THE SHASTA GATE

Screenplay by Dick Croy

9413 Southgate Dr., Cincinnati, OH 45241, 513-984-0131, wordandimage@fuse.net

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© THE SHASTA GATE FADE IN: EXT. DAWN - MOUNTAINS Still quite dark with clouds aflame in the eastern sky, silhouetting jagged mountain peaks. We HEAR the sound of a HORSE'S HOOVES picking their way cautiously in the rocky terrain, the CREAK OF LEATHER, occasional SNORTS from the animal, which at first we don’t see. ANOTHER ANGLE The rhythmic swing of the legs and the clicking of hooves of an APPALOOSA create an almost hypnotic effect. NARRATOR (V.O.) (commanding male voice) One hundred thousand years ago – some 900 centuries before the Atlantic Ocean is supposed to have covered the lost continent which bears its name – another far larger land mass may have existed in the vast area that is now the Pacific Ocean.

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WIDER ANGLE RAM, an imposing Native American in his 60s or 70s, in exceptional physical condition, is the horse’s rider. There is more grace than power in his bearing, serenity softening the self-confidence in his deeply lined face. NARRATOR (V.O. cont'd) According to legend, it was known as Lemuria, or the Land of Mu, peopled by a race more advanced in some ways than modern man. Then, in a catastrophic upheaval of global proportion, a new ocean was born...a continent and civilization all but destroyed. Only the highest mountains, on Lemuria's eastern coastline, remained above water. To these snowcapped promontories – on what is now the West Coast of the Americas – a few survivors were able to flee. And their descendants may live there still. EXT. DAY - A GOLDEN EAGLE its fierce cry echoing from the surrounding peaks, rises at the approach of the rider. BACK TO SCENE It’s late spring, cool enough for the breaths of horse and rider to be visible in the clear air. Morning ascends as the Indian leads us through the spectacular scenery of Northern California's Siskiyou County, dominated by Mt. Shasta. Finally Ram spots what he's been looking for: ARABIAN PUREBREDS - POV RAM A stallion, 12 mares and 10 foals. They are part of an Arabian breeding ranch owned by a wealthy San Francisco

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industrialist and managed by Ram. RAM (to the appaloosa) Look at the young A-rabs, Tawahani. The meadow gives them desert legs. He rides into the arroyo where the horses are pasturing. They watch the approach warily, ears twitching, but it's obvious that the mares know and trust the appaloosa and his rider. THE STALLION JEBEL DRUZE, snorts aggressively and canters over to confront them. Ram laughs. RAM You're proud of your winter's work, ay, desert chieftain? (glancing at Mt. Shasta) You were always in favor with the Mountain. Soon we display your heirs for all its people to see. EXT. DAY - MEADOW Ram slips from the saddle and advances slowly, talking gently to the horses. A couple of the bolder mares come up to him cautiously, their foals following. Before long the frisky youngsters are frolicking around him, while he gives each of them a quick but thorough once-over. RAM Hah, little ones - the spring grass feeds your spirit! (to one in particular) Especially you, little fox ears! (to another) What a croup you have - flat enough (MORE)

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RAM (CONT’D) to set a meal on! (to its mother, nuzzling him) He is a fine foal, Lalla. That's why your mother is called the Golden Goose, youngster. She lays such beautiful eggs! (to yet another foal) Look at you, eyes bulging like a young sheik's! Where's your sister, the Unicorn? He turns and sees the newborn filly he's referring to, nicknamed for her particularly striking jibbah: the characteristic Arabian bulge seen on the head in profile. RAM (cont'd) There you are - healthy as the others. You make an old Indian proud! Remounting, he places a halter over the stallion's head. RAM (cont'd) Today you have a visitor. The stallion offers little resistance. As Ram leads him away the others follow. WIDER SHOT From a distance as the horses streak across the high meadow, they're like stones in an Indian necklace shimmering against a piece of brilliant green fabric. Above them looms the mountain, silent and majestic. INT. DAY - APARTMENT belonging to CATHERINE: early 20s, slim, lithe, athletic looking, the appearance and manner of a patrician upbringing; somewhat the spoiled brat. Upset, she's hurriedly packing what she'll need for summer at the

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Arabian ranch, owned by her father. Three expensive suitcases are open, with clothes and other belongings, including a dozen or so fairly serious books, stacked for packing. The apartment has numerous mirrors, many plants, and a wall dominated by shelves of books and Native American statuary. On other walls are gleaming modern metal sculptures, a large abstract macramé piece and two or three striking and original nature paintings. The furniture is well-chosen and smartly coordinated. The impression is not one of luxury so much as elegant if youthful taste and a feeling eye for beauty. Two wine glasses and an empty wine bottle. A pair of expensive boots and a sweater thrown over the back of a chair belong to BILL, Catherine's lover and roommate: a tall graceful man about 30 who shows the effects of a long, emotional night on a face more accustomed to the composure attending success. Packing, longing to escape, Catherine fields his heated questions. BILL Why did you wait till last night to tell me? CATHERINE We went over this - I didn't make up my mind till yesterday. You put me on such a guilt trip about it last summer... BILL Are you sure now? Why don't you let me call about the marketing position? With your qualifications, I'm sure you could get it. CATHERINE I'm sure I could too. I don't want it! BILL Well goddamnit, Katy, don’t you think you should start figuring out what it is you do want? Going up to the ranch (MORE)

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BILL (CONT’D) again’s just an escape! You came back all hyper about wasting so much time up there last summer and ended up burning yourself out. Then wondered what the hell the problem was. CATHERINE I still have time to figure that out. BILL ...Listen, Katy, you do want to do something with your talents. God knows we've talked about it enough. But you've got to - that doesn't just happen. Bill watches her continue to pack. BILL (cont’d) ...Hell, why don't you just run the ranch? Be a Marlboro woman! EXT. DAY - SAN FRANCISCO NEIGHBORHOOD Catherine lugs two bags out to her late-model sports car. Bill accompanies her with the other. Catherine gets in, looks up miserably at Bill's clouded face, then starts the car and drives quickly away. INT. - CAR Catherine wipes tears away fiercely. EXT DAY - COASTAL HIGHWAY EUGENE, compact, intense, mid-20s, guns his Harley along the Baja California coast, the sudden ROAR of the engine like a response to Catherine's angry gesture.

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INT. DAY - STALL The stallion, the muscles under his sleek coat quivering, eats hay from his feed tray. INT. DAY - TACK ROOM Ram oils a bridle in a room full of leather and silver. Beside him is a gleaming saddle he has just cleaned. EXT. DAY - RANCH DOUGLAS, the sweet-natured developmentally disabled nephew of the housekeeper and her ranch hand husband, walks to the barn. The adolescent's loping stride is marked by an exaggerated swing of his shoulders and loose-jointedness in his legs. He enters the... INT. - TACK ROOM DOUGLAS When you spose Cathrun'll be here, Ram? Ram's smile is more in the eyes than on his lips. RAM I don't know who is more eager for her arrival, Douglas: you or Jebel Druze. DOUGLAS How does he know? INSERT - BRIDLE reveals Ram's graceful, almost sensual handling of it. RAM (O.S.) Cleaning her saddle and bridle tells him.

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BACK TO SCENE DOUGLAS You know how I’d know, even if nobody told me? Because it’s summer. His face is full of pleasure from the deduction. RAM That's right, Douglas. Catherine is our summer mustang. Douglas doesn’t understand but it doesn't bother him. He walks into the stallion’s... STALL ...completely at ease with the animal. DOUGLAS Well, she's comin' back, huh Boy? You sure got you a brushin'! INT. DAY - RANCH KITCHEN LUCILLE, mid-50s, the housekeeper, is baking. She glances up from a recipe when her husband NORMUND, same age, sweaty and grimy from work, comes in for iced tea from the refrigerator. A gentle, wary man, he pours himself a glass and takes a couple of big gulps. NORMUND That Catherine's nut bread? LUCILLE (good-naturedly) You'll eat as much of it as she will. He grunts, not quite smiling, into his glass, drains it and sets it down heavily.

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EXT. DAY - MEXICAN VILLAGE Riding slowly into town in mid-afternoon, Eugene gets casually curious stares from some of the townspeople, as well as a few shouted greetings from kids. He parks his Harley in front of a cafe and walks in.

INT./EXT. DAY - CATHERINE’S CAR I-5 somewhere north of San Francisco. Still upset, she’s tearing up the highway. Her face shows the fatigue of her drive, but the emotional strain is gone. In the distance in front of her is the gleaming white cone of Mt. Shasta, wreathed in clouds. She's mesmerized by it. INT. DAY - CAFE Eugene sits at the bar beside a venerable OLD MAN, with eyes both older and younger than his. They've apparently been talking to each other over their beer and tequila. OLD MAN (toasting him) Gasolina par la maquina - tequila par el chofer! [subtitled: Gasoline for the machine - tequila for the driver.] EUGENE (downing his tequila) Si, Don Veijo! They both make a fire in the engine. OLD MAN ...So, you travel with the seasons like the birds - or the touristas. EUGENE (smiling) Maybe a little of both. I like to get to know a place though.

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OLD MAN To know a place you should know all of its seasons. EUGENE ...I guess time forces some compromises. OLD MAN Summer in Mexico sweats the foolishness out of a man. EUGENE But winter...you can still find beaches without a soul on them. The wind's swept them so clean you hate to leave your footprints. Has a bite to it. You feel challenged. OLD MAN (laughing good-naturedly) To feel challenged you come south for the winter? EUGENE (smiling, lifting his glass) You got a point there, amigo. OLD MAN ...Where do you go from here? EUGENE California - on my way up to Mt. Shasta. OLD MAN ...You've heard the tales they tell of Shasta? EUGENE Everything from Indian legends to flying saucers. (with ironic exaggeration) Secret entrance to an underground world!

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OLD MAN And you are looking for adventure. EUGENE (raising glass self-mockingly) On a quest to the sacred mountain! OLD MAN (same ironic tone) How fortunate to be taking such a journey! Your wife and children: how will they manage while you are on this "quest"? EUGENE (taken aback) ...The only family I have is out there in the street. OLD MAN No woman, no children - and off to learn the secrets of the universe. Another lone wolf howling at the moon. EUGENE Vaya, amigo! What the hell does havin' a woman have to do with OLD MAN In our culture it is customary for a man to learn something of himself before seeking to know... (expansive gesture) ...the cosmos. EUGENE And a man can’t learn that on his own? OLD MAN Maybe. EUGENE Far as I'm concerned, any man has to (MORE)

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EUGENE (CONT’D) find his way through a woman hasn't been born yet. I'm not plannin' to study the universe up there anyway. I don't think Shasta gets much over 14,000 feet. I'll be satisfied to get above the tree line once in a while. The old man's eyes sparkle, amusement playing at the corners of his mouth as he raises his glass. OLD MAN May your trip be fruitful! EXT. - CAFE Eugene walks out into the street beside his bike and takes in the small dusty town in the slanting rays of the low sun. At the end of the street a pair of...

YOUNG LOVERS ...walk into view along the sidewalk, drawing his attention. BACK TO SCENE Smiling, he loosens the red bandana holding back his long hair and shakes his hair out, then walks over to the motorcycle in a reverie. He runs his hands over it as he gets on, kick starts the bike to life and roars off, dust rising in the street after him.

INT. LATE AFTERNOON - CATHERINE’S CAR She rounds a bend in a two-lane road, and her face tells us she's arrived. Before her is the...

EXT. LATE AFTERNOON - RANCH

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...its trees, Shasta At the people

fenced paddocks, barn and outbuildings graced with the ranch house lit by the late afternoon sun. is a majestic backdrop more than 10 miles away. end of a long gravel drive, she’s greeted by emerging from several directions.

EXT. - PARKING AREA Douglas runs exuberantly up to the car, waving his arms and calling her name. Lucille, drying her hands on her apron, is as excited in her own way as the boy. Normund stands at a distance, wiping greasy hands on an oilsoaked rag. A big dog dances around. Catherine hops stiffly from the car as Douglas runs up to her. DOUGLAS Hi, Cathrun! CATHERINE Hello, Douglas! He wants to hug her, but is unsure whether he should or not, or how to go about it. His long arms flail about until Catherine grabs his hands, swinging his arms from side to side. CATHERINE I think you're a foot taller than me now! DOUGLAS Yeah! An' I'm not even through growin' yet! She laughs and releases his hands to embrace Lucille. DOUGLAS I'm so glad you came, Cathrun! LUCILLE Hi, girl - we've been expecting you.

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CATHERINE Lucille....This place looks so good to me. You can't imagine. LUCILLE Oh, maybe I can. What do you think of this boy here? Grown some hasn't he? CATHERINE He sure has! She waves to Normund but she’s looking for Ram. When she sees him walk out of the barn, her arm shoots up and she dashes over to him, flinging her arms about his neck. His dignity in no way hinders his expression of affection for her. It's obvious they love each other deeply. CATHERINE Oh, Ram! When tears come, she averts her eyes for a moment, then looks back at him, laughing and crying at the same time. Ram's eyes tell her everything he has to say. CATHERINE (through tears) ...So good to be back! RAM (smiling benignly) You have been anticipated. There's a long silence as they reacquaint themselves. CATHERINE (nodding toward the barn) Is he...? RAM He's there. With a half-laugh, half-shriek she runs for the barn.

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INT. - BARN Catherine comes bursting through the door, and at the loud SNORT which greets her, we see the stallion in his stall, ears up, nostrils flared. She stops to take in the sight, her mouth open, then walks toward him, hand out. The stallion puts his head over the bottom door of the stall, ears back and eyes rolling, feigning wildness. She laughs at his show and hugs his neck, stroking his chest to relax him, then buries her head against his muzzle, thrusting her hands up into his mane. EXT. - RANCH Everyone waits expectantly for them to emerge. DOUGLAS Maybe she won't bring him right out, Ram. Ram motions for patience; a moment later she leads the stallion through the door, bridled but unsaddled. DOUGLAS She's got a bridle on him! RAM Be alert! He's wild from pasture this morning! She leads him over to them, talking to him quietly, looking at them with pride and an almost childish glee. When she's beside Ram she pulls the horse around and he makes a step for her with his hands. She vaults smoothly onto the stallion's back, gathers the reins and looks down at them, her eyes mad with excitement. CATHERINE We'll be back! She wheels the horse around, and they canter from the paddock area, across the drive and into the open meadow.

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EXT. LATE AFTERNOON - BAJA HIGHWAY A hard-core biker, the first of several members of a biker gang. They are the MECHANIC, with the same wiry build and grease-stained hands that all mechanics seem to have - and a lot more hair, which is just as dirty as his fingernails...the VET, who has never quite recovered from his experiences in Nam...and the VET'S BUDDY, a mean little boy in a young man's body, who idolizes crazies. Sixth from the front is PRETTY BOY, with HELEN, a striking but loose-looking woman, on the back, blond hair streaming out behind them. Next is the FOOL, with a young boy of 8 or 9: Helen's son JERRY. The Fool is acting the part, horsing around dangerously. He's big and loose, while Jerry is an interesting combination of street toughness and, in his smile and eyes, childish sweetness. The INTELLECTUAL, a wiry, semitic-looking young man with round wire-rim glasses and a bundle of books on his bike, is next in line. Next is FU MAN CHU, complete with long braid and absolutely evil-looking. CHRIS, a plain young woman with acne scars and a hint of some character and compassion in her face, rides behind him. Riding the second bike from the front is BECKY, beautiful and self-possessed. To the rest of the Gang - the male members anyway - this is the Leader's woman. In her eyes she's no one's woman but her own. Last to come into view is the LEADER himself. Behind sunglasses, he looks ruthless and absolutely sure of himself. You have the feeling that if he were to take off the glasses, there would be holes where the eyes should be. EXT. DUSK - THE GANG'S CAMP A stream reflects a magnificent sunset. The idyllic mood is broken by the graphic lines of a motorcycle's brilliantly reflective handlebars; then another and another, all parked as they always are at the Gang's campsites in a staggered straight line. Then the swaggering figure of one of the bikers, beer in hand.

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THE VET (yelling) Hey, Loose Lips, put the resta that beer over here in the water! CHRIS Screw you! Nearby is a pile of wood and brush that will later become a campfire, around which members of the Gang are sprawled on sleeping bags and backpacks. On the other side of this unwoodsman-like brush pile, the Fool walks up to Pretty Boy, propped against a tree, cigarette hanging from his mouth in a lame James Dean impersonation. THE FOOL Hey, man, where's Helen? PRETTY BOY How the hell should I know? Prob'ly out lookin' for the kid. THE FOOL I thought you was gonna watch him while we got the firewood. PRETTY BOY (chuckling without mirth) Shit. The Fool starts to say something, decides against it and walks off. Chris, sitting beside Fu Man Chu, watches the Fool, while we watch Fu jealously watching her. She walks over to the Fool, darkening Fu's expression even more. CHRIS What's the matter, baby? The Fool isn’t interested until noticing Fu's malevolent glare; then he grabs Chris in mock passion, kissing her long and deeply. He pulls away with a sly look at Fu and winks at Chris, who is hip to what he's up to. She turns to Fu and shrugs while he smolders.

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GANG'S CAMP - POV JERRY high in a distant tree. The CAMERA appears to glide into the tops of other trees. A light breeze ruffles the leaves, accompanied O.S. by the EXCITED BREATHING, almost PANTING, of a child. BACK TO SCENE The Intellectual is holding forth with Becky from the book in his hand: Kierkegaard's The Sickness Unto Death. THE INTELLECTUAL (reading from Table of Contents) "The sickness unto death is despair. ...Despair is a sickness in the spirit, in the self, and so it may assume a triple form: in despair at not being conscious of having a self - (despair improperly so-called); in despair at not willing to be oneself; in despair at willing to be oneself." And this is just a chapter heading - the guy's fantastic! Becky doesn't hide her boredom. She walks over to where the Mechanic works on a bike. Squatting beside him to watch in silence, she hands him a tool he needs before he reaches for it. He's obviously used to this. Nearby, the Leader watches everyone with the fascinated pleasure of a consummate expert in the art of anticipating who will do what to whom. A skinny mongrel dog wanders into camp. Taking pity on it, Chris picks it up and fondles it. CHRIS Lookit the poor li'l thing! Bet he hasn't eaten in days. Fu grabs a knife from his belt. Cowering in Chris's arms, the dog looks up at her pitifully. Suddenly Fu yanks it from her arms and the knife flashes down and O.S. The dog SHRIEKS and runs away, yelping.

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VET'S BUDDY Goddamn! He cut its tail off! The Fool goes berserk and bolts for Fu, who whirls to confront him. The Fool stops short, then feints with arms and shoulders, seeking an opening. Suddenly the Leader is there. He speaks - not loudly but with absolute command. THE LEADER Chinaman! When Fu turns, the Leader kicks the...

INSERT - KNIFE ...from his hand so savagely it careens several feet into the air, twisting upward in SLOW MOTION to catch the sun’s last rays. BACK TO SCENE The Leader stands between Fu and the Fool, a slight smile on his face, daring them to continue. THE FOOL (to Fu) You sonofabitch! One a these days I'm gonna take you out, ya hear me? Fu's eyes gleam with hatred and the Fool turns away. Jerry runs into camp. His mother bawls him out shrilly. HELEN Where the hell have you been? EXT. DUSK - EUGENE - MONTAGE A) Eugene buys vegetables in a village marketplace... B) ...and makes camp near the highway. His simple actions have an unusual grace and precision.

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C) He takes the vegetables, two pots (one nested inside the other) and a small portable stove from his saddlebags... D) ...boils water from a stream in one pot, some of which he uses to cook rice, the rest to steam the vegetables in the other pot... E) ...gathers driftwood from the beach... F) ...and builds a simple fire pit surrounded by stones... G) ...then sits down, legs crossed, silhouetted against the fading sunset, to meditate.

EXT. NIGHT - EUGENE'S CAMP Eugene eats cross-legged beside the fire. In the distance a COYOTE HOWLS. INT. DAY - RANCH KITCHEN At breakfast Catherine talks to Lucille, who waits on her while baking and working in the kitchen. LUCILLE (pouring Catherine coffee) This is the best bunch of foals we've had in years. It's a good thing Douglas is doin' a man's work now. You sure you don't want any more pancakes? CATHERINE No thanks, 'Cille. I'm almost too full to ride as it is. I wanted to be up by sunrise, but I was dead to the world. LUCILLE It would’ve surprised me if you'd been up that early, the shape you were in when you got here.

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CATHERINE Well I'm sure going to make up for lost time! I lay there last night and saw the whole summer stretched out in front of me. I could hear crickets and the wind in the oak tree ...smell the jasmine floating in – or maybe I was floating out! (laughing) I was falling asleep by then. But I could feel myself letting go. LUCILLE That's right, if you're not open to it Shasta can't do much for you. CATHERINE A few more meals like this will help too. Lucille laughs appreciatively although somewhat automatically since she's in the midst of taking something from the oven. LUCILLE (trying to be casual) ...You talk to your parents before you left? CATHERINE What for? I don't need their permission to come up here. LUCILLE (exasperated) Well of course you don't. I just wondered – CATHERINE Things haven't changed between us, 'Cille. Dad still thinks I'm worthless, and Mom's just another of his executive vice presidents.

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Pursing her lips in disapproval, Lucille checks her response, then says with resignation: LUCILLE What upsets me isn't what you say about your folks but how you feel about yourself. I'm glad you've got another summer to get reacquainted. One of these days you're going to find out you're not half bad. Putting her dishes in the sink, Catherine looks at Lucille with love and some embarrassment. She doesn't know what to say. At this moment, Ram walks in. Catherine runs over to hug him. CATHERINE I was hoping you'd come in, before I go off for the day. She emphasizes "off" with an expansive gesture. Lucille takes something from a big jar, puts the contents in a bamboo strainer and pours boiling water over it into a cup for Ram, then brings it over to the table, where he and Catherine have sat down. CATHERINE Mmm! I remember that smell – what is it again? RAM (offhandedly) Spearmint, fennel...lemon grass. Herbs from the Mountain. CATHERINE I think I'll take a picnic out by the falls and just ride all day. Ram grunts while lifting the steaming cup to his mouth. CATHERINE Ram, do you think...do you think I (MORE)

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CATHERINE (CONT’D) should have come up here again this summer, instead of working? I had a real fight with Bill about it. He thinks it's just an escape. Lucille snorts in disagreement at the stove, while Ram seems preoccupied by something. He cradles the cup beneath his mouth, inhales its steaming vapor, his eyes for the moment turned inward. When he speaks, he looks deep into Catherine's eyes. RAM When I said you had been "anticipated", I didn't mean by just those of us here at the ranch. Catherine is delighted by this mysterious preface. CATHERINE What do you mean, Ram? He says nothing. Rising from the table, he sets his mug on the counter and gives Lucille an ambiguous look, as if sharing some secret with her, then meets Catherine's expectant gaze with a chuckle. She smiles, puzzled and impatient. CATHERINE Ra-am, tell me what you're talking about. He walks over and puts his arm around her as she looks up into his face for an answer, then guides her to the door. EXT. DAY - RANCH They come through the door and walk arm-in-arm toward the corral. The Indian looks into the distance, as if seeing what he's describing.

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RAM I had a dream the night before you came. DISSOLVE TO: EXT. – DAY – MEADOW - RAM’S DREAM The stallion under an orange sky. A dust devil rises. RAM (cont'd, V.O.) Jebel Druze was alone beneath the Mountain. The sky was orange, as if a forest burned somewhere. I felt a great wind coming. EXT. DAY - CORRAL Ram, his elbows on the top rail, looks in at Jebel Druze. Catherine glances at the horse, but her attention is on Ram's face. Mt. Shasta shines whitely in the distance. RAM The summer may be very special for you, Catherine. You must be alert. The SOUND of GALLOPING HOOVES grows louder and louder, anticipating the next scene. EXT. DAY - OPEN MEADOW Catherine thunders past on the stallion, then she and Jebel Druze streak across spectacular high meadow country overlooked by the mountain. Exhilaration on her face. EXT. DAY – MOUNTAIN STREAM Stopping to let the stallion drink, she takes her boots off in the saddle, tosses them to the ground and jumps down into the icy water, gasping as she digs her toes into the streambed.

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CATHERINE Oh, Jesus, it's cold! Whoo! I can't believe I'm here again, Jebel! (getting eye-level with him) Did you miss me, Baby? The stallion snorts and rolls his eye at her, prompting a peal of her hyper gleeful laughter. CATHERINE (cont'd) You know where we're going, don't you. I'll bet no one's visited it since last summer. She swings back up into the saddle, leaving her boots on the ground to pick up later, and guides the horse along a narrow ledge beside the stream. CATHERINE Do you remember the way? It's a little tricky – but not too tough for you, is it, baby! They pick their way carefully. The ledge opens into a... SECLUDED SPOT ...beside a deep pool, surrounded by steep heavy forest. When they enter this natural Catherine sighs deeply and leans back, her horse's flanks, the expression on her face the surface of the pool. INT./EXT. NIGHT - CATHERINE'S BEDROOM Moonlight silvers and silhouettes the swaying branches of the oak tree outside her window. We HEAR the WHISPERING of its LEAVES in the breeze and, faintly, what sound like GLASS WIND CHIMES nearby. A MOAN: Catherine is having a nightmare. She writhes beneath the sheet, then all is still again but for the LEAVES and the delicate CHIMES. cliffs and sanctuary, hands on the as serene as

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EXT. DAY - HIGHWAY - MONTAGE We’re following Eugene when we notice, ahead of him, the Gang, whom he’s about to overtake. We don't know the Gang has even seen him until he's about to pass the three bikers in the rear. Suddenly, without even looking back, they swing to the left in unison, blocking his way. He veers sharply to the right, into the midst of the Gang. To the left of him is Wire Rims, the Intellectual; immediately in front, the Fool with Jerry on the sissy bar. When the Fool slows suddenly, instead of braking Eugene accelerates, lifting his front wheel almost straight up and leaning back until it looks as if he's going to pull the bike over on top of him. But in one continuous motion he pivots the bike on its rear wheel through a full roll. For a moment the Harley's a rearing stallion. When he comes down he shoots to the left between the Fool and Wire Rims. The trio in back look at one another for confirmation of what they've just witnessed, and Jerry whoops in amazed delight. Eugene's tight, controlled smile reveals that he's enjoying this. He jukes Pretty Boy with ease, feinting to his right and passing him on the left. Ahead of him now, his long braid sucked out in his slipstream, is the Chinaman. Ignoring Eugene's feints, he goes right with him when he finally makes his move. But Eugene cuts into a high concave clay bank along the right side of the road so smoothly he's up under the overhanging lip and back down on the highway, ahead of Fu, before the ground can give way beneath him. Now just Becky and the Leader are ahead of him. She matches Eugene juke for wheel-fake as he hangs on her tail, trying to pass. He has to get past in a hurry because Fu's enraged and right on his ass. They're approaching a long curve to the left; on that side the road drops off steeply and there's no guardrail: this is Eugene's only opening. He swings to the right, brakes, then shoots out toward the unguarded berm on the left. If the girl recovers quickly enough to force him off the road, and wants to, he's dead. When he accelerates, his bike leaves the ground; there can't be more than the

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width of his tires between his hurtling Harley and the sheer drop-off. But he comes down on solid ground and sweeps past both Becky and the Leader uncontested, thrusting his fist into the air as he roars ahead. INT. MORNING - CATHERINE'S BEDROOM Catherine opens an eye cautiously, as if she's not sure where she is. Her hair is in the disarray of sleep, her shoulders bare. Sunlight streams through her open window, and birds are going crazy in the tree next to it, but she's not very happy to be alive this morning. Glancing down at the sheet covering her, she notices a spot of blood. She rolls her eyes in an expression of smoldering anger, then lies there staring at the ceiling until a solitary tear runs down her cheek. She wipes it away and sits up, hugging her knees under the sheet. INT. - BEDROOM Catherine sits in front of a big mirror attached to her dressing table, brushing her hair sullenly She stops and looks long and seriously into the reflection of her eyes. INT. DAY - KITCHEN Catherine walks hurriedly through the kitchen toward the back door, without even pausing to speak to Lucille. Her tone is more distressed than insolent. CATHERINE Don't want any breakfast this morning, Cille. Lucille has only a moment to register surprise at her abruptness. EXT. DAY - RANCH

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Catherine exits and walks to the corral where Ram is working with the horses, interrupting him. We see this at a distance, too far way to hear what's said. EXT. DAY - MEADOW Catherine and Ram ride without haste to a spot with a magnificent view, dominated by Mt. Shasta, where they drop their reins so the horses can graze. Ram sits at ease in the saddle, while Catherine leans forward restlessly in hers, not looking at him. CATHERINE ...My life is shit, Ram. I've really screwed it up. He doesn't answer and she continues, turning to look at him. CATHERINE (cont'd) I don't know what I'm doing here, and I don't know what I'm doing with the rest of my life. RAM You are here. Life is not to be "figured out." It will always elude you. CATHERINE But I've got to have some kind of plan, some idea where I'm going....I could make some serious mistakes right now. RAM Make them. CATHERINE Make them? I make enough mistakes as it is, without trying to.

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RAM Make them and get rid of them. Hold onto nothing. CATHERINE I can't just...let go like that. I don't know where I'd land. RAM Your fear is as natural as your skin. So is your anger. He takes a deep breath and puts his hand on his chest. RAM (cont'd) Feel them. CATHERINE Why is it natural to be afraid? That seems so twisted. RAM (sighing) I have no answer for that. Don't look for answers to your pain in words, Catherine. He extends his hand in front of his chest. RAM (cont'd) Find them here – in the world. She looks over at him with an expression of frustration. But she has lightened up. She's on the verge of bursting into laughter at the joke of it all. EXT. DAY - HIGHWAY - MONTAGE Eugene crosses the border, skirts L.A. and, through clouds, traverses the Grapevine, the winding pass through the Tehachapis that shoots him down into California's Central Valley.

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EXT. DAY – WIND CHIMES hang from a verandah-like side porch near a window of Douglas's room. We HEAR them but all we SEE at first are unfocused glimmers of light, or the glass pendants so tightly framed as to be unrecognizable. ANOTHER ANGLE Douglas is sitting on the ground watching the glass chimes twist and shimmer in the sunlight, entranced. CATHERINE (O.S.) Douglas! How beautiful. She walks up to him as he grins delightedly. DOUGLAS Hi, Cathrun! CATHERINE Did you put them up? DOUGLAS Sure did – I made it. I got the glass out of a chan-de-lier that was in the loft. I seen a whole bunch a these wind chimes at the fair, but Aunt Lucille said they was too expensive. So I made this one here myself. CATHERINE Well they’re just beautiful, Douglas. I heard them, lying in bed. DOUGLAS Sometimes I get real...agitated, Aunt Lucille calls it. Used t' be I couldn't do nothin' 'bout it, 'cept sometimes I'd just run – holler as loud as I could. Now I come here. Sit right here on the ground.

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Catherine's face is radiant as she listens. Then Douglas changes his tone and puts his hand on her arm to indicate the significance of what he's about to tell her. DOUGLAS (cont'd) Ya know what happens, Cathrun? I get t' feelin' like I'm up there with them pieces a glass. Pretty soon, the wind’s blowin' me. I feel the sun on my face ...an' ya know what? CATHERINE What, Douglas? DOUGLAS I shine just like that glass. He's shining now, with a brilliant smile. Overwhelmed, Catherine throws her arms around him. CATHERINE Oh, Douglas, that's wonderful! They hold their embrace, Douglas not at all selfconscious now. Then Catherine pulls away to look up at him admiringly. CATHERINE Come on – help me get Jebel saddled! Holding hands, they run toward the barn. EXT. DAY - HIGHWAY - MONTAGE Late afternoon. Eugene rides through the foothills of the Cascades south of Mt. Shasta. He gets off I-5 at the Mt. Shasta Village exit and comes into the bend on the twolane highway Catherine took in arriving at the ranch. EXT. DAY - RANCH

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Catherine gallops down the drive, across the highway and into the meadow just as Eugene rounds the bend. CATHERINE – POV EUGENE with Mt. Shasta glistening in the late sun behind her. EUGENE does a double-take. WIDER ANGLE Impulsively, he wheels off the highway and across the meadow after her. About to overtake her, he frightens the stallion, who rears and bolts into a gallop. Catherine gives him a look of utter fury and tries to bring the horse under control. Bike and horse are now side by side. She screams at him, enraged and frightened. CATHERINE Get out of here! Realizing what's he's done and momentarily confused, intent on Catherine and the horse, he doesn't notice the... FENCE ...coming up before them. The stallion jumps it; he plows right into it. BACK TO SCENE Catherine thunders ahead, finally slowing her horse. EUGENE

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gets up sheepishly, ruefully inspects the moderate damage to his bike, then throws his head back in a huge laugh. EXT. DAY - ROADSIDE Eugene is pushing his bike toward the road when the Gang rides up with catcalls and sarcasm. They stop. THE VET Hey man, you got saddle sores? VET'S BUDDY She run away wit'cha, boy? THE FOOL Naw, looks t' me like he had a... (exaggerated pronunciation) ...ac-ci-dent. Eugene stoically ignores them and pushes the bike onto the road. The Leader motions the Mechanic up beside him. We can't hear over the idling engines, but the Mechanic nods and rides over on his immaculate, smooth-running chopper beside Eugene. MECHANIC Whatever's wrong with it, man, I prob'ly got the tools t' fix it. Eugene flashes him an appreciative look. EUGENE You don't happen to have a spare hose clamp do you? MECHANIC I speck so. That all ya need? EUGENE Yeah! Tore the carburetor and manifold off, but it was a clean break; they went back on all right.

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The Mechanic swings off his bike, Eugene puts down the kickstand on his, and they walk back to the Mechanic's toolbox on the back of his chopper. It's a very complete well-organized kit. EUGENE Nice set of tools. MECHANIC Yeah, I can fix 'bout anything – short of a fool in the driver's seat. Eugene accepts the criticism without comment and in a minute they're working together, with the Leader looking on. Some riders get off and stretch, but the Fool rides over with Jerry on the back. THE FOOL That was some good ridin' yesterday. JERRY Oh man, I ain't never seen anyone roll a bike like that!...Where'd you learn how? EUGENE Right there. JERRY You mean you never done it before? EUGENE Never had to. BECKY Don't gimme that, man – you're a pro ain'cha? You do stunt ridin'. Eugene shrugs, busy helping the Mechanic with the repair. THE FOOL Don't mind her – she just don't like t' be shown up.

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BECKY I ain't the only one – and I know a good hustle when I see one. I could do shit like that too if I got paid for it. FU We all know what you'd do if you was good enough t' get paid for it. Becky gives him a look of hatred, but WHISTLES and a general commotion among the bikers prevent things from escalating. PRETTY BOY Jee-zus! THE FOOL That ain't him, man! EXT. - MEADOW Catherine sits atop a rise on the stallion, hair in the wind, looking down at them. Anger when she spots Eugene. She lifts her head haughtily and canters toward the ranch. EXT. - ROADSIDE Pretty Boy kicks the engine of his bike into action. PRETTY BOY Hold on there, honey! Let's play cowboys and cowgirls! Others start their bikes too. EUGENE Take it easy, man! PRETTY BOY You talkin' t' me?

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EUGENE (smiling) You don't wanta tangle with her. That's I got my bike messed up. THE VET She too tough for ya? EUGENE She can take care of herself – but I don't think she'd be much of a challenge for all of you. BECKY (whooping with laughter) You tryin' to psych-out these assholes? The only psychology they understand is a kick in the balls! Still affecting his smile and good-natured banter, Eugene moves in front of Pretty Boy's bike. EUGENE I don't think it'll come to that. PRETTY BOY You lookin' t' get tire-tracked, man? THE LEADER Ain't you got that fixed yet? MECHANIC (standing) ...Fixed and ready t' roll. LEADER Let's get outa here. This is all the Leader needs to say to change the minds of anyone thinking of going after Catherine. Eugene nods almost imperceptibly to him but the Leader doesn't respond.

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EUGENE (to mechanic, loading toolkit) Thanks, man. What do I owe ya? MECHANIC You don't owe me nothin', man. EUGENE Sure appreciate it. With one last look at Eugene and another toward the ranch, the Leader sticks the broken hose clamp in his pocket and roars onto the highway. The others follow. INT. DUSK - TACK ROOM Ram is mending a saddle when Catherine storms in angrily, leading Jebel Druze. She curses loudly, unsaddling him. RAM ...What troubles you girl? CATHERINE Oh some fool biker spooked Jebel! I just got him calmed down and a whole damn gang of them shows up. A motorcycle gang – up here! There's an alertness in Ram's face. He listens intently as Catherine continues stripping the tack from her horse. CATHERINE (laughing vindictively) He got what was coming to him! He ran into the fence! We jumped it and he ran right into it. I thought he might be hurt, so I went back to see if he needed help – and find out he has this whole gang with him. Just the kind of thing I'm trying to get away from! She begins brushing her horse.

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RAM I hear your father speaking. If he had his way, there'd be nothing on the ranch with wheels but a buckboard – and his Mercedes of course. Miffed at the comparison with her father, she laughs in spite of herself at the reference to his car. EXT. EVENING – HIGHWAY Eugene pulls onto the road and weaves back and forth to test the bike's stability. Satisfied, he looks over toward the ranch, then accelerates into the evening. EXT. DAY - HIGH MEADOW - MONTAGE Catherine galloping, trotting, finally walking the stallion. She comes to the stream beside her sanctuary and turns the horse up the narrow ledge which leads into the clearing – not noticing the motorcycle hidden in a clump of trees. Suddenly there is a SPLASH and the stallion whinnies and almost rears. EXT. - CLEARING There in the middle of the pool is the lean bronzed naked figure of Eugene. Neither could be more surprised; Catherine's astonishment, however, quickly becomes outrage. CATHERINE ...What are you doing here? The stallion, feeling her agitation, is skittish, forcing her to maintain a tight rein; she’s looking at Eugene first over one shoulder, then the other as Jebel pivots and prances nervously. Self-consciously lowering himself into the water, Eugene doesn't know what to say.

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CATHERINE This is private property! You're trespassing! The horse continues to dance around, ears back. CATHERINE (cont’d) What do you mean coming here? After that, that stupid stunt of yours yesterday? You and your gang had better be off of this ranch in a goddamned hurry! Don't think you can ride roughshod over the people around here – we can take care of ourselves! She wheels the stallion around, leaving Eugene treading water in the pool. He whips the hair out of his eyes. The look on his face is of a man who’s been very favorably impressed, not intimidated, as he lies back in the water. EXT. DAY - RANCH The Gang swarm up the drive. Douglas comes running out to see what's going on and, less openly, so does Normund. Alarmed, he ducks back inside the... INT. – BARN ...and loads and cocks a shotgun hanging there, then plants himself in the doorway. BACK TO SCENE Lucille peers through the kitchen door held ajar as the Gang rides up to within 20 feet or so of Douglas. FU Hey kid, where's Lady Godiva?

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Douglas is too confused to answer. FU Hey! I'm talkin' t' you, boy! THE FOOL Don't pay no attention to the Yellow Peril, man. He just talks tough. We seen a good-lookin' young lady ride in here on a horse yesterday, and we was wond'rin' if, uh, if ya give ridin' lessons. GUFFAWS from the Gang at the Fool's improvisation. Then, yelling above the noise of the bike, he does some stuntriding abound the paddock area. THE FOOL See, we can ride pretty good ourselves ...but this ain't the same thing as ridin' a horse...not as aristocratic. Know what I mean? Now a horse...a horse gives a man respectability. Normund has had enough of the paddock's being gouged up. He walks toward the Gang, his hands nervous on the gun. LEADER Hold up there, Pop, with that gun! The Fool wheels in close to him; Normund swings around and brings the gun up. LEADER Hey-hey, man! I told ya t' be careful with that! If we was to spread out a little, you couldn't hardly hit all of us now, could ya? At this of course, the Gang does just that, while Normund turns first one way, then the other with the shotgun. Then, as quickly as it began, the NOISE of the BIKES dies. Ram walks unhurriedly toward the bikers. Even the

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Leader appears taken aback. One of the MARES in the nearby corral WHINNIES. Pretty Boy grabs the opportunity to get things started up again. PRETTY BOY Say, ain't that the horse the girl was ridin'? DOUGLAS (laughing) That ain't even – Feeling Ram's eyes on him, he stops in mid-sentence and glances over to confirm the Indian's silent command. But he can't leave the words hanging in mid-air; he completes the sentence to himself. DOUGLAS (cont'd) ...a stal-yun. PRETTY BOY Hot-damn – if she can ride that thing, I sure as hell can. He revs the bike and rides over to the corral. Douglas shoots a questioning glance at Ram, whose impassive expression reassures him. As usual, the Leader misses none of this. The rest of the Gang is cheering, or egging, Pretty Boy on, but as he gets closer, the horse looks a lot more formidable. Then he notices the foals on the other side of the corral. PRETTY BOY Hey, we got us a buncha little dirt bikes over here! C'mon, let's get a little deemolition derby goin'! He climbs into the corral and the others gun their bikes over to watch. Douglas looks to Ram for reassurance again; the slight smile on the Indian's face strikes home. Douglas grins broadly, covering his mouth with his hand as he runs over to the corral. The bikers and their women are spread along the fence rail in rodeo tradition as Pretty Boy walks cautiously toward the foals.

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PRETTY BOY (“singing”) C'mon, li'l doggy... The foals grow more skittish with his approach. The Gang whoops it up as he moves in on the closest. Suddenly the foal whinnies in fear, and is answered immediately from the other side of the corral. The mare bares her teeth and lays her ears back – clearing the rails as she turns in the direction of the Gang. Pretty Boy is only halfway to safety when the mare catches him and bites him in the back, getting mostly jacket. He squeals, jerks himself free and breaks for the fence again, leaping headlong for the bottom rail – and falling a foot short. Twice the mare rears and comes down with flailing hooves, but each time Pretty Boy manages to roll free. Finally he wriggles on his belly beneath the railing to safety. When he gets sheepishly to his feet, the Vet's Buddy points and cries: VET'S BUDDY Look! He pissed his pants! O.S. there is the ROAR of a BIKE being started. The Leader's signal that fun and games are over meets with hostile disappointment from the Gang, but they return to their bikes, while the Leader swings around to confront Ram, who has stubbornly refused to return his gaze. But when the Leader circles around in front of him, it's not Ram's face but his own... INSERT – LEADER’S FACE ...staring back at him. And when he reaches up to remove "his" dark glasses, it's... THE LEADER ...the one on the bike, who has to turn away. Riding just to his side...

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BECKY ...is the only witness to the Leader’s confusion; to her... RAM ...looks perfectly normal. BACK TO SCENE As the bikes roar down the drive, into the corral and hugs the foal A moment later, Catherine gallops direction and rides over to where Lucille are talking. Douglas climbs joyfully Pretty Boy threatened. up from the other Ram, Normund and

CATHERINE (incredulously) Was that motorcycles I just heard? LUCILLE Sure was, honey – a bunch of 'em. RAM We had visitors, but they didn't stay long. CATHERINE Well they must, they must be the same... but I just saw one of them, up at the pool. The guy who ran into the fence. Douglas comes running over. DOUGLAS Cathrun! Motorcycles! People on motorcycles was here! LUCILLE She knows, Douglas.

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CATHERINE Would someone please tell me what the hell is going on? RAM (chuckling) They learned something of Arabians. CATHERINE Oh great! That tells me a helluva lot! Impatiently, she pulls the stallion around toward the barn. DOUGLAS Where's she goin'? LUCILLE (amused) I'd say she and Jebel both need cooling out. DISSOLVE TO: INSERT - RATTLESNAKE A large timber rattler coiled in the sun on a flat rock RATTLES a warning as... EXT. LATE AFTERNOON - THE POOL ...Catherine and the stallion pick their way cautiously along the narrow ledge leading to the pool, just beyond its striking range. Suddenly Catherine pulls up in astonishment. POOL – POV CATHERINE A gorgeous tent of white parachute silk emblazoned in red and blue with a Chinese yin/yang symbol. Its thin sides seem to breathe in the light breeze. Spread out before it is an Indian rug on which Eugene has been reading. He

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looks at her without surprise, and neither of them speaks at first. CATHERINE ...I just came from the ranch. A motorcycle gang came in this morning and tried to terrorize the place. EUGENE Tried? CATHERINE I told you we couldn't be pushed around. Do you know who they are? EUGENE Probably that bunch you saw me with yesterday. CATHERINE You're not with them? EUGENE Not hardly. I passed them on the road two days ago in Mexico. Now they show up here. He lifts his hand in a you-tell-me shrugging gesture. CATHERINE ...Whatever possessed you to come riding after us like that? EUGENE (chuckling, embarrassed) I don't know, I was probably as surprised as you. I'm sorry. CATHERINE (almost a smile) I sure wasn't sorry to see you get taken out by the fence.

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EUGENE I'll bet you weren't! CATHERINE At least you weren't hurt. EUGENE No, and I got my bike fixed – came out okay. Lucky you weren't. CATHERINE Luck had nothing to do with it. EUGENE Then I’m glad you're a good rider. Why don't you get down and give you and your horse a break. He's a beauty – Arabian, right? CATHERINE You have some nerve – inviting me onto my own land. EUGENE I didn't know it was yours. Didn't think anyone would even know I was here. I leave a place just as clean as I find it. CATHERINE You knew it belonged to someone. It's posted. EUGENE If I stayed off all the land that belongs to someone I'd have to have wings. I'm only planning on being here for a day or so. I'll leave now if you want me to. CATHERINE ...Your tent's really beautiful. Not what I'd have expected.

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EUGENE From a biker? Made from a couple a parachutes. The stallion is restless and Catherine uses this excuse to dismount and allow him to crop the lush green grass. CATHERINE ...Who are you? Why are you here? EUGENE Name's Eugene – on my way up to Mt. Shasta. I followed the old logging road up here from the highway. CATHERINE It's beautiful isn't it? EUGENE Sure is – I can understand why you'd like to keep it to yourself. CATHERINE It's a special place. EUGENE I've got some coffee made; will you have a cup with me? CATHERINE (smiling for the first time) ...Okay, thanks. My name's Catherine – this is Jebel Druze. You're right, he's an Arabian. She ties the reins to a sapling with enough slack so he can graze. Eugene pours coffee on a Coleman stove into a ceramic mug for Catherine and into a tin cup for himself. Both sit down on the Indian rug. CATHERINE (feeling the rug) You travel in style.

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EUGENE Well, this is my home when I'm on the road. CATHERINE How often is that? EUGENE Oh, between gigs. I'll set up somewhere – I'm a mechanic, among other things – and when I've saved enough hold me for a few months, I start lookin' for the next place. CATHERINE Maybe that's what I should do. EUGENE What's stoppin' you? CATHERINE Oh, family...upbringing... She smiles weakly and shrugs. EUGENE That'd be the last thing to stop me. I haven't had family for quite a while. CATHERINE I've wished I didn't a few times. Or at least one with less profile. EUGENE Why is that? CATHERINE My father's a biggie in San Francisco. Doesn't have a damned thing to do with me, but people act like it should. She takes a sip from her mug and looks around, sighing.

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CATHERINE This ranch is my refuge. EUGENE ...You must have heard some of the stories they tell about Shasta. CATHERINE Oh sure. The man who runs the ranch is a Shasta Indian. Ram is his name, he's a second father to me – more of a father in a lot of ways. I've heard stories about Shasta since I was a baby. EUGENE What kind of stories? CATHERINE About the mountain's sacredness for his people. But stories are one thing. He's shown me. EUGENE What do you mean? CATHERINE ...This'll sound weird, but...I have memories of seeing things as a child, up there on the mountain, that are hard for me to believe now. It's like they were dreams, but I know they happened....A feeling comes over me now when I'm up there. EUGENE A feeling? CATHERINE Of being watched, or watched over. It's like – it sounds silly – but it's like there were these big hands around you. Gentle hands.

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EUGENE Doesn't sound silly at all. CATHERINE Why are you so interested? EUGENE That's what brought me up here – the stories and legends. Have you ever heard of a secret entrance – some kind of opening in the mountain that's hidden or invisible? CATHERINE (smiling patronizingly) That's the biggest crock of all: that there's a secret world inside the mountain. There's even some cult that believes that's where flying saucers come from. Leave it to us: what the Indians made beautiful, and sacred, we have to turn into some kind of weird trip. Everything has to be taken to extremes. It has gotten darker. Black clouds have begun to gather. There's a distant RUMBLE OF THUNDER. EUGENE ...So you don't think much of the legends. CATHERINE (standing, as if to go) The reality of Shasta’s what turns me on. EUGENE Looks like it's gonna rain. You're welcome to share my tent, till it blows over. CATHERINE ...Nice of you to make me feel welcome! Do you have something I could tether my horse with?

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EUGENE Sure – I'll give you a hand! A loud CRACK OF THUNDER. It starts to sprinkle; Eugene runs for his bike, camouflaged with evergreen boughs over a plastic cover, and Catherine runs toward Jebel Druze. She leads him to the shelter of a nearby tree, releases the cinch and girth straps and removes the saddle, leaving the saddle blanket on for warmth. It's raining harder as Eugene runs up with a rope, picks up the saddle, while Catherine ties her horse, and runs to the tent with it with Catherine right behind him. DISSOLVE TO: INT. DUSK - TENT LIGHTNING, THUNDER, the drumming of RAIN against the tent. They're enjoying the drama and the company. EUGENE I'm glad you stayed. Hate to think of you out there in this storm. Catherine snuggles into the coziness of the tent. CATHERINE We'd have found shelter somewhere – but not like this....Tell me some more about yourself. EUGENE Like what? CATHERINE I don't care. But I can’t share a tent with a total stranger. She encourages him with her eyes. EUGENE Well...been on my own, more or less, since I was 10. Hangin' out in the (MORE)

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EUGENE (CONT’D) street – got interested in cars and bikes.... The SOUND OF Eugene's words FADES OUT and we... DISSOLVE TO: EXT. NIGHT - CAMPSITE FROGS and an INSECT CHORUS. A FIRE POPS and CRACKLES O.S., illuminating Catherine's serene face. She turns and smiles up at Eugene as he walks up and sits beside her. CATHERINE I've had a lot of meals around a campfire but none better than that. EUGENE Thanks – I feel the same about the company....Will they worry about you, back at the ranch? CATHERINE Nah, they'll assume I'm holed up somewhere. Long as I'm back in the morning they won't come looking for me. She teases him with her eyes, grows more provocative in manner. But this is as much the delight of a child as the seductiveness of a mature woman: not, Come on, let's get it on! but Wow, feel this happening between us! Eugene, however, seems in no hurry. He repeats a gesture he made earlier, removing his bandana and shaking out his hair, then holds it up to his face like a bandit's mask. CATHERINE Who is that masked man? They both laugh and finally embrace, tentatively at first, then lying back on the sleeping bag beneath them, kissing passionately. Catherine clearly wants Eugene to make love to her.

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EUGENE (huskily) What’s the hurry? CATHERINE No hurry – I just want you, that’s all. EUGENE I want you too. We’ve got all night. CATHERINE You’re right, we do....Okay, Masked Man, you lead. INT. DAY - TENT Catherine awakens alone, then leans over to inhale Eugene’s scent, to run her hand over the warmth, or lack of it, where he was sleeping. She lies on her back looking up at the roof of the tent, lost in thought or mental images, then gets up, digs a towel from her saddlebags, and goes outside... EXT. - CAMPSITE ...to the stallion, whom she leads to the pool to drink, then ties up to graze. Looking around and not seeing Eugene, she peels her clothes off and dives into the pool – pushing off from the bottom, shrieking in pleasure from the shock of frigid water. Eugene runs up as she climbs out and begins toweling herself off vigorously. EUGENE You all right? CATHERINE (shivering) Won-der-fu-ful! Eugene admires Catherine's body before turning away chivalrously. But she drops the towel and embraces him.

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CATHERINE Get me warm! He laughs and moves his hands and arms over her, then kisses her. She kisses him back passionately, then pulls away playfully. CATHERINE I’m starved. DISSOLVE TO: EXT. DAY - HIGH MEADOW - MONTAGE Catherine, in front of Eugene in the driver's seat, is learning how to drive his motorcycle. She has trouble with the clutch at first, then on making turns. EUGENE You gotta use your body weight! We lean together! His legs and booted feet are all that keep them up at times, but she gets progressively better. We can also feel the heat between them: there's a lot more than teaching going on. EUGENE Stop at that fallen tree! She's approaching it too fast. EUGENE Put the clutch in! CATHERINE I'm trying to - I can't find fucking neutral! EUGENE Down! Kick it down! She's too late; all she can do is slam on the brake. The bike skids into the tree and the engine stalls.

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CATHERINE Shit! EUGENE (laughing) Don't feel bad, I ran into a fence once. DISSOLVE TO: EXT. DAY CAMPSITE - MONTAGE Catherine and Eugene are ready to mount the stallion. CATHERINE (with a florid bow) vous. Remember, this ain't no it's an Arabian stallion. His is really sensitive. You want firm but gentle with the reins.

Apres hawg, mouth to be

Eugene swings into the saddle fairly gracefully. CATHERINE Take your foot out of the stirrup and give me your arm. She climbs up behind him. Eugene is holding both reins in his right hand, western-style. CATHERINE We're riding English so take a rein in each hand. When you want to turn him, press against him with the inside leg and frame him in with the outside. EUGENE Frame him in? CATHERINE He's not like your dumb motorcycle - he bends. And you want him to bend with the line of the circle. Got it? EUGENE Uh, yeah.

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CATHERINE Okay, now canter him. Squeeze with your legs and when you feel him depart, give with the reins. After a couple of false starts the stallion breaks into a canter around the meadow. CATHERINE Use your knees - don't be a passenger. As they return to the campsite, Catherine suddenly vaults off the stallion's rump, leaving Eugene to solo on the startled horse. The stallion rears and Eugene leans in against him. EUGENE Whoa! Easy, boy! Laughing, Catherine gets control of herself and then of her horse so Eugene can get off. With an English accent, he acts as if he wasn't the least bit concerned. EUGENE Is that the way you normally dismount, my deah? CATHERINE Only ven I'm in a hurry, dahling - or getting even vith some cla-zy biker who chases horses on his motorcycle. EUGENE Are we even now? CATHERINE For the moment. You did pretty well by the way. EUGENE So did you. You see? Bikes and horses aren't all that different.

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CATHERINE (sarcastically) Right - horsepower and all that. They walk to the tent, Catherine leading the stallion. EUGENE And freedom. That’s what we’re both looking for. CATHERINE I never looked at it that way....You know, you're welcome to stay here for a few days if you want. EUGENE Thanks, But I'm goin' up to Shasta. Why don't you come with me? CATHERINE There are places I could show you that you'd never even know about otherwise! EUGENE It'd be great to have you along. She strokes the stallion's muzzle. CATHERINE ...How soon are you going? EUGENE Soon as you get some things together. I'll clean up here and meet you at the ranch. CATHERINE Okay. You got yourself a tour guide. She swings up into the saddle. CATHERINE Meet you back at the ranch!

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She canters away. Eugene watches them go, then smiles and shakes his head at what he's getting them both into. INT. DAY - RANCH KITCHEN Catherine bursts through the door. Lucille looks up with a start from the table, slipping something she's been looking at beneath her apron. She appears upset. CATHERINE Hi, Lucille! Where's Ram? LUCILLE I don't know where Ram is. He's gone up to the Mountain, I believe. Where have you been, girl? CATHERINE Up to Shasta? LUCILLE You didn't answer my question. CATHERINE Oh, Lucille...I spent the night with a friend, out of the rain. I'm going to show him Mt. Shasta. But why's Ram gone up there? LUCILLE Far be it from me to know why Ram does any of the things he does. I don't suppose you're going to tell me what you're up to either. CATHERINE Just camping - I won’t be gone long. You'll tell Ram for me when he gets back? LUCILLE You bet I will, young lady.

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EXT. DAY - RANCH Eugene sweeps up the drive on his bike. Douglas runs out of the house to see who it is. Eugene drives up to him, stops and shuts off the engine. EUGENE Hi. I'm here to see Catherine. DOUGLAS (puzzled, not hostile) Whattaya want with Cathrun? EUGENE I'm a friend of hers. Could you tell her Eugene is here? DOUGLAS Eu-gene? Eugene nods. Normund looks on in the BG. Douglas turns for the door as Catherine comes out with a backpack. CATHERINE Hi! Douglas, this is my friend Eugene. She puts her arm around Douglas, smiling reassuringly. CATHERINE Could you please help me on with this? Douglas's face reveals hurt, jealousy, incomprehension, but he helps her. When the pack is on, she turns to him. CATHERINE Douglas, I'm going to be camping for a few days. Could you please look after Jebel for me while I'm gone? He doesn't answer, looking at her with bewilderment. CATHERINE Aw, c'mon - we're friends aren't we?

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She stretches to kiss him on the cheek, then on tiptoe leans to whisper in his ear. CATHERINE I love you, you know. He’s thunder-struck. She seems a little surprised and delighted herself. Eugene watches with interest, perhaps a bit embarrassed at being an observer. Catherine has pulled away and with a hand touching Douglas's arm, looks questioningly into his eyes, as if asking whether he understands the kind of love she's talking about, while reassuring him she means it. His expression says he understands. Catherine squeezes his hand and bounds toward the bike, where Eugene regards her with affection and admiration. She climbs on, hugging him with her cheek against his leather jacket. He starts the engine, glances back to make sure she's ready, and pulls away down the drive. Catherine turns and waves to Douglas. He waves back and watches them go, then turns to enter the house. Lucille stands at the door. LUCILLE That girl... DOUGLAS She'll be okay, Aunt Lucille. She knows what she's doin'. That Eu-gene must be a good man. He says this with such uncharacteristic authority that Lucille stares almost open-mouthed after him. Then she looks at something she's holding and her eyes cloud over. It's a... INSERT - GOLDEN EAGLE FEATHER Its significance appears unclear, but ominous, to her. EXT. DAY - HIGHWAY

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Catherine (ecstatic) and Eugene (coolly in control) roar away from us toward Mt. Shasta...while, in profile, his eyes hidden as always behind sunglasses, the emotionless face of the Leader watches them. EXT. DAY - MT. SHASTA CITY Catherine and Eugene enter the small town at the foot of Mt. Shasta. CATHERINE There's a place up ahead where we can get food. He nods and they pull up to a health food store. INT. - STORE CATHERINE (walking between shelves) What do you usually get? EUGENE Dried fruits and nuts mostly. Some of these freeze-dried soups and things aren't bad. Bread. Peanut butter... whatever you want. CATHERINE Fruit? Vegetables? EUGENE Sure, just keep weight and space in mind. CATHERINE I’m going to look for shampoo. She looks at organic shampoos while Eugene gets the rest. They take them to the cash register, where both of them put money on the counter. On a bulletin board beside the cash register are notices and posters of the various spiritual trips continually going on around Shasta.

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CATHERINE ...The Mt. Shasta spiritual menu. EUGENE Plenty of variety anyway. CATHERINE This stuff is all such a joke. Where we’re going tomorrow you sure won't need any kind of "spiritual" trip. EUGENE Sounds like a good place to start. The CASHIER, a "spiritual hippie" in his late 20s, has been listening to Catherine's remarks with amusement. CASHIER I couldn't help overhearing. I know some of our activities may sound a little weird. But if you're feeling adventurous, there's a lady who's lived here for years who's had some pretty far-out experiences with Shasta. EUGENE Really? CASHIER She has meetings every Friday night during the summer; anyone can come and they usually turn out to be real highs. Her name's Roberta - 424 Maple Street. CATHERINE I'll meet you outside. She gives him an "I-told-you-so" look from the door. EXT. DAY - ROAD UP THE MOUNTAIN

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CATHERINE See what I mean? People latch onto Shasta like parasites. Eugene just smiles. Soon afterwards she leans and points. CATHERINE That's a good place to camp. They pull off the road. Eugene rides and pushes the bike into the underbrush to hide it from the road and covers it. He puts on a backpack stowed in back, and they take turns loading each other's packs with the things they'll need for the night. EXT. DAY - TRAIL The rest of their dialogue over a MONTAGE compressing a half hour hike into the length of their conversation. Catherine enjoys showing off her mountain. CATHERINE Well, what do you think of it so far? You feel any "strange vibrations"? EUGENE (chuckling) Not so far. CATHERINE What is it you hope to find up here? EUGENE (egging her on) I don't know...maybe that secret entrance - to another world. CATHERINE Right. I'd like to find that myself. It's bound to be an improvement over this one.

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They walk on in silence for a while. CATHERINE You were reading when I rode into your camp. EUGENE Yeah, books are my road maps sometimes. CATHERINE Road maps? EUGENE They’ve helped me realize how much of what I thought was “me” is really just bullshit I've absorbed over the years. CATHERINE ...So, why don’t you share some "Road Warrior's wisdom" with me. EUGENE (laughing) That has a nice false ring to it. CATHERINE I thought so. EUGENE Okay, you ready for this? ("framing" it with hands) ...We create our own reality. CATHERINE (groaning) Ohh no, that's worse than a cliche! It's a new-age cliche! EUGENE But it helps explain your childhood experiences on Mt. Shasta - rather than just dismissing them as a child's imagination.

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CATHERINE Oh I don't dismiss them. EUGENE Good, you shouldn't. And I don't dismiss the possibility that there may be something behind Shasta's legends. CATHERINE Oh, there is, definitely - wishful thinking. Eugene laughs, then points to what appears to be a... EXT. - CAMPSITE EUGENE (O.S.) Looks like some kind of campsite. BACK TO SCENE They walk over to check out what appears to be someone's semi-permanent camp: very elaborately laid out, with landscaped terraces, a small garden, rock-lined paths and geometrically shaped plots of earth cleanly swept. Miniature irrigation channels divert water from a nearby stream. Some are purely decorative or ceremonial. There are tiny waterfalls and pools; artificially constructed "rapids", where the water spreads out on the ground like a silver fan. It's beautiful in a simple, primitive way. They stare at the scene in silence but for the SOUNDS of FLOWING WATER and the WIND in surrounding evergreens. CATHERINE Have you ever seen anything like it? They walk circumspectly around the site so as not to disturb possible occupants of a weather-beaten tent. As they near the stream, which the trail crosses, Eugene points out another tent-like structure, but quite low to the ground, made of plastic.

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CATHERINE What do you suppose that is? EUGENE A sauna? CATHERINE You think so? EUGENE Someone means to stay the summer up here, wouldn't you say? CATHERINE In style!...All those geometric shapes do you think they're just for looks? EUGENE Well, you know, it reminds me of a mandala - you know what I'm talking about? A sort of ritual design, for meditation or prayer. CATHERINE They do feel like more than just some kind of decoration don't they? EUGENE ...You know what I really like about you? CATHERINE (pleased and intrigued) No, what? EUGENE How turned on to life you are. CATHERINE You think so? EUGENE I know so.

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They look into each other's eyes. Eugene takes one of her hands gently, then cradles her face in the other to kiss her tenderly. When their lips part there’s a loving expression on Catherine's face that we haven’t seen before. CATHERINE I sure feel that way now. EXT. NIGHT - CAMPFIRE Catherine and Eugene are eating, amidst a chorus of FROGS and CRICKETS, the GURGLE of the nearby STREAM. CATHERINE ...It's so good to be on the mountain again. But, you know, if you hadn't come along I might not even have come up here this summer. EUGENE Why not? CATHERINE Oh...laziness. I keep taking the easy way. I thought I'd get over that by coming up to the ranch, but I could feel it returning the day after I got here. EUGENE There aren't any mountains high enough are there? CATHERINE Or horses fast enough. EUGENE Or motorcycles. CATHERINE You too?

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EUGENE Sure, if I'm as honest with myself as you are. CATHERINE Here with this super-cool biker image, I thought you had everything under control. EUGENE Yeah - well, at least I've got the image down. CATHERINE That's all it is? Underneath, the "Zen Biker’s" just as fucked up as everyone else? Eugene just smiles and shrugs in reply. CATHERINE ...What's the answer then, Mr. Motorcycle Man? EUGENE ...That's what I'm trying to find out. Suddenly a beautiful, almost ethereal chanting-singing male VOICE rolls down from the slopes. It's a DEVOTIONAL SONG of some kind, and its clear, haunting tones persist for some time beneath the rest of their conversation. CATHERINE ...Isn't it beautiful? EUGENE I bet it's coming from that camp we saw. CATHERINE (lying on her back) ...When Ram first brought me up here, he showed me the stars like I'd never (MORE)

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CATHERINE (CONT’D) seen them before. These fantastic stories....Then when the moon came up, he said we were going to see the things he'd been telling me about. The sky started to cloud up... ...As is happening now, as we... DISSOLVE TO: FANTASY SEQUENCE - NIGHT - MONTAGE ...depicting the scene Catherine is describing. Intercut between Catherine and Eugene, the fantasy, and... CATHERINE AS AN 8-YEAR-OLD ...with Ram, looking only slightly younger. CATHERINE (cont'd, V.O.) ...and sure enough, when I looked where he pointed, and let my eyes go out of focus, I could see wolves chasing a bear. (gasping) EUGENE What is it? CATHERINE (CONT’D) ...something I'd forgotten: I can see it just as clearly as if it were happening right now. A canoe, with an INDIAN PRINCESS, floating downstream. Catherine seems transported to another time or place and Eugene is fascinated. CATHERINE (cont'd) (V.O. & on camera) She had jet black hair...and (MORE)

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CATHRINE (CONT’D) something, something red: a sash maybe, or a red feather. She looked so serene, sitting there. Then Ram pointed to this whirlpool! She doesn’t, she didn't see it! I tried to warn her, but she didn't hear me! Catherine's voice rises and she's somewhat breathless as she recalls the vision. When she regains her composure, her voice has a calm certainty. CATHERINE (cont'd) ...Then, it was almost as if I was right there, beside her. I knew we'd be all right. INDIAN MAIDEN In Catherine’s vision now, the Indian maiden appears to see her; her expression is a combination of surprise and recognition, as if she's been expecting Catherine. CATHERINE looks back at her, amazed. Then, from her face, the CAMERA PULLS BACK from the forested slopes, illuminated by a nearly full moon, until revealing, high above them, his face faintly lit by his own small campfire... RAM ...listening to the same voice as Eugene and Catherine. EXT. MORNING - FOREST CANOPY Jerry, the biker boy, takes us on another "treetop trip," bringing us down to earth in a long sweeping arc...

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EXT. MORNING - GANG’S CAMP ...then runs to his mother's sleeping bag, where he kneels and strokes her hair. She mumbles her displeasure. HELEN Goddamnit, Jerry what the hell you doin'? Leave me alone, will ya! JERRY I'm hungry. HELEN Well, Goddamnit, there ain't nothin t' eat. If there was nothin' last night, how do ya think there could be anything this morning? You think any a these assholes could hustle up something after dark? Hell they're afraid a the dark! This is for the benefit of Pretty Boy, awakened by her harangue, propped on his elbows glaring at the sky. HELEN What're ya doin' up this early anyway? JERRY (slyly) ...Flyin'. Blood rushes to Helen's face; before she can vent her own anger, Pretty Boy is up on one elbow screaming. PRETTY BOY You crazy little punk! I tol'ja t' shut up with them stories a yers! What kinda woman could have a kid that weird? He had to've got it from you - in the blood or somethin'! Worse'n givin' a kid the clap! HELEN You sonofabitch!

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Pretty Boy kicks his booted feet to get out of his sleeping bag, succeeding only in entangling himself in it. Kicking, flailing his arms, he rolls down into a dry streambed trying to get out. The Fool comes over. THE FOOL Jesus Christ! What'd he do, go t' bed with a scorpion? HELEN We're hungry! Whaddaya think? With everyone around here too stoned and too helpless t' get some food somewhere, we're all gonna starve! We gotta get back to civilization! THE FOOL You sayin' we ain't able t' survive out here fer Chrissake? Hell, baby, them kinda roots runs deep. My great granpappy was a trapper. Between me and a dude that seen action in Nam, we got us enough fire-power t' bring down a damn bear! HELEN You're out of your mind. The only way we're gonna get anything to eat is to go on a food run. She glares at the Leader. THE FOOL (yelling to the Vet) Yo, Mai-lai! Git yer piece assembled! We're goin' after venison! EXT. DAY - CATHERINE & EUGENE’S CAMPSITE A solitary figure in meditation as mist rises from the ground. O.S. a ZIPPER is PULLED. Catherine emerges from her sleeping bag, yawning, looking for Eugene. When she

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spots him, she’s annoyed. Fully awake now, she turns in resignation for a hike alone through the forest. She hasn't gone far when she sees first... A DOE ...then, nearby, her two fawns. BACK TO SCENE Delighted, she turns back toward Eugene, obviously wishing to share the experience. Instead, confronted again by the sight of him in meditation, she shakes her head in frustration and continues her walk. DISSOLVE TO: SAME SETTING - LATER Eugene stretches his legs, stands and gazes with pleasure around him, then walks toward the sleeping bags, where Catherine is making coffee. EUGENE You're up! CATHERINE (coolly) Good morning. EUGENE Coffee smells good. She smiles perfunctorily. He picks up on her mood but cheerfully helps with breakfast. They're both silent at first, then talk while preparing and eating breakfast. CATHERINE ...I saw you meditating earlier. EUGENE I figured you might. I thought about (MORE)

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EUGENE (CONT’D) goin' someplace more private - then decided the hell with it. CATHERINE Why didn't you want me to see you? EUGENE Looks kinda pretentious to someone who doesn't understand what it's all about. CATHERINE Like me huh? What do you get out of it? EUGENE ...You know how your pool's a special place for you? Meditation's where I go t' keep myself from gettin' too weird. CATHERINE (doubtfully) Does it work? EUGENE Most of the time. It’s supposed to have all kinds of long-term benefits too. CATHERINE Like what? EUGENE ...Well, imagine what it would be like if you could wave a magic wand twice a day, every day, and spend half an hour at your pool. No hassle about getting there, no bad weather CATHERINE No crazy bikers, with yin/yang tents and road-warrior's wise sayings!

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EUGENE (chuckling) Definitely none a those. CATHERINE Sorry I interrupted - couldn't resist. EUGENE I don't blame you; guy like that makes an easy target. CATHERINE The only guy I know like that's a fucking enigma. Maybe that's part of the attraction. Eugene just smiles. CATHERINE (cont’d) How else to explain it? Motorcycles, new-age cliches...meditation? They're not even part of my reality. EUGENE “Reality's” just an interpretation. Meditation is getting to a place so quiet inside you begin to experience ...what we talked about yesterday: other parts of yourself. Parts usually covered up by just getting along in life. CATHERINE What's so great about that? I mean assuming it's true. EUGENE You kidding? That's like asking, Why explore space, or the New World? I'm talking about a part of you that’s like the hidden side of the moon that no one's ever gonna know about if you don't make contact with it somehow.

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CATHERINE Maybe that's the way it should stay hidden. EUGENE I can't believe you really feel that way. CATHERINE Why not? I have enough trouble getting along with the parts I'm aware of. EUGENE That's the whole point! If we're ignorant of a huge piece of ourselves, we're bound to have trouble making sense of our lives. Catherine is finding this all hard to accept. EUGENE How do you explain your Indian princess? You can't - it just happened. I believe it happened. CATHERINE You do? EUGENE Damn right. There's so much more going on in the world than we’re aware of, Catherine. Don't you sense that? CATHERINE ...You really are hoping to encounter some kind of strange experience up here aren't you? EUGENE (smiling) Absolutely. I already am.

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CATHERINE Mine I'd call downright weird - but that's not the kind of experience I was talking about. EUGENE Maybe it's too early to know. Catherine says nothing but appears more receptive and intrigued by him. EXT. DAY - INSERT A small patch of bare ground. The SOUND of a SHAKEN GOURD. A stick traces the spare symbolic image of a bird's wing in the earth. EXT. DAY - MT. SHASTA Ram is the shaman/artist, absorbed to an almost trancelike degree. He drops a golden eagle feather onto the wing, then looks down as if from a... HIGH ELEVATION ..above the mountain. BACK TO SCENE Ram moves his hand over the feather as a seer does before a crystal ball. HIGH ELEVATION above the mountain: something red on the ground. Like a predatory bird's telescopic vision, the CAMERA ZOOMS IN to Eugene's red bandanna draped across the branch of a tree. O.S., the Indian GRUNTS.

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INSERT - THE EAGLE FEATHER that Ram dropped. A drop of blood drips onto the feather. The SOUND of the GOURD SEGUES into the SOUND of a small bird's BEATING WINGS. EXT. DAY - MOUNTAIN TRAIL Lost in thought, Catherine and Eugene hike back down the mountain to Eugene's bike, Catherine in the lead. EUGENE (O.S.) Damn! CATHERINE (stopping, turning) What's wrong? EUGENE (brushing hair from eyes) Must've left my bandanna back where we camped. CATHERINE Want to go back for it? EUGENE Nah, it's not worth it. CATHERINE ...Looks like you have a visitor. EXT. DAY - MOTORCYCLE A cardinal sits on the handlebars. EUGENE (O.S.) Well that's...a cardinal, isn't it? BACK TO SCENE CATHERINE I guess so. Why?

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EUGENE Have you ever seen one around here? CATHERINE Hell, I don't know. EUGENE They're not native to this area. They get closer to the bike but the bird, eyeing them intently, doesn't fly away. CATHERINE Look how he's watching us! EUGENE (smiling) ...I guess he's guarding the bike. CATHERINE (laughing) I was thinking the same thing. Okay, baby, you've done your job - you can fly away now! The bird does just that. They watch it fly from the side of the mountain into a brilliant blue sky, hundreds of feet above the forested, rock-strewn slopes. EUGENE I knew you could talk to horses, but you never said anything about birds. CATHERINE (laughing) Well, I've talked to them before, but I wasn't sure they were listening. EUGENE (facetiously) I told you we have powers we haven't tapped yet....Let's go find this waterfall of yours.

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EXT. DAY - MT. SHASTA Ram's appaloosa grazes. Suddenly the cardinal alights near the horse, which lifts its head and snorts. EXT. DAY - MT. SHASTA VILLAGE As in a traditional Western, the Gang roars into town. Townsfolk look up in alarm - or delight in the case of some youngsters. The Leader may be following his intuition when he leads the Gang down a side street to the health food store Catherine and Eugene visited. He stops in front and motions for the Fool to go inside. The Fool pushes through saloon-style swinging doors. INT. - STORE He pauses melodramatically inside the door, then swaggers to the counter. Suddenly the JINGLE of what sound like SPURS in sync with his steps. The Fool glares around to locate the sound. The grinning hippie cashier behind the counter holds up a leather bracelet adorned with bells. THE FOOL ...That's real funny. CASHIER Hey man, it was too good to pass up. THE FOOL (breaking into a grin) Guess it was at that. Say, I'm lookin' for a buddy of mine - and his lady friend. They woulda come in here sometime the last couple a days. He's kind of a quiet dude, intense. The chickie's a real looker. CASHIER "Friends" of yours huh? I'm not sure I (MORE)

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CASHIER (CONT’D) remember seeing them. Who should I say is looking for them if they, uh, happen to come in? THE FOOL Well, if they should just "happen" t' come in, maybe you could give 'em somethin' for me. CASHIER Sure. EXT. - STORE The Fool swaggers out, eating a piece of carrot cake with a big smile on his face, and tosses some maps and brochures rubber-banded together to the Leader. THE FOOL Place called Panther Meadows - we take the next street right up the mountain. Real helpful little guy. The Gang guffaws as he gets on his bike. EXT. DAY - DIRT ROAD A plume of dust rises behind Catherine and Eugene as they approach the base of Mt. Shasta from the north. CATHERINE That peak on the right is Shastina, Shasta's "mate". Most people don't even know it's there and I think it's prettier than Shasta. END OF THE ROAD - LATER

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CATHERINE This is as far as we can ride. It's about an hour's hike from here. They get off and Eugene hides and covers the bike, then surveys the magnificent countryside. EUGENE Shastina huh? You ever heard of tantra? CATHERINE Does it have something to do with sex? EUGENE Well, sex and a lot more. Or all of sex - not just the physical part. The most important thing is getting so much inside another person you forget about yourself. CATHERINE Why did you ask? MT. SHASTA & SHASTINA EUGENE (O.S.) The two peaks. They look like ideal mates - the way they complement each other. CATHERINE looks from the mountains to Eugene, captivated by the remark. EXT. NIGHT - CAMPSITE A full moon makes a glistening silver curtain of the falls. Catherine and Eugene recline nearby beside a fire; she is nestled against him.

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CATHERINE Ram brought me here for the first time when I was seven....I'm sorry I went on so about your meditating. EUGENE That's all right - I'm glad we talked. CATHERINE I guess it's the idea of trading-in thinking and common sense for simplistic bullshit about God, or the "guru", being the answer to everything. EUGENE "New-age" as just another organized religion. CATHERINE Exactly. And all the smug selfrighteousness that comes with it. EUGENE Let's don't let that spoil our party. CATHERINE It won’t - let's wash those thoughts right out of our minds. She stands up suddenly and begins to unbutton her blouse. There's a warm smile on her face: sexual but with more innocent pleasure than lust in it. Eugene is spellbound. In a moment she’s nude, lit by the wavering firelight. CATHERINE Come on! It'll be freezing but we have the fire. She slips away into the darkness. CATHERINE (O.S.) Bring a towel!

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Eugene grins and begins to undress. WATERFALL Catherine shivers knee-deep in a pool in front of the falls as Eugene tests the water with his foot. EUGENE Whoo! How can you stand it? CATHERINE Oh, c'mon, motorcycle man - don't be a wuss! He wades into the pool, grabs Catherine around the waist and carries her, shrieking and struggling, into the middle of the waterfall. It takes their breaths away but they embrace. The falling water slows until it is fluid silver in SLOW MOTION...and the scene becomes an impressionistic choreography of the dance of love. DISSOLVE TO: CAMPSITE - LATER Catherine and Eugene lie on their sleeping bags by the fire, locked in each other's arms. The scene is more subjective than most love scenes: by seeing mostly what each of them sees, we experience it with them from the inside more than witnessing it as voyeurs. Shots of each of them from the other's POV become increasingly more abstract and orgasmic until it's difficult to distinguish one person, one body, from the other. All we see at times is their combined movement: frenzied, fluid, flowing. First Catherine, then Eugene begin to repeat the other's name. An intense new level of love is being generated by their physical union, and saying the other's name is both caress and communication: "Here's where I am and this is how I'm experiencing you." We're seeing/feeling their combined mental imagery: an intense and flowing vision... which finally climaxes for them simultaneously.

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FADE TO: EXT. MORNING - CAMPSITE Catherine and Eugene lie on their sleeping bags, which are zipped open, partially revealing their nude bodies. Mostly wordless at first, the scene reveals how relaxed and tenderly loving they've become with each other. Neither comes across as "sexy" or driven by desire so much as overcome by wonder at what they're experiencing together. We linger on their caressing hands, their eyes - one moment closed, the next looking deeply into the other's - and their lips, parted not so much in passion as in gentle murmuring sighs. CATHERINE (almost a whisper) ...Isn't it wonderful? EUGENE Mmmmmm! CATHERINE Under the waterfall I couldn't tell after a while where we left off and the water began...and then later... She utters a half-laugh that ends in a sustained musical note of delight, then covers him in an embrace that moves her body over his like flowing lava. EXT. DAY - PANTHER MEADOWS CAMPGROUND The Gang finds the campground deserted. PRETTY BOY (as the Fool rides up) ...Panther Meadows huh? Everything but panthers and the guy we're lookin' for. THE FOOL (giving him the finger) Look at this, Goldilocks.

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THE LEADER (to Pretty Boy) I want you t' show our friend in town how we feel about false information. THE FOOL Hey, man, that's my score t' settle. THE LEADER You had your chance, and the dude sold you ten acres a mountain real estate. You'll like where we're goin' better anyway. PRETTY BOY You go on, Hoss. I'll bring you back another one a them cakes you was eatin'. THE FOOL Sit on yer fuckin' cakes, shithook! PRETTY BOY Course I will, Hoss - 'at's the way you like 'em ain't it? The Leader walks off by himself with the maps and brochures given to him by the Fool, while the rest of the Gang break open beers and horse around. PANTHER MEADOWS OUTHOUSE Quietly, Jerry and the Fool encircle the outhouse with a long chain secured to the Fool's bike, then take off. With a loud crash, the outhouse follows - leaving the Intellectual groveling in the dirt with his pants down. THE LEADER is hunched over a...

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INSERT - TOPOGRAPHICAL MAP ...spread out on the ground. BACK TO LEADER He looks almost hypnotized. With the broken hose clamp from Eugene's bike in his left hand, he randomly traces the fingers of his right over the... INSERT - TOPOGRAPHICAL MAP ...homing in on a smaller and smaller area until he's finally pinpointed a specific location: Whitney Falls. BACK TO SCENE He looks up with an expression of success. EXT. MORNING - CAMPSITE Catherine and Eugene are drinking coffee after breakfast. She's restless and uptight; he doesn't know why. EUGENE ...So where's the next Mt. Shasta power spot you wanta show me? CATHERINE "Power spot"?...I don't know - where do you want to go? EUGENE ...Well, let's see...isn't tonight when Roberta has her weekly soiree? CATHERINE You're not thinking of going there are you?

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EUGENE (taken aback) Just thinkin' out loud is all. What harm could it do? CATHERINE It's just a waste of time! It'd drive me up the fucking wall. EUGENE ...What's wrong, Catherine? CATHERINE I don't know, I'm just - it's not you. ...I just feel so restless all of a sudden. EUGENE I don't care if we go there tonight CATHERINE It's not that. Eugene makes a shrugging gesture and waits for an explanation. CATHERINE ...This is just my bitch persona checking in. Another of Catherine Conrad's many faces. Eugene gives her a one-armed hug. EUGENE It's okay. I'll pack up and we'll get outa here. EXT. DAY - DIRT ROAD The Gang turns off the highway onto the dirt road Catherine and Eugene took to the falls.

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EXT. DAY - CAMPSITE Catherine, looking helplessly stricken, prepares to mount Eugene's bike. He looks back with compassionate bewilderment. CATHERINE See, this is my hidden side, not some new-age self-realization fantasy. EUGENE We're just outa sync for the moment no big deal. CATHERINE (sighing) Maybe you'd better just take me into town. EUGENE ...Okay. She gets on and they ride onto the dirt road. THE GANG is approaching; only the railroad track and half a mile or so separates them from Catherine and Eugene. We HEAR a freight TRAIN laboring up the steep grade. Suddenly, a cardinal appears from nowhere - right in the Leader's face like a red blur! Taken by surprise he has to put his bike down to keep from wrecking. Then the bird is gone. The rest of the Gang gather around as the Leader brushes himself off and tries to explain. THE LEADER Fuckin' bird! Came outa nowhere! The long freight train lumbers past in front of them. CATHERINE & EUGENE approach the train from the other direction.

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EUGENE Shit! We'll be here for 20 minutes. CATHERINE Take the road there to the right! I know how to get back on! They do... DISSOLVE TO: THE GANG - LATER ...and by the time the train has passed, all that's left of Catherine and Eugene is their lingering dust. EXT. DAY - MT. SHASTA CITY Catherine and Eugene ride into town. She gets off and he sits there waiting to hear her plans. CATHERINE ...I just need to be alone for awhile. You understand don't you? EUGENE Sure. Want me to take you back to the ranch? CATHERINE (grimacing) I'll let you know this afternoon, okay? EUGENE Fine with me. CATHERINE Three o'clock? At that coffee shop over there. EUGENE See you then.

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They exchange a wordless look, then he pulls away from the curb and accelerates. She watches him a moment, then walks away in the other direction with a look of determined independence. When she passes a boutique, something in the window catches her eye and she goes in. EXT. DAY - SIDEWALK Pretty Boy is standing in front of a bar up the street, picking his teeth. He's seen her. He walks past the boutique, glances inside... INT. - BOUTIQUE - POV PRETTY BOY BACK TO SCENE ...and recognizes her. When he turns, his eyes have the cold, hooded glimmer of a snake's. He stands casually on the sidewalk, lights and inhales a cigarette in a passable James Dean, and watches Catherine through the corner of his eye. He appears to be in full stride when she walks through the door. PRETTY BOY (double-take) Hey - the lady with the horse! She gives him a withering look and brushes past him. PRETTY BOY (overtaking her) Sure was some horse you was ridin' the other day. Catherine ignores him disdainfully. PRETTY BOY ...Understand you had a little run-in with the dude we was talkin' to.

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CATHERINE (without slowing) Who told you that? PRETTY BOY He did....There's a few things about him you don’t know. CATHERINE What the hell do you know about him? PRETTY BOY Plenty, baby, plenty. CATHERINE (stopping) ...Like what? PRETTY BOY Like what he does t' good-lookin' women. Catherine blinks and starts walking again, nervous now. CATHERINE You're full of shit. PRETTY BOY Don't say I didn't warn ya. He stops; she keeps walking, but Pretty Boy has planted a seed. When she turns her head he's gone. PRETTY BOY kick-starts his chopper and pulls into the street. CATHERINE hears him; he cruises slowly past with a look that appears to have only her best interests in it.

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CATHERINE ...Wait! He swings around and returns. CATHERINE How the hell do you expect me to believe you? I don't even know you. PRETTY BOY How well do you know him? CATHERINE ...So what is it he's supposed to have done? PRETTY BOY Sposed to? Lady, this dude's done time. And the law don't even know about most of 'em. CATHERINE I don't believe you. PRETTY BOY ...Yeah, that's prob'ly what the others would a said. CATHERINE Who the hell are these "others" you keep talking about? PRETTY BOY Women no one warned - or if they were it didn't do no good. We can see her wondering how much of this to believe. They're getting stares from motorists and pedestrians. PRETTY BOY ...Listen, we can't talk here in the street. Is there someplace in this one-horse town where we can?

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CATHERINE Well, there's a coffee shop - no, not there. Let's see...there's a Denny's just off the interstate. PRETTY BOY Hop on. (she hesitates) ...I can meet you there if you want. CATHERINE (impatiently) No, it's too far....Okay, but don't even think of trying anything or I'll rip your eyes out. PRETTY BOY Jesus Christ, lady - I'm tryin' t' save yer ass. She climbs on reluctantly. The second she's on the bike Pretty Boy pulls away so abruptly her head snaps back and she has to grab hold of him to keep from falling into the street. EXT. DAY - GAS STATION Eugene, having just gassed up, is talking to a young MECHANIC who's impressed with the bike. MECHANIC Harley-1200 isn't it. (Eugene nods) Haven't seen many in the kinda shape this one's in. Pretty Boy and Catherine roar by but she doesn't see him. Eugene's expression gives him away. MECHANIC You know that dude?

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EUGENE ...Uh, yeah. MECHANIC I've seen the girl up here before. Comes up every summer. Eugene looks after his own, obviously what he's seen. He the incident - and Mechanic. the bike, thinking. Finally he gets on still considering the implications of shakes his head once as if dismissing Catherine with it - and looks at the EUGENE Take it easy. MECHANIC You too, man. Eugene leaves the station in the opposite direction from Pretty Boy and Catherine. His face is still troubled. He goes only a block, then makes a U-turn and accelerates. THE MECHANIC shakes his head in admiration as the bike roars past. CATHERINE & PRETTY BOY CATHERINE Goddamnit, let me off! PRETTY BOY Fuck you, sister! CATHERINE You want your eyes torn out?! PRETTY BOY Do it! Let's die together, Baby! (laughs hysterically)

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Catherine thinks frantically – looks up the road: no one coming (they're out of town now); looks behind them. A MOTORCYCLE - POV CATHERINE BACK TO SCENE She squints - could it be Eugene? Pretty Boy spots the bike in his... INSERT - MIRROR Eugene’s gaining fast. BACK TO SCENE Pretty Boy turns and identifies the rider. His eyes narrow; he turns back around and accelerates. They're going well over a hundred now on the narrow highway. A couple of cars zip past so fast they're just blurs. EUGENE the better rider on the better bike, continues to gain. BACK TO SCENE Catherine looks back again, terrified; she holds onto her abductor as if he were her lover. Eugene pulls even with them. Catherine mouths the word "Help!" Eugene edges up to where he can look directly into Pretty Boy's face. EUGENE Pull over! PRETTY BOY Try anything and the bitch is dead!

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They race along side by side. Then Eugene drifts back so Pretty Boy can't see his communication with Catherine. He touches his ear and mimes an exaggerated bite. She grimaces and gives him an "are you crazy?" look. He nods emphatically. She takes a deep breath, leans forward precariously to reach his ear...then bites down – not savagely but firmly. The bike wobbles dangerously. PRETTY BOY Owww! What the fuck ya doin'? EUGENE (beside him now) She'll take it off if you don't stop! PRETTY BOY She's gonna kill us both! EUGENE Not before you lose your fuckin' ear! Pull over! Pretty Boy slows. Catherine doesn't release her grip. INSERT - EAR Blood oozes from between her clenched teeth. BACK TO SCENE When they've slowed sufficiently Eugene motions for her to vault from the back, as she did from her horse. She gathers her nerve and does a back roll on her shoulder to cushion the fall. A split second later Eugene leaps from his bike, pulling Pretty Boy to the ground and falling on him, then tucking and rolling expertly. Jumping up, he lifts the injured biker with one arm and creams him in the jaw with the other. Pretty Boy wriggles like a wounded snake to avoid a kick, while Eugene glares down at him...and Catherine, dazed and on her knees, retches.

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EUGENE Get out of here if you can. You try anything like that again, I'll kill you. He turns to Catherine, taking the bandanna from his hair - a white one now - to swab her mouth. EUGENE It's all over now, Catherine. You were fantastic! CATHERINE (sobbing) Oh Gene, I'm such a fool! I believed him! EUGENE (hugging her) No, Baby - you're magnificent. She looks at him with an expression almost of wonder and throws her arms around him...while in the BG Pretty Boy struggles with his banged-up bike, glowering at them with a look of hatred. In a tree overlooking the scene is... A CARDINAL EXT. NIGHT - ROBERTA'S HOUSE Catherine & Eugene ride up. The address is lit by a porch light. EUGENE Four-twenty-four - that's what the man said. CATHERINE Yep, this is the place. (only half facetiously) I don't see any weirdos in robes and ethereal “auras” floating around though.

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EUGENE (chuckling, pointing to his head) I think most of them are up here. She gets off the bike in obvious pain and stiffness and they walk up to the house. CATHERINE Do you think they'll allow a non-believer into the inner sanctum? EUGENE I think they'll let us in the house. CATHERINE (making a face) You're supposed to react. He runs onto the porch ahead of her, raising his arms. EUGENE Abandon hope, all ye who enter here! CATHERINE (laughing) That's supposed to be over the doorway to hell. EUGENE Best I could come up with on the spur of the moment. INT. - ROBERTA'S HOUSE They're ushered into a tastefully furnished living room in which about 30 people - mostly in their late teens and early 20s, though a few are middle-aged and there is also an elderly couple - sit on chairs or the floor listening to ROBERTA, a woman in her late 50s/early 60s with extraordinary presence. Although a few seem skeptical or uncomfortable to be here, most hang on every word. There are two green candles on the mantel, a tasteful array of

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photographs and paintings of well-known saints and a stunning visionary landscape painting on the walls. The lighting is pleasantly low-key but not dark, with a movie screen set up against one wall. A SLIDE PROJECTOR on a table on the opposite side of the room provides PHOTOS or ILLUSTRATIONS where appropriate. Seated in a comfortable chair with a remote control for the projector, Roberta is dressed in a sort of muu-muu/ daishiki which is becoming rather than tacky. The others tend to the hippie-spiritual: denim, loose-fitting gowns, shawls and bright scarves. Eugene and Catherine find seats on the floor. ROBERTA (acknowledging them with smile) ...Stories of the people said to be living inside the Mountain are both numerous and bizarre. Descriptions run the gamut from "Little Men," a race of tiny dwarves, to the "Big Foot" or Sasquatch creatures. CATHERINE (in undertone to Eugene) Oh brother! ROBERTA Many Mt. Shasta residents have experienced odd occurrences in connection with the Mountain. One of the most authoritative eye-witnesses was Dr. Edgar Larkin, who wrote several articles on Lemuria and Atlantis, at least one of them published in the San Francisco Examiner. He was testing a telescope, training it on the mountain, when he saw three gold-tinted domes, which he said looked Oriental. They shouldn't have been there. Just a harmless old kook? Hardly - Dr. Larkin was director of the Mt. Lowe Observatory.

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This prompts a murmur but Catherine rolls her eyes. MAN IN HIS 20'S What did the domes turn out to be? ROBERTA Neither Dr. Larkin, nor anyone else that we know of was ever able to locate them again. MAN Well, wouldn't you say that makes his sighting rather suspect? Couldn't it have just been some sort of optical illusion or something? ROBERTA Of course. But that doesn't discourage some from believing the Lemurians are still among us. One of the stories I find most fascinating is of a great transparent bell located near a secret entrance to the Mountain. When the wind blows against its rim, it emits a strange, high-pitched vibration which repels anyone close enough to hear it. This provokes another murmur and prompts Catherine to turn in disgust to Eugene. CATHERINE This is too much! EUGENE (chuckling) Don't be such a tight-ass. YOUNG WOMAN Roberta, I can't tell whether you really believe all this or not. Would you mind telling us?

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ROBERTA ...Well, let me put it this way. I am here - as are a great many of the people around Mt. Shasta - I won't say "for a reason," but shall we say: not accidentally or coincidentally. We were somehow drawn here. Of course the mind, sensing there is some force at work here, needs an explanation. We need reasons for justifying our behavior, even when we've acted through intuition. I think this is how many of the legends have sprung up. They may symbolize subtle forces and dimensions which our rational minds can't grasp at present. I think intuition - things we know, without knowing how we know them - is the source for most myths and legends. EUGENE Why would our intuition about something require us to create a legend about it? ROBERTA You see, your mind receives bits and pieces of information - from your cells and your genes; from what Jung called the "collective unconscious:" our species' biological memory of evolution. ...One way your mind tries to make sense of these is by making a story out of them. Now this story, when compared to what we consider the "real" world, may seem to be false or nonsense. But the bits and pieces of information are real. And if they're real enough - by that I mean, if they're important enough to our survival as individuals and as a species - our minds will eventually agree on a story that makes enough sense to enough people that we'll begin to make that story come true.

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Again there is a murmur, of excitement and confusion this time, and Roberta lets her audience digest for a moment what she's said. Eugene doesn't look at Catherine. His face has the sort of illumination that comes from making a mental connection. Catherine appears more impressed by his expression than put off by Roberta's remarks. ROBERTA ...So, do I believe in these stories? I think only time will tell whether the information they're attempting to communicate is important enough for us as a society that we'll agree consensually to integrate them into our everyday lives. Maybe first of all, by actually finding a secret entrance in the mountain: gateway, perhaps, to a whole new realm of reality. EXT. NIGHT - ROBERTA'S FRONT PORCH The meeting is over. A few people are milling about, some of them talking earnestly to Roberta. EUGENE What'd you think of her? CATHERINE Well, I'll admit she's got charisma, but I think she's spent too much time on the mountain. Or inside of it. EUGENE (chuckling) I know you're dying to get out of here. I just have a couple of things I’d like to ask her. CATHERINE Go ahead.

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EUGENE (bending close) I really appreciate your coming. It wasn't a total waste of time for you was it? CATHERINE I'd rather be here with you than anyplace else without you. Eugene hugs her and they kiss. The simple act of love is still a thing of wonder to them, all the more poignant because they're trying to be reasonably discreet. When they part, the cashier from the health food store stands beside them - with a black eye and bandaged nose. CASHIER Hi - glad you decided to come! CATHERINE What happened to you? CASHIER Some of your "friends" were looking for you. CATHERINE (to Eugene, alarmed) It's them isn't it. EUGENE (nodding) Sorry they took it out on you - what happened? CASHIER Guess I gave them some information they weren't too happy about. I'm okay, I'm a fast healer. What did you do to those guys? EUGENE (shrugging) Challenged them, I guess.

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CASHIER ...What brings you up here? Eugene glances at Catherine and grins mischievously. EUGENE Maybe you could say we're looking for that Shasta "gate" Roberta was talking about. CATHERINE Hah! CASHIER You mean a secret entrance to the mountain? Do you know what I think? If there really is some kind of entrance, it's probably not an opening our physical body could enter but only our energy body. CATHERINE (sarcastically) "Energy" or "imaginary"? The cashier awards the skeptical pun a tolerant smile. CASHIER The body of energy surrounding, and governing, our physical body. All we need are the tools to measure it somehow, so science can get in on the act and give it credibility, and we'll be able to start taking advantage of the greatest natural resource we have. CATHERINE You said this energy body surrounds the physical body? CASHIER Right!

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CATHERINE Then how can the energy body go somewhere the physical body can't? CASHIER ...Uh, good question. I haven't figured that out yet. Catherine laughs good-naturedly. Used to such skepticism, the cashier isn't offended. Eugene shares her amusement, then notices that Roberta's alone. EUGENE Nice talking to you. He and Catherine walk over to Roberta. EUGENE ...I was interested in what you had to say and I have a couple of questions. ROBERTA (smiling) I'll do the best I can. EUGENE The "information" you mentioned - as being the basis for the stories about Mt. Shasta...what are the stories trying to tell us? ROBERTA (beaming, to Catherine) Someone was listening. (to Eugene) Well, that's the biggest mystery of all. I don't think, though, that the most important thing is whether or not Lemuria existed, or whether there are actually beings of some kind living inside the mountain. This isn't a story about the distant past or a separate people living apart from us.

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She looks at them, wordlessly asking: Do you understand? ROBERTA (cont'd) The stories are about us - our future and our present: what we must do now. CATHERINE You mean they're telling us to look inside ourselves for answers. Catherine's as surprised as anyone that she's spoken. Flustered, she looks from Eugene, who's observing her intently, to Roberta, who's smiling at her. ROBERTA ...I know that the two of you are on a journey. What Mt. Shasta has to teach you is between you and the Mountain. But I can tell you that the journey we must all make, very soon, is the most difficult, and crucial, that evolution has ever demanded of us: the journey... (gesturing) ...from the head...to the heart. Roberta lets the words sink in. EXT. NIGHT - ROBERTA'S FRONT LAWN Catherine and Eugene walk to the bike lost in thought. CATHERINE ...Why do you suppose she says we're both on a journey? EUGENE I've known that all along. EXT. NIGHT - GANG'S CAMP Partying is in full swing around a blazing fire. The

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Leader and Becky talk, away from the action. BECKY Why don't we get outa this miserable place, man? Why are we wastin' our time lookin' for some punk and his snot-nosed girl friend? LEADER After what he done t' my man over there? BECKY Bullshit! You were hung up on this dude before he messed up James Queen. LEADER He interests me. That's more than I can say for anyone around here. We'll move on - soon as we find him. BECKY Yeah, well another wild goose chase like today, and you'll be movin' on without me! HELEN & THE INTELLECTUAL are joined by Becky. BECKY This trip sucks! INTELLECTUAL A clear case of obsession if you ask me. BECKY (to Helen) The Word-man's right for once. I think it's time for a fuckin' mutiny. When neither of them responds, she shakes her head with a sneer and walks off.

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HELEN Think she'll get anyone to go with her? INTELLECTUAL Nah - takes more than words. HELEN You should know. INTELLECTUAL We scribes do not ascribe to diatribes against the tribe. Unless it suits our purpose of course. HELEN Go fuck yourself. INTELLECTUAL A physical impossibility, my dear Helen - face that lunched a thousand Trojans. Engaged in embattled intercourse with the Greeks - or was it Greek intercourse without a Trojan? That's gamy lunch meat for m'lady. He continues in this vein as she walks away in disgust, INTELLECTUAL (cont'd O.S.) Or "gaming," if one considers the risk involved: Rushin' toward infinity... gambling with the grim reaper in a game of Greek roulette. BECKY walks up to the Fool and Mechanic, ignoring the Vet's Buddy. BECKY ...I'm thinkin' of gettin' my own thing together. You two and the Chinaman are the only ones with the balls t' get us outa here.

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The Mechanic spits contemptuously. THE FOOL Don't say nothin' t' me about no Chinaman! VET'S BUDDY The only balls that scumbag has is eyeballs! THE FOOL Prob'ly comes when he blows his nose. JERRY looks on silently, beyond the ring of firelight, with an expression beyond his years. CATHERINE & EUGENE’S CAMPSITE Having returned to their initial campsite, Catherine and Eugene unroll their sleeping bags by the fire. CATHERINE You think they'll keep looking for us? EUGENE It's big country up here. Maybe they'll lose interest if they can't find us. CATHERINE What if they don't?...Should we be afraid of them, Eugene? EUGENE ...Yeah, I'm afraid of people like that: in bunches - I don't care whether they ride bikes or convertibles in Fourth of July parades. Anyone so afraid of something different they'll do anything to erase the difference. Most of the (MORE)

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EUGENE (CONT’D) time I do such a good job of telling myself I'm not afraid, I end up fooling everyone else. CATHERINE Seems to me you're overcoming fear just to be able to admit that. EUGENE Maybe. I hope you're right....I can tell you when that began too: the first time I was really honest with myself, I mean. CATHERINE Tell me! EUGENE I was eight or nine. My folks had been fighting. They did all the time but this was worse, this was...the last time. INT./EXT. – MONTAGE INTERCUT in this scene are GLIMPSES of the incident Eugene is describing, as if we are experiencing his memory of it. EUGENE (cont'd) (V.O. and on camera) Either she kicked him out or he walked out on us - probably a little of both. Anyway, as he was leaving, my dad says to me: "You're the man of the house now." And my mom just laughed. She goes, "Thanks a lot, you bastard!" Catherine touches him protectively. EUGENE I ran up to my room. I felt like... (he shrugs) (MORE)

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EUGENE (CONT’D This is the strange part: something made me look in the mirror, over my dresser. And for just a second, it wasn't me....I don't remember what I saw - just how I felt. Something told me I was all right. I could amount to something some day. The story's positive ending is lost on Catherine. Weariness and depression underlie anger in her voice. CATHERINE It's incredible what parents do to kids. ...With me it was my father. A MENTAL IMAGE the towering figure of her father from a child's POV. CATHERINE (V.O.) He was such a bastard when I was little. I was terrified of him. BACK TO SCENE EUGENE ...How do you feel about him now? CATHERINE He'll never have that power over me again. EUGENE ...Seems like a hell of a load to be carrying around. That trip Roberta was talking about - from the head to the heart: it's not easy. CATHERINE What do you mean?

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EUGENE I'm an expert when it comes to knowing how that kind of anger can stand in your way. CATHERINE Well thank you, Mr. Enlightenment. Eugene grins sheepishly. CATHERINE I don't know what you had standing in your way before, but I don't see anything there now. EUGENE You're a wonderful lover. Catherine smiles radiantly. Suddenly, the DEVOTIONAL SINGING we heard their first night on the mountain. CATHERINE ...Who is that? EXT. DAY - CATHERINE & EUGENE'S CAMP Intense early morning sunlight falls on the lovers, nude (though positioned discreetly) and locked in an embrace, with Catherine sitting on Eugene's lap, facing him. CATHERINE (teasingly) Aren't you going to meditate this morning? EUGENE (huskily) ...Have to see a lady about a horse first. They begin to move together, gently, rhythmically.

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CATHERINE (change in tone) ...Would that be bareback? EUGENE ...It would. CATHERINE ...A lady on a stallion. EUGENE ...Hi ho... CATHERINE ...Silver! They both laugh, before their lovemaking becomes more urgent, and we pull back discreetly...then farther away, until we are watching the lovers from the POV of... EXT. DAY – THE FOOL ...astride his motorcycle. THE FOOL ...Well, well, well! He turns around to coast downhill, then gives his bike the gas. EXT. DAY - CATHERINE & EUGENE Their love-making this time is portrayed primarily from within, with mental images predominant over what their eyes are seeing. Upon climaxing, they each experience a temporary loss of identity, which is exhilarating for Eugene but terrifying for Catherine. EXT. DAY - GANG'S CAMP

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Most of the Gang are so hung-over we can feel it in our bones. The SOUND of an approaching BIKE, as the Fool rides hell-bent into camp. THE FOOL I found 'em! Half an hour from here! The Leader raises his fist in triumph, his thin lips stretched tight, exposing his teeth like a dog's bared fangs, and snarls viciously deep in his throat. Then down the staggered line of bikes, to which all the Gang have run, there is the ROAR of motorcycles being started... which SEGUES into the SNARLING of a pack of wild dogs. For a moment, from the Leader's POV, the bikers all have ferocious DOG FACES. Many of the bikers (their faces returned to normal) throw back their heads to gulp uppers. The Leader pops an amy -- and in the distance... MOUNT SHASTA - POV LEADER ...becomes for a moment a horrible demon to him. BACK TO SCENE Then they're off, in a cloud of dust and machine fury. EXT. DAY - CATHERINE & EUGENE'S CAMP Catherine, dressed now, her eyes fearful and looking inward, is brushing her hair with ferocity. Eugene is bewildered by her behavior; he stands apart from her, watching, then comes to her side. But she barely acknowledges the arm he puts around her. EUGENE ...Catherine, what's wrong? CATHERINE It's...nothing about you, Gene. ...You've been great.

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EUGENE If it's about you, it's about me. CATHERINE (avoiding his eyes) This isn't. It's about me before we ever met. EUGENE ...Can't you tell me about it? CATHERINE No, I can't! Suddenly in tears, she darts away from him - blindly at first, then on a trail up the mountain. EUGENE Catherine! He starts to go after her, then stops and stands there looking at her receding figure with incomprehension. He picks up a rock and throws it off the mountain. EUGENE Jesus fucking Christ! EXT. DAY - TRAIL Catherine stumbles ahead in tears. Breathing hard, she stops to support herself against a tree and regains a measure of self-control. Then, faintly at first, growing louder, we HEAR DRUMMING and the same CHANTING SONG we've heard earlier. Coming up another nearby trail is RAIN, a young American, barefoot and dressed only in a very careworn "robe", rhythmically beating a mushroom-shaped Indian drum. Catherine peers at him in surprise, then curiosity, and melts back into the trees as he passes about 30 yards away without seeing her. He continues without looking up until reaching a small...

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CLEARED CIRCLE ...in the midst of a sun-bathed meadow, where he sits down facing the sun. Realizing she is "spying" on him, Catherine starts to turn away. But the turn becomes a full circle and she finds herself approaching him. His own surprise turns into an expression of welcome. CATHERINE ...I hope I'm not intruding. RAIN Not at all - sit down if you like. My name's Rain. CATHERINE I'm Catherine. She sits down. He’s in his late 20s, face weathered and wrinkled from the elements. His hair is uncombed but not unkempt and he has a 2- or 3-day growth of beard. There is no sense of his being particularly dirty, just impoverished. Over one shoulder is a heavy cloth bag which he opens to reveal some small plastic containers. He takes the plastic tops from two and removes cigarette papers from one, marijuana from the other. RAIN (grinning pleasantly) Smoke the sacrament? CATHERINE Okay...sure – I'll take a hit. Thanks. He sprinkles grass onto a paper with no attempt to shield it from the wind, which blows it away. Amused rather than surprised or annoyed, he turns toward sunlit Mt. Shasta. RAIN (smiling) That's right, Mother; got to have your share.

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He grins at Catherine and tries again, with no problem this time. They pass it back and forth between them. She's subdued but we can feel her responding to his openness and warmth. RAIN You've been crying. She smiles sheepishly, forlornly, and shrugs. Squinting into the sun, he makes a few light runs on the drum, between his knees, then begins to play very well. She remains silent, a look of pain and fatigue in her eyes. RAM Care to talk about it? Looking into his eyes, Catherine appears reassured. CATHERINE ...I had the strangest experience a minute ago. I was standing over there when you came by....I stepped back so you wouldn't see me, and started to leave. But it was almost like some big finger came down and pressed into the top of my head...and just kept turning me around. There I was - walking over to you. Chuckling, Rain adds a special flourish on the drum. RAIN I know the feeling. CATHERINE Strange... Another verbal silence while the gentle drumming continues, the complex rhythm constantly changing in astonishing virtuosity. CATHERINE That's wonderful!

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RAIN ...My morning meditation. I'm late today; a little hung over - the first time since I've been up here. CATHERINE How long's that? RAIN About a month. This is my eighth summer up here. I'm thinking of staying through the winter this year. CATHERINE Are you here by yourself? RAIN For now. Pretty soon the kids will start arrivin’. I'm sorta their... summer guru. I was into that spiritual groupie trip myself for awhile - then it was time to get out on my own. I came up here to be with Kali. (nodding toward the peak) When she comes down here and tells me she loves me, I won't need to come back. Catherine doesn't know quite how to take this remark. RAIN (cont’d) Some of the little girls wanta tell me they're Radha Rani, and share my sleeping bag. Make me out to be Krishna or the reincarnation of some other Hindu god. But Kali demands complete celibacy. I have to tell 'em, "No, you're an American teenager in the unaltered states of America, honey - playin' at something you don't know the first thing about." They both smile at this.

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CATHERINE That’s your tent by the stream isn’t it? RAIN Sure is. And a sauna beside it. Up here a ways... (gesturing) ...I've got a cave, with a big piece of plastic to keep out the damp. That's where I sleep these cold nights....This is my meditation spot - where I converse with Kali. She talks back but, it's taken me a long time to hear her. He continues to play, the tempo faster now, his body rocking back and forth to it. RAIN (cont’d) ...What put those tear-tracks on your cheeks, Sister? Don't you know that's what brought you over here: the chance to tell someone who won't judge you that don't care, and won't ever see you again? She wants to talk. As he plays, she gets an almost glassy look in her eyes. CATHERINE You keep coming up here, summer after summer. How do you know...Kali will ever really come down here and speak to you? The question prompts another special riff on the drum. RAIN ...The secret's in the waiting, learning the patience so's it ain't really waiting anymore. Then some day I'll look up and Kali will be here. Where if I was to put my hopes in her comin', that would stand in the way right there.

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Catherine thinks about this, then looks up at... THE SUN - POV CATHERINE ...as it flares in the lens and is briefly DOUBLE-EXPOSED over a... FLASHBACK ...of her and Eugene in profile, sitting locked in the sexual embrace she experienced this morning, her back arched and her head thrown back, mouth open in ecstasy. BACK TO SCENE CATHERINE (dreamlike tone) I'd think it would be so hard. That kind of patience must be the hardest thing in the world. Rain just keeps drumming, his eyes closed now. CATHERINE (cont'd) ...I thought I knew what life was all about - and it bored the shit out of me. Now all of a sudden I've seen what it could be. It's so beautiful it scares me to death. His eyes still closed, Rain is lost in his music but listening to Catherine as well. RAIN "Scared to death." That's what fear is all right. CATHERINE I see how much there is to lose...that I didn't even know was there. (MORE)

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CATHERINE (CONT’D) (her tone turning desperate) ...And now I can't go back to where I was before. Everything's changed... (her voice breaking) ...I don't know which way to go. Rain stops playing and puts a hand out to touch her knee. He cocks his head, as if listening to an inner voice or trying to focus his thoughts. RAIN Catherine, they say there's a point in our development where the only sin... is a failure of nerve. That's dangerous talk because if you're not in that place, you could end up tryin' to justify the kinda things we're used to callin' sins like killing life, in the name of some belief or other. But you might keep that in mind. And another thing I'm sure of. You find something you're afraid of, and, Sister, that's a doorway. Fear's a door to walk through. He begins playing again; his eyes closed, face radiant, he breaks into the devotional singing we heard earlier. Catherine just looks at him for a while, the slightly puzzled expression on her face softening into one similar to his. Then she gets up quietly, her voice pitched so as to intrude as little as possible on the singing. CATHERINE Goodbye, Rain....I hope you and Kali get it together. RAIN (laughing lightly) Thank you, Catherine. Peace and light, Sister. CATHERINE (mouthing the words silently) Thank you!

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He returns to his devotional meditation, as Catherine walks over to the trail, pausing to take in the magnificent view of the mountain and, before it, the strange man who would be its lover. A sudden gust of wind springs up, whipping the branches beside her and almost drowning out the sound of the drumming. She walks partway down the trail and turns again, her face registering astonishment. Rain is gone. EXT. DAY - THE GANG are fanned out across a high meadow, riding at top speed, most of them stoned out of their minds. We see the whole thing from their own drug-induced POV. Then we're in close on the Fool, riding with Chris, who's leaning over so she can hear him above the ROAR of the BIKES. THE FOOL Fantastic, ain't it? It's all just a game: findin' new ways t' break the rules! That's why I dig street acid better'n the pure stuff. Hell, nothin' in life's pure. Little strychnine makes it more real! CHRIS Sure! Oyster's gotta have sand to make its pearl don't it? Wound's gotta have its salt! They laugh hysterically and the CAMERA PULLS AWAY again to their bizarre psychedelic impression of the onrushing countryside. THE FOOL Ain't nobody here but you an' me, Baby - and damned if I don't wonder about you! Again they laugh in sustained hysterical unison.

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EXT. DAY - CATHERINE & EUGENE'S CAMPSITE At the end of the trail Catherine breaks into a run, into Eugene's arms. EUGENE (happily) What happened to you? CATHERINE Oh I feel fantastic! (after they embrace) Let's fly somewhere! EUGENE You got it! EXT. DAY - MOUNTAINOUS TERRAIN Ram is riding as fast as his horse can safely negotiate the treacherous footing. He's leading another horse: Catherine's stallion. EXT. DAY - WINDING MOUNTAIN ROAD Catherine and Eugene make hairpin turns on the bike. On the road below, 5-10 minutes behind them, are the Gang. Catherine and Eugene are unaware of them. EXT. DAY - THE GANG Chris spots... CATHERINE & EUGENE - POV CHRIS ...on the road above and points. The ROAR of the bikes SEGUES into... EXT. DAY - THE ROAD

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...the even LOUDER SOUNDS of a ROCK SLIDE on the road ahead of Catherine & Eugene - blocking the way. The SOUND OF their BIKE tells us they're about to round a blind turn in the road just 30 or 40 yards from the slide. On one side of the narrow road is a sheer face of rock; on the other, a cliff which drops off into nothing but sky. They come around the bend with just enough time for Eugene to brake expertly to avoid crashing into the rocks or skidding off the edge of the cliff. He shuts off the bike and they sit there on a turn-out, both a little shaken. CATHERINE Christ! We're lucky it didn't come down on top of us! They listen intently for a moment, then turn to each other with knowing expressions. CATHERINE It's them isn't it? (after Eugene nods) ...What can we do? EUGENE (studying the rock barrier) ...They may not know you're with me. You can hide up there. If I can get through them, they'll go after me. CATHERINE No. I want to stick with you. EUGENE Catherine, all they can do is kill me. CATHERINE ...I know that. EXT. DAY - A BLUFF ABOVE THEM Hidden from their view, Ram is on the appaloosa, holding

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the reins of Jebel Druze. O.S. the DRONE of the GANG gradually rises above the SOUND of the WIND. THE TURN-OUT - MONTAGE There’s no sound but the WIND and the increasing DRONE of the BIKES. Eugene looks back at Catherine and starts his own. She holds tightly to him, a dazed look on her face, her eyes wide. "This can't be happening to me!" says her expression. Eugene's own face is a mask of determination, but the uncertainty in his movements betrays his own fear - for Catherine if not for himself. The steady WHINE becomes a ROAR...and suddenly the Gang rounds the bend. A hand signal from the Leader slows the bikes behind him in time to avoid a pile-up into the rocks. Eugene's hands tighten on the handlegrips. He reaches back without turning and rests the palm of his hand on Catherine's thigh. She grasps the hand tightly and he clasps hers. Taunting them, revving their engines, the Gang closes in. The Leader sits supremely confident again. To Catherine, the swirling mass of machines and bodies becomes terrifyingly surrealistic, assuming the psychedelic quality they possessed earlier. Suddenly her expression of terror changes to one of amazement. In this mass of confusion, one face stands out. BECKY’S FACE ...is that of the... DISSOLVE TO: INDIAN PRINCESS - CATHERINE'S FANTASY SEQUENCE She looks piercingly into... CATHERINE’S ...eyes. Stunned, Catherine brings her hand to her mouth.

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EUGENE is bent over the bike looking for an opening through the Gang. Then he, too, straightens up in shock. He sees... JERRY ...the biker boy, looking at him wide-eyed. DISSOLVE TO: EUGENE'S FACE - CHILDHOOD MEMORY ...with the reassuring look he saw staring back at him, in the mirror in his bedroom the day his father left. CATHERINE & EUGENE are both absolutely bewildered. Suddenly Ram's appaloosa NEIGHS on the bluff above them. They look up to see... RAM & THE HORSES ...on the bluff. Jebel Druze rears beside the appaloosa, splitting the air with his stallion SCREAM. THE GANG All eyes sweep upward, but... THE BLUFF ...is empty now. RAM and the horses are in the fallen rock. Ram calls out to Eugene and Catherine in a powerful ringing voice.

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RAM To reach the Shasta Gate, you must pass through your own fear! THE GANG are too stunned for the moment to do anything but gawk. RAM leads the stallion down onto the road next to... CATHERINE & EUGENE The bewilderment on Catherine's face seems to peak as she mouths Ram's name silently. Then she shakes herself out of her dazed, trance-like state. There's no one in the world she'd rather see right now! CATHERINE Gene - it's Ram! It's Ram! Though still stunned by this inexplicable turn of events, Eugene is roused by Catherine's excitement. THE GANG are taken aback. The Leader appears the most surprised of all - maybe because this is the first time we've seen real emotion on his face. But he shakes off the Indian as just another of the day’s druggy hallucinations. LEADER Get them! First one, then another member of the Gang follows the Leader's example. Ignoring Ram, they advance toward...

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CATHERINE & EUGENE The renewed threat snaps Eugene into alertness again. This is all that's real now. Catherine looks wildly to... RAM ...for help. Both horses rear. Ram’s eyes blaze into Catherine's. He gestures with his hand at his chest. RAM Anger is fear, Catherine! CATHERINE gets it. Fury flashes from her eyes and she tries to scream - but she can't release the rage inside of her. RAM RAM Let go of it! Hold onto nothing! CATHERINE Terribly frustrated, she seems reluctant to try again, as if this were a dream where one tries to run and can't. In her case it's a scream that won't come. THE GANG continue to move menacingly closer. EUGENE is still looking for an opening.

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RAM If human will has a face it’s this one. RAM Eugene! EUGENE His head snaps around. How does the Indian know his name? ANOTHER ANGLE RAM A man unafraid is a man without feeling! CATHERINE & EUGENE He looks at her, caught in her own struggle. This is the first time we’ve seen him so at a loss for what to do. RAM seems to have no conception of their danger. Exultant, his eyes shining with triumph, he lets out a savage battle cry - and this finally sets Catherine off. CATHERINE screams back at him in frustration. Echoing against the rocks (and ALTERED ELECTRONICALLY), her scream is like the howl of the wind in Ram's dream. Her face lightens up. She did it - it felt fantastic! She looks at Ram as if to ask, How was that? then turns toward the Gang. ANOTHER ANGLE She screams again, with rage this time and looks

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pleadingly at Ram...who holds out the reins of the stallion to her. She grips Eugene's arm and, when he turns, gestures toward the horse. Eugene nods and Ram brings the stallion closer. In one graceful step in SLOW MOTION, Catherine goes from the bike to the stallion's bare back, using Ram's stirrup and arm for support. EUGENE looks in awe at... CATHERINE ...on the rearing stallion. O.S. we hear Ram speak - but it's not his voice. RAM/MEXICAN (O.S.) Hey, Gringo!...Hey, "Seeker"! RAM For a moment this isn't the Indian but the old Mexican Eugene met in Baja. His face is full of amusement but his voice rings with authority. RAM/MEXICAN The warrior's way lies within!...The last frontier is fear! He throws back his head and laughs an extraordinary laugh, gesturing, Get on with it! EUGENE Coming unglued, looks up at... CATHERINE Poised, powerful-looking, she's ready now...for what?

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EUGENE Finally gives in to his own scream/battle cry. It comes rolling out mighty and glorious (and ELECTRONICALLY ALTERED), as if all of mankind, embodied in this one courageous man, were giving voice to - and releasing the agony of our species' evolution on the planet. Eugene is transformed and... ANOTHER ANGLE ...Catherine's face is full of loving admiration. They share a timeless moment of illumination...then turn to face their adversaries, their demons, lifting their faces to the sky and giving voice to a scream of terrible power. Their shared scream is no ordinary human sound. There are incredible forces at work here, to which at this moment Catherine and Eugene have surrendered themselves completely. What comes from their mouths is the triumphant SCREAM OF NATURE itself. The scream is ELECTRONICALLY AMPLIFIED AND SYNTHESIZED into a sustained and rising MUSICAL CHORD. A crack appears in the rock face of the cliff behind the Gang. A sheet of brilliant white light floods through it onto Eugene's and Catherine's faces, whose expressions are serene, almost saintly, bathed in this light. They look lovingly at each other, then in SLOW MOTION plunge together into the midst of the dissolving Gang...who, wavering like a highway mirage, have begun to fade or dissolve. The last thing we see of them is the Leader's astonished face - which has become an empty, crumpled, sightless and disembodied mask staring blankly at the sky from the ground. With nothing now to stop them, horse and motorcycle are heading right for the sheer rock wall of the mountain. But the crack of light is widening. The rock slide, which seemed only a barrier, has apparently exposed an opening or doorway in the cliff face. Catherine and Eugene burst through the portal in a blinding FLOOD OF LIGHT which saturates the SCREEN ...and are gone. The door closes

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seamlessly in the rock behind them with a tremendously loud CRASH that REVERBERATES long afterward like THUNDER. The appaloosa NEIGHS in fright O.S. THE APPALOOSA, RIDERLESS Ram is gone. A GOLDEN EAGLE has taken wing above the horse. The eagle SCREAMS as in SLOW MOTION it rises above the precipice where the appaloosa stands. The CAMERA HOLDS on the eagle for a few seconds, then begins a long, long PULLBACK to reveal Mt. Shasta wreathed in its mysterious lenticular, or lensshaped, blanket of cloud as END CREDITS ROLL. FADE OUT. THE END

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