pclucas14/nqa-RAG-64_6_24 · Datasets at Hugging Face

text sequencelengths 25 49	questions sequencelengths 25 49	answers sequencelengths 25 49	document_id stringlengths 40 40	split stringclasses 3 values
[ [ "SULLIVAN\n Now here on our stage direct from \n Los Angeles, California, ladies and \n gentlemen, The Doors!", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "car in Arizona when Jim was a boy. Now a distant Indian drum \n beating. The beginning strains of THE END dribble in.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "(cheers)\n The immoral conduct of degenerates \n such as Jim Morrison is an \n unacceptable insult to this country", "VOICE\n (loudspeaker)\n Ladies and Gentlemen, from Los Angeles \n California -- The DOORS!", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "JIM & DOORS \n Well I just got into town 'bout an hour ago \n Took a look around, see which way the wind blow \n Where the little girls in their Hollywood bungalows", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN." ], [ "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "JIM\n (reciting)\n When I was back there in seminary \n school", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JIM\n The killer awoke before dawn \n He put his boots on \n He took a face from the ancient \n gallery \n And he walked on down the hall", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM \n (SONG) \n A vast radiant beach \n And a cool jewelled moon \n Couples naked, race down by its quiet side \n And we laugh like soft mad children", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "JIM\n The Doors.", "JIM\n (indifferent, to \n himself)\n I am the Lizard King I can do anything", "JIM\n Rock is death! There is no longer \n belief. Hey, I'll write poetry and \n direct movies.", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "INSTRUCTOR\n HOLD IT DOWN!!... Mr. Morrison -- \n what are your feelings?\n\n JIM\n I quit.\n (walks out)" ], [ "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "He seems pleased to distract his anger into her. She doesn't \n seem to notice anything unusual going on. The Doors silent, \n feeling Jim's rage.", "PAMELA\n (everything's cool)\n That's Jim. My new friend.\n\n INT. UCLA SCREENING ROOM - DAY (1965)", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "GIRL 1\n (contempt)\n The Doors. I heard of you. That's \n the dumbest name. I wouldn't go to \n the Fog if you paid me.", "\"THE DOORS\"\n\n Screenplay by\n\n Randall Jahnson and Oliver Stone\n\n SHOOTING DRAFT", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "ANCHORLADY\n The question that will be answered \n today: Did Jim Morrison or did he \n not take off his pants last March? \n This is...", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "A pause. She wants him. No longer so cool.\n\n GLORIA\n ...Jim Morrison, the god of Rock and \n Cock...", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "GIRL 1\n (withering look, very \n hip)\n \"Love\".\n\n JIM\n Yeah, Arthur Lee's cool.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over." ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "Pulling John into the circle, bonding, their four heads sunk \n to the desert floor, Jim making wild Indian sounds, deep-\n throated \"shoooh... shoooh\"... now humming a song from the \n desert.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "The three excluded Doors head out to the beach like obedient \n schoolboys while Ray fools with his organ.\n\n EXT. VENICE BEACH - DAY", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "JIM\n (to the band)\n Guys, I'm serious about the desert,", "car in Arizona when Jim was a boy. Now a distant Indian drum \n beating. The beginning strains of THE END dribble in.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "(cheers)\n The immoral conduct of degenerates \n such as Jim Morrison is an \n unacceptable insult to this country", "JIM\n (laughs)\n Hey whadya say we take some of that \n Tijuana acid and see what kinda \n trouble we can get into tonight?", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next." ], [ "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "JIM\n The Doors.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "MIKE\n A new image -- Jim Morrison as \n \"Renaissance Man\" -- We bring you \n back slow, quiet, the beard, elder \n of the tribe.", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n (to Robin, a 5 year \n old)\n ...and to you, princess, from your \n Royal servant, James Douglas Morrison\n (bows)", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "or it could be Jim Morrison -- in fact the hair is perfectly \n weaved to resemble Jim in his young lion phase -- an ironic", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him." ], [ "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "Laughter. JOURNALIST 4 with dark hair and demeanor, gypsy-\n like jewelry on her arm and avant garde clothing, large \n glasses, is probably a rock magazine writer but seems to \n like Jim and his work.", "JIM\n He's the medicine man who starts in \n a peyote trance. And he gets everyone", "JIM\n Rock is death! There is no longer \n belief. Hey, I'll write poetry and \n direct movies.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JIM and ANNE's blood into a consecrated cup of wine, from \n which they drink. They all wear long black robes, the only", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "JOURNALIST 1\n (smiling)\n ...like a medicine man or witch \n doctor?", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Pulling John into the circle, bonding, their four heads sunk \n to the desert floor, Jim making wild Indian sounds, deep-\n throated \"shoooh... shoooh\"... now humming a song from the \n desert.", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead.", "Then splits at a full run thru the crowd chased by the \n perplexed Cops. Everybody surging back towards the stage as \n JIM looses one of his primal SCREAMS.", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS", "DISSOLVING OVER:\n\n JOURNALIST 2\n Do you really consider yourself a \n shaman Mr. Morrison?", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand," ], [ "JIM\n Yeah John, be anonymous, write a \n book: \"Observations of an American \n While on Trial in Miami\".", "JIM\n I care.\n\n PAUL\n Come on Jim, we'll get fuckin' laid \n in Miami.", "JIM\n THEN MOVE TO MIAMI YOU SLAVE!!!\n\n More nagging. By this time the fight has expired of its own \n volition.", "JIM\n I got an idea Bill, you're fired.\n\n INTERCUT TO:\n\n INT. MIAMI AUDITORIUM - THAT NIGHT", "they had memos on you in Phoenix and \n they got you extradicted to Miami \n illegally without a felony...", "DISSOLVING TO:\n\n INT. MIAMI COURTROOM - DAY (1970)", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM is wrestled across the lot, pinned to the car and \n handcuffed, punched and thrown into the car, yelling. \n Journalists try to intercede, one is also arrested.", "Danger fills the air, electric. Jim strutting, Indian like, \n up to one of the Cops, whipping off his hat and flipping it", "All during this, snickering laughter from the onlooking half-\n dozen POLICE OFFICERS gathered to watch. Jim waits, then \n with great claim, in a quiet voice:", "More cops come out, snatch the microphone, as Jim flashes \n the audience a \"touchy aren't they?\" shrug.", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "A ROLLING STONE WANTED POSTER ON JIM -- \"In the County of \n Dade/Dead -- Did He Or Didn't He?\".", "Jim and Mike driving drunk, fucking TWO BLACK CHICKS. Mike \n in the back seat. Jim drives the car up onto the grass of a \n Police Station and plows right into it.", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "labor in the Dade County Jail and \n for public exposure I am sentencing \n you to six months of the same, after", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n (shakes his head)\n HIDE ME!!!\n\n HARD CUT TO:", "INT. HOLDING ROOM - POLICE STATION - THAT NIGHT\n\n JIM is spreadeagled against the wall, a dignified, defiant \n look on his face." ], [ "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "He seems pleased to distract his anger into her. She doesn't \n seem to notice anything unusual going on. The Doors silent, \n feeling Jim's rage.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "A pause. She wants him. No longer so cool.\n\n GLORIA\n ...Jim Morrison, the god of Rock and \n Cock...", "Jim taking an amyl nitrate with her... laughing... Nico with \n that crazed German laugh... PAMELA pushing the elevator \n buttons wildly...", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "ANCHORLADY\n The question that will be answered \n today: Did Jim Morrison or did he \n not take off his pants last March? \n This is...", "JIM\n Come on baby, light my fire \n Try to set the night on FIIIIRRRRRE!\n\n INT. HOTEL BEDROOM -- NEW YORK - NIGHT", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him.", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --" ], [ "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "JIM'S POV entering the bedroom -- PAMELA naked in bed with \n the COUNT, is snorting heroin. Shadows of the trees and leaves \n blowing against the walls. Their voices, dim, distant.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "PAM laughing -- suddenly alone, notices, goes looking for \n Jim... floating down this endless corridor with white doors \n and red carpet.\n\n INT. ELEVATOR", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "Pamela listening at the door. She's on the second story of a \n cheap motel overlooking a boring parking lot on the edge of \n La Cienega.", "PAMELA\n (eyeing her up and \n down through her \n tears)\n You actually put your dick in this \n woman Jim?", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "JANIS JOPLIN OVERDOSES IN LOS ANGELES.", "JIM & THE DOORS\n Dead President's corpse in the \n driver's car", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "blowing, the wild cats everywhere in the empty cemetery, the \n crumbling tombs, the flowers fresh and dead around Jim's", "As she goes to a bowl of cocaine, laid alongside a bottle of \n champagne and a basketful of items all catered by Jim. He's \n at her bookcase, thumbing through an ancient manuscript.", "PAMELA is all decked out in her best, wedding clothes, red \n satins from Morocco, five-inch clog heels, flowers in her \n hair. Looking around pissed as:", "Jim slides her upstairs' door open, crawls in next to her \n bed. She's asleep with her boyfriend. He touches her toe. \n She awakes, startled.", "PAM\n (pathetic)\n I wanted you to find us Jim. It meant \n nothing.\n\n JIM\n I know. I know.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire." ], [ "SULLIVAN\n Now here on our stage direct from \n Los Angeles, California, ladies and \n gentlemen, The Doors!", "GHOST ANNOUNCER\n Ladies and Gentlemen, from Los Angeles \n California -- The Doors!\n (ghostly applause)", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "VOICE\n (loudspeaker)\n Ladies and Gentlemen, from Los Angeles \n California -- The DOORS!", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "\"THE DOORS -- BAND FROM VENICE\" on the marquee... moving \n down to a motley crew of TEENAGE GIRLS, underage, trying to", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "TRIP, CIRO'S, BIDO LITO'S, GAZZARRI'S, THE EXPERIENCE... . \n Headlights and neon intercut with:", "The stage is bottom lit, Dantean in look. The Doors casting \n giant shadows of heroic proportions. DEA AGENTS in suits and", "GIRL 1\n (contempt)\n The Doors. I heard of you. That's \n the dumbest name. I wouldn't go to \n the Fog if you paid me.", "The lights come up on the DOORS in their ultimate nightmare -- \n each Door appearing consecutively in a lightspot as Jim sings", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "A row of NIGHTCLUBS glisten off the hoods of passing traffic. \n Marquees announce: THE BYRDS, RED ROOSTER, LOVE, THE HERD,", "An eager rowdy CROWD chants DOORS! DOORS! DOORS! DOORS! to a \n stage without the Doors. TECHIES are moving amplifiers,", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "on stage. Kids writhe madly in the primal Doors dance.", "\"THE DOORS\"\n\n Screenplay by\n\n Randall Jahnson and Oliver Stone\n\n SHOOTING DRAFT", "The sound of wind, the backbeat of LA WOMAN flooding in.\n\n EXT. CHATEAU MARMONT HOTEL - LOS ANGELES - NIGHT", "He seems pleased to distract his anger into her. She doesn't \n seem to notice anything unusual going on. The Doors silent, \n feeling Jim's rage." ], [ "Our camera dwells on Jim in the mirror, closer, closer -- \n the image and the reality, which is which anymore -- where \n does it end?", "and shoots violently backwards, hitting the floor like a \n puppet cut from his string -- we sense Jim himself has crossed \n a barrier now, gone into yet another stage of his performance,", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead.", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "Pause. Jim's face darkening. Something he sees on the \n television. He stops, frozen, sickly. Several BIMBETTES are", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "JIM, in dark glasses, strongly feeling the effects of the \n acid, stares at a box of Kellogg's Corn Flakes, unable to \n relate.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "JIM guided back into the shower stall by his entourage, eyes \n blind as Oedipus, starts to laugh. A black Irish laugh.", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "Jim shakes his head, weary. Suddenly he's scared inside.", "channels. The camera moving in on Jim, the VOICES fading. \n All we see is Jim. All we hear and see is the TV:", "JIM\n (rising anger)\n Get up. Hurt? You want to know HURT? \n Let me introduce you to my good friend \n hurt.", "to death on his skins. Jim starts to whirl the mike cord \n like a slingshot or bolo, in an ever-widening arc...", "ROBBIE\n It ain't the old Jim that's for sure. \n I think he's living for everybody \n else man and somewhere along the way \n he's lost his own self.", "The voice, the pretense, -- the glow too quickly fades -- \n leaving Jim so alone, not sure what he has heard, yet he" ], [ "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS", "Then splits at a full run thru the crowd chased by the \n perplexed Cops. Everybody surging back towards the stage as \n JIM looses one of his primal SCREAMS.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "JIM\n I care.\n\n PAUL\n Come on Jim, we'll get fuckin' laid \n in Miami.", "JIM\n I got an idea Bill, you're fired.\n\n INTERCUT TO:\n\n INT. MIAMI AUDITORIUM - THAT NIGHT", "Madness. COPS lining the edge of the stage, looking worried. \n As Jim throws his leather jacket into the cheering crowd and", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "DISSOLVING TO:\n\n INT. MIAMI AUDITORIUM - NIGHT (1969)", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "and shoots violently backwards, hitting the floor like a \n puppet cut from his string -- we sense Jim himself has crossed \n a barrier now, gone into yet another stage of his performance,", "More cops come out, snatch the microphone, as Jim flashes \n the audience a \"touchy aren't they?\" shrug.", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth." ], [ "JIM\n The Doors.", "SULLIVAN\n Now here on our stage direct from \n Los Angeles, California, ladies and \n gentlemen, The Doors!", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "GIRL 1\n (contempt)\n The Doors. I heard of you. That's \n the dumbest name. I wouldn't go to \n the Fog if you paid me.", "JIM\n What?... are you saying? Are we the \n Doors? One for all and all for one?", "\"THE DOORS\"\n\n Screenplay by\n\n Randall Jahnson and Oliver Stone\n\n SHOOTING DRAFT", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "GHOST ANNOUNCER\n Ladies and Gentlemen, from Los Angeles \n California -- The Doors!\n (ghostly applause)", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "JIM\n (pausey, paranoid)\n Where are the Doors.", "JIM & DOORS \n Riders on the Storm (x2) \n Into this house we're born \n Into this world we're thrown", "The lights come up on the DOORS in their ultimate nightmare -- \n each Door appearing consecutively in a lightspot as Jim sings", "The three excluded Doors head out to the beach like obedient \n schoolboys while Ray fools with his organ.\n\n EXT. VENICE BEACH - DAY", "VOICE\n (loudspeaker)\n Ladies and Gentlemen, from Los Angeles \n California -- The DOORS!", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient" ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "JIM\n Rock is death! There is no longer \n belief. Hey, I'll write poetry and \n direct movies.", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "JIM\n (looks at her, ironic)\n It's only thru death that you know \n life. Jesus, medicine men heal people \n by sacrificing their own life.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him.", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "JIM\n The killer awoke before dawn \n He put his boots on \n He took a face from the ancient \n gallery \n And he walked on down the hall", "MIKE\n A new image -- Jim Morrison as \n \"Renaissance Man\" -- We bring you \n back slow, quiet, the beard, elder \n of the tribe.", "JIM\n (pissed)\n What's your problem with fathers! \n They're dead, both of them, I told \n you.", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "JIM\n I bet you never expected life could \n be this hard.\n (strokes her hair \n affectionately)\n And you're still so young.", "Camera revealing JAMES DOUGLAS MORRISON, -- 27, poet, buried \n in the shadows, curls of cigarette smoke about his haunted" ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "JIM\n (pause)\n Well, to be honest they're not living \n anymore so I don't like to talk about \n that.", "THE SUBTITLE READS \"JIM IS SAID TO HAVE DIED OF 'HEART", "JIM\n (pissed)\n What's your problem with fathers! \n They're dead, both of them, I told \n you.", "JIM\n You're wrong. What they want I can't \n give... my death -- ripped to pieces -- \n do you feel their power?\n (the noise pounding)", "JIM\n (looks at her, ironic)\n It's only thru death that you know \n life. Jesus, medicine men heal people \n by sacrificing their own life.", "asphalt... the dying man's face, twisted, moaning, amazing \n eyes at the point of death -- they settle on Jim", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM\n (rising anger)\n Get up. Hurt? You want to know HURT? \n Let me introduce you to my good friend \n hurt.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Something so sincere in Jim's eyes. Robbie takes the fatal \n lick. Jim smiles manically as the NUREMBERG SOUNDS of the \n CROWD drown them out.", "JIM\n (beat, pained)\n Did I? Well, I'll tell ya, my words", "JIM\n (real close, hugging \n her)\n I don't mind dying in a plane crash, \n a smile on my face.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "to death on his skins. Jim starts to whirl the mike cord \n like a slingshot or bolo, in an ever-widening arc...", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth." ], [ "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Ray pantomimes chords in the keyboard sand. All of a sudden \n we're in RAY'S POV -- a mystical moment. Jim singing, no \n sound, then pure song, unadulterated by atmosphere.", "RAY sees it instantly where it's going, hits the organ! Robbie \n and John follow. the instruments EXPLODE all at once trying \n to bury Jim in his primal unmistakeable scream.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "on the stage dancing, but Jim goes right up alongside RAY, \n shaking his hips like Elvis. Ray giving him the mike. Improv \n time.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "Jim cocks his head, listening to it playing from an inner \n room, his eyes on ROBIN opening the gift -- a beautiful,", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "He gives Ray a card, leaving, crossing to Jim and PAM talking.", "JIM\n Man, I been here all the time... \n over there watching. I'm really happy \n for you Ray you found life...", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JIM\n (to RAY)\n Don't go, y'see Norman Mailer, I \n hear he's here?", "RAY\n Om om... No bliss! No bliss!\n\n Jim has approached closer, amused, looking down.", "RAY\n (trying another tack)\n Jim we gotta finish \"LA Woman\".\n\n JIM\n Don't have an ending Ray.", "Rothchild looking to Botnick and to Ray. But the real look, \n the unforgiving one, is from Jim to Ray who feels it. \n Rothchild douses the lights in the studio.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "He smiles innocently. Ray, a beat, turns away. Pam coming \n over, squeezes his hand, sweetly, no fights today, she's his \n lady.", "RAY\n (exchanging looks \n with John)\n We'll have a band meeting. The four \n of us do everything unanimously or \n we don't do it.", "Robbie's look tells us he thinks Ray is as much caught up in \n his dreams as Jim.\n\n CUT TO:", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:" ], [ "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "JIM\n (hurt, near tears)\n Please don't say those things to me, \n Patricia.\n\n She suddenly grasps him, clutching, hunger, lust.", "PATRICIA\n Yeah YEAH!\n\n JIM\n AWRIGHT! AWRIGHT!", "His look is right at her. Silence. Patricia knows he won't \n talk. Through the pause we hear the crowd chanting, bigger", "PATRICIA\n No you won't.\n\n JIM\n Yes I will.", "Pause. PATRICIA -- four and a half months pregnant, stares. \n A glary window onto a balcony overlooking the sea with Florida", "JIM\n Patricia... Patricia...\n\n A beefy COP stands there looking at them,\n\n COP\n Whatcha doing there?", "JIM\n (impressed)\n Wow! You Patricia? Who would've \n guessed?", "The HUSBAND, now looking at Jim a little nervously, pushes \n up the Perry Como on the radio... as it cuts to a sudden \n news flash:", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "PATRICIA\n You like that hunh? Beg!\n\n JIM\n I'm begging! I'm begging you!", "PATRICIA\n If he's so dead, then who answered \n the phone when I called the house?\n\n Jim -- a look, struck.", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "The Crowd NOISE still carries, echoing. JIM leads PATRICIA \n to a quiet, isolated stall where they can be alone. Tapping \n the magazine, sincerely moved by what he reads.", "JIM\n I want to live, Patricia. I don't \n wanna die.", "JIM\n (lips out of sync)\n I'm gonna burn you down.\n\n PATRICIA\n Come on...", "PATRICIA\n You ever try drinking blood?\n\n JIM\n What?", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "PATRICIA\n You want to do some more cocaine? \n It'll loosen you up.\n\n JIM\n Great! A new thing.", "Pause. Jim's face darkening. Something he sees on the \n television. He stops, frozen, sickly. Several BIMBETTES are" ], [ "JIM\n (reciting)\n When I was back there in seminary \n school", "PAMELA\n (everything's cool)\n That's Jim. My new friend.\n\n INT. UCLA SCREENING ROOM - DAY (1965)", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "INT. BARNEY'S BEANERY - LOS ANGELES - MONDAY\n\n JIM -- drinking in Barney's Bar.\n\n HEADLINE READS:", "JIM\n I bet your dad's a school teacher.\n\n PAM\n How did you know!\n\n JIM\n I don't know.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "in California.", "JIM, in dark glasses, strongly feeling the effects of the \n acid, stares at a box of Kellogg's Corn Flakes, unable to \n relate.", "car in Arizona when Jim was a boy. Now a distant Indian drum \n beating. The beginning strains of THE END dribble in.", "JIM\n (shakes his head)\n HIDE ME!!!\n\n HARD CUT TO:", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "to Florida State...\n (cheers)\n Then I GOT SMART. I went to California \n where you can let your hair grow", "STUDENTS in the audience groan at the pretention of it. Moving \n to JIM's eyes hidden in his parka hood, peeking through at \n the screen.", "JIM, loose, wanders right into the traffic, waving to anybody, \n trying to hitch a ride. DOG and the OTHERS going after him. \n Jim seen slipping a tablet from his pocket into his mouth.", "Jim slides her upstairs' door open, crawls in next to her \n bed. She's asleep with her boyfriend. He touches her toe. \n She awakes, startled." ], [ "PAMELA\n (everything's cool)\n That's Jim. My new friend.\n\n INT. UCLA SCREENING ROOM - DAY (1965)", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "JIM\n (laughing at Pam)\n Life on the edge baby. Come get me \n if you love me baby.", "JIM\n (whispers)\n Pam wants you.\n (normal)", "PAM\n What the hell's happened to us Jim? \n What the hell is happening to us. \n There's some great poetry...\n\n On Jim... saddened.", "A staged 16mm. grainy shot of JIM and PAMELA, RAY and DOROTHY,", "JIM'S POV entering the bedroom -- PAMELA naked in bed with \n the COUNT, is snorting heroin. Shadows of the trees and leaves \n blowing against the walls. Their voices, dim, distant.", "COPS to peel her off. Pamela furious. Jim is gracious with \n everyone, signs patiently, talks, kisses, shakes hands with", "JIM\n You really know what I am Pam? You \n know what poetry is? Where is the", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "PAMELA\n (eyeing her up and \n down through her \n tears)\n You actually put your dick in this \n woman Jim?", "JIM \n (SONG) \n A vast radiant beach \n And a cool jewelled moon \n Couples naked, race down by its quiet side \n And we laugh like soft mad children", "PAMELA\n Don't kid yourself sweetheart, Jim's \n crazy but he's not that crazy. He \n loves me.", "PAM\n No Jim. I want to LIVE with you. I \n want to LIVE with you.", "JIM\n (to Pamela)\n All right so I do. I live my life", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "Pamela calling from another dune, far away.\n\n PAM\n Jim! Jim... come here, dance... don't \n go away.", "JIM\n Mine's Jim.\n\n A moment. She must decide. The YOUNG MAN within earshot.\n\n GIRL\n Pam...", "PAM\n (sotto voice)\n ...sing to me, Jim, sing to me." ], [ "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n (to the band)\n Guys, I'm serious about the desert,", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "JIM\n (ironic, to the others)\n So, let's keep that money machine \n rolling. Come on guys...", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over." ], [ "Our camera dwells on Jim in the mirror, closer, closer -- \n the image and the reality, which is which anymore -- where \n does it end?", "and shoots violently backwards, hitting the floor like a \n puppet cut from his string -- we sense Jim himself has crossed \n a barrier now, gone into yet another stage of his performance,", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead.", "Jim rises, staggers slightly as he makes his way to the bar \n on the way out of the room, smiles right at her, ignoring \n everybody else in the room.", "A BABY, with her MOTHER, stares at Jim fascinated. He lifts \n his dark glasses, winks back at her.\n\n TIMECUT TO:", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "stains. Jim watching enthralled, coked out. She hands him \n the jewelled Moroccan dagger.", "JIM\n It's so scary up there. To be adored. \n Isn't that irony? Teenage death girls", "The voice, the pretense, -- the glow too quickly fades -- \n leaving Jim so alone, not sure what he has heard, yet he", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "The first thing Jim sees...\n\n An old INDIAN FACE staring at him...", "JIM guided back into the shower stall by his entourage, eyes \n blind as Oedipus, starts to laugh. A black Irish laugh.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "A small smile flickers Jim's face as he picks up the small \n TV and like a quarterback, hurls it, spinning end over end", "JIM, in dark glasses, strongly feeling the effects of the \n acid, stares at a box of Kellogg's Corn Flakes, unable to \n relate.", "JIM\n (laughs, goodnatured)\n What's wrong with being a large \n mammal, a big beast like a tank. I \n feel great!", "A wasted, emaciated Edie Sedgewick type floats into Jim's \n fractured POV -- introducing a MAN with a crew cut and silk \n suit." ], [ "JIM\n (hurt, near tears)\n Please don't say those things to me, \n Patricia.\n\n She suddenly grasps him, clutching, hunger, lust.", "JIM\n Patricia... Patricia...\n\n A beefy COP stands there looking at them,\n\n COP\n Whatcha doing there?", "PATRICIA\n Yeah YEAH!\n\n JIM\n AWRIGHT! AWRIGHT!", "PATRICIA\n No you won't.\n\n JIM\n Yes I will.", "PATRICIA\n You want to do some more cocaine? \n It'll loosen you up.\n\n JIM\n Great! A new thing.", "PATRICIA\n You like that hunh? Beg!\n\n JIM\n I'm begging! I'm begging you!", "JIM\n Come on Patricia, I was stoned... it \n seemed like the fun thing at the \n time.", "JIM\n (impressed)\n Wow! You Patricia? Who would've \n guessed?", "PATRICIA\n You ever try drinking blood?\n\n JIM\n What?", "PATRICIA\n (snorting)\n 14th Century. I practice the Craft.\n\n JIM\n The Craft?", "JIM\n (lips out of sync)\n I'm gonna burn you down.\n\n PATRICIA\n Come on...", "His look is right at her. Silence. Patricia knows he won't \n talk. Through the pause we hear the crowd chanting, bigger", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "PATRICIA drawing blood from her arm -- wipes it on his mouth. \n Some of it spills out, tamping the white powder with red", "The Crowd NOISE still carries, echoing. JIM leads PATRICIA \n to a quiet, isolated stall where they can be alone. Tapping \n the magazine, sincerely moved by what he reads.", "Jim slides her upstairs' door open, crawls in next to her \n bed. She's asleep with her boyfriend. He touches her toe. \n She awakes, startled.", "PATRICIA\n Blood is the rose of mysterious union, \n symbol of potency... now you.\n\n JIM\n No... I don't like... cutting myself.", "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "PATRICIA\n You have no choice, Jim. I see you \n up there like Icarus. I see you flying \n closer and closer to the sun. And \n your wings are melting..." ], [ "The Band has petered out by this point but out of nowhere, \n ROBBIE, zonked on his version of LSD, starts up with \"TOUCH \n ME BABE.\"", "The Band.", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth.", "The band has come together fully now. ROBBIE'S fingers sliding \n across the trembling strings, staring at the ceiling,", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "RAY sees it instantly where it's going, hits the organ! Robbie \n and John follow. the instruments EXPLODE all at once trying \n to bury Jim in his primal unmistakeable scream.", "JOHN\n Oh come on man, you think just cause \n you're the lead man in the band you \n can run the whole show.", "JOHN\n Listen to 'em! They're not coming \n for the music anymore. They're coming \n to see a fuckin' freak show!", "equipment, debris -- the end of the dream. The Doors as a \n live band are dead.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "from his corner of the Control Room towards Ray and Rothchild \n and the Doors. They dive for the floor as it smashes to bits \n into the wall behind the tape machines.", "become an act. Morrison \"falls\" off \n the stage at least every other \n performance. \"The Soft Parade\" album", "JIM\n (to the band)\n Guys, I'm serious about the desert," ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "All during this, snickering laughter from the onlooking half-\n dozen POLICE OFFICERS gathered to watch. Jim waits, then \n with great claim, in a quiet voice:", "Something so sincere in Jim's eyes. Robbie takes the fatal \n lick. Jim smiles manically as the NUREMBERG SOUNDS of the \n CROWD drown them out.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "JIM\n Man, I been here all the time... \n over there watching. I'm really happy \n for you Ray you found life...", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "JIM\n Yeah John, be anonymous, write a \n book: \"Observations of an American \n While on Trial in Miami\".", "background. The trial is going down like a morphine dream, \n Jim featured in diopter close-up.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JIM\n (feigning innocence)\n I wasn't mad, Tom. I was only \n interested in freedom.", "JIM\n (in pain)\n I BEEN BLINDED MAN. I BEEN MACED.\n\n COP\n (realizing)\n Hey all he said was...", "KIM\n (2nd girl, studying \n murder magazine)\n It was all right\n\n Jim continues to cry.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "Danger fills the air, electric. Jim strutting, Indian like, \n up to one of the Cops, whipping off his hat and flipping it", "JIM\n (beat, pained)\n Did I? Well, I'll tell ya, my words", "JIM\n (loves it, laughs)\n It was white Ray. You gotta stop \n harpin' on that day. I was so ripped \n I can hardly remember it.", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead." ], [ "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "JIM\n (hurt, near tears)\n Please don't say those things to me, \n Patricia.\n\n She suddenly grasps him, clutching, hunger, lust.", "JIM\n Patricia... Patricia...\n\n A beefy COP stands there looking at them,\n\n COP\n Whatcha doing there?", "PATRICIA\n No you won't.\n\n JIM\n Yes I will.", "PATRICIA\n Yeah YEAH!\n\n JIM\n AWRIGHT! AWRIGHT!", "Pause. PATRICIA -- four and a half months pregnant, stares. \n A glary window onto a balcony overlooking the sea with Florida", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "PATRICIA\n You like that hunh? Beg!\n\n JIM\n I'm begging! I'm begging you!", "JIM\n (lips out of sync)\n I'm gonna burn you down.\n\n PATRICIA\n Come on...", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "His look is right at her. Silence. Patricia knows he won't \n talk. Through the pause we hear the crowd chanting, bigger", "JIM\n (impressed)\n Wow! You Patricia? Who would've \n guessed?", "The Crowd NOISE still carries, echoing. JIM leads PATRICIA \n to a quiet, isolated stall where they can be alone. Tapping \n the magazine, sincerely moved by what he reads.", "PATRICIA\n You want to do some more cocaine? \n It'll loosen you up.\n\n JIM\n Great! A new thing.", "PATRICIA\n You ever try drinking blood?\n\n JIM\n What?", "JIM\n I want to live, Patricia. I don't \n wanna die.", "PAM\n (pathetic)\n I wanted you to find us Jim. It meant \n nothing.\n\n JIM\n I know. I know.", "JIM\n Come on Patricia, I was stoned... it \n seemed like the fun thing at the \n time.", "Jim looking at her, smiles.\n\n JIM\n I love you.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and" ], [ "PAM laughing -- suddenly alone, notices, goes looking for \n Jim... floating down this endless corridor with white doors \n and red carpet.\n\n INT. ELEVATOR", "JIM\n (quietly)\n Just kidding...\n (turning to Pam)\n Hi Pam. Just watchin' some TV.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JIM\n (whispers)\n Pam wants you.\n (normal)", "JIM\n HA HA HA!! WILL YOU DIE FOR ME!\n\n PAM\n NO! WILL YOU DIE FOR ME!!", "PAM\n (pathetic)\n I wanted you to find us Jim. It meant \n nothing.\n\n JIM\n I know. I know.", "PAM\n I'll meet you up front.\n\n Jim looking, zombie-like for the food. PEOPLE of course stare \n at him, knowing who he is.", "JIM\n (laughing at Pam)\n Life on the edge baby. Come get me \n if you love me baby.", "The COUNT is gone. JIM, icy cold, grabs PAM by the wrist.\n\n JIM\n I told you about that shit. Or are \n we talking about death choices here?", "PAM\n Jim! It was you. I always know when \n it's you.\n (moving closer)", "JIM's POV -- Pam irising out. This strange sound in his ears -- \n a rattle of an Indian gourd, similar to what we heard in the", "INT. JIM AND PAM'S HOUSE - LAUREL CANYON - THAT DAY", "INT. JIM & PAM'S HOUSE - LAUREL CANYON - NIGHT", "The charred TURKEY is being carved up. A moment of peace, \n then: Pamela walks up to Jim with a bowl of sweet potatoes \n in her arms, an announcement.", "JIM\n Well you see Pam there's this crazy \n girl in here, she's just lying on \n the bed with her legs open and I \n don't know what to do.", "As she throws the sweet potatoes right at him, spraying \n everybody. Jim laughing nuttily, the Count wiping the potatoes \n off. Pam rushing now for the turkey to throw, Jim chasing \n her.", "PAM\n No Jim. I want to LIVE with you. I \n want to LIVE with you.", "In the darkened booth, PAM is on her knees his pants worked \n down around his ankles, caressing him, sucking him off.", "Pam shivers, a strange thought.\n\n PAM\n Why do I look at you... and see my \n death?\n (pause, shrugs)\n No, that's ridiculous.", "PAM is vomiting her brains out as DOROTHY tries to comfort \n her on the edge of a cliff... Jim panthers up the dune.\n\n JIM\n Everybody having a good time?" ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "JIM\n (pissed)\n What's your problem with fathers! \n They're dead, both of them, I told \n you.", "THE SUBTITLE READS \"JIM IS SAID TO HAVE DIED OF 'HEART", "JIM\n (pause)\n Well, to be honest they're not living \n anymore so I don't like to talk about \n that.", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "JIM\n You're wrong. What they want I can't \n give... my death -- ripped to pieces -- \n do you feel their power?\n (the noise pounding)", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "JIM\n (looks at her, ironic)\n It's only thru death that you know \n life. Jesus, medicine men heal people \n by sacrificing their own life.", "JIM\n (beat, pained)\n Did I? Well, I'll tell ya, my words", "JIM\n (rising anger)\n Get up. Hurt? You want to know HURT? \n Let me introduce you to my good friend \n hurt.", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "asphalt... the dying man's face, twisted, moaning, amazing \n eyes at the point of death -- they settle on Jim", "to death on his skins. Jim starts to whirl the mike cord \n like a slingshot or bolo, in an ever-widening arc...", "Something so sincere in Jim's eyes. Robbie takes the fatal \n lick. Jim smiles manically as the NUREMBERG SOUNDS of the \n CROWD drown them out.", "JIM\n (pause)\n Actually, I don't really remember \n being born. It musta happened during \n one of my blackouts.", "JIM\n (on the floor, quiet)\n You better kill me cause I'm gonna \n come back and fuck everyone of your \n daughters...", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM\n (loves it, laughs)\n It was white Ray. You gotta stop \n harpin' on that day. I was so ripped \n I can hardly remember it.", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth." ], [ "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "JIM\n (to the band)\n Guys, I'm serious about the desert,", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "JIM\n I gotta admit -- that ain't bad for \n four guys who weren't even talking \n that day.\n\n Slapping shoulders, shaking hands.", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "JIM and his GANG, beers in hand, mouth back the words, beers \n everywhere shoved to the smokey ceiling, everyone on their", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "JIM\n He's the medicine man who starts in \n a peyote trance. And he gets everyone", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Pulling John into the circle, bonding, their four heads sunk \n to the desert floor, Jim making wild Indian sounds, deep-\n throated \"shoooh... shoooh\"... now humming a song from the \n desert.", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS" ], [ "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Jim waits. Something in the feeling of the room has shifted. \n The sound of her razor chopping coke. He snorts -- the first \n time.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "The kids running up to grab JIM, pulls him back to the party.\n\n GIRLS\n Come 'ere Uncle Jim, we're playing \n blind man's bluff..." ] ]	[ "In which U.S. state did Jim Morrison arrive in 1965?", "At what school did Jim Morrison study?", "Who was Jim Morrison's girlfriend during his days at UCLA?", "Why did Jim Morrison invite his classmates to Death Valley?", "What was Jim Morrison's nickname as his band became more popular?", "Who was a rock journalist with whom Jim participated in witchcraft?", "What criminal charges did Jim have brought against him at in Miami, FL?", "Who was pregnant with Jim Morrison's child?", "Where did Pamela Courson find Jim Morrison dead in 1971?", "What is the name of the night club in Los Angeles where the Doors grew their fan base?", "What self-image does Jim become increasingly obsessed with?", "What did Jim do during a Miami concert that was thought to be a low point for the band?", "By first name, who are the Doors band members?", "How old was Jim Morrison at his death?", "What was Jim's cause of death?", "What gift does Jim give his band mates at his last visit with them at Ray's party?", "What is Jim's reaction to Patricia's news she is pregnant?", "What school does Jim attend in California?", "Who is Pamela Courson to Jim?", "What does Jim convince his bandmates to do?", "After becoming a success, what image does Jim become infatuated with?", "What does Jim participate in with Patricia?", "What ultimately causes a downfall for the band?", "What was the verdict in Jim's case?", "What do Jim and Patricia do when they find out she is pregnant?", "Where does Pam find Jim is dead?", "What was the alleged cause of Jim's death?", "Where does Jim meet eh eventual members of their band?", "Whats does Jim do when he attends a party thrown by his bandmates for a final time?" ]	[ [ "California", "California " ], [ "UCLA", "Film" ], [ "Pamela Courson", "Pamela Courson " ], [ "to experience psychedelic drugs", "to experience psychedelic drugs" ], [ "The Lizard King", "the lizard king" ], [ "Patricia Kennealy", "Patricia Kennealy" ], [ "Jim Morrison allegedly exposed himself on stage", "Indecent exposure." ], [ "Patricia Kenneally", "Patricia." ], [ "In a bathtub in Paris, France", "In the bathtub " ], [ "Whiskey a Go Go", "Whisky a Go Go" ], [ "\"The Lizard King\"", "\"The Lizard King\"" ], [ "Jim allegedly exposed himself on stage", "Expos himself" ], [ "Jim, Ray, Robbie, and John", "Jim, John, Robbie, Ray." ], [ "27", "27" ], [ "Heart failure", "Heart Failure." ], [ "Jim gave them each a copy of An American Prayer. ", "A copy of An American Prayer" ], [ "Jim wants Patricia to have an abortion. ", "He makes her get an abortion." ], [ "UCLA", "UCLA" ], [ "Jim's girlfriend. ", "Girlfriend" ], [ "Travel to Death Valley to try psychedelic drugs.", "travel to Death Valley" ], [ "He is infatuated with his personal image of \"The Lizard King\" which causes him to fall into alcoholism and drug abuse.", "His own image as the \"Lizard King\"" ], [ "He participates in mystical ceremonies and joins in a handfasting ceremony.", "Mystical ceremonies." ], [ "Jim arrives late to a concert in Miami, confronts the crowd and also exposes himself while onstage.", "Jim exposing himself in front of the audience" ], [ "Jim was found guilty of indecent exposure.", "Guilty " ], [ "Patricia is convinced to have an abortion.", "Got a abortion. " ], [ "In a bathtub while in Paris.", "In a bathtub in Paris" ], [ "His death was attributed to heart failure.", "Heart failure." ], [ "While he was attending UCLA studying in film school.", "At UCLA." ], [ "He wishes them luck and gives them a copy of An American Prayer.", "He plays with the children." ] ]	01a4a870914fd148e2fd4e55ccbc9a3595f6bab6	train
[["Daniel pushes Lamar out the door. Zero steps out behind him. He\n stares at Lamar f(...TRUNCATED)	["Where does Daniel's boss send Daniel?","Who interferes with the group while they are staying with (...TRUNCATED)	[["to Chicago","Chicago"],["a neighbor","Noisy neighbor."],["It was the wrong house","It was the wro(...TRUNCATED)	062b9c326df5cbf93aa78e36f76f72c690fd4e0a	train
[["74 DURANT 74\n looking sadly down.\n\n DURANT\n The Bel(...TRUNCATED)	["What is in the Bellasrious memorandum?","What is the name of Dr. Westlake's assistant?","In the be(...TRUNCATED)	[["Proof that Strack has been bribing members of the zoning committee","Zoning document "],["Yakatit(...TRUNCATED)	0c2b940512879ba35e6a0512b240ed661119d20b	train
[["grinning like a geek who just struck gold.\n \n DUPREE (V(...TRUNCATED)	["What was Buddy's nickname?","What did \"The Swede\" promise to bring to Sparazza?","Who was the FB(...TRUNCATED)	[["Aces","Aces "],["Israel's head","Israel's heart"],["Stanley Locke","Stanley Locke."],["That israe(...TRUNCATED)	11b6316f6d094ce0455e24aa3a3e8efe576676dc	train
[["INT. MILES MASSEY'S OFFICE\n\n Miles addresses BONNIE DONOVAN, a client.","MARYLIN\(...TRUNCATED)	["In what type of cases is Miles Massey an expert attorney?","What does Donovan Donaly do for a livi(...TRUNCATED)	[["In divorce cases","divorce"],["He is a TV soap opera producer","TV soap opera producer"],["He des(...TRUNCATED)	17272570cdcbfce7fda86ae35332b1fcae569c30	train
[["Haggin\" was the sound that meant \"God.\" In Jerry's heart and head, in\nthe mysterious centre (...TRUNCATED)	["What was Mr. Haggin's job?","Who killed the captain and the skipper?","What kind of animal was Jer(...TRUNCATED)	[["Plantation guard","A plantation guard. "],["The natives","Malaita Island natives"],["Dog","dog"](...TRUNCATED)	1b458192e39bd7fdf10e69d6b975844a211e72a9	train
[["The angel continued:\n\n\"Mael, know thy error, believing that thou wert baptizing children of\nA(...TRUNCATED)	["Why does the missionary baptize the auks?","The Lord normally only allows humans to be baptized. S(...TRUNCATED)	[["He assumes they are humans.","He thinks they are a pre-Christian society of noble pagans. "],["H(...TRUNCATED)	21f3fcbf22d864a5d6a0c3830df19459d402706c	train
[["Enid tears out the ad and puts it in her sketchbook.\n\n CU of sketchbook.\n\n (...TRUNCATED)	["Why does Enid's teachers dismiss her sketches?","What happens after Rachel and Enid prank-call Sey(...TRUNCATED)	[["She believes they are nothing more than light entertainment.","Finds the offensive"],["They convi(...TRUNCATED)	2819dab971e357cf6b3b919bb8ff8b838e0558dd	train
[["He was so tired that he flopped down upon the nice soft sand on the\nfloor of the rabbit hole, an(...TRUNCATED)	["What happened to the young rabbits' father?","Which young bunny ventures into the McGregor's garde(...TRUNCATED)	[["Mrs. McGregor baked him into a pie.","Mrs. McGregor put him in a pie."],["Peter","Peter"],["Parsl(...TRUNCATED)	2e4f0851debe2ecf77de6a18d0007f176acbd78e	train
[["DAMIS\n What! His talk can so deceive you ...\n\n ORGON\n Silence, you scoundrel!","DAMIS\n W(...TRUNCATED)	["What did Orgon do when he was convince that Damis was lying? ","Where did Orgon hid?","What was Or(...TRUNCATED)	[["Banishes Damis from the house.","banished him"],["Under the table.","beneath a table"],["He will (...TRUNCATED)	33e2da2b7d2b57cad0fa960b31444c14afeb2056	train

[ [ "SULLIVAN\n Now here on our stage direct from \n Los Angeles, California, ladies and \n gentlemen, The Doors!", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "car in Arizona when Jim was a boy. Now a distant Indian drum \n beating. The beginning strains of THE END dribble in.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "(cheers)\n The immoral conduct of degenerates \n such as Jim Morrison is an \n unacceptable insult to this country", "VOICE\n (loudspeaker)\n Ladies and Gentlemen, from Los Angeles \n California -- The DOORS!", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "JIM & DOORS \n Well I just got into town 'bout an hour ago \n Took a look around, see which way the wind blow \n Where the little girls in their Hollywood bungalows", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN." ], [ "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "JIM\n (reciting)\n When I was back there in seminary \n school", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JIM\n The killer awoke before dawn \n He put his boots on \n He took a face from the ancient \n gallery \n And he walked on down the hall", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM \n (SONG) \n A vast radiant beach \n And a cool jewelled moon \n Couples naked, race down by its quiet side \n And we laugh like soft mad children", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "JIM\n The Doors.", "JIM\n (indifferent, to \n himself)\n I am the Lizard King I can do anything", "JIM\n Rock is death! There is no longer \n belief. Hey, I'll write poetry and \n direct movies.", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "INSTRUCTOR\n HOLD IT DOWN!!... Mr. Morrison -- \n what are your feelings?\n\n JIM\n I quit.\n (walks out)" ], [ "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "He seems pleased to distract his anger into her. She doesn't \n seem to notice anything unusual going on. The Doors silent, \n feeling Jim's rage.", "PAMELA\n (everything's cool)\n That's Jim. My new friend.\n\n INT. UCLA SCREENING ROOM - DAY (1965)", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "GIRL 1\n (contempt)\n The Doors. I heard of you. That's \n the dumbest name. I wouldn't go to \n the Fog if you paid me.", "\"THE DOORS\"\n\n Screenplay by\n\n Randall Jahnson and Oliver Stone\n\n SHOOTING DRAFT", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "ANCHORLADY\n The question that will be answered \n today: Did Jim Morrison or did he \n not take off his pants last March? \n This is...", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "A pause. She wants him. No longer so cool.\n\n GLORIA\n ...Jim Morrison, the god of Rock and \n Cock...", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "GIRL 1\n (withering look, very \n hip)\n \"Love\".\n\n JIM\n Yeah, Arthur Lee's cool.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over." ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "Pulling John into the circle, bonding, their four heads sunk \n to the desert floor, Jim making wild Indian sounds, deep-\n throated \"shoooh... shoooh\"... now humming a song from the \n desert.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "The three excluded Doors head out to the beach like obedient \n schoolboys while Ray fools with his organ.\n\n EXT. VENICE BEACH - DAY", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "JIM\n (to the band)\n Guys, I'm serious about the desert,", "car in Arizona when Jim was a boy. Now a distant Indian drum \n beating. The beginning strains of THE END dribble in.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "(cheers)\n The immoral conduct of degenerates \n such as Jim Morrison is an \n unacceptable insult to this country", "JIM\n (laughs)\n Hey whadya say we take some of that \n Tijuana acid and see what kinda \n trouble we can get into tonight?", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next." ], [ "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "JIM\n The Doors.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "MIKE\n A new image -- Jim Morrison as \n \"Renaissance Man\" -- We bring you \n back slow, quiet, the beard, elder \n of the tribe.", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n (to Robin, a 5 year \n old)\n ...and to you, princess, from your \n Royal servant, James Douglas Morrison\n (bows)", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "or it could be Jim Morrison -- in fact the hair is perfectly \n weaved to resemble Jim in his young lion phase -- an ironic", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him." ], [ "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "Laughter. JOURNALIST 4 with dark hair and demeanor, gypsy-\n like jewelry on her arm and avant garde clothing, large \n glasses, is probably a rock magazine writer but seems to \n like Jim and his work.", "JIM\n He's the medicine man who starts in \n a peyote trance. And he gets everyone", "JIM\n Rock is death! There is no longer \n belief. Hey, I'll write poetry and \n direct movies.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JIM and ANNE's blood into a consecrated cup of wine, from \n which they drink. They all wear long black robes, the only", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "JOURNALIST 1\n (smiling)\n ...like a medicine man or witch \n doctor?", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Pulling John into the circle, bonding, their four heads sunk \n to the desert floor, Jim making wild Indian sounds, deep-\n throated \"shoooh... shoooh\"... now humming a song from the \n desert.", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead.", "Then splits at a full run thru the crowd chased by the \n perplexed Cops. Everybody surging back towards the stage as \n JIM looses one of his primal SCREAMS.", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS", "DISSOLVING OVER:\n\n JOURNALIST 2\n Do you really consider yourself a \n shaman Mr. Morrison?", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand," ], [ "JIM\n Yeah John, be anonymous, write a \n book: \"Observations of an American \n While on Trial in Miami\".", "JIM\n I care.\n\n PAUL\n Come on Jim, we'll get fuckin' laid \n in Miami.", "JIM\n THEN MOVE TO MIAMI YOU SLAVE!!!\n\n More nagging. By this time the fight has expired of its own \n volition.", "JIM\n I got an idea Bill, you're fired.\n\n INTERCUT TO:\n\n INT. MIAMI AUDITORIUM - THAT NIGHT", "they had memos on you in Phoenix and \n they got you extradicted to Miami \n illegally without a felony...", "DISSOLVING TO:\n\n INT. MIAMI COURTROOM - DAY (1970)", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM is wrestled across the lot, pinned to the car and \n handcuffed, punched and thrown into the car, yelling. \n Journalists try to intercede, one is also arrested.", "Danger fills the air, electric. Jim strutting, Indian like, \n up to one of the Cops, whipping off his hat and flipping it", "All during this, snickering laughter from the onlooking half-\n dozen POLICE OFFICERS gathered to watch. Jim waits, then \n with great claim, in a quiet voice:", "More cops come out, snatch the microphone, as Jim flashes \n the audience a \"touchy aren't they?\" shrug.", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "A ROLLING STONE WANTED POSTER ON JIM -- \"In the County of \n Dade/Dead -- Did He Or Didn't He?\".", "Jim and Mike driving drunk, fucking TWO BLACK CHICKS. Mike \n in the back seat. Jim drives the car up onto the grass of a \n Police Station and plows right into it.", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "labor in the Dade County Jail and \n for public exposure I am sentencing \n you to six months of the same, after", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n (shakes his head)\n HIDE ME!!!\n\n HARD CUT TO:", "INT. HOLDING ROOM - POLICE STATION - THAT NIGHT\n\n JIM is spreadeagled against the wall, a dignified, defiant \n look on his face." ], [ "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "He seems pleased to distract his anger into her. She doesn't \n seem to notice anything unusual going on. The Doors silent, \n feeling Jim's rage.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "A pause. She wants him. No longer so cool.\n\n GLORIA\n ...Jim Morrison, the god of Rock and \n Cock...", "Jim taking an amyl nitrate with her... laughing... Nico with \n that crazed German laugh... PAMELA pushing the elevator \n buttons wildly...", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "ANCHORLADY\n The question that will be answered \n today: Did Jim Morrison or did he \n not take off his pants last March? \n This is...", "JIM\n Come on baby, light my fire \n Try to set the night on FIIIIRRRRRE!\n\n INT. HOTEL BEDROOM -- NEW YORK - NIGHT", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him.", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --" ], [ "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "JIM'S POV entering the bedroom -- PAMELA naked in bed with \n the COUNT, is snorting heroin. Shadows of the trees and leaves \n blowing against the walls. Their voices, dim, distant.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "PAM laughing -- suddenly alone, notices, goes looking for \n Jim... floating down this endless corridor with white doors \n and red carpet.\n\n INT. ELEVATOR", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "Pamela listening at the door. She's on the second story of a \n cheap motel overlooking a boring parking lot on the edge of \n La Cienega.", "PAMELA\n (eyeing her up and \n down through her \n tears)\n You actually put your dick in this \n woman Jim?", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "JANIS JOPLIN OVERDOSES IN LOS ANGELES.", "JIM & THE DOORS\n Dead President's corpse in the \n driver's car", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "blowing, the wild cats everywhere in the empty cemetery, the \n crumbling tombs, the flowers fresh and dead around Jim's", "As she goes to a bowl of cocaine, laid alongside a bottle of \n champagne and a basketful of items all catered by Jim. He's \n at her bookcase, thumbing through an ancient manuscript.", "PAMELA is all decked out in her best, wedding clothes, red \n satins from Morocco, five-inch clog heels, flowers in her \n hair. Looking around pissed as:", "Jim slides her upstairs' door open, crawls in next to her \n bed. She's asleep with her boyfriend. He touches her toe. \n She awakes, startled.", "PAM\n (pathetic)\n I wanted you to find us Jim. It meant \n nothing.\n\n JIM\n I know. I know.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire." ], [ "SULLIVAN\n Now here on our stage direct from \n Los Angeles, California, ladies and \n gentlemen, The Doors!", "GHOST ANNOUNCER\n Ladies and Gentlemen, from Los Angeles \n California -- The Doors!\n (ghostly applause)", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "VOICE\n (loudspeaker)\n Ladies and Gentlemen, from Los Angeles \n California -- The DOORS!", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "\"THE DOORS -- BAND FROM VENICE\" on the marquee... moving \n down to a motley crew of TEENAGE GIRLS, underage, trying to", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "TRIP, CIRO'S, BIDO LITO'S, GAZZARRI'S, THE EXPERIENCE... . \n Headlights and neon intercut with:", "The stage is bottom lit, Dantean in look. The Doors casting \n giant shadows of heroic proportions. DEA AGENTS in suits and", "GIRL 1\n (contempt)\n The Doors. I heard of you. That's \n the dumbest name. I wouldn't go to \n the Fog if you paid me.", "The lights come up on the DOORS in their ultimate nightmare -- \n each Door appearing consecutively in a lightspot as Jim sings", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "A row of NIGHTCLUBS glisten off the hoods of passing traffic. \n Marquees announce: THE BYRDS, RED ROOSTER, LOVE, THE HERD,", "An eager rowdy CROWD chants DOORS! DOORS! DOORS! DOORS! to a \n stage without the Doors. TECHIES are moving amplifiers,", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "on stage. Kids writhe madly in the primal Doors dance.", "\"THE DOORS\"\n\n Screenplay by\n\n Randall Jahnson and Oliver Stone\n\n SHOOTING DRAFT", "The sound of wind, the backbeat of LA WOMAN flooding in.\n\n EXT. CHATEAU MARMONT HOTEL - LOS ANGELES - NIGHT", "He seems pleased to distract his anger into her. She doesn't \n seem to notice anything unusual going on. The Doors silent, \n feeling Jim's rage." ], [ "Our camera dwells on Jim in the mirror, closer, closer -- \n the image and the reality, which is which anymore -- where \n does it end?", "and shoots violently backwards, hitting the floor like a \n puppet cut from his string -- we sense Jim himself has crossed \n a barrier now, gone into yet another stage of his performance,", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead.", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "Pause. Jim's face darkening. Something he sees on the \n television. He stops, frozen, sickly. Several BIMBETTES are", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "JIM, in dark glasses, strongly feeling the effects of the \n acid, stares at a box of Kellogg's Corn Flakes, unable to \n relate.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "JIM guided back into the shower stall by his entourage, eyes \n blind as Oedipus, starts to laugh. A black Irish laugh.", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "Jim shakes his head, weary. Suddenly he's scared inside.", "channels. The camera moving in on Jim, the VOICES fading. \n All we see is Jim. All we hear and see is the TV:", "JIM\n (rising anger)\n Get up. Hurt? You want to know HURT? \n Let me introduce you to my good friend \n hurt.", "to death on his skins. Jim starts to whirl the mike cord \n like a slingshot or bolo, in an ever-widening arc...", "ROBBIE\n It ain't the old Jim that's for sure. \n I think he's living for everybody \n else man and somewhere along the way \n he's lost his own self.", "The voice, the pretense, -- the glow too quickly fades -- \n leaving Jim so alone, not sure what he has heard, yet he" ], [ "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS", "Then splits at a full run thru the crowd chased by the \n perplexed Cops. Everybody surging back towards the stage as \n JIM looses one of his primal SCREAMS.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "JIM\n I care.\n\n PAUL\n Come on Jim, we'll get fuckin' laid \n in Miami.", "JIM\n I got an idea Bill, you're fired.\n\n INTERCUT TO:\n\n INT. MIAMI AUDITORIUM - THAT NIGHT", "Madness. COPS lining the edge of the stage, looking worried. \n As Jim throws his leather jacket into the cheering crowd and", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "The PR MAN is still next to Jim, jumping up and down excitedly \n waving across the room at nothing in particular. As the \n PHOTOGRAPHERS try to get Jim and the Doors in a photo \n opportunity.", "DISSOLVING TO:\n\n INT. MIAMI AUDITORIUM - NIGHT (1969)", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "and shoots violently backwards, hitting the floor like a \n puppet cut from his string -- we sense Jim himself has crossed \n a barrier now, gone into yet another stage of his performance,", "More cops come out, snatch the microphone, as Jim flashes \n the audience a \"touchy aren't they?\" shrug.", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth." ], [ "JIM\n The Doors.", "SULLIVAN\n Now here on our stage direct from \n Los Angeles, California, ladies and \n gentlemen, The Doors!", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "GIRL 1\n (contempt)\n The Doors. I heard of you. That's \n the dumbest name. I wouldn't go to \n the Fog if you paid me.", "JIM\n What?... are you saying? Are we the \n Doors? One for all and all for one?", "\"THE DOORS\"\n\n Screenplay by\n\n Randall Jahnson and Oliver Stone\n\n SHOOTING DRAFT", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "backstage, pronouncing the arrival of the Doors on the scene. \n Now he's got a beard, glasses, a more cynical face.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "RAY MANZAREK, a tall student with powerful voice and manner, \n thick glasses, long hair sweeping down over his eyes, leans \n over to Jim.", "GHOST ANNOUNCER\n Ladies and Gentlemen, from Los Angeles \n California -- The Doors!\n (ghostly applause)", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "JIM\n (pausey, paranoid)\n Where are the Doors.", "JIM & DOORS \n Riders on the Storm (x2) \n Into this house we're born \n Into this world we're thrown", "The lights come up on the DOORS in their ultimate nightmare -- \n each Door appearing consecutively in a lightspot as Jim sings", "The three excluded Doors head out to the beach like obedient \n schoolboys while Ray fools with his organ.\n\n EXT. VENICE BEACH - DAY", "VOICE\n (loudspeaker)\n Ladies and Gentlemen, from Los Angeles \n California -- The DOORS!", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient" ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "Panning up the black chino pants to JIM MORRISON, now 20, \n steel seaman's suitcase in hand, thumbing a ride, the road", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "JIM\n Rock is death! There is no longer \n belief. Hey, I'll write poetry and \n direct movies.", "SIDDONS\n He was WHAT! He's Jim Morrison for \n chrissake. Jim, Jim -- you okay --", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "JIM\n (looks at her, ironic)\n It's only thru death that you know \n life. Jesus, medicine men heal people \n by sacrificing their own life.", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "GLORIA\n Forget the Doors. It's you they want, \n Jim. You're the Doors.", "Past a YOUNG MAN dressed in Jim Morrison leather pants with \n his hair and eye make-up, a warped image of Jim, smiling \n back at him.", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "JIM\n The killer awoke before dawn \n He put his boots on \n He took a face from the ancient \n gallery \n And he walked on down the hall", "MIKE\n A new image -- Jim Morrison as \n \"Renaissance Man\" -- We bring you \n back slow, quiet, the beard, elder \n of the tribe.", "JIM\n (pissed)\n What's your problem with fathers! \n They're dead, both of them, I told \n you.", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "JIM\n I bet you never expected life could \n be this hard.\n (strokes her hair \n affectionately)\n And you're still so young.", "Camera revealing JAMES DOUGLAS MORRISON, -- 27, poet, buried \n in the shadows, curls of cigarette smoke about his haunted" ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "JIM\n (pause)\n Well, to be honest they're not living \n anymore so I don't like to talk about \n that.", "THE SUBTITLE READS \"JIM IS SAID TO HAVE DIED OF 'HEART", "JIM\n (pissed)\n What's your problem with fathers! \n They're dead, both of them, I told \n you.", "JIM\n You're wrong. What they want I can't \n give... my death -- ripped to pieces -- \n do you feel their power?\n (the noise pounding)", "JIM\n (looks at her, ironic)\n It's only thru death that you know \n life. Jesus, medicine men heal people \n by sacrificing their own life.", "asphalt... the dying man's face, twisted, moaning, amazing \n eyes at the point of death -- they settle on Jim", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM\n (rising anger)\n Get up. Hurt? You want to know HURT? \n Let me introduce you to my good friend \n hurt.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Something so sincere in Jim's eyes. Robbie takes the fatal \n lick. Jim smiles manically as the NUREMBERG SOUNDS of the \n CROWD drown them out.", "JIM\n (beat, pained)\n Did I? Well, I'll tell ya, my words", "JIM\n (real close, hugging \n her)\n I don't mind dying in a plane crash, \n a smile on my face.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "to death on his skins. Jim starts to whirl the mike cord \n like a slingshot or bolo, in an ever-widening arc...", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth." ], [ "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Ray pantomimes chords in the keyboard sand. All of a sudden \n we're in RAY'S POV -- a mystical moment. Jim singing, no \n sound, then pure song, unadulterated by atmosphere.", "RAY sees it instantly where it's going, hits the organ! Robbie \n and John follow. the instruments EXPLODE all at once trying \n to bury Jim in his primal unmistakeable scream.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "on the stage dancing, but Jim goes right up alongside RAY, \n shaking his hips like Elvis. Ray giving him the mike. Improv \n time.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "Jim cocks his head, listening to it playing from an inner \n room, his eyes on ROBIN opening the gift -- a beautiful,", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "He gives Ray a card, leaving, crossing to Jim and PAM talking.", "JIM\n Man, I been here all the time... \n over there watching. I'm really happy \n for you Ray you found life...", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "JIM\n (to RAY)\n Don't go, y'see Norman Mailer, I \n hear he's here?", "RAY\n Om om... No bliss! No bliss!\n\n Jim has approached closer, amused, looking down.", "RAY\n (trying another tack)\n Jim we gotta finish \"LA Woman\".\n\n JIM\n Don't have an ending Ray.", "Rothchild looking to Botnick and to Ray. But the real look, \n the unforgiving one, is from Jim to Ray who feels it. \n Rothchild douses the lights in the studio.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "He smiles innocently. Ray, a beat, turns away. Pam coming \n over, squeezes his hand, sweetly, no fights today, she's his \n lady.", "RAY\n (exchanging looks \n with John)\n We'll have a band meeting. The four \n of us do everything unanimously or \n we don't do it.", "Robbie's look tells us he thinks Ray is as much caught up in \n his dreams as Jim.\n\n CUT TO:", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:" ], [ "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "JIM\n (hurt, near tears)\n Please don't say those things to me, \n Patricia.\n\n She suddenly grasps him, clutching, hunger, lust.", "PATRICIA\n Yeah YEAH!\n\n JIM\n AWRIGHT! AWRIGHT!", "His look is right at her. Silence. Patricia knows he won't \n talk. Through the pause we hear the crowd chanting, bigger", "PATRICIA\n No you won't.\n\n JIM\n Yes I will.", "Pause. PATRICIA -- four and a half months pregnant, stares. \n A glary window onto a balcony overlooking the sea with Florida", "JIM\n Patricia... Patricia...\n\n A beefy COP stands there looking at them,\n\n COP\n Whatcha doing there?", "JIM\n (impressed)\n Wow! You Patricia? Who would've \n guessed?", "The HUSBAND, now looking at Jim a little nervously, pushes \n up the Perry Como on the radio... as it cuts to a sudden \n news flash:", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "PATRICIA\n You like that hunh? Beg!\n\n JIM\n I'm begging! I'm begging you!", "PATRICIA\n If he's so dead, then who answered \n the phone when I called the house?\n\n Jim -- a look, struck.", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "The Crowd NOISE still carries, echoing. JIM leads PATRICIA \n to a quiet, isolated stall where they can be alone. Tapping \n the magazine, sincerely moved by what he reads.", "JIM\n I want to live, Patricia. I don't \n wanna die.", "JIM\n (lips out of sync)\n I'm gonna burn you down.\n\n PATRICIA\n Come on...", "PATRICIA\n You ever try drinking blood?\n\n JIM\n What?", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "PATRICIA\n You want to do some more cocaine? \n It'll loosen you up.\n\n JIM\n Great! A new thing.", "Pause. Jim's face darkening. Something he sees on the \n television. He stops, frozen, sickly. Several BIMBETTES are" ], [ "JIM\n (reciting)\n When I was back there in seminary \n school", "PAMELA\n (everything's cool)\n That's Jim. My new friend.\n\n INT. UCLA SCREENING ROOM - DAY (1965)", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "INT. BARNEY'S BEANERY - LOS ANGELES - MONDAY\n\n JIM -- drinking in Barney's Bar.\n\n HEADLINE READS:", "JIM\n I bet your dad's a school teacher.\n\n PAM\n How did you know!\n\n JIM\n I don't know.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "in California.", "JIM, in dark glasses, strongly feeling the effects of the \n acid, stares at a box of Kellogg's Corn Flakes, unable to \n relate.", "car in Arizona when Jim was a boy. Now a distant Indian drum \n beating. The beginning strains of THE END dribble in.", "JIM\n (shakes his head)\n HIDE ME!!!\n\n HARD CUT TO:", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "to Florida State...\n (cheers)\n Then I GOT SMART. I went to California \n where you can let your hair grow", "STUDENTS in the audience groan at the pretention of it. Moving \n to JIM's eyes hidden in his parka hood, peeking through at \n the screen.", "JIM, loose, wanders right into the traffic, waving to anybody, \n trying to hitch a ride. DOG and the OTHERS going after him. \n Jim seen slipping a tablet from his pocket into his mouth.", "Jim slides her upstairs' door open, crawls in next to her \n bed. She's asleep with her boyfriend. He touches her toe. \n She awakes, startled." ], [ "PAMELA\n (everything's cool)\n That's Jim. My new friend.\n\n INT. UCLA SCREENING ROOM - DAY (1965)", "PAM\n JIM MORRISON GODDAMIT I LOVE YOU I \n WANT YOU I NEED YOU.\n\n Jim moving further along the ledge.", "The Great Jim Morrison, The Shaman, then Pamela, Patricia, \n Gloria, a series of women who face after face fill the ancient", "JIM\n (laughing at Pam)\n Life on the edge baby. Come get me \n if you love me baby.", "JIM\n (whispers)\n Pam wants you.\n (normal)", "PAM\n What the hell's happened to us Jim? \n What the hell is happening to us. \n There's some great poetry...\n\n On Jim... saddened.", "A staged 16mm. grainy shot of JIM and PAMELA, RAY and DOROTHY,", "JIM'S POV entering the bedroom -- PAMELA naked in bed with \n the COUNT, is snorting heroin. Shadows of the trees and leaves \n blowing against the walls. Their voices, dim, distant.", "COPS to peel her off. Pamela furious. Jim is gracious with \n everyone, signs patiently, talks, kisses, shakes hands with", "JIM\n You really know what I am Pam? You \n know what poetry is? Where is the", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "PAMELA\n (eyeing her up and \n down through her \n tears)\n You actually put your dick in this \n woman Jim?", "JIM \n (SONG) \n A vast radiant beach \n And a cool jewelled moon \n Couples naked, race down by its quiet side \n And we laugh like soft mad children", "PAMELA\n Don't kid yourself sweetheart, Jim's \n crazy but he's not that crazy. He \n loves me.", "PAM\n No Jim. I want to LIVE with you. I \n want to LIVE with you.", "JIM\n (to Pamela)\n All right so I do. I live my life", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "Pamela calling from another dune, far away.\n\n PAM\n Jim! Jim... come here, dance... don't \n go away.", "JIM\n Mine's Jim.\n\n A moment. She must decide. The YOUNG MAN within earshot.\n\n GIRL\n Pam...", "PAM\n (sotto voice)\n ...sing to me, Jim, sing to me." ], [ "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n (to the band)\n Guys, I'm serious about the desert,", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Abruptly Jim is back in the circle with the Doors in a sense \n torn between them and Pam. EXTREME CLOSEUPS of their faces,", "JIM\n (ironic, to the others)\n So, let's keep that money machine \n rolling. Come on guys...", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over." ], [ "Our camera dwells on Jim in the mirror, closer, closer -- \n the image and the reality, which is which anymore -- where \n does it end?", "and shoots violently backwards, hitting the floor like a \n puppet cut from his string -- we sense Jim himself has crossed \n a barrier now, gone into yet another stage of his performance,", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead.", "Jim rises, staggers slightly as he makes his way to the bar \n on the way out of the room, smiles right at her, ignoring \n everybody else in the room.", "A BABY, with her MOTHER, stares at Jim fascinated. He lifts \n his dark glasses, winks back at her.\n\n TIMECUT TO:", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "stains. Jim watching enthralled, coked out. She hands him \n the jewelled Moroccan dagger.", "JIM\n It's so scary up there. To be adored. \n Isn't that irony? Teenage death girls", "The voice, the pretense, -- the glow too quickly fades -- \n leaving Jim so alone, not sure what he has heard, yet he", "JIM, in torn black chinos, no shirt, walking real slow past \n it all, carrying a notebook of his own and a paperback of \n Baudelaire, his eyes settling on...", "Jim ignoring all this, one hand cupped to his ear listening \n for the sound of the earth, gone into a shaman-like state,", "The first thing Jim sees...\n\n An old INDIAN FACE staring at him...", "JIM guided back into the shower stall by his entourage, eyes \n blind as Oedipus, starts to laugh. A black Irish laugh.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "A small smile flickers Jim's face as he picks up the small \n TV and like a quarterback, hurls it, spinning end over end", "JIM, in dark glasses, strongly feeling the effects of the \n acid, stares at a box of Kellogg's Corn Flakes, unable to \n relate.", "JIM\n (laughs, goodnatured)\n What's wrong with being a large \n mammal, a big beast like a tank. I \n feel great!", "A wasted, emaciated Edie Sedgewick type floats into Jim's \n fractured POV -- introducing a MAN with a crew cut and silk \n suit." ], [ "JIM\n (hurt, near tears)\n Please don't say those things to me, \n Patricia.\n\n She suddenly grasps him, clutching, hunger, lust.", "JIM\n Patricia... Patricia...\n\n A beefy COP stands there looking at them,\n\n COP\n Whatcha doing there?", "PATRICIA\n Yeah YEAH!\n\n JIM\n AWRIGHT! AWRIGHT!", "PATRICIA\n No you won't.\n\n JIM\n Yes I will.", "PATRICIA\n You want to do some more cocaine? \n It'll loosen you up.\n\n JIM\n Great! A new thing.", "PATRICIA\n You like that hunh? Beg!\n\n JIM\n I'm begging! I'm begging you!", "JIM\n Come on Patricia, I was stoned... it \n seemed like the fun thing at the \n time.", "JIM\n (impressed)\n Wow! You Patricia? Who would've \n guessed?", "PATRICIA\n You ever try drinking blood?\n\n JIM\n What?", "PATRICIA\n (snorting)\n 14th Century. I practice the Craft.\n\n JIM\n The Craft?", "JIM\n (lips out of sync)\n I'm gonna burn you down.\n\n PATRICIA\n Come on...", "His look is right at her. Silence. Patricia knows he won't \n talk. Through the pause we hear the crowd chanting, bigger", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "PATRICIA drawing blood from her arm -- wipes it on his mouth. \n Some of it spills out, tamping the white powder with red", "The Crowd NOISE still carries, echoing. JIM leads PATRICIA \n to a quiet, isolated stall where they can be alone. Tapping \n the magazine, sincerely moved by what he reads.", "Jim slides her upstairs' door open, crawls in next to her \n bed. She's asleep with her boyfriend. He touches her toe. \n She awakes, startled.", "PATRICIA\n Blood is the rose of mysterious union, \n symbol of potency... now you.\n\n JIM\n No... I don't like... cutting myself.", "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "PATRICIA\n You have no choice, Jim. I see you \n up there like Icarus. I see you flying \n closer and closer to the sun. And \n your wings are melting..." ], [ "The Band has petered out by this point but out of nowhere, \n ROBBIE, zonked on his version of LSD, starts up with \"TOUCH \n ME BABE.\"", "The Band.", "JOHN\n You're pushing death Morrison. \n Everybody thinks we're drug addicts \n cause of you Morrison.", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth.", "The band has come together fully now. ROBBIE'S fingers sliding \n across the trembling strings, staring at the ceiling,", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "RAY sees it instantly where it's going, hits the organ! Robbie \n and John follow. the instruments EXPLODE all at once trying \n to bury Jim in his primal unmistakeable scream.", "JOHN\n Oh come on man, you think just cause \n you're the lead man in the band you \n can run the whole show.", "JOHN\n Listen to 'em! They're not coming \n for the music anymore. They're coming \n to see a fuckin' freak show!", "equipment, debris -- the end of the dream. The Doors as a \n live band are dead.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "from his corner of the Control Room towards Ray and Rothchild \n and the Doors. They dive for the floor as it smashes to bits \n into the wall behind the tape machines.", "become an act. Morrison \"falls\" off \n the stage at least every other \n performance. \"The Soft Parade\" album", "JIM\n (to the band)\n Guys, I'm serious about the desert," ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "All during this, snickering laughter from the onlooking half-\n dozen POLICE OFFICERS gathered to watch. Jim waits, then \n with great claim, in a quiet voice:", "Something so sincere in Jim's eyes. Robbie takes the fatal \n lick. Jim smiles manically as the NUREMBERG SOUNDS of the \n CROWD drown them out.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "JIM\n Man, I been here all the time... \n over there watching. I'm really happy \n for you Ray you found life...", "JUDGE\n James Douglas Morrison, I hereby \n sentence you to sixty days of hard", "JIM\n Yeah John, be anonymous, write a \n book: \"Observations of an American \n While on Trial in Miami\".", "background. The trial is going down like a morphine dream, \n Jim featured in diopter close-up.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JIM\n (feigning innocence)\n I wasn't mad, Tom. I was only \n interested in freedom.", "JIM\n (in pain)\n I BEEN BLINDED MAN. I BEEN MACED.\n\n COP\n (realizing)\n Hey all he said was...", "KIM\n (2nd girl, studying \n murder magazine)\n It was all right\n\n Jim continues to cry.", "JIM, mind totally gone into his trance, spreading his arms \n like wings, hopping from one foot to the other like a shaman", "Danger fills the air, electric. Jim strutting, Indian like, \n up to one of the Cops, whipping off his hat and flipping it", "JIM\n (beat, pained)\n Did I? Well, I'll tell ya, my words", "JIM\n (loves it, laughs)\n It was white Ray. You gotta stop \n harpin' on that day. I was so ripped \n I can hardly remember it.", "And JIM -- \"that sneaky silent lithe flowing flexing animal\" -- \n ready at last to share both his body and his soul with the \n world, to live out the words of the Indian prophet... to \n lead." ], [ "JIM\n (that smile)\n You want 'em?\n\n PATRICIA\n (beat)\n FUCK YOU. I'm gonna have the kid.", "JIM\n (hurt, near tears)\n Please don't say those things to me, \n Patricia.\n\n She suddenly grasps him, clutching, hunger, lust.", "JIM\n Patricia... Patricia...\n\n A beefy COP stands there looking at them,\n\n COP\n Whatcha doing there?", "PATRICIA\n No you won't.\n\n JIM\n Yes I will.", "PATRICIA\n Yeah YEAH!\n\n JIM\n AWRIGHT! AWRIGHT!", "Pause. PATRICIA -- four and a half months pregnant, stares. \n A glary window onto a balcony overlooking the sea with Florida", "JIM\n Mace! Shit!\n (in pain)\n\n Patricia screaming at the COP grabs JIM, propelling him \n violently out the stall of the bathroom.", "PATRICIA\n You like that hunh? Beg!\n\n JIM\n I'm begging! I'm begging you!", "JIM\n (lips out of sync)\n I'm gonna burn you down.\n\n PATRICIA\n Come on...", "PATRICIA\n You wanna fuck me, Morrison, don't \n ever lie to me again. Ever!\n\n JIM\n About what!", "His look is right at her. Silence. Patricia knows he won't \n talk. Through the pause we hear the crowd chanting, bigger", "JIM\n (impressed)\n Wow! You Patricia? Who would've \n guessed?", "The Crowd NOISE still carries, echoing. JIM leads PATRICIA \n to a quiet, isolated stall where they can be alone. Tapping \n the magazine, sincerely moved by what he reads.", "PATRICIA\n You want to do some more cocaine? \n It'll loosen you up.\n\n JIM\n Great! A new thing.", "PATRICIA\n You ever try drinking blood?\n\n JIM\n What?", "JIM\n I want to live, Patricia. I don't \n wanna die.", "PAM\n (pathetic)\n I wanted you to find us Jim. It meant \n nothing.\n\n JIM\n I know. I know.", "JIM\n Come on Patricia, I was stoned... it \n seemed like the fun thing at the \n time.", "Jim looking at her, smiles.\n\n JIM\n I love you.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and" ], [ "PAM laughing -- suddenly alone, notices, goes looking for \n Jim... floating down this endless corridor with white doors \n and red carpet.\n\n INT. ELEVATOR", "JIM\n (quietly)\n Just kidding...\n (turning to Pam)\n Hi Pam. Just watchin' some TV.", "Jim pinned against the back wall, smiling dopically, eyes \n barely registering Pam... who screams loud and long, hiding \n his eyes... not wanting to know... The images faster and", "JIM\n (whispers)\n Pam wants you.\n (normal)", "JIM\n HA HA HA!! WILL YOU DIE FOR ME!\n\n PAM\n NO! WILL YOU DIE FOR ME!!", "PAM\n (pathetic)\n I wanted you to find us Jim. It meant \n nothing.\n\n JIM\n I know. I know.", "PAM\n I'll meet you up front.\n\n Jim looking, zombie-like for the food. PEOPLE of course stare \n at him, knowing who he is.", "JIM\n (laughing at Pam)\n Life on the edge baby. Come get me \n if you love me baby.", "The COUNT is gone. JIM, icy cold, grabs PAM by the wrist.\n\n JIM\n I told you about that shit. Or are \n we talking about death choices here?", "PAM\n Jim! It was you. I always know when \n it's you.\n (moving closer)", "JIM's POV -- Pam irising out. This strange sound in his ears -- \n a rattle of an Indian gourd, similar to what we heard in the", "INT. JIM AND PAM'S HOUSE - LAUREL CANYON - THAT DAY", "INT. JIM & PAM'S HOUSE - LAUREL CANYON - NIGHT", "The charred TURKEY is being carved up. A moment of peace, \n then: Pamela walks up to Jim with a bowl of sweet potatoes \n in her arms, an announcement.", "JIM\n Well you see Pam there's this crazy \n girl in here, she's just lying on \n the bed with her legs open and I \n don't know what to do.", "As she throws the sweet potatoes right at him, spraying \n everybody. Jim laughing nuttily, the Count wiping the potatoes \n off. Pam rushing now for the turkey to throw, Jim chasing \n her.", "PAM\n No Jim. I want to LIVE with you. I \n want to LIVE with you.", "In the darkened booth, PAM is on her knees his pants worked \n down around his ankles, caressing him, sucking him off.", "Pam shivers, a strange thought.\n\n PAM\n Why do I look at you... and see my \n death?\n (pause, shrugs)\n No, that's ridiculous.", "PAM is vomiting her brains out as DOROTHY tries to comfort \n her on the edge of a cliff... Jim panthers up the dune.\n\n JIM\n Everybody having a good time?" ], [ "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "JIM\n I'm dying Ray. I wasn't kidding. \n Maybe you were. But I'll tell you", "JIM\n (pissed)\n What's your problem with fathers! \n They're dead, both of them, I told \n you.", "THE SUBTITLE READS \"JIM IS SAID TO HAVE DIED OF 'HEART", "JIM\n (pause)\n Well, to be honest they're not living \n anymore so I don't like to talk about \n that.", "JIM\n (wry)\n Oh and what is my goal Paul? Death?\n\n PAUL\n \"Death old friend\".", "JIM\n You're wrong. What they want I can't \n give... my death -- ripped to pieces -- \n do you feel their power?\n (the noise pounding)", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "JIM\n (looks at her, ironic)\n It's only thru death that you know \n life. Jesus, medicine men heal people \n by sacrificing their own life.", "JIM\n (beat, pained)\n Did I? Well, I'll tell ya, my words", "JIM\n (rising anger)\n Get up. Hurt? You want to know HURT? \n Let me introduce you to my good friend \n hurt.", "JIM\n ...we're in Africa, we're just \n animals... I wanna stay inside you \n all night baby... let's fuck death \n away, now fuck death away...", "asphalt... the dying man's face, twisted, moaning, amazing \n eyes at the point of death -- they settle on Jim", "to death on his skins. Jim starts to whirl the mike cord \n like a slingshot or bolo, in an ever-widening arc...", "Something so sincere in Jim's eyes. Robbie takes the fatal \n lick. Jim smiles manically as the NUREMBERG SOUNDS of the \n CROWD drown them out.", "JIM\n (pause)\n Actually, I don't really remember \n being born. It musta happened during \n one of my blackouts.", "JIM\n (on the floor, quiet)\n You better kill me cause I'm gonna \n come back and fuck everyone of your \n daughters...", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "JIM\n (loves it, laughs)\n It was white Ray. You gotta stop \n harpin' on that day. I was so ripped \n I can hardly remember it.", "The famous drum roll, tension building. Sudden sound of \n guitar. Jim crumples to the ground. Blood shooting from his \n mouth." ], [ "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "JIM\n (to the band)\n Guys, I'm serious about the desert,", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "JIM\n I gotta admit -- that ain't bad for \n four guys who weren't even talking \n that day.\n\n Slapping shoulders, shaking hands.", "Jim jumps around violently to the front, getting the attention \n of all. Rubbing his leather pants against the mike stand,", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "JIM and his GANG, beers in hand, mouth back the words, beers \n everywhere shoved to the smokey ceiling, everyone on their", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "GIRL 2\n And who are you?\n\n JIM\n The Doors... We're up the street at \n the Fog.", "JIM\n He's the medicine man who starts in \n a peyote trance. And he gets everyone", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "Pulling John into the circle, bonding, their four heads sunk \n to the desert floor, Jim making wild Indian sounds, deep-\n throated \"shoooh... shoooh\"... now humming a song from the \n desert.", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS" ], [ "Jim, drunk, high, smoking the jay, won't go into the lyrics \n right off, forcing the Doors to circle the beat again. He \n jerks his hand back from the mike as if it were a hot wire.", "drinking, arguing, dancing to their own fuckbeats. Possibly \n this has something to do with the fact that JIM sings with \n his back to all of them.", "Jim ignores it, sits on the stage, lights a cigarette. Long \n pause, tension building. Their catcalls for \"Light My Fire\" \n die out as Jim faces them down. They wait... not knowing \n what happens next.", "The audience is enrapt. Jim suddenly jumps up, looses the \n blood curdling scream of an aroused demon and the band bangs \n into Willie Dixon's BACK DOOR MAN.", "JIM\n YOU'RE ALL A BUNCHA FUCKIN SLAVES!!!\n\n The instruments continue to vamp but there's a hush to the \n CROWD.", "crowd. Jim flicking his shirt over his crotch, back and forth \n like a drunken matador. The Doors look at each other, don't \n know what's going to happen.", "It goes. The famous organ intro to LIGHT MY FIRE blends over \n the room like magic, carrying JIM, ROBBIE, JOHN, DOROTHY, \n PAMELA along over:", "JIM swandives into the stoned crowd with the mike at the \n instrumental section, a colored spotlight flecking him, GIRLS", "JOHN on drums, reading Jim's moods, throws in the spontaneous \n and violent riffs that keep it savage. He literally tortures \n Jim's ears with his drums.", "During the instrumental break, Jim picks up one of the roses \n from the floor, pokes it at John on the drums, who whacks it", "JIM drives up in his beaten GTO MUSTANG, top down, bags all \n over the place, hops out. Carrying his bulk with grace, knocks \n and rings. RIDERS ON THE STORM starting to play over.", "JIM\n DEATH OLD FRIEND!!\n\n In the car, madness, raging chaos, the four boys pulling him \n in.", "Suddenly Jim breaks and rises out of the circle. Ray, Robbie, \n John, all looking at him. The same need. Pamela, the \n desperation of her eyes.", "Jim waits. Something in the feeling of the room has shifted. \n The sound of her razor chopping coke. He snorts -- the first \n time.", "JIM\n (to himself)\n ...I'm lying to you. I am scared.\n\n He goes, his boots in the sand.", "INT. WHISKY A GO GO - NIGHT\n\n EXTREME CLOSE on JIM'S EYES as he continues with THE END.", "As the guitar hits a high, horrid reverb, JIM in slightly \n SLOW MOTION suddenly tightens his backbone as if electrocuted", "JIM\n Come on man! I thought we were gonna \n be a band, the four of us -- and \n party all night, rock and roll!", "As Jim defiantly does so, Cop 2 looses a big cloud of roach \n powder into his long hair.", "The kids running up to grab JIM, pulls him back to the party.\n\n GIRLS\n Come 'ere Uncle Jim, we're playing \n blind man's bluff..." ] ]

[ "In which U.S. state did Jim Morrison arrive in 1965?", "At what school did Jim Morrison study?", "Who was Jim Morrison's girlfriend during his days at UCLA?", "Why did Jim Morrison invite his classmates to Death Valley?", "What was Jim Morrison's nickname as his band became more popular?", "Who was a rock journalist with whom Jim participated in witchcraft?", "What criminal charges did Jim have brought against him at in Miami, FL?", "Who was pregnant with Jim Morrison's child?", "Where did Pamela Courson find Jim Morrison dead in 1971?", "What is the name of the night club in Los Angeles where the Doors grew their fan base?", "What self-image does Jim become increasingly obsessed with?", "What did Jim do during a Miami concert that was thought to be a low point for the band?", "By first name, who are the Doors band members?", "How old was Jim Morrison at his death?", "What was Jim's cause of death?", "What gift does Jim give his band mates at his last visit with them at Ray's party?", "What is Jim's reaction to Patricia's news she is pregnant?", "What school does Jim attend in California?", "Who is Pamela Courson to Jim?", "What does Jim convince his bandmates to do?", "After becoming a success, what image does Jim become infatuated with?", "What does Jim participate in with Patricia?", "What ultimately causes a downfall for the band?", "What was the verdict in Jim's case?", "What do Jim and Patricia do when they find out she is pregnant?", "Where does Pam find Jim is dead?", "What was the alleged cause of Jim's death?", "Where does Jim meet eh eventual members of their band?", "Whats does Jim do when he attends a party thrown by his bandmates for a final time?" ]

[ [ "California", "California " ], [ "UCLA", "Film" ], [ "Pamela Courson", "Pamela Courson " ], [ "to experience psychedelic drugs", "to experience psychedelic drugs" ], [ "The Lizard King", "the lizard king" ], [ "Patricia Kennealy", "Patricia Kennealy" ], [ "Jim Morrison allegedly exposed himself on stage", "Indecent exposure." ], [ "Patricia Kenneally", "Patricia." ], [ "In a bathtub in Paris, France", "In the bathtub " ], [ "Whiskey a Go Go", "Whisky a Go Go" ], [ "\"The Lizard King\"", "\"The Lizard King\"" ], [ "Jim allegedly exposed himself on stage", "Expos himself" ], [ "Jim, Ray, Robbie, and John", "Jim, John, Robbie, Ray." ], [ "27", "27" ], [ "Heart failure", "Heart Failure." ], [ "Jim gave them each a copy of An American Prayer. ", "A copy of An American Prayer" ], [ "Jim wants Patricia to have an abortion. ", "He makes her get an abortion." ], [ "UCLA", "UCLA" ], [ "Jim's girlfriend. ", "Girlfriend" ], [ "Travel to Death Valley to try psychedelic drugs.", "travel to Death Valley" ], [ "He is infatuated with his personal image of \"The Lizard King\" which causes him to fall into alcoholism and drug abuse.", "His own image as the \"Lizard King\"" ], [ "He participates in mystical ceremonies and joins in a handfasting ceremony.", "Mystical ceremonies." ], [ "Jim arrives late to a concert in Miami, confronts the crowd and also exposes himself while onstage.", "Jim exposing himself in front of the audience" ], [ "Jim was found guilty of indecent exposure.", "Guilty " ], [ "Patricia is convinced to have an abortion.", "Got a abortion. " ], [ "In a bathtub while in Paris.", "In a bathtub in Paris" ], [ "His death was attributed to heart failure.", "Heart failure." ], [ "While he was attending UCLA studying in film school.", "At UCLA." ], [ "He wishes them luck and gives them a copy of An American Prayer.", "He plays with the children." ] ]

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[["He was so tired that he flopped down upon the nice soft sand on the\nfloor of the rabbit hole, an(...TRUNCATED)

["What happened to the young rabbits' father?","Which young bunny ventures into the McGregor's garde(...TRUNCATED)

[["Mrs. McGregor baked him into a pie.","Mrs. McGregor put him in a pie."],["Peter","Peter"],["Parsl(...TRUNCATED)

2e4f0851debe2ecf77de6a18d0007f176acbd78e

train

[["DAMIS\n What! His talk can so deceive you ...\n\n ORGON\n Silence, you scoundrel!","DAMIS\n W(...TRUNCATED)

["What did Orgon do when he was convince that Damis was lying? ","Where did Orgon hid?","What was Or(...TRUNCATED)

[["Banishes Damis from the house.","banished him"],["Under the table.","beneath a table"],["He will (...TRUNCATED)

33e2da2b7d2b57cad0fa960b31444c14afeb2056

train