ROCK'N'ROLL HEAVEN 1.
EXT. SPROUL PLAZA (1967) - UNIVERSITY OF CALIF.-BERKELEY - DAY
The campus is resplendent with activity on a glorious Spring day. This is the main gathering place, and central focus of political activity, free speech and anti-Vietnam protest.
TITLE: "UNIVERSITY OF CALIFORNIA-BERKELEY, 1967."
Students move about the campus, a myriad cast of characters ranging from hippies to jocks to professors to R.O.T.C. cadets; an eclectic mix of students and faculty, blacks and whites. The dress "code" is suits and ties, hippie rags, and everything in between. Many in the crowd wear dark shades, including some who look like they might be Secret Service or F.B.I. infiltrators.
MUSIC fills the air, ranging from "Light My Fire" (The Doors) to "Purple Haze" (Jimi Hendrix) to "Somebody to Love" (Jefferson Airplane).
Beyond the plaza, an occasional police SIREN is heard. Also, a few Berkeley policemen move cautiously, warily about the crowd.
A speakers' lectern has been set up, and a long haired RABBLE ROUSER speaks into it. To his left sits a frizzie-haired woman, to his right a frizzie-haired man, all dressed in typical hippie clothing of the era. These people, along with others, hold a sign that reads, "L.B.J.: Out of Vietnam."
Hey, man, how much longer we gonna
let the government kill innocent
women and children? I mean, man,
this can't go on any more, and
we gotta stop it.
Various, odd scenes of the mix of volatile, passionate students who make up much of the crowd. A sense of "happening" is obvious.
I mean, what are we doin' over
there, man? I mean, like, what's
the good of war?
A BLACK PROTESTER has the answer.
Hey, brother, you got that right,
The rabble rouser continues to rabble, and the crowd gets more and more into the anti-war rhetoric, but there is also activity off to the side.
END DOCUMENTARY-STYLE FOOTAGE.
EXT. ANTI-WAR TABLE - DAY
Tables have been set up. Sitting at one of them is YOUNG JASON CROWN, 19, a college student wearing John Lennon-style glasses, a headband, tie-dyed t-shirt, dirty blue jeans with holes at the knees, and sandals. He has long hair and sideburns.
SANDY, a pretty young college student, and LARRY, another student wearing shades, man the same table. These people are disheveled and dirty, and wear their torn, misfit clothing like badges of honor.
The three of them dispense anti-war propaganda, while "Light My Fire" plays on the radio.
A HIPPIE approaches.
Hey, man, you got any "Hey, hey,
L.B.J., how many kids did ya kill
No, sorry. How 'bout, "Make love,
A FLOWER CHILD shows up.
You got any literature about the
Yeah. Read Mo Chi Minh's biography.
Young Jason hands the literature to the flower child.
Did you know he patterned the
North Vietnamese government after
the U.S. Constitution?
Look what he got for his trouble.
We gotta get outta that country.
Keep the faith.
Larry leans into Sandy and Young Jason's ears.
Sandy. Jason. Wanna get high?
Sandy gives Larry a wan look.
No, thank you, Larry. We're trying
to accomplish something here,
Jason, want some?
Young Jason has a mischievous look on his face.
Check it out.
Young Jason gets up and goes with Larry, holding a leather bag. They look around for cops. Larry holds the bag open, and Young Jason looks inside.
Real Kesey stuff, man. We'll
get toastie. Plus, as an added
bonus, I got some tabs of acid,
from this guy makin' the stuff
in town, man.
Some guy named Owsley.
Larry hands Young Jason a joint. Young Jason puts it to his mouth, Larry lights it, and Jason inhales deeply.
Sandy checks them out as they hide in some bushes, behind the table. She shakes her head, but cannot hold back a smile.
Young Jason exhales the smoke, and hands the doobie to Larry, then breaks into song with Jim Morrison, crooning on the radio.
"You know that it would be untrue
You know that I would be a liar
If I were to say to you
Girl, we couldn't get much higher
Come on baby light my fire
Come on baby light my fire
TRY TO SET THE NIGHT ON FIRE,
The Doors are cool, man.
Morrison is god.
The two re-light the joint and puff away some more.
ROCK'N'ROLL MUSIC plays, the kind of oldie-but-goody that conjures up the image of a wonderful concert in Heaven, in which the musicians are deceased legends.
1960s DOCUMENTARY FOOTAGE:
1. J.F.K. assassination.
2. Civil rights marches on Selma and Montgomery.
3. Martin Luther King's "I have a dream" speech.
4. The Beatles invade America.
5. Combat action in Vietnam.
Jason is now a middle-aged man.
For my generation, things changed
when Martin Luther King and Bobby
Kennedy were assassinated. Something
changed in America--at the Ford
Theatre, the grassy knoll, those
terrible moments in Memphis and
the Ambassador Hotel.
I know they were just men, but
sometimes I wonder what might
have been. We all become a little
less than we could be when the
good die young. It's like that
"Whatever happened to my old friend,
He saved a lot of people, but
now he's gone. Where did he go?
What happened to the spirit of
Camelot. Did idealism die with
John, Martin and Bobby? I don't
6. L.B.J. announces he won't seek re-election.
7. Richard Nixon's "V for victory."
8. Girls go crazy for The Rolling Stones.
9. Jim Morrison on "The Ed Sullivan Show".
10. Jimi Hendrix goes electric at Monterey.
As for me, I found a job at a
tiny little Catholic college in
Kansas called Saint Mary of the
Plains. I planned to stay there
long enough to send my resume
to some Politically Correct university
on either Coast. Then, a funny
I became a member of the community.
I'd tried to convince myself that
the United States was an evil,
corporate greedpit, but in Middle
America I came to love my country.
I guess that's how Abe and Martin
and the Kennedys stay alive, through
our hopes and dreams.
Maybe I think about the music
too much. Maybe I dropped a little
too much acid. I really don't
END MUSIC AND TITLES.
EXT. ST. MARY OF THE PLAINS COL. (PRESENT DAY) - KANSAS - DAY
Establish a view of this tiny, 900-student Catholic college in the middle of the Kansas plains, a pretty, tree-covered campus that is nothing if not quaint.
TITLE: "SAINT MARY OF THE PLAINS COLLEGE." Then: "Dodge City, Kansas. Present day."
Saint Mary students mill about, on bicycles, parking cars, walking. At the center of the campus is the main quad, a meeting place and focal point of activity.
SERIES OF SHOTS:
1. Baseball players at practice.
2. Coeds talk and giggle.
3. Students enter the library.
EXT. MAIN QUAD - DAY
There is activity in front of the open microphone. A female
STUDENT SPEAKER addresses a sparse group that pays no attention to her.
Don't you people realize what
is happening? Our troops are
under U.N. command. Haven't you
seen the black helicopters at
Fort Riley? There's a conspiracy
under way to usurp American power,
and Bosnia is just the beginning.
We have to get out of Bosnia.
The students go about their business, seemingly not hearing a word she says.
INT. CLASSROOM - DAY
A history class is in progress at Saint Mary of the Plains. JASON CROWN is now a history professor, and judging from this crowded room, a popular one.
Jason wears a wrinkled tweed jacket and a colorful shirt with no tie, blue jeans and cowboy boots. His face is lined with the wrinkles of a lifetime of experience, and sometimes, excess. He wears spectacles and has greying hair tied in a small ponytail.
Sitting in the classroom are three particular students.
MOJO is a handsome young devil with short, black hair, wears shades indoors, a Hawaiian shirt, shorts and sandals.
JIM is a serious-looking young black man in a blazer and bow tie. He has short hair and a moustache.
J.J. is a shy girl with frizzie hair and a troubled expression. She is homely, and wears an Earthy dress.
These three sit along with the rest of class, and listen attentively to Jason lecture on history.
Mojo, tell me who coined the phrase,
"Those who don't remember the
past are condemned to re-live
William Shirer did not say it
first. General Santayana did.
Jim, Mojo mentioned William Shirer.
In what context did he use the
Well, as I see it, in Rise and
Fall and The Nightmare Years,
Shirer tried to teach the world
a practical lesson about avoiding
the tragedy of war. These books,
and Barbara Tuchman's The Guns
of August, focus on the sabre-
rattling, the demagoguery of charismatic,
yet dangerous leaders, and how
regional conflicts can escalate.
J.J., give me an example of how
America applied these lessons.
General MacArthur, for instance,
insisted on allowing Hirohito
to save face.
J.J. builds momentum and confidence. This subject, and this setting, is where she finds herself, and is most comfortable.
He refused to allow U.S. bombers
to target the Imperial Palace,
and his magnanimous policies laid
the groundwork for a lasting peace,
which eventually became a friendship
Exactly. J.J. used the word magnanimous.
Very important, because until
this century, wars have always
left the vanquished bitter and
seeking revenge. That usually
leaves another war to fight down
The British Empire was eventually
done in by an elitist, perhaps
even racist attitude, towards
I think J.J.'s saying Great Britain
took the colonies' for granted,
which I think the U.S. did as
it pertained to South Vietnam.
We assumed our objectives were
So, because their objectives were
not necessarily the same, our
attempt to win over their "hearts
and minds" was built on a false
Jason glances at his watch.
Well, as usual the commentary
is interesting and to the point,
but that's it for today. I'll
see you Wednesday, and we'll continue
"comparative analysis," this time
by discussing the influence of
the Magna Carta on the U.S. Constitution,
and if we have time, the impact
of the American Revolution with
late eighteenth and nineteenth
century world politics.
The class gets up and filters out. Mojo, Jim and J.J. are all separated from each other. Jason eyes each of them, and the look in his eyes indicates that he is impressed with the three brightest students he has ever had the pleasure to teach. Somehow, though, there is something peculiar about all of them.
J.J. is the last to leave. Just before walking out the door she looks at Jason and catches his eye. She stares,
penetrating, into his eyes for a good six or seven seconds, seemingly freezing Jason with an all-knowing stare.
Finally, she turns and walks out. Jason cannot seem to physically move until J.J.'s unspoken message of--what?--is conveyed, and ends only when she ends eye contact and leaves the room.
EXT. SAINT MARY OF THE PLAINS CAMPUS - DAY
Jason strolls the pleasant, tree-lined grounds, and seemingly everybody knows him--students and faculty all saying hello to him as he moves along.
A STUDENT approaches him.
Hi, Professor Crown.
Hey, how's it going?
EXT. DORMITORY - EXT.
As Jason walks, he occasionally passes groups of students listening to MUSIC. MUSIC also emanates from the dorm, where a radio plays. One plays COUNTRY WESTERN MUSIC.
A FACULTY MEMBER approaches.
FACULTY MEMBER 1
Jason, old boy, love those threads.
You know it.
Another STUDENT appears.
Hey, Professor, what's shakin'?
Just stayin' cool, stayin' cool.
EXT. PARKING LOT - DAY
A group of black students playfully dance around a boombox playing RAP TUNES.
As Jason approaches the parking lot, a group of Generation
X-ers listens to the Seattle grunge SOUNDS of Pearl JAM.
Jason arrives at his car. It is a classic, black 1965 Shelby Mustang, and as he approaches, the car receives attention from more STUDENTS and FACULTY MEMBERS.
Yeah, that is cool, dude. Yeah.
Professor, that is a boss set
of wheels, man.
FACULTY MEMBER 2
Jason smiles and nods as he climbs into the car, REVS the engine loud, and starts it up.
INT. JASON'S SHELBY (MOVING) - DAY
Jason backs out of the parking lot, and into traffic. As he tools along he fumbles with the radio. First he arrives at a country western station, but switches that.
Next, he finds some rap station, which is short-lived.
His next try on the dial lands on some alternative/heavy metal/Seattle GRUNGE ROCK.
Jason looks displeased, then reaches into a shoebox on the driver's side of the front seat and picks out a tape, which he flips into the cassette.
Suddenly, the air is filled with the SOUND of The Righteous Brothers "You've Lost That Lovin' Feelin'", and Jason bellows outs every syllable.
"You never close your eyes
Anymore when I kiss your lips
And there's no tenderness anymore
in you fingertips
You're trying hard not to show
But baby, baby I know it
You've lost that lovin' feelin'
Whoa that lovin' feelin'
You've lost that lovin' feeling
And it's gone, gone, gone
Whoa whoa whoa."
EXT. JASON'S SHELBY (MOVING) - DAY
The car drives down the road.
"Baby, baby, I get down on my
knees for you."
INT. A.A. CLUBHOUSE - NIGHT
A diverse group of A.A. MEMBERS--teenagers, senior citizens, bankers, bums, dedicated 12-steppers and one-time court- ordered drunk drivers--make up the group. Supportive posters adorn the walls.
Sitting among the people is Jason, still wearing the tweed coat.
Speaking at the podium is a middle-aged woman, CORA.
Hi, I'm Cora and I'm an alcoholic.
Hi. I'm sober a little over a
year now and I just want to thank
my sponsor. Thanks, Randy.
RANDY, a 30-year old with short hair, stands and blows a kiss to Cora while acknowledging the APPLAUSE.
Cora steps down from the podium and MICKEY, the Master of Ceremonies this night, a rough-hewn man with long, grey hair, wearing a leather jacket, takes the mike.
Thank, Cora. Congratulations
on one year and may you have many
more. Who wants to speak now?
Jason has raised his hand.
Yeah, Jason man, come on up here.
Jason strides to the microphone.
Hi, I'm Jason and I'm an alcoholic
and a drug addict.
Thanks. Hi. Listen, I've been
coming here a lotta years now,
and I don't speak a lot...'cause
I tend to talk too much when I
do...but what the heck.
I look around this room and I
see a lot of love, and a lot to
be thankful for. I see two of
my sponsors. Hi Bill. Hi Grady.
BILL, a middle-aged man with a beard, wears a Pendleton shirt
and waves at Jason.
GRADY, a bald-headed black man sipping a cup of coffee, follows suit.
It's been my privilege to sponsor
some of you in here.
I was pretty screwed up once.
I didn't realize it at the time,
you know. I got off to a bad
start with chemicals, in the sixties.
General knowing LAUGHTER in the room.
I thought I had all the answers.
Nobody could tell me a thing,
but over the years you learn a
trick or two.
As Jerry Garcia once said, "What
a long strange trip it's been."
A fat, BALD MAN chimes in.
"Truckin', I got my chips cashed
Yeah, right. Only maybe--maybe
I'm not ready to cash in my chips
just yet. Ya know, huh, ya know
it's time to quit when ya just
don't get it anymore. Ya know
what I'm sayin'?
The pain's greater than the pleasure.
The fun, the exhilaration of getting
and being high--it gets to be
no more, and it's replaced by...
Jason hesitates and gathers himself.
A despair you can't freaking imagine,
until you've been there. I know
a lot of you in this room know
exactly what I'm talkin' about.
Maybe you have to hit rock bottom
first. I don't really know.
There's no way Jose I was gonna
know, not 'til I experienced it
So thanks, and keep the faith.
Jason is teary-eyed as he leaves the podium amid APPLAUSE. He smiles and raises his arm in a clenched-fist salute as he moves to his seat.
INT. A.A. LOUNGE - NIGHT
Jason, Bill and Grady sit drinking coffee.
I'm tellin' ya, the Jayhawks are
goin' all the way this year.
Bill does a terrific Fred Sanford imitation.
Grady, as Fred Sanford would say,
They haven't had a legitimate
contender since Larry Brown left.
Come on, they're in the hunt every
It's one thing to be in the hunt
in the Big Eight Conference.
Goin' to the Final Four--that's
a horse of a different color.
Jason's attention is diverted to the end of the lounge, where a pretty woman, NATALIE, late 40s, wearing a conservative dress, her brown hair worn long in the back, speaks to an A.A. member in a cowboy hat.
Natalie's face is attractive, yet she has lines that cannot hide the fact she has lived her share of life. She has a
small pattering of make-up, but for the most part is naturally good-looking.
Natalie says good-bye to the man, then walks out the door. Jason follows after her.
Excuse me, fellas.
From Jason's P.O.V., Natalie walks towards her car, saying good-byes to a couple of people in the parking lot. She gets into a Honda.
Jason heads out the door.
Hey Jason, where ya goin'?
EXT. A.A. CLUBHOUSE - NIGHT
Jason stands, but does not walk towards Natalie's car. Two A.A. MEMBERS walk past him to the parking lot.
Oh, sorry, excuse me.
Jason watches Natalie as she starts her car up, then drives off.
INT. COFFEE SHOP - NIGHT
Jason sits by himself in a booth, a cup of coffee on the table, along with assorted newspapers, scholarly material and two books. He looks over a paper, a pen in his ear, when he glances up and Natalie, also by herself, enters and sits down at a booth.
Jason watches her--and watches--looks at his papers, then watches her some more.
Natalie accepts the menu from the WAITRESS and studies it.
Jason watches her some more. Finally, he screws up the courage to get up and approach her.
Excuse me, my name is Jason.
I saw you at the, uh, at the meeting.
I...spoke, at the...
Oh, yes, I remember.
What's your name?
She extends her hand and Jason gently shakes it.
Would you care to join me? I
have a booth in the corner.
Natalie thinks about it.
Well, uh...well, okay.
She gets up and calls to the waitress.
Um, excuse--yes, I'll be sitting
in the corner instead.
Jason hurriedly moves his piles of paper out of the way, fumbling with them, dropping some, while Natalie looks on with an amused expression. Natalie sits down, as does Jason.
What are you doing over?
I'm a professor. I like to come
here, grade papers, catch up on
You teach at Saint Mary?
A few seconds of awkward silence pass. Jason smiles at Natalie, who smiles stiffly, and averts his eyes.
Are you embarrassed I recognized
you from A.A.?
I, I...uh. I don't really know.
Maybe a little.
I haven't seen you before.
I only just started.
Do you have a sponsor?
No. I really don't...I don't
know if I need one.
Maybe you don't.
Aren't you going to preach to
me about drinking?
I thought all you A.A. people
preached the sins of alcohol.
Now I don't have anything to get
You can get defensive if you want,
it doesn't matter to me.
How long have you been sober?
How do you know I'm sober?
Because you talk up at A.A. meetings,
Some of the best drunks I know
like to talk at A.A. meetings.
So you don't care if I drink?
I have other things to worry about.
I feel like having a drink right
Natalie looks around.
Do they have a bar here?
There's one around the corner.
If you don't stop me there won't
be anybody to stop me-‑except
You have a point.
If I drink would that make you
want to drink?
Well, I wouldn't want to drink
Is that how you do it?
Act like you don't care, and that's
how you get people not to drink.
It seems to me, if you have to
go through all these histrionics
just to convince yourself it's
okay to drink, then you really
don't want a drink after all.
Of course I don't want to drink,
except I'm an alcoholic and I
I don't even know if I really
want to stop, or need to stop.
What would happen to you if you
started drinking again?
The waitress comes by.
What can I get you?
Oh, just some apple pie and coffee.
I guess I can do without a drink
one more night.
One day at a time, Natalie.
My weakness is old Bushmill's
Oh Lord. Old Bushmill's. The
preferred sipping whiskey of that
great Irish-American poet himself,
James Douglas Morrison.
Did you know that Jim Morrison's
father, Steve Morrison, was the
youngest Admiral in the U.S. Navy?
I can't say that I did.
Or that, when he was growing up,
Jim was so well read he'd put
on a blindfold and have friends
come by, pick any book of thousands
lining his walls, have 'em read
a passage from any random page,
and Jim invariably could tell
could tell you the title and author.
Is he your hero?
Well, no. I mean, Morrison rebelled
against The Establishment, and
I became a part of it. I loved
his music, I thought he was charismatic,
his intelligence you can't help
He's still your hero.
I can tell.
This is a small town. How come
I've never seen you before.
I moved here a year ago, from Lawrence.
I got divorced. I work part‑time
at a medical clinic. What do
Can I ask you a question?
I may need a sponsor. Would you
be my sponsor?
Sure, I'll sponsor you.
The look on his face says he may do more than that.
Natalie smiles, but says nothing. Jason smiles, too, and settles back with a satisfied look on his face.
In the meanwhile, two male PROFESSORS and one WOMAN PROFESSOR, from the college, have entered the coffee shop and are seated at a table on the other side of the room.
From the P.O.V. of the professors, Jason and Natalie sit and talk, while the professors observe them.
Isn't that Jason Crown over there?
Oh, God, that guy. He's the oddball
of the history department.
I understand he lives in his own
...Talks to himself. He was a
major drughead in the sixties.
I think he still gets acid flashbacks.
Weirdo, weirdo, weirdo.
He's a good professor, though.
Yeah, he keeps it together in
class, but behind his back the
students laugh at him. They never
know what he's gonna do next.
What do you expect?
What do you mean?
He's from California.
All three professors laugh.
That's not the half of it.
He's pretty darn lucky to have
a job, here or anywhere else.
The F.B.I. is supposed to have
a thick file on him. Major socialist,
"aid and comfort" type stuff during
Commie professor from California.
EXT. JASON'S HOUSE ‑ NIGHT
The house is a farmstyle, single story shake shingle home, with several trees dotting the property.
In the back of the house is an old barn with a large oak tree right next to it.
The house sits by itself, a good distance from his nearest neighbor, and a certain ghostly presence seems to permeate the very foundations of the house and, in particular, the barn.
EXT. JASON'S BARN - NIGHT
The barn has a large open door and several open windows. Lights shine out of the house and the barn.
INT. JASON'S BARN ‑ NIGHT
Jason shows his barn off to Natalie. The barn has been completely decorated, furnished and equipped with a modern sound system. It is virtually a recording studio, with elaborate posters of rock stars, bands and musicians adorning the walls. Speakers, wires, guitars, a piano-‑the old barn has been converted by Jason into a shrine to rock music--Morrison, Hendrix, Joplin, The Who, The Rolling Stones-‑it is a spectacular place and obviously his pride and joy, while he introduces Natalie to it's wonders.
This is my roadhouse. This is
where I come to unwind.
It's incredible. Where'd you
get all this equipment?
Here and there, mostly. It's
the one thing that links me to
my past. I sit in here for hours
and listen to music.
I've got as good a collection
of old music as you'll ever see.
Jason gestures to an elaborate storage bin of albums, tapes and c.d.'s.
You're really into this!
This place is my greatest pride
and joy. Listen.
Jason strides to the system, and plugs in a reel. Suddenly the crystal clear SOUND of Jimi Hendrix and the Experience fills
the room with "All Along the Watchtower".
Pretty good, huh?
It sounds like I've got a front
At Monterey, nineteen sixty-seven‑-
--When Hendrix went electric.
Very impressive, Natalie. You
know your rock history. I think
I'm falling in love.
Natalie says nothing, and shifts her eyes downwards, uneasily.
Well, I have to work tomorrow.
I'd better be going, but thanks
for showing me your roadhouse.
Thanks, also, for agreeing to
No problem. Let me see you out.
EXT. JASON'S HOUSE ‑ NIGHT
The lights shine brightly through the open windows of the house and barn. Natalie's Honda drives away.
EXT. JASON'S BARN - NIGHT
Hendrix' MUSIC fills the air, filtering clearly out of the barn and into the night. The MUSIC takes on an eerie, otherworldly SOUND as it resonates through the valley below Jason's house.
A hoot owl blinks and a fox stops to listen, and a rabbit
scurries along the path, while the MUSIC plays and seems to emanate from the very air itself.
A hawk soars through the night sky, seemingly carried by the inspiration of ROCK MUSIC. The prairie animals make up an odd audience for the rock concert coming out of Jason's barn.
EXT. JASON'S SHELBY (MOVING) ‑ DAY
Jason drives his Shelby Mustang, wearing shades and listening to "Do You Believe In Magic?", by The Lovin' Spoonfuls. He SINGS along with the words.
"Do you believe in magic
In a young girls heart...?"
Suddenly, Jason turns a corner, and standing in the middle of the road is Jim, the conservatively dressed black man from his history class, only now Jim is dressed in a sweatsuit and wears a headband.
Jim stands dead still in the middle of the street, and Jason is forced to hit the brakes. The Mustang comes to a SCREECHING halt. Jim stares straight at Jason.
Their eyes meet. Jason is stunned, sweating, shaking. Jim holds his stare into Jason's eyes, through the windshield, for what seems like forever, then finally walks around to the side of the car.
Jim, I could have killed you.
Why didn't you move out of the
I don't know. Scared I guess.
This Shelby's got a superior anti‑
lock braking system, huh?
A car HONKS for Jason to move on.
Need a ride?
No, thanks, I'm taking a jog.
I'll see you in class.
INT. OFFICE FOYER ‑ DAY
Two of Jason's STUDENTS sit outside his office, waiting to speak to the professor. They whisper to each other. One of the students names is HAROLD.
I hear Crown goes off the deep
end some times.
What do you mean?
Like, he howls at the moon, ya
know. He's a few cards short
of a full deck, for sure.
I hear stories about him, too.
He's just eccentric, an absent-
minded professor, you know.
At that moment the door to Jason's office opens. A female student, TERI, leaves.
Thank you, Professor Crown. I'll
have that report to you by Monday.
That's fine, Teri.
Jason glances at the two students.
Harold, come on in.
Harold gets up, gathers his books and backpack, and strides into Jason's office, the door closing behind him.
INT. JASON'S OFFICE
Jason and Harold sit across Jason's desk.
So Harold, I'm sorry we haven't
had a chance to get to know each
other very well, but my class
gets larger every semester.
Everybody wants to take your class, Professor.
Why do you think that is?
I don't know. I mean, it's a
good class, but I think most of
the students are, you know-‑curious.
Curious about what?
Well, you know.
You mean they want to be there
when I come apart at the seams.
Well, no, I don't mean that exactly.
Jason is relaxed. Harold perspires.
Relax, Harold. I know people
talk about me and I know what
they say. A lot of what you hear
is actually true. I did a lot
of drugs in Berkeley.
I was a radical. Some people thought
I was a Communist.
Whoa, I never met a real‑life
I was what Lenin used to describe
as a "useful idiot." I thought
our government should be brought
down because I didn't believe
what they were doing was right.
We were all pretty excited back
then. I think I was wrong. I
see that now.
Did you ever trip acid?
I've never had a teacher who,
like, admitted to a student all
the weird stuff he did.
I'm here to teach, and to help
any way I can.
You're a cool guy, Professor Crown.
So are you, Harold.
INT. CLASSROOM ‑ DAY
The class has not yet started. A CLASS MEMBER, Harold, Mojo, Jim and J.J. sit, waiting with Jason's students for the class to begin. Mojo, Jim and J.J. do not sit next to each other. The students are gossiping. The class member leans over and speaks to Harold.
The lights are on, but nobody's
You hear stories, but when you
talk to him one‑on‑one he's a
sharp dude. He's like a creative
genius or something.
At that moment, Jason enters the classroom wearing his usual tweed jacket and jeans. He strides to the front of the crowded class and begins addressing his Students.
Okay, today we're going to start
our review for next weeks' mid‑
term exam. Remember that the
theme of this class is tying various
historical events with each other,
so that means we never come to
a subject, discuss it and move
on. It means that we find historical
events and movements, find analogies,
similarities, lessons to be learned,
always understanding that the
past must be remembered if we
hope to learn any lessons from it.
EXT. JASON'S BARN ‑ NIGHT
The windows are open, and lights stream through. In the nearby woods, a coyote perks up to the SOUNDS of Buffalo Springfield's "For What It's Worth".
EXT. FARM - NIGHT
A cow on a farm some distance from Jason's house MOOS, seemingly in agreement with the LYRICS being sung by Neil Young.
EXT. PRAIRIE - NIGHT
The vast emptiness of the Kansas Prairie surrounding Jason's farmstyle house on the outskirts of this small town seems to ECHO and REVERBERATE with the sounds, like a giant amphitheater, and the various animals inhabiting the woods and farms are curious concertgoers. The sky above sparkles with beautiful stars.
INT. JASON'S BARN ‑ NIGHT
Jason sits in an easy chair, listening to Buffalo Springfield, seemingly wrapped up in the MUSIC. He smokes a cigarette and drinks coffee. It is obvious from the expression on his face that the music he listens to is not just entertainment, but rather something spiritual to him. It has meaning in it's lyrics, a mantra that holds a special place in this mans' heart and soul.
Suddenly, Jason turns the music down a bit, picks up the phone and dials Natalie's phone number.
INT. NATALIE'S LIVING ROOM ‑ NIGHT
Natalie answers the phone.
Hi, Natalie, it's Jason.
I was wondering how you were doing.
Did you decide to take that drink?
Do you want to come over?
Yeah, right now.
Well, okay. I'll see you in half
INT. JASON'S BARN ‑ NIGHT
Jason hangs up the phone and smiles to himself, turning up the lyrics of Buffalo Springfield up a little:
"Any girl in the world could have easily known me better She said you're strange, but don't change, and I let her."
INT. NATALIE'S KITCHEN ‑ NIGHT
Natalie hangs up the phone. A large bottle of Old Bushmill's sits next to a waiting glass on the table. Natalie stares at the bottle for several seconds, then, finally having won this particular battle, places the cap back on it and puts the bottle away.
INT. BARN WET BAR ‑ NIGHT
Natalie and Jason sit on the couch, watching a video on the v.c.r. of Easy Rider. The scene depicting Jack Nicholson drinking out of the bottle and doing his chicken imitation is on.
This is about you, in a way, isn't
Can I ask you a question?
What made you quit drinking and
Drinking and using is about "getting
it." When you don't get it anymore,
then it's time to stop.
Pleasure. Courage. Social lubrication. It's about how you need it, look
forward to it, and like it!
When that ends, and all that's
left is misery and regret, then
you gotta quit. You know what
I think you still "get it" too
much to quit. You like the feeling
you get from it too much, still.
Jason, I need your help. I'm
an alcoholic, like my father,
my mother and my brother. I can
see it coming on and I need to
stop before it gets worse.
Only you can stop. I can't force
you to stop. You may need to
hit rock bottom before any of
this really sinks in.
Why do I have to hit rock bottom
first? I'm asking for your help
now, before it gets worse. Why
can't you see that and help me?
I'm not gonna try to hide you
I do have some advice for you.
I think it would be in your best
interests to very passionately
kiss me, right here and right
With that, Jason looks into Natalie's eyes, and very tenderly leans over and gently, yet forcefully, begins her. Their arms intertwine. Things are looking pretty good for Jason when-‑
Jason disengages himself, obviously cut off in mid-stride.
It's not like that, Jason.
It could be, Natalie.
I need your strength, Jason, but...
my feelings...aren't like...
Causes Steven Travers Supports
Conservative, Christian, USC, American patriotism