narrator:「INT. BEDROOM - SAME NIGHT
 A quieter room, drugged out, the PR GUY cheerily leading JIM, stepping over SLEEPING BODIES, over fur coats strewn across the floor... to a MAN with white hair like a circus clown, his back to us, talking with some black-tied EUROPEAN ARISTOCRATS looking so cool.
 WARHOL Well, it was such a big opening, we just had to go to Philadelphia, y'know, you were supposed to, mmm...
 PR GUY (butting in) Andy! Andy!
 ANDY turning at the interruption. He looks like a chic voodoo doll. Holding an incongruous gold telephone in his arms like a teddy bear.
 Slightly SLOW MO as Warhol's black empty eyes confront Jim -- a pit of nothingness in them, amnesia, death. In Jim's SLOW MOTION reaction we read what he sees. Andy going on with his story, to the group that includes TOM BAKER.
 ANDY ...but so many people showed up, the paintings were getting crushed, so they took them all down... um, it really looked great y'know... maybe uhhh... (long pause)
 PR MAN (cutting in) ...the walls. The blank walls. Andy was the art. Should do a show. Just walls. Today it's really about people, not what they do. It's the astronaut that matters, not the voyage, the actor, not the movie -- how do I say, it's the trip, not arriving.
 Andy is looking at Jim. Jim at Andy.
 PR MAN (babbling on) ...you know what Andy says, some day everybody's gonna be famous for 15 seconds, but it won't mean anything.
 BAKER That's too short. I need a coupla hours.
 They laugh. Andy's eyes hidden, face as white as styrofoam.
 ANDY We'd just love to have you in our movies Jim, you're so beautiful, you'd be so good, you mmmm, here... this is for you Jim.
 Andy shows his eyes, gives Jim the gold telephone he's carrying.
 ANDY Edie gave this to me and said mmmmm, I could talk to God with this. But I don't really have anything to say. So... mmmm now you can talk to God. Oh hi!
 Vanishes, waving to somebody else. Jim holding the phone.
 DOORS SONG Strange days have found us And through their strange hours We linger alone
 Nico reappears waving at him to come quickly.
 NICO Morrison!
 EXT. NEW YORK STREET - NIGHT (WINTER)
 SNOW on the streets... a group of DRUGGIES staggering in the snowbanks, throwing snowballs, stupid giggling, wheezing puffs of cold air...
 Jim throws the golden telephone into the trash and pees on it.
 IRIS SHOTS continue -- PAMELA laughing battily with TOM BAKER who's putting the make on her... The COUNT is on heroin.
 JIM passing a vodka bottle back and forth with NICO hitting a stash of ups. They fall in the snow, mad Russian winter.
 DOORS SONG Bodies confused Memories misused As we run from the day To a strange night of stone (SONG REPEATS OVER)
 INT. HOTEL CORRIDOR (REGENCY) - THAT NIGHT
 BLACK & WHITE IRIS SHOTS continue -- imagistic, disassociative.
 A LONG CORRIDOR -- COUPLE staggering down the red carpets, champagne bottles in hand. The COUNT gets lost.
 PAM laughing -- suddenly alone, notices, goes looking for Jim... floating down this endless corridor with white doors and red carpet.
 INT. ELEVATOR
 NICO stripping... a superb body... riding the floors...
 Jim taking an amyl nitrate with her... laughing... Nico with that crazed German laugh... PAMELA pushing the elevator buttons wildly...
 The elevator opening on her. From Pamela's POV -- Nico down on her knees, her blonde head buried in Jim's leather pants... Jim pinned against the back wall, smiling dopically, eyes barely registering Pam... who screams loud and long, hiding his eyes... not wanting to know... The images faster and more fragmented: Pam beating at Jim wildly. He's laughing. Nico's laughing. The Aristocrats in the hallway are laughing. The world is laughing with its madness.
 DOORS SONG Strange days have found us Strange days have tracked us down
 INT. NEW HAVEN CONCERT HALL - NIGHT (1967)
 An eager rowdy CROWD chants DOORS! DOORS! DOORS! DOORS! to a stage without the Doors. TECHIES are moving amplifiers, running sound checks, stalling time, the MANAGER SIDDONS gauging the crowd, nervous. RICH GIRLS and LOCAL HONCHOS have backstage passes. COPS crawling over the stage, the PROMOTER of the concert trying to get the crowds attention.
 TECHIE (at mike) Testing one-two-three. Testing.
 PROMOTER (on mike) Look, the Fire Marshall's not gonna let the show go on. Either you go back to your seats, you go to the aisle, you don't do that -- no show!
 CROWD (pushing towards stage, no aisles) DOORS! DOORS! DOORS! (turning to) MORRISON! MORRISON! MORRISON!
 INT. BACKSTAGE CORRIDOR - SAME NIGHT
 The SOUNDS of the CROWD pound thru the hallway. CAMERA following JIM reading a magazine article, accompanied by PATRICIA KENNEALY -- past the TECHIES, turning to look -- they go into empty SHOWER ROOM.
 INT. SHOWER ROOM - SAME NIGHT
 The Crowd NOISE still carries, echoing. JIM leads PATRICIA to a quiet, isolated stall where they can be alone. Tapping the magazine, sincerely moved by what he reads.」


Jim Morrison:「Lord Byron"? Really. You think? You like the poems?」
PATRICIA:「Like? I loved them! "Mad bad and dangerous to know." That's what they said about him. Your poems should be taken as seriously.」
Jim Morrison:「These are the kindest words I've ever heard in my life. No one has ever understood. Thank you. (then) Maybe I should always fuck my critics.」
PATRICIA:「Y'know I don't even like rockers. They're sleazy. I made up my fuck list the other night -- out of 30 guys there were maybe three of them, y'know. I'm not a groupie.」
Jim Morrison:「hotter, grabs her) Let's do it, here, now... with the sound of the crowd. Like Nuremberg, wild German fucking.」
PATRICIA:「You like that hunh? Beg!」
Jim Morrison:「I'm begging! I'm begging you!」
PATRICIA:「You wanna fuck me, Morrison, don't ever lie to me again. Ever!」
Jim Morrison:「About what!」
PATRICIA:「Your father. Why do you tell me bullshit like your father's dead?」


Jim Morrison:「pissed) What's your problem with fathers! They're dead, both of them, I told you.」
PATRICIA:「If he's so dead, then who answered the phone when I called the house?」
narrator:Jim -- a look, struck.
PATRICIA:「knowing look) You didn't really think you'd get away with that, Morrison. An Admiral in the United States Navy. Who's at the Gulf of Tonkin when Vietnam starts. Your Dad's a Deputy Chief of Operations.」
Jim Morrison:「What'd he say? That was really stupid. Why didn't you just ask me.」
PATRICIA:「Well naturally he wasn't too happy when I called. Your Mom wanted to talk but he shut her off.」
Jim Morrison:「You're a fuckin' cunt. You could ruin his career if...」
PATRICIA:「What, I'm a "fuckin' cunt" because I called the house? Like it's hard to trace your school records. University of Florida, Albuquerque, New Mexico, Arlington, Virginia, Washington, D.C. Brother, sister, it's seven miles long baby -- it's all in the "The End", it's so easy.」
narrator:Fingering his pants, her hand slips inside. Teasing, dominating him. Her dark side radiant.


PATRICIA:「Don't ever try to hide anything from me again. Okay? Go on... tell me. Did he make you cut your hair? Did he hit you, was he a bully? Did he love you? How much?」
narrator:Jim describes a small space between thumb and forefinger.
PATRICIA:「And your mother?」
narrator:Jim makes a little larger space.
Jim Morrison:「pause) I don't want to talk about it. Hate is a very underestimated emotion.」
narrator:His look is right at her. Silence. Patricia knows he won't talk. Through the pause we hear the crowd chanting, bigger and bigger -- "MORRISON MORRISON MORRISON!" She's excited, wanting to make love here, now. He's cooled out, however.
PATRICIA:「It doesn't matter anymore does it. Listen to them. It's you they want now. Not the Doors, not your mother or your father's child... They want you Jim.」
narrator:Jim shakes his head, weary. Suddenly he's scared inside.
Jim Morrison:「You're wrong. What they want I can't give... my death -- ripped to pieces -- do you feel their power? (the noise pounding)」


PATRICIA:「You have no choice, Jim. I see you up there like Icarus. I see you flying closer and closer to the sun. And your wings are melting...」
Jim Morrison:「I want to live, Patricia. I don't wanna die.」
narrator:Jim's ironic eyes, to the ceiling. Laden with a power to which he has married himself yet brave, resisting as she pulls his zipper down and goes to her knees in front of him. Shaking his head.
Jim Morrison:「Patricia... Patricia...」
narrator:A beefy COP stands there looking at them,
 COP Whatcha doing there?
Jim Morrison:「Uh... nuthin'」
narrator:COP (approaching, suspicious) Okay, outta there both of you. No one's allowed backstage. Let's go.
PATRICIA:「You idiot, don't you know who...」
Jim Morrison:「Hey, I'm with the band man. It's cool. Take it easy.」
narrator:THE COP has no patience, grabs JIM by the arm and pulls. JIM shoves him off. THE COP pushes back. A shoving match.
 COP Let's go. NOW! You're both under arrest.
Jim Morrison:「pointing to his crotch, angry) Hey, eat it man!」


narrator:The cop whips out a black can from his belt, sprays Jim.
Jim Morrison:「Mace! Shit! (in pain)」
narrator:Patricia screaming at the COP grabs JIM, propelling him violently out the stall of the bathroom.
 INT. BACKSTAGE CORRIDOR - SAME NIGHT
PATRICIA:「Help! They got Jim!!!」
Jim Morrison:「Why'd you blind me man? You blinded me!」
narrator:SIDDONS and RAY running up with ROADIES and OTHERS.
SIDDONS:「What the hell happened! (to Jim) Don't touch Jim. Get some water. Don't touch your eyes.」
Jim Morrison:「in pain) I BEEN BLINDED MAN. I BEEN MACED.」
narrator:COP (realizing) Hey all he said was...
SIDDONS:「He was WHAT! He's Jim Morrison for chrissake. Jim, Jim -- you okay -- let's get you under the water here. Don't touch, you'll be okay.」
narrator:COP 2 comes up.
 COP 1 I'm going to have to issue a warrant for his arrest.
SIDDONS:「Are you NUTS! (blocking them)」


narrator:JIM guided back into the shower stall by his entourage, eyes blind as Oedipus, starts to laugh. A black Irish laugh.
 Ray looking on PATRICIA in the hallway. A beat, senses what happened.
RAY:「Why don't you leave him alone lady, he doesn't need more shit in his life.」
PATRICIA:「What do you know what Jim needs?」
narrator:A precise military Drum Beat hits as we launch into "The Unknown Soldier".
 DOORS SONG ...Hup two -- three -- four... COMPANY HALT!
 INT. NEW HAVEN STAGE - THAT NIGHT
 THE DOORS on stage, JIM - eyes masked, facing death at a mock execution, in full black leather armor.
 DOORS SONG Present arms!...
 The famous drum roll, tension building. Sudden sound of guitar. Jim crumples to the ground. Blood shooting from his mouth.
JIM & DOORS:「Make a grave for the unknown soldier Nestled in your hollow shoulder The unknown soldier Practice as the news is read Television children dead Bullet strikes the helmet's head It's all over The war is over!」
narrator:The audience is enrapt. Jim suddenly jumps up, looses the blood curdling scream of an aroused demon and the band bangs into Willie Dixon's BACK DOOR MAN.
JIM & DOORS:「OH YEEEEAAAAHHHHHHHHHH! AYYYYYYAAAAAMMMMAAA BACK DOOR MAN.」
narrator:The FANS go wild, to the farthest reaches of the arena, as he grabs his crotch and shakes it at them. INSTAMATICS flashing rapidly as the KIDS press forward at Jim fondling the mike stand, sliding up and down its smooth shaft.
JIM & DOORS:「Well the men don't know But the little girls unnerstan'...」
narrator:Joints sail onto the stage at his feet, ready to be smoked. A TEENAGE BOY & GIRL make a break thru the cordon of COPS at the front of the stage, heading for Jim. The Cops chase them down mid-stage, and wrestle them back to the edge -- throwing them back into the audience.
JIM & DOORS:「When all the good people are trying to sleep I'm out there making my midnight creep Yeah, cause I'm a backdoor man The men don't know But the little girls unnerstan'...」


narrator:Danger fills the air, electric. Jim strutting, Indian like, up to one of the Cops, whipping off his hat and flipping it to the Crowd, which roars with approval. A couple Cops looking at Jim, sensing they're being challenged but not sure how. They shuffle and look offstage for direction. Their apparent impotence brings redoubled jeering from the Kids.
 RAY, next to his stick of incense on the organ, shares a look with JOHN as they head into the instrumental break in the song. There's something different about Jim -- more demonic, more driven -- a spirit has taken him over.
 RAY'S POV -- JIM catching his look, but no recognition in those eyes. They're dark pools, like Warhol's eyes. He turns away, taking the mike and off the cuff rapping improvisationally with the backbeat, keeping poetic meter.
Jim Morrison:「I wanna tell you 'bout something that happened just a few minutes ago right here in New Haven. This is New Haven isn't it? New Haven, Connecticut, United States of America?」


narrator:The CROWD yells in acknowledgement, one stoned TEENAGER naked from the waist up and ripped on beer, yelling out.
 HECKLER HEY MORRISON, is the West really the best or are you just stoned on weeeeeedddddd??????
 VOICE'S (annoying) "Light My Fire". Sing "Light My Fire". Yeah. Give us Light My Fire!... (giggles) We want Mick Jagger! Take your clothes off Jim. Show it to us! We want the Lizard King!
 Jim ignores it, sits on the stage, lights a cigarette. Long pause, tension building. Their catcalls for "Light My Fire" die out as Jim faces them down. They wait... not knowing what happens next.
Jim Morrison:「finally) Well I was with this girl backstage, y'know. We got to talking and we wanted some privacy, so we went into this shower stall. We weren't doin' anything y'know jes' standing there and talking.」
narrator:The AUDIENCE laughing, the band continuing to play, John adding emphasis to Jim's words with various shots and rolls. Camera moving over the crowd picking out the KIDS, sensing the anarchy dormant in their faces.
Jim Morrison:「and then this little man came in there, this little man in a little blue suit and a little blue cap...」


narrator:More COPS turning to face Jim from front stage, getting the point now. RAY sees it coming...
Jim Morrison:「redneck voice) And he said -- "Whatcha doin' there?" I said, "nuthin'" and he said, "Well you better get outta there or..." "Or what" I asked him...」
narrator:The AUDIENCE has now grown deadly silent. Nearly every cop is facing JIM as he uses his dumb Southerner voice. RAY's eyes warning JIM.
Jim Morrison:「And he started pushing me and I pushed back and he didn't like that so he reached back there and got out his little can of mace. And sprayed it right in my eyes. And blinded me. Why? Cause I was alone in a room with a lady doing what he would like to be doing if he could ever get it up without a gun.」
narrator:The LIGHTS coming on suddenly, the AUDIENCE seething. Shouts of "Fuck em! Right on!"
Jim Morrison:「In the United States of America. Land of the free. Home of the Brave man -- in God We Trust right? TURN OFF THE LIGHTS.」


narrator:CROWD roars. A POLICE LIEUTENANT in his 50's, grey hair, beefy, marches out onto the stage, standing next to Jim, arms akimbo. A SECOND COP joins him.
 Ray rolling the music out into a silence as Jim sticks the mike in the officer's face, defiantly.
Jim Morrison:「Say your thing man!」
narrator:More cops come out, snatch the microphone, as Jim flashes the audience a "touchy aren't they?" shrug.
 LIEUTENANT Young man you've gone too far. The show's over. You're under arrest.
 TWO more COPS moving on Jim, pinning both his arms and dragging him off stage.
JOHN:「scared) They're gonna beat the shit out of him man!」
narrator:RAY moving to intercede with SIDDONS and ROADIES.
Jim Morrison:「resisting) HEY... HEY! HEY!」
narrator:Ray and Siddons are pushed aside by other cops. The crowd is going nuts. Chairs are thrown. Kids rushing onto the stage where the Cops beat them back.
 ANNE is writing it all down on her notepad. A certain satisfaction and joy at the unfolding of this event.
 INT. BACKSTAGE STAIRCASE - SAME NIGHT
 JIM is dragged roughly down a flight of stairs.


Jim Morrison:「GET YOUR HANDS OFF ME SLAVE!」
narrator:EXT. ARENA PARKING LOT - SAME NIGHT
 JIM is wrestled across the lot, pinned to the car and handcuffed, punched and thrown into the car, yelling. Journalists try to intercede, one is also arrested.
Jim Morrison:「YOU'RE SLAVES. YOU'RE ALL A BUNCH OF SLAVES. THIS ISN'T HAPPENING TO ME MAN, THIS IS HAPPENING TO YOU!!!」


narrator:INT. HOLDING ROOM - POLICE STATION - THAT NIGHT
 JIM is spreadeagled against the wall, a dignified, defiant look on his face.
 COP 1 (coming in) Hey whatcha got here? A boy or a girl?
 COP 2 (coming closer to Jim) What do you care. You're gonna fuck him anyway... Okay rock star, let's see the backdoor you keep bawling about. (stretching his ass cheeks) Where's the roach powder?
 COP 1 Ain't he the prettiest long-haired boy y'ever saw?
 COP 2 (reaching for a can) Turn around rock star.
 As Jim defiantly does so, Cop 2 looses a big cloud of roach powder into his long hair.
 COP 2 (backing off) Stand clear, who the hell knows what's living in there?
 All during this, snickering laughter from the onlooking half- dozen POLICE OFFICERS gathered to watch. Jim waits, then with great claim, in a quiet voice:
Jim Morrison:「You finished? You sure you're finished? Haven't you forgotten something -- the consolation prize they gave ya for taking your cock and balls? The guns. Why don't you use em you withered dicks! You shit- eating red-neck chickenshit bastards, I hope this makes your worthless lives...」


narrator:As he's smacked by COP 2, sending him sprawling into the wall...
Jim Morrison:「on the floor, quiet) You better kill me cause I'm gonna come back and fuck everyone of your daughters...」
narrator:EXT. POLICE STATION - THAT NIGHT
 A SNOWBALL smashes against the glass. COPS coming out with sticks.
 A RIOT brewing. A HUNDRED TEENAGERS sallying back and forth on the sidewalk, taunting the cops. A dozen of them have already been arrested.
 KIDS LET JIM GO!!! MORRISON! MORRISON! WE WANT MORRISON!
 COPS GET OUTTA HERE! GO HOME. GO ON NOW!
 COPS chase the KIDS with sticks. But just as it looks like it's going to get out of hand, JIM appears at the doors of the station, stepping out between RAY and the DOORS and SIDDONS. He signals his freedom, arms in the air.
 CROWD MOR-RI-SON! MOR-RI-SON! MOR-RI-SON!
 Jim waves, does a small pained victory jig in front of the thwarted Gestapo, ribcage and spleen hurting.
 CROWD JIM JIM JIM JIM JIM JIM...


RAY:「aside to Robbie) He could go all the way man! In five years he could be in the White House. Another JFK.」
narrator:Robbie's look tells us he thinks Ray is as much caught up in his dreams as Jim.
 CUT TO:
 FLASHBULBS hits us full frame as:
 INT. MUG SHOT - LIMBO
 A reminder of the reality as the thud of a clanking gate shuts. MORRISON's profile, disheveled hair -- he glares angrily.
 FLASH!
 FRONTAL SHOT, slated Police Dept -- New Haven Conn -- 23750 -- 12-10-67. A sullen handsome portrait.
 INT. RECORDING STUDIO - (LAST SESSION) - LOS ANGELES NIGHT (1970)
 JIM drinks... an ugly cough. Silence. In this puffy wrack and ruin there is still the ironic tones and sweet delight of the boy amazed and amused by it all. We hear the ghostly CROWD still cheering.
Jim Morrison:「I drink so I can talk to assholes. This includes me. Let's just say I was testing the bounds of reality -- that's-all -- I was curious... I kinda always preferred to be hated. Like Erich Von Stroheim in the movies... the man you loved to hate... it's meant to be ironic, courage wants to laugh. Y'know it's essentially a stupid situation. I go out on a stage and I howl for people. In me they see what they want to see -- some say the Lizard King, whatever that means, or some black-clad leather demon whatever that means... but really I think of myself as a sensitive, intelligent human being but with the soul of a clown which always forces me to blow it at the most crucial moment... (pause) a fake hero... a joke the gods played on me... it's okay, I accept the joke... and smile. Death old friend, death and my cock, I can forgive my injuries in the name of wisdom, luxury, romance. Words got me the wound and will get me well. All join now in lament of my cock, a tongue of knowledge in the feathered night. Boys get crazy in the head and suffer. I sacrifice my cock on the alter of silence.」


narrator:The ENGINEER looking at him puzzled. Has Jim lost it? MIKE, his friend, is there in the Engineer's booth, with the Door's SECRETARY, Leticia, and an elegant MYSTERY WOMAN. They're smoking dope, partying.
MIKE:「Hey Jim, how 'bout hitting a strip- joint? It's getting late and we can...」
Jim Morrison:「Nah, later...」
narrator:The violent backbeat of THE WASP now picking up.
Jim Morrison:「Now listen to this I'll tell you about Texas Radio and the big beat soft driven slow and mad like some new language reaching your head with the cold sudden fury of a divine messenger let me tell you about heartache and the loss of God wandering, wandering in hopeless night out here on the perimeter there are no stars out here we is stoned, immaculate... but I tell you this: No eternal reward will forgive us now for wasting the dawn.」


narrator:「EXT. LOS ANGELES - DAWN (1968)
 JIM walks the dawn streets. Classic image -- jeans, boots, jacket, the sun starting to rise on the smog and translucent pink light along Santa Monica Boulevard outside the cheap Alta Cienega Motel where he lives... PEACE FROG shoots us through.
 DOORS SONG Blood in the streets in the town of New Haven Blood stains the roofs and palm trees of Venice Blood in my love in the terrible summer The bloody red sun of phantastic L.A.
 Over the SONG, a MONTAGE of the 60's passing to its darker side.
 DOCUMENTARY IMAGES
 MARTIN LUTHER KING assassinated, BOBBY KENNEDY gunned down, PEGGY FLEMMING ice skating at the Olympics; A QUAKER burns himself to death protesting the war in Vietnam; B-52 bombs dropped on CAMBODIA; KENT STATE erupts; CHARLES MANSON is arrested.
 INT. BARNEY'S BEANERY - LOS ANGELES - MONDAY
 JIM -- drinking in Barney's Bar.
 HEADLINE READS:
 KANSAS COPS SLAM DOORS; CONCERT CANCELLED," 2nd HEADLINE: "DOORS 3RD ALBUM OUT, SALES UP, MAGIC DOWN."
 Dissolve to CRITIC'S FACE. Back to Jim's face. Superimpositions over it of:
 NEWS FLASHES
 LYNDON JOHNSON's dog face on TV withdrawing: NIXON waving as he wins '68; Rowen and Martin's LAUGH IN; COLUMBIA STUDENTS taking over; 3rd HEADLINE: "MORRISON BUSTED IN VEGAS". MARTIN LUTHER KING going down again; NIXON winning; massive ANTI- WAR PROTESTS in Washington; floating space ships in "2001"; B-52s sailing over Vietnam 4th HEADLINE: "DOORS PROVOKE CHICAGO RIOTS" -- again and again, faster, faster.
 DOORS SONG Blood is the rose of mysterious union! There's blood in the streets & it's up to my knees She came Blood in the streets of Chicago She came Blood on the rise and it's following me Just about the break of day (etc) The river runs red down the legs of the city She came The women are crying red rivers of weeping
 The MONTAGE collides into an ECU on JIM -- drinking as if to silence the images, the sounds we hear and see on his face. Spirits crying for release. In alcoholic solace. He passes out, head hitting the bar.
 Jim's English friend, MIKE, walks in, throwing a harsh shaft of LA morning light across the dark bar and JIM's face, bleary eyed, passed out on the counter. He has a drinking paunch. With him are TOM BAKER, "TOM", the actor from the Warhol scene in New York and a huge biker type drinker named DOG, one of Jim's roadmen, a beard fanning his chest, tattoos everywhere. In the front of these three monoliths are about twenty beer bottles, numerous Jack Daniels bottles emptied and a lesbian BARTENDRESS pouring up a breakfast shot of bloody Marys... Mike hands Dog a breakfast in a brown paper bag.」


MIKE:「Morning. Pour me breakfast Delores...」
narrator:Delores pouring the bloody mary. As Mike scoffs at Jim passed out.
MIKE:「Whatsa matter with Jimbo? Can't handle it huh (studying the beer bottles for leftovers)」
TOM:「Pussy whipped, man...」
narrator:DOG reaching in, dragging Jim's face up by the hair. Sticks Mike's greasy eggs and bacon in front of Jim.
DOG:「Hey Jim, come on babe, eat this. . . one last place to go. Ray's getting it on.」
narrator:Jim is suddenly alert -- an instant and surprising transformation, without hangover, eager eyed.
Jim Morrison:「sparkling) Alive she cried! Right Dog, another cubic centimeter of chance (slaps Dog, notices the eggs, queasy) Ugh, I can't eat this stuff, it'll really make me sick. Gimme a Dos Equis will ya Delores? And a Ramos gin fizz with it.」
TOM:「Fuck man did you fade or what, we were on a "death run" up to the 9000 building after the gig, you bet me a grand you'd walk the ledge.」
Jim Morrison:「instantly) Let's go... Right now!」


TOM:「Then mumbling about "gotta go home, sanctuary," pussy whipped. We were gonna film it! A thousand bucks! (to Delores) Give him a double.」
Jim Morrison:「A triple, Tom, shem and shaun...」
TOM:「imagine me and Morrison in a fuckin movie together, can you imagine two powerful two-fisted Irish fucking drinking guys in a movie, in a documentary movie!!」
MIKE:「I'll direct the shit out of it, man. Dennis Hopper can do it, I can do it.」
Jim Morrison:「drinking the fizz down) ...all of us direct it! In black and white. Call it "Zero." A real road movie! Two of these (points to drink) you feel a lot better.」
narrator:As he pisses on the floor next to the bar stool.
DOG:「Whatcha doing! Oh fuck.」
narrator:DELORES Fuck you Morrison. You're outta here you fuckhead, get out!
DOG:「lifting Jim out of there) Come on Jimbo, one more place to go. Ray's getting married man, this morning, remember! You're the best man.」


TOM:「Fuck Ray -- fuckin Pollock all he cares about's money. Fuckin sell out. You sold out too man. The last album's shit, and lemme tell ya something, people know it.」
MIKE:「defending Jim) Come on Baker, lighten up.」
Jim Morrison:「That's all right. I like it (that dopey smile)」
DOG:「to Jim) Come on man, toe the line. Boots to the pavement. Let's walk.」
narrator:OMIT
 Sequence omitted from original script.
 EXT. SANTA MONICA BOULEVARD - SAME MORNING
 JIM, loose, wanders right into the traffic, waving to anybody, trying to hitch a ride. DOG and the OTHERS going after him. Jim seen slipping a tablet from his pocket into his mouth.
Jim Morrison:「to no one in particular) I LOVE L.A. -- the best neon. City of Night! City of Light... why are you going to work? You're not slaves, you're free, cars, you're free...」
narrator:TOM catching up to him.
TOM:「Awright shaddup Morrison, just cause you don't gotta work. (going into his pocket) Give me some of your money, asshole, and I'll yell anything you fucking want.」


MIKE:「coming up) What was that speckled motherfucker you just took? Give me some!」
Jim Morrison:「yielding, to Tom) You gotta fail to succeed Tom, gotta surrender to the waiting tides.」
narrator:Moving through traffic. Horns honking, incessant insanity.
 EXT. PACIFIC PALISADES - SAME MORNING
 RAY and DOROTHY take their vows in front of a HIPPIE PRIEST.
 ROBBIE and JOHN and their WIVES-TO-BE, and OTHERS from the BAND look on.
 PAMELA is all decked out in her best, wedding clothes, red satins from Morocco, five-inch clog heels, flowers in her hair. Looking around pissed as:
 HIPPIE PRIEST (ad lib) Awright, the vibrations are right now, I feel peace and love here today, I feel a grooviness coming on, do you Ray Manzarek take your lady love... (etc.) fill the white wings of death, scatter your ashes forever...
 JIM slinks up through the trees, alone, quiet, changing faces to face them as SUMMER'S ALMOST GONE plays sinuously.
 DOORS SONG Summer's almost gone Where will we be When the summer's gone?
RAY:「aside) Where the fuck you been man?」


Jim Morrison:「Man, I been here all the time... over there watching. I'm really happy for you Ray you found life...」
narrator:He smiles innocently. Ray, a beat, turns away. Pam coming over, squeezes his hand, sweetly, no fights today, she's his lady.
 INT. COUNTRY STORE - LAUREL CANYON - THAT DAY
 JIM, in dark glasses, strongly feeling the effects of the acid, stares at a box of Kellogg's Corn Flakes, unable to relate.
 Down the aisle PAMELA, in her wedding clothes, is pushing a shopping cart, filled with the feast she's preparing. The Store is a haven for HIPPIES from Laurel Canyon, barefoot RUNAWAYS, BIKERS...
PAM:「Jim, I need some safflower oil. Do you think you can find me a bottle?」
Jim Morrison:「Safflower oil, sure.」
PAM:「And get some Gravy Train for Sage.」
Jim Morrison:「obediently) Yes.」
PAM:「I'll meet you up front.」


narrator:Jim looking, zombie-like for the food. PEOPLE of course stare at him, knowing who he is.
 TIMECUT TO:
 At the CHECK-OUT COUNTER, the food being tallied up, JIM spots his face plastered on the cover of something like the "L.A. FREE PRESS" -- "ROCK'S BAD BOYS GO SOFT -- WHAT'S HAPPENED TO THE REVOLUTION?"
PAM:「Jim you got any cash?」
narrator:Seeking in his pocket -- nothing but a credit card and a rumpled old dollar bill... The faces of the Hippies looking at him. With one of the magic markers on the counter, he draws in his beard on his cover shot.
 DOORS SONG Morning found us clearly unaware Noon burned gold into our hair At night we swam the laughing sea When summer's gone where will we be
 EXT. JIM & PAM'S HOUSE - LAUREL CANYON - DAY
 PAM and JIM and the labrador SAGE trudge up a hill carrying the groceries to their modest little house tucked into a hill of dangling eucaplyptus trees. We sense a community of artists, hippies, Volkswagens.
PAM:「It's only another $95,000 but I could get the best clothes. From India, Morocco Jim, clothes you can't find anywhere, we could get the richest people to come, Miles Davis, Cher, the Stones, it's gonna be the best boutique on La Cienega Jim... why are we walking, how come we don't have a car?」
Jim Morrison:「cause you lost it. It's fun to walk, isn't it.」


PAM:「that was months ago. We got another car.」
Jim Morrison:「Which car?」
PAM:「The red one with the black interior. Remember it was a shift and I didn't like it. What happened to it?」
Jim Morrison:「Oh yeah... I wrecked it.」
PAM:「Oh Jim! Damn! Where's the Gravy Train? Whatsamatter? What are you on? You promised you wouldn't drink today.」
Jim Morrison:「No Ma I ain't drinking.」
PAM:「You're not gonna drink any more are you Jim.」
Jim Morrison:「No Ma I ain't.」
PAM:「And you're gonna change those stinky leathers you been wearing for three weeks.」
Jim Morrison:「I don't know 'bout that.」
PAM:「What the hell are you on?」
Jim Morrison:「Uh -- just some low grade acid. It's not heavy. (whispers) Pam, read my mind.」
PAM:「Jesus Jim! Goddamit! You PROMISED. I made the duck! People are coming! Ray and Dorothy think we're flaky enough and I... you said you'd wait till after, you're going to peak before me.」


Jim Morrison:「Hey it's okay, it's okay... come on, we'll trip and then eat our feast.」
PAM:「Yeah sure.」
narrator:Putting down the bags at their porch, pausing. He moves to her, kisses her, conciliatory and gentle.
Jim Morrison:「Come on baby, y'know it's a good thing for Ray and Dorothy I think women are such noble creatures -- they carry on your name with dignity after you die. (spawning like minnows)」
PAM:「What are you saying? You wanna marry me Jim?」
Jim Morrison:「elusively) I think women basically have a comic approach to life -- I mean how can they not when they look up in the dark and see a dangling penis, seeking entry. It looks like a face y'know -- little beard "Hi mom" (Pam giggling now) I wanna get inside you. Look around. (humming) "Do the funky chicken, do dah, dah, funky chicken do da da "love my girl" --」
narrator:She's cracking up now. As he takes the acid out, holds it in front of her like a sacrament.


Jim Morrison:「Let's go wild child, let's get out there Romeo and Juliet, Marilyn Monroe and Vincent Van Gogh, Jim and Pam, rock and roll (a poem) ...all the poetry has wolves in it, but one Pam -- the most beautiful one of all -- dances in a ring of fire and throws off the challenge with a shrug」
narrator:As she takes the tablet on her tongue, swallows.
PAM:「romantic) I like it when you sing to me」
Jim Morrison:「cause I'm the poet and you're my muse」
narrator:Strains of YOU'RE LOST, LITTLE GIRL drift in, setting a more ominous tone.
 INT. JIM AND PAM'S HOUSE - LAUREL CANYON - THAT DAY
 The FOOD is laid out, the DUCK cooking... but no one is there as we move across this tastefully decorated house to PAMELA in the living room, rattled, obsessively going through Jim's papers. PEOPLE are knocking at the door. Guests looking through the windows, tapping. A giant poster of Marilyn Monroe frames Pamela.
PAM:「What am I going to do about these papers! Jim, Jim -- you really need someone to organize this stuff. Your handwriting's just like a little kid.」
narrator:Jim is somewhere else -- pulling out the DUCK which is totally charred black. He laughs.


PAM:「My God look at this. I wonder if William Blake was ever this disorganized.」
narrator:RAY and DOROTHY walking in. ROBBIE and JOHN general commotion. Dorothy immediately seeing the duck, runs to it...
DOROTHY:「Oh the duck!」
Jim Morrison:「coming over) Get some drinks, man. Over there (getting Pam's attention) Pam!」
PAM:「I'm gonna be your editor now, seriously I'm going to organize all your stuff. I'm gonna take out all the fuck words.」
narrator:DOORS SONG You're lost little girl You're lost little girl You're lost, tell me Who are you?
 PEOPLE are introducing themselves, coming in from all over, like in a shoebox. Hippies. Doors people... now TOM BAKER with MIKE and DOG... Now an aggressive Chuck Berry type BLACK SINGER with John's GIRLFRIEND. Then a TIMOTHY LEARY look- alike appears. CHATTER blending everywhere as we build to a vast confusion at Jim and Pam's party.


Jim Morrison:「Let's go wild child, let's get out there Romeo and Juliet, Marilyn Monroe and Vincent Van Gogh, Jim and Pam, rock and roll (a poem) "Clothed in sunlight Restless in wanting Dying of fever Changed shapes of an empire Vast promissory notes of joy How it has changed you How slowly estranged you Solely arranged you Beg you for mercy"」
narrator:As she takes the tablet on her tongue, swallows.
Jim Morrison:「cupping her chin) Pam... Honey, you're trying too hard.」
PAM:「I'm not -- I'm not.」
Jim Morrison:「soft, reassuring) Yes you are.」
PAM:「There's some great poetry here Jim, some wonderful ideas.」
Jim Morrison:「Yeah but nobody wants to read poetry anymore, nobody cares, it's not like important y'know. Just put it away. Not right now.」
PAM:「lost) But what am I supposed to do? How do I fit in? Who am I supposed to be around all these people?」
narrator:The FRENCH COUNT coming in now, from the Warhol party in New York. They're looking at her, embarrassing as everyone overhears.
 COUNT Darling Pamela, I brought you a little something.
Jim Morrison:「ignoring it) You're my girl, that's who...」


PAMELA:「laughs insanely) I'm not your girl, don't give me that shit. I know you fuck everything that touches you.」
narrator:Only in life would ANNE O'RIORDAN walk in at this precise moment, a smile on her face. Ray's eyes roll.
 ANNE Hi Jim... (waiting for the introduction to Pam)
Jim Morrison:「to Pamela) All right so I do. I live my life the way I want. I don't want anyone expecting anything from me -- including you! You don't like it then get the fuck out! (to Anne) Oh hi Anne. You know Pam? She's a little pissed off right now but...」
RAY:「Okay Jim let's eat that duck.」
DOROTHY:「calming Pamela) Come on Pam, let's put out the plates...」
PAMELA:「stunned, pushing thru to Anne) Anne O'Riordan. Are you Anne O'Riordan?」
narrator:ANNE You must be Pamela
PAMELA:「eyeing her up and down through her tears) You actually put your dick in this woman Jim?」
Jim Morrison:「Well I... sometimes yeah」


PAMELA:「condescending to Anne) I understand... I really do but don't ever think that Jim's gonna love you or take care of you. You're one of a hundred you know」
narrator:Anne uncomfortable, Jim getting pissed.
Jim Morrison:「Hey -- don't you know when to stop!」
PAM:「Look who's talking」
narrator:ANNE I'd like to think Jim can make up his own mind who he loves and who he doesn't.
PAMELA:「Don't kid yourself sweetheart, Jim's crazy but he's not that crazy. He loves me.」
ROBBIE:「Jesus, it's not gonna be one of these dinners is it Jim? How 'bout some turkey?」
narrator:BAKER Love it!! Far out.
DOROTHY:「Yes, let's go into the kitchen. The duck's ready.」
narrator:John's GIRLFRIEND is trying to introduce the BLACK SINGER to Jim.
 GIRLFRIEND (anxious) Jim, you should meet Chuck Vincent. He came specially to meet you.
Jim Morrison:「deeply surprised) Oh yeah -- Chuck. You're my idol man... since I was 12. The best man...」


narrator:CHUCK VINCENT is suddenly there in Jim's face, bulging eyeballs.
 CHUCK VINCENT So you the white boy makin' all that money.
Jim Morrison:「I still can't hold a candle to you.」
narrator:CHUCK VINCENT Hey everybody Chuck Vincent's here. Yo sho can't boy, I ain't heard much of yor stuff. What I done heard don't show me much.
ROBBIE:「insulted) So fuck you man...」
Jim Morrison:「laughs) Chuck Vincent man! No. He's right... Chuck Vincent's here, everybody, Chuck Vincent.」
narrator:CHUCK Ain't no honkey ever gonna sing the blues, you ain't been there. Where dat turkey at?
 The charred TURKEY is being carved up. A moment of peace, then: Pamela walks up to Jim with a bowl of sweet potatoes in her arms, an announcement.
PAM:「I just have one thing to say to you -- YOU'VE RUINED ANOTHER THANKSGIVING JIM MORRISON!!」
Jim Morrison:「It's not Thanksgiving honey.」
narrator:As she throws the sweet potatoes right at him, spraying everybody. Jim laughing nuttily, the Count wiping the potatoes off. Pam rushing now for the turkey to throw, Jim chasing her.


PAM:「freaking out now) YOU BASTARD! YOU RUINED MY DUCK, YOU KILLED MY DUCK!!! BLOOD BLOOD BLOOD RAZORS RAZORS EVERYWHERE!」
narrator:Throwing the turkey at Jim, smearing everything, everybody.
 COUNT Pamela, bella, please behave hunh... Va fanculo Jimmy, what the hell did you give her
 She doesn't want the Count's solace, throws him off.
PAM:「GET OUT!!!」
narrator:PATRICIA leaving now, covered with turkey sauce.
PATRICIA:「See you later.」
Jim Morrison:「to the Count) She's working it out, man, it's okay (going to console her) Pamela, Pamela... come on baby, it's all right, shhh.」
narrator:HUNGARIAN GYPSY FOLK MUSIC playing madly from the tape deck. John fiddling with it, nervously.
PAM:「BLOOOOOOODDDDDDD! DEEATHHHH! STOP THE BLEEDING JESUS. I'M DYING HELP MEEEEEE!」
Jim Morrison:「PUSH! PUSH! IT'S A BOY!」


narrator:They struggle, she goes for the carving knife, Dorothy and Ray trying to restrain her. OTHER GUESTS keep talking as if things are quite normal. Pam breaks through Dorothy -- coming after Jim
PAM:「RAAAAZOOOORS!!! RAAAAZZZZZORS AND DUCKKKS! THIS SHAMAN SHIT IS BULLSHIT! FUCK YOU AND YOUR DARK RIDE!!」
narrator:He grabs her wrist just in time, equally insane now -- a comic glow in his face. Jekyll and Hyde.
Jim Morrison:「Oh murder? MURDER??? YOU WANNA DO SOME MURDER」
RAY:「JIM! COME ON. GET A HOLD OF YOURSELF!」
narrator:TOM, DOG & MIKE (jumping in) MURDER!!! YEAH!... Where's my camera!
 A ball of people wrestling across the kitchen floor, upsetting the table and the remainder of the dishes, a carving knife at stake in the air... Jim finally wrestling the knife away and holding it over Pam.
Jim Morrison:「YOU WANNA KNOW WHAT MURDER IS. YOU WANNA FEEL DEATH... HERE! (forces the knife back into her hand) MURDER ME! FEEL WHAT IT'S LIKE! GO AHEAD. GIMME SOME DEATH!!! (kneels at her feet)」


narrator:She explodes inward, a bloodcurdling SHRIEK. The knife clattering from her hand.
PAM:「YOU YOU YOU!!!! YOU KILLED MY DUCK! YOU KILLED MY DUCK!!」
narrator:Jim laughing insanely. Jumping up and down on the duck. RAY grabbing him, angry.
Jim Morrison:「I'M STILL KILLING YOUR DUCK!!! FUCK!!! MURDER DEATH!!! THE DUCK IS DEAD.」
RAY:「JIM!! WILL YOU STOP THIS SHIT WILL YOU STOP!! WILL YOU GET SANE!!」
Jim Morrison:「explodes out of his grasp) DON'T TELL ME WHAT TO DO!! EVER!! EVER!!」
narrator:A silence. Robbie... John... their women... they start exiting.
 TOM & MIKE (to RAY) Yeah FUCK OFF MAN!
 Ray about to lose his temper with Tom, checks it.
 CHUCK VINCENT (to John's girlfriend) This party's gettin' low rent. Let's go babe.
 Exiting with the other Doors... Dog picking the duck up from the floor.
DOG:「Hey, fuck him, let's eat this thing.」
narrator:Pamela is sobbing, in a quiet bewildered voice, repeating to herself.


PAM:「What the hell's happened to us Jim? What the hell is happening to us. There's some great poetry...」
narrator:On Jim... saddened.
 DOORS SONG You're lost little girl (2) You're lost, tell me Who are you?
 INT. TUNNEL - OUTDOOR THEATRE - NIGHT
 The backbeat of NOT TO TOUCH THE EARTH as a DOCUMENTARY FILM CREW, moves past us directed by MIKE and DOG and TOM shoot past us, sun guns, nagras ("Rolling! Speed!") then...
 A mad rush of HANDS and SCREAMS as SHAPES whip by under swinging light-bulbs -- big BLACK BODYGUARDS, six or seven of them, bulling their way thru the grasping faces, as MORRISON appears... camera swinging wildly with him to reveal:
 EXT. ARENA - (ANY CITY) - NIGHT
 THOUSANDS OF FANS roaring "DOORS! DOORS! DOORS!"
 VOICE (loudspeaker) Ladies and Gentlemen, from Los Angeles California -- The DOORS!
SIDDONS:「in crush) Jim! Your Mom's here with your brother. What do you want me to do with 'em?」
Jim Morrison:「shakes his head) HIDE ME!!!」


narrator:HARD CUT TO:
 Madness. COPS lining the edge of the stage, looking worried. As Jim throws his leather jacket into the cheering crowd and does the ghost dance around the microphone, Indian style, one foot, resurrecting the dead, the power of the circle. The stage is bottom lit, Dantean in look. The Doors casting giant shadows of heroic proportions. DEA AGENTS in suits and short hair take photos from the front of the stage, clipboards in hand. Blocked by a row of cops, it is impossible for Jim to communicate with his audience.
JIM & DOORS:「There's been a slaughter here Don't stop to speak or look around Your gloves and fan are on the ground We're getting out of town we're going on the run And you're the one I want to come Not to touch the earth Not to see the sun Nothing left to do But run, run, run Let's run, let's run...」
narrator:SIDDONS yelling at MIKE, the roadie.
SIDDONS:「Vice Squad says one more "fuck or shit" they're gonna close us down man.」
MIKE:「Stick my dick in their ear!」
narrator:Jim ignoring all this, one hand cupped to his ear listening for the sound of the earth, gone into a shaman-like state, weird spiralling chords carrying over the following MONTAGE of hallucinatory insanity.
JIM & DOORS:「House upon the hill Moon is lying still...」
narrator:EXT. JIM & PAM'S HOUSE - LAUREL CANYON - NIGHT
 A POV up at the house -- into which JIM enters. The lights are on. Sage at the door sniffing.
 INT. JIM & PAM'S HOUSE - LAUREL CANYON - NIGHT
JIM & DOORS:「Shadows of the trees witnessing the wild breeze Come on baby run with me Run with me, let's run...」
narrator:JIM'S POV entering the bedroom -- PAMELA naked in bed with the COUNT, is snorting heroin. Shadows of the trees and leaves blowing against the walls. Their voices, dim, distant.
Jim Morrison:「ironic) Oh hi... I didn't realize you were entertaining.」


PAM:「stoned) Hi.」
narrator:She sits up on the bed, wobbly. The COUNT, more sophisticated in these things, lights a cigarette from the bedside table, revealing heroin paraphernalia.
 COUNT Scusi Jimmy, I hope you're cool about this...
Jim Morrison:「very cool) Don't forget your smack on the way out.」
narrator:EXT. ARENA - CONCERT
 Jim's struggling to break through the barrier of cops.
Jim Morrison:「yelling) The mansion is warm at the top of the hill Rich are the rooms and the comforts there Red are the arms of luxuriant chairs You won't know a thing till you get inside」
narrator:BACK TO:
 INT. JIM & PAM'S HOUSE - NIGHT
 The COUNT is gone. JIM, icy cold, grabs PAM by the wrist.
Jim Morrison:「I told you about that shit. Or are we talking about death choices here?」
PAM:「I'm just doing my thing, just like you said, it's my thing, why can't I have a thing. Ow! You're hurting me!」
Jim Morrison:「rising anger) Get up. Hurt? You want to know HURT? Let me introduce you to my good friend hurt.」


narrator:He is on her, throws her from the bed. She runs and hides in the closet, slamming the door behind her.
PAM:「screaming) NO FUCK YOU! THIS IS MY...」
Jim Morrison:「crazed) Ah sanctuary!... a soft place to hide.」
PAM:「inside) ...from you, you pig!」
narrator:As he picks up a can of lighter fluid and douses the closet door and the floor.
Jim Morrison:「I'll give you a place to hide forever!」
narrator:We INTERCUT with PAM inside the closet yelling for mercy inside.
PAM:「JIM!」
narrator:He puts a candle to the drenched door/floor.
Jim Morrison:「This is the best part of the trip, honey...」


narrator:Inside, PAM feels the first flames licking up, smoke wafting in.
 JIM leaves the house.
 Pam kicking wildly at the doors, trying to smash her way out as the FIRE crescendoes. She finally shatters the frail molding and bursts out.
 EXT. JIM & PAM'S HOUSE - LAUREL CANYON - NIGHT
 PAM runs out into Laurel Canyon like a terrified doe running from a forest fire. SONG beat NOT TO TOUCH THE EARTH continues.
 EXT. STREET - LOS ANGELES - NIGHT
 Jim and Mike driving drunk, fucking TWO BLACK CHICKS. Mike in the back seat. Jim drives the car up onto the grass of a Police Station and plows right into it.
 EXT. BOULEVARD - LOS ANGELES - NIGHT
 Knowing who's inside, sufficient be it to see the blue Shelby Mustang plow into a telephone pole on Santa Monica Blvd.
 JIM & THE DOORS Dead President's corpse in the driver's car The engine runs on glue and tar C'mon along, we're not going very far To the East to meet the Czar...
 INT. ANNE'S SOHO LOFT - NEW YORK - NIGHT
 A HIGH PRIESTESS, assisted by a HIGH PRIEST, conducts a Wicca wedding amidst a setting of candles, mixing a few drops of JIM and ANNE's blood into a consecrated cup of wine, from which they drink. They all wear long black robes, the only light from the candles, standing inside a circle in front of a table with altar, incense, chalice.
 HIGH PRIESTESS (dimly heard) ...we worship the ancient forces of Nature, the Triple Goddess, the Great Mother and the Lord, the Horned One... when the vow is taken
 INT. LIMO - DAY
 MOTORCYCLE ESCORTS COPS zoom past the limo windows on the LA STREETS.
 INT. ANNE'S SOHO LOFT - NEW YORK - RESUME NIGHT
 The PRIESTESS presses the two cut wrists together, binding them with a red cord.
 HIGH PRIESTESS ...it is a blending of souls on a karmi and cosmic plane that affects your future incarnations on this planet. Death does not part -- only lack of love -- and the vow is forever in the Goddess' sight.
JIM & DOORS:「building faster and faster) Run with me, run with me Run with me, let's run Some outlaws live by the side of a lake The minister's daughter's in love with a snake」
narrator:Jim faints.
 EXT. DOORS OUTDOOR CONCERT - NIGHT
 JIM, mind totally gone into his trance, spreading his arms like wings, hopping from one foot to the other like a shaman around his microphone, whirling, yelling out great rewards for the tribe. Plentiful antelope, healthy corn.
 The kids are going wild -- writhing like maenads in his intoxicating embrace. Embers from an enormous BONFIRE drift past the stadium lights into the night. But the KIDS, increasingly frustrated by a barrage of COPS, cannot see their leader and now push against the cops with the very result the authorities seek to repress.


JIM & DOORS:「Who lives in a well by the side of the road Wake up girl! We're almost home We shall see the gates by morning We shall be inside by evening Sun, sun, sun Burn, burn, burn Moon, moon, moon!」
narrator:RAY, gone into his own trance, happening to look up from his keyboard. His eyes widen.
 His POV -- an INDIAN SHAMAN hovers over the microphone. Cloaked in hides, his face obscured by a horned headdress with colored tails and feathers streaming down his shoulders, rattles in each fist, the BONFIRE glowing...
JIM & DOORS:「I will GET YOU Soon -- soooooooon... SOOOOOOONNNN...」
narrator:The COPS can't hold. TEENAGE SHOCK TROOPS hitting the stage, clambering up. The stage becoming a riot. Cops wading in with sticks. ROADIES and BODYGUARDS yanking the MUSICIANS from their places...
Jim Morrison:「indifferent, to himself) I am the Lizard King I can do anything」


narrator:As DOG hauls the shaman king off in a bearhug, smiling stoned, immaculate.
 INT. ALTA CIENEGA MOTEL - DAY
 Start slow CLOSE UP on JIM, he's crying, his head on a pillow, silent, haunted... pull out to see the room, no explanations. A TV GAME SHOW is on, JUDY, 17, and her FRIEND, 16, watching naked, skinny..., piles of murder magazines and books, clothes, and personal items trashed around the thread bare room he calls home. She looks over at him.
 JUDY Man wow -- watsa matter Jim? It was beautiful... wasn't it? Kim? Wasn't it great?
 KIM (2nd girl, studying murder magazine) It was all right
 Jim continues to cry.
Jim Morrison:「gently) Hey it's no big deal. I like to cry when I come. It's close to death... maybe you'd better go home now before your mama gets home.」
narrator:JUDY She is home Jim (whispers to Kim who goes into bathroom, giggling)
Jim Morrison:「What?」
narrator:JUDY It's a secret.


Jim Morrison:「innocently) You know you've always been good to me in bed Judy. And it was nice of you to bring your friend. I want to keep seeing both of you but it can't be all the time y'know. It would be a night every few weeks or so. That's just the way I am, I'm not dependable. I can't be a boyfriend. Would you do that? I mean could you handle it? That way? I don't want you to get hurt.」
narrator:JUDY (putting on a tacky dress) I already been hurt enuf' by you Jim, I don't have much to lose do I?
Jim Morrison:「do you love me?」
narrator:JUDY ...yes
Jim Morrison:「Well, just think about it awhile. Call me when you get your new number... (Girl 2 comes back in, dressed) Hey that's a really nice outfit you're wearing, you really have good taste in clothes. How long have you two been friends?」
narrator:He's so concerned, so solicitous that both girls crack up laughing.
Jim Morrison:「grins) What?」
narrator:A knock at the door.
Jim Morrison:「Come back later! (another knock) Who is it!」
narrator:VOICE (slurred) It's a secret.


Jim Morrison:「recognizes it) Whyn't you come back later. I don't have any clothes on.」
narrator:EXT. ALTA CIENEGA MOTEL ROOM - SAME DAY
 PAM's mascara is running from her eyes, begging to get in. The BLACK MAID cleaning the adjacent room overheard, unsurprised.
PAM:「Jim, I gotta talk! Let me in please. I gotta talk.」
Jim Morrison:「Now Pam sweetheart, I'm busy.」
narrator:Pamela listening at the door. She's on the second story of a cheap motel overlooking a boring parking lot on the edge of La Cienega.
PAM:「Jim, I know there's someone in there, I can't believe you're doing this again. You're disgusting.」
narrator:INTERCUTS TO:
 INT. MOTEL ROOM - SIMULTANEOUS
Jim Morrison:「Well you see Pam there's this crazy girl in here, she's just lying on the bed with her legs open and I don't know what to do.」
PAM:「FUCK YOU!!! I want to see her.」
Jim Morrison:「off) It's your cousin Lizzie, you don't want to see her. Go home.」


PAM:「We're all sisters, let me see her. Jim,... I got this wonderful leg of lamb in the oven for supper... and the house is immaculate. Sage is waiting. He wants you to play with him... are you coming...」
Jim Morrison:「Almost.」
PAM:「Jim goddamit answer me!! (no answer, she yells) JIM! I FUCKED HIM TO HURT YOU! HE DOESN'T MEAN ANYTHING TO ME!!」
narrator:PEOPLE in the parking lot looking up. A silence is her only response. She waits, turns away from the closed door as TOUCH ME BABE cuts in:
 DOORS SONG C'mon, c'mon, c'mon c'mon now Touch me babe Can't you see that I am not afraid
 INT. RECORDING STUDIO - THAT NIGHT
 In the VOCAL BOOTH, JIM is chugging on a brown paper bag with whiskey in it, crooning with heart but the voice is warped, weak.
Jim Morrison:「What was that promise you made Why don't you tell me what she said What was that promise that she made I'm gonna love you Till the heaven stops the rain I'm gonna love you Till the stars fall from the sky For you and I...」


narrator:VARIOUS PEOPLE are hanging around the studio listening -- a couple of HIPPIE CHICKS, A BURN VICTIM w/ bandages, a CHARLES MANSON TYPE, a Siberian HUSKY, the TIM LEARY type. Paper bags, burgers, bottles, California rose, apple juice, hard- boiled eggs.
 In the ENGINEERING BOOTH. ROTHCHILD, the producer, is displeased.
PAUL:「to Botnick the engineer) ...fuckin' neanderthal primadonna is too drunk to see. (cuts the music, to Jim) Cut it... that was beautiful sweetheat, we had a technical problem, we'll take it again from the top babe whenever you're ready.」
narrator:On the floor, the DOORS are depressed. DENSMORE looking at MORRISON, aimlessly, nervously. KRIEGER looking tired and beaten, takes a discreet hit on a joint. Ray scans an art book, patient.
 DENSMORE What's his fucking problem?
Jim Morrison:「equally false) Paul babe.」
PAUL:「Right here baby.」
Jim Morrison:「Why don't you suck a fart out of my asshole you slave driving facist motherfucker!」


narrator:As he stalks out of the booth. Raging, near-incomprehensible.
 A small portable TV set is playing the "Dean Martin Show" low on one end of the recording console. Around the room the detritus of the time -- Mailer's "Armies of the Night", The Stone's "Beggar's Banquet", Janis' "Cheap Thrills", Traffic, The Band.
PAUL:「exasperated) I hear the booze, I hear the smokes Jim, I don't hear the voice and babe I didn't hear the song!」
Jim Morrison:「So what are we going to tonight Paul! 67 takes! It's stale!」
RAY:「coming in with JOHN) Alright, let's try something else.」
Jim Morrison:「I wanna sing blues. This stuffs getting too self-conscious.」
ROBBIE:「offended) Cause it's my song man?」
Jim Morrison:「simultaneous, incomprehensible) Let's sing "Rock is Dead"! You're all a buncha slaves... "Oh come all ye faithful."」


PAUL:「hot) Shut up Jim! I don't understand! I don't. What are ya doing! I love you like a brother, I do, but why are you fucking this up. It's a perfect radio song for chrissake! No one wants to hear the blues anymore! Think like a singer, you're the only baritone crooner we got left... Sinatra, Elvis, Crosby, you're as good as they are, but WHY ARE YOU FUCKING THIS UP! WHY!」
narrator:Pause. Jim's face darkening. Something he sees on the television. He stops, frozen, sickly. Several BIMBETTES are dancing around a shiny new automobile as strains of LIGHT MY FIRE pop out.
Jim Morrison:「Catchy, you sold it to a commercial?」
narrator:Ray, Siddons, Robbie, John, shuffling for a moment.
Jim Morrison:「For that? How much did you get for it?」
RAY:「Now, Jim...」
Jim Morrison:「HOW MUCH?」
SIDDONS:「It was $50,000. You weren't talking to us that week and we figgered you...」
Jim Morrison:「You figured? What the fuck is this Ray?」


RAY:「It's not like a big deal Jim, the song's already been commercialized, the money was great. Robbie wrote the lyrics and he didn't mind, neither did I, neither did John... we gotta get to TV.」
Jim Morrison:「What?... are you saying? Are we the Doors? One for all and all for one? Do you know what you're saying to those millions of kids! "Just kidding, not real". That's what you're saying.」
JOHN:「Oh come on man, you think just cause you're the lead man in the band you can run the whole show.」
Jim Morrison:「building intensity) You think I was kidding Ray? (turning to John) Hey John, those are interesting shoes, you like those shoes?」
narrator:PAMELA, looking drawn and pathetic finds this moment to walk into the studio.
JOHN:「aggressive) Yeah I do.」
Jim Morrison:「Good. Then do you want 50 of those shoes?」
JOHN:「No.」
Jim Morrison:「Then what do you need more money for?」
narrator:Pause. Turning to Ray.


Jim Morrison:「I'm dying Ray. I wasn't kidding. Maybe you were. But I'll tell you something, it's not about these desires you have man, or money, or these records, it's about breaking through wasn't it? You just lost something man. (to all) We all lost something boys. We lost something.」
RAY:「I don't think so Jim. There's a bigger picture here.」
Jim Morrison:「There sure is. In your fucking face!」
narrator:A small smile flickers Jim's face as he picks up the small TV and like a quarterback, hurls it, spinning end over end from his corner of the Control Room towards Ray and Rothchild and the Doors. They dive for the floor as it smashes to bits into the wall behind the tape machines.
Jim Morrison:「quietly) Just kidding... (turning to Pam) Hi Pam. Just watchin' some TV.」
narrator:He seems pleased to distract his anger into her. She doesn't seem to notice anything unusual going on. The Doors silent, feeling Jim's rage.
PAM:「pathetic) I wanted you to find us Jim. It meant nothing.」
Jim Morrison:「I know. I know.」
PAM:「You don't have to torture me Jim. Let me make it up to you, please...」


narrator:The others all look away embarrassed. This is certainly a moment the ordinary partner might turn away from Pamela, her tears running, but her pathacy, her inability to deal with pain is precisely what moves Jim the most -- a side of himself in her -- an ultimate weakness she has, he shares. As he goes to her, puts his arms gently around her.
Jim Morrison:「It's alright honey, it's gonna be alright. You're my girl and that's the way it's always gonna stay.」
PAM:「snuggles him, zoned) Really...?」
Jim Morrison:「ironic, to the others) So, let's keep that money machine rolling. Come on guys...」
narrator:Rothchild looking to Botnick and to Ray. But the real look, the unforgiving one, is from Jim to Ray who feels it. Rothchild douses the lights in the studio.
PAUL:「Right on Jimbo.」
narrator:TIME CUT TO:
 Overdubb of DOORS SONG SOFT PARADE - Jim's VOICE booming thru the studio.
Jim Morrison:「reciting) When I was back there in seminary school There was a person there Who put forth the proposition That you can petition the Lord with prayer Petition the Lord with prayer Petition the Lord with prayer PETITION THE LORD WITH PRAYER」


narrator:ROTHCHILD looking from his booth across at Jim. His POV -- only JIM is visible.
PAUL:「Where the hell did she go?」
narrator:In the control booth RAY and ROBBIE share a look. The lights have been dimmed in Jim's booth, and he's weaving back and forth a bottle of Ripple in his hand as they kick in with the music. Camera closing now on Jim in the tender section, on the money.
JIM & DOORS:「Can you give me sanctuary I must find a place to hide A place for me to hide...」
narrator:In the darkened booth, PAM is on her knees his pants worked down around his ankles, caressing him, sucking him off.
PAM:「sotto voice) ...sing to me, Jim, sing to me.」
JIM & DOORS:「Can you find me soft asylum I can't make it any more The man is at the door」
narrator:The DOORS sense it. ROTHCHILD knows it, hushed. Magic's suddenly in the air once more as we jump stanzas to:
JIM & DOORS:「Catacombs, nursury bones Winter women Streets and shoes, avenues Leather riders selling shoes (The monk bought lunch) Successful hills are here to stay Everything must be this way Gentle street where people play Welcome to the soft parade」
narrator:But Jim's voice has now gone off key, floating carefree, drifting -- drifting away.
 ROTHCHILD chuckles, philosophically.
 The Doors in control booth start leaving. Robbie goes back out to get his personal items.
 But the OVERDUB still plays over the booth as Jim doesn't realize. We take liberties cutting around on the song.
JIM & DOORS:「All our lives we sweat and save Building for a shallow grave (then) The soft parade has now begun Listen to the engines hum People out to have some fun A cobra on my left Leopard on my right」
narrator:The Doors and ROTHCHILD all exiting, leaving BOTNICK the engineer to clean up some technical things... and of course the two occupants of the darkened booth.
 JIM SONG (fiercely) Calling on the dogs (5) When all else fails You can whip the horses' eyes And make them sleep And cry.
 The music stops. Silence.
 Inside the booth, two shadows breathe deep, huddled on the floor in each other's arms. A whisper out of the dark.
PAM:「I love you.」
narrator:INT. RECORDING STUDIO - LAST SESSION (1970) - NIGHT
 JIM his head cocked, lost in the memory.
Jim Morrison:「reciting) Why does my mind circle around you? Why do planets wonder what it would be like to be you? All your soft wild promises were words, birds, Endlessly in flight Being drunk is the best disguise As the body is ravaged The spirit grows stronger」


narrator:Pause. He coughs horribly, the phlegm sucking out his chest with a horrid, asthmatic sound which he douses with another cigarette and another shot of whiskey. The Bushmills now two thirds empty. He looks over at the MYSTERY WOMAN now beside him at the microphone. MIKE and the SECRETARY watch.
 The bored ENGINEER across the darkened midnight room yawns.
 ENGINEER Let's send out for some pizza Jim.
Jim Morrison:「Nah, how 'bout some tacos when we're through? (downs another shot, continues) The world on fire Taxi from Africa The grand hotel he was drunk a big party last night back, going back in all directions sleeping these insane hours I'll never wake up in a good mood again I'm sick of these stinky boots Do you know we are being led to slaughters by placid admirals? And that fat slow generals are getting obscene on young blood? Do you know we are ruled by TV? (pause)」
narrator:SLOW DISSOLVE BEGINS:
Jim Morrison:「Oh great Creator of Being Grant us one more hour to perform our art and perfect our lives The moths and atheists are doubly divine in dying We live, we die, and death not ends it Journey we more into the nightmare We're reaching for death on the end of a candle We're trying for something that's already found us...」


narrator:DISSOLVING TO:
 INT. MIAMI AUDITORIUM - NIGHT (1969)
 Crammed into every available space of an old SEAPLANE HANGAR with no seats -- standing room only -- a MASS of KIDS swelter in the heat, grumbling, fanning themselves with programs as a warm-up BAND plays.
 In the wings of the stage, a RADIO DJ/CRITIC is recording on tape. It's the same kid we saw long ago at the Whiskey backstage, pronouncing the arrival of the Doors on the scene. Now he's got a beard, glasses, a more cynical face.
 RADIO DJ/CRITIC (into microphone) A hot night in Miami January '69 -- every space in the auditorium is consumed... unfortunately the Doors have long since sold out. They've become an act. Morrison "falls" off the stage at least every other performance. "The Soft Parade" album only confirms the plasticity of their approach. Songs like "Touch Me" and "Follow Me Down" are not the Doors we once knew. So the question is: Why am I here? Are funerals entertainment?
 DENSMORE looks on from the stage wings, withdraws -- to RAY nearby.
 DENSMORE He ain't gonna show! I know it man. We should fuckin' go on without him.
RAY:「Bill's with him. They're an hour away, he'll get him here.」
narrator:INT. NEW ORLEANS AIRPORT BAR - SAME NIGHT
 SIDDONS, the manager tugs on MORRISON who's getting soused with DOG, TOM, MIKE, and ROTHCHILD the producer. The P.A. SYSTEM announcing the departure of the Miami flight!
SIDDONS:「Goddamit Jim! We missed one already, we gotta get this one man!」
narrator:Jim slams has shot glass on the bar. He's got a beard for the first time, looking like a tribal elder.
Jim Morrison:「More!」


MIKE:「Four more all around and up and down!」
narrator:As the WAITRESS takes the order
SIDDONS:「urgent) NO! CUT EM OFF! CUT EM OFF!」
Jim Morrison:「Don't be so melodramatic Bill, it's not fun anymore.」
DOG:「I can't fly sober.」
SIDDONS:「Jim, you don't show for this one, we're dead, the whole group -- no more bookings.」
Jim Morrison:「I care.」
PAUL:「Come on Jim, we'll get fuckin' laid in Miami.」
SIDDONS:「We need the work Jim! They're making us post a $10,000 bond just to show up -- we're the only group in rock-n- roll with a fuck clause! (aside to Dog) Get him on the fuckin' plane. That's what I pay you for.」
DOG:「to Bill) You're an awful little guy to be talking like that.」
Jim Morrison:「muttering) Chump change, we're working for chump change.」
SIDDONS:「Look at you, you're a pathetic fuckin' slob and so are all your friends!」
Jim Morrison:「I got an idea Bill, you're fired.」


narrator:INTERCUT TO:
 INT. MIAMI AUDITORIUM - THAT NIGHT
 The warm-up BAND is applauded and booed. The CROWD resembles a pit of snakes, wriggling on top of each other. Impatient CATCALLS.
 INT. DRESSING ROOM - NIGHT
JOHN:「Listen to 'em! They're not coming for the music anymore. They're coming to see a fuckin' freak show!」
RAY:「You think it's easy for him. He moves left he's got vice squad, on the right narcs -- and the audience just waiting for him to get busted.」
JOHN:「He wanted it! Not us. I just don't fuckin' get the point anymore. I never did I guess. Y'ask me he's just become a drunken fuckin' asshole that's what. And he's gonna take us down with him.」
RAY:「Compassion was never your forte man.」
JOHN:「Don't lecture me Mr. Philosopher, you never felt a fuckin thing in your life. I loved that man. I loved what he was.」
narrator:Robbie strums his guitar, breaks the tension in the room. A lick of "Five to One".
ROBBIE:「It ain't the old Jim that's for sure. I think he's living for everybody else man and somewhere along the way he's lost his own self.」
RAY:「almost to himself) The wine man, the ancient wine. The ancient wine.」
ROBBIE:「What?」
RAY:「Something he once told us. About Dionysos. When the madness took over...」
narrator:INTERCUT TO:
 OMIT
 Sequence omitted from original script.
 INT. AIRPLANE - THAT NIGHT
 The STEWARDESS, uptight, tries a smile at JIM, TOM, MIKE all belted in one row.
STEWARDESS:「My name is Rita Hager and if...」
Jim Morrison:「If your name is Rita, then yor ol man must be ol man Rita!! (guffaws)」


narrator:TOM, MIKE & DOG (chorusing) That ol man Riva, he just keep rolling along!
STEWARDESS:「Excuse me sir, my father is not my old man.」
narrator:A BABY, with her MOTHER, stares at Jim fascinated. He lifts his dark glasses, winks back at her.
 TIMECUT TO:
 The STEWARDESS slips the oxygen mask over her face.
STEWARDESS:「In the event of a decrease of pressure, pull the oxygen mask to your...」
TOM:「Ma ol lady had one of those but she calls it a diaphragm when I'm eating her out!」
DOG:「Nah, it's a douche bag on a dixie cup.」
STEWARDESS:「I'm sorry sir, but you're embarrassing me.」
MIKE:「Great tits.」
SIDDONS:「Come on guys, cool it!」
narrator:Other PASSENGERS looking over.
 TIME CUT TO:
 In flight. Dog squeezes from the lavatory and drops a small bar of soap in Jim's drink. They laugh, push, yell. Jim is smoking a cigar.
Jim Morrison:「teasing to Rothchild in the row behind him) C'mon Paul, you can get us some heroin man.」


PAUL:「suddenly serious) No I can't and I won't.」
Jim Morrison:「Why not?」
PAUL:「Cause I don't want to participate in anything that would accomplish your goal?」
Jim Morrison:「wry) Oh and what is my goal Paul? Death?」
PAUL:「Death old friend".」
Jim Morrison:「laughing) Wrong. I just want the pure beauty of absolute zero and sing the blues man -- do nuthin, go nowhere, just be.」
TOM:「With that waistline Jimbo you got no choice.」
Jim Morrison:「laughs, goodnatured) What's wrong with being a large mammal, a big beast like a tank. I feel great!」
DOG:「Yeah. What's wrong with being fat.」
TOM:「You mean "Crawling King Flab"? Rock is cock babe and your rock is dyin'.」
Jim Morrison:「Rock is death! There is no longer belief. Hey, I'll write poetry and direct movies.」
TOM:「And what are you offering? Sex? You can't get it up. Salvation? You can't even save yourself. Come on Jim, you're not gonna be remembered.」
Jim Morrison:「Miss?...」
STEWARDESS:「What do you need?」


Jim Morrison:「Some love.」
MIKE:「They'll still be talking about Jim when you're a walk on Baker. I'll make you a deal. When you do something, I'll criticize it.」
TOM:「I think you both should take your heads out of the toilet bowl. After "Soft Parade" You need an album sweetheart.」
MIKE:「You should take it outta your ass.」
Jim Morrison:「The first two novels come along they love you, next few they slam but if you stay around long enough, one day they say, "hey he's part of the national psyche".」
STEWARDESS:「What are you drinking?」
MIKE:「Screwdrives-her. (lifts her skirt)」
STEWARDESS:「to Siddons) I'm going to have to call the captain if you can't control these people. I guarantee that.」
TOM:「a cruel sarcasm Jim seems to enjoy) ...if you live long enough, don't kid yourself Jimbo -- you're all alone out there, Jimbo, cept for me, cause you're too wacked out man, they're scared, you're too fuckin crazy.」
Jim Morrison:「feigning innocence) I wasn't mad, Tom. I was only interested in freedom.」


TOM:「the devil) Bullshit! You're bored, you're not free. You tested all the limits, fame, fucking, money, -- whatcha gonna do now Jimbo! When the music's over, when you're too fat and ugly to get on a stage, whatcha gonna do for act three -- puke on Heaven's door?」
Jim Morrison:「Listen you two bit fuckin actor, you underestimate the audience. You think they all want a better job, a house, two cars, money, that's what you think but you know what they really want, Tom, in their lives, what they really want --」
TOM:「Tell me.」
Jim Morrison:「a whisper) ...something sacred, that's what they want, something sacred.」
narrator:Tom spews the contents of his mouth all over Jim in response. Jim throws his sandwich back at Tom... then another drink goes...
Jim Morrison:「Fuck you ignorant devil's asshole slave!」
TOM:「No you. Something sacred. My cock is sacred. Suck on that!」
Jim Morrison:「I don't eat shrimp.」
narrator:A full fledged food fight in progress. Dog, Tom, Jim, Mike pushing and shoving. A drink spills over an innocent PASSENGER.
DOG:「Incoming!」


narrator:The STEWARDESS coming up with the CAPTAIN.
 CAPTAIN ALL RIGHT!! If you young men don't change your attitude right now, when we get to Miami you're going to be arrested.
Jim Morrison:「Yes, sir. (reflexively)」
TOM:「saluting) YESSIR -- you asshole.」
narrator:EXT. MIAMI AIRPORT - SAME NIGHT
 PLANE taxiing up. TWO POLICE CARS, red lights revolving, are waiting.
 INT. PLANE - SAME NIGHT
 PILOT escorting FOUR FBI AGENTS aboard.
 CAPTAIN As captain of this ship I'm placing all four of you under arrest. The FBI will...
MIKE:「For what! What'd we do!」
TOM:「Read me my rights, motherfuckers... motherfuckin bulls!」


narrator:JIM stunned in his drunkenness. SIDDONS and ROTHCHILD protesting AD LIBS.
 INT. MIAMI AUDITORIUM - THAT NIGHT
 The CROWD is heckling a long-haired HIPPIE in a leather hat who cradles a live, snow-white LAMB telling him to "GET OFF", screaming AD LIB for the "DOORS, DOORS, DOORS!! JIM JIM JIM!!"
 HIPPIE Look at this thing! Look at this beautiful little living thing!! How can you eat it!! How can you eat its flesh???
 CATCALLS. Angry fists pound the edge of the proscenium. Bodies push and pack against each other. If Hieronymus Bosch had painted a rock concert, this would be it.
 HIPPIE LOVE ANIMALS, DON'T EAT THEM!!!! (Boos!!)
 INT. BACKSTAGE - THAT NIGHT
 Excitement. EVERYBODY moving fast...
 as JIM, dark sunglasses and beard, surrounded by TWO FBI AGENTS and his BODYGUARDS move toward the stage, two hours late. SIDDONS with him arguing AD LIB with RAY and the PROMOTER, a southern sleazeball with long muttonchops and velvet shirt and beads. A mess -- the CROWD chanting DOORS! DOORS! DOORS! DOORS!
SIDDONS:「screaming at promoter) What the FUCK happened to the SEATS!! (grabs him) What's the FUCKING IDEA man! THERE'S NO SEATS!」
narrator:PROMOTER I took 'em out! What's wrong with that! We stuffed an extra five thou in there. (pissed at Jim) Where the fuck you been!
SIDDONS:「That wasn't THE FUCKING IDEA MAN!! We're gonna sue you!... We're pulling the plug.」
narrator:PROMOTER So sue me! You're playing or you ain't leaving here with your equipment sonny!
SIDDONS:「to Ray) We're not playing.」
narrator:Meanwhile, JOHN arguing with RAY and JIM who sways, drunk. The FBI agents get lost in the background.
JOHN:「I'm not going out there man!」
RAY:「JOHN, C'MON!!」
JOHN:「Look at him! I'm not going out there 'till I get some sorta guarantee he's gonna stay in line. I've had it with this shit.」
Jim Morrison:「Whatsa matter, scared Johnny boy?」


JOHN:「going physically for Jim) YOU'RE A FUCKIN ASSHOLE MAN!!」
RAY:「JOHN!! STOP IT!! COME ON!!」
narrator:Jim laughing, throws his arm around ROBBIE for support, ROBBIE patient with him. John yelling as they approach the curtains and the lights and the first monster realization of the THOUSAND MOUTHS waiting in the pit of hell.
JOHN:「You're pushing death Morrison. Everybody thinks we're drug addicts cause of you Morrison.」
Jim Morrison:「We the Beatles yet?」
JOHN:「held by Ray) We took drugs to EXPAND MINDS ASSHOLE, not ESCAPE. I'M NOT GOING OUT THERE WITH YOU.」
Jim Morrison:「Hey John y'ever eaten human flesh? When we get to New York, I know this chick...」
RAY:「taking John aside) Come on man.」
JOHN:「I'm not going out there!」
RAY:「We'll talk tomorrow, we'll settle it. Just do it tonight man and...」
narrator:As JIM brings up a tiny vial with a lubricating head on it, holds it to Robbie's lips playfully. They're in the shadows.
Jim Morrison:「just a touch Robbie, it's the funkiest stuff, you'll play like an orgasm tonight...」


ROBBIE:「No man come on, I don't want any.」
Jim Morrison:「just a little lick, come on trust me... for old times, the four of us, let's get together one more time,... the Doors man... Please. For me.」
narrator:Something so sincere in Jim's eyes. Robbie takes the fatal lick. Jim smiles manically as the NUREMBERG SOUNDS of the CROWD drown them out.
ROBBIE:「You said you love pain man, but you run from it every chance you get.」


narrator:INT. STAGE - SAME NIGHT
 The DOORS come out finally. The noise is overwhelming. Acid, light, noise. Wagnerian Gods, Hitler...
 JIM spreading his arms like Icarus set to fly. The ROARS redouble, their FEET stomping out:
 CROWD (insane) DOORS DOORS DOORS DOORS...
 Joints are thrown by the dozen on the stage at Jim's feet. He is a god now as he bends regally, picks one up.
 COPS everywhere looking as...
 He lights it. The CROWD going nuts as the DOORS go into the ominous introductory strains of FIVE TO ONE trying to get the onus off Jim and the show on the road. The Audience knows the song, go into a primal FOOT STOMP with it. Bras are thrown on stage. Kids writhe madly in the primal Doors dance.
 People with SPARKLERS running through the hangar. CAMERA FLASHBULBS popping throughout the show... get Jim on film while you can.
 Jim, drunk, high, smoking the jay, won't go into the lyrics right off, forcing the Doors to circle the beat again. He jerks his hand back from the mike as if it were a hot wire.
Jim Morrison:「ARE YOU READY!!!! (beat) ARE YOU REAAAAAAADYYYYYYYYY!!」


narrator:The Crowd explodes once more. As a COP heads upstage to get Jim for the joint -- he cooly flicks it back into the crowd, avoiding disaster. Perfect timing as the Cop looks around, suddenly distracted by:
 The Crowd yelling something. An INSANE TEENAGER stands on the railing of a balcony above the auditorium, poised to swan dive some 18 feet into the crowd. Which he now does, arms held out like wings.
 The Crowd yells, parting to allow his bulk to smack the floor. Pause. Cops rushing to the spot. The KID suddenly stands up, unhurt, with a stoned out look on his face.
 TEENAGER Wow!
 Then splits at a full run thru the crowd chased by the perplexed Cops. Everybody surging back towards the stage as JIM looses one of his primal SCREAMS.
Jim Morrison:「YAAAAAOOOOOOOOOOWWWWWW... Love my girl! (song) Five to one One in five No one here gets out alive You gets your baby I'll get mine Gonna make it, baby If we try」
narrator:He slobbers, drunk, slouches, stumbles, regains his balance. The Crowd loves it, but Ray senses something wrong. Robbie starts to feel the effects of the acid Jim gave him -- his eyes registering fear.


JIM & DOORS:「The old get old The young get stronger May take a week And it may take longer They got the guns But we got the numbers Gonna win yeah -- WE'RE TAKING OVER!!」
narrator:During the instrumental break, Jim picks up one of the roses from the floor, pokes it at John on the drums, who whacks it to death on his skins. Jim starts to whirl the mike cord like a slingshot or bolo, in an ever-widening arc...
 it flies off and smashes into the head of the PROMOTER at the edge of the stage arguing with SIDDONS. The man is staggered, weaving, Siddons helping him to a FIRST AID TEAM.
Jim Morrison:「YAAAAAAOOOOOOWWWWWWW!!!」
narrator:The crazy VEGETERIAN HIPPIE runs out on stage to give Jim the white lamb to make this political point. Jim holds the lamb in his arms. It's purring, gentle. DOG chases the HIPPIE off as he gives the microphone back to Jim and takes the lamb from him... he staggers over to ROBBIE and goes down to his knees, pretending to give him head on his frantic stoned guitar solo.


JIM & DOORS:「Your ballroom days are over baby Night is drawing near Shadows of the evening Crawl across the years You walk across the floor With a flower in your hand Tryin to tell me no one understands」
narrator:PHOTOGRAPHERS flashing cameras. BAKER urging him on from the wings as he passes out. A GIRL runs onto the stage, dumps a bottle of champagne on Jim's head. Jim takes his shirt off, soaking wet. The CROWD is also stripping in the heat, shirts, blouses, screaming so much now they are obviously way past listening to any song. It has become a view of the future -- the NAKED GIRL and BOY dancing stark naked drugged out in the middle of it all, the FAT GIRL prowling naked on the edge of the stage before she's arrested, the FIGHTS in the Crowd, fists, blood, a black man chased and beaten, the sense of Altamont here, the hippie flower trip gone to shit -- it's all come down here tonight, the end of an era.
JIM & DOORS:「Trade in your hours for a handful of dimes Gonna make it baby -- in our prime Get together one more time Get together」
narrator:He stops singing suddenly, squinting out into the madness. The arena echoes with the uncomprehending chant of the Mob...
 MOB ...one more time Get together one more time Get together one more time
 SPECIAL EFFECT -- the INDIAN GHOST is leaving Jim's body -- spectrally moving off him, hovering there in the air, its eyes -- the face of a dying Indian on an Arizona highway -- then gone. A moment, only three, four beats. An optical illusion? Maybe. Or is it saying, 'now you are just a white man'... maybe not. As it drifts off in a cloud, into the vast audience's EYEBALL.
Jim Morrison:「YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!」


narrator:The instruments continue to vamp but there's a hush to the CROWD.
Jim Morrison:「Lettin people tell you what you're gonna do! Lettin people push you around! How long you think it's gonna last! How long you gonna let them push you around!!」
narrator:He waits. INTERCUTS of the FACES in the crowd.
VOICES:「ignoring Jim) "Light My Fire"! Play "Light My Fire"!! Come on Jim... (some boos sprinkled in) Take your clothes off man! Get wild! Fuck me baby. Fuck me girl, suck my cock honey around the world! Mexican whore suck my prick! Keeper of the royal sperm man! CELEBRATE THE LIZARD MAN, DRAIN IT MOTHERFUCKER!!」
Jim Morrison:「C'MON GET IT ALL OUT! ALL THE LITTLE HATREDS, Everything inside you... LET ME HAVE IT!」
narrator:CROWD FUCK YOU!
Jim Morrison:「THAT'S THE ONE LITTLE WORD I WANTED TO HEAR! THAT'S THE VERY LITTLE WORD! THE WHOLE WORLD HATES ME! THE WHOLE FUCKING WORLD HATES ME!」
narrator:VOICE (girl) SAVE US... SAVE US, JIM... JIM! EEEE... I TOUCHED HIM.


Jim Morrison:「Maybe you love it, maybe you love gettin your faces pressed into the shit of the world! You'd all eat shit wouldn't ya!! Adolph Hitler is ALIVE AND WELL HERE IN MIAMI!! YOU'RE ALL A BUNCHA SLAVES!!」
narrator:The Crowd BOOS back at him, surging suddenly with hatred for Jim. Intercut the Crowd -- feel this hatred.
Jim Morrison:「WHAT ARE YA GONNA DO ABOUT IT! WHAT ARE YA GONNA DO ABOUT IT! WHAT ARE YA GONNA DO ABOUT IT!」
narrator:The Band has petered out by this point but out of nowhere, ROBBIE, zonked on his version of LSD, starts up with "TOUCH ME BABE."
JIM & DOORS:「going with it) Come on, come on, come on and FUCK me babe! Can't you see that I am not afraid (cuts the music) HEY WAIT A MINUTE... (music cuts off raggedly) Miami Beach Florida hunh? I was BORN and RAISED not far from here... went to Florida State... (cheers) Then I GOT SMART. I went to California where you can let your hair grow long and walk down the street without people calling you a FREAK... They're trying to CHANGE THE WORLD out there in California.」


VOICES:「Yeah, STOP THE WAR MAN, PEACEEE... WE LOVE YA JIM.」
Jim Morrison:「NO I'm not talkin' 'bout NO REVOLUTION. I'm not talkin 'bout no DEMONSTRATION. I'm talking 'bout HAVING SOME FUN. I'm talkin' 'bout DANCIN. I'm talkin 'bout LOVE. I'm talkin' 'bout some LOVE. LOVE LOVE LOVE LOVE... LOVE!!!! Grab your friend -- and LOVE him. Come oooooaaaannnnn. Yeah!」
narrator:Jim pulling his shirt off -- barechested -- waving it like a toreador in front of his leather crotch.
VOICES:「cheers, giggles) "Light My Fire"! Come on Jim -- play "Light My Fire"!」
narrator:The audience seems to be paying no attention to what he is doing or saying, which drives him to deeper rage.
Jim Morrison:「Ain't nobody gonna love my ass? Come on... I need ya. There's so many of ya out there and nobody's gonna love me! C'mon -- what'cha come here for anyway? You didn't come here for music. You didn't come here to see a good band. You came here for THIS didn't ya...」


narrator:He saunters to the edge of the stage. Hisses at them. He clasps his crotch, leering at a cute LITTLE GIRL in the front row, shaking it at her. Her BOYFRIEND, pissed at Jim, runs for the stage. Jim unzips his leathers.
Jim Morrison:「I'm lonely out here -- Ya wanna SEE IT... COME ON SWEETHEART... I need it, I NEED IT, need ya, need ya, NEED YA, COME OOOOOAAAANNNNNNN...」
narrator:Chaos, confusion now erupt in the crowd! The BOYFRIEND is running at JIM as the BODYGUARDS throw him back into the crowd. Jim flicking his shirt over his crotch, back and forth like a drunken matador. The Doors look at each other, don't know what's going to happen.
Jim Morrison:「Didja see it! You wanna see it AGAIN???」
narrator:The crowd roars its approval. Confusion reigns. Drunken CATCALLS. Things, bras, cans thrown at the stage.
VOICES:「ad lib) Take it off! Take it all off!」


Jim Morrison:「What if I pull it out fer ya!! And SHAKE IT AROUND!!! Will that do it for you! Would ya, would ya, would ya!! Now watch -- I'm gonna show it to ya!」
narrator:He feigns opening his belt and exposing himself, flipping his shirt back and forth over the crotch in a mock striptease.
Jim Morrison:「There it was! Ya see it? Ya see it?... Ya wanna see it again?」
narrator:A flock of TEENAGE GIRLS are sure they've seen it, hysterical.
 TEENAGE GIRL I saw it!... Yes, yes! Jim! Jim!
 TEENAGE GIRL 2 Where? I didn't see it.
Jim Morrison:「roaring out his commands) COME ON UP HERE AND LOVE MY ASS! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANNA SEE SOME ACTION OUT THERE! I WANT YOU TO LOVE MY ASS! I WANT SOME LOVE... LOVE... LOVE... LOVE C'MON, C'MON... NO LIMITS, NO LAWS YOU WANNA FUCK? COME ON! COME ON UP HERE!!!!!」


narrator:He looks like he's really gonna tear it all off now. A flash of boxer shorts. RAY moving. SIDDONS moving. DOG getting to him first, wrapping him in a bearhug from behind, lifting him holding his pants up.
 VINCE THE ROADIE DON'T DO IT MAN. DON'T DO IT!
RAY:「HEY JIM.」
Jim Morrison:「C'MON! C'MON! NO LIMITS, NO LAWS! NO LIMITS, NO LAWS! NO LIMITS, NO LAWS!」


narrator:The place is in PANDEMONIUM now. GIRLS jumping on stage and dancing with Jim still in Vince the Roadie's bearhug. Another RIOT... COPS fighting the TEENAGERS off the stage, now wobbling under the weight.
 PROMOTER (pissed, head bandaged) GET OFF THE FUCKING STAGE! GET OFF THE FUCKING STAGE!! (stiffarms Jim off the stage)
 RAY starts playing BREAK ON THROUGH trying to keep things normal.
 JIM now out there in the arena in a CONGA LINE, doing his rain dance, hands on hips, the TEENAGERS forming a long snake behind him.
 The huge speaker columns teeter and fall. A corner of the STAGE now COLLAPSES from the weight, PEOPLE spilling on the floor, screams. The power console tips over next to DENSMORE. He bails. Manzarek and Krieger follow.
 The PROMOTER is yelling at SIDDONS about his insurance contract as the COPS and FBI AGENTS close in, looking for Jim.
 COPS Where's the guy with the penis!
 Who is out there leading his naked drunken FLOCK, hundreds of them in a phallic Pied Piper dance thru the darkened seaplane hanger. From BREAK ON THROUGH PART TWO:
 JIM ET AL & DOORS You know the day destroys the night Night divides the day Try to run, try to hide BREAK ON THROUGH TO THE OTHER SIDE BREAK ON THROUGH TO THE OTHER SIDE BREAK ON THROUGH TO THE OTHER SIDE Dead cats! Dead rats! Did you see what they were at Dead cat in a top hat! Sucking on a young man's blood Fat cat in a top hat Thinks he's an aristocrat Thinks he can kill and slaughter Thinks he can shoot my daughter Dead cats! Dead rats! Think you're an aristocrat Crap, that's crap
 Ray watching from the corner of the stage, littered with bras, bottles, shirts, shoes, socks, panties, hats, broken equipment, debris -- the end of the dream. The Doors as a live band are dead.
 DISSOLVING TO:
 INT. MIAMI COURTROOM - DAY (1970)
 The "Charges" are being read by the JUDGE, distant, not of this world. The court is lit in southern gothic daylight, ghostly chiaroscuro, all colors bled. Camera moving along the sweaty white faces of the six older JURORS, all of them straight "silent majority"... past the PROSECUTOR, his shadow cutting the jury box... onto JIM bearded, smoking 2 packs a day, a deep racking cough, sitting with his elder ATTORNEY... RAY, ROBBIE, JOHN, PAMELA, OTHERS in support are there in background. The trial is going down like a morphine dream, Jim featured in diopter close-up.
 JUDGE VOICE ...you are charged under four counts with lewd behavior, simulated masturbation, public drunkenness, profanity, and public exposure.
 A blues riff goes by -- brief, ghostly from RUNNING BLUE.
 JIM SONG Poor Otis dead and gone Left me here to sing his song Pretty little girl with the red dress on Poor Otis dead and gone


Jim Morrison:「V.O.) I can't believe this is happening I can't believe all these people are sniffing each other & backing away, teeth grinning, hair raised, growling, here in the slaughtered wind This is it No more fun the death of all joy has come」


narrator:「The PRESS SECTION is full as Jim's older LAWYER argues in front of the JURY, a distant voice.
 LAWYER Your Honor, I would like to bring to the Court's attention the contemporary Broadway musical "Hair" in which cast members disrobe and appear naked on the stage.
 JUDGE (pounds his gavel) Inadmissable evidence.
 JIM VOICE OVER I had a vision of America Seen from the air 28,000 ft. & going fast A one-armed man in a Texas parking labyrinth A burnt tree like a giant primeval bird in an empty lot in Fresno
 SUPERIMPOSITION:
 LAWYER Your Honor... any difference from the Miami nightclubs where comedians frequently incorporate profanity into their acts
 JUDGE (gavel) Inadmissable evidence.
 JIM VOICE OVER Miles & miles of hotel corridors & elevators, filled with citizens Motel Money Murder, Madness Change the mood from glad to sadness Play the ghost song baby
 The backbeat of WHEN THE MUSIC'S OVER starts, into its spiralling descent.
 SUPERIMPOSITION:
 LAWYER (distant) ...there has not been one shred of evidence: 300 photographs and not one shows a thing; not reliable testimony, nothing but hysterical heresay
 The PRESS is bored, their numbers reduced. The spectators have changed from kids to OLDER PEOPLE intent on preserving their way of life. A TAPE is playing of Jim's devil voice at the concert, cursing: "Come on up here. No limits! No laws", etc... (screams, obscenity)
 JIM & DOORS (SONG) When the music's over (3) Turn out the lights (3) For the music is your special friend Dance on fire as it intends Music is your only friend Until the end (2)
 SUPERIMPOSITION TO:
 LAWYER ...this is a major First Amendment violation by the Police and Politicians of Miami. Every witness they've brought has admitted under oath to not actually seeing the client's genitals -- except one who...
 The PRESS section is now down to about THREE bored FACES, one of them PATRICIA KENNEALY who looks pregnant.
 JIM smiles at her.
 JIM & DOORS Cancel my subscription to the Resurrection Send my credentials to the house of detention I got some friends inside
 EXT. ORANGE BOWL - MIAMI - DOCUMENTARY FOOTAGE (DAY)
 ANITA BRYANT & JACKIE GLEASON at the NATIONAL DECENCY RALLY. A large CROWD in the vicinity of 100,000. NIXON addressing them.
 JIM & DOORS SONG (OVER) The face in the mirror won't stop The girl in the window won't stop A feast of friends alive she cried Waiting for me Outside!
 MONTAGE -- NEWSPAPER HEADLINES SPIN OUT:
 JIMMI HENDRIX OVERDOSES IN LONDON.
 JANIS JOPLIN OVERDOSES IN LOS ANGELES.
 A ROLLING STONE WANTED POSTER ON JIM -- "In the County of Dade/Dead -- Did He Or Didn't He?".
 JIM & DOORS SONG (OVER) Before I sink into the big sleep I want to hear The scream of the butterfly Come back baby Back into my arms
 INT. HOTEL ROOM - MIAMI BEACH - DAY
 The MUSIC continuing into a long backbeat without lyrics -- emphasizing the downward spiralling theme...」


Jim Morrison:「Well, you gonna get rid of it? Fucked up people y'know, crazies, unwanted Indians just throw it in the river.」
narrator:Pause. PATRICIA -- four and a half months pregnant, stares. A glary window onto a balcony overlooking the sea with Florida palms and a strip of beach. A room in a highrise hotel. Jim's mess is everywhere.
PATRICIA:「I can't fucking believe you just said that!」
Jim Morrison:「Patricia, wouldn't it be better to have a kid with someone who wanted to be its father?」
PATRICIA:「It'd be a fucking genius, that's what it'd be! You and me. The child would be a god, goddess!」
Jim Morrison:「It'd be a monster.」
narrator:A look. She's stunned, ugly wrath gathering. He tries to soothe her.
Jim Morrison:「I got this trial dragging on me, Patricia. I couldn't support the kid -- I can't afford it and I don't want the responsibility right now.」
PATRICIA:「You're a COWARD!! A LITTLE BOY!! The only way you can't afford it is emotionally. You forgot your vows man. They were forever in the goddess' sight. Death doesn't part, only love Jim!」


Jim Morrison:「Come on Patricia, I was stoned... it seemed like the fun thing at the time.」
narrator:She pulls a dagger with a skull's head on it, goes for him.
PATRICIA:「I'm gonna cut your balls off Morrison!」
Jim Morrison:「that smile) You want 'em?」
PATRICIA:「beat) FUCK YOU. I'm gonna have the kid.」
Jim Morrison:「Then it'll be your kid. If you want the abortion I'll pay for it and I'll come up to New York to be with you when you have it.」
PATRICIA:「No you won't.」
Jim Morrison:「Yes I will.」
PATRICIA:「Bullshit Morrison (release him, stalks) You know who you are... (pause) NO. What difference does it make. You know, you never pretended. I did. I don't even like kids particularly, (laughs to herself) but I don't want the other thing either. I guess what I really want is to throw myself off this fucking balcony (Hurls the knife out off the balcony) Well now that you've fucked the future, Morrison, have you fucked everything?... (cruelly) Have you looked at yourself in the mirror. Your stomach...」


Jim Morrison:「hurt, near tears) Please don't say those things to me, Patricia.」
narrator:She suddenly grasps him, clutching, hunger, lust.
PATRICIA:「Fuck me one last time, you worthless piece of shit.」
narrator:JIM & DOORS ...the scream of the butterfly Come back baby Back into my arms
 On Jim's face.
 EXT. MIAMI COURTROOM - DAY
 TWO HUNDRED PERSONS are gathered on the lawn outside, banners decrying the Doors. A MIDDLE AGED SPEAKER, clean cut, squarely dressed, expresses his outrage.
 SPEAKER (bullhorn) ...endorsed by President Richard Nixon! (cheers) The immoral conduct of degenerates such as Jim Morrison is an unacceptable insult to this country and the principles for which it stands...
 JIM & DOORS (OVER) We're getting tired of hanging around Waiting around with our heads to the ground I hear the gentle sound Very near yet very far Very soft, yeah, very clear Come today, come today


Jim Morrison:「Well uh, it's designed to wear you down y'know... when that rap sheet says the "United States of America versus You" it takes you down day by day, specially when no one really gives a shit about, y'know, the First Amendment that's on trial here... Nobody says anything about that, it's just uh did you take your pants off y'know, I mean that's not what it's about, it's about freedom, that's what it's about... but who cares, right? Freedom exists in a schoolbook.」
narrator:REPORTER 1 (disinterested) ...but the promoters are cancelling your shows, will this affect the way you play?
Jim Morrison:「Well, I can only open doors, M'am. I can't drag people thru 'em. I'm no savior.」
narrator:REPORTER 2 But you've called yourself a shaman?
Jim Morrison:「beat, pained) Did I? Well, I'll tell ya, my words stand a far better chance of being around a hundred years from now than my waistline.」


narrator:As he goes into the courtroom, a dolled up REPORTER 1, the local anchor-lady turns to her camera.
 ANCHORLADY The question that will be answered today: Did Jim Morrison or did he not take off his pants last March? This is...
 INT. COURTROOM - THAT DAY
 The judge passing sentence, distant, hazy under song. Darkened shadows across the floor, silhouettes... the world bleak and white...
 JUDGE James Douglas Morrison, I hereby sentence you to sixty days of hard labor in the Dade County Jail and for public exposure I am sentencing you to six months of the same, after which you are to serve two years and four months of probationary time. [...]
 SECRETARY (overlapping) I booked you round trip to New York for Thursday, Pamela's called six times, Patricia, Kathy, Judy, Gayle is pregnant, she says but... you gotta get straight, honey, go to sleep, get a massage, go to the dentist, get a haircut honey, you gotta cool out...
JOHN:「Probably a bath too...」
narrator:OFFICE BOY (reading a rock magazine) Jesus Jim, this guy really despises you.
JOHN:「didn't invite us to Woodstock. Twenty other groups but not...」
SIDDONS:「What's heavy is the radio stations pulling us from their playlists. The big cities -- Philly, Cinci, Chicago, Detroit -- it's insane! Record sales suck!」
RAY:「with irony, reading something) "The band you love to hate".」
narrator:LAWYER (2nd Lawyer if necessary) We can drag this appeal out for years, we can keep you out of jail.
Jim Morrison:「drinking) You're drinking with number three.」


SIDDONS:「Max firmly believes the FBI's behind it. We're subpoenaing their records -- they had memos on you in Phoenix and they got you extradicted to Miami illegally without a felony...」
MIKE:「A new image -- Jim Morrison as "Renaissance Man" -- We bring you back slow, quiet, the beard, elder of the tribe.」
narrator:OFFICE BOY (reading from review) ...like Lennon said "you either grow with the music or it grows without you."
ROBBIE:「Hey, it was fun.」
narrator:All the voices merging into one:
VOICES:「First Hendrix now Janis Robbie flew to Hawaii legalities pending dispositions book in Toronto interview with PBS renew your diverse license psychic predictions nine paternity suits fifty thousand dollar bond recoup our losses Pamela's shopping spree with your credit card Morrison Hotel some-body from film school mountain of coke in the broom closet Jac Holzman eight thirty in the morning remix perform schedule Paul Rothchild taxes Texas teenyboppers tomorrow.」
narrator:Jim, during this, picking up the TV remote, flicking on the images. The VOICES blending with TV VOICES as he swithes the channels. The camera moving in on Jim, the VOICES fading. All we see is Jim. All we hear and see is the TV:
 TELEVISION Chicago Seven in it's tenth day... Bobby Seale gagged and chained... (click) L.A. shootout with Black Panthers... (click) Charles Manson indicted for murder of actress Sharon Tate... (click) U. S. ground troops in Laos and Cambodia... (click) Indians still occupying Alcatraz Island... (click) For the My Lai massacre testified 120 villagers shot by American soldiers in a trench...
 The SONG climaxes into an inner scream of madness.
 JIM & DOORS (CONCLUDE) For the music is your special friend Dance on fire as it intends Music is your only friend Until the end (3) (SCREAM!)
 Silence on Jim.
Jim Morrison:「mildly) I think I'm having a nervous breakdown.」


narrator:The sound of wind, the backbeat of LA WOMAN flooding in.
 EXT. CHATEAU MARMONT HOTEL - LOS ANGELES - NIGHT
 JIM dangles out on the narrow ledge that circumscribes the 20th floor rooftop -- wind blowing thru his wild hair, the card zooming by like racer lights on Sunset below. The song LA WOMAN continues born from this renewed feeling of danger.
 JIM & DOORS Well I just got into town 'bout an hour ago Took a look around, see which way the wind blow Where the little girls in their Hollywood bungalows
 PAM screaming for him to come back from the edge as TOM BAKER and MIKE and DOG and a CAMERAMAN film in 16mm.
PAM:「JIM! PLEASE GODDAMIT!! COME BACK IN PLEASE!!」
narrator:JIM yelling back, as he drinks from a pint of whiskey, enjoying himself enormously.
Jim Morrison:「Whatcha worried about? I like it out here.」
narrator:He feigns a fall.
PAM:「NOOOOOO!!」
narrator:RAY and SIDDONS arrive, terrified, looking for him.
Jim Morrison:「laughing at Pam) Life on the edge baby. Come get me if you love me baby.」


PAM:「PLEASE GODDAMIT JIM MORRISON I'M NOT GONNA KILL MYSELF FOR YOU. GET IN HERE.」
narrator:Jim cracking up with laughter. BAKER, drunk and the FILM CREW love it, swishpanning with a cheap sungun.
MIKE:「dancing) We got it man! Keep going. Great get a two shot.」
narrator:BAKER GO ON GET OUT THERE PAM.
 Pam is sufficiently cracked on her own set of drugs to start climbing out onto the ledge, skirts blowing in the wind.
PAM:「JIM MORRISON GODDAMIT I LOVE YOU I WANT YOU I NEED YOU.」
narrator:Jim moving further along the ledge.
Jim Morrison:「raw) YOUR WHOLE LIFE'S BULLSHIT! YOU LOVE ME THEN COME AND GET ME.」
narrator:JIM & DOORS (OVER) LA Woman (X2) LA Woman Sunday afternoon (X3) Drive thru your suburbs Into your blues (X2) Into your blue-blue Blues Into your blues
 Siddons and Ray terrified. Is this the night it's finally going to end in a suicide plunge? Ray trying to stop Pam, too late.
RAY:「Pam!! Oh shit... get the ambulances man...」