SCREENPLAY
SEA CHANGE
ׂ(A Parable for Our Time)
By
Michael Peach
Copyright © Michael Peach 2008
The radiant, blue earth is seen from outer space as Hurricane Smith’s "Don’t Let It Die" begins to play and the movie’s title and credits appear on the screen. The camera homes in on the United States and on Yellowstone Park in Wyoming, where it reveals a bird’s-eye view of the diverse wildlife and stunning natural beauty. These images continue until the song ends.
The clatter of revolving helicopter blades is heard as the film cuts to an aerial view of Washington, DC at night. In the light of a full moon Capitol Hill, the National Mall and the White House are shown from above, before the camera reaches its destination – the Globe Theater; whereupon, though the view is still from the air, the sound of the helicopter ceases. The circular (white) stone building, with a portico above its entrance, is surrounded by a drive, packed with parked cars in rows. Leading to this drive are four wide asphalt paths, flanked with lawns and trees, and illumined by lines of moonlike lamps. Close to the steps leading to the building’s entrance stands a white van, equipped with a satellite dish. From above the theater’s flat roof the camera moves down over the triangular face of the jutting portico, in which the surface of a globe and the inscription THE GLOBE THEATER. 1945 are engraved in stone. It then passes a circulatory electronic belt (at this moment displaying: WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM. STARRING CHRIS THOMAS AS OBERON), the portico’s pillars, the theater’s entrance and the steps; thus reaching the white van. On the vehicle’s side are the letters GGN. Its rear doors are open. Within sit two technicians, with headphones, in front of TV monitors depicting the play in progress.
The movie cuts to the packed auditorium. From the ceiling the camera shows the gallery, stage and main floor – all of which are semi-circular. On either side of the stage, near the front, stand Oberon and Titania (King and Queen of the Fairies) with their respective green-golden fairy retinues. Between them squats Oberon’s elfish servant, Puck. The audience consists mainly of young devotees of the celebrity Chris Thomas. On the left and the right side of the auditorium (near the stage), and in the center (further back), there is a GGN TV camera. While all this is being shown from above, Titania scoldingly delivers the following lines to her husband:
TITANIA:
And never, since the middle summer’s spring,
Met we on hill, in dale, or mead,
By pavèd fountain or by rushy brook,
Or in the breachèd margent of the sea,
To dance our ringlets to the whistling wind,
But with thy brawls thou hast disturbed our sport.
The film cuts to a close-up of Titania.
TITANIA:
Therefore the winds, piping to us in vain,
As in revenge, have sucked up from the sea
Contagious fogs; which falling in the land
Hath every pelting river made so proud
That they have overborne their continents.
While she proceeds to deliver the words: "The ox hath therefore stretched his yoke in vain, / The plowman lost his sweat," the movie cuts to Chris’ girlfriend Orenda seated on the left side of the front row, next to the aisle. She is a handsome Native-American in her mid-twenties, with large brown eyes and plaited black hair.
The film cuts back to the stage. While Titania continues her speech, for the first time the camera shows a frontal view of Chris Thomas. He is an agile, slightly-built twenty-five-year-old, with a sensitive face and long, light-brown hair.
TITANIA [off-screen]: and the green corn
Hath rotted ere his youth attained a beard;
The fold stands empty in the drownèd field,
And crows are fatted with the murrion flock;
While she speaks the lines, "The nine man’s morris is filled up with mud; / And the quaint mazes in the wanton green / For lack of tread are undistinguishable.", the movie cuts to the far right-hand section of the front row of the gallery. Starting at the aisle, the camera scans in turn a yawning body- guard, wearing sunglasses and a black suit; Senator Smart (a suave, silver-haired, middle-aged man in a tuxedo); his scrawny, dyed-blonde wife; his anorexic, blonde daughter; and his blond, crop-eared, athletic son.
The movie cuts to a close-up of Titania.
TITANIA:
The human mortals want their winter here;
No night is now with hymn or carol blest.
Therefore the moon, the governess of floods,
Pale in her anger, washes all the air,
That rheumatic diseases do abound,
And thorough this distemperature we see
The seasons alter: hoary-headed frosts
Fall in the fresh lap of the crimson rose,
And on old Hiems’ thin and icy crown
An odorous chaplet of sweet summer buds
Is, as in mockery, set. The spring, the summer,
The childing autumn, angry winter change
Their wonted liveries; and the mazèd world,
By their increase, now knows not which is which.
And this same progeny of evils comes
From our debate, from our dissension;
We are their parents and original.
The camera sweeps to a close-up of Oberon.
OBERON: Do you amend it then; it lies in you.
Chris pauses for several seconds; he appears to be experiencing an epiphany. Then, having advanced to the edge of the stage, he stares at the central TV camera and in an urgent, deliberate tone repeats the sentence:
CHRIS: Do you amend it then; it lies in you.
The film cuts to a close-up of the senator’s perplexed face. It immediately cuts back to Chris, who, after scanning the audience with his intense gaze, again fixes on the TV camera.
CHRIS [shouting]: Let us amend it then; it lies in us! Youth of America, the prophetic soul of the wide world bids me to wake you from your fatal dream; from your collective sleepwalking towards the abyss. The hour has come to open your eyes and ears, and sense the rising sea-sorrow brought about by Nature’s usurpers…. Then you can suffer a sea-change into something green and golden.
TITANIA [looking into the wing]: What the hell’s he doing!
CHRIS [gesturing]: I’m changing the text…switching the play…summoning the tempest…proclaiming the revolution that could free the young from the usurpers’ spell; from the bewitching mindset that has subverted the climate and created this midsummer nightmare, global warming.
He looks directly at the central TV camera, then leaps down from the stage into the auditorium. The curtains close violently as he rushes up a central aisle and through the two sets of open doors into the sultry, summer night. All has been captured by TV cameras, including his exit from the theater.
The movie cuts to the auditorium, where the audience is reacting in various ways. One young man exclaims "Far out!" Senator Smart and his family remain seated in the gallery.
DAUGHTER: So we have to buy Chris Thomas’ spell?
WIFE: Is this Reality TV?
SENATOR: Global warming’s caused by the goddam sun.
SON: King of the Fairies, huh? –
DAUGHTER: And Prospero the sorcerer.
SENATOR: I believe we can sue.
The film cuts to the main floor. An attractive, young GGN reporter addresses a TV camera.
REPORTER: Tomorrow, 4 PM local time, GGN will broadcast live Chris Thomas’ press conference at Thomas Paine University. Kathy Gold live. Globe Theater. Washington, DC.
The movie cuts to a lawn on the campus of Thomas Paine University. Chris, dressed in jeans and a T-shirt displaying Droeshout’s Shakespeare and the words "Will Power", is seated at a table on a podium near a large oak tree. The podium also bears a couple of loudspeakers. The front side of the table is decked with a banner depicting the earth, the slogan DON’T LET ME DIE!, and the Web site www.americanyouthrevolution.org On the table is an array of microphones. Before the podium are several rows of chairs, each of which is occupied by a reporter, an invited VIP, or a member of the staff. At the very front is a microphone attached to a stand. On the grass, behind the rows of chairs and on either side of them, sit or stand many students and young visitors. The sun is beating down on them, and most are scantily dressed. TV cameras are strategically positioned. Throughout the conference, press photographers snap still photos with flashing, whirring cameras. Just before Chris begins his speech, for which he has no notes, there is a loud roar. He looks up; a large, low-flying airliner glistens as it passes directly overhead.
CHRIS: Thank you all for coming. I have a lot to say in a short space of time; so please save your questions till the end. I’d also be very grateful if you switch off your cell phones.
He pauses, then looks directly at a GGN camera.
CHRIS [theatrically]: Something is rotten in the United States, and it’s poisoning the global atmosphere. It’s located here in Washington, DC – the center of the world and of the so-called democratic body politic. I’m talking about the White House, that diabolic court, that Pandaemonium, where a corrupt consortium of principalities and powers, led by President Schrub, think it better to reign in hell than serve on God’s good earth. For, together with their corporate allies – nay, colleagues, they are laying waste the world and robbing us of our future. In short greed, having become institutionalized, is now enthroned and personified: Mammon rules! Or is this White House, this abode of voracious politic worms, in fact a sepulcher – which, on the inside, is green: not from natural, organic policies, but from putrid gases produced by the consumption of petrodollars, by rotting road maps, and by the corpse of Liberty, murdered by paranoid or conning Neo-cons; gases, as I said, that are seeping into the atmosphere and contaminating the world?[He pauses] I don’t claim to be a scientist or well-versed environmentalist; I leave that to my wife Orenda, who will play a major role in the movement….
The film cuts briefly to Orenda and her grandfather Clay, who are seated in front of a TV at the latter’s home. They smile as Chris’ voice is heard saying: "So I’m not going to burden you now with scientific terms and data – which, in any case, are freely available to all."
The movie returns to the press conference.
CHRIS: What I am going to tell you is that, if you choose to participate, the environmentalist revolution of the world’s youth will have finally begun. It’s up to you; it’s in your hands.
The film cuts to Senator Smart’s son, standing with two male companions on the right side of the front row of chairs.
SENATOR’S SON [under his breath]: The Children’s Crusade, huh?
The movie cuts to a close-up of Chris’ perspiring face.
CHRIS: The following words are by William Shakespeare. Please listen carefully, for you will never hear a better description of corporate greed:
"Then everything include itself in power,
Power into will, will into appetite.
And appetite, an universal wolf,
So doubly seconded with will and power,
Must make perforce an universal prey
And last eat up himself."
The film cuts briefly to Chris’ view of the audience. The camera homes in on Joe and Josh, who are standing opposite him directly behind the back row of chairs. They are students at the University, and best friends.
JOE: Wow!
JOSH: Cool.
The movie cuts again to Chris’ face.
CHRIS: And now hear Shakespeare on global warming:
"Add but a few degrees, untune that string,
And hark what discord follows. Each thing meets
In mere oppugnancy. The bounded waters
Should lift their bosoms higher than the shores
And make a sop of all this solid globe."
The film again cuts briefly to Josh and Joe.
JOSH: Right on!
JOE: Shakespeare was a prophet.
JOSH: So’s this guy – of dialectical anti-materialism.
The movie returns to the stage.
CHRIS: You see, it’s all a matter of over-eating and over-heating in contemporary America. The multi-national corporations are greedy. They’re also cannibalistic: they devour their rivals’ corpses. But, unlike normal cannibals, they force their clients – in this case, their dependents: consumers, like you and me, on whose ever greater addiction to their ill-gotten goods they depend – to commit suicide, by gorging ourselves to death. In the end, once there are neither human nor natural resources left on which to prey, these voracious, universal predators indeed eat up themselves.
The film cuts to Chris’ view of the audience. Just beyond the chairs a head-phoned GGN technician, beside a TV camera, raises an index finger to attract his attention. The movie returns to Chris.
CHRIS: I’m afraid we have to take a break for commercials. [Shrugging] That’s the sys -
The movie cuts abruptly to an aerial view of Phoenix, Arizona. It then cuts to the living room of a Latino family, comprising a father, mother, long-haired son and teenage daughter. They are sitting in front of the TV: the father in an armchair, the other three on the sofa. The father, who has a large paunch, is noisily munching potato chips. A guitar rests against the side of the sofa, next to the young man. The film shows a snippet of the McRonalds ad in progress on the TV; then returns to the viewers.
MIGEL: At last: a war on greed!
FATHER [gesticulating]: This idiot will fail, just as the Hippies failed.
MIGEL: I finally feel represented.
FATHER: Yeah, by a loco dreamer. Face it, today’s kids are much too spoilt and apathetic to get off their asses.
MIGEL: You’re so cynical! You were at Woodstock, in 1969; you adored Janis Joplin and Joan Baez. Now look at you – a bitter materialist.
FATHER [bitterly]: I was also at Altamont. That was the end of the dream. We woke up – to escape from the Hell’s Angels, the Yippies, and Charles Manson!
Meanwhile the voice-over of an anti-ageing cream ad can be heard from the TV.
MIGEL: Escape! They took over – in the form of King Richard Nixon.
FATHER: Did you know that Manson began as a Hippy…in the Haight-Ashbury commune?
MIGEL: Was he there when you were?
FATHER: Part of the time. He gave me the creeps.
MIGEL: So you’re saying that, because of a few hateful militants and psychopaths, the rest of you let the revolution die? But I have news for you: its ashes are buried in your hearts.
FATHER [after a pause]: I’m saying that dreamers end up killing or being killed.
MIGEL: Or living in Phoenix.
FATHER: Huh?
The movie cuts to a bird’s-eye view of the campus gathering. It then cuts to the front row of seated spectators; the camera moving from one person to the next, revealing the effects of the oppressive heat on each. Finally it cuts to a close-up of Chris seated on the podium.
CHRIS [resuming]: As to over-heating. In the Northern Hemisphere, this summer is the hottest on record. Look what’s happening here in America: fires, tornadoes and floods on an unprecedented scale. Believe me, there’s no issue, no cause, more urgent than combating climate change. It’s a matter of life or death – of the earth itself. We have to act drastically, right now, before we reach the tipping point – the point of no return: the ultimate chain reaction.
The film cuts briefly to a close-up of Josh’s and then Joe’s intent expression. It then cuts back to Chris.
CHRIS: There are scientists who still deny that global warming is man-made. Well, we simply can’t afford such complacency. If we trust them and they turn out to be wrong, we’ll have made the most disastrous choice in human history. in fact, we’d have become the Devil incarnate – for we would have created hell on earth. So, even if they are right, we have to behave as if they are not.
The movie cuts briefly to a close-up of the senator’s son’s indignant expression. It then cuts back to Chris.
CHRIS: Nor should we believe the "technological optimists", to whom so-called progress is a faith. New inventions in the hands of those who are trapped in the old, Promethean mindset will not save the planet. Every day some novel, reality-engineering device is imposed upon us in the name of progress; driving us deeper into the Minotaur’s Labyrinth. Incidentally, I heard recently that a team of scientists in California claim to be close to creating a machine that can read the mind. Imagine what Big Brother would do with that! But where was I? Yes –
At that moment a wheezy, kitschy tune suddenly erupts. Chris pauses. The movie cuts to a slick young man seated in the third row, who deftly removes a small silver cell phone from his jacket pocket, presses a button and raises the silenced gadget to his ear. From all directions people dart at him disapproving glances. Suddenly becoming aware that Chris is waiting for him, he returns the phone to his pocket, crosses his arms and shrinks into his chair. The film cuts to Chris.
CHRIS: The only solution is to rediscover the human scale…the golden mean. Only then can we achieve sustainability. But right now the natural chain and web of our life are broken. No one knows anymore where the products he consumes are coming from – whether, for instance, they were produced in sweatshops or plundered from rainforests. There’s no personal contact or accountability…no sense of responsibility…integrity; no craftsmanship or self-respect that generates community; no trust! [As a large, silver airliner passes low over-head Chris’ voice rises to a crescendo] Everything’s anonymous, beyond our influence, inhuman, intimidating, a con, a vicious circle, a nightmare – out of joint! [Gesturing] That’s why we feel so impotent … helpless … hopeless … alienated … paranoid – nay, worse – guilty! For we’ve allowed these grasping corporations to replace the natural chain with an artificial chain – their chain – and development to become envelopment. They’ve created a universe in which we consumer junkies depend on ever-greater doses of manufactured poison, in order to satisfy our infinite craving – our insatiable appetite – while meekly accepting their tyrannical master script and singing in their chains…like slaves!
He breathlessly takes a gulp from a glass of water. The film cuts to the audience: the camera moving from face to face, showing a diverse range of expressions. Some individuals are exchanging remarks, but most remain silent and intent. The movie cuts again to Chris.
CHRIS [in a measured tone]: Yet, deep down, we all know that – like a chain letter this system is unsustainable and will grind to a halt. While it lasts, a few get rich and the rest cling to the hope that their time will come. [Becoming faster and louder] But now we see that time is running out; that the natural support systems are collapsing; that we have all been enslaved by the multi-national chains; and that the corporate pyramid is in fact a tomb.. [Shrugging] No wonder so many people believe we have entered the "End of Days"; no wonder Christian fundamentalists look towards what they call the Holy Land and proclaim: "Only Jesus can save us; pray for Apocalypse, and a new Heaven and earth!". But I tell you again, we humans can save ourselves and this beautiful planet. And to those Christians and others I say: the whole world is holy and all peoples are chosen… and free – nay, obliged – to choose; that is, to make choices.
The movie cuts to the GGN technician. He raises his index finger. The film then cuts to the interior of a bar, which has not yet opened for the day. The camera shows a gaunt, long-haired, middle-aged man sitting alone in front of a TV attached to a wall decked with Rolling Stones’ memorabilia. An SUV ad is in progress. The Rolling Stones’ song "Shattered" plays softly in the background.
The movie cuts to an aerial view of the Statue of Liberty in New York. Then it cuts to a bar, where the same song, "Shattered", is playing in the background. A young couple is watching the same SUV ad on TV. At first the camera shows them from behind, along with a snippet of the ad on the TV screen. The movie cuts to their faces.
NATALIE: Get a load of that! Let’s E-mail this guy. When he returns, write down the Web site.
SEAN [quoting]: "We are star dust, we are golden, and we gotta get ourselves back to the garden."
NATALIE: So let’s contact him. He says what you were trying to say ever since I met you.
SEAN: What do you mean trying! I convinced you, didn’t I? [He notices the music] Hey, it’s The Stones!
The movie cuts to the Golden Gate Bridge in the San Francisco Bay; then to a living-room. A Chinese-American family, consisting of a father, mother and grown-up daughter are watching TV. The film cuts briefly to the airline ad which is now playing, before concentrating on the father. He turns to the young woman.
FATHER [gesticulating]: You’re being impulsive!
MAY: The great compensation has begun.
FATHER: You think he’s going to pay you?
MAY [as if to herself]: Yet, at the same time, it’s essential we avoid an enantiodromia.
FATHER: Must you always speak in riddles?
MAY: Chris Thomas understands! We have to free ourselves from our inflated Western ego; counteract, without disowning them, the destructive archetypal urges and images that are possessing us. [She pauses] Only when one sees the "whole" – which includes the shadow – can one truly choose. [Resolutely] I’m going to spend my summer vacation in Washington – I can’t ignore this synchronicity.
MOTHER: What about your trip to China? Grandma Emily will be very disappointed.
MAY: I’ll visit her as soon as I can.
FATHER: Before you rush to Washington, I want you to make inquiries. This Thomas could be a con man.
The film cuts briefly to the TV and a close-up of Chris, who resumes his speech with the words: "In America bigger means better." It then cuts back to the Thomas Paine campus in Washington, DC.
CHRIS [continuing]: The larger the body or the corporation, the more the growth: the greater the prestige and pride. [Gesticulating] But this is insane hubris, based on a false sense of security and ignorance regarding nature’s laws. Obscene body-fetishism, obese corporate expansionism, obsessive economic growth: all spell physical, spiritual and environmental degradation. Excess leads to regress! In nature living entities generally grow to their appropriate size and then stop: they exist and thrive within limits. Yet look at our money-fixated, steroid-generated athlete giants. After a few years of fabulous fame and fortune, they begin to disintegrate – their match-fixing minds become sulfurous, their joints dislocated, and their bones brittle. Next step: genetic engineered mutants and clones, labeled "superperson" – marketed and patented by our multi-national corporations.
The film cuts briefly to Josh.
JOSH [under his breath]: The Golem.
The movie cuts to Chris.
CHRIS: I’ll say it again. Our society is trapped in a corrupt and obsolescent script … narrative … text; it’s possessed by the pathological belief that economic growth is still good for us – even though we’re blatantly cloyed and surfeited to the point of obesity and anorexia. [Gesticulating] And all because we want to eat our cake and have it too! It’s criminal that, while America indulges in such gross glut, Africa suffers severe scarcity. But also here — among the so-called losers, the most vulnerable prisoners and slaves of the corporate "chain letter" and "pyramid".
He pauses; then, with a sweeping gesture, dramatically begins to recite:
CHRIS: "Take physic, pomp;
Expose thyself to feel what wretches feel,
That thou mayst shake the superflux to them
And show the heavens more just ….
Heavens deal so still!
Let the superfluous and lust-dieted man
That slaves your ordinance, that will not see
Because he does not feel, feel your power quickly:
And each man have enough."
He pauses. Then, looking fixedly at a GGN camera, he resumes his natural tone.
CHRIS: But unlike the impotent King Lear, who (because he’s relinquished power to his greedy, ruthless daughters) has to appeal to Heaven, we can attain power, and ourselves combat the excesses of affluence – in order to save the earth and ensure that all God’s creatures have enough. Therefore it’s up to us – the youth of America – to break this spell, this vicious syndrome, by freeing ourselves from the corrupt politicians and their corporate allies.
The movie cuts briefly to a close-up of the senator’s son’s disgusted expression. It then cuts back to Chris.
CHRIS: We must refuse to act in their play … their plot … their myth; refuse to be confused by their "new-speak"; refuse to be brainwashed and exploited – spun by their spinning; refuse to commit suicide or be complicit in the starvation of millions. [Shrugging] Damn it, they’re denying us our integrity … our common sense! You see, we can offer an alternative script – Nature’s script; an alternative to this collective bulimia – this perverse mindset that mistakes mutation for growth. And it’s not just humans that are being crippled – look at the wildlife! The casualty list is endless. Look at the damage done to Mother Earth by man’s monstrous environmental footprints. [He pauses] In short, our script could be the antidote to this self-devouring universal Behemoth; the alternative to Nature’s looming nemesis and to self-fulfilling apocalypse.
The roar of an airliner overhead. Chris glances at his watch. The movie cuts briefly to the slick young man in the third row; he is looking at his own watch. It cuts again to Chris. He drains the glass of water in one breath, and wipes his lips with the back of his hand. He then resumes.
CHRIS: Before I finish this speech, I just want to remind you how beautiful the earth is. If we would only respect her, we’d see that she’s self-maintaining; that if we control our greed and keep our numbers within limits, she provides enough for all. Let me repeat, we are free to obey or disobey the natural laws that God created. Today we see the consequences of doing the latter. Our challenge, therefore, is to make our economic laws consistent with those of the planet. As Mahatma Gandhi so aptly put it: "Earth provides enough to satisfy every man’s need, but not every man’s greed."
Thank you for your attention. [He looks at the GGN camera] Anyone out there, under twenty-five, who wants to dedicate yourself full-time to the revolution should E-mail me right now. [Glancing at various reporters seated before him] After the break – which they promised will be the last – I’ll answer as many questions as time allows. So, if you wish to quiz me, please tell Naomi and she’ll let you know when it’s your turn.
The film moves from Chris’ face to the banner draped over the front of the table. It then cuts to the aerial view of Phoenix, and thence to the Latino family. They are seated as before, though the father is now holding in one hand a hamburger and in the other a can of beer.
The movie cuts to the TV, where an airline ad is in progress. It then cuts to a close-up of the young man.
MIGEL: I swear, I’m going to sign up.
FATHER: And waste your life. [Gesticulating] You might as well go live in Mexico!
He takes a large bite from the burger; ketchup squirts onto his pants.
FATHER: Shit!
MIGEL: I’m rising from the ashes in your wounded heart.
The father rises clumsily; and, muttering to himself, crosses the room. Before he exits, the camera shows a close-up of his stained crotch.
MOTHER [to Migel]: Ignore him. Yesterday he told me it took him fifty-two years to discover the right way to wipe his ass!
Migel and his sister exchange puzzled glances, then suddenly smile ironically. Meanwhile the voice-over of a Wetty Ones ad can be heard from the TV. The father returns with a large wet patch on his pants. He slumps down in his chair.
FATHER: So what’s this sudden interest in the environment? All you care about is girls and guitars.
MIGEL: I always cared more about it than you.
FATHER [shrugging]: Why attack me? Tell your Mother. She’s the polluter - the deviant. She still smokes!
MOTHER: If you quit driving that gas-guzzling SUV, I’ll quit smoking.
SISTER: Shhh! The show’s starting again.
The movie cuts back to the campus. Facing the podium, and in front of the rows of chairs, a reporter stands behind the microphone. The film cuts briefly to her own perspective, which includes Chris and the GGN cameras mounted on the left and right sides of the stage; then cuts to a close-up of her face.
FIRST REPORTER: Tanya Newmann – ADD Network. Your act last night was clearly pre-arranged, as was this press conference. How did you persuade GGN and the University to agree?
The movie cuts to a close-up of Chris.
CHRIS: Not all of the older generation lack vision. However, I should point out that the cast of A Midsummer Night’s Dream knew nothing of the plot – I wanted their reaction to be real. I’ve apologized to them, and have been pardoned. The audience will be refunded, if they so wish.
The film cuts to the Second Reporter, who has taken over the microphone from the First.
SECOND REPORTER: Robert Leach – LA Voyeur. You’re a well-known actor, Mr. Thomas, but to the best of my knowledge this is the first time you spoke publicly about the environment. How long have you thought like this?
The movie cuts to Chris.
CHRIS: As I said, I’m no expert. On the other hand, for years it was obvious to me that so much pollution must affect the earth’s ecological systems. [An airliner flies low overhead] Actually, for some time my wife had been urging me to become an activist. Why now? Thank the Bard.
The film cuts to the reporter.
SECOND REPORTER: Why isn’t your wife with you on the stage? After all, she’s a celebrity in her own right.
CHRIS: That’s not how she sees herself. She prefers to work behind the scenes and out of the limelight.
The movie cuts to Orenda and her grandfather Clay, in front of his TV. She’s smiling. The film then shows Chris on the TV screen: the reporter is heard saying, "An introvert, huh?"; to which Chris replies, "The better part of valor is discretion."
The movie cuts to Clay.
CLAY: He’s quoting Sharp Nose.
CHRIS’ VOICE-OVER: William Shakespeare.
The movie returns to the campus. A different reporter stands behind the microphone.
THIRD REPORTER: Brad Harding – Playfolks Magazine. You envisage a youth revolution. Isn’t that a bit presumptuous? I mean, you don’t seriously believe such antics could spark –
CHRIS [interrupting off-screen]: I don’t claim to have sparked anything –
The film cuts to a close-up of Chris’ face.
CHRIS: Except perhaps some serious soul-searching, which, if people want it to, could lead to a revolution. Then I would serve as a kind of midwife.
The movie cuts briefly to the senator’s son.
SENATOR’S SON [to his companions]: A fairy midwife.
The film cuts back to Chris.
CHRIS [to the reporter]: And you could serve as one of its heralds.
The movie cuts to the reporter, who grins and tells Chris to have a nice day. He then gives way to another.
FOURTH REPORTER: Phyllis Platt – The Financial Globe. Your speech, Mr. Thomas, was all very eloquent. But what about the specifics and your plan of action? [She smiles] In a word, what’s your script?
A ripple of laughter is heard from the audience as the film cuts to Chris. Having smiled himself, he regains his intent expression.
CHRIS: My script is that we Americans must return to the human scale, to sustainable development – instead of promoting economic growth for its own sake. We must rediscover the shared natural heritage of all … the basic support systems of community … the forgotten village patterns of development: local self-sufficiency – the counterbalance to the rapacious market. [Gesturing] For heaven’s sake, we’ve all been press-ganged by corporate pirates into a never-ending commercial! We must demand an end to this excessive and superfluous demand. We must expose GDP for what it is – Greed-Driven Power!
The movie cuts to the reporter.
FOURTH REPORTER: So you want to stunt economic growth, and let China or India or Russia overtake us as the world’s leading superpower – not to mention polluter?
The film cuts to Chris.
CHRIS: I’m talking about destructive, unsustainable growth, not economic development per se. I’m talking about the commercialization of everything. Enough of patents, trademarks, and disingenuous ads! Enough of unscrupulous corporations that thrust upon us noisy, polluting, devilish devices and genetic engineered food, and then persuade us to treat our symptoms with poisonous synthetic potions! I repeat, these corporate pirates have hijacked our natural heritage – our planet, our bodies, our minds and our souls.
The movie cuts to the reporter.
FOURTH REPORTER: Okay, that’s your script. But how are you going to enact it?
The film cuts to Chris.
CHRIS: You’ll see. Next question.
The movie cuts to the audience. The camera homes in on the slick young man in the third row, who is gingerly edging his way past the seated guests. It stays with him as he walks to the microphone in front of the podium.
FIFTH REPORTER: Mark Singer – Babelorg. You refer to "village patterns" and dismiss, I quote, "technological optimists, to whom progress is a faith". Aren’t you in reality, Mr. Thomas, an incurable romantic, who’s advocating some sort of pre-industrial idyll which would exclude such "devilish" inventions as cell phones and computers?
The film cuts to Chris.
CHRIS: No! We shouldn’t become Luddites…. These new technologies are here to stay. But we have to use them responsibly – otherwise they’ll irrevocably enslave or ensnare us. Take the Internet, for instance. Although its abuse is horrifying – especially regarding terrorism and child pornography – it is nevertheless an effective means by which we can restore the broken web of democracy and community. To quote the Bard: "The web of our life is of a mingled yarn, good and ill together." So be wise. Let not the Internet be a spider’s web and the cell phone be a cell. As to a return to the human scale, look at our current behavior: we’re exporting our monstrous American scale to the entire world. [Shrugging] What next – sky-scrapers on the Isle of Skye; malls in the deserts of Mali?
The movie cuts to the next reporter, who is waiting by the microphone.
SIXTH REPORTER: Robyn Weaver – Wolf News. You mentioned just now the need to use technology responsibly; yet at the same time you seem to blame big business for all our woes. What about individual responsibility on the part of the consumer? I mean, this is a free country.
The film cuts to Chris.
CHRIS: It’s hard to exercise free choice when the market has been reduced to a handful of monopolies. But you’re right, without a sense of personal responsibility and integrity, the community of individuals I advocate can’t exist…. If consumers had behaved responsibility in the first place, these corporations would never have become so powerful. Also, we must act as responsible individuals regarding the environment. We can’t blame the multi-nationals for our own filthy habits. This, then, is the vicious circle America’s youth must break – by assuming responsibility, and by freeing ourselves from the corporate chains … thus creating a positive chain reaction. Only the youth are sincere and flexible enough to do it, for the older generation – having sold our heritage, our birthright, our future – have invested their souls in the status quo.
He looks at the GGN camera just beyond the chairs.
CHRIS: So, my fellow young Americans, let’s choose to liberate ourselves from this commercial exploitation and from the greed that is consuming ourselves, our country and the earth. Let’s tear up the script written and sanctified by corrupt, cynical, gluttonous, thieving, cheating, polluting plutocrats – who believe the only purpose in life is to make money. [After a pause] Next question, please.
The movie cuts to the microphone, where the next reporter is all set to speak. He waits a little longer while an airliner passes overhead.
SEVENTH REPORTER: Stan Schupinsky – Warsaw Herald. Mr. Thomas, are you not in actuality advocating a revival of communism?
The film cuts to Chris.
CHRIS: No. Total state monopoly is even more destructive, regarding society and the environment, than corporate capitalism. We need to create an economy on the human scale … on the local level … on the concept of genuine community, rather than private gain or state control.
The camera stays with Chris as the reporter interjects off-screen: "In a globalized world?"
CHRIS: Yes! This is the only sane system for the "global village"; the only way we can safeguard our shared, God-given air… water… forests… et cetera – which have become commodities. Even nature’s gene pools are being manipulated and patented – by godless, biotechnical Frankensteins. [Shrugging] So much for bio-diversity – bio-perversity, more like!
The movie cuts to the next reporter.
EIGHTH REPORTER: Bill Holden – ASS. Surely, even in a village you need a market and a governing body?
The film cuts to Chris.
CHRIS: Of course. What matters is moderation, proportion and equilibrium; the golden mean. And this depends on boundaries, limits; so that the black-hole market or the state doesn’t eat up everything – including itself. The root of the problem is the American psyche – which stems from the sheer size of this country, compared with the "old world" (Britain, Ireland, France, Italy, et cetera).
The movie cuts to the reporter.
EIGHTH REPORTER [sarcastically]: I wish you luck with your "eco-topia".
The movie cuts to the next reporter.
NINTH REPORTER: Jack Perry – Neocon Times. You quoted Gandhi. Are you a pacifist? Where do you stand concerning US intervention in Iraq?
The film cuts to Chris.
CHRIS: This isn’t the right time to discuss the war. But, as regards the revolution, for our part it will be non-violent. Do you have another question?
The movie cuts to the reporter.
NINTH REPORTER: Will you be getting in touch with Al Gore?
CHRIS [off-screen]: It would be very convenient to have Al Gore’s support, but we have to do it our way.
NINTH REPORTER [cynically]: The way of youth? With all due respect, Mr. Thomas, responsibility is not young people’s strongest trait. But they do have a tendency to be naïve.
CHRIS [off-screen]: Or idealistic.
NINTH REPORTER [sarcastically]: Right –
CHRIS [off-screen]: Rather than cynical.
NINTH REPORTER: Al Gore’s a cynic?
The film cuts to Chris.
CHRIS: No, you are. Besides, one can be idealistic and realistic at the same time … and honest. It’s called integrity, or – if you prefer – common sense. Remember The Emperor’s New Clothes?
NINTH REPORTER [off-screen]: And how are you going to pay your full-time revolutionaries – or should I say, "midwives"?
A wave of laughter.
CHRIS: Last night I received an E-mail from a certain very wealthy philanthropist. We shan’t be short of funds.
The movie cuts to the senator’s son, who is listening intently. Off-screen, in a skeptical tone, the reporter responds: "And who might that be?" The film cuts to Chris.
CHRIS: He asked me not to disclose his identity. [He looks at his watch] Please hand over the mike; there’s only time for one more question.
The movie cuts to the reporter. With a shrug he yields to Kathy Gold, who has been waiting patiently nearby.
TENTH REPORTER: Kathy Gold – GGN. At one point you referred to "new-speak". Was this an allusion to George Orwell’s Nineteen Eighty-Four? If so, would you agree that there’s a connection between corporate and state totalitarianism and the degeneration of language?
The movie cuts to Chris, who is visibly pleased.
CHRIS: Thank you for that question. Yes, I would agree. We have to counter the "new-speak" of the corporate pirates and cultural philistines.
The film cuts briefly to the senator’s son, who mutters sarcastically to his companions: "With Shake-speak." It then cuts back to Chris.
CHRIS: The impoverishment of spirit and consciousness is always accompanied by the impoverishment of language. Shakespeare’s English is the best example of how, when it stems creatively and organically from a natural community, a language can grow richer by the day – rather than constrict and degenerate into meaningless and mechanical four-letter words. And even these are often misspelled! Without adequate words to express the depth and complexity of our human nature, we resort to violence – to murder or suicide or to that all too common state of numbness which is death in life. Orwell understood this perfectly. If we restore the human scale [a plane passes overhead], we’ll restore our rich and beautiful language – for all. That in turn will enable us to think clearly again; free us from this imposed unconsciousness. [He smiles wryly] And, by the way, words will be free of charge.
He looks at the GGN camera beyond the chairs.
CHRIS: So please take note. Respect for the environment, for social justice, craftsmanship and thoughtful, measured speech stems from the same level of consciousness … attitude … spiritual state that makes us care about our common heritage. [Raising his voice] My fellow countrymen, resist the enclosure of consciousness! Prevent globalization from becoming annihilation! [He pauses] Let’s break the chains, by linking up in the name of freedom, justice and sustainability; let’s be steadfast, and faithful to the truth: exercise our free choice … our integrity; and let us demand a green White House, in place of that white greenhouse!
The film cuts to the GGN technician in the audience. He is trying to attract Chris’ attention by waving his arms. It cuts back to Chris, who responds with a nod.
CHRIS: Thank you all for being so patient. I look forward to receiving your E-mails.
The movie cuts to a GGN cameraman, who is shown (from behind) squatting in front of the podium, filming the banner. It then cuts to Josh and Joe, standing behind the cameraman.
JOSH [calling out]: Chris Thomas. Excuse me, Mr. Thomas.
The film cuts to Chris, who has risen from his chair and is about to leave the stage.
CHRIS: Yes.
The movie cuts back to Josh.
JOSH [with a mischievous expression]: Are you by any chance the Messiah?
The cameraman stands up, pointing his camera at Chris. The film cuts to a close-up of Chris’ face.
CHRIS [smiling ironically]: Yes; and so are all those who will sincerely help to save the earth.
He is then shown, full-length, turning his back and stepping down from the podium. The movie cuts to Josh and Joe.
JOSH: I’m converted.
JOE: Me too.
JOSH: So let’s go introduce ourselves.
The camera moves to the senator’s son, who is shouting into his cell phone above the roar of a passing plane.
SENATOR’S SON: Don’t worry, it will never get off the ground. He’s full of shit; kids think he’s a jerk.
The movie cuts to Senator Smart’s office. The camera shows the high back of a leather revolving chair, in which the senator is seated; a desk; and a TV, open but without sound.
SENATOR: I hope you’re right.
The film cuts to a frontal view of the shirt-sleeved Senator Smart replacing the phone in the small holster strapped to his chest. Deep in thought, he begins to pace the office. At that moment the phone blares out "The Star-Spangled Banner". He whips it from the holster, as if drawing a pistol.
SENATOR: Hello.
The film cuts to a study crammed with books. A distinguished-looking elderly man is standing by his desk, speaking into the receiver of a regular phone.
PROFESSOR: It may be of interest to you, Phil, that Mr. Thomas deliberately misquoted Shakespeare.
Instead of "Add but a few degrees", he should have said "Take but degree away". Check it out yourself: Troilus and Cressida, Act One, Scene Two. Shakespeare, of course, was referring to the hierarchical, medieval body politic – not to so-called global warming. As for that Tempest speech last night, at least half of those words were Thomas’ own.
The movie cuts to Senator Smart.
SENATOR: He’s a pathological liar. Typical actor!
PROFESSOR’S VOICE: "Let no such man be trusted."
SENATOR: The kid’s a demagogue!
PROFESSOR’S VOICE: And a pedagogue.
SENATOR: Perhaps we can persuade Shakespeare’s executives to sue for fraud. Anyway, I’ll get the FBI to trace that donor – if he exists at all.
"Street Fighting Man" begins to play as the film cuts to a side street in downtown Washington. It is a hot, summer day. The camera focuses on a cherry tree in full leaf; then moves along a row of semi-detached, brick houses, in the midst of which stands The Rolling Stone Tavern. The garish, wooden entrance comprises a huge, gaping mouth, whose extended tongue is the stairway and whose throat is a pair of swing-doors. On the latter in silver paint is written, "OPENING HOURS: 7 PM – 3 AM. 7 DAYS A WEEK". The camera rises above the row of teeth and thick, red upper-lip to a wooden signboard, depicting the tavern’s name in large golden letters on a green background.
"Street Fighting Man" continues to play as the movie cuts to a wall in the tavern’s interior. It is decorated with Rolling Stones’ photographs, posters and memorabilia – including a clock whose face depicts that of Mick Jagger. The hands display 12:30. The camera shows a close-up of a photograph in which Nick, the tavern’s owner, stands before the bar with the Rolling Stones themselves. It also shows the TV that, earlier in the movie, this same man was seen watching.
The film cuts to the center of the room, where Chris and ten other young people are seated at a large round table. It then shows Nick and a (no-less gaunt) woman of similar years appear from a door behind the bar, opposite the main entrance. Each is carrying a tray stacked with diverse dishes. They approach the table, and place the platters in the few remaining spaces. "Sing This All Together" begins to play in the background.
CHRIS [to his ten companions]: My good Uncle Nick has kindly offered us the use of this place during the day.
NICK [who is standing behind Chris]: You’re also welcome to eat and drink here in the evening, half-price. [Gesturing towards the woman] When I’m out, Mariana will be running the joint. So tell me your names –
CHRIS: And ethnic backgrounds. [He turns to the young woman seated on his left] Aisha.
AISHA [looking at Nick]: My name is Aisha, and I’m Afro-American.
The camera continues, clockwise, to the next person – another girl.
KUMARI: I’m Kumari. My parents are from India.
MAY: I’m May. Mine are from China.
JOE: Joe. My folks are from Palestine.
NATALIE: Natalie. My grandparents came from Russia. My parents were born here – in New York.
ZURVAN [a young man]: I’m Zurvan. My dad’s from Iran, my mom from Turkey.
JOSH: Josh is my name. I’m Jewish, and so are my parents.
JOE [jocularly]: Don’t believe him – they’re Israeli!
Josh clicks his tongue; Nick smiles.
MIGEL: Migel. I’m Latino.
SIMBA [a young man]: I’m Simba. My daddy was English – a genuine WASP – and my mum is Jamaican.
SEAN: Sean. My great-grandparents were from Ireland.
The camera moves past an empty chair to Nick, who is still standing behind Chris.
NICK [bowing]: Pleased to meet you all.
MARIANA [smiling]: Me too.
The couple walk off-screen.
CHRIS [to the group]: Hopefully, by the time we’ve eaten, Orenda will have arrived.
"Gimme Shelter" begins to play as the movie cuts to Orenda cycling through downtown Washington en route to the tavern. The camera shows a group of children in a side street being chided by an adult for using a jump-rope on the sidewalk.
"Gimme Shelter" continues (a little softer) in the background as the film cuts back to the tavern. Chris and his colleagues are engaged in various informal conversations while they eat their lunch. The camera focuses on Aisha and Kumari.
AISHA: I heard about this place, but I was never here.
KAMARI: Me too.
AISHA [smiling]: Now I understand why, when he interviewed me, Chris asked if I like The Rolling Stones.
The camera briefly shows Chris tuning in to the conversation.
KUMARI: He also asked me!
NATALIE [who has been listening all along]: I guess he accepted me because of Sean.
AISHA [to Natalie]: Nick looks a bit like Mick Jagger.
CHRIS [chuckling]: He used to act as Mick’s double in commercials.
At that moment the remaining members of the group turn their attention to Chris.
CHRIS: He converted me to The Stones years ago. There’s something Shakespearean about them.
MAY [under her breath]: Archetypal.
MIGEL: Does Nick himself play the guitar or sing?
JOE: Or dance like Mick Jagger?
JOSH [as if to himself]: Hmm. The enigma that is Michael Philip Jagger….
The movie cuts briefly to Nick and Mariana in the kitchen. It then cuts back to the group. "Rock And A Hard Place" starts to play in the background.
CHRIS [smiling]: He used to do a pretty good imitation – until he ruptured himself. There’s a photo over there of Mick watching him; he said he was impressed.
The film cuts to Orenda. "Rock And A Hard Place" continues to play (slightly louder) as she cycles past a group of young black men being forced by police to move their sofa from a vacant lot. From her viewpoint the camera then shows, successively, a parked SUV with its engine running while the driver sits at the wheel and reads a newspaper; a fellow cyclist being hooted at and forced off the road by a diesel-spewing truck; a row of teenagers walking down the street, each talking on a cell phone.
The movie cuts back to the diners at the tavern. "Saint Of Me" starts to play in the background.
AISHA [to Chris]: Are Nick and Mariana married?
CHRIS: Unofficially.
KUMARI: Does he also like The Beatles?
CHRIS: Sure. But he’s too far gone; for him, playing The Stones is like a full-time job.
ZURVAN: It’s an addiction, huh?
CHRIS: More like a mystical connection.
MAY [knowingly]: Uh-huh.
JOSH [ironically]: Ever heard of Mark Chapman?
CHRIS [smiling]: I mean with their songs.
ZURVAN: It’s cool how four old guys can generate so much energy. They’re great performers.
CHRIS: Energy’s the word. Nick swears it’s why he needs so little sleep.
SEAN [drolly]: They could power the world.
NATALIE [sarcastically]: It’s a pity they can’t use that energy to power their concerts and tours. Imagine the size of their carbon footprint!
MIGEL: I heard they’re working on it.
NATIALIE: In it!
MAY [authoritatively]: Their secret is that they acknowledge, sublimate and integrate the shadow. It’s also why they have such a disarming sense of humor.
ZURVAN: Like Muhammad Ali.
MIGEL: They’re truly international.
NATALIE [cynically]: Some would say they’re a multi-national.
"Can You Hear The Music?" begins to play in the background.
MIGEL: The magic power of music.
ZURVAN: They’re great artists: they transcend time and place; span and link the generations. My cousin in Iran’s crazy about them.
CHRIS: As I see it, in addition to being creative geniuses, The Rolling Stones are a microcosmic community of individuals.
MAY [to Chris]: That’s how they survived so long in such a cut-throat environment. But they also developed and matured in a natural, organic way.
NATALIE [sarcastically]: Sure – like Peter Pan!
JOE [to Natalie]: Did you see the movie Hook?
AISHA [to Natalie]: They didn’t get their faces lifted.
JOSH: You mean ironed.
JOE [to Natalie]: That shows character.
MAY: I’d like to think that, in his own way, each of them has achieved individuation.
ZURVAN: What’s that?
MAY: Wholeness – which, of course, is always relative… and never continuous.
SEAN: Well, they certainly seem to have achieved balance.
NATALIE: [frowning]: I just wish they’d be more environmentalist …. And also redistribute some of that wealth.
ZURVAN: They’ll soon be campaigning for the environment – you’ll see.
NATALIE: Don’t hold your breath.
ZURVAN [chuckling]: Okay.
JOE [to Chris]: Is it true that Keith Richards snorted his dad’s ashes?
"Too Far Gone" starts to play as the movie cuts to Orenda sadly cycling past an empty children’s playground in a community park. The camera zooms in on the trash, including broken beer bottles, strewn within its confines. She then passes a sprawling building site, with large boards displaying idealized images of a completed shopping mall. CCTV cameras guard the entrance.
The film cuts back to the tavern. "Brown Sugar" begins to play in the background. The diners have reverted to separate conversations. Natalie is interrogating Joe.
NATALIE: So what did you do for the environment?
JOE [bashfully]: To tell you the truth, not much. I skateboarded – Still do. Oh, I did let the ants in our dorm’s kitchen raid the sugar in the cupboard and steal from the garbage.
NATALIE: Co-existence, huh?
JOE [grinning]: Or maybe co-habitation. [He pauses] Anyway, somebody "cleansed"them.
Aisha, who has been drinking beer, appears to be tipsy. She is talking to Zurvan, across the table. He looks embarrassed. May and Kumari are listening.
AISHA: My father became a Muslim in the 70’s. I lost faith in him when I was twelve; discovered he was addicted to porn. So much for his religious conversion!
ZURVAN: Were you yourself ever observant?
AISHA [smiling wryly]: Observant, but not religious.
He looks at her quizzically; May and Kumari exchange glances. The camera then moves to Josh, who is talking to Migel.
JOSH [quoting cryptically]: "Tradition – Travesty; Honor – Horror; Discipline – Decadence; Excellence – Excrement."
MIGEL: Where did I hear that before?
JOSH: In a Twentieth-Century tragedy: Dead Poets Society.
MIGEL: Right. [Dramatically] Carpe diem!
The camera moves on to Simba. He is talking to Sean.
SIMBA: It means that from now on it’s cool to crap.
SEAN: Depends where.
SIMBA: In the garden, for instance.
SEAN [shrugging]: I’ve been doing it for years.
SIMBA [laughing]: So that’s what you meant when you called yourself an "organic gardener"!
The camera moves past the empty place, set for Orenda, to Chris. He addresses himself to Josh, across the table.
CHRIS: Thanks for creating the new Web site. You did a good job. I guess the next stage will involve a lot of blogging.
JOSH: Web 2 and social networks.
CHRIS: Whatever that means.
JOSH: It means, O Captain, my Captain!, instant interaction whatever … whenever …. wherever … whoever.
CHRIS: Sheer sorcery!
The camera moves past Aisha and Kumari to May. "Feel On" starts to play in the background.
MAY [to Kumari]: You see, whether consciously or not, everyone wears a social mask. Ours, that is to say the collective persona of the group, should reflect the spirit of the potential new age: wholeness.
KUMARI [inspired]: Not should but will — because it won’t be a mask at all … because we shall be whole!
MAY: Yes – if we work on it. It would be wonderful if this persona were to reflect our true state.
JOE [to May]: Maybe you can tell me. New Age types keep referring to "synchronicity" — What exactly does it mean?
MAY: Meaningful coincidence. I suspect it happens more than we realize.
JOE: So it’s not just subjective?
At that moment a cell phone rings. The camera sweeps past Natalie, Zurvan, Josh and Migel to Simba.
SIMBA [speaking into his phone]: Hey! I was thinking of you that very second…. Me too. I’ll call you after the meeting. Chow.
The camera sweeps back to Joe and May. They burst out laughing.
MAY: Believe me, synchronicity is a very mysterious phenomenon. So be alert.
NATALIE [who has been listening]: For me, there seems to be a synchronistic connection with the number twenty-one.
The camera moves to Chris. Standing on his right side is Orenda. She kisses her husband on the cheek, then sits herself down beside him in the empty place.
ORENDA [looking around the table]: Hi, everyone. Sorry I’m so late.
Each member of the group responds with a "Hi"; or a smile; or "How are you?".
ORENDA [smiling]: I’m hot, sweaty, thirsty and hungry!
Chris fills her glass with water while she loads her plate with leftovers from the communal dishes.
CHRIS [standing up]: I’ll go tell Nick to switch off the tape.
He walks off-screen. The others continue to chatter. "Feel On" (if still playing) fades out. Chris returns to his place at the table. The movie focuses briefly on Josh and Migel’s conversation.
JOSH [ironically]: Oh yes, my father’s honest – sadistically so.
MIGEL: A doctor, huh?
The camera moves to Chris.
CHRIS [in a loud, theatrical tone]: Friends, Americans, countrypersons; lend me your ears. [In his normal voice] After our last meeting, at the University, I was asked why Orenda and I selected you, rather than others with much better environmental credentials. Well. Not only are you from diverse ethnic backgrounds, but you are all natural leaders; this is a revolution. Also, each of you is a colorful personality and has an interesting story to tell – using his or her own metaphors.
The camera moves to Kumari, who has raised her hand. It then sweeps back to Chris; Orenda is whispering in his ear. He nods.
CHRIS [to all]: I’m sorry, I should have given you a "pee-break". The bathrooms are over there.
He points to the off-screen door in the right hand wall. Natalie, Sean and Aisha leave the table. Kumari again raises her hand.
CHRIS: Yes, Kumari.
KUMARI: Is it right that the entire group are citizens of the United States? – And not just citizens: all of us were born here. Shouldn’t you have chosen some international representatives?
CHRIS: America is the world’s leading polluter; it’s also the world’s leader. It must show the way. One of the tasks of Sea-Change US is to teach the United States how to be multi-national in the right sense; how to build a global village in the right sense. America is a land of private wealth and public poverty – me, or rather I, instead of we. Enlighten this nation, and the whole world could be transformed. Then globalization would become what it should be.
JOSH: "Think globally; act locally" – that’s a bumper sticker.
CHRIS [smiling]: One of the better ones.
Natalie and Sean return to their seats. Chris places his hand on Orenda’s.
CHRIS: It’s your turn.
Aisha comes back. Orenda waits a few seconds for her to settle down.
ORENDA [looking around the table]: The purpose of the revolution is to take back our natural heritage, heisted by the corporations; in other words rescue the common property, or rather tenancy, of all: the sky, the oceans, the rivers, the forests, the wilderness. That’s the God-given realm. Then there’s the man-made common space, where we live, work and play – where we interact, interconnect with others. It too has been expropriated and looted by the corporations, the commercial predators. The traditional main street, town square, marketplace, village green, local park, fairground, corner shop, front porch have been replaced by vast multi-nationals, impersonal malls monitored by CCTV, asphalt wastes, soulless concrete blocks called homes. Community has given way to alienation and anonymity; people are forced to drive everywhere, because the shopping areas were moved away. We’ve got to right the imbalance between production and utility – here in The States.
She stops to drink water. The camera moves systematically around the table ,revealing the look of intense concentration and profound respect on the face of each person.
ORENDA: Most people are happiest when they are helping others. But when there’s no appropriate material environment in which to be friendly, they retreat into their shells and concrete bunkers, where fear and suspicion reign. We must help regain that appropriate environment. All we require is an economic realm that both complements the market and provides sanctuary from it. This would enable health, community, creativity and responsible freedom – in other words, all those things young people need.
She pauses. The camera moves to Josh.
JOSH [under his breath]: The death of Moloch.
The camera returns to Orenda.
ORENDA: Therefore, we’re going to begin by organizing a nationwide youth boycott of all the major corporate chains.
CHRIS: Non-cooperation. [He pauses] Okay, let’s discuss how we’re going to break the chains ….
"Waiting On A Friend" begins to play as the movie cuts to the street outside the tavern. It is late afternoon. Chris and Orenda, about to cycle home, spontaneously embrace. Josh and Joe exit the tavern, descend the huge red tongue, and come over to them. Chris and Orenda hold hands.
JOSH [to Chris]: Ever since your press conference, there were a couple of questions we wanted to ask you.
CHRIS: Sure.
JOSH: The first is: What do you think about America’s role in Iraq? –
JOE [putting in]: And Israel-Palestine?
JOSH: Right.
CHRIS [after a pause]: Put it this way: I believed Schrub when, before opening Pandora’s Box, he spoke of a crusade. It’s an unholy alliance between big business and religious fundamentalists – Christian and Jewish – against their own Frankenstein monster, militant Islam. But this is off the record. Okay?
JOSH: Don’t worry. The second is: Are you religious?
JOE: At the press conference you implied that you believe in God.
CHRIS [after reflecting]: If by religious you mean a personal relationship with God, yes I am.
Josh and Joe nod approvingly.
CHRIS: It’s a hopeful sign that an Israeli and a Palestinian – albeit American born –can be best friends. Maybe global warming will bring others to their senses; it puts things into perspective. Together your two peoples could be a great force for good…. Such potential.
JOE [smiling]: We agree.
The movie cuts to downtown Washington in Autumn. Louis Armstrong’s "What A Wonderful World" plays in the background as the film shows the community park Orenda had sadly cycled past in the summer. Children are playing happily with their parents in the playground, now cleansed of garbage; on the green, lined by golden-leaved trees, a group of senior citizens are gracefully performing Tai Chi; people are walking dogs, playing chess and basketball.
The song continues as the film cuts to other streets Orenda had previously passed along. The same kids freely use a jump-rope; the young black men loll and lounge contentedly on their sofa; a group of cyclists are given right-of-way by a patient truck driver; an outdoor market is in progress.
When the song ends, the movie cuts to the cozy interior of a Chinese restaurant, where a young couple are scanning with satisfaction the crammed menu. The camera exits through the door and shows the patented and trade-marked items on the sparse menu in the window of the closed McRonalds across the street.
The film cuts to the interior of a local grocery. The grocer looks on gleefully while young customers strip the shelves. A youth is delivering boxes of organic fruit and vegetables.
YOUTH: I’ll bring you more as soon as we get them from the farms.
The movie cuts to the interior of a mega-store. The aisles are almost empty and the shelves full. In his office the exasperated manager is speaking on the phone.
MANAGER [gesticulating]: No, I’m cancelling the order. It’s the goddam boycott; consumers have stopped buying your shit!
The film cuts to a long, peaceful picket-line of cheery youths outside the entrance of a shopping mall. They do not prevent people who wish to pass from doing so. They chat and joke with the police assigned to keep an eye on them.
The movie cuts to Chris and his inner circle seated on the sidewalk outside a major chain-store. To the accompaniment of Migel and Zurvan’s guitars, they are singing "Don’t Let It Die". Kathy Gold and a GGN camera crew are filming them, while spectators and passers-by in general relate to them as celebrities.
The film cuts to an unspoilt beach at low tide as Hurricane Smith’s version of "Don’t Let It Die" replaces the group’s. The camera shows the sea gently lapping over rock-pools, replete with creatures; seals frolicking in the shallows; birds taking off from and landing on the pristine sands. It rises into the sky and shows a large vista of sea and coastline in the clear, bright autumnal light.
The movie cuts to Washington, DC. Thirteen grave men in dark suits, including Senator Smart, are seated around a large boardroom table.
FIRST SPEAKER: The boycott’s nationwide; Wall Street’s collapsing. [Turning to Second Speaker] So much for your smear tactics!
SECOND SPEAKER [gesturing ]: We hired reporters and private detectives. They can’t pin anything on these kids – nothing sticks. It’s as if they have diplomatic immunity … Divine protection!
THIRD SPEAKER: They have some powerful sympathizers – including lawyers.
FOURTH SPEAKER: Trouble is, the public likes them.
SENATOR: According to the media.
FIRST SPEAKER: What’s the FBI doing about it, for chrissake?
FOURTH SPEAKER: What the hell can they do, if the kids aren’t breaking any laws?
FIRST SPEAKER: We’re going to have to infiltrate the inner-circle of these goddam neo-Yippies. Otherwise we’ll all be out on our asses. [Throwing up his hands] Sea-Change US – Jesus Christ!
SENATOR [resolutely]: Leave it to me.
"Winter" begins to play as the film cuts to the street outside The Rolling Stone Tavern. It is a cold, grey winter afternoon. The cherry tree stands bare. A black van is parked opposite the joint. The movie cuts to the inside of the vehicle, where two men sit surrounded by electronic equipment, including TV screens which show various views of the tavern’s interior. "Winter" is heard through headphones, while the men sway in time with its melancholic strains.
"Winter" returns to its normal tone as the film cuts briefly to the door of the tavern. The camera shows a close-up of the Opening Hours info. The movie then cuts to the tavern’s interior, where the same song is playing on Nick’s hi-fi system. The clock displays 2:40. Chris and the group are scattered about the room in various combinations; they chat, drink and snack. The camera focuses on a new girl: blonde, blue-eyed, glamorous. She is sitting at the bar, between Chris and Orenda, conversing with Nick. "Winter" gives way to "She Was Hot". The camera moves to a small table in the corner, where Aisha and Josh are sitting on their own.
AISHA: It’s great. Those vanity ads don’t bug me anymore. I refuse to be told how to look and feel. Anyways, I never over-eat; I was just born fa –
JOSH [interrupting]: Fabulous and sexy.
AISHA [smiling]: Naturally.
The camera moves to the next table, occupied by May, Kumari and Joe.
MAY: In the Twentieth Century it was finally understood that the human psyche is the most powerful natural force on earth. What has not yet been sufficiently acknowledged is our culture’s fatal imbalance between the truths of the mind and the truths of the heart.
The camera shows Joe looking dreamily at Kumari. The movie cuts to Chris, who is standing with his back to the bar.
CHRIS [clapping]: Right, folks, let’s form a circle of chairs and begin the meeting. [He turns to Nick, behind him] It’s time to switch off the tape.
Nick obliges, extinguishing "She Was Hot". A chorus of objections rises from the group.
NICK [winking]: Looks like a mutiny.
Sean, who is sitting at the bar, leans over to Chris.
SEAN [grinning]: We’re hooked – and it’s your fault!
NICK [to Chris]: Let them feel the magic. I’ll keep it soft.
Smiling, Chris throws up his hands.
CHRIS [to all]: Okay, I surrender. But no goddam cell phones.
The film cuts to the group, arranging chairs in the center of the room. "Love Is Strong" starts to play softly in the background; they settle themselves down. Chris then addresses the group, while turning to the newcomer who is again seated between himself and Orenda.
CHRIS: This is Judy White, our new colleague. She appeared just at the right moment.
The camera shows a close-up of Judy’s face and then of Orenda’s. The former looks self-confident, the latter apprehensive. The camera then moves swiftly, counter-clockwise, past Simba, Natalie, Sean, Aisha, Josh and May to Kumari.
KUMARI [quietly to May]: Another meaningful coincidence?
MAY [whispering]: Maybe.
The movie cuts back to Chris.
CHRIS [continuing]: She’s an experienced PR agent and has organized many large conferences, et cetera. In other words, Judy will be able to guide us into the next stage of the revolution – an international youth summit. It’s time to act globally, while thinking locally.
JOSH [off-screen]: "Glocalization".
The camera moves to Judy.
JUDY [to all]: First of all, I’d like to say what an honor it is to be accepted as a member of the group.
The camera moves briefly to Chris’ beaming face; it then moves past Judy to Orenda, who still looks uneasy. "Stealing My Heart" begins to play in the background.
JUDY[continuing]: I would have contacted you earlier, if I hadn’t been so tied up with my job. But I resigned, and now I’m free to work full-time with you.
CHRIS: Sorry to interrupt, but I think we should point out that you quit your job precisely because you were fed up with the economic system it promoted.
JUDY: Right.
CHRIS [glancing rapidly around the circle]: Judy has a suggestion, regarding the boycott. [To Judy] Go ahead.
JUDY: Well, it seems to me a backlash is inevitable. Ordinary people – especially the older generation – are beginning to get pissed off. And, in the long run, it’s ordinary people we depend on for the revolution’s success. If we were to relax the boycott at home, while at the same time export the revolution by establishing an environmentalist alternative to the UN, I believe we could eat our cake and have it too.
SEAN: Bullshit! We’d just be handing the cake back to the corporations, who’d then eat us.
NATALIE: He’s right.
She flashes Judy a hostile glance.
ZURVAN: I agree.
CHRIS: Let’s put it to the vote. Those in favor of the motion raise your hands.
Judy, Chris, Joe, May, Josh and Simba lift their hands. Chris points at each in turn as he silently counts.
CHRIS: Six. Those opposed.
Migel, Zurvan, Kumari, Aisha, Sean and Natalie raise their hands. "She’s So Cold" starts to play in the background.
CHRIS: Six. [He turns to Orenda] Orenda?
ORENDA [reluctantly, after a pause]: I’m in favor.
CHRIS [relieved]: The motion is passed. So let’s discuss the first stage of this new strategy: an international youth summit. I suggest it takes place in Africa and coincides with Earth Day – which is April 22nd. It will require a lot of organization and preparation; we need to attract delegates from all over the world.
JOSH: So I guess we’re now Sea-Change International?
CHRIS: Good thinking.
NATALIE [peevishly]: What about the carbon footprint a summit like that would produce?
SEAN: Right.
"Luxury" begins to play in the background.
CHRIS: There’ll be only one international summit. Afterwards, everything will be done via the global media and the Internet. Does anyone have any suggestions regarding the venue?
SIMBA [enthusiastically]: Addis Ababa.
CHRIS: Ethiopia?
SIMBA: I’ve got a kinda uncle there. He’d help us set it up.
ZURVAN: A Rasta?
SIMBA: Ex. He’s now a big-shot lawyer, with governmental connections.
CHRIS: Who is he?
SIMBA [grinning]: As some of you know, my daddy was the first white Rastafarian. He was from London, England.
ZURVAN: Which part? I lived there for a year.
JOSH [off-screen]: And I have relatives in Golders Green.
SIMBA [to Zurvan]: The famous Greenwich.
MIGEL: Groin-itch?
SEAN: Groinitch-mean-time.
AISHA [playfully]: Are you guys ever serious?
JOSH: Only about you, my little green witch.
Aisha laughs.
MIGEL [winking]: We guys are very "organic".
JOE: And "hole-istic".
MIGEL [crossing himself]: And you girls are "holey".
All the boys laugh; Kumari, May and Aisha smile; Natalie sighs.
NATALIE: You guys have only one; and that’s exactly what you are!
MIGEL [off-screen]: ”Holesome".
SEAN [piously]: Lord have mercy on "ass-souls"!
ZURVAN [to Natalie]: You forgot the "fourth eye". Ask Kumari.
For a moment Kumari looks puzzled, then shrugs. May muses. The boys laugh.
JOSH [with a straight face]: Organic development, fulfillment and wholeness are what we’re all about. Ask May.
May smiles.
CHRIS: Long live the pungent pun! Will would be proud of you all. [He pauses] Sorry, Simba, you were saying ….
SIMBA: My daddy ended up in Jamaica, where he met my mum. Anyway, before he got there, he made a pilgrimage to Ethiopia; and that’s how he met Aztchalo. The name means "patience". He also met Emperor Haile Selassie –
JOSH: The Rastas’ Messiah.
SIMBA: Yeah. He met him by chance.
MAY [under her breath]: Not necessarily.
SIMBA: You see, he was strolling down some street in Addis –
JOE [off-screen]: Listening to reggae on his portable radio.
SIMBA: Sure. Suddenly, who should appear from nowhere but the "Messiah" himself.
MIGEL: Alone?
SIMBA: With an entourage. But he was on foot. I guess somebody was holding a fancy umbrella over his head, against the sun. "Come and walk beside me," he said to my dumbfounded dad. Then they all went and inspected some hospital.
JOE: Cool.
CHRIS: So this Ash –
SIMBA: Aztchalo –
CHRIS: This friend of your father …. Is your father still alive?
SIMBA [sighing]: He was stabbed to death five years ago, in Kingston – by a Mongolian pirate.
Awkward laughter.
CHRIS [with a wry expression]: I’m sorry …. You say he has influence?
SIMBA: Yeah, he’s in with the government. My daddy told me he even once worked in the Ethiopian secret service.
CHRIS: But is he trustworthy?
SIMBA: He loved my father, and is very good to me. I know he’d help us.
SEAN: How old is he?
SIMBA: I don’t know exactly –
JOSH: We could carbon-date him.
Laughter.
SIMBA: Late fifties, I guess. As I said, he’s like an uncle.
CHRIS: When did you last see him?
SIMBA: He visited us – my mum and me – two years ago.
SEAN: But how’s he going to relate to an international youth revolution? I mean, this guy’s not young; and he’s probably rich.
SIMBA: Well, he does have a son about our age …. Hylu.
JUDY [to all]: The last thing we can afford is to be ageist.
CHRIS: She’s right. Contact him, Simba; it’s worth a try. He must have heard about the boycott by now.
ZURVAN [to Simba]: Is Simba a Rasta name?
SIMBA: In fact it’s Swahili; it means "lion". My dad also spent time in Kenya.
JOSH [esoterically]: "The golden world of Simba."
SIMBA [impressed]: That’s right!
ZURVAN: Huh?
CHRIS: Okay, let’s get down to drafting a declaration of principles – which at the summit will be presented, discussed, and then put to a vote. [To Orenda] Can we hear your suggestions?
The film cuts to the interior of the van outside the tavern. The two men are listening intently through their headphones, while a large spool of tape relentlessly turns in one of the many machines that encase them.
"Let It Bleed" starts to play as the movie cuts to the street outside The Rolling Stone Tavern. It is night. The pink blossom on the cherry tree, illumined by the street lights, and the clothing of the young people entering the tavern indicate springtime.
The film cuts to the tavern’s interior. "Let It Bleed" continues to play; the clock displays 10:55. The camera shows Nick behind the bar, then moves freely around the crowded room until it reaches a table, where several young people are talking excitedly and all looking in the same direction. The camera follows their glances to Chris, who is sitting alone in a dimly lit niche. He is oblivious of the attention. On the small table stand a half-empty bottle of whiskey and a full glass. He looks tipsily at the latter, shrugs, then swallows its contents in one fell swig.
The movie cuts briefly to the home of Orenda’s grandfather. The camera shows the two of them sitting quietly together in rocking chairs on the wooden, plant-decked porch, illuminated by the radiant moon. "Let It Bleed" continues softly in the background, as if wafted by the balmy breeze.
The film cuts back to Chris. He is deep in thought. "Parachute Woman" begins to play. At that moment Judy appears and sits down opposite him. He raises his head slowly and screws up his eyes.
CHRIS [slurring]: How dost thou, pretty lady? What brings you here at this time of night?
JUDY [smiling]: I needed some company. Are you all set for Addis?
CHRIS [grimacing]: That’s a complicated question. Right now it’s hard to believe that in two days we’re actually flying to E-thi-opia.
JUDY [looking around]: Are any of the group here?
CHRIS [filling his glass]: Not that I know of.
JUDY: And Orenda’s at her grandfather’s?
CHRIS [looking up]: Where did you hear that?
JUDY [playfully]: A little bird told me.
CHRIS: Oh, yeah?
He tosses off the whiskey.
JUDY [changing the subject]: So you’re from Saint Paul, huh? Is that Wisconsin?
CHRIS [ironically]: It should be, but it’s just on the Minnesota side of the border. It is next to the police, though.
JUDY: Police?
CHRIS [grinning]: Minea-polis.
JUDY: Uhuh. Is it beautiful at this time of year?
CHRIS: Hey – do you want a drink? I’ll get another glass.
JUDY: I could use some cola.
CHRIS: Cola! You gotta be kidding.
JUDY: Why? We relaxed the boycott.
CHRIS [filling the glass]: Have some goddam firewater, for chrissakes.
JUDY [pointedly]: I don’t need alcohol, to get in touch with my feelings.
CHRIS [waving his hand]: Okay, I drink too much.
He drains the glass. "Let’s Spend The Night Together" starts to play.
JUDY: So how often do you get to Minnesota?
CHRIS: I haven’t seen Saint Paul since my mother died. My dad moved to Hawaii – he likes to surf. [Wistfully] We were never close.
JUDY: It’s good you get on so well with Nick. He’s your mother’s brother, huh?
CHRIS: Yes. [He looks at his watch] I should go; Orenda will be worried.
JUDY: Why? She’s out of town.
CHRIS [filling his glass]: She’s very intuitive …. Sometimes I think she’s psychic. Many Native Americans –
JUDY: Don’t be paranoid! [After a pause] I know you’re attracted to me.
He gulps down the whiskey.
CHRIS [panicking]: I love her; I have to go.
JUDY [soothingly]: Why fight it? You work so hard; you deserve to relax sometimes … enjoy yourself … have fun.
CHRIS [raising his voice]: Look it: When Orenda’s mad, she’s horrendous!
JUDY: Shhh! Don’t worry; I’m a free spirit – not the possessive kind. It would just be physical … sensuous … erotic. She won’t find out.
CHRIS [slurring]: You’re saying I could eat my cake – No! – eat two cakes, and have them too … and keep just one?
JUDY [chuckling]: Why not?
She reaches for his hand. He pulls it away.
CHRIS [drunkenly]: "Is this a dagger I see – ” [He breaks off; then whispers] This is a shadow you see before you.
JUDY [after a pause]: Don’t tell me you never had affairs – you a handsome, famous actor. Women must be falling over themselves to ….
CHRIS [looking her in the eye]: I was never unfaithful to Orenda. [Averting his gaze] Hey, leave me alone – I’m drunk!
She rubs her leg against his, under the table.
JUDY [cooingly]: Come, sleep with me tonight.
CHRIS [theatrically]: Oh, sleep! – sweet sleep. [He pauses] To sleep? [He frowns] Perchance to die. [He laughs] Or to come.
JUDY: What?
CHRIS [smiling wryly]: I’m only jesting. I didn’t sleep for weeks … or come.
JUDY [breathily]: You will tonight.
Chris winces and clutches his stomach.
JUDY: Are you okay?
CHRIS [slurring]: If dyspepsia is an ono-mato-poeia, that’s what I have.
In the background "Blinded By Love" begins to play.
JUDY: Have me instead; I’m your cure.
He looks at her longingly.
JUDY [after a pause]: You know, I once played Ariel in The Tempest.
CHRIS: And I played Prospero.
[Theatrically]:
"Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself
(One of their kind, that relish all as sharply
Passion as they) be kindlier moved than thou art?"
He knits his brow as he realizes the irony.
JUDY [with genuine feeling]:
"Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Hark! now I hear them – Ding-dong bell."
She smiles, then looks at him meaningfully.
JUDY: There. I too can see into the mystery of things.
CHRIS [in a melancholic tone]:
"Time held me green and dying
Though I sang in my chains like the sea."
JUDY: Shakespeare?
CHRIS: Dylan Thomas. [Facetiously] We’re related.
JUDY: Really?
Chris grins and closes his eyes.
CHRIS: The only "c" I see
Is the "c"-sore "c"
With you riding on it.
JUDY: Dylan Thomas?
CHRIS: A private joke.
JUDY: What?
CHRIS: Yes, Dylan Thomas – well, more or less. But the spelling’s mine.
JUDY: Spelling?
CHRIS [smugly]: A riddle – or should I say a mystery?
Just then they are approached by a girl holding a paper napkin and a pen.
GIRL: Excuse me, Mr. Thomas, may I have your autograph?
CHRIS [absently]: Huh? Sh-sure.
The camera shows a close-up of the napkin, on which is printed the tavern’s name and a gaping mouth with extended tongue. Chris signs it awkwardly. The star-struck girl thanks him and leaves. "The Spider And The Fly" starts to play in the background.
CHRIS [suddenly sober]: We can’t stay here – now that the groundlings have recognized me. Damn it! I usually avoid this place during opening hours.
JUDY: So what brought you here tonight?
CHRIS: I don’t know. What brought you?
JUDY [smiling]: My intuition.
CHRIS: May would say synchronicity.
JUDY: Does that mean you were thinking of me?
CHRIS [theatrically]: May-be … or not may-be. That is the answer.
JUDY [assertively]: We’ll go to my place.
He sighs, then nods resignedly.
CHRIS [after a pause]: When Orenda calls – which she will, before she goes to sleep – you must keep quiet.
JUDY: What time will that be?
CHRIS: Soon.
At that moment Chris’ cell phone rings.
CHRIS: Jesus Christ!
JUDY: Synchronicity?
Chris shakily removes the phone from his jacket pocket.
CHRIS [urgently to Judy]: Not a goddam sound!
She puts her finger to her lips. The movie cuts to Orenda, sitting upright in a single bed.
ORENDA [speaking into her cell phone]: Hello, my darling.
The film cuts to Chris.
CHRIS: Hello, sweetheart. How are you?
ORENDA’S VOICE: I’m fine. Where are you? I can hear music.
CHRIS: I’m at the tavern – with Nick.
ORENDA’S VOICE: At the tavern. How come?
CHRIS [gesturing]: He needed an extra hand. The place is packed.
The movie cuts to Orenda.
ORENDA: I hope your fans are leaving you alone.
CHRIS’ VOICE: I’m in disguise.
ORENDA [laughing]: You’re kidding!
CHRIS’ VOICE: False beard … false nose … false teeth … false –
ORENDA: Seriously?
The film cuts to Chris.
CHRIS: I’m only jesting. Don’t worry, I’m handling the fans. How’s Clay?
ORENDA’S VOICE: He’s fine.
CHRIS: Send him my love.
ORENDA’S VOICE: See you tomorrow. Good night, my darling. I love you.
CHRIS [looking down]: I love you too. Sleep well, sweetheart. Good night.
The movie cuts to Orenda. She places her phone on the bedside table; then, leaving the light on, she lies down on her back and, with a perplexed expression, stares at the ceiling. The film returns to Chris and Judy.
JUDY: What time will she arrive?
CHRIS [sullenly]: The bus gets in around Eleven. [Fatalistically] She knows.
He pours the remaining whiskey into the glass and swallows it in a single gulp. "Short And Curlies" begins to play in the background.
JUDY [gently]: You’re being paranoid.
CHRIS [sighing]: If you’re allowed to be intuitive, so is she.
JUDY [smiling]: I was jesting. Come on, it will do you good. You’ll see.
CHRIS [resolutely]: I’ll go first – through the backdoor. I don’t want to be seen leaving. Otherwise the children green and golden might follow me out of grace.
JUDY: What?
CHRIS: Meet me in the street behind the building, in five minutes. The last thing we need is to be seen leaving together.
JUDY [winking]: I should use the mouth, huh?
CHRIS: Yes. Then come round the back.
JUDY: In five minutes?
CHRIS [smiling wryly]: Make it ten.
The camera follows the swaying Chris to the bar, capturing various people’s gazes on the way. One young woman films him with her cell phone. He bids farewell to Nick and Mariana, who are busily serving drinks; then passes through the swing-door, behind the bar, into the kitchen. He exchanges greetings with the young Thai chef, enters the storeroom, and exits through the door at the back. "Short and Curlies" continues to the end as he slips into the deserted street and waits, amidst the garbage bins, for Judy.
"Jumping Jack Flash" starts to play loudly as the movie cuts to a nightmare vision of industrial chimneys belching smoke; forest fires; collapsing polar ice shelves; massive tidal waves; floods; hurricanes; tornadoes. Suddenly the song is drowned out and terminated by a choking sound and by Chris’ voice screaming "Greenhouse gas! Greenhouse gas!"
The film cuts abruptly to Chris himself, sitting bolt upright and wide-eyed in Judy’s double bed. His face glistens with sweat in the pale moonlight that permeates the clouds and lace curtains. Beside him, ghostlike, Judy continues to sleep soundly.
The movie cuts to Nick unlocking the front door of the tavern. It is morning. He enters with two baskets full of groceries. The camera follows him to the bar, where he switches on the hi-fi. "I Got The Blues" starts to play. He places some of the goodies about the bar, then disappears with the baskets into the kitchen. The clock displays 8:45.
The film cuts to Judy’s bedroom. "I Got The Blues" continues to play. Chris is lying on his back, in bed, with his eyes open; Judy is still asleep. He turns and studies her face; his expression is melancholic, hers relaxed. She awakes and smiles, then suddenly looks apprehensive. The song fades out.
JUDY: Do you regret it?
CHRIS [feebly]: You bewitched me …. I couldn’t help myself.
JUDY [sitting up]: But you enjoyed it, didn’t you? I know you did.
Chris closes his eyes.
CHRIS [resolutely]: I’m going to tell her – I won’t live a lie.
JUDY: You’ll do more harm than good. [After a long pause] Listen, if she throws you out, you can stay here until you find someplace else.
CHRIS [sitting up abruptly]: Throw me out! I’ll leave on my own accord. I couldn’t possibly expect her to live with me while I’m sleeping with another woman. Nor should I stay here; I’ll use the den at the tavern.
JUDY [uneasily]: At the tavern? [She strokes his arm] So you don’t want to end it?
He dramatically flings himself down.
CHRIS: How the hell can I? I’m under your spell … and I like it. [He slowly sits up again, and presses his eyes]Do you have an aspirin?
Judy pulls him down. They embrace passionately.
The movie cuts to Judy’s kitchen. She’s sitting alone at the table in her dressing gown, drinking coffee and smoking a cigarette. Her cell phone rings.
JUDY: Hello.
MAN’S VOICE [urgently]: Am I speaking to Hope?
JUDY [cautiously]: Who is this?
MAN’S VOICE: Am I speaking to Hope Greene? It’s a matter of life and death.
JUDY [alarmed]: Who are you?
MAN’S VOICE: I can’t tell you my name.
JUDY: Do I know you?
MAN’S VOICE: Please listen. I have reason to believe Waters is running a rogue syndicate.
JUDY: Syndicate?
MAN’S VOICE: Inside the CIA.
JUDY: Are you an agent?
MAN’S VOICE: I don’t yet have any conclusive evidence, but I think they’re going to pull something off in Addis.
JUDY [shocked]: What?
MAN’S VOICE: I’ll call you Eight o’clock on the dot, tomorrow morning. By then I should know for sure.
JUDY [desperately]: Whoever you are, if you’re telling the truth, for chrissake inform the Director – now. It was he who appointed Waters to be my operator.
MAN’S VOICE [grimly]: Without proof he won’t believe me.
JUDY: I presume you know that tomorrow we’re leaving?
MAN’S VOICE: Ten-Thirty at night. Look, I have to go …. Oh, my God! I think they’re onto me.
He breaks off abruptly. As if in a trance, Judy slowly lowers her cell phone and puts it on the table. She remains seated; frozen and staring into the abyss.
The following morning. "Anybody Seen My Baby?" begins to play as the movie cuts to the street outside The Rolling Stone Tavern. It is pouring with rain. Inside the tavern the clock displays 8:58. Chris and Nick are sitting silently next to each other at the bar; the former is wrapped in a bathrobe. Before them stand two empty coffee cups. The camera moves slowly away from the bar into the dark recesses of the room. It ends its probe by focusing on a photograph, on one of the walls, of Chris standing at that very spot with his arm around Orenda.
"Anybody Seen My Baby?" continues as the film cuts to Judy’s kitchen. Fully dressed, she is anxiously pacing the room. She glances at her watch; it displays 9:00. She goes to the bedroom and starts packing a suitcase.
The movie cuts briefly to (the exterior of) an Ethiopian Airlines plane flying in moonlight over the Atlantic. It then cuts to the cabin, full of passengers – mainly Ethiopians. Some are asleep. The main lights have been dimmed. In the central section Chris is being interviewed by GGN’s Kathy Gold, situated between him and Judy – who looks apprehensive. (A man is kneeling on the seat in front of Chris’ and filming him with a video camera, to which is attached a small spotlight.) Two rows behind them sit Kumari, May, Natalie and Sean; while parallel to these four (on the other side of the aisle) are Simba, Joe, Migel and Zurvan. Josh and Aisha sit together near the back of the plane.
CHRIS [to Kathy]: We hope the summit will shame the powers-that-be into taking the necessary action. If not, we’ll be forced to call again for a total boycott of the offending multi-nationals – only this time it will be global.
KATHY [holding a microphone]: And what is the necessary action?
CHRIS: The creation of true democracy, by diffusing power and breaking the vicious circle that binds the poor to the rich because most financial threads lead to the rich.
KATHY: Then they would be the "powers-that-were".
CHRIS [shrugging]: So you see what we’re up against.
The camera moves over their heads to Kumari, etc.
KUMARI [to May]: Do you know why Orenda didn’t come?
MAY: She said her grandfather’s sick. But I’m not so sure.
NATALIE [scathingly]: There’s something going on between Chris and Judy. It’s obvious.
SEAN [under his breath]: Right – a GGN interviewer.
KUMARI [to Natalie]: You think so?
MAY: The body language certainly suggests it.
NATALIE: They both look guilty as hell. I can’t think what he sees in that – that pushy creature!
MAY [sighing]: Hopefully no more than an anima projection. Then it will pass: he’ll wake up –
SEAN [under his breath]: Animal protection, more like.
Natalie nudges him.
MAY [continuing]: Because sooner or later he’ll have to contend with her formidable animus.
KUMARI [to Natalie]: You think they’re having an affair?
NATALIE: Of course they are! It makes me so mad he should ditch Orenda for that … that –
SEAN: Bitch?
NATALIE: Bossy Barbie!
KUMARI: Poor Orenda. [Wistfully] So much for his integrity!
NATALIE [sullenly]: I have a bad feeling about this summit.
MAY: The summit, or Chris’ possible affair with Judy White?
KUMARI [resolutely]: Just remember, Natalie, the revolution is far greater than Chris Thomas.
NATALIE [bitterly]: True; and it’s Orenda we should really thank. [She pauses] Without her, he’d never have become an environmental activist –
SEAN [sarcastically]: Or the collective consciousness’ chief gynecologist. [He pauses] So Prospero’s ensnared by Sycorax, huh? [Sighing] That said, we have to admit the witch is a great organizer. Together with Simba and his friend, she managed to get the summit off the ground.
NATALIE [scowling]: Don’t speak too soon.
The camera moves to Simba, etc.; then continues, above the heads of the passengers, to Josh and Aisha near the back of the plane. Her head is resting on his shoulder. They are asleep.
The film cuts to the outer view of the plane. The moonlight has been diluted by the glimmer of dawn.
The movie cuts to Addis Ababa Airport. From behind a barrier, Aztchalo and Hylu hail Simba and his friends as they pass through the Arrivals gate. The camera shows a close-up of Judy glancing nervously about her. Aztchalo and Hylu hug Simba, then warmly shake the hand of Chris and the others. A clock displays 1:15.
SIMBA [to Aztchalo]: What a flight! We had to wait more than three hours at Rome Airport.
CHRIS [to Aztchalo and Hylu]: It’s really good of you to meet us at this ungodly hour.
HYLU [smiling]: No sweat.
AZTCHALO: You’re welcome.
SIMBA [to Chris]: This gentleman is as patient as his name.
AZTCHALO [putting his arm around Simba]: And this as brave as his.
CHRIS [to Hylu]: Thanks again for agreeing to be our Ethiopian delegate.
HYLU: The honor’s all mine. Thanks to Sea-Change International, I’ve become an environmental activist.
The camera shows another close-up of Judy’s tense face.
AZTCHALO [to all]: So let’s go. There’s a minibus waiting outside to take us to the hotel.
The film cuts to the minibus arriving at the five-star All Nations Hotel in downtown Addis. The dimly lit street is hushed and devoid of traffic. A large banner stating "WE WELCOME THE DELEGATES OF THE INTER- NATIONAL YOUTH SUMMIT" hangs above the hotel entrance, where a uniformed guard stands ready.
The movie cuts to Chris and Judy entering their respective, neighboring rooms both of which contain a double bed. For the first time since arriving in Ethiopia Judy looks calm.
The film cuts to the lobby, where Simba, Aztchalo and Hylu are lounging in soft leather armchairs.
SIMBA: Did you really reserve the entire hotel?
AZTCHALO: Yes, for security reasons. I chose this particular hotel, partly because I know the manager, partly because it’s got a good conference hall, and partly because of its name.
SIMBA: Yeah, that’s really appropriate.
AZTCHALO: Tomorrow – I mean, today – we’ll show you and your friends Addis … before the other delegates and the media circus get here.
SIMBA: That would be great. [He pauses] Chris won’t be joining us: he wants to be at the airport when that plane we chartered in London arrives. He says it’s supposed to land around Ten o’clock. In fact, I think he’ll be coming down in a few minutes to ask you about transport to the hotel.
AZTCHALO: I meant to tell you. I’ve arranged that, at Ten o’clock, four chartered buses will be waiting outside the terminal building.
SIMBA [relieved]: Thank you so much; you thought of everything. I’ll go tell Chris – you probably want to get home.
AZTCHALO: Don’t worry, we’re sleeping here tonight.
SIMBA: It’s almost day.
AZTCHALO [cheerfully]: No problem.
The sound of an elevator opening off-screen.
SIMBA: Here he is.
The movie cuts to Chris’ room. Daylight peeps through the curtains. The sound of traffic. Judy is lying next to Chris in bed, her head resting on his arm.
JUDY [anxiously]: Must you meet that plane?
CHRIS [turning his face towards hers]: Somebody has to greet them and bring them here; and, since I’m the captain of Sea-Change International, it should be me. Aztchalo and Hylu will be patiently piloting you guys round Addis. Besides, I need to get to know the delegates and discuss various things before the summit.
JUDY: You can do that later. I’m sure Aztchalo could find someone to meet them. Maybe an airport official.
CHRIS [sitting up]: Hey, why are you so nervous?
JUDY [shrugging]: I don’t know; I guess I’m feeling insecure. Anyway, what’s the time?
He caresses her, then reaches for his watch on the bedside table.
CHRIS: Almost Seven. You should go back to your room.
JUDY [brightening up]: I’ll take a shower, before breakfast. I’m starving.
CHRIS [grinning as he lies down again]: And I’m pooped!
The film cuts to the group, guided by Aztchalo and Hylu, ambling through a colorful, bustling outdoor market. Apart from Judy, they all look cheerful and relaxed.
"Back Of My Hand" begins to play as the movie cuts briefly to the street outside The Rolling Stone Tavern. It is night. The film then cuts to the tavern’s crowded interior. The camera shows a close-up of Nick standing behind the bar and staring into the distance, as if in a trance.
The movie cuts to the Arrivals area in Addis Ababa Airport. "Back Of My Hand" continues in the background. The camera focuses on an Arrivals screen, which indicates that flight RA 505 from London has landed. It then moves to Chris, who is waiting at the barrier opposite the passengers’ exit gate. He is wearing a walkman.
"Blinded By Rainbows" starts to play as the film cuts to an area near the runway. Young people of all races are seen descending the stairways from the florid Rainbow Air plane, and entering the squat airport buses that will take them to the terminal. The camera follows the front vehicle as it pulls away from the others and undertakes the short journey. Seconds before it reaches its destination the bus is blown apart by a blinding, deafening explosion. A dense, black plume of smoke billows into the air.
The film cuts to Chris, who is standing rigid as a pole. "Blinded By Rainbows" continues. All around him people are shouting and rushing about in utter panic and confusion.
The movie cuts to a TV screen. Kathy Gold is shown standing, microphone in hand, in front of the main terminal at Addis Ababa Airport. Parked on both sides of her, their blue lights flashing, are various police and military vehicles. Soldiers guard the terminal’s entrances.
KATHY: The number of dead and injured has not yet been released. A group calling itself "Angry Africa" has claimed responsibility on the Internet. It accuses Sea-Change International of being, I quote [she looks at her notes], "neo-imperialists, intent on preventing economic growth in developing countries." [She addresses again the TV camera] On the grounds of security, the Ethiopian Government has banned tomorrow’s summit. The leader of Sea-Change International, Chris Thomas, will be holding a press conference today at Six PM local time. GGN will broadcast it live and in full. Kathy Gold live. Addis Ababa Airport.
The movie cuts to Chris’ room at the hotel. The TV is on and tuned into GGN. An ad for organic ketchup begins. Chris, who is lying on the bed, switches off the TV with the remote control. Judy is pacing the room in great agitation. There’s a knock at the door. She opens it, revealing Sean.
SEAN [to Chris]: What the hell are you doing? Everybody’s asking for you – the Police… the press… the goddam delegates.
With great effort Chris sits up.
CHRIS [weakly]: Tell them I’ll come as soon as possible. I need to get my head together.
Sean withdraws and closes the door.
CHRIS [to Judy]: Lock it.
Judy obeys, then turns to face Chris. At that moment his cell phone rings. After hesitating, he picks it up.
CHRIS: Hello …. Orenda! How come you’re awake? … Nick saw the GGN broadcast? … Yes, I’m okay. I was going to phone you as soon as …. Can I call you back later? … Uh-huh …. Uh-huh …. Okay …. Bye for now.
He puts down the phone and looks glumly at Judy, who is still standing by the door. Suddenly someone starts knocking on it urgently.
CHRIS [desperately]: For chrissake go away!
Judy moves away from the door.
SIMBA [shouting off-screen]: It’s me, Simba. I’m with Aztchalo. He’s got some important information.
Chris leaps off the bed and unlocks the door. Simba and Aztchalo enter the room.
AZTCHALO [formally]: I’ve checked with my contacts. There’s no such organization as "Angry Africa".
JUDY: Who are your contacts?
AZTCHALO [after a pause]: In any event, Al Qaeda has now openly claimed responsibility.
Judy looks away.
SIMBA [to Chris]: It’s okay, the cops left.
AZTCHALO: If you’ll excuse me, I’m needed downstairs.
CHRIS: Thank you for telling me.
Aztchalo and Simba leave the room. Chris locks the door; then, with a desolate expression, he turns towards Judy. She looks tense and haggard. Slowly she goes over to an armchair and sits down.
JUDY [resolutely]: You should also sit down. I have something to tell you.
He slumps down, opposite her, into the other armchair.
JUDY [after clearing her throat]: I’m not what I appear to be. I’m a plant.
He looks at her uncomprehendingly.
JUDY: My real name is Hope Greene.
CHRIS [sitting up]: Hope! Green! What the hell are you talking about?
HOPE [with a wry smile]: Greene has an e at the end. [Firmly] I’m a CIA agent.
Again he stares at her stupidly. Then, as if suddenly freed from a spell, he blinks and slaps his perspiring forehead.
CHRIS: O my unprophetic soul!
HOPE: I’m also older than I look. [She glances at herself in the mirror] Well, looked.
Chris leans back in the chair and closes his eyes.
HOPE: My mission was to persuade you to ease the US boycott and to concentrate, instead, on – on an overseas summit.
CHRIS [bitterly]: And then to –
He breaks off, as if suddenly realizing something.
CHRIS: My God! Are you saying that the bomb attack –
HOPE [urgently]: I was told the summit would probably never get off the ground; and, even if it did, the delegates would fail to reach a consensus.
CHRIS [resentfully]: With your help.
HOPE: Indirectly.
CHRIS [after a pause]: Maybe they were lying – because they didn’t want you to know what was being planned. Jesus – the CIA!
HOPE [grimly]: There’s another possibility.
CHRIS: What?
HOPE: A rogue element.
CHRIS: Rogue?
HOPE: The other morning, after you left my apartment, an anonymous caller phoned and told me that he had reason to believe my operator was planning some incident here in Addis.
CHRIS: At the airport?
HOPE [gesturing]: He didn’t go into detail. He just said he’d call me at Eight o’clock the next morning, by which time he should know for sure. But he didn’t call. The last thing he’d said was that they may be onto him.
CHRIS: Did you believe him?
HOPE [sighing]: That’s the problem. I didn’t know what to believe. It could have been an official CIA ploy to get me to persuade you to call off the summit – I mean, rather than trust it would fail naturally…. This profession is all intrigue.
CHRIS: But wait a second! If it had been a ploy, they would have known that you would have to tell us you were an agent; which means we would have discovered the CIA was trying to sabotage our activities.
HOPE: Yes, but you would’ve probably cancelled the summit.
CHRIS: Not without exposing the CIA – including you.
HOPE [despairingly]: I tell you, I didn’t know what to believe – or what to do. I was paralyzed! He could have been an agent with a grudge against Waters – or me.
CHRIS: Waters?
HOPE: My operator. If the guy was lying, I would have blown my cover unnecessarily.
CHRIS [under his breath]: Unnecessarily, huh?
HOPE: It was only after the attack that I knew he was telling the truth. [Wistfully] God knows what happened to him.
CHRIS [after a pause]: Why didn’t you check with the Director – or, at least, somebody higher up than Waters?
HOPE: And say what? I didn’t have any evidence.
CHRIS: Are you in touch with Waters now?
HOPE: I get my orders via a contact. I’ll be meeting him soon after we return.
CHRIS: Where?
HOPE: We always rendezvous at this scrap-yard … for cars. He’s the night watchman.
CHRIS: Jesus – like in the movies! [Shaking his head] I still don’t understand how you could have ignored that phone call.
HOPE: Think about it. I couldn’t even be certain that Schorr himself wasn’t behind the plot.
CHRIS: Shaw? Like in that JFK movie?
HOPE: Dick Schorr – spelt S … c … h … o … r … r – the goddam Director.
Like I said, it’s all intrigue.
CHRIS: So why didn’t you quit?
HOPE: Believe me, if I get out of this alive, that’s exactly what I will do.
CHRIS [sarcastically]: Then you can join Sea-Change International – or what’s left of it. [He pauses] So did they order you to seduce me?
HOPE [looking away]: Yes.
CHRIS: What the hell for – if they were planning an attack?
HOPE: I guess because it would cover their tracks. A diversion.
CHRIS [bitterly]: So our love-making was all a lie … a diversion?
HOPE [wistfully]: At first.
He looks at her mournfully.
CHRIS [after a pause]: And you’re going to meet your contact, as if nothing –
HOPE: He’ll call me.
CHRIS: But –
HOPE: What else can I do? I have no choice. I’ll have to play ignorant, until – until I can prove … or at least can get out. Meantime I stay in the group. [She smiles wryly] Don’t worry. I’ll say you went back to Orenda.
CHRIS [anxiously]: But you must phone me before and after the meeting. I’ll be paranoid.
HOPE: I’ll text; it’s safer. If I don’t contact you within two hours, you’ll know they’ve … taken me.
CHRIS: Shouldn’t I call the police?
HOPE: No! I told you, I don’t know how deep the conspiracy goes. You can’t risk accusing the CIA – even of having a rogue element …. Not without evidence.
CHRIS: You’re the evidence.
HOPE [sighing]: You just don’t get it! You’re too –
CHRIS: What should I do – just say nothing?
HOPE: Keep alive the revolution; that’s your only hope.
CHRIS [grimly]: Until they get me … or Orenda.
HOPE: It’s possible.
CHRIS: And you could simply disappear without trace.
HOPE: Yes. But I promise that, if I do survive, I’ll support the revolution. [She pauses] And you must promise you won’t tell anyone the truth about me – even if I disappear.
CHRIS [desperately]: I have to be allowed to tell Orenda. She’s totally dependable.
HOPE: Alright. But only if I … don’t return.
CHRIS: Do you have a gun – I mean, will you go there armed?
HOPE [ironically]: You converted me to non-violence.
A long silence ensues. Then, having risen wearily to his feet, Chris staggers towards the bed.
CHRIS [somberly]: I need to be alone.
The movie cuts to the conference hall. The group is seated at a long table on the stage, facing the press and the surviving delegates. A Sea-Change International banner, which includes the new Web site – www.seachangeinter.org – covers the table’s front. Chris (who has brought no notes with him) is situated at the center, behind the many microphones. On his left is May, on his right Simba. "Judy" is at the very end of the table’s left side.
CHRIS [rising]: We’ll begin with a minute’s silence for the victims of this morning’s horrendous massacre.
Everyone in the hall stands up. The film shows a close-up of each member of the group and of several other participants – including Hylu. After approximately a minute, Chris sits down. The rest follow suit. He then looks at a GGN camera.
CHRIS: People of the world. As you probably know, for security reasons and out of respect for the victims’ families, the summit has been postponed. The Ethiopian Government, however, has allowed us to hold this press conference before we leave. I was intending to use it in order to formally present our "Decalogue", or "Ecologue" – our "Ten Commitments". They are our equivalent to the "Earth Charter", and would have been debated and voted on at the summit. In brief, they are all about the need to revere the laws of nature; to ensure sustainability; to preserve biological, ethnic and cultural diversity; to use only non-violent political means; to be democratic and community-centered; to restore the human scale, in all our activities; to regard the market as servant instead of master; to level the economic and financial "playing field", through fair trade and fair-share taxation; to manufacture only that which can be recycled; and to produce renewable, non-polluting energy.
You can find them in a more comprehensive form on our Web site, under "Ten Commitments for Global Transition" – which, of course, is the title of my wife Orenda’s bestselling book.
He pauses, and wipes his forehead with the back of his hand.
CHRIS: So that’s what I was going to talk about – I mean, in greater detail. [Gesturing] No … no! I still am, but from a different perspective.
As if without realizing it, he rises to his feet. The group begins to stir and look uneasy. He gives them all a reassuring glance, then looks again at the GGN camera.
CHRIS [in a reverent tone]:
"To see a world in a grain of sand,
And a heaven in a wild flower;
Hold infinity in the palm of your hand,
And eternity in an hour."
For me, these lines of William Blake express exactly the attitude we need to develop in order to free ourselves from the spell of soulless materialism.
He continues speaking as the movie cuts to sweeping scenes of pristine African jungle and savannah, replete with majestic wildlife. From time to time the camera focuses on individual plants and animals.
CHRIS’ VOICE-OVER: Only by experiencing such awe and mystery … such love, fidelity and gratitude … such wholeness, towards Creation, Nature, and Mother Earth, can we give our planet and all its beautiful, diverse inhabitants the respect essential for continued existence – in short, guarantee a home for future generations. For only if we acknowledge, in addition to the physical, the spiritual dimension of life, can we prevent ourselves from converting the world into hell. "Man’s reach should exceed his grasp, or what’s a heaven for?" [He pauses] My God! –
The film cuts back to the press conference. Everyone looks on in wonder as Chris experiences an epiphany.
CHRIS [ecstatically]: Now I see it! We’re mirroring what happened two thousand years ago in Palestine. Due to Roman inhumanity and Sadducean insensitivity; due to the will to power, the greed and other excesses that ruled both camps; a group of individuals arose and tried – through kindness, repentance and forgiveness – to release the greatest force of all: unselfish love.
He sits down in a daze. The movie cuts briefly to Orenda. She is sitting with her grandfather in front of the TV. A close-up reveals a tear running down her face.
The film cuts back to the press conference. For a few seconds everyone remains transfixed. Then May rises to her feet.
MAY [authoritatively]: He’s right. Today, as in Roman-occupied Palestine, the law of psychic compensation is at work and a great imbalance is being redressed. Throughout the world there’s a realignment taking place between the Masculine and Feminine principles that are inherent in the psyche of both sexes; and, as then, the Feminine (or Eros) is in the ascendant. This is good news –because its positive attributes are precisely those that can rescue humanity from the destructive, negative aspects of the dominant Masculine Principle (or Logos), such as hubris, ruthlessness, will to power, egocentricity. For the creative, positive qualities of Eros include compassion, intimacy, empathy, nurturance: all of which have in common the spirit of relatedness. What better means of encouraging the noble qualities of Logos, such as reason and enlightenment? If each of us, therefore, would consciously embrace and promote these positive attributes, the relationship between Logos and Eros (symbolized by the marriage of Sun and Moon) would attain a higher spiritual and psychological level – which, in turn, would enable humanity to heal the earth.This is what our revolution is really about.
Apart from "Judy", each member of the group spontaneously begins to sing "Don’t Let It Die". The delegates stand up, in admiration and awe. Some join in the song.
The movie cuts to Chris and the group hurriedly leaving the hall; he is still in a daze. They are being filmed by a GGN cameraman. An ASS reporter, pursued by his cameraman, pushes through from the rear.
REPORTER [angrily to Chris]: Jesus, you could’ve let us ask a few questions! Call that a press conference?
CHRIS [meekly]: I’m sorry.
REPORTER [speaking formally into his microphone]: Luke Nurdoch – ASS. Are you aware that your donor, Mark Romanov, has been charged by the FBI for cyber-fraud?
The group is shocked. He thrusts the microphone at Chris.
CHRIS [shakily]: Mark Romanov? I – I don’t know what you’re talking about.
REPORTER: Are you saying you don’t know him?
CHRIS: I’m saying I don’t know what you’re talking about. End of interview.
The movie cuts to the all but empty hotel lobby later that night. Chris is talking with the two soldiers who have been positioned at the entrance.
CHRIS [in a friendly tone]: I’ll only be half an hour. I must stretch my legs and get some fresh air.
They let him pass.
"Laughin Nearly Died" begins to play as the movie cuts to the exterior of The Rolling Stone Tavern. It is daytime. Inside, Nick is shown preparing the place for the evening.
The song continues as the film cuts back to Chris. He is wandering in the moonlight through downtown Addis. His expression is melancholic. "Laughin Nearly Died" is succeeded by "No Expectations" and "Moonlight Mile". Before returning to the hotel, he buys a bottle of whiskey.
The movie cuts to Chris’ room at the hotel. Dawn has broken. He is alone; wearing his walkman and sitting at the small desk. Before him loom the almost empty bottle of whiskey, a pen and a blank sheet of hotel writing paper. He switches on the walkman. "Brand New Set Of Rules" plays in the background while he gives birth to the following poem – a close-up of which is shown by the camera:
For Orenda
The choice is yours:
To salvage life
Or end a sacred cause.
I was estranged;
You’ll see I’ve changed –
Forgive me, noble wife.
He reads it through; then, taking his cell phone from the bedside table, he goes over to the armchair and settles himself down.
The film cuts to a convoy of tour buses, escorted by military vehicles, arriving in daylight at Addis Ababa Airport. It cuts to the interior of the first bus. The camera focuses on Chris, seated in the front row between Simba and Hylu. Looking numb and utterly exhausted, he dons his headphones and switches on the walkman. "Miss You" begins to play. The camera moves slowly along the aisle, past the assortment of subdued group members, delegates and reporters, to the back of the bus. In the last row, looking forsaken, lonely and afraid, sits "Judy" – between two strangers.
"Miss You" increases in volume as the movie cuts to the exterior of The Rolling Stone Tavern. It is night. A group of young people are ascending the tongue. Again the volume increases when they open the swing-doors in the mouth and, pursued by the camera, enter the crowded tavern. The clock displays midnight.
The film cuts to Addis Ababa Airport’s departure lounge. The camera shows Chris sitting alone. He dons his headphones and switches on the walkman. "Emotional Rescue" starts to play as the camera moves from Chris to the other members of the group. Josh is sitting with Aisha, Joe with Kumari, Sean with Natalie. The rest are huddled together – except for "Judy", who like Chris remains solitary. She glances at the clock; it displays 9:11. The camera returns to Chris. A look of determination now dominates his face.
"Emotional Rescue" continues as the movie cuts to Orenda fast asleep in bed. The refulgent moonlight, shining through the open curtains, reveals her radiant expression. The song finishes or fades out.
The film cuts to a view of an Ethiopian Airlines plane flying through the moonlit sky. It cuts to the dimmed interior, where the camera shows Chris, seated between the slumbering Simba and May, once again switching on his walkman. "Going Home" begins to play as the camera picks out the other members of the group. Aisha lies with her head in Josh’s lap, Kumari has snuggled up to Joe, Natalie is forehead to forehead with Sean. Only "Judy" – again hedged in by strangers – appears to be awake. The camera moves back to Chris, and for several seconds focuses on his face. In accordance with the song, his expression becomes increasingly animated.
"Going Home" continues as the movie cuts to Orenda working contentedly with Clay in his beautiful garden. It then cuts briefly to Nick, who is standing on the huge tongue at the tavern’s entrance and stretching ecstatically in the gentle April sunshine. The song reaches its climax.
The film cuts to Chris driving along a highway to Clay’s village, outside Washington, DC. From the various folders, booklets and stickers it is clear that the car is rented. He puts a cassette in the tape deck and presses a button. "Wild Horses" begins to play. The camera then shows a large sign at the side of the road, stating in red letters on a white background: "COTTONWOOD CASINO. TURN-OFF: 1 MILE". After leaving the highway he cruises for a while along a country road, before reaching the sign at the entrance of the village: "WELCOME TO COTTONWOOD CREEK". The place seems deserted. He drives past the garish casino, the supermarket and the row of gaudy new villas to the old section, where the elderly live in humble timber dwellings. On arriving at the fourth house, he parks the car, turns off the tape and enters the famous wild garden of Clay Rainman. Suddenly the front door is flung open. Orenda rushes out, leaps down the steps and throws herself into Chris’ outstretched arms. Clay stands on the porch, amidst the plants, beaming benevolently.
ORENDA: Thank god you’re safe!
Chris kisses her on the mouth, then looks up at the old man.
CHRIS [affectionately]: Hi, Clay.
As Chris and Orenda enter the house she turns to him with a smile.
ORENDA: Are you going to celebrate Shakespeare’s birthday?
CHRIS: Wow – it’s today! [Winking] We’ll do it tonight.
The movie cuts to Hope’s apartment. It is evening. She is lying on her bed, staring at the ceiling. The bedside clock displays 7:39. Her cell phone rings.
CONTACT’S VOICE [mechanically]: Welcome back. Where are you exactly?
HOPE: At home.
CONTACT’S VOICE: Where’s Thomas?
HOPE: I don’t know.
CONTACT’S VOICE [coldly]: I think you should know that yesterday we caught the Al Qaeda infiltrator – a goddam convert – who phoned you the morning before you left. He told us about it during his interrogation, and how he tried to frame Waters. Why didn’t you inform us?
HOPE [assertively]: Because I didn’t believe him.
CONTACT’S VOICE: That’s no reason.
HOPE: I’ll explain everything when we meet.
CONTACT’S VOICE: You’re damned right you will. Waters is very uncertain about you.
HOPE: Don’t worry. I’ll reassure him.
CONTACT’S VOICE: Meet me at midnight.
He hangs up. Hope immediately sends a text message to Chris.
The movie cuts to Chris and Orenda asleep in bed. The all but full moon can be seen through the open curtains. Chris suddenly awakes. He sits up and checks his cell phone. He gasps.
"2000 Light Years From Home" begins to play as the movie cuts to the crowded interior of The Rolling Stone Tavern. Nick is serving drinks behind the bar. All of a sudden he looks at the clock; it displays 11:55.
"2000 Light Years From Home" continues as the film cuts to Hope driving through the outskirts of DC. The digital clock on the dashboard displays 11: 55 PM. The song then decreases in volume, while the camera shows her mournfully musing upon the lines she had formerly quoted from The Tempest.
HOPE’S VOICE-OVER:
"Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Hark! now I hear them – Ding-dong bell."
She arrives at the dark scrap-yard. The gate opens automatically. She drives in. The gate closes behind her, swallowing her up.
The movie cuts to Chris, fully dressed, entering the bedroom with a cup of coffee. Daylight streams in through the window; birds sing. He gently wakes Orenda with a kiss. She sits up and takes the cup.
ORENDA [yawning]: What time is it?
CHRIS: Seven o’clock.
He sits on the edge of the bed and waits for her to drink the coffee. She drains the cup.
ORENDA [looking at him closely]: Are you okay?
CHRIS [gravely]: There’s something I have to tell you.
ORENDA [with sudden dread]: What?
CHRIS: Hope may be dead.
ORENDA: Hope? Dead!
The movie cuts to Clay’s living room, later that morning. Chris is seated on the sofa with his arm around Orenda. With the other hand he is holding a cell phone to his ear,
CHRIS [after a short wait]: Josh? … Hi, it’s Chris ….. I’m fine …. Yes, I’m sure. [Firmly] Now please listen carefully. There’s something I want you to organize for tomorrow night, via your cabalistic cyber-space ….
The movie cuts to Washington, DC. It is daytime. The city’s mayor is seated in his office. Anxiously he picks up the receiver of the desk’s telephone, puts it to his ear and presses one of the phone’s buttons. He gets through immediately.
WOMAN’S VOICE: Chief of Police’s office.
MAYOR [gruffly]: This is the Mayor. Give me the Chief – it’s urgent.
He waits restlessly.
CHIEF’S VOICE: Dan?
MAYOR [desperately]: Listen, Mike. I don’t want you to break up tonight’s demo at the National Mall.
CHIEF’S VOICE: Thank God!
MAYOR [amazed]: Did you say "Thank God"?
The movie cuts to the office of the (black) Chief of Police.
CHIEF: Yes. My sons are going – all three of them!
The film cuts back to the Mayor.
MAYOR: So’s my daughter. She says that, if I ban the demonstration, she’ll launch a campaign against me.
The movie cuts to the Chief.
CHIEF [despairingly]: Will she be going to the National Mall dressed up as a –
MAYOR’S VOICE [pre-empting]: Yes!
CHIEF [woefully]: So will my sons. [Suddenly panicking] What shall we do?
The movie cuts back to the Mayor.
MAYOR [resolutely]: Nothing.
CHIEF’S VOICE: They’ll fire us!
MAYOR [waving his hand]: We’ll say we have bird-flu, or something. Get a note from your doctor.
The film cuts to an aerial view of the National Mall at night. Thousands of people can be seen gathering round a floodlit stage that has been erected near the Washington Monument (Obelisk), facing the White House.
"Sweet Neo-Con" begins to blast out as the movie cuts to the stage itself, which is flanked with a sophisticated PA system. The camera shows Nick come to the front and start strutting, a la Mick Jagger, from one end to the other in time to the music. He is dressed as an elf. The camera also reveals an amused Kathy Gold standing at the back of the stage, while her GGN crew film Nick from the side. It then zooms in on the crowd, and reveals that many of the young people are also dressed up as elves or fairies – green and gold. Some are singing; others, hand in hand, dance in fairy rings; others laugh delightedly at Nick’s rollicking performance. The camera then rises into the air and homes in on the floodlit White House.
"Sweet Neo-Con" can be clearly heard in the distance as the movie cuts to President Schrub’s bedroom. He and his wife are sitting up in bed.
PRESIDENT’S WIFE [sighing]: So much for an early night.
PRESIDENT: It’s almost midnight! What the hell’s going on?
He lifts the receiver of one of his bedside phones and presses a button. He waits impatiently for several seconds, then presses it again. The music ebbs and flows in the background. Finally:
PRESIDENT: Get me the Chief of Police – right now! … What? Sick! How come that demonstration went ahead? … Huh? Live on GGN! Get me what’s his name. [Gesticulating] Hell, I forgot his goddam name! – the commander of the local National Guard …. What d’ya mean, what’s left of it? … In Iraq!
Just then a Scottish Terrier pops out from under the bedclothes and starts barking at him.
"Child Of The Moon" plays as the film cuts to the rising full moon and then to the stage. The camera shows Chris and the entire group (except "Judy") stepping, in a horizontal line, to the front. Chris is dressed in the green and golden robe of a Renaissance alchemist. In his right hand is a staff; a long white beard hangs from his face. Beside him is Orenda, dressed as Queen of the Fairies. The others, also green and golden, are either fairies or elves. As the song fades out, a helicopter can be heard hovering overhead. Chris raises his left arm for silence; in his hand is a portable microphone. Before him kneels a GGN cameraman.
CHRIS [into the microphone]: Thank you, dear friends, for responding to our appeal at such short notice. Welcome to the National Mall – Yes, mall: in the original sense of the word.
Shrill whistles and a roar of applause rise from the crowd. Chris waits for the wave to subside.
CHRIS [in a theatrical tone]: "Now does my project gather to a head … and time goes upright with his carriage."
He pauses.
CHRIS [dramatically]:
Ye elves and fairies of America,
Who soon upon her shores with fearful gaze
Will view the flowing Neptune, and will fly him
When he comes up; you conservators that
By moonshine will the green-gold ringlets make,
Denoting Nature’s cycles; please know I’ll now
Restore the boycott, spread the revolution
Throughout the world, and ‘twixt the corporations
And the dispossessed set Gandhian holy war –
For the powers-that-be have failed to change their ways;
Allowing the great globe itself, yea, all
Which it inherit, to dissolve and leave
Not a rack behind. We –
He is interrupted by wailing sirens. The movie cuts to a convoy of military vehicles rumbling along Constitution Avenue.
The film cuts to Nick at the back of the stage. He climbs down into the crowd and efficiently organizes a chain of elves and fairies around the stage’s base.
The movie cuts to the convoy halting beside the large grassy area where the stage is situated. From his jeep, in the vanguard, the commander attempts to address the rally through a megaphone.
COMMANDER: This is an illegal gathering. Please disperse immediately, or we shall have to use force.
He turns to the young officer next to him.
COMMANDER: Send enough men to surround the stage. The rest should stay in the trucks till I give the word.
The film cuts to Nick, who is one of the links in the chain of elves and fairies. The camera shows him looking elatedly at a fellow middle- aged elf, who has just weaved his way to the front of the crowd.
NICK: John! You made it.
They hug. A commotion erupts as armed guardsmen begin to appear.
NICK [to John]: Quick. Get on up there.
John clambers onto the stage. Nick again links arms with the two young fairies beside him.
The movie cuts to the stage. The camera shows Chris recoil as John rushes towards him. Then, with a look of amazement, he recognizes the intruder.
CHRIS: My God! Dad!
JOHN: Chris!
They embrace. The film cuts to the base of the stage. The guardsmen have formed their own circle – around the elves and fairies. Only, far from linking arms, they are pointing them – with fingers on the triggers – at the green and golden guardians of Sea-Change International’s inner circle.
The film cuts to Chris. He raises the microphone to his mouth and, looking into the GGN camera, addresses the world.
CHRIS [urgently]: Citizens of Mother Earth. What you all need now is to believe in the power of the creative imagination – for through it I and all these wonderful people have bodied forth the universal images of global justice, democracy, and peace; turned them into shapes; and given them a local habitation and a name…. You must also believe in the power of these ideals; for, like it or not, the values that fuel America and those nations that follow her are also a matter of belief. Thus, I say it again, you must decide for yourselves which narrative, which script, to believe in – the one Sea-Change International has tried to enact or the establishment’s. You must choose between our vision of the future and theirs; between our world and theirs – which, let’s face it, would mean the end of both!
He pauses; then, with a sudden rush of inspiration, he concludes his speech.
CHRIS:
O may our hearts’ truth
Be sung by all
On this great globe in a year’s turning!
At that moment the rest of the group, including Nick and John, join Chris at the front of the stage. To the accompaniment of Migel and Zurvan’s guitars, they start singing "Don’t Let It Die".
The movie cuts to the crowd, which has begun to take up the song. The camera, airborne, reveals just how vast the rally has become; for the sea of humanity stretches as far as the moonlit Reflecting Pool. The camera moves to the Commander, still seated in his jeep. The officer stands next to the vehicle, scanning the crowd with binoculars.
OFFICER: Sir, I think we’re outnumbered. Should I recall those men?
COMMANDER [sighing]: Son, that’s a very good question.
The song fades out as the camera, facing the earth and all the time accelerating, ascends into space. Night turns to day. Hurricane Smith’s version of "Don’t Let It Die" begins to play; and the song’s images – wildflowers growing on a mountainside… a timeless river flowing through a valley… a graceful tiger roaming a jungle… a free and marvelous kangaroo– are superimposed on a view from outer space of the mysterious, radiant, blue earth.
When the song finishes, the screen fades to total emerald green. "Time Waits For No One" begins to play and the credits appear. It is followed by "You Can’t Always Get What You Want", with its apt and timely message:
"You can’t always get what you want.
But, if you try sometimes,
You just might find
You get what you need."
Michael Peach
Jerusalem
Spring 2008
The songs mentioned in the script are by The Rolling Stones except:
"Don’t Let It Die" (written by Eileen Smith)
"Too Far Gone" and "Brand New Set Of Rules" (written and sung by Mick Jagger)
"What A Wonderful World" (written by George Weiss and Bob Thiele)
Copyright © Michael Peach 2008