Tripping the Light Fantastic

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 yercoat.

The other two toughs grin lasciviously as they hover nearby.

SECOND TOUGHRight, missus, yer’ll burn up in ‘ere if yer don’t undo yer buttons.

THIRD TOUGHShe ain’t no missus. She ain’t got a ring.

MARYANNEStop it, you ruffians.

FIRST TOUGHWha’s a matter, luv, no man waitin’up at ‘ome for yer? Us three can take care o’ tha’.

SECOND TOUGHI’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.

MARYANNELeave me alone.

They laugh in a way which portends imminent danger.

SEEKHey 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 TOUGHRight. 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.

2.

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 OFFICEHe had a rough go of it.

MARYANNEYes. 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 OFFICERA good man. Not as many of them around these days as there once were. Can you tell me anything about the attackers’ appearances?

MARYANNEI 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 OFFICERIt’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.

MARYANNEThank 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 OFFICEI understand.

CUT TO:

3.

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.

DOCTORGet the defibrillator, we’re losing him.

NURSERight 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.

ORDERLYMa’am, it may be a while longer. The doctor ran into complications.

MARYANNEWhat kind of complications?

ORDERLYHis 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.

4.

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.

5.

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 RUSTYWhat’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?

SEEKYeah, 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 KAFKARusty 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.

6.

(MORE)

It’s so fucking cozmic, man, because all three of us, together, are still only one.

SEEKAm I really here?

ASTRAL GUIDE KAFKANothing is real, Seek.

SEEKCan I actually be seein’ you two again after all these years?

ASTRAL GUIDE RUSTYNow, man, what could you ever do that couldn't fucking be done?

SEEKNothin’, I guess.

ASTRAL GUIDE KAFKAI'd say he's astral projecting and creating a déjà vu that hasn’t happened yet, Rusty.

ASTRAL GUIDE RUSTYSeek, turn off that crazy, freaked out mind of yours. Don’t try to pigeonhole experience into preconceived classifications.

ASTRAL GUIDE KAFKAJust relax, my man, and float down life’s stream.

SEEKYeah, but where am I goin’?

ASTRAL GUIDE KAFKAWherever you’re meant to be.

SEEKI must be dead and gone to heaven.

ASTRAL GUIDE KAFKADeath doesn’t exist, Seek, just transitions to other states of consciousness where anything is possible. In these other states, everything that can occur will.

7.

ASTRAL GUIDE RUSTY (CONT'D)

ASTRAL GUIDE RUSTYThis 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.

SOPHIEWell, hello, Seek. This is my friend, Maryanne.

SEEK(standing to greet them)

Oh, yeah, hey Sophie, and Maryanne, it’s nice to meet you.

SOPHIEI thought you two should meet since you’re both single friends of mine.

SEEKTeamin’ up to take me down?

SOPHIEYou’re a goof, Seek. Maryanne works evenings in a pub nearby.

8.

MARYANNEHi, 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.

SEEKThat night is still just a fog to me.

MARYANNEI shouldn’t wonder. Are you feeling better?

SEEKSure I am. Would you like to sit a while, Maryanne?

MARYANNEI thought you’d never ask.

MARYANNE takes a seat at the table with SEEK as he sits, too.

SOPHIEI haven't seen you in days. Where have you been keeping yourself?

SEEKI was in the hospital, Soph, then recuperating at the hotel. Would you like a beer, Maryanne?

MARYANNEAre you sure you should be drinking?

SEEKYeah, well, I’m better enough. Anyway, the doc said I can drink now.

MARYANNEIn that case, Sophie, I’ll have a beer, too.

Sophie walks off to get Maryanne a beer.

SEEKHave you been bothered by those punks since the other night?

MARYANNENo, Seek, I haven’t. But the police haven’t caught them yet, either.

9.

SEEKWell, be careful then.

MARYANNEI am. How are you really feeling?

SEEKYeah, well, I still have headaches, and the occasional dizzy spell, and then there’s a ringing in my ears.

MARYANNESounds like you really shouldn’t be drinking.

SEEKMaybe not, but I don’t drink much. Mostly, I sit here and watch people. It feels better to be out and among them.

MARYANNEI suppose it must.

(indicating the notebook)Were you in the middle of something?

SEEKWorkin’ on a poem. It’s good therapy.

MARYANNEWill you read it to me?

SEEKYeah, 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.

MARYANNEI’ll drink to that.

They clink their mugs and each takes a sip from their beer.

SEEKYeah, now, the poem. It’s titled ‘Inarticulate Slipstreams.’

10.

(MORE)

(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.

MARYANNEThat was brilliant. It’s gorgeous. See though, what is hillside necking?

SEEKYeah, 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.

MARYANNEWhat a lovely image. Were you a seductive young man?

SEEKNot as a rule, but sometimes, I guess.

She looks him over.

SEEK (CONT’D)You don’t approve?

11.

SEEK (CONT'D)

MARYANNEI didn't say that.

SEEKYeah, well, the poem isn't really ‘bout a neckin’ encounter.

MARYANNEI 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.

SEEKI’m glad you got it.

MARYANNEI think the sentiment you expressed in the poem is an important one.

SEEKYeah, well, it’s easy to sleepwalk through life, not valuin’experiences as they occur or our friends and loved ones.

MARYANNEOh yes, I agree. See though, it’s also important to value nature and try to protect and preserve it.

SEEKExactly. I lumped them all together - experiences, relationships and nature - because it seems to me valuin’ life means valuin’ all those things.

MARYANNEI see. So, the poem is about valuing life in all it’s complexity.

SEEKYou expressed it better than I do.

They both drink from their beers.

MARYANNEI wanted to stop in because Sophie’s been nagging me to meet you. See though, I do have some shopping I need to take care of.

12.

SEEKSure. Hey, do you work tonight?

MARYANNEYes.

SEEKI’ll get directions from Sophie and stop in at your pub later. I’ll see you tonight. Okay?

MARYANNEI’d like that. And if you like, I can stop back by to see you after my shopping.

SEEKThat would be great, sweetheart.

MARYANNESophie warned me you’re a flirt.

SEEK grins sheepishly.

SEEKIt’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:


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.

13.

ASTRAL GUIDE RUSTYPretty glib with the ol’ flappers there, aren’t you, man?

ASTRAL GUIDE KAFKAAre you sure flirting is the right seduction patter, old friend?

SEEKI’m just bein’ myself.

ASTRAL GUIDE KAFKAOne part of your yourself, maybe, the charmer.

ASTRAL GUIDE RUSTYI think you’re playing the clown, Seek, and hiding behind the makeup of that funky vibe.

DISSOLVE TO:


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.

BANDANAHello, everyone. Let’s all take a seat so we can start the meeting.

14.

People sit on the floor.

SOMEONE FROM THE CROWDWhat’s happening, Bandana?

BANDANAWe're here to protest the bombing of Cambodia.

SEEKRight on!

BANDANAWe should make it known ‘SCLAstudents oppose the war.

ANOTHER STUDENTWhat can we do?

BANDANAWe should do something that won't go unnoticed. I urge all of you to take the ROTC building with me.

A STRAIGHT LOOKING STUDENTWon't we get arrested?

KAFKAThat's the point.

BANDANARight, Kafka.

A STRAIGHT LOOKING STUDENTI 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.

SEEKYeah, I'm with you, Bandana.

BANDANARight on, Seek.

SEEK and BANDANA slap palms.

SEEKCome on, people. Kafka, join us.

KAFKA stands up and walks over to join SEEK and BANDANA.

15.

KAFKACount me in.

THE KID and ‘FRO BRO get up and walk to the front.

THE KID Let’s dig this happening, ‘Fro Bro.

‘FRO BROYup. 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 GREGLike, outtasite, ‘Fro Bro.

RUSTYI’m with this funky circus, too, Greg.

FREAKY GREGOuttasite, Rusty.

RASPBERRYUs, too, huh Road Trip?

ROAD TRIPFar out, Raspberry.

COWGIRLWell, you’re not leaving me behind. How about you, Lily?

LILYYeah, I can dig this bag, too, Cowgirl.

BANDANAAll right, let’s go!

CUT TO:

EXT. OUTSIDE THE ROTC BUILDING - NIGHT

The students arrive at the ROTC building: a dilapidated, two-story bungalow. They climb wooden stairs and stand before a door with four glass panes in the top half.

16.

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 GREGPower 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.

RUSTYWhat a zoo, man.

SEEKYeah, Rusty. I wonder how many even know what the protest is ‘bout.

RUSTYDoes 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.

RUSTYWhat a gas, man. I’ve always wanted to do this.

17.

SEEKYeah, Rusty. But I think we better get the fuck outta here.

RUSTYI’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.

BANDANAHeads up everyone, Dean McManish is here.

DEAN MCMANISHAll 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.

SEEKYeah? You don't even know who most of us are, Dean.

DEAN MCMANISHDon’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.

BANDANAWe realize that, Dean.

DEAN MCMANISHYou'll have criminal records.

BANDANAWe've weighed the consequences.

18.

DEAN MCMANISHThen, 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 MCMANISHYou know I don't want to put black marks on students with arrest records which will follow them.

BANDANADean McManish, as long as the University sanctions the presence of the ROTC and continues to receive and fulfill military-industrial 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.

SEEKI certainly hope not, Dean.

DISSOLVE TO:

19.

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.

SEEKWe've just heard Sen. McGovern’srepresentative 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.

BANDANAWe 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.

SEEKDo 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:

20.


SEEK floats into the corridor of doors again. He discovers the psychedelic, 1967, VW van awaiting him. He enters it. A swirling gust of energy pulls the van and SEEK through the corridor. A door 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 KAFKABetter give Seek, here, a key or he'll be coming in through the bathroom window soon.

ASTRAL GUIDE RUSTYBut he doesn’t have a sister named Pam.

SEEKNope, I'm an only child.

ASTRAL GUIDE RUSTYMan, I didn’t know you were a lonely child.

SEEKYeah, I didn't say I was lonely; I only said I was only.

ASTRAL GUIDE KAFKAI think Roy Orbison might have a go with that line, old friend.

ASTRAL GUIDE RUSTYSo, you think you’ve got a solution to groove on, huh, Seek?

SEEKSolution?

ASTRAL GUIDE RUSTYTo fighting wars, man.

21.

SEEKI don’t know if I have any solutions, but I know I’m against wars, and killin’, and bombin’.

DISSOLVE TO:


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.

DADWell, hello, son.

SEEKHi, 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.

DADOh, poopsie. Did I hurt you?

SEEKNot too much.

DADDo you want a drink, son?

22.

SEEKNo thanks. It’s a little early.

DADNonsense.

SEEKReally, I’ll just have a coke.

DADWhatever 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.

MOMHappy birthday to my grown up son.

SEEKThanks, 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.

MOMI’ll get you a fresh drink, honey.

DADThanks, 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.

SEEKYeah, I guess so, Dad.

DADHow about I get you a haircut for your birthday?

SEEKThanks, Dad, but I’ll pass.

DADYou’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.

23.

MOMI have to keep cooking.

SEEKOkay, Mom.

MOM goes back out.

DADI saw on the news there were protests last week.

SEEKYeah, there were.

DAD takes another gulp from his drink.

DADWere there any protests at ‘SCLA?

SEEKYeah, Dad, there was.

DADWhat happened?

SEEKThere was a sit-in at the ROTC buildin’ for a couple days.

DADOh my God. You didn’t have anything to do with it, did you?

SEEKYeah, I did, Dad.

DAD swigs another large gulp.

DADWhat the hell did you do?

SEEKI was one of the ones who broke in. I also spoke at a couple rallies.

DADYou little shit. You’re turning into a commie son-of-a-bitch.

DAD finishes off his drink with a large swallow.

SEEKI’m not a commie, Dad.

24.

DADAnybody who takes part in protests is a commie, damn it.

DAD walks over to SEEK. MOM walks into the room.

MOMNow, stop it, you two. Today is not a day for an argument.

SEEKYeah? It’s hard to stop one when he’s gettin’ drunk.

MOMDon’t say that about your father.

SEEKHe can call me a commie, but I can’t tell him when he’s drinkin’too much?

DADNot in my house you can’t you ungrateful little punk.

SEEKOh, 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.

DADDon’t tell me what to do.

SEEK struggles and frees himself.

MOMYou shouldn’t join protests or say your father is a drunk.

SEEKFuck 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.

DADDon’t you ever talk to your mother or me like that you little shit.

25.

DAD stands over SEEK and, in a drunken and dizzy rage, staggers back a couple of steps. SEEK stands up.

SEEKSince it made you feel like a big man to hit your son, go ahead and take the other cheek, too, Daddy.

DADGet the hell out of my house you worthless punk.

SEEKFuck yeah, I’m gone ol’ man.

SEEK starts to leave.

MOMStop it, both of you. This is supposed to be a birthday party.

SEEK continues toward the door.

DADWe’re not celebrating that yellow bastard’s birthday. He’s no son of mine.

We hear the door slam as SEEK exits.

DISSOLVE TO:


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.

SEEKHow do I keep bouncin’ around like that?

26.

ASTRAL GUIDE RUSTYIt's those funky scientists and their probability fields.

ASTRAL GUIDE KAFKAI think determining which probability field happens depends on the probability you’re after, my man.

ASTRAL GUIDE RUSTYWhat a gas, think about it, man, all probabilities are equally probable.

ASTRAL GUIDE KAFKAYou do realize you made that whole scene with your father harsher than it had to be, don’t you?

SEEKMe? I did?

ASTRAL GUIDE RUSTYSeek, it was when you said ‘Fuckboth of you,’ that he lost it.

ASTRAL GUIDE KAFKAThe wheel of events that followed occurred because of the karma your words set in motion.

SEEKYou’re sayin’ I caused all that? His bein’ drunk and intolerant didn’t play a part?

ASTRAL GUIDE RUSTYYou could have avoided it, man. We’re saying that no good vibes come from fucking passing the shitin your life onto other people.

DISSOLVE TO:


SEEK’s astral body flies through the swirling colors in the corridor of doors until it shoots through an opening doorway.

DISSOLVE TO:

27.

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’.

MARYANNEI have, Seek.

SEEKDid ya get everythin’?

MARYANNEYes, and I had fun, too.

SOPHIE walks up to serve the beers.

SOPHIEHere you go, you two.

SEEKThanks, Soph.

MARYANNEThank you, Sophie.

SOPHIE walks away grinning to herself.

MARYANNE (CONT’D)Now, tell me what brought you to London.

SEEKYeah, okay, Maryanne. I’m on vacation, and I’m lookin’ for work while I’m here.

MARYANNEYou want to work here?

SEEKYeah, 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.

MARYANNEDo you like that?

28.

SEEKOh 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.

MARYANNEWhy not?

SEEKPeople don’t always accept an American expatriate.

MARYANNEOh, I’m sorry, Seek. I guess it can be hard moving to a new country.

SEEKYeah, well, the rewards come when I do make new friends and as I learn ‘bout other cultures’ lifestyles.

MARYANNEYes, I see it must. What kind of work are you looking for?

SEEKYeah, I work in animation.

MARYANNEWhat do you do?

SEEKProduction manager. I lucked into it in Vancouver. Later, I got an offer to work in Montreal. I’ve been followin’ the jobs ever since.

MARYANNESee though, why don’t you go back to America or come here and work?

SEEKI’m here and lookin’ now, sweetie.

MARYANNE(rolling her eyes)

Flirting as always. Nonetheless, I am glad you’re here.

SEEKMe, too.

29.

MARYANNEHow is your job search going?

SEEKYeah, well, the studios here are all staffed.

MARYANNEWhat are you going to do?

SEEKI’m gonna have to make my own job.

MARYANNEOh. How will you do that?

SEEKI’ll pick out a studio and show up everyday. I’ll say, ‘I’m here; what do you have for me to do today?’

MARYANNEI’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.

SEEKI like the sound of that, sweetheart.

MARYANNEDo you ever stop flirting?

DISSOLVE TO:


SEEK flies through the psychedelic corridor of doors and into an opening door.

DISSOLVE TO:


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.

30.

ASTRAL GUIDE RUSTYThere 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 KAFKAAt 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.

SEEKThere is somethin’ ‘bout a damsel in distress. Tryin’ to rescue her’s what got me int’rested.

DISSOLVE TO:


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.

SEEKHi, Raspberry, what's happenin’?

RASPBERRYMy 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.

31.

SEEKBummer, Raspby. Wait, aren’t we goin’ campin’ over Memorial Day weekend?

RASPBERRYOh, we are. Don't worry.

SEEKWho else is goin’?

RASPBERRY‘Fro Bro, Lily and Cowgirl.

SEEKBitchin’! Have a seat, Raspby.

RASPBERRYI 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.

SEEKWhat's that?

RASPBERRYYou’re birthday present, Orange Sunshine, the trippiest acid.

SEEKSolid. Lay it on me.

DISSOLVE TO:


SEEK soars playfully through the corridor of doors. He spins and twists through a door as it opens for him.

DISSOLVE TO:

32.

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.

SEEKAre you still waitin’ for the sun?

ASTRAL GUIDE RUSTYNah. I can get a fucking tan just diigging the rain, man.

ASTRAL GUIDE RUSTY takes a shot.

ASTRAL GUIDE KAFKASeek, as you float on the stream of time, there’s no difference between where you are and where you want to be.

SEEKWhat do you mean, Kafka?

ASTRAL GUIDE KAFKAIn 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:


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.

SOPHIEDo either of you want another beer?

SEEKI'm good.

33.

MARYANNEMaybe later, Sophie.

SOPHIE walks off.

MARYANNE (CONT’D)I came back just as I promised.

SEEKAnd I’m glad you did.

MARYANNEAre you now?

SEEKSure I am. You don’t see a line of women waitin’ to see me, do ya?

MARYANNEMaybe 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.

SEEKYeah, 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.

MARYANNEThat is quite an idea.

SEEKIt’s worked for me in the past.

MARYANNEYou’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.

SEEKOh, 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.

34.

MARYANNESilly man, why would you want to do that?

SEEKSo I can listen to your voice even when you aren’t around.

MARYANNEOh that tongue of yours. Go on, now, stop teasing me.

SEEKI wasn’t teasing you. I dig your voice and accent.

MARYANNEAnd I suppose you’ve been trying to imagine it while I’m away.

SEEKIt beats listenin’ to the voice in my head.

MARYANNEVoice or voices?

SEEKNow that you mention it, there are a couple voices in there.

MARYANNEMaybe that explains your devilish side.

SEEKMe? Devilish?

MARYANNEYes, you. Always flirting, and teasing me.

SEEKDarn, and I thought I was doin’great with ya, Maryanne. But you don’t take a thing I say seriously.

MARYANNEHow can I take you seriously with so much insincerity coming out of your mouth? See though, I do hope you’ll get a job.

35.

SEEK(ironically)

Gotta love support like that.

MARYANNEWill you excuse me while I visit the ladies’ loo?

SEEKOf course.

As MARYANNE walks off, SEEK enters another trance.

DISSOLVE TO:


SEEK is transported through the multicolored corridor of doors. A door opens. He slides into it.

DISSOLVE TO:


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 KAFKACan you get real with the woman and have a meaningful conversation?

SEEKSure I can. We’re just havin’laughs right now.

ASTRAL GUIDE RUSTYWhile you call her ‘sweetheart’?

SEEKIs there harm in flirtin’?

ASTRAL GUIDE KAFKASometimes, if it’s carried too far, or used as a defense mechanism to avoid being real, my man.

ASTRAL GUIDE RUSTYLay it on me, Seek. How do you see yourself in the chick?

36.

SEEKShe’s intelligent, insightful, attractive, fun and happy.

ASTRAL GUIDE KAFKAHe asked how you see yourself in her, not what you see in her.

SEEKI’m not sure I know what you mean.

ASTRAL GUIDE RUSTYThat’s the fucking problem, man.

ASTRAL GUIDE KAFKASeek, even more to the point, how do you think she sees herself in you and with you?

SEEKHuh?

ASTRAL GUIDE KAFKAIf 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 RUSTYHow’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:


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.

37.

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.

PROFESSORWe may sing aum now.

The students blend together into a beautiful harmony, chanting in unison with their eyes closed.

STUDENTS IN UNISONAaaauuuuuuuummmmmmmmmmm.

They repeat the chant several times.

PROFESSORImagine yourselves soaring among the stars.


PROFESSORImagine yourselves as single droplets of water rolling slowly down a pane of glass


PROFESSORImagine yourselves as a placid pool of water into which a pebble just dropped, creating a ripple.


PROFESSORIf the eye cannot see itself without a mirror, how can an experiencer experience experience?


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.

38.

RASPBERRY(from inside the room)

Who is it?

SEEKYeah, it's me, Seek.

The door opens. RASPBERRY grabs SEEK and jerks him in.

CUT TO:

INT. RASPBERRY’S ROOM - CONTINUOUS

SEEKYou weren’t at Zen class tonight. Are you okay?

RASPBERRYRoad Trip and I broke up today.

SEEKAh, Raspberry, I'm sorry. Should I split?

RASPBERRYNo. 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?

SEEKNope. But he was sittin’ with a new lady tonight in Zen class.

RASPBERRYThat figures. He doesn’t waste any time. I can't believe it's over.

SEEKWhat happened?

RASPBERRYThat's what I keep asking myself.

SEEKWhat do you mean, Raspberry?

RASPBERRYAm I boring?

39.

SEEKNo, not in the least.

RASPBERRYThen, why did he break up with me?

SEEKYeah, I don't know. It doesn't have to be you, ya know. It could be him, Raspby.

RASPBERRYMaybe his new woman is more interesting or sexier.

SEEKRaspberry, no one is more int’restin’ or sexier than you.

RASPBERRYDo you mean that?

SEEKYeah, of course.

RASPBERRYWhy 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.

SEEKYeah, let's go for a ride.

RASPBERRYWhere?

SEEKLemme 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.

SEEKI used to live here.

40.

RASPBERRYWhen?

SEEKLast summer. It’s a wild neighborhood.

RASPBERRYIn what way?

SEEKYeah, for instance, there was a hippie named Herbie who drove out from Jersey and lived in his van.

RASPBERRYHe lived in his van?

SEEKYeah, well, I let him shower in my pad sometimes and occasionally fed him a home cooked meal, too.

RASPBERRYThat was nice of you.

SEEKHe 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.

RASPBERRYSounds like a party.

SEEKYeah, 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.

RASPBERRYThere were?

41.

SEEKYeah, 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.

RASPBERRYIt sounds like an exciting summer.

SEEKMost 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.

RASPBERRYDamn. What did you do?

SEEKYeah, what could I do? I waited up. I had to take Bridget home.

RASPBERRYDid you like her a lot?

SEEKI 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.

RASPBERRYSo, they didn't do anything wrong.

SEEKNope, I know. But it still hurt.

RASPBERRYYou should have let them know.

SEEKI didn’t know what to say.

RASPBERRYDid you know you called them Brick and Rigid once?

42.

SEEKI did?

RASPBERRYHah.

SEEKYeah, I had a dog while I lived here. He was a Samoyed-Shepard mix. I called him Alyosha, after a Tolstoy character.

RASPBERRYI like the name. What happened?

SEEKI 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.

RASPBERRYThat's terrible.

SEEKI 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

SEEKI dig bein’ here with ya.

43.

RASPBERRYI’m having a good time, too.

SEEKLife’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.

SEEKOh, yeah? I didn't know you'd been here before.

RASPBERRYHe brought me here to tell me it was time for us to become lovers.

SEEKOh.

RASPBERRYBut 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:


SEEK is transported through the corridor of doors. A door opens. He slides into it.

DISSOLVE TO:


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 RUSTYI think we can safely say you had an ulterior motive for being cool to that chick, man.

44.

SEEKWell, I had a crush on her.

ASTRAL GUIDE KAFKABut coming on to her right after she broke up was a bit crass, don’t you agree, old friend?

SEEKI was just consolin’ her, helpin’her to feel better. I wanted her to laugh instead of cry.

ASTRAL GUIDE RUSTYIf that’s what you say, man.

DISSOLVE TO:


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.

MARYANNESeek, are you all right?

SEEKYeah, I’m fine, Maryanne.

MARYANNEYou seemed to be in another world.

SEEKYeah, maybe I was. Tell me, how did you come to work at the pub?

MARYANNEIt was after Mum died.

SEEKI'm so sorry.

45.

MARYANNEPoppy was already disabled and unable to work. I had to find a job to take care of us.

SEEKHow old were you?

MARYANNETwenty-two.

SEEKDo you have brothers or sisters?

MARYANNEAn older brother. He was already married and had moved away.

SEEKDid you finish school or quit?

MARYANNEI 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.

SEEKWhat happened to your father?

MARYANNEHe hurt his back while working at the shipyard. One day, something fell from a crane.

SEEKCan he walk?

MARYANNEOh 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.

SEEKI don't blame him. What would become of him if you got married?

MARYANNEOh, 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.

46.

(MORE)

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.

SEEKDo you have plans for your future?

MARYANNEStudying 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.

SEEKWhat would you like to do?

MARYANNEI’ll study to be a nurse. That way, I can stick with my loves for medicine and helping people.

SEEKYou'll be an excellent nurse.

MARYANNEThank 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?

SEEKThere’s nothin’ I’d like more, Maryanne.

DISSOLVE TO:


SEEK spins his way through the psychedelic-colored corridor of doors. A door opens and SEEK tumbles into it.

DISSOLVE TO:


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.

47.

MARYANNE (CONT'D)

ASTRAL GUIDE RUSTY(to ASTRAL GUIDE KAFKA)

He's about to dig a crazy circus. What a gas, man.

ASTRAL GUIDE KAFKAI don't know. After a while, it became a bit too much for me.

ASTRAL GUIDE RUSTYBut remember the first time, feeling the groovy vibes all around you?

ASTRAL GUIDE KAFKAI remember coming out of it feeling like vegetable curry.

ASTRAL GUIDE RUSTYYou're just down on using anything now. Where’s that old cozmic vibe?

ASTRAL GUIDE KAFKAWell, 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 RUSTYBut that’s the funky shit about it, Kafka. The zoo makes you pay whether you trust or not.

SEEKMaybe you pay the most when you don’t trust anyone.

ASTRAL GUIDE KAFKANo, 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:

48.

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 JimiHendrix 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.

SEEKMan, 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.

49.

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.

SEEKHoly, 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:

50.


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 KAFKAYou’ve just experienced the jug being filled, drop by drop, my man.

SEEKI don't know what's happenin’anymore.

ASTRAL GUIDE RUSTYHow can you know what's real, man, when reality leaves so much cozmicshit up to the imagination?

SEEKThat trip was wild.

ASTRAL GUIDE KAFKATripping is free form meditation, and meditation is the key that unlocks the doors to all the hidden rooms in your mind.

SEEKIs that where all those images and hallucinations come from?

ASTRAL GUIDE RUSTYOh, wow, man. The mind is a cozmicstorehouse 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 KAFKAMy man, remember that our feelings wash over everyone we come into contact with. Mind your ripples.

DISSOLVE TO:


SEEK spins through an opening door looming up within the swirling psychedelic corridor of doors.

DISSOLVE TO:

51.

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:


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.

KAFKAWhat's the haps, my man?

SEEK hands the notice to KAFKA who reads it.

KAFKA (CONT’D)Oh, damn, no. What's your number?

SEEKFuckin' fifty-five. Yeah, and I just had my nineteenth birthday. You know me, Kafka, I can’t kill.

KAFKANo, it’s not your trip.

SEEKWhat am I gonna do?

KAFKAHang 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:

52.

INT. SEEK’S HIPPIE PAD - EVENING

THE KID, RUSTY, ‘FRO BRO, FREAKY GREG and KAFKA enter. KAFKAcloses 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 BROHowdy.

THE KIDWhat’s happening.

RUSTYWhat a circus, huh, Seek?

SEEKPeace, 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 BROYup, BO-dacious stuff.

FREAKY GREGOuttasite, man; primo stash.

RUSTYFuck, man, I can't believe how funky the zoo can get when 'the man' flexes his power.

THE KIDApply for Conscientious Objector status, my brother.

KAFKANixon's made CO hard to get. It’s too bad we didn't get arrested during the protest.

‘FRO BROYeah, bro', you'd have the Alice's Restaurant excuse for getting out.

Only FREAKY GREG chuckles at the joke.

53.

‘FRO BRO (CONT’D)Well, bro', what are you thinking about doing?

SEEKNo 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.

KAFKAThat’s unacceptable, my man.

SEEKI'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 KIDThat’d be a waste, my brother.

KAFKAI'd hate to see you go to prison.

‘FRO BROIt's a bum trip, bro.'

FREAKY GREGMan, it's, like, unnecessary.

Everybody looks over at FREAKY GREG.

FREAKY GREG (CONT’D)Come on, man, he can book it up to Canada.

SEEKPeople really do that? Still?

FREAKY GREGNo 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.”

54.

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.

SEEKFreaky, how do you know all this?

FREAKY GREG(to THE KID)

Kid, do you remember Wild Cody?

THE KIDYes, I do. What happened to him?

FREAKY GREGWent to Canada, man. Vancouver.

‘FRO BROI knew him, too, bro’.

FREAKY GREGHe's diggin' it there, man.

‘FRO BROBO-dacious.

RUSTYSeek, this sounds like your best way out of this freaked out zoo.

SEEKIt might be my only way out.

DISSOLVE TO:


SEEK soars through the corridor of doors when another door randomly opens. He enters it.

DISSOLVE TO:


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.

55.

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 KAFKAI 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 RUSTYHow’s a brother to get his shittogether and just be cool, keepin’on keepin’ on, when the man gets in his face with the fucking draft?

ASTRAL GUIDE KAFKAThe draft is a terrible thing, Rusty. It's so arbitrary.

ASTRAL GUIDE RUSTYIs it just the fucking draft that's arbitrary, or all of life?

ASTRAL GUIDE KAFKAI 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).

56.

SEEKThe draft sure seemed arbitrary to me. One day, they decided it was my turn to kill or be wasted.

ASTRAL GUIDE RUSTYI remember that, man. It was a real drag. I still can’t believe you got caught up in that shit.

SEEKI could have died for my country; I just refused to kill for it.

ASTRAL GUIDE KAFKAMy 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 RUSTYListen 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:


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.

COWGIRLIt's hot out here.

57.

‘FRO BROThis will be a BO-dacious time, Cowgirl. We just have this one hard climb. Afterwards, there are no more long hikes in the sun.

LILYAre we getting close to being somewhere yet?

‘FRO BROYup. 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.

SEEKBack in by those trees?

‘FRO BROYup. 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.

58.

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.

RASPBERRYDid you boys have fun?

‘FRO BROYup. That’s a cool jump.

RASPBERRYHow cool is it?

SEEKIt’s a bitchin’ 20 foot drop.

RASPBERRYOh, bitchin’, huh?

59.

LILYThey've been off having fun.

COWGIRLDrinking and smoking.

RASPBERRYSwimming and diving.

COWGIRLNow they’ve come back.

RASPBERRYHungry and tired.

LILYThey expect us to feed them.

COWGIRLThen, clean up after them.

RASPBERRYAnd 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.

COWGIRLThey'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.

SEEKRaspby, Cowgirl, where are ya?

A streak of lightning flashes in the darkness and SEEK sees COWGIRL standing up, waving.

COWGIRLOver here, Seek.

60.

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.

SEEKWhere’s ‘Fro Bro and Lily?

COWGIRLThey found a place to sleep by themselves.

RASPBERRYI think they want to be alone.

SEEKHope they have a bitchin’ time.

Another crack of lightning illuminates the sky, followed quickly by a loud boom of thunder.

RASPBERRYLightning scares me.

SEEKYeah, 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.”

COWGIRLI’m tired. I think I’ll catch some zs.

SEEKOkay, g’night, Cowgirl.

RASPBERRYSleep well, Cowgirl.

COWGIRL lays down and falls asleep. As SEEK and RASPBERRY huddle together, SEEK caresses the spot where the rock hit RASPBERRY.

SEEKDoes it still hurt?

61.

RASPBERRYNo, 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:


SEEK spins through the whirling, psychedelic corridor of doors. A door looms up and opens to him. He soars in.

DISSOLVE TO:


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.

SEEKI’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 KAFKAI wouldn't choose the wars, the disease, the famines, or the poverty and suffering.

ASTRAL GUIDE RUSTYSeek, this zoo isn’t a place you can choose. But if you put out the right vibe, then cozmic radiance will surround you.

SEEKSo, what is your role in life?

ASTRAL GUIDE KAFKARoles are illusions, Seek. Don’t buy in. Just be yourself.

62.

SEEKWithout a role, what do you earn from life?

ASTRAL GUIDE RUSTYThe only thing to earn is what you grok from your experiences and to groove on each moment.

ASTRAL GUIDE KAFKAIf 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.

SEEKYou don't offer much hope for things in my future, then, do you?

ASTRAL GUIDE KAFKAI didn't know we were supposed to.


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?

SEEKAre you suggestin’ this is as good as it gets?

ASTRAL GUIDE KAFKAWith all your questions, old friend, how much do you ever know?

SEEKYeah well, I still can't believe this is all there is.

ASTRAL GUIDE KAFKAEverything there is, is all there is. Don’t get caught up in your dreams and expectations, my man.

ASTRAL GUIDE RUSTYThey're just a bum trip, Seek.

ASTRAL GUIDE KAFKABy the way, you weren’t exactly honest about your draft notice and plans to go to Canada, were you?

63.

ASTRAL GUIDE RUSTYDid you use the chick, man?

SEEKNo. I just didn’t see a reason to talk ‘bout Canada yet.

ASTRAL GUIDE KAFKAI guess a woman putting your hand on her breast wasn’t a reason?

DISSOLVE TO:


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.

SOPHIEDo you want something to drink?

SEEKNo thanks, Soph. I’m off to visit Maryanne’s pub.

SOPHIERight.

SEEKI might be back later, never know.

SOPHIEHave 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.

MARYANNEWhat will you have to drink, Seek?

64.

SEEKHow ‘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?

MARYANNEOh, 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.

SEEKWhat will ya do on your break?

MARYANNEGo for a walk, I suppose.

SEEKYeah, if ya like, I'll join ya and you can show me some sights.

MARYANNEThat 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.

MARYANNEOh, look at those shoes. I'd look pretty in them, wouldn’t I, Seek?

SEEKYou're so adorable. You’d look beautiful in anythin’ you wear.

MARYANNEAlways flirting.

SEEKI’m bein’ honest.

65.

MARYANNEAre you now? It’s hard to know with you.

SEEKReally, I am, Maryanne. I admit, I was teasing you at first. But I like you too much for that now.

MARYANNESeek, have you ever been in love?

SEEKOnce, a long time ago.

MARYANNETell me about it?

SEEKYeah, well, there isn’t that much to tell. It was back when I was in college.

MARYANNEWhen you were young and idealistic.

SEEKYeah, I guess.

MARYANNEHmm, seems like you’re holding back.

SEEKIt’s difficult to explain, Maryanne. It was complicated.

MARYANNEI’m sure it was, Seek. Let’s go in here. Do you mind?

SEEKOh 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:

66.


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 BROHey, bro’, your life is about to change when we get back, huh?

SEEKYeah, brother, just got a week left.

RASPBERRYWhat are you two talking about?

SEEKI got some mail last Thursday.

COWGIRLWhat was it?

SEEKA notice to appear for my pre-induction physical.

LILYThat’s terrible, Seek.

RASPBERRYWhy didn't you tell us sooner?

SEEKI was afraid it would put a bummer on the campin’ trip and I wanted us to have somethin’ to remember.

COWGIRLWhat are you going to do?

SEEKYeah, I’m pretty set on goin’ to Canada.

RASPBERRYCanada?

67.

SEEKYeah, Raspby, Canada. Vancouver. That's the plan anyway.

DISSOLVE TO:


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 KAFKAlooks at ASTRAL GUIDE RUSTY, the lie of the penny, and then back at ASTRAL GUIDE RUSTY.

ASTRAL GUIDE KAFKAI 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 KAFKAWho put all those funky selfish ideas in your head, man?

68.

SEEKWhat do you mean?

ASTRAL GUIDE KAFKA(also in SEEK’s face)

You ignored what we talked about before you went camping.

SEEKI did?

ASTRAL GUIDE KAFKAYou did - the idea that you could keep secrets from your friends.

ASTRAL GUIDE RUSTYRemember? The things we said about always being honest with yourself and others?

ASTRAL GUIDE KAFKABut you failed to tell the ladies about your induction notice.

ASTRAL GUIDE RUSTYThen, you balled a chick who was digging you, man.

ASTRAL GUIDE KAFKAWhat a callous thing to do, my man.

DISSOLVE TO:


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.

RASPBERRYHow could you let us think everything was fine and you'd be back at school in the fall?

SEEKI didn't mean to mislead anyone.

69.

RASPBERRYBut you did. You misled me.

SEEKI 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.

RASPBERRYSo what?

SEEKDidn'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?

RASPBERRYInnocent? Honest? Open? You call hiding the draft notice and your plan to go to Canada open and honest? And having sex with me innocent?

SEEKBut I didn't mean to hurt ya.

RASPBERRYYou 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?

SEEKOh 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?

RASPBERRYI 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!

SEEKI didn’t hide the plan from you to seduce you. There’s a difference.

70.

RASPBERRYNo, there isn’t. It still resulted in us having sex, and only because I didn’t know about the draft notice.

SEEKI didn't know this was gonnahappen.

RASPBERRYYou let it happen. By the way, I'm leaving for home tomorrow.

SEEKWhy? Because of this?

RASPBERRYDon’t flatter yourself. I have to leave because my parents are demanding I be home.

RASPBERRY turns and walks to the door.

SEEKSo, I'm never gonna see ya or talk to ya again?

RASPBERRY opens the door.

RASPBERRYThat’s right.

DISSOLVE TO:


SEEK flies through the psychedelic corridor. A door opens and he enters it.

DISSOLVE TO:


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 KAFKAIt's not a game you know.

71.

SEEKA game?

ASTRAL GUIDE KAFKALife.

ASTRAL GUIDE RUSTYHe means you seem cavalier, man, never vibing the funky truth in the cozmic moments of life.

ASTRAL GUIDE KAFKATell me, my man, what has become of your life without her?

SEEKYeah, I can't say where it will go from here, Kafka, but it hasn't been much without her up to now.


He's too blind to grok other’s feelings, KAFKA. Seek only sees what he wants to see.

SEEKI'm tryin’ to understand what you expect of me.

ASTRAL GUIDE KAFKAIt's not what we expect of you that’s important, my man. It's what you should expect from yourself.

DISSOLVE TO:


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.

SEEKLet me get these.

72.

MARYANNEI shouldn’t.

SEEKDon’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.

SEEKThe moon is bright tonight.

MARYANNEIt’s gorgeous.

MARYANNE shivers from a chill. SEEK pulls her into his arms.

SEEKChilly?

MARYANNEA little.

SEEKIf your coat isn't warm enough, you can use mine.

MARYANNENo, 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.

SEEKYour eyes sparkle in the moonlight.

MARYANNEThey do?

SEEKYeah, they do.

MARYANNEMmmm, it must be the company. Say, are you hungry?

SEEKYeah, I'm ravenous. How ‘bout you?

73.

MARYANNEOh 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.

MARYANNEWe'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.

SEEKYa know, I’ve always been fascinated by how people deal with morality.

MARYANNEHow’s that, Seek?

SEEKYeah, 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.

MARYANNEYes, I get that. See though, people still take advantage of others, act from greed, and break laws.

74.

SEEKYou’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.

MARYANNESo, you don’t think Hell or karmic retribution are deterrents?

SEEKNope. 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’.

MARYANNESo, what’s the answer?

SEEKI 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.

MARYANNEDo you think that will work?

SEEKI dunno. It does seem that children tend to turn out to be basically good people when raised in homes reflectin’ morals and ethics.

MARYANNEThat’s an oversimplification.

75.

SEEKI 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?

MARYANNEYou do have a point. See though, what brought all this on?

SEEKI’ve been thinkin’ ‘bout somethin’.

MARYANNEWhat’s that?

SEEKMaryanne, 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.

MARYANNEYes? I’d like that, too.

SEEKYeah, well, I’ve been puttin’ on like I haven’t made many mistakes in my past.

MARYANNEWe all make mistakes in life, Seek.

SEEKI just feel like it’s time I opened up to ya ‘bout some things.

MARYANNEAll right, Seek. Go on.

SEEKMaryanne, 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.

76.

MARYANNEOh, Seek, that is terrible.

SEEKI also ran away from the rejection of a woman who I wanted to be with so badly I took advantage of her.

MARYANNEYou tried to introduce sex too soon?

SEEKSorta. We had sex, but she initiated it.

MARYANNEThen, it sounds like you’re making the situation seem worse than it was.

SEEKYeah, 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.

MARYANNEThat’s a bit disconcerting. But you were young. I’m sure you’ve learned your lesson since then.

SEEKI’m tryin’, Maryanne. That’s why I’m tellin’ ya this. I don’t wanna make mistakes with you.

MARYANNEI see. Seek, you don’t have to tell me everything right now.

SEEKMaryanne, 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.

MARYANNEAll right, Seek, I understand. I am glad you told me all this.

77.

(MORE)

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.

SEEKWhat happened?

MARYANNEIt 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.

SEEKWas he?

MARYANNENo. I didn’t slight him intentionally, though now I can see how he must have felt that way.

SEEKHe should have given ya more time to work through the transition and offered more understandin’.

MARYANNEPerhaps. 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.

SEEKYou’re kiddin’.

MARYANNENo. 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.

78.

MARYANNE (CONT'D)

SEEKHave ya talked to your brother?

MARYANNEOnly until I was blue in the face. But, we don’t talk at all anymore.

SEEKOh, that’s a shame.

MARYANNEHe infuriates me.

SEEKI can see that. Ya know, you can choose to see things differently.

MARYANNEHow so?

SEEKYou 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’.

MARYANNEInteresting 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.

SEEKYeah, that’s good advice, Maryanne.

MARYANNELet’s share a toast.

SEEKTo 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.

79.

They smile, clink glasses, and drink to the toast.

SEEK (CONT’D)I’m glad ya had to work a split.

MARYANNESo 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.

MARYANNEKiss 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.

SEEKDarlin’, do you like candies?

MARYANNEDo I!

SEEKLet'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.

SEEKWhat do ya like?

She leads him over to the licorice sticks.

80.

MARYANNEI love these in both the black and the lovely red colors.

SEEKYeah, grab a couple bags and fill ‘em up.

She does.

MARYANNECan I have one more, dear?

SEEKYou 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.

MARYANNEThank you for dinner, Seek, and for my candies and the shoes.

SEEKMaryanne, thanks for sharin’ with me the most enjoyable night I’ve had in years.

MARYANNEDon't come back into work with me. It will be busy. I couldn’t spend time with you.

SEEKYeah, okay. Better take your shoes with ya, darlin’.

SEEK hands MARYANNE the package with her shoes.

MARYANNEThanks, dear.

They share a warm kiss.

81.

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:


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 BROAre you packed yet, bro’?

SEEKNope, not yet, brother. I'll take care of packin’ tomorrow.

‘FRO BROWhen are you planning to leave?

SEEKYeah, I'm thinkin’ the day after tomorrow.

THE KIDChanges, my brother's goin' through dem changes. Are you excited about it, or feeling down?

SEEKYeah, a little of both.

FREAKY GREGIt’s wild, man. Dig the haps of the party vibe and enjoy the moment.

82.

SEEKI am, Freaky. It’s bitchin’ that all of you came by before I split.

FREAKY GREGHad to do it, man. Besides, it smells outtasite in here. We had to taste more of your primo stash.

‘FRO BROYup, it's BO-dacious.

FREAKY GREG reaches into a pocket and pulls out a folded piece of paper. He hands it to SEEK.

FREAKY GREGThat has Wild Cody's phone number in Vancouver, man. I told him about you. He's expecting you to call. He's really outtasite.

SEEKSolid, 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 GREGDig it, man. Just glad to help.

THE KIDYou'll do fine in Canada, my brother.

‘FRO BROYup, you’ll dig Wild Cody, too, bro’. He’s a BO-dacious friend.

SEEKYou brothers are makin’ me feel better ‘bout the move already.

FREAKY GREGOuttasite.

THE KIDWhat kind of work will you look for, my brother?

SEEKYeah, anythin’ I can find.

83.

A knock is heard. SEEK opens the door. RUSTY and KAFKA enter.

SEEK (CONT’D)(to KAFKA)

Come on in, brother.

KAFKAI take it you caught up on your sleep after the camping trip?

SEEKYeah, brother. I’m feelin’ bitchin’again. Come on in, Rusty.

RUSTYWhat's happening, man. Mind if I join the circus and add a few cozmic, going-away good vibes?

SEEKYou're always welcome in my pad, brother.

RUSTYI know you have a lot of funky shitto deal with, man. Don't let the zoo be a drag. Keep on keepin' on and everything will work out.

KAFKARight on.

SEEKGrab a beer, brothers. Somebody spark a jay.

DISSOLVE TO:


SEEK tumbles through the corridor of doors as it spins around him. He falls into a door which opens for him.

DISSOLVE TO:


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.

84.

SEEKYou 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 KAFKAYou don’t even have to look outside to see the beauty all around you.

SEEKThis is the place known as everywhere-always, isn't it?

ASTRAL GUIDE RUSTYThere are no places, Seek, only cozmic vibes.

SEEKYeah, and there is only one moon to shine in every pool of water.

ASTRAL GUIDE RUSTYYeah, man. But who is the moon and what are the pools?

SEEKSeparation lies in the eyes of the blind, but to those who can see, the moon and the pools are one.

ASTRAL GUIDE KAFKAAlthough 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 RUSTYComfort and ease are better than poverty and struggle though, right man?

SEEKNo, Rusty. Our treasure house lies within and contains all we need.

85.

ASTRAL GUIDE KAFKAWhere can you find the road to happiness?

SEEKIt lies with the road to sorrow.

ASTRAL GUIDE KAFKAJust 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:


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.

MOMWhat's wrong, son? Your voice sounded concerned when you called.

SEEKMom, I need to tell ya somethin’.

They sit on the couch.

SEEK (CONT’D)I received my pre-induction physical notice.

MOMWhen do you have to report?

SEEKThis comin’ Monday.

MOMI'll tell your father and we'll go with you.

SEEKYeah, don’t, Mom.

86.

MOMWhy not?

SEEKI'm not goin’. I'm leavin’ for Canada tomorrow mornin’.

MOMHow can you do that?

SEEKI don’t really have a choice, Mom.

MOMYour only choice should be to stand by your country like your father and uncles and grandfather.

SEEKThis isn't the same kind of war.

MOMOh, don't give me that.

SEEKLook, I can't kill, Mom. If I go, I'll end up dead.

MOMYour 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.

SEEKThanks, 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?

87.

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.

KAFKAHow did things go with your mom, my man?

SEEKNot very well, brother.

KAFKAI’m sorry to hear that.

SEEKThere’s nothin’ to be done ‘bout it, Kafka. I can’t control how she or Dad feel.

KAFKAThat’s true, but a real drag.

SEEKIt’s a bummer, brother. But, ya know, there is somethin’ I can do.

KAFKAWhat’s that, Seek?

SEEKI can keep lovin’ ‘em. I don’t need to hold a grudge. I can just accept that’s who they are.

KAFKAThat’s a together perspective.

SEEKI better start gettin’ it together. I’m ‘bout to be on my own.

88.

KAFKAWhat time are you leaving tomorrow anyway, my man?

SEEKWhen I get up. The earlier I go, the sooner my new life starts.

KAFKARight on. That’s a good way to look at it, Seek.

SEEKWhaddaya 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.

89.

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: boom-BOOM, pause, boom-BOOM, pause. Then, he gushes out.

CUT TO:


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.

SEEKWhat a trip. How long did that last, brother?

KAFKAI’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.

90.

The two men stand and face one another.

KAFKASeek, my man, I better head home. You need to get some rest so you can get up early and head out.

SEEKI'll have to figure out how to get along without ya now, Kafka.

KAFKAWe both will.

SEEKI hope ya come to Vancouver some day, brother.

KAFKACount on it, my man.

DISSOLVE TO:


Once again, SEEK flies through the corridor of doors and through an opening door into another reality.

DISSOLVE TO:


The sky appears very bright now. SEEK dissolves into the scene while ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKAtransform into the astral guide appearances of his old friends.

ASTRAL GUIDE RUSTYMan, 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 KAFKARemember, my man, every moment is an opportunity to redeem yourself and create value out of your life.

91.

SEEKYeah, 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 RUSTYThere you go, man. Be a cozmicbeing. Live your life fully by giving as much of yourself as you can.

SEEKRusty, 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:


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.

SEEKHey, beautiful.

92.

MARYANNEHi, dear.

They embrace. Then, SEEK gazes into MARYANNE’s eyes.

SEEKMaryanne, 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.

MARYANNEThis is good, isn’t it?

SEEKYes, Maryanne, it’s very good. I want to hold on to the way I feel when we’re together.

MARYANNEMmmm. I like that sound of that.

SEEKCome with me to Paris, darlin’.

MARYANNERight now?

SEEKYeah, right now.

MARYANNEBut I'm not packed.

SEEKNeither am I. We'll get what we need when we arrive.

MARYANNEWith what money?

SEEKI have plenty for us both.

She looks at him skeptically.

MARYANNEI don’t know...

93.

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.

MARYANNEThat would be romantic.

SEEKWe can take our time, have fun and grow close: no rush, no pressure.

MARYANNESeek, 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.

SEEKYeah, I guess I wasn’t thinkin’.

MARYANNENo, 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.

SEEKYou’re right, Maryanne.

MARYANNEI 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.

SEEKDarlin’, I’d enjoy that. We’re gonna have a lot of tomorrows.

He takes her in his arms and they kiss romantically.

CUT TO:

94.

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:


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.

DOCTORClear.

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.

95.

DOCTOR (CONT’D)(to NURSE)

I thought we were going to lose him.

NURSESo did I.

SEEKNo one’s losin’ me. Where’s Maryanne? I gotta see her.

DOCTORI’m not sure now is the time for visitors. You need rest.

SEEKNo, I have to see her now.

DOCTORNurse, show the lady in.

CUT TO:

INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS

MARYANNE enters the room.

MARYANNE(to DOCTOR)

Is he all right?

DOCTORHe seems to be. He asked for you.

MARYANNEFor me?

SEEKMaryanne, is that you?

MARYANNEIt’s me. How do you know my name?

SEEKDo you have a friend named Sophie?

MARYANNEYes.

SEEKHas she been trying to get you to meet a friend of hers named Seek?

96.

MARYANNEYes, she has. How do you know that?

SEEKI’m Seek.

MARYANNEShe said she hasn’t mentioned me to you.

SEEKShe hasn’t. Sophie never said a word.

MARYANNEI don’t understand.

SEEKWhile I was on this table, I spent the most transformative day of my life with you.

MARYANNEBut it has only been a few minutes, and I’ve been in the waiting room the whole time.

SEEKMaryanne, meet me at Sophie’s pub in three days. I’ll explain everything then.

MARYANNEAll right, Seek. Three days, Sophie’s pub.

SEEKIt’s a date.

FADE TO BLACK.

97.

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Tripping the Light Fantastic