“You died on a Saturday morning. And I had you placed here under our tree. And I had that house of your father’s bulldozed to the ground. Mama always said dyin’ was a part of life. I sure wish it wasn’t. Little Forrest, he’s doing just fine. About to start school again soon. I make his breakfast, lunch, and dinner every day. I make sure he combs his hair and brushes his teeth every day. Teaching him how to play ping-pong. He’s really good. We fish a lot. And every night, we read a book. He’s so smart, Jenny. You’d be so proud of him. I am. He, uh, wrote a letter, and he says I can’t read it. I’m not supposed to, so I’ll just leave it here for you. Jenny, I don’t know if Mama was right or if, if it’s Lieutenant Dan. I don’t know if we each have a destiny, or if we’re all just floating around accidental-like on a breeze, but I, I think maybe it’s both. Maybe both is happening at the same time. I miss you, Jenny. If there’s anything you need, I won’t be far away.”

Here’s a snippet from tomorrow’s post.

Production still photographer: Peter Sorel © Pando Company Inc., Raybert Productions, Columbia Pictures.

Easy Rider is still held in the greatest esteem, enjoying the reputation of one of the first indie films that created a bang that echoed around Hollywood for years. Fonda and Nicholson transformed into big stars, Hopper became an authorial force to be reckoned with and a new role model for thousands of independent filmmakers around the country, and whole generations had their lifestyles shaped by the immortal story of the non-conformist bikers. Easy Rider is a film America of the late sixties needed. What we offer you today is the rare script by Fonda, Hopper and Southern that gained almost a mythological value over the years, unearthed from a book that has been out-of-print for decades. Dear readers, examine it, study it, learn from it. For education purposes only, we give you the basis for one of the most important American films ever made.