POINT BREAK

ROSIE hangs back with the idling vehicles, tattooed arms

crossed. He puffs on a cigarette.

A WIDE SHOT (MATTE) of the beach shows a pool of light

from the headlights, beyond it a vast silver ocean under a

black sky. The full moon casts the world in cold

monochrome. The little figures reach the sea.

ROACH

(a voice in the

distance)

Gaping barrels! Way overhead, man!

CLOSER, as moonlit figures run into the water.

Utah stands on the beach, hoping his eyes will adjust.

UTAH

I can barely do this in broad

daylight.

TYLER

Come on. At least no one's gonna

see how bad you are.

Johnny clenches his jaw and charges past her into the

water.

He strokes powerfully out through the black swell.

UTAH'S EBONY BOARD pierces the wave and he slides down the

backside to where the others are waiting. Roach and

Nathaniel, silhouettes nearby, see one they like and take

off yelling.

Johnny turns as a figure glides up next to him.

UTAH

I gotta be fucking crazy.

BODHI

Yeah, but are you crazy enough?

Grommet gets a ride, slicing across in front of them.

A ghost moving off into the silvery distance.

Tyler waves jauntily and takes the next one. It's

Johnny's turn.

BODHI

Football's a man-made game. You

keep score with numbers. But in

this, there's no field, no rules, no

opponent. Just you and the wave.

UTAH

I know that part. Tell me something

I can use, here.

BODHI

I've watched you once or twice. You

surf like it's some kind of street

fight. You jerk along from moment

to moment, fighting everything that

comes at you. Always trying to win.

UTAH

A flaw I'm working on.

BODHI

The only way to win out here is to

surrender. You have to feel what

the wave is doing, accept its

energy, get in sync. Just feel it

all moving in the blackness... you

don't need to see.

UTAH

Yeah, right, vision is highly over-

rated.

Bodhi is looking at the lights along the shoreline.

Without looking back, he senses the incoming swell.

BODHI

This one's got your name on it,

Johnny.

Utah looks. Huge glassy face, perfectly formed. Black

and terrifying.

BODHI

Let's go.

Bodhi digs in with both hands, driving himself forward.

Johnny starts grabbing water right behind him. The wave

picks them up.

UTAH

Shit, I'm gonna die. I'm gonna die

now.

Johnny uses the patented Tyler-pop and makes it to his

feet. Suddenly he's going like a shot.

He moves back on the board, trims out, slowing down.

Maintains a fragile control.

On pure adrenalized instinct, heart pounding, he falls in

behind Bodhi, taking the same line along the roaring black

face.

Bodhi is like the Silver Surfer, ahead of him in the

moonlight.

Not wanting to drop too far behind, Johnny walks a little

forward on the board. The nose dips, picking up speed.

Johnny starts letting the speed work for him, learning

that he can make long floating turns up and down the

glassy face.

Feeling the water under his feet, the tons of water piling

up behind him... feeling its awesome power and borrowing a

little of it.

The Silver Surfer and the quarterback rocket through the

night.

Utah has a big feral grin plastered on his face.

Bodhi looks back. Gives him a thumbs up.

Then he cuts left and drops giddily down to the bottom,

slashing back and climbing.

Utah tries it, feels the drop like freefall... feels the

speed.

He makes his bottom turn, nearly falling.

The grin dropping off his face.

He falls in behind Bodhi again as the wave wraps over them

like a great black wing.

TYLER, paddling back out, watches them shoot past her.

Utah raises his arms above his head and HOWLS like a gonzo

wolf as they go by.

She grins to herself, watching him.

Knows he's gotten the ride that will make him a surfer for

life.

EXT. BEACH PARKING LOT

Rosie sits on the sand next to a blazing fire in a cement

firepit.

ANGLE THROUGH THE HEAT HAZE above the flames. Tyler

punches through, a few feet away. She paddles toward him,

coming alongside.

TYLER

You had enough?

UTAH

Yeah. I just want to sit out here

for a minute.

He watches the lights along the shoreline as the gentle

swell between sets lifts and drops them. His face is

somehow childlike.

A slow grin spreads itself across his face.

TYLER

Look at you.

UTAH

What?

TYLER

Well, usually you have this sort of

intense scowl of concentration, like

you're doing this for a school

project or something... I don't

know, like something's driving you.

(she puts her

fingertip to his

forehead)

See, it's gone. If I didn't know

better I'd say you looked almost

happy.

UTAH

I... I don't know. I can't describe

what I'm feeling.

TYLER

(smiling)

You don't have to.

Her face seems luminous in the moonlight. The ocean

silver. The shore a shimmering line of gold. The sky

black velvet.

Utah turns to Tyler, eyes exploring her, as in a dream.

Water beads on her dark skin like crawling diamonds.

He glides closer, holding her board like an uneasy horse

alongside his.

He runs his fingertips down her arm.

UTAH

Goosebumps. Come here.

She leans closer and he rubs his hands up and down her

arms, warming her. His hands stop on her shoulders.

He pulls her to his mouth. Her tongue meets his.

She wants this.

He is surprised by the fierceness of her kiss, which

overwhelms his.

TIGHT ON THE ZIPPER of her shorty wetsuit as Johnny's

fingers draw it down. Slowly down, to where it ends

between her legs.

He spreads the front and slips his hands inside, along her

ribs.

TYLER

Those are cold.

UTAH

Warm them up.

She moves his strong hand onto her breast.

His fingers massage her cold-stiffened nipple.

She moans and grabs his wet hair in her other hand,

pulling him into another intense kiss.

EXT. OCEAN - UNDERWATER

Looking up from the bottom, we see the silhouettes of two

boards surrounded by pulsing shafts of moonlight.

CAMERA TILTS DOWN to show the bottom.

The dreamlike blue light shimmering on the sand and rocks.

A big shark browses gracefully, ignoring the lovers.

Their moment of harmony with the sea will be honored.

DISSOLVE TO:

EXT. BEACH - NIGHT

Tyler's Porsche stands alone in an empty lot.

Her surfboard sticks up in back, next to Utah's "stealth

fighter".

Rosie's fire is burning low.

Tyler, half-wrapped in a blanket from the car, straddles

Johnny on the sand like she straddles her board. The

blanket slips down.

Naked silhouettes in the firelight.

She arches her back as they move together in prefect sync.

Grips his shoulders and stares into his face, her teeth

bared in a grimace of pleasure that looks like pain.

She makes love like she does everything... with honesty

and intensity.

Utah, surprisingly, is gentle and slow.

He strokes her hair after she collapses onto him.

DISSOLVE TO:

EXT. BEACH - DAWN

ECU JOHNNY as he cracks one eye open, registering the dawn

light.

He bolts up, looking around. Tyler is asleep beside him,

with the quilt from the car pulled up tight to her chin.

She looks radiant in sleep.

He grabs his watch out of the sand and looks at it.

UTAH

Holy shit.

CUT TO:

EXT. ALLEY BEHIND RAZORHEAD HOUSE

LONG LENS on UTAH'S SEDAN fishtailing through the alley,

narrowly missing dumpsters and parked cars.

He pulls up next to several unmarked FBI sedans. No one

in sight.

UTAH jumps out tucking in yesterday's shirt, stuffing his

Beretta into his waistband. He also shoves a small

leather case into his belt.

Utah pulls open the door to one of the unmarked cars and

rips a walkie-talkie out of the charging rack on the front

seat.

Running, he passes a gate. Goes back. Looks.

HIS POV -- FOUR MEN huddled behind a garage. COLE, MUNOZ,

AND TWO OTHER AGENTS. All with guns and walkie-talkies.

UTAH

(whispering)

You guys need any help?

COLE

(not amused)

You're late.

We hear Pappas' voice over the radio.

PAPPAS (V.O.)

Did that worthless punk partner of

mine ever show up?

UTAH

(grinning)

Right here, partner.

EXT. STREET - NEARBY

Pappas has his shirt hiked up as another agent, BABBIT,

tapes a microphone transmitter to his stomach. Pappas

talks into his top button.

PAPPAS

Good of you to join us, hotshot.

(to Babbit)

Watch it. I told you, not on the

hairs, goddammit.

Babbit moves the transmitter, putting the tape on

differently.

UTAH

I'm ready to rock, Angelo. Where

you want me?

PAPPAS

Cole and Munoz are going in the back

door. Babbit is backing me. So I

want you at the side window by the

hedge. You're strictly backup, got

it?

UTAH

Got it.

PAPPAS

Awright. Get into position. I'm

rolling.

Pappas pulls the loose Hawaiian shirt down over the radio-

mike gear and his stalwart .38 snub.

He steps out from behind a fence and walks along the

sidewalk toward Bunker's house, two doors down. He is

wearing polyester shorts and sandals, and carrying a DOG

LEASH.

PAPPAS

Here Scooby! Where are you boy?

Here Scooby!! You furball piece of

shit.

COLE AND MUNOZ snap around the corner of the garage and

sprint low toward the rear of the brown stucco house.

UTAH circles back out through the alley. TRACKING WITH

HIM as he makes it to the neighbor's back hedge and crab-

walks toward Bunker's house. BABBIT and ANOTHER AGENT

make it to the front corner of the stucco house, staying

out of sight of the windows.

ANGELO is walking up to the falling-down porch of this

low-rent roach-hotel.

JOHNNY is elbow-crawling between the house and a tall

hedge.

He slides quietly in below a bedroom window.

He pulls out the little leather kit he tucked in his

waistband. Removes something from it. A DENTAL MIRROR.

Moving slowly, he raises it above the window sill, angling

it where he can see inside.

TIGHT ON DENTAL MIRROR, Johnny's POV.

We see a bedroom through a gap in the venetian blind.

Tone is lying on the bed, wearing headphones. Cranked up

speedmetal.

His eyes are screwed shut, and his fists pump to the beat

like karate on 40,000 volts.

The door to a bathroom is open, and the black-haired girl

can be made out behind rippled shower glass.

TIGHT ON DOORBELL as Pappas rings it.

UTAH JUMPS at an explosion of sound. He spins in a

microsecond, pistol aimed at... A LAWN MOWER.

Through the hedge we can just see THE NEIGHBOR, sixtyish

and polyester clad, as he adjusts the choke on the roaring

machine about two feet from Johnny's face. Utah exhales

and lowers the gun. Wipes sweat from his eyes.

TIGHT ON PAPPAS, smiling open-faced and goofily charming

as...

THE DOOR opens, revealing a GIRL we haven't seen before.

She has hair like bleached fiberglass, black eye-makeup

and nails. Ramones-style wardrobe. She looks tense, and

won't open the door very far.

FIBERGLASS

Yeah? What?

PAPPAS

Have you seen a little dog? Kind of

a cockapoo lookin' thing. About

this big.

FIBERGLASS

No.

UTAH blinks at what he sees.

HIS POV, in the little mirror.

Like a silent pantomime under the ROAR OF THE MOWER, he

sees Bunker and Warchild come flying into the room.

They are hyper and manic. Eyes wild.

Bunker leaps clear over the bed.

Grabs a COMBAT SHOTGUN from the closet. Throws it to

Warchild. Tone is oblivious.

Bunker thumps him in the chest and Tone leaps up like an

overwound toy, gaping "What the fuck?!" we read his lips

saying.

Bunker grabs a STEYR ASSAULT RIFLE, white knuckled, while

Tone fumbles around and comes up with a .45 COLT AUTO.

UTAH

(into his headset)

Babbit. Get Angelo out of there.

They're pulling out a fucking

arsenal! Babbit, you copy? Cole?

Don't let him pull his badge!

EXT. BACK YARD

Cole and Munoz push their earpieces in deeper. Scowl.

MUNOZ

Utah, say again. What?

(to Cole)

I can't hear jack shit over this

lawnmower. Christ.

INT. RAZORHEAD'S HOUSE

In the bedroom, Bunker looks through a slit of door at

Fiberglass. We hear Pappas just outside.

PAPPAS (V.O.)

... and the guy next door said he

saw it go into your backyard. My

wife'll kill me if I lose the little

bastard. Me, I could care less.

Whole house smells from it's liftin'

its leg all the time...

Bunker looks like he's on paranoia overdrive.

BUNKER

Something's goin' down, man. This

ain't right.

TONE

(freaked)

No, man, it's nothin'. It's

nothin'.

BUNKER

Will you shut the fuck up! Check

the windows. Do it!!

EXT. RAZORHEAD'S HOUSE

Utah sucks up against the wall as Warchild looks furtively

out the window. We see them both, but Warchild doesn't

see Johnny, plastered right below him.

Johnny closes his eyes and grits his teeth. Shiiiiittt!

PAPPAS, AT THE FRONT DOOR, is bobbing his head, trying to

look inside.

PAPPAS

You sure he isn't out back? You

mind if I go take a look?

FIBERGLASS

Look, I don't know anything about

your dog, okay--

PAPPAS

Well is there anyone else here that

might have seen him?

FIBERGLASS

There's nobody else here...

INT. HOUSE

Warchild slams into the wall next to Bunker.

WARCHILD

There's two guys by the back door.

Ducked down.

TONE

Oh, shit. Shit!! We're fucked,

man.