The Doors Page #3

VOICES:

Oh c'mon man, give it a break. Boo!

Beatniks go home! Take another

mushroom...

A cacophony of voices, critics, emotions blend out over Jim's

quiet eyes.

INSTRUCTOR:

HOLD IT DOWN!!... Mr. Morrison --

what are your feelings?

JIM:

I quit.

(walks out)

EXT. TURKEY JOINT WEST - NIGHT

JIM, BONES, TRICK, JACK approaching the bar. MUSIC of "GLORIA"

blasting from the door, CHICKS popping in and out, definitely

college crowd circa '65.

TRICK:

(to Jim)

Hey man whatdya expect, an Oscar?

BONES:

You can't quit, you gotta voice.

People can't dig cause they don't

understand yet.

JACK:

If you're an individual, if you're

too good, they wanna cut your dick

off. Look what happened to Orson

Wells.

TRICK:

You quit now, they'll yank your

deferment in no time and they'll get

you for Vietnam man. Three more months

you graduate.

BONES:

Be cool, you never learned f***in

patience Morrison, you want everything

at once.

NICK:

They didn't get it. So make your

films and f*** what they think.

JIM:

You know what I think?

He slows, a dramatic young lion pose, surveying the girls.

BONES:

Yeah whadday you think?

JIM:

You really want to know what I think?

The cronies wait, anticipating something inescapably evil to

escape his lips.

BONES:

Yeah yeah, whatddaya think?

JIM:

I think we gotta get really ripped!

INT. TURKEY JOINT WEST - NIGHT

Tall bespectacled RAY MANZAREK is banging out GLORIA on the

piano in bad Jerry Lee Lewis style.

RAY:

I tell you bout my baby 'bout five

foot four from head to toe She came

to my room Just 'bout midnight She

makes me feel so good She makes me

feel alright

Camera moving to reveal JOHN DENSMORE wiry, solid on the

drums... moving on to ROBBIE KRIEGER, wispy, ethereal looking,

the youngest, flamenco-type moves on his early electric

guitar. Also a HARMONICA PLAYER and a BASE. They all seem

slightly embarrassed by either the cheap sound system feedback

or Ray's warbling, but the crowd couldn't care less -- a

German beerhall, they want noise and sex.

JIM and his GANG, beers in hand, mouth back the words, beers

everywhere shoved to the smokey ceiling, everyone on their

feet, nuts with spring fever. Jim eyeing the GIRL next to

him.

JIM:

You know what I'd like to do to you?

GIRL:

(waiting, intrigued)

No what?

JIM:

You really want to know what I'd

like to do to you?

GIRL:

What!

The FOOTBALL TEAM TYPES edge over nearby, one of them picking

out Jim with a glare.

JIM:

(whispering)

Wanna hear the scream of the

butterfly...

She looks puzzled by the suggestion.

FOOTBALL PLAYER:

Hey Morrison!

JIM:

(eluding the man)

Can we have a couple of beers. You're

not even an a**hole man -- you're a

semihole.

He evades the football man's grasp, elusive physicality. He

hops over tables, heading for the stage. Other KIDS are up

on the stage dancing, but Jim goes right up alongside RAY,

shaking his hips like Elvis. Ray giving him the mike. Improv

time.

JIM:

(singing)

She came to my room

She came on my floor

She came on my bed

She came on my face

Ooooooh I want to wrap your legs

around my head baby baby and her

name was Gloria

They love it. The place going wild. The girl with the football

player wanting him.

INT. RAY'S CAR - FREEWAY - NIGHT

JIM is insane on beers in the back seat, reaching over the

wheel to try to drive the car for RAY who is flailing at

him. Jim pulling Ray's hair...

JIM:

(barely comprehensible)

HA HA HA HA HA! COME ON, LET'S DRIVE

TO MEXICO MAN. TIJUANA. LET'S GET

LOST!

Jammed into the sedan are TRICK, BONES, ROBBIE, JOHN...

RAY & ALL

COOL IT JIM, COME ON COOL IT.

JIM:

FREEDOM!!! DON'T YOU KNOW YOU'RE ALL

SLAVES!

As he winds down the window and starts crawling out of the

car. Heavy traffic. Ray weaving to avoid another vehicle.

Honking horn.

JOHN:

HE'S GOING OUT! HE'S GOING OUT!

TRICK:

HE'S GONNA JUMP!

RAY:

GET HIM BACK IN!

His waist is out the window, John and all grabbing for his

heels.

EXT. SPEEDING CAR - NIGHT

SPECIAL EFFECT:
JIM's head six inches from pavement moving

at 60 mph through heavy traffic. Screaming, laughing like a

maniac. Beeping horns all over the place.

JIM:

DEATH OLD FRIEND!!

In the car, madness, raging chaos, the four boys pulling him

in.

EXT./INT. PAMELA'S HOUSE - VENICE CANAL - THAT NIGHT

Night. Shadows. A tree. A figure moving.

JIM:

(SONG)

Awake!

Shake dreams from your hair, my pretty child my sweet one

Choose the day and choose the sign of your day

The day's divinity the first thing you see

Jim slides her upstairs' door open, crawls in next to her

bed. She's asleep with her boyfriend. He touches her toe.

She awakes, startled.

JIM:

Come on, come out for a walk, it's a

pretty night.

PAM:

You're crazy!

EXT. VENICE CANALS - NIGHT

JIM and PAMELA moving along the byways. A clear starry

California night.

JIM:

(SONG)

A vast radiant beach

And a cool jewelled moon

Couples naked, race down by its quiet side

And we laugh like soft mad children

There's a crash. They turn bristling.

A COYOTE lurks under the sickly light of a streetlamp, pulling

its head from an overstuffed garbage can, looking back at

them.

EXT. VENICE BOARDWALK - NIGHT

Fires on the boardwalk. Hippies, Bums, Older People. JIM and

PAM move through talking, skipping, touching like children.

JIM:

(SONG)

...smug in the wooly cotton brains of infancy

The music and voices are all around us

Choose, they croon, the ancient ones

The time has come again

EXT. VENICE BEACH - NIGHT

The two of them race down by its side, slowing to a walk.

His [...] loved orphan voice.

JIM:

Can I stay with you tonight? We could

talk 'till dawn. I just don't want

to be alone.

PAM:

(hesitant)

Okay... just talk though. No funny

stuff.

JIM:

Okay. I promise.

PAM:

I've been real upset. I lost my car

on the freeway yesterday. I left it

somewhere and I can't remember where

and when I went back it was gone. My

sister...

JIM:

I bet you never expected life could

be this hard.

(strokes her hair

affectionately)

And you're still so young.

She breaks into sobs, seeking his arms. He hugs her.

JIM:

I wonder where we'll be ten years

from now?

PAM:

I really don't want to know

JIM:

Come on.

JIM:

(SONG)

Choose now, they croon

Beneath the moon

Beside an ancient lake

Enter again the sweet forest

Enter the hot dream

Come with us

Everything is broken up and dances

EXT. VENICE BUILDING - NIGHT

Their silhouettes mount the fire escape of a jagged old

structure overlooking the boardwalk.

EXT. VENICE ROOFTOP - NIGHT

PAM glancing through Jim's notebooks as they sit on his

sleeping bag with a lantern and bunsen burner, overlooking

moon, ocean, scudding clouds and a vast forest of television

antennas. Fires burn from the beach.

In the notebooks, at intervals during the conversation, we

see powerful sketches colored in visionary hallucinogenic

William Blake mode with writing between. Books are everywhere --

panning Kerouac, Ginsberg, Nietzsche, Rimbaud, Mailer, Artaud,

mythological works, shamanistic books, a library of stolen

ideas.

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