POINT BREAK

BUNKER

That fat fuck comes through the door

I'm gonna pump him up. Swear to

Christ, man, I'm gonna blow the dude

up!

Scared and vicious, like a cornered dog. We believe him.

Bunker jacks the bolt on the Steyr. Warchild cocks the

shotgun.

EXT. HOUSE

JOHNNY is pissing himself. He can see it all going down.

So fast he doesn't have time to think.

He goes into motion -- slipping rapidly along the wall to

the next window.

The bathroom window.

PAPPAS, AT THE FRONT DOOR, makes his move.

He pushes the door open, breaking the security chain, and

jams his FBI shield in the girl's face as he grabs her

arm.

PAPPAS

FBI, gorgeous. Now let's take a

look around--

INT. HOUSE

Bunker's eyes bug out as he sees Pappas coming through the

door. He snaps the assault rifle to his shoulder.

Suddenly Johnny is behind him -- half-in the bathroom

window, pistol gripped double-handed like they taught him

in Quantico.

UTAH

FBI!! DROP IT!

Bunker whips around. Squeezing off a wild burst! B-B-B-

BLAM!

It rips the plaster next to Johnny's shoulder.

Shatters the shower door behind him. The BLACK-HAIRED

GIRL screams.

Johnny flinches, FIRING RAPIDLY. Wild.

Bunker drops, hit.

Warchild lets go with the 12 gauge. KABOOM!

Takes a chunk like a shark bite out of the doorframe by

Johnny's head.

Deafening in the confined space.

Johnny flattens himself behind the doorframe.

Tone just splits. Down the hall like a greyhound.

PAPPAS is on one knee, his piece drawn fast, holding

Fiberglass in a neck-lock with one massive arm.

Bunker, wild-eyed and bleeding, is on his knees in the

bathroom doorway.

He raises the Steyr. Mistake.

Angelo FIRES. 30 years in the field tends to show.

Three rounds. Chest. Chest. Head.

Bunker is off the planet.

MUNOZ KICKS THE BACKDOOR IN like they do in the movies.

He and Cole charge into the rancid kitchen. Badass FBI

agents.

JOHNNY, hotwired and hyperventilating, pops out for a shot

around the doorframe. He gets a glimpse of Warchild's

back disappearing into the hallway. FIRES. His shot is

wasted, punching plaster.

Suddenly a pink freight-train hits him.

He forgot about the girl in the shower.

Naked except for her tattoos, she bodyslams him face-first

into the wall.

As he tries to turn she grabs his hair in both hands and

hammers his head into the medicine-cabinet -- CRASH --

shattering the mirror.

Then she knees him in the balls as he ricochets off the

wall into her.

She drives her elbow into his back as he drops.

"FREIGHT TRAIN" lands knee-first on his gun hand, and

viciously kicks the pistol away with one bloody foot. It

skitters under the bed.

She's cut up from flying glass. Demon-eyed and wired, her

body lithe and muscular under white skin. She sprints

across the bedroom, leaving Utah slumped, heaving for

breath.

IN THE HALLWAY, Tone is hidden behind a doorway.

White-knuckling the forty-five. A wild-eyed kid with a

big gun and not the slightest idea how to use it.

He hears footsteps POUNDING behind him and spins.

It's Warchild, running with the shot-gun.

WARCHILD

Move it, man. Let's get the fuck

out of here!

Off-guard, Tone is SLAMMED BY THE DOOR as Munoz drives

into it with his shoulder.

Pounded between the door and wall, Tone is wired so tight

he pulls the trigger and blows a hole through his own

right foot.

He screams and drops to the floor.

Munoz sandwiches him with the door and draws down on

Warchild, who dives into a doorway.

Cole drives past Munoz, who has Tone pinned, and pounds

down the corridor.

Cole reaches the doorway and goes for the shot on

Warchild.

"Freight-train" appears behind him from another door.

She raises a pair of scissors and drives them into his

back up to the hilt.

Pulls them out, going for another stab, when--

Pappas spins her around and slams her face-first into the

wall.

UTAH, in the bedroom, sees Warchild blur across his field

of vision.

On pure instinct, he kicks into overdrive. Johnny leaps

the bed and goes ballistic. His flying tackle catches

Warchild at the window.

EXT. HOUSE

The window EXPLODES OUTWARD in a spray of sunlit glass.

Utah and Warchild crash to the ground.

The razorhead, with 50 pounds on Johnny, rises like a

bull.

Bleeding from superficial lacerations, Warchild plows

through the hedge.

Johnny dives after him.

The Polyester Neighbor stands paralyzed as the two crazed

figures careen toward him. He is knocked flying, and the

ROARING LAWNMOWER is flipped onto its side.

Utah and Warchild are locked together.

The shotgun lies nearby, out of play.

Warchild jerks a 6 INCH KNIFE free from its sheath,

hanging from a thong around his neck. He trusts straight

at Johnny's throat.

Johnny deflects the thrust -- INTO THE WHIRLING LAWNMOWER.

KA-WHANGGG!!! The knife is hammered out of Warchild's

hand.

Whistles away, spinning.

Warchild grabs Johnny as they scramble, and heaves him

bodily toward the spinning blade. Utah catches the rim of

the mower with both hands, stopping himself inches from

the rotor.

Warchild puts all his weight on Johnny.

Pushing him face-first toward the blades.

Johnny feels the wind on his face.

The engine is roaring, full throttle.

PAPPAS APPEARS BEHIND THEM.

He aims the .38. FIRES TWICE.

The little Briggs & Stratton dies young, its casing

shattered.

The rotor spins to a stop.

Warchild looks up into the black eye of Pappas' gun.

Two inched from his face.

PAPPAS

Speak into the microphone.

The razorhead sags, the fight going out of him.

Babbit kicks him off Johnny, face down onto the lawn.

Cuffs him.

INT. BATHROOM - BEDROOM - LATER

UTAH dry heaves over the sink. Turns the faucet on full

blast and hoses his head. He lifts a dripping face, wipes

water out of his eyes, stops on the reflection in the

mirror. Pappas is there.

PAPPAS

It's always been lasers and paper

targets until today, right?

Utah looks up at him and nods. He glances through the

doorway at Bunker, dead in a pool of blood. Tone is

wailing as paramedics work on his foot. Cole is being

taken out on a stretcher.

PAPPAS

No difference, Utah. Just a little

more to clean up.

(squeezes the

rookie's shoulder)

It's alright. You did good today.

Across the bedroom AGENT BABBIT rips the back off a big

speaker unit. Behind it, taped to the woofer, are two

large packets of a white substance.

PAPPAS

Oh shit.

Utah stares at the dope.

CUT TO:

INT. POLICE HQ - OUTSIDE INTERROGATION ROOM - NIGHT

TIGHT ON WARCHILD manacled to the chair screaming his head

off. We cannot hear him through the glass. It looks like

pantomime.

UTAH and PAPPAS watch through the one way observation

window.

THWAAAAAP!! The two taped packets slam the wall inches

from Utah's right ear. Johnny snaps his head around.

Stares into the face of DIETZ who looks like Warchild's

meaner brother.

And he's pissed as hell...

DIETZ

You know what this is?! Two keys

uncut crystal meth!

UTAH

What the hell's your problem?

Dietz manically grabs a clump of his stringy hair.

DIETZ

You think I like this haircut? My

wife wants me to stay at Ramada -- I

been working on these guys for THREE

MONTHS! Finally -- finally--

(nodding to Warchild)

-- I get dickwad in there wantin' to

play wheel of fortune so I can find

out their supplier!

HARP emerges from the interrogation room, we hear a sliver

of Warchild's battle cry. He spies Utah.

HARP

This is agent Dietz, DEA. He's got

a record of your suspect's movements

every day for the last three months.

DIETZ

(stabbing the air

with the packets)

All I wanna know is how are these

guys supposed to be holding up

Tarzana City National on August 2nd,

when they are in Fort-fucking-

Lauderdale August 2ND!!!

HARP

Not an easy thing to do, is it,

Utah?

UTAH

Aw shit.

PAPPAS

Nice tattoo, Dietz.

We hear a faint BUZZ, growing louder as we...

CUT TO:

INT. BEDROOM - UTAH'S APARTMENT - DAWN

The doorbell BUZZ shrieks through the room. It stops.

Starts again. A ghostly dawn finds UTAH and TYLER

sleeping peacefully, limbs entwined like vines.

Johnny's eyes snap open. Spies the clock. 4:00 a.m.

Tyler stirs beside him, coming out of sleep.

Johnny wraps a blanket around his waist and staggers to

the door.

BODHI stands outside the door wearing a lunatic grin.

Behind him NATHANIEL, ROACH and GROMMET hoot from the

pickup.

BODHI

C'mon brah, there's a righteous

swell. Let's go! Let's go!

Tyler comes into the room, wrapped in a sheet.

Utah sees her knowing smile.

TYLER

He does this.

CUT TO:

EXT. BEACH - PREDAWN

Vampire morning. A misty predawn, bled of all color.

Steel gray tones. The ocean vanishes in the fog a few

feet from shore.

Tyler and Johnny, carrying their boards, walk toward the

water.

TYLER

Come on, Utah. Everybody's out

there catchin' all the good rides.

She realizes he has stopped ten feet behind her, like a

great weight has dragged him to a halt.

TYLER

What's wrong Johnny?

(goes back to him)

You're like a different person.

He stares at her. His expression dark... wrestling with

something.

UTAH

I am a different person, Tyler.

He lets out a long breath and looks away, out to sea.

JOHNNY'S POV... the water receding into a backlit wall of

mist.

FIGURES APPEAR, faint silhouettes in the fog.

Shades of gray in the gray.

IN SLOW MOTION they weave hypnotically across the screen,

their shapes merging and unmerging as they cross each

other.

STACKED UP BY THE EXTREME LONG LENS, Bodhi, Roach, Grommet

and Nathaniel crave and slash toward us with mystical

grace.

In SUSPENDED TIME we see them hooting and grinning at each

other as they cut aggressive moves close to each other.

Dolphins playing.

Challenging each other in mock combat.

So good, their boards slash past each other with inches to

spare.

There is an incredible sense of freedom and exhilaration.

Bonding forged through mastery of this arcane art.

For the first time we see the core group of Bodhi's tribe,

by themselves. It dawns on us...

There are four of them.

And at that moment Nathaniel drops in front of Bodhi,

laughing at the near miss, and drops his pants in a nasty

wig-wagging moon.

TRACKING SLOWLY IN ON JOHNNY staring, mouth open.

Watching the four horsemen of the Apocalypse ride toward

him.

IN SLOW MOTION, BODHI grins as he slashes past Nathaniel's

shining white butt.

ON JOHNNY, as he reacts to the dawning certainty.

He feels weak, dizzy... like the ground is moving under

him.

TYLER

Hey. You okay? You look like you

saw a ghost.