About this submission


Artistic statement:
This film came about as an amalgamation of different ideas. An assessment of the disturbing burgeoning authoritarian/fascistic American ideology. Good works of art, in my opinion, don’t necessarily propagandize, but are rather explorations. This screenplay is a crystallization of that exploration. The intentions of the film are simple: we cannot return to “the good ole days” (archaism) nor can we render an ideal projected future (futurism). Only birth can conquer death. This film stands as a monument of what we truly need “recurring birth”.

We open with a multiplicity of stories. Officer Copeland, a do good policeman, Oliver, a reserved mattress salesmen, and Max an enigmatic vagabond. Oliver, whose life leaves him unsatisfied, is forced to attend his mother's party where he meets Mrs Green, an equally dissatisfied sensuous neighbor who he develops a mute affinity for. After the party Oliver continues his monotonous life until he’s uprooted by a series of unfortunate events. The first being the loss of his job after he’s mysteriously sabotaged by someone impersonating him at work. The second is his love for Mrs. Green who, after a quaint night out, reveals a tape of her performing in a hardcore pornographic film leaving him heartbroken and defeated.

Now jobless and loveless, Oliver regularly takes to the bar where he meets Max, a charismatic enigma whose secretive job offer leaves Oliver curious for more. The next day Oliver goes to Max to learn more about the proposition. The job is simple: an eccentric local pastor named “The Cosmic Cowboy” has found the meaning of life inscribed on a napkin and Max wants to steal it. Reluctant at first, Oliver is eventually charmed into joining Max and his two accomplices Romulus and Remus.

After an extensive period of recon Max and the gang set out to commit the robbery. Everything is going fine until Remus recklessly opens fire on a security guard. Meanwhile Officer Copeland, whose busy going about his inane police duties, is called to the scene. When he arrives he’s mislead by a group of workers dressed exactly as the gang. This diversion, set up by Max, turns deadly when Officer Copeland’s deputy hastily fires on an elderly Hispanic man he mistakes for the robbers.

Despite the 2 casualties the gang escapes with the package. Upon return to the house Max insists on celebrating. Oliver, who’s still torn about the mishaps, reluctantly agrees.

Bad fortune follows the days after the robbery. It feels like the police are destined to close in at any time. Oliver increasingly feels that the gangs motives, which were once clear, are now becoming murky. Max, determined to move forward, convinces Oliver everything is fine.

Amidst the simmering chaos Max decides the best decision is for Oliver to attend a midday luncheon wherein “The Cosmic Cowboy” will be attending. The allusiveness of the whole mission leaves Oliver uneasy. On the day of the luncheon Oliver makes an impromptu stop at Max’s. When he enters the front door he finds the house vacant. He searches the house but it’s clear they’ve abandoned the place. The only thing left is a table. On it sits a box of matches and the meaning of life. Meanwhile Officer Copeland and a squadron of police officers creep onto Max’s property. Large crowds form outside the police perimeter. It becomes apparent this was Max’s plan all along. With tears in his eyes Oliver picks up the matches, burns the meaning of life, and is dragged off by police men.

Austin, TX, USA

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Bridge Walkers

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Catherine Herrera