
           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
through the fluid brim . . . it goes on and on, fingers of the

           A.indifferent    to any meaning Alexander attaches
to it:
                                                  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


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

pounced       with          the      stealth       of     a    wild          beast.                    called to the

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!
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
                                                                    I'11          howl          through           the       streets.
ugly     as       a     Mongol,          you'll     see,

    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.
    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

. . . 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

(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
theTemple                                     . . . by           rushing           waterfalls.
                                                                              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

                                                                                        Anthony       in      the
                    Dissolve        to       Previous           Scene        26.

                          bathrobe, scrawling                   on     the       wall     with       the    pencil:
bleak        white

          To Be Real!
          To Feel!
           (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


                  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 --

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,

Though th@ outfit has been several weeks in the Forest,
the blacks have no beards.     A small   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

             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

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

                               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

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

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

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
                                               the scene in the Temple as described
into the white world.
                            Two Brothers.dancing                     to the music- He

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-
who     is       very        close     to      Anthony.

                       A.     listening, smoking                 the    bowls     as    they     come

 around,          from        both                              They    are     all    feeling    -very
 nice.           On    the      radio, Smokey                Robinson's "Tracks of My Tears"

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
                           song, his brand of blues, the camera
As Francis sings
closes on him; in        the   backdrop,   Buddha   sits.

             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

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.

            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,
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?
            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:
      myself to sleep at night wondering what it's all about.

            Voice:     Candy,
            Voice:     Is that what she calls herself.
            Voice:     No.
            Voice:     What she call herself then?


          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 .*.
he was always taking pictures with that camera . . . really
he's very kind of smart and is good at it too . . . once he

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

             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
eye,     settling    on Buddha for his address, smiling:


              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

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.

            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

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
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

=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

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!
             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

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

throwing at us.
                                                       1s     smoking    like     an       old
              F&ah has seated himself.

              Outside,                            Camera moving to the
windowless sunlight hole on the side of the temple (several
such holes around the walls, about 3                    by 4 feet.)
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
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

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

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
           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
man 0.0 it's funny it's tender, it's soft ..O it's SO all
           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

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.
             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

(nodding at Francis) or red like mine? (he smiles)
             Isaac coiling the snake in the cup of his hand,
           it up to A.

             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,
passing him around his neck, his waist, beginning to feel

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
          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.
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

 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
 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-
             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.
 standing the fire is in people and between them-
                                               The other soldiers
             The rifle shot is repeated.

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
          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).

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.

               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
                     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
                                                                             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
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,

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.

             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
             Shots of Adams, Lerner.

             Shot of Lee, his tight body on the ground, his
binoculars to his eyes , propped on his elbows looking.

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.

                                        (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

41.          Shots of individual soldiers seeing what has
            They start creeping slowly down to the stream.
                                                    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.

or less assemble together on a huge fallen log and watch.


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
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.
             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.

             Bunny heaving the same girl up on his chest,

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.
                                         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,
                                             He squints,
looking down at the chaos, pleased.

             Shot of Isaac deep in the woods hearing the
           Turning around slowly, his face muscles hard,          but
                                                           He    doesn't
his eyes already resigned to what has happened.
             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.


          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

43.       Cut to Anthony.     He's way out in the woods, on
the far bank of the stream, opposite his companions, with
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.

          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?
          Anthony: No, not any more.
                       you're not scared of me are you?

          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
(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.

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-
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
      animal moan the only sound now in the forest .

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


 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.
 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
                                                         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.

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

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


Leader.       Anthony     still      looking     after   her.

                Shot: Anthony running through the woods after
                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.
                                1'11 go.
                                         Go and Kill,
                                I'll come back.
                Her:            No,

                The camera pans right into the rain as it heads
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.

                                                         Lee, at the front with
 49.             The men are soaking wet.


                                                      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
     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
     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
     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:


                                                      His voice,
          Shot: A's face, his eyes cast down.
                                                    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-
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

the revenge is almost entire.


                                       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.

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.


It explodes.     Same shot repeated three times, in quick
                                          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
full screen Blow Up of Francis' face as he is hit.
                                  Panning to a bandanna floating
collapsing     into the stream.
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
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


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.


         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:
                      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.
                      The battle is over.                              Lee
                                              The rain has broken.
         is           bloodied on the stream bank on his back, still

         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

         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.


         Camera turning to catch Isaac, at medium range,
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:

             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.



                                 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

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
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


      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
      hanging out from the sheet.
                               (as he looks around the hospital)

      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

      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


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
going to get well? or did the snake put the evil seed into
          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


Anthony, wiggling his shoulders a       little:

                                   that huge ugly creature's got
a soul.    It blew my mind when he said to himself, "C'mon
                                           If         keep up this nutty
now, Beast, get a hold of yourself.
                    1'11 be a candidate for the funny farm."
            Rhah    snickering
           Anthony doesn't join in.
            The Father, more uncomfortable than ever, Produces
a pocket Bible , giving it to Anthony:
                        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.
            Pause (Rhah scratching his nose, fingering his
skull and cross.       A. scratching the scar below the eye)


            II:               Listen    man,whereyou        headed   for    when

you get out of here?
             ..               California
             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.
                                                        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
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?

                     On my back
                      (thinking) Do it. It'll work. You got
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.
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
           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 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.


                          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
            Anthony looking up at him, dreamily, as if he is

envisioning the fish swimming around in eternity
                          You know . . . prisons and palaces . . . are
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


                  Shot: The silver bird (airplane) flying in the
                  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
                                                             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

     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


           Putting                       sticks     out.
by her.               their   smoking
                                                                 A stewardess
            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.
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
high.     Anthony now, like Flash, wearing his shades.
blue glasses.        Blue like soft water.
             Shot of them in the back talking with the seated
                                                                 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.
             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


                                                    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
                                                  Music off, starting
          Shot: A walking towards them.
very lowly: When I wake up,          put on my makeup . . . and 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

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?


                     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

                 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
    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-


            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.
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

          This way.
           Long shot of the official pointing to it.
           Anthony walking stiffly to the door.
                                    His voice off:
one last time to the exit doors.

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.
           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
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.


               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

muscles      tightening.                official             straightens,             looking

                                    Okay take the shirt off                            SlowlY.

               Anthony,            a    distant              smile      on     his     face,          unbuttoning
his     shirt, taking          it       off.           The     flat      p3astic         knapsack           is

               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,
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.


            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.

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

    coat.    The FBI man, nodding his flat crewcut head as if
    to say 'I like it'.
                An attractive, rich-looking            in   her    thirties

    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 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
    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.


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,

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.

                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.

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.
               The fighters come back into view, dancing,
of    them                                                  with a   brother
              is   now   Anthony,   jabbing,    sparring


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


61.          Voice:        (off very-loud) Ulysses1 Albert0

             Camera panning to one of the guards walking down
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
             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.

62.          A. waking up from his sleep, his hair very
dishevelled,       lines under his eyes (he has slept most of the


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:
                                                    I haven't had
            A:           Can I get one from you.
a smoke in days.
            Long pause
                         (Turning the page of his magazine) No

                                                      The water
63.         The sparring brother in the shower.
                                        He pushes a button.
squirting out like a fire hose.
shower stops.       Comes out.    Dries himself, humming, then

64.          Anthony on the mattress trying to read a prison-
book.                                      Rutting himself in the
          Putting it down in boredom.
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.
                                         Looking at it.
where the coffee pot is brewing.
brother coming over in his towel, taking the lid off the


                               smelling just nice.

            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

             Close shot: an old lifer crying "Chow"

             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.

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.

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

             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

Vulture.     He's black (laughing) yea he's as black as my


          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

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

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.
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

                          Once I spoke to you of long silences
    where we stare, just stare at air.     Once        spoke to you and

    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
    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:

                         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
            A:           For how long
            J:            (looking ahead, trembling: For five
                                                        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
             Jonah looking straight into A's eyes:
                                           glad you came and talked to
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.

            Jonah:        (not            him do this, a slight

smile on his face) I was twelve when               first killed. 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.


    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 :

    short: Ant.bony      killing the sneke)        You have to love.
             to be free (Shot: Anthony chasing Joanna               through    the
    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
    at him,
                 Jonah:                  you're warm. (lithely moving over

    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

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
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


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.
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

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

                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.
                                                                                             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

                       What, who is this laughing at who?
Which Alexander laughs at which Alexander? . . . Which
Alexander shall inherit the Earth? . . . - shall inherit
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
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,
                      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

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
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

                                 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

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.

In the north was the nothing, towards the south the void,
and over it an old God had hung an invisible mantle he
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
are feelings.                         Dream is Freedom,
                Freedom is Dream.
all nothing but a Dream.
                                They embrace.
           He kisses Isaac.


               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,
     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.


They could be closeups, distant shots, shots in action,
shots mixed in time, but an effect of passing speed and
              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

              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


          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

           21)    Anthony embracing Isaac after Alexander's Death
           22) Frontal shot, medium range, taken from the
eye level, of two horses riding with the camera.


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


on the bars (the purr of the                camera), now his hands

wrapped around the guard's neck, who is ninncc?               against

                          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
                                                 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.
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
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.


            Fade,   The prisoners running much faster through

the corridors of green and blue and pink sudr!enly breaking
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
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
              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


Writers :   Oliver Stone
Genres :   Drama

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