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TRIPPING THE LIGHT FANTASTIC

Written by Don Coorough


FADE IN: INT. INSIDE A LONDON TUBE STATION - LATE NIGHT On a cold, winter night, SEEK, a handsome and fit, sixty-ish man (who appears younger), boards a train as a married couple exit. SEEK enters and takes a seat. He notices an attractive woman in her mid- to late-forties, MARYANNE, being verbally abused by three tough looking, young cockneys. FIRST TOUGH (fingering the coat lapel) Come on, luv, it’s stuffy in ‘ere. Yer knows yer gots to open yer coat. The other two toughs grin lasciviously as they hover nearby. SECOND TOUGH Right, missus, yer’ll burn up in ‘ere if yer don’t undo yer buttons. THIRD TOUGH She ain’t no missus. She ain’t got a ring. MARYANNE Stop it, you ruffians. FIRST TOUGH Wha’s a matter, luv, no man waitin’ up at ‘ome for yer? Us three can take care o’ tha’. SECOND TOUGH I’d ‘azard a guess she’s loaded down with ‘er night’s tips, I would. FIRST TOUGH (to his companions) We’ll ‘ave to lighten ‘er burden then, ‘ey mates? MARYANNE tries to stand in order to get past the toughs. FIRST TOUGH pushes her back into her seat. FIRST TOUGH (CONT’D) Don’t runs off luv, we’re all set to pl’y a little gyme. An’ yer the prize.


2.

MARYANNE Leave me alone. They laugh in a way which portends imminent danger. SEEK Hey you three, the lady told you to leave her alone. FIRST TOUGH (turning to SEEK) Right, mates, a do-good wanker. Show ‘im wha’ we think o’ do-good wankers while I keeps me eye on our prize ‘ere, eh. THIRD TOUGH Right. Maybe ‘e’s got a few bob we can nick while we’re at ‘im. SECOND TOUGH and THIRD TOUGH move toward SEEK menacingly. A scuffle ensues. SEEK holds his own against the two toughs, knocking THIRD TOUGH down immediately and tying up SECOND TOUGH in a clinch. FIRST TOUGH walks away from MARYANNE to assist in subduing SEEK. Coming up from behind SEEK and catching him unaware, FIRST TOUGH hits SEEK hard on the head, knocking SEEK down. THIRD TOUGH regains his feet and all three toughs kick SEEK while he’s down. FIRST TOUGH kicks SEEK in the head multiple times. Coagulating blood stains SEEK’s face, the floor of the train, and FIRST TOUGH’s boot. The train enters another station. A few people gather on the platform. The train slows to a stop too soon for the toughs to harm MARYANNE, but while still kicking SEEK. MARYANNE pulls out her cell phone to call the police. As the doors open, the three toughs run off into the night. FIRST TOUGH (yelling back as he runs out the door) I’ll be watching for yer again, luv, the gyme’s not over, eh. We ‘aven’t ‘ad our prize yet. SEEK lays on the floor of the train, unconscious. MARYANNE (to boarding passengers) Help me get him out of here. I’ll call for assistance.


3.

Two men lift SEEK off the train and lay him on the platform. CUT TO: INT. A HOSPITAL ADMITTING ROOM - SHORTLY LATER SEEK lays on a gurney, being wheeled out of the admitting room. A concerned MARYANNE watches him be wheeled away. A POLICE OFFICER stands next to her. POLICE OFFICE He had a rough go of it. MARYANNE Yes. He didn’t have to challenge those three ruffians. Though, I don’t know what might have happened to me if he hadn’t. POLICE OFFICER A good man. Not as many of them around these days as there once were. Can you tell me anything about the attackers’ appearances? MARYANNE I can’t remember two of them very well at all, but I’ll never forget the face of the one who must have been the leader. Even the way he looked at me made me feel violated. POLICE OFFICER It’s a shame you’ve been though this, miss. I’ll have a sketch artist get in touch and the department will circulate the drawing. We’ll nab him soon enough. MARYANNE Thank you officer; I hope so. I’ll stay in the waiting room for a while. I want to be certain he’s going to recover. POLICE OFFICE I understand. CUT TO:


4.

INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS SEEK lays on a table being administered to by a physician and two nurses while a couple of orderlies are also present. Out from his body, the wispy form of SEEK’s astral body emerges. As he leaves his body, the EKG flatlines. SEEK’s astral body rises to the ceiling where, astrally hovering, he looks down on the action of the medical personnel taking care of his wounds and reacting to the flatlining EKG. DOCTOR Get the defibrillator, we’re losing him. NURSE Right away, doctor. DOCTOR (to an orderly) Let the woman in the waiting room know it’ll be a while and complications have arisen. The orderly exits as both nurses and the remaining orderly set up the defibrillator. SEEK’s astral body rises up through the ceiling. CUT TO: INT. THE HOSPITAL WAITING ROOM - CONTINUOUS The orderly enters the waiting room finding MARYANNE alone. ORDERLY Ma’am, it may be a while longer. The doctor ran into complications. MARYANNE What kind of complications? ORDERLY His heart’s stopped, ma’am. CUT TO: EXT. THE NIGHT SKY - CONTINUOUS SEEK’s astral body glows as it rises up into the sky which lightens with the breaking of dawn. He continues to float up, passing through a cloud and emerging from the top of it.


5.

Ultimately, SEEK stands on the cloud and sees a 1967, VW van painted in psychedelic colors and designs. SEEK walks over to the driver’s door, opens it, and enters the van, taking the seat behind the wheel. By now, the brightening sky awakens into morning. A dark crack cuts the sky in front of SEEK. Wind closes the driver’s door and lifts the van off the cloud, carrying it through the crack which opens into a rift. DISSOLVE TO: EXT. A CGI SKY VIEW OF A SPRAWLING GARDEN - A FOGGY MORNING A sprawling lawn extends out from a garden. Ten foot tall yew hedges divide up a maze of grassy squares. Nearby, other square hedges of three foot yews contain flowers. A specific color and flower type, different from the color and flower of each other square, composes each of the flower squares. SEEK and the van descend into a grassy square. DISSOLVE TO: EXT. A CGI VIEW OF THE GRASSY SQUARE WITH THE VAN - A NEBULOUS DAY OF A TIMELESS MOMENT SEEK exits the vehicle and strolls through the yew-lined maze. His meandering leads SEEK out of the maze and into the open lawn, up from which a gazebo rises. SEEK ambles across the lawn toward the gazebo. He stops on the first of the steps leading up from the lawn into the gazebo, looks back, and notices how the flower beds hedged by the short-cropped yews shimmer with a variety of colors. Each of the flower squares infuses the fog above it with the matching color from the square, revealing a rainbow colored, cotton-candy sky. CUT TO: EXT. INSIDE THE GAZEBO - CONTINUOUS The CAMERA provides a quick glimpse of ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA. Both of the characters look like SEEK at different ages when we first see them. ASTRAL GUIDE RUSTY presents the appearance of SEEK in 2014 while ASTRAL GUIDE KAFKA appears like SEEK in 1972. ASTRAL GUIDE RUSTY motions to ASTRAL GUIDE KAFKA, indicating SEEK’s arrival. ASTRAL GUIDE RUSTY’s appearance immediately transforms from the older SEEK into RUSTY as he looked in 1972.


6.

ASTRAL GUIDE KAFKA transforms, too, altering from the younger SEEK to KAFKA in 1972, too. CUT TO: EXT. THE STEPS OF THE GAZEBO - CONTINUOUS SEEK ascends the steps. ASTRAL GUIDE RUSTY steps forward at the top, shrugging as he reveals himself to an astonished SEEK, and beckoning SEEK to proceed to a seat in the gazebo with a sweeping motion of his arm. CUT TO: EXT. INSIDE THE GAZEBO - CONTINUOUS As SEEK walks in the direction indicated by ASTRAL GUIDE RUSTY, he sees ASTRAL GUIDE KAFKA seated on a bench. ASTRAL GUIDE RUSTY What’s happening, Seek. We’ve been expecting you to drop into this cozmic circus. ASTRAL GUIDE KAFKA (to ASTRAL GUIDE RUSTY) Seems to me he just dropped in from nowhere, my man. (to SEEK) Join us, won't you, Seek, and have a seat at our roundtable? SEEK Yeah, sure, brothers. A small, round table materializes in the center of the gazebo surrounded by the three benches built into the sides of the gazebo as SEEK arrives at the seat which ASTRAL GUIDE RUSTY indicated for him to take. ASTRAL GUIDE KAFKA Rusty and I were talking about the space of familiar disinterest between us all. ASTRAL GUIDE RUSTY (to SEEK) Can you dig the trip of me and you, and how we’re just the same person in this zoo? Dig how freaked out it is, because you are Kafka, too. (MORE)


7. ASTRAL GUIDE RUSTY (CONT'D) It’s so fucking cozmic, man, because all three of us, together, are still only one.

SEEK Am I really here? ASTRAL GUIDE KAFKA Nothing is real, Seek. SEEK Can I actually be seein’ you two again after all these years? ASTRAL GUIDE RUSTY Now, man, what could you ever do that couldn't fucking be done? SEEK Nothin’, I guess. ASTRAL GUIDE KAFKA I'd say he's astral projecting and creating a déjà vu that hasn’t happened yet, Rusty. ASTRAL GUIDE RUSTY Seek, turn off that crazy, freaked out mind of yours. Don’t try to pigeonhole experience into preconceived classifications. ASTRAL GUIDE KAFKA Just relax, my man, and float down life’s stream. SEEK Yeah, but where am I goin’? ASTRAL GUIDE KAFKA Wherever you’re meant to be. SEEK I must be dead and gone to heaven. ASTRAL GUIDE KAFKA Death doesn’t exist, Seek, just transitions to other states of consciousness where anything is possible. In these other states, everything that can occur will.


8.

ASTRAL GUIDE RUSTY This state is a funky state, man, where dreams are lucid and fantasies come true. Whimsy populates paradox here, and you can meet all your friends in this crazy zoo if you can just dig it. SEEK’s astral body somersaults out of the gazebo. He flies away, whisked into the psychedelic, VW van. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK’s astral body flies through a psychedelic-colored corridor of doors. A door opens to him and the van. They pass into and through the doorway. DISSOLVE TO: INT. A LONDON PUB - EARLY AFTERNOON THREE DAYS IN THE FUTURE SEEK regains his awareness of reality from out of a trance while sitting at a table in a pub, his wounds mostly healed. He gulps beer from a glass mug and sets it down on the table next to his small, pocket notebook and pen. He flips open his notebook, considers something, picks up his pen and writes. SOPHIE, the waitress (an attractive British woman in her twenties) and MARYANNE walk up and stand before SEEK. SOPHIE Well, hello, Seek. This is my friend, Maryanne. SEEK (standing to greet them) Oh, yeah, hey Sophie, and Maryanne, it’s nice to meet you. SOPHIE I thought you two should meet since you’re both single friends of mine. SEEK Teamin’ up to take me down? SOPHIE You’re a goof, Seek. Maryanne works evenings in a pub nearby.


9.

MARYANNE Hi, Seek. Seems we’ve met before. Sophie, Seek is the man I told you about who was hurt when he rescued me from those three ruffians. SEEK That night is still just a fog to me. MARYANNE I shouldn’t wonder. Are you feeling better? SEEK Sure I am. Would you like to sit a while, Maryanne? MARYANNE I thought you’d never ask. MARYANNE takes a seat at the table with SEEK as he sits, too. SOPHIE I haven't seen you in days. Where have you been keeping yourself? SEEK I was in the hospital, Soph, then recuperating at the hotel. Would you like a beer, Maryanne? MARYANNE Are you sure you should be drinking? SEEK Yeah, well, I’m better enough. Anyway, the doc said I can drink now. MARYANNE In that case, Sophie, I’ll have a beer, too. Sophie walks off to get Maryanne a beer. SEEK Have you been bothered by those punks since the other night? MARYANNE No, Seek, I haven’t. But the police haven’t caught them yet, either.


10.

SEEK Well, be careful then. MARYANNE I am. How are you really feeling? SEEK Yeah, well, I still have headaches, and the occasional dizzy spell, and then there’s a ringing in my ears. MARYANNE Sounds like you really shouldn’t be drinking. SEEK Maybe not, but I don’t drink much. Mostly, I sit here and watch people. It feels better to be out and among them. MARYANNE I suppose it must. (indicating the notebook) Were you in the middle of something? SEEK Workin’ on a poem. It’s good therapy. MARYANNE Will you read it to me? SEEK Yeah, sure. As he pauses momentarily before reading the poem, Sophie returns with Maryanne’s beer, then walks away again, grinning to herself. SEEK (CONT’D) (grabbing his beer) Yeah, okay, first, here’s to makin’ new friends. MARYANNE I’ll drink to that. They clink their mugs and each takes a sip from their beer. SEEK Yeah, now, the poem. It’s titled ‘Inarticulate Slipstreams.’ (MORE)


11. SEEK (CONT'D) (he composes himself) Bright night's asphalt steam devours Hillside neckin’ under parked moon showers, Beams arc water sparkled tridents Subvertin’ firefly monuments; Devoted tingle-gardens wall Up cupboard door cradled ghostly shawls Forests - as sunrise plows corn highways' Sight-broken, one act, breast-fed plays. Iridescent repossessed dreams Of inarticulate slipstreams Cascade by newborn unsuppressed Symptoms with an acid-etched Countenance; dispellin’ conditions' snowflake flair Wilderness: an unbuttoned stare.

MARYANNE stares into SEEK’s eyes. MARYANNE That was brilliant. It’s gorgeous. See though, what is hillside necking? SEEK Yeah, in Los Angeles, where I grew up, hillsides surround the suburban valleys. As a teenager, I often took my girlfriend at the end of our dates to a lookout with a view and parked my car at a secluded overlook. We'd sit in the car, gaze out on the lights and talk a little while: sharin’ our feelings, our hopes for the future, our dreams. Then, we’d grow romantic. MARYANNE What a lovely image. Were you a seductive young man? SEEK Not as a rule, but sometimes, I guess. She looks him over. SEEK (CONT’D) You don’t approve?


12.

MARYANNE I didn't say that. SEEK Yeah, well, the poem isn't really ‘bout a neckin’ encounter. MARYANNE I know that, silly. It's about how meaningful nature and memories of sweet moments from one’s past can be. How we should value them. SEEK I’m glad you got it. MARYANNE I think the sentiment you expressed in the poem is an important one. SEEK Yeah, well, it’s easy to sleepwalk through life, not valuin’ experiences as they occur or our friends and loved ones. MARYANNE Oh yes, I agree. See though, it’s also important to value nature and try to protect and preserve it. SEEK Exactly. I lumped them all together - experiences, relationships and nature - because it seems to me valuin’ life means valuin’ all those things. MARYANNE I see. So, the poem is about valuing life in all it’s complexity. SEEK You expressed it better than I do. They both drink from their beers. I wanted Sophie’s you. See shopping

MARYANNE to stop in because been nagging me to meet though, I do have some I need to take care of.


13.

SEEK Sure. Hey, do you work tonight? MARYANNE Yes. SEEK I’ll get directions from Sophie and stop in at your pub later. I’ll see you tonight. Okay? MARYANNE I’d like that. And if you like, I can stop back by to see you after my shopping. SEEK That would be great, sweetheart. MARYANNE Sophie warned me you’re a flirt. SEEK grins sheepishly. SEEK It’s hard not to be with someone as attractive and intelligent as you. MARYANNE (standing to leave) Luckily for you she also calls you a harmless goof. Besides, I guess you did rescue me. MARYANNE walks off. SEEK’s gaze follows her out the door. He stares off into space, entering a trance as she leaves. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK, inside the van, soars through a psychedelic-colored corridor of doors. A random door opens. CUT TO: EXT. INSIDE THE GAZEBO - MID-MORNING The fog has lifted, leaving a still overcast day. The two spirit guides change from younger SEEK and older SEEK into the appearances of KAFKA and RUSTY in 1972 as SEEK materializes in the gazebo.


14.

ASTRAL GUIDE RUSTY Pretty glib with the ol’ flappers there, aren’t you, man? ASTRAL GUIDE KAFKA Are you sure flirting is the right seduction patter, old friend? SEEK I’m just bein’ myself. ASTRAL GUIDE KAFKA One part of your yourself, maybe, the charmer. ASTRAL GUIDE RUSTY I think you’re playing the clown, Seek, and hiding behind the makeup of that funky vibe. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK, no longer in the van, flies through the corridor of doors. A different door opens. SEEK flies into it. DISSOLVE TO: INT. THE USCLA STUDENT ACTIVITY CENTER - EARLY EVENING, THURSDAY MAY 11, 1972 SEEK, now appearing to be nineteen years of age, drops out of a hole in the sky. He lands just inside the entrance to the USCLA Student Activities Center. In a large, open room, approximately 30 students assemble. They gather in small groups, talking. Among those gathered are: KAFKA (20 years), RASPBERRY (19 years) and ROAD TRIP (21 years), FREAKY GREG (22 years), ‘FRO BRO (21 years), THE KID (21 years), COWGIRL (19 years), LILY (20 years), and RUSTY (22 years). SEEK ambles over to where KAFKA stands with ‘FRO BRO and THE KID. BANDANA (22 years) enters the room from a door out of a side room in the back. He stands in front of the small crowd and motions for people to sit down. BANDANA Hello, everyone. Let’s all take a seat so we can start the meeting.


15.

People sit on the floor. SOMEONE FROM THE CROWD What’s happening, Bandana? BANDANA We're here to protest the bombing of Cambodia. SEEK Right on! BANDANA We should make it known ‘SCLA students oppose the war. ANOTHER STUDENT What can we do? BANDANA We should do something that won't go unnoticed. I urge all of you to take the ROTC building with me. A STRAIGHT LOOKING STUDENT Won't we get arrested? KAFKA That's the point. BANDANA Right, Kafka. A STRAIGHT LOOKING STUDENT I don't know, Bandana. My parents won't like bailing me out. A murmur spreads. Many students stand up and start to leave. SEEK stands up and walks toward BANDANA. SEEK Yeah, I'm with you, Bandana. BANDANA Right on, Seek. SEEK and BANDANA slap palms. SEEK Come on, people. Kafka, join us. KAFKA stands up and walks over to join SEEK and BANDANA.


16.

KAFKA Count me in. THE KID and ‘FRO BRO get up and walk to the front. THE KID Let’s dig this happening, ‘Fro Bro. ‘FRO BRO Yup. Let’s do it, Kid! How about you, Freaky? FREAKY GREG, RASPBERRY and ROAD TRIP, COWGIRL, RUSTY, and LILY stand up to join the others. FREAKY GREG Like, outtasite, ‘Fro Bro. RUSTY I’m with this funky circus, too, Greg. FREAKY GREG Outtasite, Rusty. RASPBERRY Us, too, huh Road Trip? ROAD TRIP Far out, Raspberry. COWGIRL Well, you’re not leaving me behind. How about you, Lily? LILY Yeah, I can dig this bag, too, Cowgirl. BANDANA All right, let’s go! CUT TO: EXT. OUTSIDE THE ROTC BUILDING - NIGHT The students arrive at the ROTC building: a dilapidated, twostory bungalow. They climb wooden stairs and stand before a door with four glass panes in the top half.


17.

Bandana crashes his elbow, covered with his leather jacket sleeve, through the glass pane nearest the door handle, reaches inside and unlocks the door. CUT TO: INT. INSIDE THE ROTC BUILDING - CONTINUOUS The lights come on as the group enters. FREAKY GREG dances through the room. FREAKY GREG Power to the people, man! This is, like, outtasite. DISSOLVE TO: INT. INSIDE THE ROTC BUILDING - ABOUT A HALF HOUR LATER A large crowd of students inside creates a happening in the room. RUSTY walks over to SEEK, standing alone. RUSTY What a zoo, man. SEEK Yeah, Rusty. I wonder how many even know what the protest is ‘bout. RUSTY Does it matter? Dig their presence; keep the vibe going. It's cozmic. RUSTY flashes a can of spray paint, and RUSTY and SEEK share conspiratorial grins. They sneak out. DISSOLVE TO: EXT. THE QUAD IN FRONT OF CONQUERING ULYSSES - NIGHT RUSTY and SEEK hide behind some bushes looking at the statue of Conquering Ulysses which stands atop a cement pedestal on a corner in front of the administration building. RUSTY and SEEK dash to the statue. RUSTY sprays a peace sign on the cement pedestal. RUSTY What a gas, man. I’ve always wanted to do this.


18.

SEEK Yeah, Rusty. But I think we better get the fuck outta here. RUSTY I’m hip, Seek. Let’s split before the campus clown-cops arrive. CUT TO: INT. INSIDE THE ROTC BUILDING - LATE NIGHT SEEK returns to the protest alone. With the momentum waning, he number of students dwindles. A buttoned down, graying man, DEAN MCMANISH, sternly strides into the room wearing a coat and tie. BANDANA Heads up everyone, Dean McManish is here. DEAN MCMANISH All right, people, don’t you think it’s about time to go home now? A chorus of boos erupts from the remaining students. DEAN MCMANISH (CONT’D) If you don't leave, you'll all be suspended. SEEK Yeah? You don't even know who most of us are, Dean. DEAN MCMANISH Don’t make me call in security. The students fill the room with derisive laughter. DEAN MCMANISH (CONT’D) You realize there are charges that can be brought against all of you. BANDANA We realize that, Dean. DEAN MCMANISH You'll have criminal records. BANDANA We've weighed the consequences.


19.

DEAN MCMANISH Then, I'll go ahead and call the LAPD. DEAN MCMANISH leaves the room. DISSOLVE TO: EXT. OUTSIDE THE ROTC BUILDING - ABOUT 2 AM DEAN MCMANISH and an LAPD officer are joined by BANDANA and SEEK in a conference downstairs in an outdoor parking lot. DEAN MCMANISH You know I don't want to put black marks on students with arrest records which will follow them. BANDANA Dean McManish, as long as the University sanctions the presence of the ROTC and continues to receive and fulfill militaryindustrial complex research grants, we have to take a stand. The LAPD officer pulls out his Billy club and starts to slap it into the palm of his left hand hard enough to make the thwacking sound resound through the night. BANDANA (CONT’D) (to the officer) We’re not intimidated. (to DEAN MCMANISH) Press coverage from busting heads won’t be good university publicity. DEAN MCMANISH waves the officer off; he walks away. DEAN MCMANISH (to BANDANA) Well, I won't press charges. But I will suspend everyone here. (to SEEK) And believe me when I tell you, I won't have any trouble finding out who is present. SEEK I certainly hope not, Dean. DISSOLVE TO:


20.

EXT. THE LARGE STUDENT QUAD - NOON ON THE NEXT DAY A man leaves the podium after speaking to a very large crowd. SEEK emerges from the crowd and walks to the microphone. SEEK We've just heard Sen. McGovern’s representative talk ‘bout the need to end the war. Students are holdin’ a sit-in at the ROTC buildin’ right now. Yeah, you can be part of it, too. Follow me. As SEEK strides off in the direction of the ROTC building, nearly all of the students gathered follow. CUT TO: EXT. OUTSIDE THE ROTC BUILDING - CONTINUOUS The students crowd around the building near the wooden stairs. SEEK ascends the stairs and stands on the landing at the top. BANDANA emerges from within the building and steps to the railing. BANDANA We want the ROTC on campus disbanded. We want the building converted into a Center for Peace and Life. Stay here with us. Let the University know how you stand. The students start to mill away. BANDANA goes back inside, disappointed. SEEK steps to the railing. SEEK Do you peeps dig what's happenin’? Cambodians, citizens of a neutral nation, are losin’ their homes and farms and livestock to napalm. They and their children are bein’ burned alive. It's illegal for Nixon to bomb a neutral country! Help us make a positive out of senseless destruction. Yeah, let’s turn this den of death into a Center for Life. Stay with us! The students return and remain at the building. DISSOLVE TO:


21.

EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK floats into the psychedelic, swirling gust of corridor. A door

the corridor of doors again. He discovers 1967, VW van awaiting him. He enters it. A energy pulls the van and SEEK through the opens into which SEEK and the van fly. CUT TO:

EXT. THE LAWN IN THE ENGLISH GARDEN NEAR THE GAZEBO - DAY The gust lays the van onto the lawn in the yard next to the gazebo on the still-overcast day. ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA transform from older and younger SEEK into the astral guide appearances of the friends from his past. SEEK exits the van, climbs the stairs and enters the gazebo. ASTRAL GUIDE KAFKA Better give Seek, here, a key or he'll be coming in through the bathroom window soon. ASTRAL GUIDE RUSTY But he doesn’t have a sister named Pam. SEEK Nope, I'm an only child. ASTRAL GUIDE RUSTY Man, I didn’t know you were a lonely child. SEEK Yeah, I didn't say I was lonely; I only said I was only. ASTRAL GUIDE KAFKA I think Roy Orbison might have a go with that line, old friend. ASTRAL GUIDE RUSTY So, you think you’ve got a solution to groove on, huh, Seek? SEEK Solution? ASTRAL GUIDE RUSTY To fighting wars, man.


22.

SEEK I don’t know if I have any solutions, but I know I’m against wars, and killin’, and bombin’. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK, in his VW van, travels through the corridor of doors. The colors sparkle as he spins into an open door. CUT TO: EXT. A SUBURBAN STREET IN THE SAN FERNANDO VALLEY - LATE SUNDAY MORNING, MAY 14, 1972 SEEK and the van land on a cul de sac in a sleepy, suburban neighborhood of the San Fernando Valley. SEEK drives the van into a driveway where he parks. CUT TO: INT. SEEK’S FAMILY RESIDENCE - CONTINUOUS SEEK walks into the family living room. DAD sits in a recliner chair with a bourbon and coke on the table. DAD Well, hello, son. SEEK Hi, Dad. DAD gets out of his chair and walks toward SEEK. DAD puts his left arm around SEEK’s neck and roughs up the young man’s long hair with his right hand, giving him noogies. SEEK (CONT’D) Ouch, Dad. DAD Oh, poopsie. Did I hurt you? SEEK Not too much. DAD Do you want a drink, son?


23.

SEEK No thanks. It’s a little early. DAD Nonsense. SEEK Really, I’ll just have a coke. DAD Whatever you want. It’s your birthday. MOM comes out of the kitchen with a can of coke in her hand. She walks over, hands SEEK the drink, and hugs him. MOM Happy birthday to my grown up son. SEEK Thanks, Mom. They share a hug and a kiss. DAD finishes off his drink and clinks the ice in his glass. MOM takes DAD’s empty glass. MOM I’ll get you a fresh drink, honey. DAD Thanks, dear. MOM goes into the kitchen. DAD sits down in his chair and SEEK sits on the couch. DAD (CONT’D) So, you’re about to be 19. SEEK Yeah, I guess so, Dad. DAD How about I get you a haircut for your birthday? SEEK Thanks, Dad, but I’ll pass. DAD You’ll pass for a girl with that hair of yours. MOM enters from the kitchen and hands a fresh drink to DAD. He gulps from it and sets it on the table.


24.

MOM I have to keep cooking. SEEK Okay, Mom. MOM goes back out. DAD I saw on the news there were protests last week. SEEK Yeah, there were. DAD takes another gulp from his drink. DAD Were there any protests at ‘SCLA? SEEK Yeah, Dad, there was. DAD What happened? SEEK There was a sit-in at the ROTC buildin’ for a couple days. DAD Oh my God. You didn’t have anything to do with it, did you? SEEK Yeah, I did, Dad. DAD swigs another large gulp. DAD What the hell did you do? SEEK I was one of the ones who broke in. I also spoke at a couple rallies. DAD You little shit. You’re turning into a commie son-of-a-bitch. DAD finishes off his drink with a large swallow. SEEK I’m not a commie, Dad.


25.

DAD Anybody who takes part in protests is a commie, damn it. DAD walks over to SEEK. MOM walks into the room. MOM Now, stop it, you two. Today is not a day for an argument. SEEK Yeah? It’s hard to stop one when he’s gettin’ drunk. MOM Don’t say that about your father. SEEK He can call me a commie, but I can’t tell him when he’s drinkin’ too much? DAD Not in my house you can’t you ungrateful little punk. SEEK Oh, shit, here we go. The booze is talkin’ now. DAD, hovering over SEEK, reaches down with his left hand, grabs SEEK by the shirt, and pulls him up off the sofa. SEEK (CONT’D) Lemme go. DAD Don’t tell me what to do. SEEK struggles and frees himself. MOM You shouldn’t join protests or say your father is a drunk. SEEK Fuck both of ya. DAD takes a swing at SEEK’s jaw with his right hand and lands a punch. SEEK is knocked to the floor. DAD Don’t you ever talk to your mother or me like that you little shit.


26.

DAD stands over SEEK and, in a drunken and dizzy rage, staggers back a couple of steps. SEEK stands up. SEEK Since it made you feel like a big man to hit your son, go ahead and take the other cheek, too, Daddy. DAD Get the hell out of my house you worthless punk. SEEK Fuck yeah, I’m gone ol’ man. SEEK starts to leave. MOM Stop it, both of you. This is supposed to be a birthday party. SEEK continues toward the door. DAD We’re not celebrating that yellow bastard’s birthday. He’s no son of mine. We hear the door slam as SEEK exits. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies through the psychedelic corridor of doors and into an opening door. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK returns to the gazebo, landing on the round table, the sky still overcast. SEEK’s body spins in circles, coming to a stop facing ASTRAL GUIDE RUSTY. Both guides change from older and younger SEEK into the astral guide appearances of his old friends as SEEK dissolves into the scene. SEEK How do I keep bouncin’ around like that?


27.

ASTRAL GUIDE RUSTY It's those funky scientists and their probability fields. ASTRAL GUIDE KAFKA I think determining which probability field happens depends on the probability you’re after, my man. ASTRAL GUIDE RUSTY What a gas, think about it, man, all probabilities are equally probable. ASTRAL GUIDE KAFKA You do realize you made that whole scene with your father harsher than it had to be, don’t you? SEEK Me? I did? ASTRAL GUIDE RUSTY Seek, it was when you said ‘Fuck both of you,’ that he lost it. ASTRAL GUIDE KAFKA The wheel of events that followed occurred because of the karma your words set in motion. SEEK You’re sayin’ I caused all that? His bein’ drunk and intolerant didn’t play a part? ASTRAL GUIDE RUSTY You could have avoided it, man. We’re saying that no good vibes come from fucking passing the shit in your life onto other people. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK’s astral body flies through the swirling colors in the corridor of doors until it shoots through an opening doorway. DISSOLVE TO:


28.

INT. THE ENGLISH PUB - AFTERNOON SEEK re-enters his body. MARYANNE enters carrying shopping bags. She walks over to SEEK and sits down. SEEK motions to SOPHIE for two beers. SEEK Looks like ya finished shoppin’. MARYANNE I have, Seek. SEEK Did ya get everythin’? MARYANNE Yes, and I had fun, too. SOPHIE walks up to serve the beers. SOPHIE Here you go, you two. SEEK Thanks, Soph. MARYANNE Thank you, Sophie. SOPHIE walks away grinning to herself. MARYANNE (CONT’D) Now, tell me what brought you to London. SEEK Yeah, okay, Maryanne. I’m on vacation, and I’m lookin’ for work while I’m here. MARYANNE You want to work here? SEEK Yeah, I wanna stay. See, I left the US and moved to Vancouver in ‘72. I’ve been wanderin’ around livin’ in different countries ever since. MARYANNE Do you like that?


29.

SEEK Oh yeah. I enjoy travelin’ and learnin’ ‘bout what life is like in different places. But it is true that it’s not always easy makin’ new friends. MARYANNE Why not? SEEK People don’t always accept an American expatriate. MARYANNE Oh, I’m sorry, Seek. I guess it can be hard moving to a new country. SEEK Yeah, well, the rewards come when I do make new friends and as I learn ‘bout other cultures’ lifestyles. MARYANNE Yes, I see it must. What kind of work are you looking for? SEEK Yeah, I work in animation. MARYANNE What do you do? SEEK Production manager. I lucked into it in Vancouver. Later, I got an offer to work in Montreal. I’ve been followin’ the jobs ever since. MARYANNE See though, why don’t you go back to America or come here and work? SEEK I’m here and lookin’ now, sweetie. MARYANNE (rolling her eyes) Flirting as always. Nonetheless, I am glad you’re here. SEEK Me, too.


30.

MARYANNE How is your job search going? SEEK Yeah, well, the studios here are all staffed. MARYANNE What are you going to do? SEEK I’m gonna have to make my own job. MARYANNE Oh. How will you do that? SEEK I’ll pick out a studio and show up everyday. I’ll say, ‘I’m here; what do you have for me to do today?’ MARYANNE I’d like to hear more about how you think that will work for you. First, let me take my bags home. I’ll be back soon. SEEK I like the sound of that, sweetheart. MARYANNE Do you ever stop flirting? DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies through the psychedelic corridor of doors and into an opening door. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK arrives back in the gazebo on the overcast day. ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA transform from older SEEK and younger SEEK into the astral guide appearances of his old friends while SEEK dissolves into the scene.


31.

ASTRAL GUIDE RUSTY There you go again, man, flirting with the chick. On top of it, you’re glossing over the bum trip about why you left while painting the bitchin’est picture possible. ASTRAL GUIDE KAFKA At least, my man, tell us there is something in the way she moves or in her smile that makes you dig her like no one else. SEEK There is somethin’ ‘bout a damsel in distress. Tryin’ to rescue her’s what got me int’rested. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK’s astral body soars through the spinning corridor of doors until a door opens and he dives into it. DISSOLVE TO: INT. SEEK’S HIPPIE PAD IN SILVER LAKE WHICH IS PERCHED ON THE SIDE OF A HILL AND LOOKS OUT ON THE RESERVOIR - TUESDAY AFTERNOON, MAY 16, 1972 SEEK sits on his couch. A knock is heard at the door. SEEK opens it. RASPBERRY enters. SEEK Hi, Raspberry, what's happenin’? RASPBERRY My life is so crazy. She walks past SEEK and into the middle of the room. RASPBERRY (CONT’D) My parents want me home right after I finish finals. They expect me to pack ahead of time. I can't do that. I need things out. Their pressure frustrates me.


32.

SEEK Bummer, Raspby. Wait, aren’t we goin’ campin’ over Memorial Day weekend? RASPBERRY Oh, we are. Don't worry. SEEK Who else is goin’? RASPBERRY ‘Fro Bro, Lily and Cowgirl. SEEK Bitchin’! Have a seat, Raspby. RASPBERRY I don’t have time. I just came over to give you a birthday present. Your birthday is Friday, and I might not see you that day. So, I‘m giving it to you now. RASPBERRY reaches into her right front pocket and pulls out a ball of aluminum foil. She opens the aluminum foil. SEEK What's that? RASPBERRY You’re birthday present, Orange Sunshine, the trippiest acid. SEEK Solid. Lay it on me. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK soars playfully through the corridor of doors. He spins and twists through a door as it opens for him. DISSOLVE TO:


33.

EXT. OUTSIDE THE GAZEBO, ON THE LAWN - DAY SEEK dissolves into the scene, standing on the lawn under an overcast sky near the gazebo between ASTRAL GUIDE KAFKA and ASTRAL GUIDE RUSTY who play croquet as they transform from younger SEEK and older SEEK into the astral guide appearances of his old friends. SEEK Are you still waitin’ for the sun? ASTRAL GUIDE RUSTY Nah. I can get a fucking tan just diigging the rain, man. ASTRAL GUIDE RUSTY takes a shot. ASTRAL GUIDE KAFKA Seek, as you float on the stream of time, there’s no difference between where you are and where you want to be. SEEK What do you mean, Kafka? ASTRAL GUIDE KAFKA In either place, you face challenges. There’s no where to go to hide from them. If you fail to learn the lessons, the challenges just grow harder and more painful. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK is shown flying through the psychedelic corridor of doors. A door opens and he flies into it. DISSOLVE TO: INT. THE ENGLISH PUB - MID-AFTERNOON SEEK regains consciousness. He sees MARYANNE walk toward him. SOPHIE comes to the table as MARYANNE sits in a chair. SOPHIE Do either of you want another beer? SEEK I'm good.


34.

MARYANNE Maybe later, Sophie. SOPHIE walks off. MARYANNE (CONT’D) I came back just as I promised. SEEK And I’m glad you did. MARYANNE Are you now? SEEK Sure I am. You don’t see a line of women waitin’ to see me, do ya? MARYANNE Maybe there would be if you weren’t such a shameless flirt. See though, I do want to hear about that plan of yours to get a job. SEEK Yeah, that. I figure it this way, Maryanne, if I show up at a studio everyday at the time it opens and show people I want to work, it’s an ice breaker. Then, I can get to know the studio heads. I’ll grow on them as they get to know me and like me. Eventually, someone will say, ‘I like that guy. We need to find a job for him.’ It’ll take some time, but I’m sure it’ll work. MARYANNE That is quite an idea. SEEK It’s worked for me in the past. MARYANNE You’ve even lived to tell about it. SEEK grabs at the air between them, like he’s trying to catch something. MARYANNE gives him an inquisitive look. SEEK Oh, that? It was like I could see your words in the space between us. I wanted to catch ‘em and save ‘em so I could pull ‘em out later.


35.

MARYANNE Silly man, why would you want to do that? SEEK So I can listen to your voice even when you aren’t around. MARYANNE Oh that tongue of yours. Go on, now, stop teasing me. SEEK I wasn’t teasing you. I dig your voice and accent. MARYANNE And I suppose you’ve been trying to imagine it while I’m away. SEEK It beats listenin’ to the voice in my head. MARYANNE Voice or voices? SEEK Now that you mention it, there are a couple voices in there. MARYANNE Maybe that explains your devilish side. SEEK Me? Devilish? MARYANNE Yes, you. Always flirting, and teasing me. SEEK Darn, and I thought I was doin’ great with ya, Maryanne. But you don’t take a thing I say seriously. MARYANNE How can I take you seriously with so much insincerity coming out of your mouth? See though, I do hope you’ll get a job.


36.

SEEK (ironically) Gotta love support like that. MARYANNE Will you excuse me while I visit the ladies’ loo? SEEK Of course. As MARYANNE walks off, SEEK enters another trance. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK is transported through the multicolored corridor of doors. A door opens. He slides into it. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK slowly drifts down from the overcast, multicolored, cotton candy sky into the gazebo where he sits between ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA. The astral guides transform into the astral guide appearances of his old friends as SEEK dissolves into the scene. ASTRAL GUIDE KAFKA Can you get real with the woman and have a meaningful conversation? SEEK Sure I can. We’re just havin’ laughs right now. ASTRAL GUIDE RUSTY While you call her ‘sweetheart’? SEEK Is there harm in flirtin’? ASTRAL GUIDE KAFKA Sometimes, if it’s carried too far, or used as a defense mechanism to avoid being real, my man. ASTRAL GUIDE RUSTY Lay it on me, Seek. How do you see yourself in the chick?


37.

SEEK She’s intelligent, insightful, attractive, fun and happy. ASTRAL GUIDE KAFKA He asked how you see yourself in her, not what you see in her. SEEK I’m not sure I know what you mean. ASTRAL GUIDE RUSTY That’s the fucking problem, man. ASTRAL GUIDE KAFKA Seek, even more to the point, how do you think she sees herself in you and with you? SEEK Huh? ASTRAL GUIDE KAFKA If you want to grow closer to the woman, learn to understand and appreciate her; create a world where only the two of you exist. ASTRAL GUIDE RUSTY How’re you and the chick going to groove on each other if the only vibe you put out is to ply her with a few beers, share a few wise cracks, and call her sweetheart? DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK whisks back into the corridor of doors on a sudden gust. A door opens to him and he enters. CUT TO: INT. A CLASSROOM AT USCLA - NIGHT, THURSDAY, MAY 18, 1972 Students sit in the center of a classroom cleared of desks on a rug covering the white, tile floor. In the center of the rug burns a stick of incense. A ring of students, including SEEK, KAFKA, RUSTY, THE KID, COWGIRL, ‘FRO BRO, LILY, and ROAD TRIP, meditate, circled on the rug in the lotus position.


38.

Their hands rest on their knees in dharmacackra mudras. The professor, a young Asian man, sits on a desk in a corner of the room. PROFESSOR We may sing aum now. The students blend together into a beautiful harmony, chanting in unison with their eyes closed. STUDENTS IN UNISON Aaaauuuuuuuummmmmmmmmmm. They repeat the chant several times. PROFESSOR Imagine yourselves soaring among the stars. STUDENTS IN UNISON Aaaauuuuuuuummmmmmmmmmm. PROFESSOR Imagine yourselves as single droplets of water rolling slowly down a pane of glass STUDENTS IN UNISON Aaaauuuuuuuummmmmmmmmmm. PROFESSOR Imagine yourselves as a placid pool of water into which a pebble just dropped, creating a ripple. STUDENTS IN UNISON Aaaauuuuuuuummmmmmmmmmm. PROFESSOR If the eye cannot see itself without a mirror, how can an experiencer experience experience? STUDENTS IN UNISON Aaaauuuuuuuummmmmmmmmmm. DISSOLVE TO: INT. A CORRIDOR INSIDE A FRAT HOUSE WHICH HAS BEEN CONVERTED INTO A HIPPIE COMMUNE - LATER THAT NIGHT SEEK stands in front of a door and knocks.


39.

RASPBERRY (from inside the room) Who is it? SEEK Yeah, it's me, Seek. The door opens. RASPBERRY grabs SEEK and jerks him in. CUT TO: INT. RASPBERRY’S ROOM - CONTINUOUS SEEK You weren’t at Zen class tonight. Are you okay? RASPBERRY Road Trip and I broke up today. SEEK Ah, Raspberry, I'm sorry. Should I split? RASPBERRY No. Stay with me for a while. The two walk to RASPBERRY’s bed and sit on it. RASPBERRY (CONT’D) Road Trip's been spending time with someone else. Did you know? SEEK Nope. But he was sittin’ with a new lady tonight in Zen class. RASPBERRY That figures. He doesn’t waste any time. I can't believe it's over. SEEK What happened? RASPBERRY That's what I keep asking myself. SEEK What do you mean, Raspberry? RASPBERRY Am I boring?


40.

SEEK No, not in the least. RASPBERRY Then, why did he break up with me? SEEK Yeah, I don't know. It doesn't have to be you, ya know. It could be him, Raspby. RASPBERRY Maybe his new woman is more interesting or sexier. SEEK Raspberry, no one is more int’restin’ or sexier than you. RASPBERRY Do you mean that? SEEK Yeah, of course. RASPBERRY Why doesn't Road Trip feel that way? She lays her head face down on her pillow and sobs. SEEK reaches down and caresses her back. She lifts her torso and falls into his arms, sobbing into the nape of his neck. SEEK calms her by holding her. She stops crying. SEEK Yeah, let's go for a ride. RASPBERRY Where? SEEK Lemme surprise you. CUT TO: EXT. VENICE BEACH, THE CORNER OF 25TH AVE. AND SPEEDWAY NIGHT RASPBERRY and SEEK, strolling through a Venice Beach neighborhood, stop in front of a two story beach house. SEEK I used to live here.


41.

RASPBERRY When? SEEK Last summer. It’s a wild neighborhood. RASPBERRY In what way? SEEK Yeah, for instance, there was a hippie named Herbie who drove out from Jersey and lived in his van. RASPBERRY He lived in his van? SEEK Yeah, well, I let him shower in my pad sometimes and occasionally fed him a home cooked meal, too. RASPBERRY That was nice of you. SEEK He had a friend, Bob, an older guy who lived on the streets. I think he was a wino. Yeah, one night, I had friends from high school over. We were jammin’ on our guitars. It was late. Herbie and Bob showed up. RASPBERRY Sounds like a party. SEEK Yeah, it was. Bob asked if he could play my guitar. I handed it to him. He cradled it in his arms with a serious look. When he strummed it, he just made noise. He looked around at us and deadpanned, 'Bet you thought I could actually play.' (Raspberry laughs) There were dealers all over the place, too. RASPBERRY There were?


42.

SEEK Yeah, they would knock on my door at all hours, sometimes even at 2 or 3 in the mornin’, just to ask if anyone wanted to buy a lid. RASPBERRY It sounds like an exciting summer. SEEK Most of it was bitchin’. But one night, I went out with Bridget, a girl from high school - someone Rick and I both knew. Rick’s the guy I shared the pad with. Yeah, we were hangin’ out together: talkin’, laughin’ and reminiscin’. All of us even went skinny dippin’ in the moonlight. Later on, Brick and Rigid went to his room. RASPBERRY Damn. What did you do? SEEK Yeah, what could I do? I waited up. I had to take Bridget home. RASPBERRY Did you like her a lot? SEEK I had a crush on her, but she wasn't my ol’ lady. She wasn't Rick's, either. She was someone we both knew and both liked. RASPBERRY So, they didn't do anything wrong. SEEK Nope, I know. But it still hurt. RASPBERRY You should have let them know. SEEK I didn’t know what to say. RASPBERRY Did you know you called them Brick and Rigid once?


43.

SEEK I did? RASPBERRY Hah. SEEK Yeah, I had a dog while I lived here. He was a Samoyed-Shepard mix. I called him Alyosha, after a Tolstoy character. RASPBERRY I like the name. What happened? SEEK I still lived here with Rick. I didn't move to Silver Lake until November. Yeah, in mid-October, I came home from classes one day and the dog was gone. I asked, 'Where's Alyohsa?' Rick said he didn't know, that he let the dog out into the yard and guessed it ran away. RASPBERRY That's terrible. SEEK I started lookin’ for a place to move after that. Hey come on! SEEK grabs RASPBERRY’s hand and leads her off into the night as they run toward the beach. CUT TO: EXT. VENICE BEACH - CONTINUOUS SEEK and RASPBERRY hold hands as they walk, kicking sand up at one another. They stroll down to the water's edge where they run barefoot through the water. Then, they run back to their shoes, grab them, and find a place to sit. CUT TO: EXT. VENICE BEACH - CONTINUOUS SEEK I dig bein’ here with ya.


44.

RASPBERRY I’m having a good time, too. SEEK Life’s excitin’ when you’re around, Raspby. RASPBERRY (she smiles to herself, then looks off into the horizon) The first time I came here, Road Trip brought me. SEEK Oh, yeah? I didn't know you'd been here before. RASPBERRY He brought me here to tell me it was time for us to become lovers. SEEK Oh. RASPBERRY But now, I have a new memory for this place I love, and it's a fond one that doesn't include Road Trip. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK is transported through the corridor of doors. A door opens. He slides into it. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK slowly floats through the cotton-candy colored, overcast sky and into the gazebo where he sits between ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA. The astral guides transform into the astral guide appearances of his old friends as he dissolves into the scene. ASTRAL GUIDE RUSTY I think we can safely say you had an ulterior motive for being cool to that chick, man.


45.

SEEK Well, I had a crush on her. ASTRAL GUIDE KAFKA But coming on to her right after she broke up was a bit crass, don’t you agree, old friend? SEEK I was just consolin’ her, helpin’ her to feel better. I wanted her to laugh instead of cry. ASTRAL GUIDE RUSTY If that’s what you say, man. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK soars through the psychedelic corridor of doors. A door opens to him and he enters it. DISSOLVE TO: INT. THE ENGLISH PUB - MID-AFTERNOON MARYANNE walks toward SEEK, returning from the ladies’ loo. She takes a seat. He’s just emerging from the trance. MARYANNE Seek, are you all right? SEEK Yeah, I’m fine, Maryanne. MARYANNE You seemed to be in another world. SEEK Yeah, maybe I was. Tell me, how did you come to work at the pub? MARYANNE It was after Mum died. SEEK I'm so sorry.


46.

MARYANNE Poppy was already disabled and unable to work. I had to find a job to take care of us. SEEK How old were you? MARYANNE Twenty-two. SEEK Do you have brothers or sisters? MARYANNE An older brother. He was already married and had moved away. SEEK Did you finish school or quit? MARYANNE I had to quit. I was studying medicine at St. George’s University of London. See though, between working and taking care of Poppy, I had no time left for studies. SEEK What happened to your father? MARYANNE He hurt his back while working at the shipyard. One day, something fell from a crane. SEEK Can he walk? MARYANNE Oh yes, he gets around. Poppy can make himself meals, clean the home, and even go to the market. But he likes me to take care of him. SEEK I don't blame him. What would become of him if you got married? MARYANNE Oh, he will be fine. We've talked about it. Poppy always says he can take care of himself, and when that day comes I’m not to worry. (MORE)


47. MARYANNE (CONT'D) Still, working and taking care of Poppy hasn’t left me much time to meet anyone. See though, if I do, I can still visit him every day and do nice things for him.

SEEK Do you have plans for your future? MARYANNE Studying medicine is out of the question now. But, I would like to go back to school. I don't want to work at the pub all my life. SEEK What would you like to do? MARYANNE I’ll study to be a nurse. That way, I can stick with my loves for medicine and helping people. SEEK You'll be an excellent nurse. MARYANNE Thank you. Speaking of work, I really ought to go home and get ready. Seek, will you visit me at the pub where I work tonight? SEEK There’s nothin’ I’d like more, Maryanne. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK spins his way through the psychedelic-colored corridor of doors. A door opens and SEEK tumbles into it. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK materializes as he tumbles out of the still overcast cotton-candy sky and lands, sitting cross-legged, on the round table facing ASTRAL GUIDE RUSTY while both astral guides transform from older and younger SEEK into the astral guide appearances of his old friends.


48.

ASTRAL GUIDE RUSTY (to ASTRAL GUIDE KAFKA) He's about to dig a crazy circus. What a gas, man. ASTRAL GUIDE KAFKA I don't know. After a while, it became a bit too much for me. ASTRAL GUIDE RUSTY But remember the first time, feeling the groovy vibes all around you? ASTRAL GUIDE KAFKA I remember coming out of it feeling like vegetable curry. ASTRAL GUIDE RUSTY You're just down on using anything now. Where’s that old cozmic vibe? ASTRAL GUIDE KAFKA Well, I do remember some fun. But I know that after the trips we took, I felt had to pay for trusting you, Rusty. ASTRAL GUIDE RUSTY But that’s the funky shit about it, Kafka. The zoo makes you pay whether you trust or not. SEEK Maybe you pay the most when you don’t trust anyone. ASTRAL GUIDE KAFKA No, my man. You pay the most when no one trusts you. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC-COLORED CORRIDOR WITH MANY DOORS - DAY SEEK floats through the swirling, multicolored corridor of doors and drifts into an opening doorway. DISSOLVE TO:


49.

INT. SEEK’S HIPPIE PAD - LATE AFTERNOON, FRIDAY, MAY 19, 1972 SEEK sits on the couch. On the coffee table are several joints. The aluminium foil with the tabs of acid is open as is a bottle of beer. We hear a brief clip of the Moody Blues’ song, “Legend of a Mind.” SEEK picks up one of the tabs and pops it into his mouth. Next, he takes a big gulp of beer. DISSOLVE TO: INT. SEEK’S HIPPIE PAD - A FEW HOURS LATER SEEK returns from the kitchen with a beer. We hear Jimi Hendrix playing the “Redhouse” solo from “Hendrix in the West.” SEEK sits down on the couch, picks up a joint, lights it and takes a hit. SEEK stares across the room at a poster of Jimi Hendrix. There are color splotches behind Hendrix’s face. The CAMERA shows how, from out of the color splotches, fireworks explode in the room in SEEK’s mind’s eye. SEEK Man, that is some pretty good shit, fireworks in my livin’ room. SEEK looks at his watch. SEEK (CONT’D) That LP really is long playin’. Guess I’ve been listenin’ to it over and over again for a couple hours now. SEEK stands up, walks to the stereo, turns it off, and goes into the bathroom. CUT TO: INT. A CGI SHOT OF SEEK’S BATHROOM - CONTINUOUS SEEK stands before the bathroom mirror. We view his reflection from his perspective. His mind and perspective shrink until his body seems gigantic. His consciousness (through the CAMERA perspective) flies into his face, past the skin, between the muscles, among the bones, between the cells and into his brain. Then, it seems like everything melts away only to ooze across some flat, black space. While the space appears empty, it also presents a solid illusion because the ooze seeps over the black nothingness and SEEK stands on the ooze.


50.

SEEK (V.O.) (SEEK’s mental voice) I am in allusion. Wait, I meant, ‘I am an illusion.’ Hang on. Yeah, man, I'm both! The ooze in the black emptiness becomes a smoky presence which swirls around SEEK. The smoke swirls into a vortex with SEEK in the center. A gigantic straw appears above the smoky vortex. We hear a slurping sound as SEEK is sucked up. CUT TO: INT. SEEK’S HIPPIE PAD - EARLY MORNING SEEK stands in front of the picture window looking out onto the reservoir called Silver Lake. It is magic hour as the sun is rising from directly behind SEEK and shining on the area where he is looking. An orange cloud hovers over the lake. The cloud looks like Thor with an extended arm and hand holding a hammer. Lightning bolts emanate from the hammer. One bolt shoots directly at SEEK, passing through the picture window and directly into SEEK’s chest. Then, the cloud dissipates as the orange sunshine of the morning sunrise fades into the blue sky of day. SEEK (V.O.) (SEEK’s mental voice) No time, no space, just infinite thoughtless grace: the root of love. Groovy. A blackboard slate appears before SEEK which is covered with pictures from his life. The slate is wiped clean. SEEK Holy, shit! DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC-COLORED CORRIDOR WITH MANY DOORS - DAY SEEK floats through the multicolored corridor of doors. A door opens. He slides into it. DISSOLVE TO:


51.

EXT. INSIDE THE GAZEBO - DAY SEEK dissolves into the scene, sitting in the gazebo under the overcast, cotton-candy sky in the seat between ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA who transform into the astral guide appearances of SEEK’s old friends. ASTRAL GUIDE KAFKA You’ve just experienced the jug being filled, drop by drop, my man. SEEK I don't know what's happenin’ anymore. ASTRAL GUIDE RUSTY How can you know what's real, man, when reality leaves so much cozmic shit up to the imagination? SEEK That trip was wild. ASTRAL GUIDE KAFKA Tripping is free form meditation, and meditation is the key that unlocks the doors to all the hidden rooms in your mind. SEEK Is that where all those images and hallucinations come from? ASTRAL GUIDE RUSTY Oh, wow, man. The mind is a cozmic storehouse without a complete inventory. But the vibes are a gas, Seek, and the zoo is revealed in a fucking whole new, funky way. ASTRAL GUIDE KAFKA My man, remember that our feelings wash over everyone we come into contact with. Mind your ripples. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK spins through an opening door looming up within the swirling psychedelic corridor of doors. DISSOLVE TO:


52.

INT. SEEK’S HIPPIE PAD - AFTERNOON, THURSDAY, MAY 25, 1972 SEEK enters his home carrying an official looking envelope which he opens. He inspects its contents. CUT TO: INT. SEEK’S HIPPIE PAD - CONTINUOUS The CAMERA reveals a close up of the letter, a notice from his draft board dated May 24th. The notice requires SEEK to present himself for a pre-induction physical examination on Monday, June 5th at 8 am. CUT TO: INT. SEEK’S HIPPIE PAD - CONTINUOUS SEEK stands in the middle of the living room with the door open. KAFKA enters the room through the open door. SEEK (muttering) Just 11 more days. KAFKA What's the haps, my man? SEEK hands the notice to KAFKA who reads it. KAFKA (CONT’D) Oh, damn, no. What's your number? SEEK Fuckin' fifty-five. Yeah, and I just had my nineteenth birthday. You know me, Kafka, I can’t kill. KAFKA No, it’s not your trip. SEEK What am I gonna do? KAFKA Hang in there. I'll call The Kid, Freaky Greg, 'Fro Bro and Rusty. We'll all get together tonight and help you come up with a plan. DISSOLVE TO:


53.

INT. SEEK’S HIPPIE PAD - EVENING THE KID, RUSTY, ‘FRO BRO, FREAKY GREG and KAFKA enter. KAFKA closes the door behind him. THE KID and RUSTY carry six packs of beer with them. SEEK sits on the couch. A few joints rest on the coffee table. The guys speak in subdued voices as they enter. ‘FRO BRO Howdy. THE KID What’s happening. RUSTY What a circus, huh, Seek? SEEK Peace, guys. FREAKY GREG (upbeat) Who died? Man, lighten up in here. SEEK lights up a joint, takes a hit and passes it on. THE KID hands beers out to the other guys. ‘FRO BRO Yup, BO-dacious stuff. FREAKY GREG Outtasite, man; primo stash. RUSTY Fuck, man, I can't believe how funky the zoo can get when 'the man' flexes his power. THE KID Apply for Conscientious Objector status, my brother. KAFKA Nixon's made CO hard to get. It’s too bad we didn't get arrested during the protest. ‘FRO BRO Yeah, bro', you'd have the Alice's Restaurant excuse for getting out. Only FREAKY GREG chuckles at the joke.


54.

‘FRO BRO (CONT’D) Well, bro', what are you thinking about doing? SEEK No clue, brother. I can't kill anyone. If I’m inducted, I'm probably a walkin’ corpse waitin’ to be fitted for a body bag. KAFKA That’s unacceptable, my man. SEEK I've thought about goin’ to prison as a war resister, but that idea doesn't appeal to me, either. I'd spend the same years in a Federal pen that I'd have to give the army. What's the point? THE KID That’d be a waste, my brother. KAFKA I'd hate to see you go to prison. ‘FRO BRO It's a bum trip, bro.' FREAKY GREG Man, it's, like, unnecessary. Everybody looks over at FREAKY GREG. FREAKY GREG (CONT’D) Come on, man, he can book it up to Canada. SEEK People really do that? Still? FREAKY GREG No shit, Sherlock. Everyone nods in agreement. FREAKY GREG (CONT’D) There's an organization to fix you up when you arrive, man. Here's a book about it. He hands SEEK a copy of the “Manual for Draft-Age Immigrants to Canada.”


55.

FREAKY GREG (CONT’D) They've got crash pads, Seek. People hook you up with a room and a job. They even feed you at first. Like, everything's outtasite, man. SEEK Freaky, how do you know all this? FREAKY GREG (to THE KID) Kid, do you remember Wild Cody? THE KID Yes, I do. What happened to him? FREAKY GREG Went to Canada, man. Vancouver. ‘FRO BRO I knew him, too, bro’. FREAKY GREG He's diggin' it there, man. ‘FRO BRO BO-dacious. RUSTY Seek, this sounds like your best way out of this freaked out zoo. SEEK It might be my only way out. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK soars through the corridor of doors when another door randomly opens. He enters it. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK dissolves into the scene sitting on the bench between ASTRAL GUIDE KAFKA and ASTRAL GUIDE RUSTY who transform from younger and older SEEK into the astral guide appearances of SEEK’s old friends. The round table no longer sits in the middle of the gazebo.


56.

Instead, under the still-overcast, cotton-candy sky, stairs in the back form a rear exit to the gazebo and a line of animals leads up the front to ASTRAL GUIDE KAFKA and down the back. A few cattle walk up to ASTRAL GUIDE KAFKA in the gazebo. ASTRAL GUIDE KAFKA I don’t eat meat; go graze. A group of chickens peck their way to ASTRAL GUIDE KAFKA. ASTRAL GUIDE KAFKA (CONT’D) I won’t eat you, either. Go lay some eggs. A few lambs walk up to ASTRAL GUIDE KAFKA. ASTRAL GUIDE KAFKA (CONT’D) I really can’t eat you; you’re too cute. Go play in the ivy. A few pigs walk up. ASTRAL GUIDE KAFKA (CONT’D) This is just too much. Where’s your starched, white shirts, piggies? The pigs walk away. They are the end of the line. ASTRAL GUIDE RUSTY How’s a brother to get his shit together and just be cool, keepin’ on keepin’ on, when the man gets in his face with the fucking draft? ASTRAL GUIDE KAFKA The draft is a terrible thing, Rusty. It's so arbitrary. ASTRAL GUIDE RUSTY Is it just the fucking draft that's arbitrary, or all of life? ASTRAL GUIDE KAFKA I think it’s a bit of both, don't you? The round table reappears and the exit ramp vanishes, but an anachronistic array of animals are strewn about the lawn, including: elephants, llamas, ostriches, camels, penguins, zebras, buffalo, and the animals from the line, as well as tuna (swimming through the air), and a whale (resting in the air above all the animals).


57.

SEEK The draft sure seemed arbitrary to me. One day, they decided it was my turn to kill or be wasted. ASTRAL GUIDE RUSTY I remember that, man. It was a real drag. I still can’t believe you got caught up in that shit. SEEK I could have died for my country; I just refused to kill for it. ASTRAL GUIDE KAFKA My man, I hope you keep in mind that there is no morality unless a person acts solely for the sake of doing right. You only do that by being honest with yourself and those around you. Always, Seek. ASTRAL GUIDE RUSTY Listen to him, man, I grok what he’s talking about. SEEK begins to spin, faster and faster, until he turns into a blur. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK, in a seated position, spins his way through the corridor of doors and into an open doorway. DISSOLVE TO: EXT. ON THE LEFT RIDGE OF A GORGE, TAQUITZ INDIAN RESERVATION - MID-MORNING, SATURDAY, MAY 27, 1972 The group of campers, SEEK, RASPBERRY, COWGIRL, ‘FRO BRO and LILY, climb the left ridge of the gorge and hiked in until reaching the left side of a horseshoe bend. They gather together in some shade and take a break, drinking water and smoking a joint. COWGIRL It's hot out here.


58.

‘FRO BRO This will be a BO-dacious time, Cowgirl. We just have this one hard climb. Afterwards, there are no more long hikes in the sun. LILY Are we getting close to being somewhere yet? ‘FRO BRO Yup. We cross here. He points to the rocks making the horseshoe bend. ‘FRO BRO (CONT’D) Then go up the face of that hill. He points to the shale ridge face on the other side. ‘FRO BRO (CONT’D) It’s a little steep, but you can make it. Then, you head over there. He points to a clump of trees, higher up on the left. SEEK Back in by those trees? ‘FRO BRO Yup. If it's not dry, that's where we should find a swimming hole. Murmurs of relief arise to the words ‘swimming hole.’ ‘FRO BRO (CONT’D) But be careful over there. He points to the area under the shale ridge. ‘FRO BRO (CONT’D) Don’t stand under anyone going up there. The climber might kick off rocks that could come down on you. CUT TO: EXT. AT THE HORSESHOE BEND - CONTINUOUS COWGIRL, RASPBERRY and LILY, carrying their backpacks, have gathered on the other side at the point where they are to climb the shale face. LILY climbs first.


59.

Contrary to ‘FRO BRO’s admonition, COWGIRL and RASPBERRY stand under her. LILY makes it up without incident. ‘FRO BRO and SEEK, sitting across the gorge from the women, yell at RASPBERRY and COWGIRL to warn whoever waits not to stand in danger. The girls wave them off. COWGIRL climbs next. She makes it up the incline with ease, but kicks off a large rock which bounces down the face of the incline and hits RASPBERRY on her left chest, above her breast but below her clavicle. She crouches in a daze. CUT TO: EXT. THE POOL - NOON The group piles their gear together in a sheltered area. The girls shed their tops to go swimming. SEEK and ‘FRO BRO climb to the ledge above the pool. SEEK carries a bottle of tequila. When at the top, ‘FRO BRO lights up a joint. They share the joint and swigs of tequila. LILY returns to shore, puts on her top, and makes a sandwich. The guys take turns jumping into the pool as RASPBERRY and COWGIRL lounge on a rock rising out of the pool getting a sun tan while watching the guys jump. ‘FRO BRO is the first to jump. ‘FRO BRO (as he surfaces) Righteous trip, bro’! SEEK takes his turn. SEEK (surfacing) Far fuckin’ out! The two enjoy a few jumps. After a while, SEEK and ‘FRO BRO swim to shore. They join the girls, who are all wearing their tops again and eating sandwiches, by the ice chests. RASPBERRY Did you boys have fun? ‘FRO BRO Yup. That’s a cool jump. RASPBERRY How cool is it? SEEK It’s a bitchin’ 20 foot drop. RASPBERRY Oh, bitchin’, huh?


60.

LILY They've been off having fun. COWGIRL Drinking and smoking. RASPBERRY Swimming and diving. COWGIRL Now they’ve come back. RASPBERRY Hungry and tired. LILY They expect us to feed them. COWGIRL Then, clean up after them. RASPBERRY And I bet they'll take a nap, too. SEEK and ‘FRO BRO look at each other and break into grins that widen, ultimately bursting into laughter. COWGIRL They're not even the least bit sorry about it. DISSOLVE TO: EXT. THE CAMPSITE - THAT NIGHT SEEK, off by himself on a ledge above the horseshoe bend which overlooks the gorge, meditates while the sky, which has clouded up, bursts into a downpour. Lightning streaks across the night while thunder bellows. SEEK gathers up his things and runs back to the camp at the pool where the trees offer cover from the rain. He stands in the open, unable to see RASPBERRY or COWGIRL. SEEK Raspby, Cowgirl, where are ya? A streak of lightning flashes in the darkness and SEEK sees COWGIRL standing up, waving. COWGIRL Over here, Seek.


61.

He runs to COWGIRL. The girls have opened up their sleeping bags. They use one as a bed to lay on, and the other as an umbrella or roof. He drops his things under cover of the opened bag above the girls and sits with them. SEEK Where’s ‘Fro Bro and Lily? COWGIRL They found a place to sleep by themselves. RASPBERRY I think they want to be alone. SEEK Hope they have a bitchin’ time. Another crack of lightning illuminates the sky, followed quickly by a loud boom of thunder. RASPBERRY Lightning scares me. SEEK Yeah, I’m here, Raspby. I won’t let anythin’ bad happen. RASPBERRY reaches over to SEEK and embraces him. COWGIRL comes up behind SEEK to form a group hug. The three embrace and cuddle together as SEEK reassures RASPBERRY and COWGIRL. SEEK (CONT’D) Everythin’s gonna be okay. I promise. You can relax. SEEK sings a few bars of The Beatles’ song, “Good Night.” COWGIRL I’m tired. I think I’ll catch some zs. SEEK Okay, g’night, Cowgirl. RASPBERRY Sleep well, Cowgirl. COWGIRL lays down and falls asleep. As SEEK and RASPBERRY huddle together, SEEK caresses the spot where the rock hit RASPBERRY. SEEK Does it still hurt?


62.

RASPBERRY No, Seek, not anymore. But what you’re doing feels nice. RASPBERRY kisses SEEK and, taking his hand in hers, moves his hand to her breast. He caresses her breast in response, reaching under her top. SEEK and RASPBERRY grow passionate, shed their clothing, and make love as predawn changes colors into morning and COWGIRL sleeps. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK spins through the whirling, psychedelic corridor of doors. A door looms up and opens to him. He soars in. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK dissolves into the gazebo seated on his usual bench seat as ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA transform into the astral guide appearances of his old friends during what appears to constantly remain the same time and same moment in the overcast day. SEEK I’ve been wonderin’ somethin’. If you could have chosen any world to be born into, would this world be what you would have chosen? ASTRAL GUIDE KAFKA I wouldn't choose the wars, the disease, the famines, or the poverty and suffering. ASTRAL GUIDE RUSTY Seek, this zoo isn’t a place you can choose. But if you put out the right vibe, then cozmic radiance will surround you. SEEK So, what is your role in life? ASTRAL GUIDE KAFKA Roles are illusions, Seek. Don’t buy in. Just be yourself.


63.

SEEK Without a role, what do you earn from life? ASTRAL GUIDE RUSTY The only thing to earn is what you grok from your experiences and to groove on each moment. ASTRAL GUIDE KAFKA If you learn to let go, you’ll earn what comes to you next. You can’t control it, but you can control how you react to it. SEEK You don't offer much hope for things in my future, then, do you? ASTRAL GUIDE KAFKA I didn't know we were supposed to. ASTRAL GUIDE RUSTY (to ASTRAL GUIDE KAFKA) I don't think we are, man. (to SEEK) So, Seek, how does it feel to be in this cozmic moment, vibing what a gas it’s all been? SEEK Are you suggestin’ this is as good as it gets? ASTRAL GUIDE KAFKA With all your questions, old friend, how much do you ever know? SEEK Yeah well, I still can't believe this is all there is. ASTRAL GUIDE KAFKA Everything there is, is all there is. Don’t get caught up in your dreams and expectations, my man. ASTRAL GUIDE RUSTY They're just a bum trip, Seek. ASTRAL GUIDE KAFKA By the way, you weren’t exactly honest about your draft notice and plans to go to Canada, were you?


64.

ASTRAL GUIDE RUSTY Did you use the chick, man? SEEK No. I just didn’t see a reason to talk ‘bout Canada yet. ASTRAL GUIDE KAFKA I guess a woman putting your hand on her breast wasn’t a reason? DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies through the corridor of doors and into an opening doorway. DISSOLVE TO: INT. THE ENGLISH PUB - EVENING SEEK regains consciousness as SOPHIE approaches his table. SOPHIE Do you want something to drink? SEEK No thanks, Soph. I’m off to visit Maryanne’s pub. SOPHIE Right. SEEK I might be back later, never know. SOPHIE Have fun. CUT TO: INT. A DIFFERENT PUB - EVENING SEEK sits at the bar; MARYANNE tends bar behind it. A small but noisy crowd makes the moderately busy place a lively scene. MARYANNE What will you have to drink, Seek?


65.

SEEK How ‘bout a draft beer, Maryanne. MARYANNE grabs a glass mug and pours him a beer from the tap. As she sets it in front of him, she seems out of sorts. SEEK (CONT’D) Is somethin’ wrong, Maryanne? MARYANNE Oh, I have to work a split. I hate having a break in my shift. Then, I have to go home late. That’s how I ended up running into those ruffians. SEEK What will ya do on your break? MARYANNE Go for a walk, I suppose. SEEK Yeah, if ya like, I'll join ya and you can show me some sights. MARYANNE That sounds fun. CUT TO: EXT. A SHOP-LINED STREET - SHORTLY LATER SEEK and MARYANNE walk out of the pub where MARYANNE works past well lit, cheery stores. SEEK and MARYANNE window shop as they casually stroll up the street. MARYANNE Oh, look at those shoes. I'd look pretty in them, wouldn’t I, Seek? SEEK You're so adorable. You’d look beautiful in anythin’ you wear. MARYANNE Always flirting. SEEK I’m bein’ honest.


66.

MARYANNE Are you now? It’s hard to know with you. SEEK Really, I am, Maryanne. I admit, I was teasing you at first. But I like you too much for that now. MARYANNE Seek, have you ever been in love? SEEK Once, a long time ago. MARYANNE Tell me about it? SEEK Yeah, well, there isn’t that much to tell. It was back when I was in college. MARYANNE When you were young and idealistic. SEEK Yeah, I guess. MARYANNE Hmm, seems like you’re holding back. SEEK It’s difficult to explain, Maryanne. It was complicated. MARYANNE I’m sure it was, Seek. Let’s go in here. Do you mind? SEEK Oh yeah, get your shoes. CUT TO: INT. SHOE STORE - CONTINUOUS While a shopkeeper fits MARYANNE for a variety of shoes, SEEK sits next to her and enters another trance. DISSOLVE TO:


67.

EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies through the psychedelic corridor of doors. One opens up and he soars into it. DISSOLVE TO: INT. RASPBERRY’S CAR - MID-MORNING, MONDAY, MAY 29, 1972 RASPBERRY drives. SEEK sits shotgun. ‘FRO BRO joins COWGIRL and LILY in the back seat, sandwiched between them. ‘FRO BRO Hey, bro’, your life is about to change when we get back, huh? SEEK Yeah, brother, just got a week left. RASPBERRY What are you two talking about? SEEK I got some mail last Thursday. COWGIRL What was it? SEEK A notice to appear for my preinduction physical. LILY That’s terrible, Seek. RASPBERRY Why didn't you tell us sooner? SEEK I was afraid it would put a bummer on the campin’ trip and I wanted us to have somethin’ to remember. COWGIRL What are you going to do? SEEK Yeah, I’m pretty set on goin’ to Canada. RASPBERRY Canada?


68.

SEEK Yeah, Raspby, Canada. Vancouver. That's the plan anyway. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies off through the psychedelic corridor, soaring and spinning as an open door in the corridor twists and turns its way to him. He flies into it. DISSOLVE TO: EXT. NEXT TO THE GAZEBO - DAY As SEEK dissolves into the scene, the astral guides transform from older SEEK and younger SEEK into the astral guide appearances of SEEK’s old friends. SEEK stands outside the gazebo near ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA who are by a side of it where a patch of cement is situated between a couple of planters under the overcast, cotton-candy sky. ASTRAL GUIDE RUSTY flips a penny which bounces off the wall before landing within a centimeter of it. ASTRAL GUIDE KAFKA looks at ASTRAL GUIDE RUSTY, the lie of the penny, and then back at ASTRAL GUIDE RUSTY. ASTRAL GUIDE KAFKA I think you cheated, Rusty. ASTRAL GUIDE RUSTY innocently shrugs his shoulders. ASTRAL GUIDE KAFKA (CONT’D) I'm not sure how you cheated, but I do feel certain you did. ASTRAL GUIDE KAFKA enters a focused state. He flips his penny. It flies from his thumb-tip, lands flat side against the wall, slides down the wall, lands on its ridge, circles and drops to the ground with one edge touching the wall. ASTRAL GUIDE RUSTY (to SEEK) And he says I cheat. ASTRAL GUIDE KAFKA shrugs back at ASTRAL GUIDE RUSTY. ASTRAL GUIDE RUSTY walks over to SEEK and gets in his face. ASTRAL GUIDE KAFKA Who put all those funky selfish ideas in your head, man?


69.

SEEK What do you mean? ASTRAL GUIDE KAFKA (also in SEEK’s face) You ignored what we talked about before you went camping. SEEK I did? ASTRAL GUIDE KAFKA You did - the idea that you could keep secrets from your friends. ASTRAL GUIDE RUSTY Remember? The things we said about always being honest with yourself and others? ASTRAL GUIDE KAFKA But you failed to tell the ladies about your induction notice. ASTRAL GUIDE RUSTY Then, you balled a chick who was digging you, man. ASTRAL GUIDE KAFKA What a callous thing to do, my man. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK hurtles back through the psychedelic corridor of doors. A door rushes to him and opens. He hurtles into it. DISSOLVE TO: INT. SEEK’S HIPPIE PAD - AFTERNOON, MONDAY, MAY 29, 1972 SEEK and RASPBERRY stand in SEEK’s living room, his gear piled on the floor. RASPBERRY How could you let us think everything was fine and you'd be back at school in the fall? SEEK I didn't mean to mislead anyone.


70.

RASPBERRY But you did. You misled me. SEEK I just wanted one last, all-time party for us. Yeah, I wanted the memory for me, too. But I'm goin’ to Canada and losin’ my life. RASPBERRY So what? SEEK Didn't I deserve one last, fond memory on the eve of my departure? Wasn't it fittin’ that it should be innocent, beautiful, honest, and openly shared with close friends? RASPBERRY Innocent? Honest? Open? You call hiding the draft notice and your plan to go to Canada open and honest? And having sex with me innocent? SEEK But I didn't mean to hurt ya. RASPBERRY You used me. You didn't think making love to me without letting me know you were going away to Canada wouldn’t matter to me? SEEK Oh come on, Raspby. You wanted to make love. You initiated, not me. I couldn't say no to you. Don’t you know I could never say no to you? RASPBERRY I never would have initiated anything if I'd known your plans. You took advantage of me by not telling me about the draft notice, Canada, or any of it. I feel so cheap! SEEK I didn’t hide the plan from you to seduce you. There’s a difference.


71.

RASPBERRY No, there isn’t. It still resulted in us having sex, and only because I didn’t know about the draft notice. SEEK I didn't know this was gonna happen. RASPBERRY You let it happen. By the way, I'm leaving for home tomorrow. SEEK Why? Because of this? RASPBERRY Don’t flatter yourself. I have to leave because my parents are demanding I be home. RASPBERRY turns and walks to the door. SEEK So, I'm never gonna see ya or talk to ya again? RASPBERRY opens the door. RASPBERRY That’s right. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies through the psychedelic corridor. A door opens and he enters it. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK dissolves into the scene and sits on the bench between ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA who transform into the astral guide appearances of his old friends with the overcast, cotton-candy sky above them. ASTRAL GUIDE KAFKA It's not a game you know.


72.

SEEK A game? ASTRAL GUIDE KAFKA Life. ASTRAL GUIDE RUSTY He means you seem cavalier, man, never vibing the funky truth in the cozmic moments of life. ASTRAL GUIDE KAFKA Tell me, my man, what has become of your life without her? SEEK Yeah, I can't say where it will go from here, Kafka, but it hasn't been much without her up to now. ASTRAL GUIDE RUSTY (to ASTRAL GUIDE KAFKA) He's too blind to grok other’s feelings, KAFKA. Seek only sees what he wants to see. SEEK I'm tryin’ to understand what you expect of me. ASTRAL GUIDE KAFKA It's not what we expect of you that’s important, my man. It's what you should expect from yourself. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK flies through the corridor of doors and into an opening doorway. DISSOLVE TO: EXT. INSIDE THE SHOE STORE - CONTINUOUS SEEK comes to himself as MARYANNE has selected a pair of shoes to purchase. The two stand up and walk to the register. SEEK Let me get these.


73.

MARYANNE I shouldn’t. SEEK Don’t be ridiculous. CUT TO: EXT. OUTSIDE THE SHOE STORE - CONTINUOUS MARYANNE and SEEK recommence their walk along the shop-lined street. SEEK carries the package with the shoes. They stop for a moment at a corner awaiting a light to change. SEEK The moon is bright tonight. MARYANNE It’s gorgeous. MARYANNE shivers from a chill. SEEK pulls her into his arms. SEEK Chilly? MARYANNE A little. SEEK If your coat isn't warm enough, you can use mine. MARYANNE No, you'll freeze out here. MARYANNE sighs as she rests her head against his chest. SEEK strokes her hair. She pulls her face away to look at him. SEEK Your eyes sparkle in the moonlight. MARYANNE They do? SEEK Yeah, they do. MARYANNE Mmmm, it must be the company. Say, are you hungry? SEEK Yeah, I'm ravenous. How ‘bout you?


74.

MARYANNE Oh yes. I know a lovely restaurant not far from here. Let me show you. They stroll off along the street with SEEK’s arm around MARYANNE’s shoulders as she walks close to him with an arm around his waist, the package in his free hand. CUT TO: EXT. ANOTHER SHOPPING AREA WITH TALL BUILDINGS - CONTINUOUS They stop at a corner where a tall building rises. MARYANNE We're here. There is a restaurant on the top floor. It has windows all around with spectacular views. They enter, arm in arm. CUT TO: INT. AT A TABLE IN THE RESTAURANT - CONTINUOUS SEEK and MARYANNE share a bottle of wine. SEEK Ya know, I’ve always been fascinated by how people deal with morality. MARYANNE How’s that, Seek? SEEK Yeah, well, it doesn’t matter what God a person worships, what their religion is, or even if they don’t believe in God. Everyone believes they have an innate sense of right and wrong, whether through a Guardian Angel, a spirit guide, an indwellin’ Buddha nature, or their conscience. MARYANNE Yes, I get that. See though, people still take advantage of others, act from greed, and break laws.


75.

SEEK You’re right, Maryanne, they do. I think it’s mostly for two reasons. Either they don’t stay in the moment, so they do things without thinkin’ ‘bout consequences, or they just plain act selfishly for their momentary gratification and other people don’t matter. MARYANNE So, you don’t think Hell or karmic retribution are deterrents? SEEK Nope. If there were any deterrents, people would long ago have stopped actin’ selfishly. It’s been shown the death penalty is no deterrent to violent crime. I’d say that since we still need prisons and jails, that proves that punishment isn’t a deterrent to any crime just like the fear of Hell or bad karma has failed to stop sinnin’. MARYANNE So, what’s the answer? SEEK I dunno. All I can figure out is that people only change their behavior when they decide they wanna. Seems that tryin’ to scare them out of bad behavior doesn’t work. So, it’s gotta be by teachin’ them from a very young age the value of good behavior. MARYANNE Do you think that will work? SEEK I dunno. It does seem that children tend to turn out to be basically good people when raised in homes reflectin’ morals and ethics. MARYANNE That’s an oversimplification.


76.

SEEK I s’pose. But if the old methods of fear, threats, punishment and intimidation don’t work, don’t you think it’s time for a new approach? MARYANNE You do have a point. See though, what brought all this on? SEEK I’ve been thinkin’ ‘bout somethin’. MARYANNE What’s that? SEEK Maryanne, I’m very attracted to you - not just physically, but as a person. I want us to keep spendin’ time together so we can keep gettin’ to know each other. MARYANNE Yes? I’d like that, too. SEEK Yeah, well, I’ve been puttin’ on like I haven’t made many mistakes in my past. MARYANNE We all make mistakes in life, Seek. SEEK I just feel like it’s time I opened up to ya ‘bout some things. MARYANNE All right, Seek. Go on. SEEK Maryanne, yeah, I’ve spent many years runnin’ from the rejection of my parents and my country because I refused to go to Vietnam. She reaches out to him and caresses his face. SEEK (CONT’D) So, ya see, I’m not welcome in my country anymore and I was disowned by my parents.


77.

MARYANNE Oh, Seek, that is terrible. SEEK I also ran away from the rejection of a woman who I wanted to be with so badly I took advantage of her. MARYANNE You tried to introduce sex too soon? SEEK Sorta. We had sex, but she initiated it. MARYANNE Then, it sounds like you’re making the situation seem worse than it was. SEEK Yeah, I dunno. I mean, I didn’t rape her or anythin’ like that. But I kept somethin’ from her. What I didn’t tell her led to us makin’ love. MARYANNE That’s a bit disconcerting. But you were young. I’m sure you’ve learned your lesson since then. SEEK I’m tryin’, Maryanne. That’s why I’m tellin’ ya this. I don’t wanna make mistakes with you. MARYANNE I see. Seek, you don’t have to tell me everything right now. SEEK Maryanne, I have to tell ya some of it now. You have to know who I’ve been. I gotta stop runnin’ from myself and I don’t wanna hide things from ya. I want ya to know me as a real man, not some image I project. MARYANNE All right, Seek, I understand. I am glad you told me all this. (MORE)


78. MARYANNE (CONT'D) See though, things aren’t completely rosy in my life either. I had a failed romance when I was young, too, and I’m not blameless for how things worked out.

SEEK What happened? MARYANNE It was after Poppy was hurt. The man I was seeing didn’t like all the time I spent with Poppy. He said he felt unimportant to me. SEEK Was he? MARYANNE No. I didn’t slight him intentionally, though now I can see how he must have felt that way. SEEK He should have given ya more time to work through the transition and offered more understandin’. MARYANNE Perhaps. See though, maybe I did shut him out. And, maybe I’ve used that experience as an excuse for not getting close to anyone since. They each take a drink from their wine. MARYANNE (CONT’D) Then, there are problems with my brother. He makes a lot of money, and he could help me take care of Poppy, but he doesn’t. SEEK You’re kiddin’. MARYANNE No. He doesn’t do anything to help. Poppy’s pension isn’t that large. The rents and medicines and food prices all keep going up. I really struggle because my earnings barely support Poppy and me.


79.

SEEK Have ya talked to your brother? MARYANNE Only until I was blue in the face. But, we don’t talk at all anymore. SEEK Oh, that’s a shame. MARYANNE He infuriates me. SEEK I can see that. Ya know, you can choose to see things differently. MARYANNE How so? SEEK You could see your brother’s refusal to help as a gift that allows ya to give more to your father than money. You give him your time, your care, and your love. I’m sure he values them far ‘bove money, ‘bove anythin’. MARYANNE Interesting notion. See though, you must do the same with your past. Stop worrying about choices you can’t change. Take them as gifts that can help you avoid the same mistakes and live joyously. SEEK Yeah, that’s good advice, Maryanne. MARYANNE Let’s share a toast. SEEK To what? MARYANNE (she raises her glass) To your successful job search and staying in London. SEEK (he lifts his glass) And the time we’ll spend together.


80.

They smile, clink glasses, and drink to the toast. SEEK (CONT’D) I’m glad ya had to work a split. MARYANNE So am I. CUT TO: INT. THE TALL BUILDING, TOP FLOOR AT THE GLASS WINDOWS CONTINUOUS Before leaving the restaurant, SEEK and MARYANNE walk to the glass windows and look out on the city. MARYANNE stands close to SEEK. He puts an arm around her waist. She faces him and embraces him. Then, she pulls her face slightly away gazing into his eyes. He returns her gaze. MARYANNE Kiss me. They share a romantic kiss. CUT TO: EXT. THE SHOP-LINED STREET - AFTER DINNER SEEK and MARYANNE walk back on the other side of the street and stop in front of a large candy store. SEEK Darlin’, do you like candies? MARYANNE Do I! SEEK Let's go in and get ya some. CUT TO: INT. THE CANDY STORE - CONTINUOUS SEEK and MARYANNE are inside the candy store. The store sprawls with everything available in bulk. SEEK What do ya like? She leads him over to the licorice sticks.


81.

MARYANNE I love these in both the black and the lovely red colors. SEEK Yeah, grab a couple bags and fill ‘em up. She does. MARYANNE Can I have one more, dear? SEEK You can have anythin’ you want, darlin’. She leads him over to the chocolates. She grabs another bag and fills it with an assortment of chocolate treats. CUT TO: EXT. OUTSIDE THE PUB WHERE MARYANNE WORKS - NIGHT SEEK and MARYANNE stand in front of the pub where she works. MARYANNE holds a big bag with the bags of candies in it. SEEK holds the package containing MARYANNE’s shoes. MARYANNE Thank you for dinner, Seek, and for my candies and the shoes. SEEK Maryanne, thanks for sharin’ with me the most enjoyable night I’ve had in years. MARYANNE Don't come back into work with me. It will be busy. I couldn’t spend time with you. SEEK Yeah, okay. Better take your shoes with ya, darlin’. SEEK hands MARYANNE the package with her shoes. MARYANNE Thanks, dear. They share a warm kiss.


82.

MARYANNE (CONT’D) Meet me back here at midnight, in four hours. CUT TO: INT. THE ORIGINAL PUB - SHORTLY LATER SEEK has a seat further back in the establishment, at a small table. The room is dimly lit. By now, SOPHIE is off duty. SEEK enters another trance. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK spins through the whirling, psychedelic corridor of doors. A door looms up and opens to him. He soars in. DISSOLVE TO: INT. SEEK’S HIPPIE PAD - TUESDAY EVENING, MAY 30, 1972 SEEK, THE KID, ‘FRO BRO, and FREAKY GREG have gathered at SEEK’s pad. Joints circulate. Everyone has a beer. ‘FRO BRO Are you packed yet, bro’? SEEK Nope, not yet, brother. I'll take care of packin’ tomorrow. ‘FRO BRO When are you planning to leave? SEEK Yeah, I'm thinkin’ the day after tomorrow. THE KID Changes, my brother's goin' through dem changes. Are you excited about it, or feeling down? SEEK Yeah, a little of both. FREAKY GREG It’s wild, man. Dig the haps of the party vibe and enjoy the moment.


83.

SEEK I am, Freaky. It’s bitchin’ that all of you came by before I split. FREAKY GREG Had to do it, man. Besides, it smells outtasite in here. We had to taste more of your primo stash. ‘FRO BRO Yup, it's BO-dacious. FREAKY GREG reaches into a pocket and pulls out a folded piece of paper. He hands it to SEEK. FREAKY GREG That has Wild Cody's phone number in Vancouver, man. I told him about you. He's expecting you to call. He's really outtasite. SEEK Solid, Freaky. SEEK puts the paper in his pocket. SEEK (CONT’D) I'll need a friend when I get there. You’ve been far out. FREAKY GREG Dig it, man. Just glad to help. THE KID You'll do fine in Canada, my brother. ‘FRO BRO Yup, you’ll dig Wild Cody, too, bro’. He’s a BO-dacious friend. SEEK You brothers are makin’ me feel better ‘bout the move already. FREAKY GREG Outtasite. THE KID What kind of work will you look for, my brother? SEEK Yeah, anythin’ I can find.


84.

A knock is heard. SEEK opens the door. RUSTY and KAFKA enter. SEEK (CONT’D) (to KAFKA) Come on in, brother. KAFKA I take it you caught up on your sleep after the camping trip? SEEK Yeah, brother. I’m feelin’ bitchin’ again. Come on in, Rusty. RUSTY What's happening, man. Mind if I join the circus and add a few cozmic, going-away good vibes? SEEK You're always welcome in my pad, brother. RUSTY I know you have a lot of funky shit to deal with, man. Don't let the zoo be a drag. Keep on keepin' on and everything will work out. KAFKA Right on. SEEK Grab a beer, brothers. Somebody spark a jay. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK tumbles through the corridor of doors as it spins around him. He falls into a door which opens for him. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY SEEK dissolves into the scene, sitting with ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA who transform into the astral guide appearances of his old friends. The fog lifts and the sky clears.


85.

SEEK You must examine the tiniest of atomic particles. Somewhere in the spaces between elements, amid pregnant pauses, surgin’ through pungent impulses, out of space and timeless is where I am found. ASTRAL GUIDE KAFKA You don’t even have to look outside to see the beauty all around you. SEEK This is the place known as everywhere-always, isn't it? ASTRAL GUIDE RUSTY There are no places, Seek, only cozmic vibes. SEEK Yeah, and there is only one moon to shine in every pool of water. ASTRAL GUIDE RUSTY Yeah, man. But who is the moon and what are the pools? SEEK Separation lies in the eyes of the blind, but to those who can see, the moon and the pools are one. ASTRAL GUIDE KAFKA Although gold dust is precious, when it gets in your eyes it still obstructs your vision. SEEK ‘Cause in birth we come and in death we go, always carryin’ nothin’. ASTRAL GUIDE RUSTY Comfort and ease are better than poverty and struggle though, right man? SEEK No, Rusty. Our treasure house lies within and contains all we need.


86.

ASTRAL GUIDE KAFKA Where can you find the road to happiness? SEEK It lies with the road to sorrow. ASTRAL GUIDE KAFKA Just remember, Seek, when the mind is your master, you live in hell. When you are the master of your mind, you live with the Buddha. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY A gust carries SEEK off, and be flies into and through the corridor of doors. The gust opens a door and SEEK enters. DISSOLVE TO: INT. SEEK’S HIPPIE PAD - DAY, MAY 31, 1972 SEEK sits in his cleaned-up living room. SEEK answers a knock and MOM walks in. MOM What's wrong, son? Your voice sounded concerned when you called. SEEK Mom, I need to tell ya somethin’. They sit on the couch. SEEK (CONT’D) I received my pre-induction physical notice. MOM When do you have to report? SEEK This comin’ Monday. MOM I'll tell your father and we'll go with you. SEEK Yeah, don’t, Mom.


87.

MOM Why not? SEEK I'm not goin’. I'm leavin’ for Canada tomorrow mornin’. MOM How can you do that? SEEK I don’t really have a choice, Mom. MOM Your only choice should be to stand by your country like your father and uncles and grandfather. SEEK This isn't the same kind of war. MOM Oh, don't give me that. SEEK Look, I can't kill, Mom. If I go, I'll end up dead. MOM Your father was right about you. You're not much of a man. She opens her purse, pulls out her wallet, and takes $100 out. She hands the money to SEEK. MOM (CONT’D) Take it, you'll need it. SEEK Thanks, Mom. As soon as he takes the money, she stands up and walks to the door. She refuses to look at SEEK from this point on. MOM pauses at the doorway without looking back as SEEK speaks. SEEK (CONT’D) I want ya to know somethin’, Mom. I love you, both you and Dad. MOM (without turning her head, but turning the doorknob) What do you know about love?


88.

She opens the door and walks out without looking back. CUT TO: INT. SEEK’S HIPPIE PAD - THAT EVENING SEEK looks out the picture window, catching the last colors of the evening sunset. A knock resounds on the door. SEEK (calling out) Yeah, come on in, Kafka. KAFKA opens the door and enters the room. KAFKA How did things go with your mom, my man? SEEK Not very well, brother. KAFKA I’m sorry to hear that. SEEK There’s nothin’ to be done ‘bout it, Kafka. I can’t control how she or Dad feel. KAFKA That’s true, but a real drag. SEEK It’s a bummer, brother. But, ya know, there is somethin’ I can do. KAFKA What’s that, Seek? SEEK I can keep lovin’ ‘em. I don’t need to hold a grudge. I can just accept that’s who they are. KAFKA That’s a together perspective. SEEK I better start gettin’ it together. I’m ‘bout to be on my own.


89.

KAFKA What time are you leaving tomorrow anyway, my man? SEEK When I get up. The earlier I go, the sooner my new life starts. KAFKA Right on. That’s a good way to look at it, Seek. SEEK Whaddaya say, let’s do our meditation now, huh? SEEK lights up a stick of incense. They each walk to a cushion in the center of the living room. SEEK and KAFKA sit on the cushions. They take up their lotus postures and place their hands on their knees in dharmacakra mudras. We hear a sound from a dripping faucet. It makes a constantly rhythmic, dripping sound: drip, drip, pause, drip, drip, pause. CUT TO: INT. A CGI VIEW INSIDE SEEK’S MIND - CONTINUOUS SEEK visualizes himself as being tiny, sitting inside a water lily. He rests on the petals as the lily floats on a placid pond. He sees very soft ripples circle out from the lily in rhythm to the dripping. The moon shines in a starless sky. It reflects in the pool. When he looks into the reflection of the moon, he sees his face on the water superimposed over it. Then, the moon, his reflection, the lily and the pond all fade away as he sits in a black void. CUT TO: INT. A REAL VIEW OF SEEK’S HIPPIE PAD - CONTINUOUS SEEK ceases to hear the dripping. His torso leans forward from his hips, ending up parallel to the floor with his forehead resting on the floor. His breathing stops. CUT TO: INT. A CGI VIEW OF SEEK’S HIPPIE PAD FROM HIS MENTAL VISION’S PERSPECTIVE - CONTINUOUS A brilliant flash of light erupts in SEEK’s mind’s eye. SEEK’s astral body somersaults out of his physical body.


90.

SEEK floats around the ceiling, looking down on his and KAFKA’s bodies which both glow with auras. SEEK’s body appears lifeless as his astral body zips around the ceiling. His mental vision reveals a shimmering web connecting all things. From the center of the web, he sees an enormous mechanism - gears meshing together and turning. The machinery appears like big, brass-toothed gears. Soon, they change shape and color. They appear in the shape of a heart while the web looks like arteries carrying blood. SEEK (V.O.) (his mental voice) What if I never return? With that thought, he zaps back into his physical body. CUT TO: INT. A CGI VIEW OF SEEK’S MIND’S IMPRESSION OF BEING IN HIS MOTHER’S WOMB - CONTINUOUS SEEK appears tiny, floating inside the water lily. A cramped, liquid area surrounds him. A new sound begins, loud and resonating in a rhythm which we hear as sounding like: boomBOOM, pause, boom-BOOM, pause. Then, he gushes out. CUT TO: INT. SEEK’S HIPPIE PAD - CONTINUOUS SEEK’s mind returns to the real room again. He gasps for air. The booming ceases, replaced by the dripping sound. He opens his eyes. SEEK lifts his body from his hips and regains the lotus position. He takes a couple of deep breaths, then looks over at KAFKA, also emerging from meditation. SEEK What a trip. How long did that last, brother? KAFKA I’m not sure, probably about twenty or thirty minutes, my man. SEEK (V.O.) (his mental voice) Silence rains stampedin’ revelation in a frozen icicle dungeon, reinin’ the corridor of time. Rain not, suffering, upon the Reign of Love sublime.


91.

The two men stand and face one another. KAFKA Seek, my man, I better head home. You need to get some rest so you can get up early and head out. SEEK I'll have to figure out how to get along without ya now, Kafka. KAFKA We both will. SEEK I hope ya come to Vancouver some day, brother. KAFKA Count on it, my man. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY Once again, SEEK flies through the corridor of doors and through an opening door into another reality. DISSOLVE TO: EXT. INSIDE THE GAZEBO - DAY The sky appears very bright now. SEEK dissolves into the scene while ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA transform into the astral guide appearances of his old friends. ASTRAL GUIDE RUSTY Man, I’ve always tried to groove on my world and not let anything change it. I refuse to let the man and the system take control. ASTRAL GUIDE KAFKA Remember, my man, every moment is an opportunity to redeem yourself and create value out of your life.


92.

SEEK Yeah, well, if I'm gonna leave ripples on the pond, I at least want ‘em to be the results of my conscious choices. ASTRAL GUIDE RUSTY There you go, man. Be a cozmic being. Live your life fully by giving as much of yourself as you can. SEEK Rusty, if anythin’ is gonna change my world, it’s gotta be me. The CAMERA reveals ASTRAL GUIDE RUSTY’s image morph into the same appearance as SEEK’s older self. Immediately, ASTRAL GUIDE KAFKA undergoes the same transformation, now presenting the appearance of SEEK’s younger self. Then, the two astral guides merge into one (looking like SEEK’s older self). Finally, the single remaining image of the combined astral guides merges into SEEK’s body. SEEK (CONT’D) Shit, this whole time they were me? DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK travels through the corridor of doors and enters an opening doorway. DISSOLVE TO: INT. THE ENGLISH PUB - ALMOST MIDNIGHT SEEK regains consciousness in the pub. He sits in the shadows, in a chair at a table in the rear. He checks his watch, leaves a tip, gathers his things and exits. CUT TO: EXT. OUTSIDE THE PUB WHERE MARYANNE WORKS - CONTINUOUS SEEK scurries over to the pub where Maryanne works to meet her at the appointed time. He arrives just as she exits. SEEK Hey, beautiful.


93.

MARYANNE Hi, dear. They embrace. Then, SEEK gazes into MARYANNE’s eyes. SEEK Maryanne, you’re a special woman. It’s obvious in how ya take care of your father, your plans for your future, and the way ya support and believe in me. I feel alive with you; I’m excited about life again. MARYANNE This is good, isn’t it? SEEK Yes, Maryanne, it’s very good. I want to hold on to the way I feel when we’re together. MARYANNE Mmmm. I like that sound of that. SEEK Come with me to Paris, darlin’. MARYANNE Right now? SEEK Yeah, right now. MARYANNE But I'm not packed. SEEK Neither am I. We'll get what we need when we arrive. MARYANNE With what money? SEEK I have plenty for us both. She looks at him skeptically. MARYANNE I don’t know...


94.

SEEK (interrupting her) Maryanne, darlin’, there’s a part of my heart I’ve never given away. Ya know, right now, I realize how lucky I am to know ya. I’m always gonna be glad to have had this moment when I loved you and felt you loved me, even if just a little. Darlin’, let's travel through the Continent and really get to know each other. MARYANNE That would be romantic. SEEK We can take our time, have fun and grow close: no rush, no pressure. MARYANNE Seek, I can’t just run off to the Continent with you. I have to arrange time off work to take a holiday like that. And I have Poppy to think about, too. SEEK Yeah, I guess I wasn’t thinkin’. MARYANNE No, dear, it is a beautiful idea. See though, as you say, we can take our time. You need to get that job first so you can stay in London. SEEK You’re right, Maryanne. MARYANNE I have an idea, Seek. Why don’t you escort me home on the tube and protect me from those ruffians. We can see each other again tomorrow. SEEK Darlin’, I’d enjoy that. We’re gonna have a lot of tomorrows. He takes her in his arms and they kiss romantically. CUT TO:


95.

INT. A TUBE STATION - NIGHT SEEK and MARYANNE walk arm in arm to the train. No other passengers wait on the landing or in the train. MARYANNE boards. She disappears inside. SEEK, about to enter, looks at the door. Suddenly, it appears all black, except that from the edges, brilliant white light escapes in beams. Then, as if the door suddenly reopens, SEEK is engulfed by the brilliant white light which floods out of the doorway all around him. He sees MARYANNE’s silhouette in the light and walks toward her. SEEK steps forward into an embrace with MARYANNE in the doorway engulfed by the light, appearing as silhouettes. Then, the white light flashes up so brightly, the silhouettes wash out and disappear. DISSOLVE TO: EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY SEEK travels through the corridor of doors falling backwards, tumbling down and out of the corridor. He descends through the dawn, through the clouds, and back into the hospital. DISSOLVE TO: INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS FROM THE OPENING HOSPITAL SCENES SEEK lays on the table, his astral body enters from the roof and stops near the ceiling, looking down. The doctor and nurses work frantically to revive him. The DOCTOR administers electricity from the defibrillator to restart SEEK’s heart. DOCTOR Clear. Nothing happens. The DOCTOR tries again. DOCTOR (CONT’D) Clear. This time, SEEK’s astral body re-enters his physical body. However, the physical body remains lifeless. DOCTOR (CONT’D) I’ll try one more time, but I’m not sure he’s coming back. Clear. The third attempt with the defibrillator brings SEEK back to consciousness as the EKG monitor reveals his heartbeat again.


96.

DOCTOR (CONT’D) (to NURSE) I thought we were going to lose him. NURSE So did I. SEEK No one’s losin’ me. Where’s Maryanne? I gotta see her. DOCTOR I’m not sure now is the time for visitors. You need rest. SEEK No, I have to see her now. DOCTOR Nurse, show the lady in. CUT TO: INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS MARYANNE enters the room. MARYANNE (to DOCTOR) Is he all right? DOCTOR He seems to be. He asked for you. MARYANNE For me? SEEK Maryanne, is that you? MARYANNE It’s me. How do you know my name? SEEK Do you have a friend named Sophie? MARYANNE Yes. SEEK Has she been trying to get you to meet a friend of hers named Seek?


97.

MARYANNE Yes, she has. How do you know that? SEEK I’m Seek. MARYANNE She said she hasn’t mentioned me to you. SEEK She hasn’t. Sophie never said a word. MARYANNE I don’t understand. SEEK While I was on this table, I spent the most transformative day of my life with you. MARYANNE But it has only been a few minutes, and I’ve been in the waiting room the whole time. SEEK Maryanne, meet me at Sophie’s pub in three days. I’ll explain everything then. MARYANNE All right, Seek. Three days, Sophie’s pub. SEEK It’s a date. FADE TO BLACK.


Tripping the Light Fantastic