Folkstreams
Search
Sadobabies Entire Folkstreams
HomeFilmsFilmmakersSubjectsRegionsFeaturingFeaturing


 
 


Sadobabies Transcript with notes by Bruce Jackson, Howard Harper, and Nancy Kalow

Transcript to Sadobabies with notes by folklorist Bruce Jackson (BJ), University of North Carolina English Professor Howard Harper (HH), and filmmaker Nancy Kalow (NK)

Notes by Bruce Jackson (BJ), Howard Harper (HH) and Nancy Kalow (NK).

Howard Harper is Professor (emeritus) of English, University of North Carolina at Chapel Hill. Bruce Jackson is SUNY Distinguished Professor and Samuel P. Capen Professor of American Culture at University at Buffalo. Nancy Kalow is an instructor at the Center for Documentary Studies, Duke University.

Sadobabies:[1] Runaways in San Francisco[2][3]

1) Exterior (Ext.) Alley[4]

(Racho, close-up with others singing along off-camera while she sings)

RACHO [SINGING]: I sing this song 'cause I don't know better

I never went to school but I got my letter

I played on the team and I threw some good hoops

'Cause when it comes to cutting school yeah I know the scoop.

Huh-huh-huh-huh

I'm poor, I'm black

I've roaches and rats.

If you're looking for a lover baby come to me

'Cause I'm the best damn lover you will ever see.

I am the giver and the taker and the king of rock

But baby stay away if you wear dirty socks.

Ho-ho-ho-ho

I'm wild and kinky

You're stupid and stinky.

If you think you're bad nigger honey stay away

'Cause I'm not in the mood for your bullshit today.

I am a lover not a fighter so I just wanna get laid.

Ha-ha-ha-ha

I'm fresh and smooth

I'm the master of the groove.

Ho-ho-ho-ho

I've been walking up and down these streets so long

Trying not to see what's really going wrong

Then one day it hit me like a brick in the head.

If someone doesn't change we're gonna end up dead.[5]

2) (01:20) Ext. Market and Powell Streets[6]

(Luis walking and looking around, close-up)

LUIS (V/O): Like after my eleventh birthday, I started to grow my mohawk and cut me into[7] a mohawk. And I started wearing, you know, I stole me a leather jacket. So I started hanging out, and I went through my mohawk, then cones, liberty spikes, bristles, then I shaved my head and I became bald for a while, and then I met some skinheads and I learned the attitude and I became a skin. And I've been a skin; I'm fifteen now and I've been a skin for about a year. And I don't plan on changing for nobody.

3) (01:57) Ext. Market and Powell Street

(Luis and others)[8]

LUIS (V/O): A lot of people consider me their little brother, because I'm pretty young, and I'm small, and because I get along with practically everybody.

4) Ext. Market Street[9]

(Luis, Perry, Marian, Jam. Finoy approaches holding radio; he and Luis hug)

LUIS: I'll fuck you up!

PERRY: Oh no, Finoy, man, how did you get out? I don't believe it, Finoy! Everyone's coming out of the wood, man.

5) (02:24) Ext. city bench, Market and Powell.

(group seated with "Grandma Lasagna" [10] handing out food)

LUIS (V/O): A lot of times you get sick on the streets, or you run out of money and you're hungry, you've got no place to go...

6) Ext. city bench, Market and Powell

LUIS (V/O): ...and people that care about you consider you part of their family, because they don't have a real one. They take care of each other...[11]

7) Ext. converted busses near Golden Gate Park

LUIS (V/O): ...we sleep in abandoned buildings because there's nowhere to go. We eat whatever we can eat...

8) Ext. Market and Powell

(Luis and Marian)

LUIS (V/O): ...we get really close on the streets because [Luis kisses Marian] you all got the same problems. And you learn to understand each other and care about each other...

9) (02:48) Ext. Market and Powell

(Marian, close-up)

LUIS (V/O): ...I met Marian a while ago. She's been a punk forever. She's really pretty. She's got long blonde hair, and she's just learning to like herself. But she's a really good person and I love her a lot. [Luis kisses her]

10) (03:07) Photograph of Luis and Marian

JOEY (V/O):[12] We were all each other's moms and dads and sisters and brothers...[13]

11) Ext. near Market and Powell

(group walking together)

JOEY (V/O): ...because we all stuck up for each other. We all did things together; we all did things like a family would...[14]

12) Ext. near Market and Powell

(group standing together)

JOEY (V/O): ...we would always go to the soup kitchen in the mornings, soup places and stuff, we always would be there...[15]

13) Ext. Market and Powell

(group standing together)

JOEY (V/O): ...and we just, you know, we'd drink together, some of us would sleep together. We did everything together...

14) (03:20) Ext. Market and Powell

(Racho and Sonya)

JOEY (V/O): ...and that's why it seemed so much like a family. And everybody looked out for each other.

15) Ext. Market and Powell

(group walking and singing)[16]

RACHO and GROUP [SINGING]: Bobby's girl, if I was Bobby's girl.

16) (03:38) Ext. Polytechnic High School (P.H.S.)

(front of the building)

MARIAN (V/O) [SINGING]: We all live in a cheap hotel, a cheap hotel, a cheap hotel.[17]

We all live in a cheap hotel...

17) Newspaper article headline: "The Skinhead Squatters of Poly High."[18]

MARIAN (V/O) [SINGING]: ...and we wouldn't have it any other way.

MAY (V/O) [SINGING]: And our friends all live there too...

18) Newspaper photograph of group.[19]

MAY (V/O) [SINGING]: ...Most all of them are black and blue.

They send the dogs, they send the cops, and we just run and hop.

19) (04:07) Ext. May's apartment[20]

(Marian, seated)

MARIAN: It was a huge building. It was like an old abandoned school building. And I guess they closed it down in 1977 because asbestos was falling from the roof and it was getting into people's lungs. They were getting sick or something like that.[21]

20) (04:23) Newspaper photograph of Joey

JOEY (V/O): Poly was my creation and my palace...[22]

21) Newspaper photograph of group

JOEY (V/O): ...I felt as though it was the best thing I ever did in my life.

22) (04:30) Interior (Int.) P.H.S.[23]

JOEY: Well, a number of us found it on a really rainy night. And it was a place to stay. We never thought we'd stay too long, but it was so eerie and so big and so beautiful inside here we decided to stay...

23) (04:42) Int. P.H.S.

(Joey walking down hall)

JOEY (V/O): ...so it became a challenge to stay inside and to live in here.

24) (04:48) Int. bathroom in P.H.S.

(Joey writes "Mad Max TIP" on bathroom mirror)[24]

25) Int. Joey's room in P.H.S.

(Joey standing near door)

JOEY: This is my original room.

26) Int. door to Joey's room

(Joey reads writing on door)

JOEY (V/O): Danger Mad Max's room. Do not enter without knocking. [LAUGHS]

27) (05:17) Int. wall of P.H.S. with "Our School, Our Rules" written on it.

JOEY (V/O): It wasn't like a divided squat where one half's a different gang, and the other half's another one...[25]

28) Int. wall of P.H.S. with graffiti

JOEY (V/O): ...there was mohawks, there was skins, there was trendies, there was everything.[26]

29) (05:25) Int. P.H.S. hallway with lockers

(Marian, attempting to open lockers)[27]

MARIAN: Oh shit. Oh well.

30) Int. P.H.S. hallway with lockers

(Marian attempts to open locker)

MARIAN: Oh well. (She walks away, looking through broken window into a classroom)

31) (05:42) Int. room in P.H.S.

(Marian, walking)

MARIAN: Well, Uwe called it the boat. It was this mattress and we all used to cuddle up and sleep on it and stuff.

32) (05:49) Ext. alley

(Racho, close-up)

RACHO: The Polytech uniform, the choir robes,[28] the hard hats, and lead pipe. That's what Red Dog wore when me and Uwe got married in Polytech. It was fucking great. We all the punks from Haight and Powell, and all the hippies and everything. And the bachelor party was really fun.

HELM (interrupting): Uwe had a fucking spear!

RACHO: I know, he had the pike. (continues story)

We had the shower in the costume room, and everyone's putting up my hair, la-la-la, and Uwe's downstairs having a bachelor party, drinking. These hippies are like "Here, you look a little nervous, it's your wedding day, fucking give me Phenobarbitol" and shit. And Marian, Swamp Thing, she had just happened to get a wedding dress that day[29] so I had to wait. It was too small so I couldn't zip it in the back, so I wore my leather over it. Uwe comes in and he's wearing a noose and he's all, "Do I look dapper? [LAUGHS] I'm, "Well, of course." Someone gave him a red bow tie. So we're standing there and Red Dog got--oh we couldn't find the choir robe, but he had the hard hat and the lead pipe. And it went something like, "Dearly demented, we are gathered here unsightly and drunk, and tennis balls do bounce. Do you, Mohican what's-her-bucket, take Skinhead Uwe through fucking staph infections and...

DELPHI: (supplying word) gonorrhea.

RACHO: (06:59) (continues story) And do you, Skinhead Uwe, take Mohican what's-her-bucket though bitch fights and crabs" and all sorts of other stuff. And he was supposed to say, "And now, by the power invested in me through the State of Confusion, I pronounce you man and wife." And he goes, "And now, because I'm Red Dog, and I'm the dean," and he body-slammed us and everyone dog-piled on top of us. Then they started throwing crackers[30] and bricks instead of rice.[31]

33) (07:20) Int. wall of P.H.S. with "Poly Skins" written on it.

JOEY (V/O): Lots of people started coming there...

34) Int. P.H.S. classroom blackboard with "Mother Poly Loves Me" written on it.

JOEY (V.O): ...and it started becoming a real hot place to be...

35) Int. P.H.S. classroom

JOEY (V/O): ...and it was sometimes really hard...

36) Int. P.H.S., looking through broken window into a classroom

JOEY (V/O): ...because people would abuse, they'd break the glass and they'd make it real loud, and the police would come, and they'd always get arrested...

37) (07:40) Int. P.H.S.

(Joey climbing down from crawl space above stage)[32]

JOEY (V/O.): ...but myself, you know, opening up the place myself and finding all the little places to squat, you know. I never got busted myself. Because I always had the safest places...

38) (07:50) Int. P.H.S. auditorium

(Joey walks toward front of stage)

JOEY (V/O): ...but there was always the time when...

39) Int. P.H.S. auditorium[33]

JOEY (V/O): ...you were scared anyway, when you knew they were there. I spent a lot of time[34] hiding, for days, sometimes on end, frying on acid.

40) (08:04) Int. P.H.S.

JOEY: Polytech was a very scary thing, but it was a place to live, and it gave us the chance to do things we wanted to do, and live like we wanted to live, and have our own community. It was working fine, then the cops started coming in and destroying us. And it was like, you know, we weren't doing anything to hurt anything, we weren't flattening people's tires.[35]

41) (08:22) Int. P.H.S.

MARIAN: (increasingly upset) What happened was like, over a period of three months, like, about every two months they'd send the dogs in, you know. The cop dogs that come in. And like... [starts to cry] ...I'm sorry, this is bringing back a whole rush of memories for me, and...anyways...the...I'm sorry, what was I talking about? Yeah, O.K., they'd send the dogs in and stuff, and over a period of three months, they brought, the cops came in, and first it was like once every two weeks, and then it became like, I mean, they kept coming in, you know. 'Til it was like every night they came in, and it wasn't safe to stay in the building.[36][37]

42) (09:14) Ext. parking lot[38]

(group drinking)

43) Ext. parking lot

(Racho, Delphi, Winston, Mike F.)

RACHO: So, where's my sip of that train, honey? C'mon bitch, shit, trying to keep me off[39] the bottle!

44) (09:40) Ext. Powell and Market streets

(Racho with group being stopped by police officer on a motorcycle)

MARCIA (V/O): I come down to Powell and Market or something, and sit on a bench, and a cop comes up. And he's like, "You filthy scum, man, you know, why don't you fucking' get out of here, just fucking' go die." [LAUGHS] Like why, why should I die, you know?[40]

45) (09:53) Ext. city bench, Market and Powell[41]

(Jam, Joey, and others seated on bench with two police officers writing them tickets for loitering)

46) Ext. city bench, Market and Powell

(policeman close-up)

POLICEMAN: You want to sit there, fight with me, argue with me, that's fine. OK? But if you want a ticket, you come back, because we know what your name is. (he points to a sign off-screen) "No Loitering or Sleeping," seventy-six dollars. You want to fight with me? I'll just give you all tickets. I don't really care.

47) Ext. city bench, Market and Powell

(policeman close-up)

POLICEMAN: So anyway, go to your appointment.[42] You, disappear.

48) (10:31) Ext. cable car turnaround, Market and Powell

(street scene with tourists, musician and cable car; a tourist takes a photo of a second tourist)

49) Ext. cable car turnaround[43]

(a third tourist, his wife, and girl with blue hair)

TOURIST: You want it in advance? A dollar bill.

50) Ext. cable car turnaround

(tourist and girl, walking and posing for a snapshot)

TOURIST: Can I come close to you?

(they pose together while wife takes photo)

TOURIST (to wife): Take another one quick! (in Spanish) Advance the film!

51) Ext. cable car turnaround

(tourist with Racho, Winston and Delplhi, posing for photo)

TOURIST (to wife): Wait, wait, wait. Take another one!

52) (11:35) Ext. alley

(Racho close-up)

RACHO: My hair is sick, yeah. What I think is the funny thing about having real outrageous hair, is because, people sit there and they have the cartoons, you know, "Tell a friend, I use Jhirmack," blah-blah-blah, and they spend hours trying to look acceptable. Well I say fuck that. I'll spend even more time trying to look unacceptable.[44]

53) (11:54) Int. Racho's bedroom at her parents' house[45]

RACHO: One of the main things about punk--other people have remarked on this--it's like you feel like you can't be accepted anywhere, or you feel like you're shit. So, you say[46] O.K., if I'm shit, I'm going to be real shit...

54) Photograph of Racho at age 12

RACHO (V/O): ...you know, which is what I did, it's like O.K., I'm a freak--watch...[47]

55) Photograph of Racho at age 16

RACHO (V/O): ...watch how freaky I can get.

56) (12:12) Racho's drawing, a made-up advertisement for Life Cereal

RACHO (V/O):

(frame 1)

I'm hungry!

(frame 2)

You're what?!?

(frame 3)

C'mon mom, I haven't eaten in four days--you kicked me out last month, remember?

(frame 4)

I feed you, I clothe you since you were a baby, and what do I get? Funny hair and no respect.

(frame 5)

Well, here you can have some Life cereal

(frame 6)

PING!

(frame 7)

Mmm good. Thanks mom!

(frame 8)

Life, you saved our life! What Life can do for your child.

57) (12:36) Int. May's kitchen

(Marian and May at table)

MAY: How old were you when you first colored your hair?

MARIAN: Twelve.

MAY: Twelve?

MARIAN: Yeah, I bleached it.

58) Photograph of Marian with hair dyed green

MARIAN (V/O): That's where I got my name Seaweed. It's from when I looked like that with the green hair...[48]

59) Photograph of Marian with head shaved

MARIAN (V/O): ...people were always making their comments and everything, so...

60) Photograph of Marian with one side of head shaved

MARIAN (V/O): ...I was trying to get people, you know, when I first shaved my head, I was trying to get people to stay away from me...

61) High school photograph of Marian with mohawk[49]

MARIAN (V/O): ...that was like my first public high school, and, I was in lots of culture shock...

62) Photograph of Marian with blond mohawk[50]

MARIAN (V/O): ...I'd been living in squats, and been in group homes, and Juvenile Hall, and Napa and all those institutions...

63) (13:16) Photograph of Marian with black "liberty spikes"

MARIAN (V/O): ...there I go, you know, I'm fucking walking into this really middle class public school with a one-foot mohawk, and all these kids are screaming and spitting on me...

64) Photograph of Marian with blue hair

MARIAN (V/O): ...I kind of learned to cope with people's shit. That was the time when I learned to deal with it, you know...[51]

65) Ext. public telephone booth[52]

(Marian talks on phone)

MARIAN (V/O): ...where I would've just said fuck you and fucking knocked their teeth down their throat.[53]

66) (12:41) Ext. city bench, Union Square

(Marian and Mike, sitting)

MIKE: There they are.

MARIAN: We saw you over there and we yelled at you.

67) Ext. city bench, Union Square

(Marian and Mike)

MARIAN (V/O): Mike used to wear his head shaved, and his little Jewish symbols, his Nazi symbols, and all that crap, you know...

68) Ext. city bench, Union Square

(Mike close-up)

MARIAN (V/O): ...and I used to wear green hair, a wedding dress, and combat boots, and chains, and stuff like that.

69) Int. Mike's kitchen[54]

MIKE: This is one of the last articles of clothing I have left from my high school days. (Puts on jacket, smiles, and strokes yellow star on front)

70) Ext. Downtown San Francisco

(Marian and Luis, walking together, arms around each other)

LUIS [SINGING]: Do you remember the time of '69?

Seeing all the skinheads standing in a line.[55][56]

71) (14:19) Ext. Park

(Joey playing cardboard drums)[57]

JOEY (V/O): I could never really play music in Poly, but for a long time to earn money to feed myself and feed my family for a while, I used to play cardboard boxes on Powell street. People from far away would say, "God that sounds just like drums." Basically music is my life...

72) Joey's room

(Joey playing acoustic guitar)

JOEY (V/O): ...my life revolves around music, I spend all my time playing music, and composing music, and doing things for music, to help me. It's a way of getting my stress out. I mean, if I'm really angry, the best thing to do is get on them drums and just play, and get all your aggressions out. It's better than going out and beating somebody up. It doesn't get you nowhere. (he strums the guitar; Jimi Hendrix posters are behind him)[58]

73) (15:39) Int. May's kitchen

(Joey seated at table)

JOEY (V/O): When I was about eleven years old I got arrested for not being at home and late hours of the night. (he starts to cut label off a soda bottle with scissors) They took me down to Juvenile Hall, in the open cottages, and finally my mother came in and got me. I lasted about, I don't know, six, seven months and then I left again...[59]

74) Ext. Powell street

(Joey walking down street)

JOEY (V/O): ...and I was gone for a while this time, I'd just had it with life, it seemed that my mother never cared, so, I got busted in a stolen car...

75) Ext. Juvenile Court Youth Guidance Center

JOEY (V/O): ...and then they took me up to Juvenile, they let me go through the open cottages again...

76) Ext. Juvenile Court

JOEY (V/O): ...and they said if they ever see me again they'd arrest me...

77) Photograph of Joey with cap

JOEY (V/O): ...so, after that happened I just stayed away from the cops for a long time, and then I got busted for squatting...

78) Int. P.H.S.

JOEY (V/O): ...which is another word for trespassing in an abandoned building...

79) Int. wall with "Reduced to Nothing Again" written on it

JOEY (V/O): ...they took me to Juvenile and kept me there for two months until my mother[60] could come take me...

80) Ext. Street sign reading "Prevent runaways--curb wheels--park in gear--set brake"

JOEY (V/O): ...my mother finally took me home for the last time and said she'd never do it again...

81) Ext. North Beach, night

JOEY (V/O): ...and I took off, because I couldn't handle the stress there. Not enough money, not enough nothing, it just seemed like it was empty, and there was no more relationship...

82) Ext. "Mad Max" graffiti on wall

JOEY (V/O): ...so I took off, and started hanging out...

83) Ext. graffiti with skull[61]

JOEY (V/O): ...up on Haight street and Powell street, and having a good time, and trying to stay away from trouble. And one thing led to another and another, and I ended up getting caught, and they took me to Juvenile again...

84) (16:59) Int. hospital

(Joey close-up, lying in hospital bed)

JOEY (V/O): ...so I made a suicidal attempt, which was not true, just to get out of the Juvenile Hall...

85) Ext. city bench, Union Square

(Joey seated)

JOEY (V/O): ...and they sent me to McAuley's Neuropsychiatric Institution right off Clayton, and they kept me there about fourteen days the first time...

86) Ext. city bench, Union Square

(May walks up and sits next to Joey)

JOEY (V/O): ...and let me go to my mother again, and my mother just couldn't handle me, and I left, and I've been busted twice since then, put in McAuley's...

87) Ext. sidewalk near Union Square

(Joey and man selling drugs; Joey shakes his head "no.")

JOEY (V/O): ...they gave me thorazine, because they said that I was hyper, and they said I needed something to sleep, and I said that I can go to sleep myself...

88) Int. Joey and Luis's bedroom

(Joey and Luis sparring)

JOEY (V/O): ...and they said well you should take this, take this medicine, it should help you.

MARIAN (17:31) (V/O) [SINGING]: Thorazine, it looks like piss and tastes like gasoline

They give it to you when you're feeling mean, thorazine.[62]

89) Int. Coffee shop, downtown San Francisco

(Joey with hood, drinking from a straw)

JOEY (V/O): (continues story) They threatened me with Napa, and I'm only sixteen years old, and I really don't think Napa is quite a place to spend the rest of your life, and that's the way they were sounding. So I got real scared and took off, and here I am right now.

90) (17:56) Ext. May's apartment

MARIAN: Most of the kids, a lot of them are like, they're just runaways, and they've usually had a pretty fucked up home life.

91) Int. McAuley Institute[63]

DR. MICHAEL ROY: Lots of times they are sexual victims. And it makes for a particular kind of kid, one who either attempts to deal with it by perpetrating violence or sexual abuse towards others, or one who has a very difficult time relating and attaching to someone else, because they don't know what is expected of them. It makes them feel frightened to be in places where they can't escape from, because that's kind of the mode they operate under, you know, "Oh, Dad's home, I might as well get it over with. Maybe I should let him hit me now, or do what he's going to do to me now, so I don't have to wait around for it all night. Or I can run."

92) Int. Child Adolescent Psychiatric Inpatient Unit, San Jose Hospital (C.A.P.I.)[64]

DR. SAUL WASSERMAN: If your parent is frequently drunk and beats you, there's a certain point where it is actually healthy to say, "I'm not going to tolerate this, I'm not going to accept this situation, I'm getting out of here." Or, if your parent has been forcing you to engage in sexual activity with them, to have you orally copulate the parent,[65] there's a certain point when the child may say, "That's it, I've had it," and you don't lose a lot by running.[66]

93) Int. May's apartment[67]

(Joey and Marian are pretending to shoot up drugs)

DR. SAUL WASSERMAN (V/O): If the pain and the guilt are intolerable, you either bury yourself in drugs, or maybe you make big cuts in your arm to distract yourself from what[68] you've experienced.

94) (19:42) Int. P.H.S hallway

(Marian close-up)[69]

MARIAN: I cut on my arm, because I had nothing else to do. I do a lot of drugs.[70]

ELISE ROSSON (O/C): What kind of drugs?

MARIAN: Whatever is available.

95) Int. Hospital lounge

(Joey, seated with guitar)

JOEY: You do your hit, and it's just automatic relief, it's a euphoric rush. It's a feeling of happiness, it's a feeling of, I feel, I'm born again. I'm re-lived. I feel better. But when you start to come down, you feel like you're dying, and then you're reborn again. It's a constant cycle.[71]

96) (20:19) Int. May's kitchen

(Luis, seated)[72]

LUIS: I think drugs are the stupidest fucking thing that you can fucking do. I mean, you can drink. I like to drink. I'm an alcoholic. [LAUGHS][73]

97) Ext. alley

(Racho, Delphi, Winston, Helm, and others)

ALL [SINGING]: Alcohol, I love you in my brain

Alcohol, oh alcohol, I never want to see you again

Alcohol, oh alcohol, I love you in my vein.

98) (20:52) Int. C.A.P.I. Unit, San Jose Hospital

DR. SAUL WASSERMAN: These kids wear their alienation, it's very obvious when you look at them, in their clothes, their hair, their dress and their style. They don't feel comfortable with the general social group. They feel out of place. And they emphasize that in the way that they carry themselves. So they form a little sub-culture, a little sub-group,[74] which within itself attempts to take care of each other and maintain itself.

99) (21:21) Int. Racho's bedroom at her parents' house

(Racho, seated)

RACHO: There is a certain kindredship. It seems like a lot of us have had that kind of abuse, and a lot of us have just had plain physical abuse, and a lot of us have the mental abuse: "You're shit. You're possessed," all that kind of shit.[75]

100) Ext. alley

(Luis close-up)

LUIS: There's not much to tell about my parents. My dad's an alcoholic, can't control his temper, likes to beat me up. And my mom's a born-again, who fucking threw me out. She can't deal with me. So then she marries a lot of step-fathers that beat me up and shit. I don't know. There're both fucked and I hate them. My whole family hates me, because of what my mom and dad said, what an asshole I am, so they all hate me. So, fuck, I guess.[76]

101) Int. Hospital lounge

(Joey, seated with guitar)[77]

JOEY: [LAUGHS] My mother loved our dogs, Lady and Anouk, more than she loved me, basically...

102) (22:08) Int. May's apartment

(Joey putting pacifiers in his mouth)[78]

JOEY: (V/O): ...if there was food to be eaten, she'd starve her and myself, and feed them, because she figured they had more of a right to live than I did.

103) Int. McAuley Institute

DR. MICHAEL ROY: (referring to Joey's mother) I just had this striking image of this woman who came in with her head shaved like his. A little out there, and had on a tiger t-shirt, and the two eyes were these mock jewels that were right on her breasts. And she spent the whole time talking about the dogs.[79]

104) (22:42) Int. Racho's bedroom

RACHO: It's like we all always sit around, and we bullshit with each other, and tell each other why our fucked reason for leaving home was, why our parents are fucked, or why we're here. Why we're with each other. And a lot of people bullshit, they won't say the real reasons why, you know, but you're drinking...[80]

105) Ext. alley

(Racho, Winston, Delphi and others drinking)

RACHO (V/O): ...your tongue's loosening up a little bit, and a lot of shit will come out...

106) Int. Racho's bedroom

RACHO: ...I was never incestually molested. However, I was molested by my next door neighbor, and I totally blocked that out of my mind, totally, for, my God, years.[81]

107) (23:18) Int. Hospital lounge

(Joey, seated with guitar)[82]

JOEY: A sadobaby is basically yourself and how you were abused when you were a child. And how you thought your parents abused you.

108) Int. May's apartment

LUIS: A sadobaby is some kind of doll, a little doll, that you dress up as close as your personality as you can.

109) (23:34) View of Marian's sadobaby doll with spiked hair and make-up[83]

MARIAN (V/O): What I did to my sadobaby was, I cut its hair, and I gave it a mohawk, and I put it up...

110) View of Marian's sadobaby lying down with beer can

MARIAN (V/O): ...and I put some make-up on it and a few safety pins through its head...

111) View of Marian's sadobaby seated on beer can

MARIAN (V/O): ...each individual person designs their own sadobaby...

112) View of Marian's sadobaby hanging over railing with beer can

MARIAN (V/O): ...if they get mad, they can throw their sadobaby against the wall.

113) (23:56) Ext. fire escape behind Mike's apartment in San Francisco

(Mike holds one of his sadobaby dolls)

MIKE: Now, just about every one of my friends has a doll they can abuse. It makes life more interesting.[84] And then you can get your aggression out on the dolls. (He puts a dress on the sadobaby) You can molest them, do all the things you wouldn't do to a real person. Well, some people do. But the dolls are just a way of getting back at people. Like when I get really irritated with people, I just take it out on the dolls.

114) Int. Hospital lounge

(Joey, seated with guitar)

JOEY: If I had a sadobaby, I'd probably beat it up with a hair brush, stick it out in the rain if it were cold, and starve it, if it could eat. And that's basically what my mother did to me for many years. And I'd sent it out on the street to make money.[85]

115) (24:35) Ext. May's apartment entry

(Luis, holding Marian's sadobaby doll)[86]

LUIS: See, this is what sadobabies are for. You drop kick them, right? (drop kicks doll, catches it)

Right. Drop kick him again...

(he drop kicks it again)

All right. Backwards.

(he back-drop-kicks the sadobaby)

Then, when he's laying on the ground, you stomp on him, like this...

(he stomps on the sadobaby)

A few times, right, make sure he's got a nice headache. Turn him around a little bit like this...

(he turns the sadobaby around on the floor with his foot)

Take him in the other hand, right...

(he takes the sadobaby in hand)

And this is where you really boot him...

(he kicks the doll)

And after you beat up the sadobaby you take what beer he was drinking...

(he picks up the beer can)

Right, because he's a doll, as you can see he doesn't drink. You drink his beer for him, and then when you get drunk, you start to abuse him again...

(he puts down the beer can)

Since this beer's empty, I can't really get drunk. So, take the sadobaby, and throw him against the wall one time...

(he throws the sadobaby against the wall)

Sadobaby still looks alive, doesn't he? I mean, he's happy, he's excited, he knows what's happening. His mohawk's a little messed up, but he can handle it, right? So, you got to make sure he gets really depressed and upset, so you throw him against the roof...

(he throws the sadobaby up)

Hits the ground!

116) Ext. May's apartment entry

(Luis beats Marian's sadobaby)

LUIS: (he punches the sadobaby in the face) Why aren't you at home? (punch) You're drunk! Who says you could drink? (punch) Where were you? (punch) Get to your room! (he slams the sadobaby against the wall) Don't sleep when I'm talking to you! (he slams the sadobaby against the rail) Stand up and take it like a man! (he punches the sadobaby twice in the face) What?!? Get in the house right now! (he kicks the sadobaby into the apartment and walks in after it, grabbing the empty beer can)

117) (25:53) Ext. fire escape behind Mike's apartment

(Mike holds his two sadobaby dolls, pretending they are conversing)

MIKE: They talk, have a good time, listen to music. When I'm not at home, they mess up my room. And that's when they get the extra abuse. You know you just kind of... (he smacks[87] the two sadobabies against each other three times)[88] And then you go... (he slams both of the sadobabies against the wall four times) They just, you twist this one really good (he twists one doll's head around)

118) Ext. fire escape behind Mike's apartment

MIKE: But you know they are great, wear and tear-wise, everything... (he strokes the hair of one sadobaby). Just scrub things with their heads. (he scrubs the sadobaby's head against the fire escape railing) But the best thing is, the noise it makes, kind of like, when you throw them against the wall (he throws the sadobaby against the wall) and then they slide, really nicely. (he slides it down the wall)

119) Ext. fire escape behind Mike's apartment

MIKE: And I usually leave them out here during a rain storm (he converts the sadobaby's blindfold into a noose and hangs it on a nail) and give them a hanging, like this. You always have to have little nails around, so you can hang them and do all kinds of horrible things to them. This one's really bad. This dolly here gets the knife. She gets really bad (takes a knife and puts it in the doll's mouth), just like that. (He puts the doll down flat on the railing) That's her toy, she likes that one a lot. It's a little rusty, so we can't use it on the food, but we can use it on the dolls, because they're not special. (he pokes the doll's mouth with the knife) You can do all kinds of things like that. (he pokes the knife into[89] the railing)

120) Ext. fire escape behind Mike's apartment

MIKE: Otherwise, when they're not in use, we just sit them down like this. Marian, can I see the other baby?

MARIAN (O/C): Oh, here. (she hands him a sadobaby)

MIKE: This one gets raped all the time, it likes it.

NANCY (O/C): What was that?

MIKE: This doll gets raped. You take its clothes off. And do all kinds of really weird things[90] to it. Take the dress off, sits next to it...[91]

121) (27:30) Ext. fire escape behind Mike's apartment

(Mike, looking down over the railing)

MIKE: It's a long way down, but sometimes I'm afraid to throw them, even though I feel like it sometimes. I'd really like to throw them down one day. When I get tired, get some new ones, when they get really worn out. But they've been holding up so well. (affectionately) They're just wonderful.

122) (27:45) Int. Hospital lounge

(Joey, seated with guitar)

JOEY: And a sadobaby is basically your worst fear in life, or maybe your most frightening moment...

123) Close-up view of Marian's sadobaby hanging

JOEY (V/O): ...that you ever had, you make your sadobaby do...

124) Int. Hospital lounge

(Joey, seated)

JOEY: ...in other words, maybe your sadobaby is your parents, and maybe what you want to do to your parents, for what abuse they've given you. Basically the abuse I've gotten has been pretty bad, in my life. But I still can't hate my mother that much to make a sadobaby out of her.[92]

125) (28:17) Photograph of Marian's family when she was a little girl

MARIAN (V/O): I mean, what can you say, when your dad fucks with you, and doesn't ever fucking leave you alone. And your fucking mom sees you as a threat to her marriage...[93]

126) Ext. San Francisco street

(Marian, seated)[94]

MARIAN (V/O): ...I mean, you want to be where you feel like you belong...

127) (28:40) Int. P.H.S.

(Marian looks out a classroom window)[95]

MARIAN (V/O): And most people that are on the streets, their family situations, they felt like they didn't belong. People, they kind of find each other, on the streets, and they form their own families.[96]

128) Ext. P.H.S.

(front of building)

JOEY (V/O): It was so, I guess, unrespectable, by what they say. "Why don't you live with your parents?" Some people have problems with their parents...

129) View of paper found in P.H.S. that reads "Home Sweet Home"

JOEY (V/O): ...people need a place to stay. So I never understood why they were so down[97] on it...

130) (29:03) Ext. P.H.S. site

(construction equipment moving around empty site)

JOEY (V/O): ...and it was just a regular, old, Polytech family.[98]

TITLE: Polytech was torn down in the fall of 1987

TITLE: City-subsidized housing will be built on the site.[99]

--FADE TO BLACK--

TITLE: Directed by Nancy Kalow[100]

TITLE: Produced by Nancy Kalow and May Petersen

TITLE: Special thanks to Coke Ariail[101]

TITLE: The producers also wish to thank Dave Farrell, Elise Rosson, Michael Roy, Brant Ward, Saul Wasserman

TITLE: Copyright (c) 1988 Nancy Kalow

Acknowledgements to: Nancy Kalow

For rights and permissions contact: For permission to use this material, contact Folkstreams through our website.

Contact Folkstreams about this material.

 

Permalink (Permanent link to this page.)