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ALL SCRIPTS





                          KILL YOUR DARLINGS




                              Written by

                   John Krokidas and Austin Bunn



                               Story by

                             Austin Bunn


                         Based on a True Story




                         FINAL SHOOTING SCRIPT





EXT. RIVERSIDE PARK - NIGHT

Underwater.

Shafts of eroded light slice into the depths of the Hudson
River. The ghostly melody of "Lili Marlene," the ache of the
war-time lover, plays as a strange SHADOW drifts into view.

We realize it is a BODY.

                    ALLEN (V.O.)
          Some things, once you've loved
          them, become yours forever.

The body BREAKS the surface and we see the face of its owner
---- DAVID KAMMERER, 33, bearded, handsome. He is clothed, open
white shirt, khakis. Dead.

                    ALLEN (V.O.)
          And if you try to let them go...

Suddenly, a breath: he comes back to life.

David floats back to LUCIEN CARR, 20, (blonde, beautiful,
shirtless and terrified), waist deep in the water.

The scene is playing in REVERSE MOTION.

                    ALLEN (V.O.)
          They only circle back and return to
          you.

David's body LIFTS into the young man's arms. We see David's
feet and hands are TIED together with shoelaces. Stones rise
back into his pockets.

                    ALLEN (V.O.)
          They become part of who you are...

A stain of blood on David's chest shrinks, vanishes.

David's eyes OPEN.

                                                    CUT TO:


INT. THE TOMBS - DAY

                    LUCIEN
          ...or they destroy you.

From behind the bars of a jail cell, Lucien Carr (the young
man from the opening) finishes reading from a paper
MANUSCRIPT in his hand.
                                                           2.


Lucien, furious, crumples it up.

                    LUCIEN
          You can't show this to anyone.

We PULL BACK to reveal the author of the manuscript: a
eighteen-year-old ALLEN GINSBERG. Unslept and exhausted. But
determined.

Allen stares defiantly at Lucien from the other side of the
bars.

                    ALLEN
          Then tell the truth, Lu.

                    LUCIEN
          You weren't even there. It's your
          truth. It's fiction.

Allen grabs for his manuscript back, but Lucien pulls it out
of reach.

                     LUCIEN
          You wanted him gone too. You sent
          him to me.

Allen reaches through the bars and SNATCHES the paper.

Lucien won't let go -- it's a tug of war between the two
boys, two wills. Allen yanks the paper from Lucien's grip and
wins. Lucien, panicking.

                    LUCIEN (CONT'D)
          Please. You'll kill me with that.

Allen turns and races towards the exit of the prison.
Desperate, Lucien calls out after him.

                       LUCIEN
          Allen! No!

Allen doesn't turn. An alarm HAMMERS through the prison.

                     LUCIEN
          Allen!   No! DON'T...!

CUT TO BLACK.

INSERT TITLE: KILL YOUR DARLINGS

                                                  CUT TO:
                                                            3.


EXT. GINSBERG HOME - NIGHT

SUPER: PATERSON, NEW JERSEY. 1943. ONE YEAR EARLIER.

Over a strip of working-class row homes, we hear the sounds
of a radio announcer giving a dispatch from the war front.

                    RADIO ANNOUNCER (V.O.)
          American daylight bombers were busy
          again, as our liberators with
          fighter escort continue the air
          offensive with another sock at
          German coastal installations in
          France.


INT. GINSBERG HOME - NIGHT

The radio continues playing to a modest home. We see a young
man cleaning house, sweeping in the background.

                    RADIO ANNOUNCER (V.O.)
          But the Germans report a big new
          red army push toward Romania. This
          is World War news.

As the war report ends, a stuffy musical piece begins. We
hear a groan from the young man.

From out of the background emerges Allen Ginsberg (now 17,
fresh-faced, horn-rimmed glasses, dutiful son). The kind of
kid who takes care of everything.

He storms up to the radio, switches the station to a fast-
paced boogie-woogie number. He smiles and dances joyfully to
the up-beat number with his broom.

The door slams. Allen looks up, caught in the act, to see his
father LOUIS (40's, school teacher, Jewish working-class
poet) home from work. Allen accidentally drops the broom.

                    LOUIS
          How was she today?

Louis turns off the music. The playful mood dies. Allen spots
the mail in his father's hand.

                    ALLEN
          Fine. Anything for me?

                    LOUIS
          Why? You expecting something?

Allen looks down, a bad liar.
                                                         4.


                    ALLEN
          No.

Suddenly, from upstairs, the sound of glass shattering. Then
a woman whimpering in pain. Allen, worried, looks off, dread
in his face. His father just sighs.

                    LOUIS
          I told you it wouldn't work.

Allen rushes upstairs.


INT. MASTER BEDROOM, GINSBERG HOME - NIGHT

Allen runs into a dark room, flips on the light.

                    ALLEN
          Mom?

His mother NAOMI (early 40's, Jewish, deep personality
disorder) squats in the corner of the room, in a dirty
bathrobe. Her knuckles are bleeding.

                    NAOMI
          You've got to get me out of here.
          He nailed the windows shut while I
          was in the bath.

She motions to the shattered window pane across the room.
Allen sees her blood on the sill, where she tried to escape.
He moves towards her, to console her. What he's good at.

                    ALLEN
          Dad didn't do that. I nailed the
          windows. Because you're not right.

Naomi, in the midst of a paranoid attack, puts her finger to
her mouth.

                    NAOMI
          Shhh...Allen. He can hear you!

Allen wraps his mother's hand with a dish towel.

                     ALLEN
          You have to rest. Clear your head.
          Do you want to go back to
          Greystone?

                    NAOMI
          He wouldn't dare put me back there.
                                                            5.


                    ALLEN
          Then listen to me.

                    NAOMI
          SHHHH. He can hear you!

She's losing it. Allen quickly thinks, turns to her bureau.
He pulls out a RECORD, starts the phonograph and turns up the
volume.

                    ALLEN
          Can he still hear me?

A BRAHMS WALTZ plays.

                    NAOMI
          What did you say?

Allen turns the music up all the way. Allen mimes deafness.
Finally, she understands: their sounds are drowned out by the
music.

Allen reaches for her. She finally softens, takes his hand.

As mother and son waltz together with the music, Naomi
clutches Allen to her, like he's the only thing keeping her
sane. Because he is.

                    NAOMI
          Don't ever leave me.

Allen, trapped, over her shoulder.

From the doorway, we see that Louis has been watching the
whole time.


EXT. GINSBERG FRONT PORCH - NIGHT

Overwhelmed, Allen shakes on the front stairs. She's not
well. The faint sound of jazz, fun from someone else's home
from down the block. Louis comes out onto the porch, with an
open LETTER in hand from the mail pile. He's upset.

                    LOUIS
          Were you even going to tell me you
          applied?!

Allen spies the "Columbia University" seal on the front. He's
been caught. He looks down, ashamed.
                                                           6.


                     ALLEN
          I didn't want her to know.
              (beat)
          It was a dream anyway.

Louis lights his own cigarette. Offers his son one. He
declines.

                    LOUIS
              (talking to himself,
               dreaming)
          Trilling's there. Van Doren.
          English Professors. Important
          fellows. And New York City, right
          in your goddamn lap.

Louis sits beside his son.

                    LOUIS
          Love that is hoarded,
          molds at last.

Allen, surprised to hear his Dad reciting one of his poems.

                    LOUIS
          Until we know,
          the only thing we have--

                    ALLEN
          is what we give away.

                    LOUIS
          Is what we hand away. Have, hand.
          Consonance.

                    ALLEN
          Give, is. Assonance.

                    LOUIS
          I wrote the goddamn poem. Go write
          your own.

Louis hands over the letter. The hardest thing he's ever
done.

Allen takes the envelope, rips it open. He's looking at the
response in shock. Louis tries to read his son's face.

                      ALLEN
          I got in.

                    LOUIS
          You got in?!
                                                            7.


                    ALLEN
          I got into Columbia University!

                    LOUIS
          You got into Columbia University?!

Allen and his father embrace.

                                                  CUT TO:


EXT. COLUMBIA QUAD - DAY

First day of college. Allen crosses the grand Ivy League
campus in awe. Before him, the staggering facade of the
library like the Parthenon. A troop of Navy midshipmen pass
by. Wartime is on.


INT. ALLEN'S DORM ROOM - DAY

Allen sets his bag on his bed. He notices on one wall are
patriotic posters, exercise posters. He's already got a
roommate.

He eyes a map of the New York City subway system. He can't
believe he's really here in the big city. He walks over to
it.

Allen studies the map, his finger gliding down to Greenwich
Village.

                    LUKE (O.S.)
          You don't wanna go down there.

His roommate LUKE, 18, buzz cut, in a sweaty Columbia
sweatshirt, leans over him.

                    LUKE
          Land of the fairies. Head there and
          you never come back.
              (extending a firm hand)
          Luke Detweiler, Danville, Virginia.

                    ALLEN
          Allen Ginsberg.

                    LUKE
              (bright smile)
          You're Jewish, right?

Allen nods. Luke smacks him on the shoulder.
                                                         8.


                    LUKE
          I'm getting good at telling.


INT. LIBRARY, MAIN HALL - DAY

The beautiful main hall of Columbia University's Butler
Library. It's Ivy League tradition meets thousands of years
of scholarship.

A pompous TOUR GUIDE shows off museum-like glass vitrines to
new and prospective students with their families.

                    TOUR GUIDE
          The South Hall library is a church,
          and these are the sacraments.

Allen stumbles along on the tour. The tour guide points to
the contents of the vitrines: the wonders of literary
history.

                    TOUR GUIDE
          Original folios of the most
          important texts in history.
          Beowolf. First folio Hamlet. The
          Gutenberg Bible.

Allen looks down, amazed. That's Shakespeare's handwriting.

                    TOUR
          These are among the University's
          most prized possessions.

Suddenly, in a reflection in the glass, a flash of RED
catches Allen's eye.

                    LUCIEN (O.S.)
          Let's hear a bit, shall we?

Allen turns to see Lucien Carr (now 19, devilish, stunningly
handsome) LEAP onto a library desk with a book in hand. He
wears a distinctive red CRAVAT that only the truly beautiful
can pull off. The entire room hushes.

                    LUCIEN
              (reciting)
          On a Sunday afternoon, when the
          shutters are down and the
          proletariat possesses the street...

The tour guide looks around confused.
                                                         9.


                    LUCIEN
          ...there are certain thoroughfares
          which remind one of nothing less...

Lucien gets on his knees and THRUSTS a lamp between his legs.

                    LUCIEN
          ...than a big cancerous cock.

Parents look around in shock. A female student is instantly
aroused. The prim PERMISSIONS LIBRARIAN clomps over.

                    PERMISSIONS LIBRARIAN
          What is this nonsense?

                    LUCIEN
          Henry Miller.

                    PERMISSIONS LIBRARIAN
          Get down immediately. That book is
          restricted.

                    LUCIEN
          Which is why I committed it to
          memory.

                      PERMISSIONS LIBRARIAN
          Security!

As two Campus Security Guards rush in, Lucien leaps down in
front of Allen.

                    LUCIEN
          Alert the press! Tell them Lucien
          Carr is innocent!

Lucien flees, rushes out of the library.

                    TOUR GUIDE
          That was highly unusual. Campus is
          actually quite quiet. Moving on.

But Allen doesn't hear, he grins to himself. Who the hell was
that?

                    PROFESSOR STEEVES (V.O.)
          The Victorian sonnet has the
          balance of three tenets.


INT. LECTURE HALL - DAY

Patrician, old-guard PROFESSOR STEEVES lectures on the first
day of class, Allen dutifully taking notes in his journal.
                                                           10.


                    PROFESSOR STEEVES
          Rhyme, meter, conceit. Without this
          balance, a poem becomes slack,
          sloppy. An untucked shirt.

Allen disagrees and raises his hand.

                    ALLEN
          Professor Steeves, then how do you
          explain Whitman?

No one interrupts Professor Steeves. Murmurs from around the
class. Steeves locks down his gaze on Allen.

                    PROFESSOR STEEVES
          Say more. Two more sentences.

                    ALLEN
          He hated rhyme and meter. The whole
          point was untucking your shirt.

Professor Steeves smiles to himself. There's one of them
every year.

                    PROFESSOR STEEVES
          What's your name?

                    ALLEN
          Allen Ginsberg.

                    PROFESSOR STEEVES
          Ginsberg? Your father perhaps is
          the poet Louis Ginsberg?

Allen nods.

                    PROFESSOR STEEVES
          He writes rhyming, metered verse.
          Why do you think he chose that
          form?

All eyes on Allen.

                    ALLEN
          Because it's easier.

The class titters. Professor Steeves hushes them.

                    PROFESSOR STEEVES
          This university exists because of
          tradition and form. Would you
          rather this building be built by
          engineers or Whitman and his boys
          at play?
                                                          11.


Allen, realizing he is trapped, unable to answer. Professor
Steeves smiles victoriously and writes on the blackboard.

                     PROFESSOR STEEVES
          There can be no creation before
          imitation.

The other students take note. Allen sighs, follows suit. From
the back row, Lucien watches Allen and unsheathes a grin.


INT. ALLEN'S DORM ROOM - NIGHT

Luke, dressed in a suit, puts on cologne. He looks back at
Allen who is copying from a tome of sonnets.

                    LUKE
          Shut the books. We're taking my
          brother with us to the social. He
          ships out tomorrow.

                    ALLEN
          I can't. You see how much I've got
          to do.

                    LUKE
          He's Navy. It's catnip for the
          skirts.

Luke pulls out his own waistband and sprays some cologne down
the front. Allen shakes his head. Luke shrugs.

                     LUKE
          You hymies are really all about
          work, huh?

Luke slams the door behind. Allen, alone stares out the
window.

A record starts up down the hall. Clarinet, strings. Allen's
ears prick up. He knows this tune.

It's the same BRAHMS from his mother's bedroom.


INT. DORM HALLWAY - NIGHT

Allen walks down a darkened hallway, the music leading him
forward. He reaches a door with a lit transom. He knocks.

The unlocked door creaks open.
                                                           12.


INT. LUCIEN CARR'S DORM ROOM - NIGHT

A mattress lies on the floor, a phonograph on top. Candles
light the room. Books for furniture. And Lucien on the floor,
reading the Times and smoking.

                      ALLEN
          Brahms?

Allen walks inside. Lucien looks up, surprised.

                     LUCIEN
          Finally. An oasis in this
          wasteland.

Nervous, Allen tries to make conversation.

                    ALLEN
          How come you're not at the social?

                    LUCIEN
          Only the most anti-social have to
          go to an event actually called one.
          Libation?

Lucien rises and grabs a wine bottle corked with a sock.
Allen looks nervously towards the door.

                    ALLEN
          You drink in your room?!

                    LUCIEN
          How does a horrible bottle of
          Chianti sound?

Lucien inverts two small glasses and pours. Allen stares. He
doesn't break the rules.

                    ALLEN
          I don't drink.

                      LUCIEN
          Freshman?

                      ALLEN
          Yes.

Lucien hands him his glass.

                    LUCIEN
          Excellent. I love first times. I
          want my whole life to be composed
          of them. Life is only interesting
          if life is wide.
                                                           13.


Lucien toasts Allen's glass.

                    LUCIEN
          To Walt Whitman, you dirty bastard.

Allen, mortified, not sure how to take that reference as
Lucien knocks his wine back in one gulp.

                    LUCIEN
          How's your Yeats? Have you read A
          Vision?

He tosses Allen a BOOK. Dog-eared, underlined and crumbling.

                    ALLEN
          Never heard of it.

                     LUCIEN
          It's completely brilliant and
          impossible. He says life is round:
          we're stuck on this wheel. Living.
          And dying.

Allen opens the book, looks through the old pages, sees a
strange symbol: a diagram of a celestial WHEEL.

                    LUCIEN
          An endless circle. Until. Someone
          breaks it. You came in here, you
          rupture the pattern. Bang: the
          whole world...

              ALLEN                            LUCIEN
Gets wider.                      Gets wider.

Lucien looks at Allen, amazed.

                    LUCIEN
          How did you...?

                    ALLEN
          Consonance. Reiteration of themes.

Lucien, intrigued, circles in close.

                    LUCIEN
          Are you a writer? Because I've got
          a job for a writer.

Allen, mesmerized.

                    ALLEN
          No. I'm not.
                                                        14.


                    LUCIEN
          Well, you're not anything yet.

This boy so close, the rush of contact. From down the hall...

                       HALL MONITOR (O.S.)
          Ginsberg?!

Allen doesn't even register his name. Lucien smirks.

                    LUCIEN
          Isn't that you?

                       HALL MONITOR (O.S.)
          Ginsberg?!

Allen groans, snaps out of it.

                       ALLEN
          What?!

                    HALL MONITOR (O.S.)
          Phone call!

Allen reluctantly hands Lucien back the BOOK.

                    ALLEN
          I'll be back.


INT. DORM HALLWAY - CONTINUOUS

The Hall Monitor hands Allen the phone.

                       ALLEN
          Hello?

                    NAOMI (O.S.)
          I found the wires.


INT. HALLWAY, GINSBERG HOME - NIGHT

Naomi grips the phone desperately. We see she has stripped
the wallpaper from the wall and pulled the telephone wire out
from underneath.

                    NAOMI
          He's trying to get inside my head.

                    ALLEN (O.S.)
          Dad is not trying to get inside
          your head, okay? Put him on.
                                                          15.


                    NAOMI
          He's not home. He left.


INT. DORM HALLWAY - NIGHT

Allen, confused. Up the hallway, a door locks.

                    ALLEN
          Where'd he go?


INT. GINSBERG HOME - NIGHT

Naomi looks out the window, does not want to answer.

                    NAOMI
          Honey, I need you come home now.

                    ALLEN (O.S.)
          Mom I can't come home. Listen, you
          have to look after yourself.

                    NAOMI
          I don't feel good.


INT. DORM HALLWAY - CONTINUOUS

Lucien passes Allen, putting on his coat, heading out to the
city.

                    ALLEN
              (whispered, to Lucien)
          You're going to the dance?

                    LUCIEN
          No. Downtown.

                     NAOMI (O.S.)
          Who are you talking to? Is he there
          with you?!

                    ALLEN
          No, he's not here with me.

Lucien quickly waves goodbye to Allen, heads down the
staircase. Allen, torn between his mother and this boy.

                    ALLEN
              (into the phone)
          Listen, I'll come as soon as I can.
                                                           16.


INT. GINSBERG HOME - NIGHT

Naomi, clutches the phone, deadly serious.

                    NAOMI
          You need to promise.


INT. DORM HALLWAY - NIGHT

Lucien slides down the stairway rail. Allen watching him
disappear.

                    ALLEN
          Yes. Ipromiseloveyoubye.

Allen hangs up on his mother and races after Lucien.


INT. STAIRWELL - NIGHT

Allen, breathless, storms down a flight of stairs, catches up
to Lucien. Lucien turns, loving this. The puppy following his
new master.

                    LUCIEN
          Coming?


EXT. COLUMBIA ENTRANCE - NIGHT

Lucien throws his jacket over Allen's shoulder and leads him
into the wild city around the corner.

                    LUCIEN
          Welcome to the edge of the world.

The sound of the IRT screeching takes us to the SUBWAY MAP
from Allen's dorm room which comes to life.

A RED LINE glides down the map from Columbia University all
the way...to Greenwich Village.

                                                  CUT TO:


INT. STAIRS/APARTMENT, 48 MORTON STREET - NIGHT

Allen, anxious, follows Lucien up a crowded staircase to a
West Village apartment.

The sounds of a party spill out onto the landing and beyond.
It's pure bohemia here.
                                                           17.


Smoke, artists flirting, arguing. Allen sees...

A black man making out with a white woman. An older, elegant
woman sharing a cigarette with a boy half her age.

She stares seductively at Allen. Lucien enjoying himself
immensely. This is what a first time looks like.

                    LUCIEN
          Allen in Wonderland.

Lucien grabs a DRUNK YOUNG GIRL from the crowd, kisses her
passionately. Then lets her go, keeps walking.

                    ALLEN
          Do you know her?!

                    LUCIEN
          No, and I don't plan on it. She
          tasted like imported sophistication
          and domestic cigarettes.


INT. BATHROOM, 48 MORTON APARTMENT - NIGHT

A makeshift bar in a sink full of ice. Lucien scavenges
through empty bottles in the sink, looking for any remaining
alcohol.

                    LUCIEN
              (calling out)
          Dave! Where's the liquor?! I'll be
          right back.

As Lucien walks off, Allen tries to make himself
inconspicuous and sits down on the tub.

                    BILL (O.S.)
          Hrffrff hrffrfffrfrfrrf.

Allen looks down to see WILLIAM BURROUGHS (aka BILL, 29,
tall, gaunt, wry), in a suit, sprawled out in the bathtub: a
gas mask over his mouth. Bill motions to the side of the tub.

                    BILL
              (through the mask)
          You're...pinching...

Allen stands up, realizing his foot is on a snaking black
tube leading to a metal canister of gas.

                    ALLEN
          Sorry. Are you all right?
                                                        18.


                    BILL
              (long exhale)
          Artifacts in the visual field, some
          light-headedness. Motor
          hyperactivity.

                    ALLEN
          What is that?

                    BILL
          Nitrous oxide, for narcoanalysis.
          Know thyself. And beshit thyself.
          Ever done that?

Allen shakes his head no. Bill turns off the gas. Offers a
joint to Allen.

                    ALLEN
          Oh no, thanks. I don't do...the
          cannabis.

Bill eyes Allen, skeptically.

                    BILL
          Show me the man both sober and
          happy, and I'll show you the
          crinkled anus of a lying asshole.

Allen raises an eyebrow. Lucien returns with a paper in hand.

                    LUCIEN
          Allen, Willy. Willy, Allen, Lucien
          reefer.

Lucien takes the joint.

Bill puts the tube of gas back in his mouth, back to
business. Lucien grabs Allen's hand, pulls him to the party.

                    ALLEN
              (whispered)
          Is he a criminal?

                    LUCIEN
          He wishes he were a criminal. The
          Burroughs family is richer than
          God.

                    ALLEN
          He looks like a criminal.
                                                         19.


                    LUCIEN
          He's a Harvard man, and he's going
          to be an amazing artist. His
          current medium is himself.

Allen spots the TERM PAPER in Lucien's hand.

                    ALLEN
          What's that?

                    LUCIEN
          Bunk for school. Now, come on, I
          want you to meet our host.


INT. LIVING ROOM, 48 MORTON APARTMENT - NIGHT

DAVID KAMMERER, the man we saw dead at the film's opening,
runs his fingers on the rim of a wine glass. He's sharp, the
mayor of this scene. An eerie hum from the glass.

                    DAVID
          What there is, darlings and
          demoiselles, is a circle. Life is
          round. Patterns, routines, a wheel
          of self-abuse. Margaret, don't even
          deny it.

Allen turns to Lucien.

                    ALLEN
              (whispered)
          Sounds like you.

                    LUCIEN
          Because it was me. First.

David sees the boys talking. He eyes Allen, curiously.

                    DAVID
          Until. The the disruption we long
          for, comes along and the circle is
          broken.

                    LUCIEN
              (whispered, to Allen)
          He said he was my guardian angel,
          but that I was too much work.

David crosses through crowd towards Allen.

                    DAVID
          Take this unbloomed stalwart.
                                                           20.


Uh-oh. Allen's singled out. David pulls him to the center of
the room.

                    DAVID
          And you are?

                      ALLEN
          Allen.

Bill walks in, knows what game his friend is playing.

                    BILL
          Play nice, David.

                     DAVID
          Allen, who comes uninvited to my
          apartment.

                    LUCIEN
          Actually I invited him.

                    DAVID
          None of us notice him. Look at him.
          Why would we bother?

In his tucked shirt and creased pants, Allen realizes the
entire party is scrutinizing, judging him.

                     DAVID
          So the pattern of our evening, our
          lives, holds. But under the right
          circumstances, even he might change
          the world.

Jazz music sparks, PRE-LAP from where this party's going
next. Lucien eyes Allen -- an idea forming.

                                                  CUT TO:


INT. TAVERN - NIGHT

The party continuing at this underground speakeasy. Straight,
gay, young, old, a subterranean zoo. A jazz signer owns the
room.

Bill, David, and Allen at a table. David's moment alone with
Allen.

                    DAVID
          So you just met Lucien in the lunch
          line and now he's all that you can
          see.
                                                        21.


                    ALLEN
          Why don't you like me?

                    BILL
          Because David was in the same
          godforsaken line.

David and Bill share a knowing look. Lucien returns to the
table and slams a glass down.

                    LUCIEN
          Some earjob at the bar just called
          me "boy." So I stole his drink.

Allen scans, sees the famous poet OGDEN NASH looking around
for his glass.

                    ALLEN
          That's Ogden Nash!

                    LUCIEN
          Who's Ogden Nash?

                    ALLEN
          The best selling poet in the
          country.

                    BILL
          "A girl who is bespectacled. She
          may not get her nectacled. But
          safety pins and bassinets--"

                    DAVID
          "Await the girl who fassinets."

                    LUCIEN
          And that's what he's selling?! I'll
          kill him.

Bill takes out a switchblade.

                    BILL
          Aim for the throat.

A realization. Lucien leans in, focuses his charm.

                    LUCIEN
          No. We're not going to kill him.
          Even better. We're going make sure
          nobody remembers him.
              (turns to Allen)
          How many men started the
          Renaissance?
                                                     22.


                    ALLEN
          Two.

                    LUCIEN
          And the Romantics.

                    DAVID
          More than I suspect this theory
          accommodates.

                    ALLEN
          (Five?)

Lucien's passion building.

                    LUCIEN
          We're sending millions to fight the
          Fascists in Europe, but they're
          here! Meter and rhyme---

                    ALLEN
          And Professor Steeves---

                    LUCIEN
          Yes! They're all guards in some
          prison. Let's make the prisoners
          come out and play. Let's come up
          with new words, new rhythms.

Allen, swept up in the energy. He couldn't be more
captivated.

                    LUCIEN
          We need a name.

                    ALLEN
          How did they come up "Dada"?

                    BILL
          Tristan Tzara jabbed a knife into a
          dictionary.

                    LUCIEN
          Shit. So that's been done.

                    DAVID
          A literary revolution without
          writing a word. Neat trick, Lu.

                    BILL
          Well, I'm listening.
                                                         23.


                    ALLEN
          What about Yeats? How about the
          "New Vision?"

                    LUCIEN
          Ginsy, you're hired!

Allen smiles a mile wide. He's in.

Suddenly, the jazz singer stops. The band puts down their
instruments. POLICEMEN escort a businessman and another
gentleman out of the bathroom, in HANDCUFFS. The mood in the
bar chills.

                    BAR-GOER (O.S.)
          Fucking perverts.

Allen, terrified, looks at David, who looks back, knowing
exactly now who Allen is.

A DOOR CRASH leads us to...


EXT. BAR - DAWN

Drunk, Allen and Lucien stumble to the ground.

                    LUCIEN
          "In the dawn, armed with a burning
          patience, we shall enter the
          splendid city!"

Allen sits up.

                     ALLEN
          Shit.

                    LUCIEN
          It's Rimbaud. It's overwritten, I
          know. He's allowed.

                    ALLEN
          No, my mother. This is bad. This is
          very bad.

                     LUCIEN
          What is?

Allen stands, gathers himself urgently. He needs to be
somewhere about twelve hours ago.

                    ALLEN
          She's going to be furious.
                                                          24.


                    LUCIEN
          Don't go then.

                    ALLEN
          You don't understand. I have to.

                    LUCIEN
          What?

                    ALLEN
          It's complicated.

Lucien sees his friend scared. Moved, he links his arm with
Allen's.

                    LUCIEN
          Perfect. I love complicated.


INT. GINSBERG HOME - DAY

Allen and Lucien enter the house to find Louis standing
nervously with a suitcase beside a DOCTOR.

                    DOCTOR
          Greystone will alert you if there's
          a change in her condition.

A DOCTOR holds out a clipboard. Louis sheepishly signs the
document on top.

                    ALLEN
          Dad, what's going on?

                    LOUIS
          Your mother needs her rest.

A male nurse leads Naomi from the bedroom. She is still in
her robe, shattered and fogged by sedatives. Allen realizes
what's happening.

                    ALLEN
              (to his father)
          You can't do this to her.

Naomi recognizes her son.

                    NAOMI
          Where were you?

                    ALLEN
          I was out. With a friend.
                                                          25.


                    NAOMI
          I called you!

                    MALE NURSE
          It's time to go, Mrs. Ginsberg.

The nurse takes Naomi to the door. Allen pulls her back, into
the house.

                    ALLEN
          No, you're not leaving.

Naomi points an accusing finger at Louis.

                    NAOMI
          He already signed the papers.

                       ALLEN
          Dad?!

                    LOUIS
          It's for the best.

                       ALLEN
          Your best.

                    LOUIS
          It's for her best. It's not for my
          best. Look at her! Listen to her!

Naomi babbling. Allen realizing how far she's gone. Allen
shoves the nurse off Naomi.

                       ALLEN
          Get off!

From deep within, Allen can see she is still there, and we
can see she knows that it's too late.

                    NAOMI
          This is your fault.

The nurse escorts a docile Naomi out of the room. Allen
breaks down. Lucien, mute witness to it all.

MUSIC PLAYS over...


INT. GINSBERG HALLWAY - NIGHT

Louis lectures Allen.

We close in on Allen's despondent face. The dutiful son's
first failure.
                                                        26.


EXT. GINSBERG FRONT PORCH - NIGHT

Allen escapes outside where Lucien is sitting, smoking. Allen
sits beside him, notices: Lucien has been crying.

                    ALLEN
          Complicated enough?

                    LUCIEN
          At least you have her. My father
          left me when I was four.

A beat of understanding between them. Lucien lays down. Allen
takes his cigarette, lays next to him.

                    ALLEN
          I've been thinking about what Yeats
          said. To be reborn, we have to die
          first.

Allen hands him back the smoke. Lucien perks up.

                    LUCIEN
          So what do you suggest?


INT. LUCIEN CARR'S DORM ROOM - NIGHT

Candlelight flickers on Allen's face.

                    ALLEN
          I've spent my life making other
          people happy.

We PULL BACK to see a noose around Allen's neck. A suicide is
underway.

                    ALLEN
          It's time I find happiness the only
          way I see possible.

                    LUCIEN (O.S.)
          Oh please. Die already.

We PULL BACK again to see Lucien beside, also with a noose
around his neck. Both of them on chairs. Their nooses are
attached to the same pipe.

                    LUCIEN
          Where's the verve? The brio?!

From atop the chair, Lucien kicks his record player with his
foot. Grand classical music screeches to a start.
                                                         27.


                    LUCIEN
          If it be that I am indulging my
          self-consciousness in justifying
          myself, or if it be--

                    ALLEN
          That's a run-on.

                    LUCIEN
          Don't edit me!

Lucien shoves Allen. Allen trips off the chair, the noose
snaps tight...and suddenly he's hanging in mid-air. He
struggles. Lucien tries to help, but falls off his own chair.

The pipe starts to bend.

Allen and Lucien panic as they swing through the room,
suspended in air.

The pipe BREAKS. They crash to the ground.

A beat of relief -- are we alive? -- and the two break out
into hysterics.

DIRTY BE-BOP JAZZ PLAYS OVER...

A RED LINE TRAVELS UP THE SUBWAY MAP FROM COLUMBIA UNIVERSITY
TO HARLEM BRINGING US TO...


INT. HARLEM NIGHTCLUB (MINTON'S PLAYHOUSE) - NIGHT

The black crowd claps for the same jazz singer and band we
saw earlier, now on their home turf. Allen, Lucien and Bill
watch from a table.

                    ALLEN (O.S.)
          The New Vision declares--

                    LUCIEN (O.S.)
          "Proclaims" is better--


INT. DAVID'S APARTMENT (48 MORTON) - DAY

Lucien and Allen pace while Bill reclines on the sofa. They
riff on the The New Vision manifesto.

                    ALLEN
          Proclaims the death of morality.
          And...
                                                        28.


                    LUCIEN
          The expression of self.

                    ALLEN
          The true, uninhibited, uncensored
          expression of the self.

                    BILL
          Words, boys. Empty words.

                    LUCIEN
          Then what do you suggest?

                    BILL
          The derangement of the senses.

                                                   CUT TO:


INT. JAZZ CLUB - NIGHT

Allen bopping his head to the new rhythms in this club - the
place where be-bop jazz is being born.

                                                   CUT TO:


INT. 48 MORTON APARTMENT - DAY

Bill cracking open a Benzedrine canister and removing the
soaking strip from inside.

He drops it into three coffee cups. The boys knock it back,
Lucien pushing Allen to finish the whole drink.

                                                   CUT TO:


INT. DORM - DAY

Allen furiously typing up the manifesto at his school desk.

                    BILL (O.S.)
          What do you hate from the pit of
          your gut?


INT. 48 MORTON APARTMENT - DAY

Allen, Lucien pacing with increasing excitement.

                    LUCIEN
          Institutions.
                                                        29.


                    ALLEN
          Paterson, New Jersey.

                       LUCIEN
          My father.

Bill smiles. They're playing his game.

                       BILL
          Bingo.

The music suddenly stops as we ...

                                                  CUT TO:


INT. LECTURE HALL - DAY

Professor Steeves lecturing before the class.

                    PROFESSOR STEEVES
          And so while Shakespeare...

He notices Allen's empty seat. Unhappy.

                       PROFESSOR STEEVES
          All right.

The MUSIC builds again as...

                                                  CUT TO:


INT. JAZZ CLUB - NIGHT

...a drummer takes a wild solo. Enraptured, Allen taps his
fingers to these new rhythms.

                                                  CUT TO:


INT. ALLEN'S DORM ROOM - DAY

Allen's fingers typing in these same rhythms. Beside, The New
Yorker advertising Ogden Nash's upcoming reading.

                    LUCIEN (O.S.)
          Extraordinary men propel society
          forward. It is our duty to break
          the law.
                                                           30.


INT. 48 MORTON APARTMENT - DAY

Allen stopping Lucien in his tracks.

                    ALLEN
          Really?

                    LUCIEN
          It's how we make the world wider.

Allen considers, agrees.

                    ALLEN
          You are an extraordinary man.

Lucien beams.

                    LUCIEN
          Well, thank you.


INT. 48 MORTON APARTMENT - AN HOUR LATER

Bill at David's bookcase, removing classic art and literature
books and throwing them to Allen.

                    BILL (O.S.)
          "Return of the Native."
          "Leviathan." Tear `em up boys.
          Destroy the old and build the new!

Allen, with scissors, cuts up pages of the books. Hands them
to Lucien who nails them to the wall.

It's a frantic assembly-line: Bill whips books to Allen,
Allen tears out sections, and Lucien hammers them up.

We PULL BACK to see the entire wall is covered in words.


INT. HARLEM NIGHTCLUB - NIGHT

Time suddenly slows. The music tapers, the hands of the
drummer taper down to a still. Allen looks around, scared and
confused. What is happening?

A spotlight cuts through the room, capturing the singer's
sweaty ecstasy, the bassist's fingers mid-plucking. The room
freezes.

Unlit cigarette dangling from his lip, Allen turns to Bill.
                                                        31.


Bill holds up his finger - it is on fire. He lights Allen's
cigarette with the flame. We have entered into another
universe.

Lucien stands -- the only thing moving -- and Allen follows.
He steps into the frozen moment. And it's beautiful.

                    LUCIEN
          Watch this.

Lucien leans over a young woman, a statue at a table with a
young man in military attire.

                      LUCIEN
                (whispered in her ear)
          Go.

The girl comes to life and clambers over the young man to a
second, more attractive soldier. And kisses him. The pair
erupt into life, into desire.

Lucien and Allen sit on the stage beneath the frozen
musicians. Lucien pulls out a BOY SCOUT KNIFE.

Wraps Allen's hand in a fist around the blade.

He pulls the knife free. Allen winces in pain.

Lucien does the same to his own palm, then presses their two
bloody hands together. A ceremony. Allen's eyes roll back.

David appears in a janitor uniform. The Technicolor fades.

                    DAVID
          What the hell is this?

                                                  CUT TO:


INT. 48 MORTON APARTMENT - NIGHT

Allen, the nitrous oxide mask over his face inhaling from a
tank of gas. He has been adrift in a hallucination.

Lucien presses Allen's hand back and forth, both unharmed.

                    BILL
          Time slows down as you drift deeper
          and deeper into your cave...

Bill notices David, turns off the gas.
                                                           32.


                    BILL
          We are exploring the avenues of
          Allen's mind.

David looks around the mess of his living room, his pillaged
library of books, papers all over the floor.

                    DAVID
          Dimly-lit, I am sure. What have you
          done to my apartment?

Allen struggles to his feet, moaning. Lucien steps between
David and their wall of clippings.

                    LUCIEN
          David, don't touch anything. We
          have to write it all down.

Bill stands up, woozy. Calls out to David.

                    BILL
          Get this man a pair of scissors!

                    DAVID
          This is not your revolution, this
          is my life.

                    BILL
          What kind of life is it?

                     DAVID
          It's mine. Not everyone gets an
          allowance.
              (beat)
          Leave. Get out!

Allen stumbles out of the room, scared. David approaches
Lucien.

                    DAVID
          I need to speak to you. Alone.


INT. BATHROOM, 48 MORTON APARTMENT - NIGHT

Allen splashes water on his face. In the mirror, he sees
David and Lucien in the bedroom.

David hands Lucien a TERM PAPER.

                    LUCIEN (O.S.)
          It only has to be five pages.
                                                           33.


He tilts the mirror to see them clearly. A glimpse into their
private dynamic.


INT. BEDROOM, 48 MORTON APARTMENT - NIGHT

Lucien flips through the term paper.

                    LUCIEN
          You make me too smart, they're
          gonna suspect something's up.

David throws Lucien's coat over his shoulder.

                    DAVID
          And get you sent back to your
          mother again? That would just be
          the end of you.

                      LUCIEN
          Fuck you.

David spots Allen watching from the bathroom.


INT. BATHROOM - 48 MORTON APARTMENT - NIGHT

Allen, caught, looks down, pretends he heard nothing. But
it's too late. David walks over and SLAMS the door in Allen's
face.

                    PROFESSOR STEEVES (O.S.)
          Kill your darlings.


INT. LECTURE HALL - DAY

Professor Steeves, intent, in front of the class.

                    PROFESSOR STEEVES
          Your crushes, your juvenile
          metaphysics. None of them belong on
          the page. It is the first principle
          of good creative work. A work of
          fiction you will deliver as your
          final exam.

He sees Allen, badly hungover and brooding, writing in a
journal. Ignoring class.

                    PROFESSOR STEEVES
          Oh look. Whitman Jr. graced us with
          his presence today.
                                                           34.


Steeves walks to Allen's desk, grabs his journal.

                     PROFESSOR STEEVES
          "The New Vision. Extraordinary men
          propel us forward. It is our duty
          to break the law."
              (to Allen)
          Fantastic.

                    ALLEN
          There's more life in those five
          pages than in the dozens of bad
          sonnets we've read in class.

Steeves cocks his eye, stares down Allen. The first time
Allen has defied anyone. Ever.

                    PROFESSOR STEEVES
          You want life? You want the world
          on fire?

Steeves motions to the door. Then to Allen.

                    PROFESSOR STEEVES
          The war awaits. What will it be?

Steeves tosses the journal back down on Allen's desk.

Allen looks down at the "New Vision", ashamed.


INT. LUCIEN CARR'S DORM ROOM - NIGHT

A rainstorm beating against the windows. Allen paces as a
drunk Lucien knocks off a bottle of wine and reads from
Allen's journal.

                    LUCIEN
          "The rose that scents the summer
          air/ grows from my beloved's
          hair...?"

                    ALLEN
          Keep going. That's my sonnet for
          Steeves.

Lucien flips through the journal, closes it, disappointed.

                    LUCIEN
          We have the map. We have the
          manifesto. We need the work.
              (suddenly cold)
          I was wrong. Maybe you're not up
          for this after all.
                                                        35.


Allen stares at Lucien in disbelief. Shocked, Allen rushes to
Lucien's desk.

                    ALLEN
          Show me your fucking map.

                     LUCIEN
          Stop!

Allen grabs the pages Lucien has been working on: they are
covered in doodles - there's nothing there.

                    ALLEN
          Oh right, you don't have anything
          because David's not here to write
          it for you!

Lucien stands up, drunk. Furious.

                    LUCIEN
          It's complicated.

                    ALLEN
          I love complicated.

Lucien steadies himself. Furious.

                    LUCIEN
          He's a professor working as a
          janitor so he can be near his
          precious Lu-Lu. He is a goddamn
          fruit who won't let me go.

                     ALLEN
          A fruit?

                     LUCIEN
          A queer.

This detonates inside Allen. Lucien crashes to his bed. Allen
sits beside.

                    ALLEN
          Then let's get rid of him.

Lucien softens, leans against Allen. Passing out from the
liquor.

                     LUCIEN
          Right now, I just need you to write
          us something beautiful.
              (beat)
          First thought, best thought.
                                                           36.


Lucien drifts off. Allen shakes, holding Lucien's body for
the first time.

We follow Allen's P.O.V. as he runs his finger through
Lucien's hair. He can barely breathe, this close to what he
finds beautiful.

Allen's fingers slide to Lucien's cheek. Toward his lips.

Lucien's eyes open. Allen tenses, afraid. But Lucien suddenly
takes Allen's finger in his mouth. Sucks it, eyeing Allen the
whole time.

                                                  CUT TO:

A thunder-clap. Lucien passed out in Allen's lap. We were
just in Allen's imagination.


INT. ALLEN'S DORM ROOM - DAY

Allen at his typewriter. A blank page. Inspired to write
something beautiful.

We see flashes of the past, snippets of Lucien: their
contact, Lucien's smile. Allen searching through their past.
All playing in reverse.

                     LUCIEN
           Allen in Wonderland.

Is it something? He writes the words down. Flash of their
past build in a crescendo as he keeps searching, digging
through moments, leading to...

NOTHING.

Allen's blocked.

He'll need more help if he's going to get to beautiful.

                       BILL (O.S.)
           Pervitin.


INT. BILL'S APARTMENT - DAY

Bill with NORMAN (30s, shady, real criminal) and Allen in his
dim, bookshelf-lined lair. Bill gives the secret nod to
Norman.
                                                        37.


                    BILL
          The Germans call it the "wonder
          drug." Prescribed for super-human
          feats.

Norman pops open a briefcase full of drugs. Bill selects a
green pill bottle and gives it to Allen.


INT. ALLEN'S DORM ROOM - DAY

Allen pops two. Waits for it.


INT. ALLEN'S DORM ROOM - LATER

The pace of everything has DOUBLED.

Allen, sweating at his typewriter, jubilant, tapping his foot
with the music, typing furiously at the keys. Whatever this
drug is, it's working.

                    BILL (O.S.)
          But beware of the side-effects.


INT. BILL'S APARTMENT - DAY

Bill rattles off the list.

                    BILL
          Sudden blindness, bouts of
          diarrhea, heart palpitations, and a
          severe decline in moral standards.

                                                  CUT TO:


INT. ALLEN'S DORM ROOM - DAY

Allen jerking-off at his desk.

Allen racing around his room, burning off energy. The
memories are now flooding in.

David at his party...

                    DAVID (O.S.)
          Take this unbloomed stalwart.

Lucien at the bar...
                                                           38.


                    LUCIEN (O.S.)
          Let the prisoners come out and
          play.


INT. ALLEN'S DORM ROOM - EVENING

Luke enters, turns on the light.

His jaw-drops: Allen is on his bed, running in place like a
mad-man.

                    LUKE
          What the hell are you doing?

Allen, furious at the interruption.

                     ALLEN
          Writing!


INT. BILL'S APARTMENT - DAY

Bill, a thoughtful eye on young Allen.

                    BILL
          But the words, oh the words...


INT. ALLEN'S DORM ROOM - DAY

Allen's got it. He rips the pages from the typewriter.


INT. LUCIEN CARR'S DORM ROOM - DAY

Lucien's door slams open. A sleepless Allen, hair on end,
storms into the room, fresh pages in hand.

                    ALLEN
          Lu! It's very rough but...

David sits at Lucien's desk, writing. Allen stops short.
David spies the pages in Allen's hand.

                    DAVID
          Ah. The "Vision" at last. Can I
          see?

Allen hides them behind his back.

                    ALLEN
          Where's Lu?
                                                        39.


                     DAVID
          He's out. With a senior, some
          football player. A writer and
          handsome too.
              (beat)
          James? Jack. There it is. Jack.

                    ALLEN
          You're not allowed to be here.

                    DAVID
          That's odd since I'm the only thing
          keeping him here.

                    ALLEN
          Not anymore.

A stand-off. David collects his jacket, approaches.

                    DAVID
          Piece of advice. You don't know Lu.
          As soon you think you do, he'll
          find someone else.

David smirks, walks off leaving Allen alone with his pages.

                    DAVID
          Or maybe he already has.


INT. LUCIEN CARR'S DORM ROOM - NIGHT

3:00 AM. Allen snoring. Then the sound of the door creaking
open. Allen wakes up to see Lucien entering.

                    LUCIEN
          What are you, moving in?

                    ALLEN
          Where have you been?!

Lucien starts getting undressed.

                    LUCIEN
          I found a real writer. Already a
          million words under his belt before
          Columbia.

                    ALLEN
          You mean Jack?

Lucien fumbles.
                                                           40.


                    ALLEN
          Why didn't you tell me?

                     LUCIEN
          What am I supposed to do?
          Newsreels?

He spots the piece of paper in Allen's hand.

                    LUCIEN
          What's that?

Defensive, Allen pockets his poem for Lucien.

                     ALLEN
          Nothing.

Lucien gets into bed.

                    LUCIEN
          If you're going to stay, don't hog
          the blanket.

Lucien closes his eyes. Allen sits up, jealous, his mind
spinning. He stares at Lucien.

                    ALLEN
          Why is Jack a real writer?

                    LUCIEN
          Once you meet him, you'll see what
          I mean.

                     JACK (O.S.)
          Hey Al!


INT. 118TH STREET APARTMENT - NIGHT

Handsome JACK KEROUAC (mid-20's, athletic, infamous jaw)
palms a football, fakes a pass to Allen. Allen, on the couch
with a stack of pages, shakes his head.

                     ALLEN
          No.

Lucien drinks wine beside. Jack ignores Allen, wings the
pigskin right at him. Allen ducks. The ball SLAMS into a
painting on the wall. It crashes onto Allen's head.

                    EDIE (O.S.)
          Jack? What was that?
                                                        41.


                    JACK
              (with a wink)
          The damn cat!

The bell around the neck of Jack's cat KIT KAT jingles as it
scurries away. Jack darts over, hangs the painting upside
down.

                    JACK
              (whispered to Allen)
          She painted it. Say nothing.

Jack notices a piece of mail addressed to him next to Allen.
It's an old vinyl RECORD sent by his friend Sammy. He shouts
down the hall.

                    JACK
          Hey when'd this come?

                    EDIE (O.S.)
          Today. Where is Sammy now?

                    JACK
          I dunno. Some battleship.

Lucien nods to the huge manuscript on Allen's lap. We realize
it is Jack's novel The Sea Is My Brother.

                    LUCIEN
          What do you think? Brilliant, no?

                    ALLEN
          It's missing some periods and
          commas.

                    LUCIEN
          It's better than anything you've
          ever written.

                    ALLEN
          I use periods and commas.

                    JACK
          Both of you! Quiet!

Jack sets up an old phonograph. The scratchy record starts as
Jack sidles up close to the speaker.

                    VOICE OF SAMMY (O.S.)
          Jack, how are you chum?

                    JACK
          Sammy, you bastard.
                                                          42.


                    LUCIEN
          Who's Sammy?

                    JACK
          My best friend since I was twelve.
          Off in the Navy.

                    VOICE OF SAMMY (O.S.)
          We've just been through 20 days of
          German shelling, every three hours,
          night and day. This will be my last
          one for a while. We're headed out
          to the front. Some beach near Rome.
          Anzio?

                    EDIE (O.S.)
          Come to the table!

                    VOICE OF SAMMY (O.S.)
          It's supposed to be beautiful...

Jack pulls the stylus off.

EDIE PARKER, Jack's wealthy, vivacious art student girlfriend
(early 20's) walks in. Messy, comfortable, adorable. She
holds a pot, eyes Lucien and Allen.

                    EDIE
          I didn't know we were having
          guests.

Jack comes to the table. She smacks something down on a
plate: it's brown GLOP.

                    JACK
          What's this?

                    EDIE
          I was aiming for stew.

                    JACK
          You missed.

Jack grabs his jacket.

                    EDIE
          Where are you going?

                    JACK
          Out.

                    EDIE
          Out? I cooked all day for you.
                                                        43.


                    JACK
          What do you want me to do? Eat shoe
          leather? I'm hungry and what you do
          in the kitchen is unholy.

                    EDIE
          That's funny. You talk like a
          Catholic. But you fuck me and won't
          marry me. How does that work?

Allen and Lucien watch entranced.

                    JACK
          Shut your mouth, Edie.

                    EDIE
          I thought you liked it WIDE OPEN...

Jack exits, slams the door shut. Edie stares at Allen and
Lucien on the couch.

                    EDIE
          Scram.


EXT. RIVERSIDE PARK - NIGHT

Lucien drinks from a wine bottle as the three boys stroll.
Allen trails behind.

                    JACK
          So Al. You thought my novel was
          shit?

                    ALLEN
          Not exactly. It's...

                    LUCIEN
          It's all true. Jack served in the
          Merchant Marines.

                    JACK
          I've left school twice already.
          Columbia's full of squares. I'm not
          even sure why I bothered to come
          back.

                    ALLEN
              (sarcastic)
          Then why don't you just ship out
          again?
                                                        44.


                    JACK
          Trust me. Sometimes when I fight
          with Edie, I want to.

Lucien stops. He spots a DINGY, floating off a dock. He gets
an idea.

                    LUCIEN
          You two did just fight.

                    JACK
          Carr, you're goddamn crazy.

Lucien RUNS for it, then Jack. Allen, now the third wheel,
reluctantly chases after.


EXT. HUDSON RIVER - NIGHT

The dingy drifts into view in the middle of the busiest river
in the world - quiet at this late in the night. Jack rowing.

                    JACK
          A "new vision?"

                    ALLEN
          Yeah.

                    JACK
          Sounds phony. Movements are cooked
          up by people who can't write about
          the people who can.

                    LUCIEN
          Lu, I don't think he gets what
          we're trying to do.

                    JACK
          Listen to me, this whole town's
          full of finks on the 30th floor,
          writing pure chintz. Writers, real
          writers, gotta be in the beds. In
          the trenches. In all the broken
          places. What're your trenches, Al?

                    ALLEN
          Allen.

                    JACK
          Right.

Allen looks to Lucien for help.
                                                         45.


                    LUCIEN
          First thought, best thought.

                    ALLEN
          Fuck you. What does that even
          mean?!

                    JACK
          Good. That's one. What else?

                    ALLEN
          Fuck your one million words.

                    JACK
          Even better.

                    ALLEN
          You don't know me.

                    JACK
          You're right. Who is you?

Lucien loves this, raises an eyebrow. Allen pulls out his
poem from his pocket.

                    ALLEN
          Be careful.
          You are not in wonderland
          I have heard the strange madness
          long growing in your soul.
          But you are fortunate.

Lucien listens anew, realizing this poem is about him.

                    ALLEN
          In your ignorance
          In your isolation,
          you who have suffered
          Find where love hides.
          Give. Share. Lose.
          Lest we die unbloomed.

Just the sound of the water. Completely vulnerable, Allen
sits back down.

                    JACK
          Allen. Beautiful, kid.

Allen looks up, moved.

                    LUCIEN
          You wrote that?
                                                           46.


                    ALLEN
          You asked me to. Remember?

Lucien lights up. He comes forward, gathers his friends
close: gawky, emotional Allen. Blustery, sensitive Jack.

                    LUCIEN
          Forget Columbia. Forget Ogden Nash.
          Here's the plan, boys. We join the
          Merchant Marines. Sail the world
          until the war ends. Then jump ship
          and make it to Paris. For the
          liberation.

                    ALLEN
          You don't speak French.

                    LUCIEN
          Jack does. It'll be us, together.
          At the beginning. It'll be the
          perfect day.

A FLOOD-LAMP and HORN shatter the reverie.

A COAST GUARD patrol boat has caught them. A megaphone
squawks to life.

                    POLICE OFFICER
          Don't MOVE!

                    JACK
          Jesus Christ!

                    POLICE OFFICER
          Put your hands in the air!

The boys, trapped, look at each other terrified. The BLAST of
the horn sends up to...

                                                     CUT TO:


INT. HALLWAY, OUTSIDE COLUMBIA DEAN'S OFFICE - DAY

Allen, nervous waits outside. Lucien already inside getting
reprimanded by the Dean. Allen can hear the conversation
through the door.

He leans in closer.

                    DEAN (O.S.)
          You've managed to matriculate and
          drop out of Tulane, Bowdoin,
          University of Chicago.
                                                        47.


INT. COLUMBIA DEAN'S OFFICE - DAY

Lucien in a leather-backed chair. The DEAN (40's, sardonic)
overlooks Lucien's record. Lucien's mother, MARION CARR, a
fallen matriarch, smokes with dispassion.

                    DEAN
          Your attendance record here is
          abominable. You've ignored curfew.
          Your papers, when you bother to
          turn them in, exceed the assigned
          page limit. Can you explain why
          you're at Columbia?

                    LUCIEN
          Same reason you're here.

                    DEAN
          What's that?

                    LUCIEN
          Loose Barnard girls.

Marion Carr looks at the Dean with a weary smile.

                    DEAN
          I know about your difficulties.
          About what happened in Chicago.

A pale comes over Lucien's face. Which becomes absolute fury.

                    LUCIEN
              (to Marion)
          You told him?!

                    MARION CARR
          He's not the enemy.

                    DEAN
          See, the University acts in loco
          parentis. You are our
          responsibility. We're trying to
          find someway to make this all work.

Lucien EXPLODES.

                    LUCIEN
          Who said anybody could know
          anything about anything?!

                    MARION CARR
          Lucien, your temper!
                                                        48.


INT. HALLWAY, OUTSIDE COLUMBIA DEAN'S OFFICE - DAY

Allen sits back as he hears someone approaching.

Louis Ginsberg rounds the corner with an unfamiliar woman.

                    LOUIS (O.S.)
          Allen? What the hell is going on?

                       ALLEN
          Who's she?

The woman, EDITH (early 30s, Jewish, shy), waves nervously.

                    EDITH
          Hi. I'm Edith Cohen.

                    ALLEN
          What's she doing here?

                    EDITH
          I'll go wait outside.

Edith exits down the stairs.

                    ALLEN
              (smirks)
          So that's why you locked mom up.

Louis SLAPS his son.

Lucien storms out of the Dean's office, followed by Marion,
putting on her fur coat. Marion inspects her son's new
accomplice then races after her son. Louis motions to Lucien.

                    LOUIS
          Did he put you up to this?

Allen stares down his father. Gathering courage to defy him.

                    ALLEN
          No. I stole the boat. And it was
          tremendous.


EXT. SEMINARY GARDENS - NIGHT

In the quiet, Lucien smokes and stares up -- he looks
ravaged. A suitcase beside him.

Allen approaches, surprised.

                    ALLEN
          Where are you going?
                                                          49.


                    LUCIEN
          You know me now. I'm only good at
          beginnings.

                    ALLEN
          You're dropping out?

                    LUCIEN
          Best of luck.

Allen GRABS Lucien's suitcase and sits beside Lucien. This
explodes out of him.

                    ALLEN
          My father shows up yesterday with
          some new woman. And in the middle
          of the Allen's-a-screw-up
          monologue, all of a sudden, I
          realize: I don't care. I've never
          not cared. So, I told them it was
          my idea. To steal the boat.

                    LUCIEN
          Why?

                    ALLEN
          Because I don't want to be the
          person they think I am. I'm on
          academic probation. I could be
          kicked out. You can't leave. You
          started something and I have no
          idea what I'm supposed to do next.

Lucien, moved.

                     ALLEN
          It's our turn. Let's show them what
          we can do.

At the thought of payback, Lucien awakens. Allen grins.

                    ALLEN
          You in?


INT. LIBRARY, MAIN HALL - DAY

A hard STAMP on a library request: RESTRICTED.

                    PERMISSIONS LIBRARIAN
          You must not drink while you're
          handling it. And no writing in it.
                                                           50.


Allen, Lucien, Jack and Bill spy on the PERMISSIONS LIBRARIAN
and a female PAGE at the main desk. The librarian places a
KEY RING in a drawer.

                    PERMISSIONS LIBRARIAN
          It must come back exactly as you
          found it.

The Permissions Librarian heads off. Seeing the young page
alone, Jack tucks in his shirt, SLICKS his hair down. Jabs a
piece of gum from his mouth into Lucien's palm.

                    JACK
          No telling Edie, got it?

Jack strolls up to the desk. Winks at the page.

                    JACK
          I see you checking out all these
          books. And I'm asking myself: do
          you ever get checked out?

She radiates. Bill looks at his watch.

                    BILL
          25 seconds. Masterful.

But then, another page, GWENDOLYN (20, sweet and saucy),
joins the first.

                    LUCIEN
          Damn! Shift's over.

Jack looks back, shrugs as he walks off with the first page.
Lucien groans, plan's 86'd. But Allen sits up.

                     ALLEN
          I'll go.


INT. PERMISSIONS DESK, LIBRARY, MAIN HALL - DAY

Allen walks up to the desk.

                     ALLEN
          Hi.

Gwendolyn looks up. Allen is smiling nervously.

                    ALLEN
          I wondered if you could help me.

                     GWENDOLYN
          Sure.
                                                               51.


                         ALLEN
               I'm looking for a book.

                         GWENDOLYN
               Okay. Does this book have a title?

                         ALLEN
               It's called The Day Amanda Came.

                         GWENDOLYN
                   (knowing look)
               Well, you'll have to wait. I can't
               leave the desk.

     Allen turns back to Lucien who nods, eggs him on.

                         ALLEN
               But...I really need it.

     Gwendolyn looks around.

                         GWENDOLYN
                   (flirting)
               Okay. Only for you.

     She places a sign on the desk: "HELPING A READER. BACK IN 5
     MINUTES."

     They head off the stacks, Lucien bounds up to the desk,
     glides over the top, and digs through the drawer.

     Old cards. Broken pencils. NO KEYS.

                         LUCIEN
               Shit!


60   INT. STACKS - DAY                                           60

     CLOSE UP: THE KEYS in Gwendolyn's hand as Allen and Gwendolyn
     walk through the stacks.

                         ALLEN
               Working here must be a drag.

                         GWENDOLYN
               I like it. It's the only way I meet
               boys. They're very strict at
               Barnard.

                         ALLEN
               How strict?
                                                        52.


                    GWENDOLYN
          For example, they'd never let me do
          this.

Gwendolyn LIFTS her sweater. Bares her brassiere.

                       ALLEN
          Right. No.


INT. PERMISSIONS DESK - CONTINUOUS

Lucien peeks up from behind the desk. Sees Bill staring at
him.

                       BILL
          Go!

Lucien races into the stacks after Allen.


INT. STACKS - CONTINUOUS

                    GWENDOLYN
          Did you know I've never done it
          with someone who was Jewish before?
          I really want to know what it looks
          like.

Gwendolyn paws the front of Allen's pants, undoes his belt.
Uncomfortable, Allen stops her.

She pulls away, pulls down her sweater. The keys jangling in
her hand.

                    GWENDOLYN
          I'm sorry, I thought you were
          saying something but not saying it.
          Should we find your book?

THROUGH A GAP IN THE STACKS: Allen sees Lucien, pointing to
the KEYS in her grip. Realizing what he has to do.

                    ALLEN
          There is no book. Take it off.

                       GWENDOLYN
          Really?

Gwendolyn sets down the keys. Undoes her cardigan. Lucien
nabs the keys and races up the stacks.
                                                        53.


INT. ROW, LIBRARY STACKS - CONTINUOUS

Lucien hands the keys to Bill. Bill PLACES it into a clay
molding and makes an impression.

                    GWENDOLYN (O.S.)
          No. Why don't you take it off?


INT. STACKS, LIBRARY - CONTINUOUS

Allen takes off her sweater. Gwendolyn, just in a bra. This
is as close as Allen has ever come to sex. He's breathless.

                    GWENDOLYN
          It's not like I'm a virgin. I've
          done it with three guys already.
          You're a virgin, huh?

She KISSES him. Cold lips. He's terrified.

                    GWENDOLYN
          You're kind of a virgin, though,
          huh?

                     ALLEN
          No.

                    GWENDOLYN
          Liar. If you have done it before,
          you'll last for thirty seconds.
          Start counting.

She opens his fly, then lowers herself down. Allen tries to
stop her, but it's too late. He sighs.

                     ALLEN
          1...2...

Lucien returns and see Allen reluctantly getting his first
blowjob. Lucien leans against the books and watches.

                     ALLEN
          3...4...

Lucien flashes Allen a wicked grin.

                     ALLEN
          5...6...

Over Gwendolyn's head, Allen watches Lucien staring at him.
He starts to get aroused.
                                                           54.


                       ALLEN
             7...8...9...

Allen and Lucien holding eye contact, Allen thrusts into her
mouth, comes. Gwendolyn rises back up, unimpressed, drops her
sweater.

                          GWENDOLYN
             I knew it.

She grabs the KEYS that are now back on the shelf. Allen
looks to find Lucien. But he is gone.

                       GWENDOLYN
             I bet you don't even read.

Gwendolyn walks off. Allen lifts his pants, ties his belt.

                          ALLEN
             I do.


EXT. COLUMBIA LIBRARY - NIGHT

Shots of the darkened church-like building. Deserted.
Timeless.

                       LUCIEN (O.S.)
             This is it guys. Our Bastille. No
             chickening out.


INT. CARD CATALOGUE AREA, LIBRARY - NIGHT

The light from the boys' flashlights SLICES through the dark
as they enter into the library through a heavy door.

Bill reaches into Jack's mouth and takes the chewing gum from
inside it. Jack shoots a glare at him - what the hell?

Bill presses the sticky gum into the strike plate of the door
-- blocking the door from being able to close shut.

The boys look at each other, give each other the silent nod,
then split -- Lucien and Jack sneak off to the main hall,
Bill and Allen up to the stacks.

Behind them, the chewing gum slips, falls from the strike
plate. The door shuts.

And LOCKS.
                                                          55.


INT. STACKS - NIGHT

Outside a gated "RESTRICTED ACCESS" room, Bill grabs the
padded LOCK and fits in his molded KEY. Allen watches as he
turns it...

The lock CLICKS open.


INT. LIBRARY, MAIN HALL - NIGHT

Jack and Lucien unscrew the glass from the VITRINES encasing
the historic books and manuscripts we saw earlier.


EXT. LIBRARY - NIGHT

Walking into the light of the street lamp outside the library
is David. He approaches two campus security GUARDS on the
night patrol.

                    DAVID
          Excuse me. I think I saw some light
          or movement in the library.

The security guards FLASH their lights at the facade.


INT. RESTRICTED ACCESS ROOM - NIGHT

Bill throws open the metal gate between them and the
restricted books inside.

An ALARM explodes into the quiet.

Bill and Allen look at each other: this was unexpected.


INT. LIBRARY, MAIN HALL - NIGHT

Jack and Lucien jolt as the alarm goes off, look up from the
vitrines to each other. What is going on up there?


EXT. LIBRARY - NIGHT

The guards hear the alarm coming from inside the library.
They race to unlock the CHAIN holding the doors locked
together.
                                                        56.


INT. RESTRICTED ACCESS ROOM - NIGHT

Bill rushes past the gate, shines his flashlight searching
the books until he finds a box marked RESTRICTED CONTENT.

He empties it, tossing the books to Allen. We've seen this
move before.


INT. LIBRARY, MAIN HALL - NIGHT

Allen, carrying the restricted books, runs up to Jack and
Lucien at the vitrines which are now wide open and empty.

                    JACK
              (whispered)
          What just happened?

Jack and Lucien grab the books from Allen and start to set
them in the cases. The alarm suddenly STOPS.

                    SECURITY GUARD (O.S.)
          We know you're here!

The footsteps of the guards approach. Game over. Their work
not done, the boys RACE back to the door they came through.

All EXCEPT LUCIEN. He ducks behind the vitrine, hiding. He
clicks off his flashlight.

The guards ENTER the main hall, searching for the culprits.


INT. CARD CATALOGUE AREA - CONTINUOUS

Allen, Jack and Bill reach the closed door. They can't open
it.

                    JACK
          What the hell, Bill? It's locked!

No way out. Allen turns, notices Lucien is missing.


INT. LIBRARY, MAIN HALL - CONTINUOUS

The guards step right past Lucien and STOP. Lucien ducks,
rounds to the side of the case.

                    GUARD
          Did you hear that?
                                                           57.


INT. CARD CATALOGUE AREA - CONTINUOUS

Bill, Jack and Allen slide along the wall of card catalogs,
back to the main hall looking for another exit.

Through the arch leading inside, they can see the guards
canvasing the room with flashlights.

                    SECURITY GUARD
          We know you're here!

                    SECURITY GUARD #2
          Come on out!

Across the room, Bill spots TWO GLASS DOORS leading out to a
balcony. He points at the doors.

Jack WHIPS his flashlight in a tremendous arc to another
room. It clatters noisily, a distraction.

It works. The guards CHASE after the noise.

Jack, Bill, Allen BOLT to the glass doors. They throw them
wide open. Allen is about to leave, but stops Jack.

                    ALLEN
          Wait. Lucien.

Allen turns and sees Lucien, still furiously working, books
under his arm.

Jack shakes his head, follows Bill and races out the door.
Alone, Allen RUNS back to Lucien who is madly placing the
books in the vitrines. He is a man possessed.

                    ALLEN
          Lu that's enough. Come on! What's
          wrong with you?

                    LUCIEN
              (deadly serious)
          No. Not yet, we have to finish.

A FLASHLIGHT finds them. Allen and Lucien, caught. The guards
pull out BILLY CLUBS.

                    SECURITY GUARD
          Don't move. It's over.

The guards GRAB Lucien. Drag him by the collar. But Allen
flees, breaks free. Lucien struggles, enraged.

                    LUCIEN
          Get off of me! Allen! Help!
                                                         58.


INT. CARD CATALOGUE AREA - CONTINUOUS

Allen stops, terrified. He sees: a console of switches on the
wall. Desperate, he reaches for them. Flips them all on.


INT. LIBRARY, MAIN HALL - CONTINUOUS

All the lights in the whole library come on at once. A
BLINDING flash.

The guards squint and look for Allen.


INT. CARD CATALOGUE AREA - CONTINUOUS

Allen THROWS down all the switches.


INT. LIBRARY, MAIN HALL - CONTINUOUS

The room PLUNGES into complete darkness.

Lucien realizes: this is his moment.

He wriggles out of his coat and RUNS. Allen JOINS him and the
two, reunited, run around the corner.

The guards give chase.


INT. ENTRANCE FOYER - CONTINUOUS

Allen and Lucien race into the vestibule between the doors
leading out to the city -- and the doors back into the
library.

Lucien presses against the exit doors: they're locked.

The GUARDS turn the corner, see the boys stuck between the
two sets of doors.

Allen blocks the library doors with his shoulder. The guards
POUND on the door.

A SOUND from outside: the padlock unlocking. Suddenly: the
exit door opens. It's Jack and Bill, with lock-picking gear
in hand.

They YANK Allen and Lucien out.
                                                         59.


EXT. LIBRARY - NIGHT

Jack slams the door, Bill runs the chain back through the
handle and LOCKS it.

The door BULGES as the guards bang into it.

                    SECURITY GUARD
          Open the goddamn door! Open this
          up!

The boys turn and RUN down the grand steps leading back to
the campus. Glee on their faces.

                                                   CUT TO:


EXT. LIBRARY - DAY

The same grand steps the next morning. Students walking up
and down it to class, socializing, as if nothing happened
there the night before.


INT. LIBRARY, MAIN HALL - DAY

Inside, the pompous TOUR GUIDE from earlier showing off the
vitrines to a new crowd of parents and incoming students.

                    TOUR GUIDE
          The South Hall library is a church,
          and these are the sacraments.

The crowd mumbles, then laughs. The guide, confused, looks
inside them to see the Kama Sutra opened up to a particularly
salacious page.

The explicit images from a Grecian urn.

Lady Chatterly's Lover, Ulysses, all the books banned,
restricted, kept from public eye.

And lastly: Tropic of Cancer. By Henry Miller.

The prisoners have come out to play.

                    TOUR GUIDE
          Oh. My. God.

And a note, left on the glass: "The New Vision."
                                                          60.


INT. WEST END BAR - DAY

Four shot glasses. Four hands.

                    LUCIEN
          To literacy.

Allen, Bill, Jack and Lucien throw back their drinks in
celebration.

The Mills Brothers "You Always Hurt The One You Love" on the
jukebox plays over this lazy, drunken afternoon.

Allen's eyes scan the wall above them, Columbia's "Hall of
Fame": newspaper headlines, yearbook photos...

                    ALLEN
          Jack, that's you, isn't it?

He sees a framed photo of Jack in a football play, mid-catch.

                    JACK
          Yep. Last year. They still won.

                    LUCIEN
          Look at them!

And we do: we see FLASHES of the photos: ribbon-cuttings,
team-photos, graduations: life in a thousand fake smiles and
stagings.

                     LUCIEN
          Souvenir history. To make people
          think they left some mark on the
          world. Because otherwise nobody
          would ever know.
              (beat)
          I don't ever want to end up on this
          wall.

                    JACK
          Have no fear. You never will.

Suddenly, David appears in the bar. The group looks at each
other, mystified.

                    ALLEN
          What's he doing here?

David walks briskly over to Lucien.

                    DAVID
          Since you didn't show up earlier, I
          just hoped to give you this.
                                                        61.


David drops a TERM PAPER on the table: "On the Decline of the
West." Allen leans over the table, inserting himself into
the conversation.

                    ALLEN
          Maybe he didn't want to see you.

                    DAVID
          I think he can speak for himself.

                    LUCIEN
          Yup. And he says we should all have
          another round...

Lucien stands up to get a drink. David grabs his arm. Lucien
tries to push him off.

                    DAVID
          You've had plenty of time to
          celebrate. Your library hijink made
          the morning paper. I'm sure you're
          all very proud.

Allen, Jack and Bill glance at each other suspiciously, then
at David.

                    ALLEN
          How did you know it was us?

                    DAVID
          Did he use that "Bastille" line?
          Cause I gave it to him.

Allen, Jack and Bill look at Lucien, shocked.

                    LUCIEN
          I haven't seen you for days.

David throws down Lucien's cravat to the table. The one we
remember him wearing when we first met him in the library. A
private power move.

                    DAVID
          You left this at my place.

                    ALLEN
              (to David, a guess)
          You told the guards we were there.
          No one else knew.

David does not respond. Jack suddenly jolts up. Shoves David
back.
                                                        62.


                    JACK
          You little fink!

Lucien explodes at David.

                    LUCIEN
          You wanted me to get kicked out?!
          You ratted on me!

                    DAVID
          Stop, Lu. You're losing control
          again. You know what comes next. I
          know what comes next.

                    ALLEN
          Yeah.
              (to Lucien)
          Cut him off.

Lucien gives David a fatal look.

                    LUCIEN
          Best of luck, Janitor.

                       DAVID
          Excuse me?

                    LUCIEN
          We are over. Leave.

Lucien spindles the paper and plunges it into a beer. David
in shock, begins to shatter in front of them.

                    DAVID
          Look at me, Lu.

Tears well in David's eyes. Lucien sits back down, ignores
him. Bill stands up, tries to lead David away.

                       BILL
          Let's go.

                    DAVID
              (from his wound, breaking)
          You said I was everything to you.
          You are everything to me.
          Everything to me. Do you hear me?

David fractures. Utterly vulnerable. This is it: the real
uninhibited, uncensored self.

                    BILL
          Let's go. Time and place, David.
                                                          63.


                    DAVID
          Shut up, traitor.

He turns sharply to Lucien saying loud enough so everyone can
hear.

                    DAVID
          You'd be dead if it weren't for me!

Lucien totally dead cold. Allen, unsure what David is talking
about. David turns and rushes outside and Bill follows him.

Alone with Allen and Jack, Lucien suddenly smiles as if
nothing just happened, puts his arm around Allen.

                    LUCIEN
          You'd be boring if it weren't for
          me!

The two start to crack up together.


EXT. RIVERSIDE PARK - NIGHT

                      JACK
          And...go!

Jack crouched inside an empty barrel. Trashed, Lucien kicks
the barrel down a grassy slope.

Allen and Lucien cheer Jack on as the barrel bangs down the
slope. But then it swerves, SLAMS into a bench. At the top of
the slope, Lucien and Allen look on in shock.

                    LUCIEN
          Jack? Jack?
              (no response)
          He broke his fucking neck. The
          warrior poet has passed on.

Jack staggers from out of the barrel. Throws his hands in the
air victoriously. Allen and Lucien cheer him on.

                    ALLEN
          No, he lives!

                    LUCIEN
          Excellent! Judges award a...

Allen holds up nine fingers.

                      ALLEN
          Nine!
                                                         64.


Jack falls to his knees, pukes. Allen and Lucien crack up.

                    LUCIEN
          All right Ginsy, your turn.

Drunk, Allen tries to stand up. But then falls right back
down. Lucien laughs, tucks his body next to Allen's.

                    LUCIEN
          This is just the beginning, you
          know.

Lucien lays his head against Allen's shoulder.

                    LUCIEN
          Your fault, Ginsy. It's all your
          fault.

Lucien's thigh brushes against Allen's.

Allen stares at Lucien, in the full glare of Lucien's warmth.

Allen looks around. The park is empty. Building up the
courage.

                    ALLEN
          First thought, best thought.

He grazes his hand against Lucien's inner thigh. Lucien looks
down at Allen's hand curiously, then back at Allen.

The decisive moment. Allen leans over. Kisses him. It builds
in passion.

Lucien pulls back, unsure. Then returns the kiss. It builds
in passion.

Everything Allen had hoped for, lensed into a moment.

                    JACK (O.S.)
          I think I just puked on the inside.

Lucien opens his eyes to notice Jack stumbling up the slope.

He tenses, pulls away from Allen.

The moment has been shattered.

As if nothing just happened, Lucien stands and looks at Jack
with his usual devilish smile.

                    LUCIEN
          Let's go, Jack.
                                                           65.


He throws his arm around Jack's shoulder, turning his back to
Allen. They start to walk off. Jack stops, turns back to
Allen.

                    JACK
          Wait, Al, you coming?

Lucien glares at Allen.

                    LUCIEN
          No. Allen's got work to do. Ten
          pages on Spengler's Decline of the
          West. Due tomorrow.

                       ALLEN
          Excuse me?

                    LUCIEN
          I'd be lost without you, Ginsy.
              (to Jack)
          Come on, Lion.

The two of them leave. Allen, abandoned and broken, puts his
head in his hands.

                    ALLEN
          Fuck. Fuck!


INT. 118TH STREET APARTMENT - NIGHT

Lucien and Jack stumble into Jack's apartment. Edie sits with
GRANDMA FRANKIE (90s, stone-faced) around the living room
table, listening to the news on the radio. We hear there's
been an attack in Anzio.

                    JACK
          Edie! Edie bird!

Lucien looks at Edie's stone-cold face. She's pissed. He
turns right back around.

                    LUCIEN
              (exiting)
          Lu's going to use the loo.

                    EDIE
          Say hi to Gram.

Grandma Frankie glares at Jack.

                    EDIE
          We invited her over for her
          birthday. We made her a cake.
                                                           66.


Jack sees a lumpy, half-eaten cake on the table. Realizing he
just messed up big-time.

                    JACK
          Then we should have a drink! How
          about a drink, Grandma Frankie? You
          want some red wine?

Jack heads to the cabinet. Edie follows him.

                    EDIE
          Where the hell have you been?!

                       JACK
          I was out.

Edie's rage boils over.

                    EDIE
          I packed all your stuff. It's in
          your bag. I'm going to be at Gram's
          tonight.

Jack reaches for her. She shakes him off.

                    JACK
          Stay. I'm sorry.

                     EDIE
          You just say that, but it's one of
          your million words and they don't
          mean anything!
              (beat)
          Just don't be here when I come back
          in the morning.


INT. 118TH STREET BEDROOM - LATER

Edie's gone. The apartment is quiet. Lucien and Jack, crashed
out on Jack's bed.

The sound of a strange KNOCKING against a window outside.
Lucien wakes up. Sees Jack still asleep.

He rises to investigate.


INT. 118TH STREET APARTMENT - NIGHT

Lucien sees David, desperate, alone, on the fire escape.
Lucien can't believe this. He opens the window.
                                                           67.


                    DAVID
          I know this is crazy. I don't know
          even know what I'm doing here. But
          I had to tell you I'm sorry. Let me
          make it up to you.

From behind...

                    JACK (O.S.)
          Lu, where are you?

Lucien stares down David.

                    LUCIEN
          I'm going back to bed. Another word
          and I call the police.

Lucien turns around and leaves David alone at the sill. From
inside the living room, David hears a MEOW.

He spots Jack's cat KIT KAT looking up at him.


INT. 118TH STREET BEDROOM - LATER

The sound of gas and a violent STRUGGLING from the other
room.

Jack quickly wakes up.

                    JACK
          What the hell?!

Jack jumps out of bed and grabs a baseball bat.


INT. 118TH STREET APARTMENT - NIGHT

Jack walks up the hallway. The living room, eerily empty.
Then a howling from the kitchen.


INT. KITCHEN, 118TH STREET APARTMENT - NIGHT

Jack rushes in. Turns on the light. The sounds are coming
from the OVEN.

He rushes to the oven door and opens it. Kit Kat struggles in
the oven, gassed and barely alive. Jack turns off the oven,
clutches his cat.

                    JACK
          It's okay. Shhh.
              (turns to Lucien)
                                                           68.


          What kind of sick son of a bitch
          would do something like this?

                    LUCIEN
          It was David.

                    JACK
          I'll wring his fucking neck.

LUCIEN's P.O.V.: Jack's Merchant Marine duffel bag that Edie
has fully packed for him.

                    LUCIEN
          I have another idea.


INT. LIBRARY, MAIN HALL - THE NEXT DAY

Allen sits at a table at the library he just broke into and
robbed. But now he's just another student sitting at a study
desk.

He puts in a blank page in the typewriter before him and
types: "On The Decline of the West. By..."

He hesitates, breaking down in tears.

Then finishes typing: "Lucien Carr."


INT. LUCIEN CARR'S DORM ROOM - DAY

Lucien, in a Merchant Marine uniform, packs his clothes into
a sailor's duffel bag. Allen enters, type-written pages in
hand.

                    ALLEN
          Your paper and my apology.

Allen hands Lucien the paper he wrote for him. But Lucien
doesn't take it. Allen registers that he's packing.

                    ALLEN
          Where are you going?

                    LUCIEN
          Sailing out. To Paris.

Lucien grabs his BOY-SCOUT KNIFE. Puts it in his pocket.
Allen is speechless.
                                                        69.


                    LUCIEN
          We've got to make a ship, probably
          as merchant seamen. Jack knows the
          tricks.

                    ALLEN
          You weren't going to tell me?

                    LUCIEN
          We both know why you can't come.

Silence. Lucien continues his packing. Allen breaks down.

                    ALLEN
          Fuck you. You're a phony. You got
          me and Jack and Bill making your
          vision come true. All because you
          couldn't do it yourself.

                    LUCIEN
          No, you got what you wanted. You
          were ordinary, just like every
          other freshman, and I made your
          life extraordinary. Go be you now,
          all by yourself. Leave me alone.

Allen, now in tears, realizing the end is here.

                    ALLEN
          You don't really mean that.

                    LUCIEN
              (cold, deadened)
          Allen. Leave.

Allen gathers himself, stumbles out the door. Leaving the
friendship behind.

Alone, Lucien cracks, breaking down as he closes his
suitcase.


EXT. SEMINARY COURTYARD - DAY

Allen crosses through the courtyard, heading to class. He
comes upon David, waiting for Lucien. Pale. Distraught.

                    DAVID
          Allen, have you seen him? He's not
          in his room.

They look almost the same.
                                                         70.


                     ALLEN
          He left.

                    DAVID
          I did something wrong. Really
          wrong. And you have no reason to
          help me. But

                     ALLEN
          But?

                    DAVID
          I know who you are. We're the ones
          he needs, but never wants. It
          hurts, doesn't it?

Allen burns, does not respond. David is right.

                    DAVID
          All I am asking is tell me where he
          is. Please.

CLOSE ON: Allen, on the blade of a choice.


INT. MERCHANT MARINE, BILLETING OFFICE - EVENING

Jack and Lucien in a long line of young soldiers waiting to
ship out. Lucien nips at a flask. They reach the front of the
line. A BILLETING OFFICER calls out to them.

                    BILLETING OFFICER
          Lemme see your papers.

                    LUCIEN
          Two seamen, reporting for duty.

Jack tries not to laugh, hands over his paperwork. The
officer points to Lucien.

                    BILLETING OFFICER
          What's your name?

                    LUCIEN
          Arthur Rimbaud.

Jack rolls his eyes. The officer hands the paperwork back.

                    BILLETING OFFICER
          Go upstairs to get on the docket.

                    LUCIEN
          Let's go get on the docket.
                                                        71.


As they turn to leave, they see David is there, descending
the stairs. Jack is about to pounce.

                    JACK
          Goddamn son of a bitch!

                    LUCIEN
          Let me handle this.

Lucien holds Jack back, rushes up to David.

                    LUCIEN
          How did you know I would be here?!

                    DAVID
          Listen, I spoke to a guy upstairs.
          I got two passes. I packed for both
          of us. We can leave.

                    LUCIEN
          The reason I'm leaving is you.

It doesn't register. Desperate, David holds out the passes.

                    DAVID
          Then you and Jack take them. I'll
          catch up.

Lucien considers this, then makes a fateful decision.

                    LUCIEN
          Come with me. We're taking a walk.


INT. TAVERN - NIGHT

Allen, wrecked, walks into the bar where he first drank with
Lucien.

He sees an older man eyeing him and sits down, terrified.

                    ALLEN
          Could I have a whiskey, please?


INT. 118TH STREET APARTMENT - NIGHT

Jack unlocks his door. Edie sits on the floor, her eyes red
from crying. Jack drops his duffel bag. Sits with her.

                       JACK
          I'm sorry.

Edie embraces him.
                                                           72.


INT. TAVERN - NIGHT

Allen sees a young man in a Merchant Marine outfit, blond,
the bar lamps casting a golden halo around his head. Could it
be?

                      ALLEN
          Lu?

Allen races to him. The man turns and Allen's heart sinks. It
is a SAILOR, a distant echo of Lucien.

The Sailor eyes Allen gently, seductively.

Allen walks up to him.


INT. 118TH STREET APARTMENT - NIGHT

Edie breaks the embrace.

                    EDIE
          This came for you today.

She hands Jack a package from the mail. A new record.

                      JACK
          Sammy...

Jack places it on the record player and listens, clutching
Edie. He knows immediately there won't be another record.

                    SAMMY (V.O.)
          Jack, old chum. I'm on a hospital
          ship now. My guts all tore up.


INT. CRAPPY HOTEL, 42ND STREET - NIGHT

Allen undresses, terrified, as the sailor does the same.

                    SAMMY (V.O.)
          Anzio's going to be the last place
          I ever see with my eyes.


INT. BILL'S APARTMENT - NIGHT

Bill with Norman, his dealer, in his apartment. Norman
injects himself with a morphine syrette. Bill watches,
fascinated.
                                                           73.


                    SAMMY (V.O.)
          A mortar round came and found me in
          my tent.

Norman offers the box of morphine to Bill. Bill handles it.
Considering.


EXT. RIVERSIDE PARK - NIGHT

Lucien walks, guzzles from his flask. David follows. They are
visibly arguing.

                    SAMMY (V.O.)
          I can feel metal under my skin some
          places. Some went clean through.


INT. 118TH STREET APARTMENT - NIGHT

Jack continues to listen to Sammy, his heart sinking. He
knows this is headed to a dark place.

                    SAMMY (V.O.)
          They're not even trying to take it
          out no more.


INT. CRAPPY HOTEL, 42ND STREET - NIGHT

Allen's heart in his throat as he steps out of his pants. He
is nearly naked. Vulnerable.


EXT. RIVERSIDE PARK - NIGHT

Lucien throws his flask into the woods, LASHES out at David.


INT. BILL'S APARTMENT - NIGHT

Bill injects the syrette into his wrist. And presses the
oblivion in.

                    SAMMY (V.O.)
          The nurses gave me the same
          morphine I gave to dying boys...


INT. CRAPPY HOTEL, 42ND STREET - NIGHT

Allen, naked, lays on the bed. He turns off the light.
                                                           74.


                    SAMMY (V.O.)
          ...when I didn't know what else to
          do.

The sailor climbs on top of Allen, turns it back on.


EXT. RIVERSIDE PARK - NIGHT

David LUNGES for Lucien and Lucien throws him off, spins
away.

He pulls out his Boy Scout knife.

David stares at Lucien, stunned.


INT. CRAPPY HOTEL, 42ND STREET - NIGHT

Allen turns to face the sailor. Looks him in the eye.

                    SAMMY (V.O.)
          Wake, melancholy mother. Wake and
          weep.

Allen reaches to kiss the sailor.


EXT. RIVERSIDE PARK - NIGHT

Lucien STABS David, plunges the blade into his chest.


INT. CRAPPY HOTEL, 42ND STREET - NIGHT

The sailor enters Allen.


INT. BILL'S APARTMENT - NIGHT

Bill drifts backwards, into the high.

                    SAMMY (V.O.)
          Quench within thy burning bed, thy
          fiery tears.


EXT. RIVERSIDE PARK - NIGHT

David looks up from his chest. Blood pumps from the gash.

David, clutching his shirt, his chest...
                                                          75.


INT. 118TH STREET APARTMENT - NIGHT

                    SAMMY (V.O.)
          And let thy loud heart keep--

The record runs out, the stylus scratches. Jack, trembling.

                    EDIE
          What is that?

                    JACK
          It's Shelley's elegy for Keats.

                    EDIE
          What's that mean?

                    JACK
          It means he's dead.

                                            FADE TO BLACK.


INT. GROUP SHOWERS, SEMINARY - THE MORNING AFTER

FADE UP ON: Allen, alone in the shower. He's completely
blank, eyes on the tile.

Realizing what he did the night before and how it felt so
natural -- now he knows exactly who he is.


INT. DORM HALLWAY - DAY

Allen steps out in a bathrobe, to see a POLICEMAN and a
DETECTIVE whispering outside Lucien's room.

                    POLICEMAN
          He didn't come back here
          afterwards. Nobody on the floor
          saw.

They stare at Allen, studying him. Other students whisper.

                    POLICEMAN
          We have two in custody. We're still
          getting names.

Allen makes his way down the hall. Custody? What happened to
Lucien?

                    DETECTIVE
          So what do we know about this Carr
          kid? Did we have any friends? We're
          gonna have to speak to all of them.
                                                        76.


Allen looks down and races to the hallway phone.


INT. SCHOOL HALLWAY - DAY

Allen dials a number. Nervous. Edie picks up.

                    ALLEN
          Edie? Is Jack there?

                    EDIE (O.S.)
          You don't know?

                       ALLEN
          Know what?


INT. 118TH STREET APARTMENT - DAY

Edie searches for the words.

                    EDIE
          The police took him down to the
          Tombs. As an accessory. Bill too.

                    ALLEN (O.S.)
          What happened?

Edie shocked, unable to speak.

                                                   CUT TO:


INT. THE TOMBS - DAY

The BLARE of a prison horn. A guard opens a heavy gate and
Allen walks onto the hall of cells. It's a long, dank walk.

Allen spots Lucien in a small unremarkable cell, behind bars,
reading. Allen can't believe he's here.

Lucien sits up from his cot and rushes to the bars.

                    LUCIEN
          Allen, thank God.

Allen's skeptical face makes Lucien change tactics.

                    ALLEN
          How could you?

                    LUCIEN
          He wanted to hurt me, I had no
          choice.
                                                           77.


                    ALLEN
          You could have run. Called the
          police.

Lucien looks Allen fiercely in the eye.

                    LUCIEN
          Listen. Somehow he found me at the
          Marine Hall.

Allen looks away, realizing he is potentially complicit.

                    LUCIEN
          He said no matter where I went, he
          would follow. When I confronted
          him, he exploded. I had to defend
          myself. He wouldn't stop.

                     ALLEN
          But how did Jack and Bill get roped
          into this?

                                                  CUT TO:


EXT. HARLEM SIDEWALK - DAWN

Lucien drops the bloody Boy Scout knife down a grate. Jack
stands guard.

                    LUCIEN (O.S.)
          I went to Jack first. He told me to
          get rid of the knife. To forget the
          whole thing.

They hear footsteps and turn. A black woman watches them
suspiciously.


INT. BILL'S APARTMENT - DAY

                    LUCIEN (O.S.)
          But then I went to Bill. He told me
          to get a lawyer.

Bill fingering David's pack of Lucky Strikes in his bathroom.
David's blood on his hand.

                    LUCIEN (O.S.)
          To say it was an act of self-
          defense.

Lucien watches Bill light one of the bloody cigarettes and
inhale. The last flare of his friend.
                                                          78.


Bill flushes the rest of the pack down the toilet.

                                                CUT BACK TO:


INT. TOMBS - DAY

Lucien, desperate, at the bars of his cell.

                    LUCIEN
          The D.A. is asking for my
          deposition. In writing.

Allen shakes his head, there's no way he's going to do this.

                    LUCIEN
              (pleading)
          We both know I can't do it. I don't
          know what I'm going to do. I'm
          going to be stuck in here for the
          rest of my life!

Allen, still unsure. Lucien slides his hand down the bars
until it touches Allen's. Pleads seductively.

                    LUCIEN
          Please don't leave me here.

The BUZZER goes off. Visiting time is over. The prison guard
heads towards the cell. Allen makes a fateful choice.

                    ALLEN
          I'll do it.

Lucien, smiling. Leans in, whispers.

                    LUCIEN
          We're going to say it was an "honor
          slaying".

Off Allen's confused face...


INT. LIBRARY, MAIN HALL - DAY

A finger traces down a legal index to the definition of the
phrase: "Honor Slaying."

                    ALLEN (V.O.)
          "Related to a lethal attack
          committed when the accused is
          defending himself against a known
          homosexual."
                                                           79.


OTHER students around Allen gossip and steal glances at him
as he reads to himself from the index. The murderer's
"friend."

                    ALLEN (V.O.)
          "If the accused is heterosexual, he
          shall be pardoned. But if the
          accused is homosexual, the charge
          of murder in the first degree..."

Allen's attention falls to the final words:

"SHALL STAND."


INT. POLICE OFFICE - DAY

Jack, in handcuffs, on the phone. PHOTOGRAPHERS, JOURNALISTS
outside, clamoring for Jack to look their way. A murder with
Columbia University students, this is big news.

                    JACK
          Dad. It's five thousand dollars for
          bail. I know it's a lot--

A flash bulb FIRES. Journalists cat-calling for Jack's
attention.

                    JACK'S FATHER (O.S.)
          No Kerouac was ever wrapped up in a
          murder! Go to hell.

The line goes dead. Jack has run out of options. More
flashbulbs EXPLODE. More screaming for his attention. Jack
whips around.

                    JACK
          Would you all just SHUT THE HELL
          UP?!


INT. LUCIEN CARR'S DORM ROOM - DAY

Marion Carr taking down Lucien's dorm room, packing her son's
belongings into the same suitcase he tried to run away with
before.

                    MARION CARR
          You must understand David has been
          following him for years.

Allen, smoking nervously from Lucien's bed, watching all
traces of Lucien being torn down.
                                                        80.


                    MARION CARR
          When Lucien went to Bowdoin, David
          appeared out of thin air. So I sent
          Lu to Chicago.

Allen registers the reference from Lucien's conversation with
the Dean, a dim clue. Marion goes back to packing.

                    MARION CARR
          Surprise, David turned up there
          too. Then, when Lucien wanted to go
          to Mexico, guess who had a car
          idling in the driveway?

                    ALLEN
          But he didn't have to go with him.

                    MARION CARR
          He spun a web to ensnare my son.
          That's why I brought him here. A
          lot of good that did.

Marion finds Lucien's cravat, quickly folds it, hides it in
the suitcase. Allen notices.

                    ALLEN
          What happened in Chicago?

Marion stops packing. Thinks. She settles on the bed, charms
Allen with a smile.

                    MARION CARR
          Thank God Lu has you in his life.
          He talks about you all the time.

She leans over and slips the cigarette from Allen's hands
into her own. Inhales seductively.

                    MARION CARR
          You know what Allen? He calls you
          his guardian angel.

                    ALLEN
          That's what he called David.

She exhales, her face falls. Leans in threateningly.

                    MARION CARR
          That man ruined my son. You're
          going to help me keep what's left
          of him.
                                                        81.


INT. BURROUGHS'S APARTMENT (69 BEDFORD) - NIGHT

The zip of a suitcase. Bill, undoing his den, packing away
clothes, books. He's also leaving town. Allen's come for
answers --- from the only person who knew the real David.

                    BILL
          Contrary to reports, prison is not
          a tonic for the spirit.

We are now realizing it's the end of a chapter for all of
them.

                    BILL
          All the district attorney cared
          about was if David was queer.

Allen gulps. The heart of the issue, thrust into the light.

                    ALLEN
          And what did you tell them?

Bill sees the box of morphine from his night with Norman. He
decides to take it with him, hides it under a pile of shirts.

                    BILL
          I said yes.

                    ALLEN
          Did David do something Lu in
          Chicago?

                    BILL
          Christ Allen, please don't get
          involved.

                    ALLEN
          I have to be. I'm helping him write
          his defense.

Bill paces, then turns to face Allen.

                    BILL
          David was my friend. But he's dead.
          And did Lucien tell you how he
          died?

Allen shakes his head. He has no idea.

                                                  CUT TO:
                                                         82.


EXT. RIVERSIDE PARK - NIGHT (FLASHBACK)

The moment right after Lucien stabbed David. What we have not
seen yet. The story continues.

David trembles on the ground, bleeding from the knife would.
Lucien stands above, realizing what just happened.

Car headlamps swipe across Lucien's face. Terrified, Lucien
scans the park for witnesses.

                    BILL (O.S.)
          He might not have wanted you to
          know, Allen. He tied David up.

Lucien DRAGS David's body from the park under a railing to
the shoreline.

He unties his shoes, LASHES David's hands together with the
shoelaces. Ties them tight.

David groans and gurgles blood. Still very much ALIVE.

Lucien rustles through David's pockets -- pulls out anything
side. He tosses David's pack of Lucky Strike cigarettes, now
speckled with blood - to the sand.

Lucien collects stones from the riverbank, STUFFS them into
David's pockets.

                    BILL (O.S.)
          He put stones in his pockets to
          weigh him down.

Lucien panics, looks around. He takes off his Merchant Marine
clothes. Fully naked, he drags a bound David into the dark
waters of the Hudson River.

David moans and struggles but is no match for Lucien.

                    BILL (O.S.)
          And dragged him into the Hudson
          River.

                    ALLEN (O.S.)
          What?!

                    BILL (O.S.)
          David was alive, Allen, until
          Lucien made him drown.

The sound of a door slamming open brings us...

                                            BACK TO SCENE
                                                        83.


INT. BILL'S APARTMENT - NIGHT

MR. BURROUGHS (60s, patrician, wealthy), Bill's father enters
his son's apartment, causing Bill to stop telling the story.
Mr. Burroughs eyes Allen suspiciously.

                    MR. BURROUGHS
          Who are you? Is he part of this
          business.

                    BILL
          Leave him alone, Dad.

                     MR. BURROUGHS
          I paid your bail. Don't talk to me
          like that.

Bill looks down, obedient. The rebel silenced by his father.

                      BILL
          Yes, sir.

                    MR. BURROUGHS
          The car leaves in five minutes.

As Mr. Burroughs exits, Bill furiously SLAMS his suitcase
closed.

                    BILL
          The libertine circle has come to an
          end.

Allen looks at Bill, lost at what to do next. Bill leans in
close.

                    BILL
          Go back to the beginning.

THE RED LINE LEADS US, ONCE MORE, DOWN THE SUBWAY MAP FROM
COLUMBIA...

TO THE EDGE OF THE WORLD. WHERE IT ALL STARTED.


INT. BATHROOM, DAVID'S APARTMENT (48 MORTON) - DAY

The window bangs open. Allen climbs into David's apartment
from the fire-escape.

He opens the door to the living room. Sunlight filtering into
a dusty, silent apartment.
                                                           84.


INT. DAVID'S APARTMENT (48 MORTON) - DAY

It is eerie. The place of someone who just left the world.
Allen looks around, unsure what he's looking for.

His eyes fall on the bookshelves. Memories flood back,
raveling and unraveling.

                                             FLASHCUT TO:


INT. DAVID'S APARTMENT (48 MORTON) - DAY

Books LEAP into Bill's hands and he places them back on the
shelves.

Allen UNSUTURES the pages of books, returning back to their
original condition.

Lucien TAP nails out of the wall handing the pages back to
Allen.

Allen scouring his memories, just like when he wrote his poem
earlier.

Time runs in reverse.

                                            BACK TO SCENE


INT. DAVID'S APARTMENT (48 MORTON) - DAY

Allen searches through the steamer trunk of the apartment.
Nothing. He ruffles through the console table. Again nothing.

He notices David's SUITCASE. The one David packed before
planning on leaving by boat with Lucien.

Allen opens it. He digs through it, searching for some clue,
any clue -- something to shed light on the past.

He pulls out a pile of clothes and underneath them...a book.

It's a copy of Yeats' A VISION, covered in notes. It's
David's.

It's the same edition of the copy that Lucien showed Allen in
his room.

                                             FLASHCUT TO:
                                                           85.


INT. DAVID'S APARTMENT (48 MORTON) - NIGHT

Time shifts into reverse -- we realize this Allen's mind at
work: rummaging for details, clues, snatches of life.

We see the first night Allen met David -- David circling his
finger around his wineglass, his speech about life as a
circle,slipping through time...

                                                FLASHCUT TO:


INT. DAVID'S APARTMENT (48 MORTON) - DAY

Allen opening the book to find the legend that Lucien once
showed him, the picture of Yeats's WHEEL.

A stack of PAPERS fall from the book. Allen rifles through
them.

And finds a faded pink hospital "ADMIT" form.

Cook County Hospital, Chicago. March 1943.

He scans down the page: "Carr, Lucien. Suicide Attempt. Gas
Inhalation. Admitting Person: D. Kammerer."

At the bottom, the form reads "Next of Kin."

Beside is the name: David Kammerer.

Below, Allen sees POSTCARDS, PHOTOS. Photos of the beach, of
Lucien and David, reclining together. It's their trip to
Mexico.

In photo, the two of them, posing for the camera together.
Smiling. Looking very much like a couple in love.

Lucien's signature red CRAVAT hangs around David's neck.

On the backside, written by hand is:

                    LUCIEN (V.O.)
          The perfect day.

Allen, shocked. The puzzle pieces have fallen into place.

                                                    CUT TO:


INT. HALLWAY, GREYSTONE - DAY

INSERT: A photo of Lucien in The New York Times.
                                                           86.


The headline: "STUDENT IS SILENT ON SLAYING FRIEND. HELD
WITHOUT BAIL. AWAITING DEPOSITION."

The sound of footsteps.

Allen looks over the article. He's on a bench in the hallway
of an old sanitarium.

His mother, Naomi, approaches, tentatively. The first time
they have seen each other since she was taken from home.

Both of them scared to make the first move towards re-
connection.

Naomi steps towards her son, takes his face in her hands.
Allen melts in her arms.


EXT. GARDEN, GREYSTONE - DAY

Allen and Naomi, in the courtyard of the hospital. Patients
being led through the sanitarium's gardens by nurses behind.

Naomi, looks remarkably more calm then the last time Allen
saw her.

                    NAOMI
          He would leave me alone in the
          house. I was going to die there.

                    ALLEN
          No, Mom. That's not true.

                    NAOMI
          Yeah, I know it.

Naomi sinks inside herself, dark thoughts returning.

                       ALLEN
          Mom, stop.

                    NAOMI
          Hey, I'm okay now. I'm your mother.
          And I'm okay.

She notices the bags under his eyes. His weary face.

                    NAOMI
          But you're not.

Allen, a kid out of his league.
                                                           87.


                    ALLEN
          I'm in over my head. Someone I know
          killed a man. And I don't know what
          to do. He wants my help. And I
          don't know if I should give it to
          him. I don't know if it's right.
          It's just a mess.

                    NAOMI
          Let him go. Don't help him.

                    ALLEN
          I can't, mom. He's my best friend.

                    NAOMI
          Listen to me.

Naomi pulls her son closer. With more strength than she has
displayed in years.

                     NAOMI
          The most important thing your
          father ever did was fail me.
              (beat)
          You understand?

Allen, realizing what he has to do.


INT. DORMROOM - NIGHT

Late night. Allen, back at the typewriter where he wrote the
poem for Lucien.

He inserts a blank page. The task before him feels huge.

The events of the night in question -- the night of David's
murder -- ravels and unravels in his mind's eye.

                                                FLASHCUT TO:

David, stabbed, gasping at Lucien with horror. The knife
being pulled back, the wound closing back up.

                                                FLASHCUT TO:

David, reaching for Lucien, in reverse, Lucien walking back
to David, ending in an embrace.

                    ALLEN (V.O.)
          He loved you. And the truth is,
          once--

                                                FLASHCUT TO:
                                                          88.


Allen turns over the old PHOTOGRAPH of David and Lucien
together from David's apartment. The Perfect Day.

                    ALLEN (V.O.)
          You loved him back.

                                                FLASHCUT TO:


EXT. RIVERSIDE PARK - NIGHT (FLASHBACK)

Time now runs forward, to the inevitable. We watch Lucien and
David walking once more of the night of the murder. But this
time we hear their argument. Lucien, drunk, tosses his flask
into the bushes. David follows him, desperate.

                    DAVID
          Let's get out of the city. Anywhere
          you want. I've saved up.

                    ALLEN (V.O.)
          But this secret ate away at you.

                    LUCIEN
          I was just a kid, you dragged me
          into your perverted mess!

                    ALLEN (V.O.)
          So in Chicago, you tried to kill
          yourself.

                    DAVID
          How can you say that? You know
          that's not true.

Lucien stops short. Stares hard at David.

                    DAVID
          I will never give up on us.

                    ALLEN (V.O.)
          He rescued you. He saved your life.

                    LUCIEN
          You're pathetic.

Lucien walks on, but David lunges for him. They struggle.

Lucien throws David off, spins free from his grasp, pulls out
his Boy Scout knife from his pocket.

The two men face each other.
                                                          89.


                    ALLEN (V.O.)
          You needed him as much as he needed
          you.

The bare blade FLASHES between them. David, looking at the
knife, shocked that their relationship has come to this. He
looks back up at Lucien.

                    DAVID
          Now I know how you felt.

                    LUCIEN
          When?

                    DAVID
          When you wanted to die.

David takes a step, closing the gap between him and the
knife. Daring Lucien to strike.

                    DAVID
          Do it.

Lucien moves forward. The gap narrows. Just inches away from
each other.

David steps forward onto the blade. Lucien does not back off.
David gasps, notices the knife deep in his chest to the hilt.

Blood pumps from the gash.

Lucien frees the knife. Then pulls back and STABS David a
second time. With malice.

And again. Plunges the blade into his chest. He grinds the
knife into David even further..

                    DAVID
          Oh my god...

David DROPS, clutching his shirt, his life pulsing from his
chest.

                                                FLASHCUT TO:


INT. ALLEN'S DORM ROOM - NIGHT

Allen writing madly. The words come in a rush.
                                                          90.


                    ALLEN (V.O.)
          Some things once you love them
          become yours forever.

                                                     CUT TO:


EXT. RIVERSIDE PARK

Out in the Hudson River, Lucien cradles David's dying body in
his arms. David looks up at Lucien, his last moment of life.
The opening shot of the film.

                    ALLEN (V.O.)
          And if you try to let them go...

David's eyes CLOSE. Lucien releases David out into the
current.

                    ALLEN (V.O.)
          ...they only circle back and return
          to you.

David sinks into the depths of the Hudson, becoming just a
shadow then disappearing altogether.

                    ALLEN (V.O.)
          They become part of who you are.

                                                     CUT TO:


INT. THE TOMBS - DAY

From his cell, Lucien Carr finishes reading Allen's
DEPOSITION.

                    LUCIEN
          Or they destroy you.

We have returned to the opening scene of the movie. Lucien
crumples the paper in his hand.

                    LUCIEN
          You can't show this to anyone.

Allen stares at Lucien defiantly through the bars.

                    ALLEN
          Then tell the truth, Lu.

                    LUCIEN
          You weren't even there. It's your
          truth. It's fiction.
                                                           91.


Allen grabs for the manuscript. Lucien pulls it out of reach.

                     LUCIEN
          You wanted him gone too. You sent
          him to me.

Allen SNATCHES the manuscript -- it's a tug of war through
the bars.

                    LUCIEN (CONT'D)
          Please. You'll kill me with that.

Allen yanks the paper from Lucien's grip. He heads towards
the exit of the prison. Desperate, Lucien calls out after
him.

                    LUCIEN
          Allen! No! DON'T!

An alarm HAMMERS through the prison, sending us to...


INT. DISTRICT ATTORNEY'S OFFICE - DAY

The New York City's District Attorney's SECRETARY at her
reception desk. Allen enters the room, his deposition in
hand. He is visibly nervous as he approaches the desk.

                    ALLEN
          Allen Ginsberg.

                    SECRETARY
          He'll be with you in a minute.
          Please, have a seat.

Allen waits, glances at the deposition in his lap. The title
reads, "The Night in Question."


INT. JAIL - DAY

From his prison bed, Lucien stares down the cellblock,
hopeless. His eyes alight on his sheets.


INT. DISTRICT'S ATTORNEY'S OFFICE - DAY

The camera moves in an arc, rotating past Allen, sweating,
toward the door of the DISTRICT ATTORNEY...
                                                        92.


INT. JAIL - DAY

...the same circle finds Lucien as he RIPS the bedsheet into
strips. Frantic...


INT. DISTRICT'S ATTORNEY'S OFFICE - DAY

The circle discovers Allen, unable to sit still. The weight
of his decision crushes him...


INT. JAIL - DAY

...Lucien fashions a noose around his neck. He ties the sheet
to one of the cell bars. We glide past him back to...


INT. DISTRICT'S ATTORNEY'S OFFICE - DAY

...Allen spies the shadow of the District Attorney behind
frosted glass of his office...


INT. JAIL - DAY

...the circling suddenly STOPS at Lucien as the knot on the
noose catches. He is hanging, choking, desperate to die and
yet fighting for life.

But the knot on the cell bars releases. Lucien FALLS to the
ground.

Alive.


INT. DISTRICT'S ATTORNEY'S OFFICE - DAY

The secretary hangs up the phone.

                    SECRETARY
          Mr. Ginsberg. He's ready for you.

She looks at the chair. No one is there.

                    SECRETARY
          Mr. Ginsberg?

The sound of the door closing. Allen is gone.

                    MALE VOICE (O.S.)
          How did you expect us to react to
          this?
                                                        93.


INT. COLUMBIA DEAN'S OFFICE - DAY

Allen's manuscript HITS the Dean's desk.

The deposition's title page now reads "The Night in Question
by Allen Ginsberg." It's been refashioned into a novella.

Allen sits in the same chair where Lucien was reprimanded.
Professor Steeves sits silently beside the Dean at his desk.

                    DEAN
          No, please tell me. Professor
          Steeves says you submitted it as
          your final.

Allen, nervous in the chair.

                    DEAN
          Well, then, let me tell you. It is
          smutty and absurd.

                    ALLEN
          But you finished it.

The Dean loses his patience.

                    DEAN
          You've taken incompletes in two
          classes. And you are already on
          academic probation. There are rules
          you agreed to upon admittance into
          this university. And you have
          managed to break and keep breaking
          them. You don't seem to have much
          respect for this institution. So
          you may either retract this fiction
          as your final. Or you may choose to
          be expelled. What will it be?

Professor Steeves eyes Allen.

                    ALLEN
          Fine.

Allen stands, making his decision.

                    ALLEN
          Consider me expelled.

Allen reaches for his manuscript. The Dean SLIDES it out of
reach.

                    DEAN
          This remains with us.
                                                           94.


Professor Steeves keeps a close eye on Allen as he leaves the
office.


INT. GINSBERG HOME - DAY

Back in the Ginsberg residence, but the house is quiet now,
peaceful. No Naomi. The radio playing softly in the living
room. Louis jotting down verse on the back of the mail.

Allen, shirt untucked, composing a poem on the back of a
bill.

They both reach for their cigarettes at the same time.

Louis looks at Allen writing. A mirror between father and
son. A moment of warm appreciation.

Louis hands Allen a package from the mail pile.

                    LOUIS
          This came for you today.

The package is from Columbia University. Allen opens it,
mystified as to what it might be.

It's his manuscript.

On it, a note: "Walt Jr.: Keep this, Keep Going. - Professor
Steeves."

The music on the radio suddenly stops for a news broadcast.

                    RADIO ANNOUNCER (V.O.)
          This is Bill O'Connell reporting
          from Paris and these are the sounds
          of liberation.

Over the radio comes the sound of a ROARING CELEBRATION.

                    RADIO ANNOUNCER (V.O.)
          Crowds have assembled in the
          streets.

Allen takes in the historic news. He looks at his father. The
world, forever changed.

                    RADIO ANNOUNCER (V.O.)
          This is the end of a long darkness.
          France and Europe are finally free.

Crowds ERUPT in whistles and cheers. Allen takes it in. The
moment Lucien had dreamed of.
                                                           95.


The Mills Brothers' "You Always Hurt The One You Love" starts
to play.


EXT. RIVERSIDE PARK - DAY

Sun streaming on Allen, standing at the bank of the Hudson
River, at the place where David died.

                    ALLEN (V.O.)
          Another lover hits the universe.

But the night here has passed, a new day begun. It's now
pastoral, shimmering. Strolling couples, families walk by.

Allen closes his eyes.

                    ALLEN (V.O.)
          The circle is broken.


INT. WEST END BAR - DAY

A raucous crowd now fills the boys' old haunt. Soldiers, New
Yorkers of all kinds, pouring champagne, toasting the end of
the Second World War.

                    ALLEN (V.O.)
          But with death comes rebirth.

The camera searches through the crowd to find Allen smoking
in a banquette towards the rear of the bar, dressed-down,
scruffy - a hint of the man he will soon become.

He is joyous, writing in his journal.

                    ALLEN (V.O.)
          And like all lovers and sad people

The camera then pans past Allen, up and across the old
college photos on the wall.

We find a framed newspaper article on the Columbia's football
team's latest victory.

In the corner of the article, we see a familiar face.

As we move closer, we can read the edge of the headline
reads: "HONOR SLAYING."

The face belongs to Lucien Carr, staring down, frozen in
time.

Lucien is now on the wall.
                                                         96.


                    ALLEN (V.O.)
          I am a poet.

                                              CUT TO BLACK.


The following TEXT CARDS fade up on screen.

FIRST CARD:

Portraying David Kammerer as a homosexual predator, Lucien
Carr pled guilty to first degree manslaughter. He served 18
months in a reformatory.

He worked as an editor at United Press International, where
he remained until his death in 2005.

He married twice and had three children.



SECOND CARD:

Edie Parker's family bailed out Jack Kerouac, on the
condition they marry and move to Michigan.

Craving friends in New York, he annulled his marriage and
began a journey that would inspire his novel On the Road.



THIRD CARD:

William Burroughs left his family to pursue a criminal life
in New York that he documented in his novels Junkie and Naked
Lunch. He co-wrote his first novel with Jack, a novel based
on David Kammerer's murder.

It was kept from publication for over sixty years.



FOURTH CARD:

After his expulsion from Columbia University in 1945, Allen
Ginsberg became one of the most awarded poets in American
history.

He dedicated his first published collection Howl and Other
Poems to Lucien Carr.
                                                        97.


In response, Lucien asked that his name be withdrawn from all
further editions.

                                           FADE TO BLACK.

Kill Your Darlings



Writers :   John Krokidas  Austin Bunn
Genres :   Drama  Romance


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