Inside the Episode
With Steve Hawk
What Do You Do With A Resurrection?
Shaun has miraculously recovered from his seemingly fatal spinal-cord injury, and Doctor Smith, the neurologist who moments earlier had broached the subject of organ donation, appears more giddy than perplexed by the boy's resurrection. His follow-up suggestion to the family: Get the kid the hell out of here before people start asking questions.
"No hospital is equipped to deal with what happened to your grandson," Smith tells Cissy, Shaun's grandmother. "If he stays, what'll happen to him here is in the hospital's interest, and will be of no benefit to him."
If the doctor's belief system has been shaken by a miracle so has that of Linc, the surf-industry CEO whose power derives not from science but from his ability to make people believe what he wants them to believe in order to sell them things they don't need.
As the episode opens, Linc suspects something big is going on, and he's deeply frustrated by his inability to find out what it is. When he approaches Doctor Smith to ask about Shaun's condition, their curt encounter, while barely audible, is perhaps the most heated encounter in an episode filled with brutal arguments.
In the ongoing category of "Watch what people do, not what they say," check out the exchange of icy looks after Linc, who has just been ordered by the doctor to leave a restricted area, utters a phrase veneered in civility: "Thank you. Thank you for the work you do." Enemies, and they're not sure why.
A similar but inverted disjunction between words and action occurs later in the episode, when Bill, the ex-cop, and Freddy, the drug lord, face off on the street outside the Yost house. On the surface the two men - cop, criminal - are enemies, their only common ground the fact that each happens to be a longtime acquaintance of the Yosts. But the barrage of adolescent insults they fling at each other belies their body language, which ends up almost sweet:
Bill: "What is your name please?"
Freddy: "What's your name?"
Bill: "Bill Jacks. I'm a retired police officer. And you don't want to make me ask your name again."
Freddy: "Retired cops don't get my name, what time it is, or pissed on if they go up in flames."
And later ....
Freddy: "I'm a friend of the family, all right?"
Bill: "I'm a friend of the family."
Freddy: "Then they got two friends looking out for them."
Bill: "And you look out for them how, by seeing when their backs are turned so you can steal their drapes?"
It appears to be a punch-out in the making until the scene's closing shot, when they stand side by side facing the home, each with his arms crossed. Sentinels.
Surfing USA
I worked for several years at Surfer magazine and in that time listened to many people rail against surf contests and the companies that support them for the many ways in which they exploit and despoil the sport. I no doubt railed a few times myself. Mitch, Shaun's grandfather, summarizes every "soul" surfer's disdain for contests. He's sitting in the car of the seductress, Cass, and still believes his grandson is going to die. Mitch blames himself for letting Shaun surf in the contest at Huntington Beach, where the boy broke his neck. Cass tries to comfort him by talking about Shaun's performance at Huntington:
Cass: "That whole heat, every ride, it was beautiful to see."
Mitch: "What was beautiful, watching him milk a closed-out section to impress a bunch of f**king judges? That's not surfing.... That's flapping your fins for an audience. That's letting dipshits define you by a number so other dipshits can compare you with other numbers so the other dipshits know who to pay to wear their sunglasses so the dipshits in the malls know which ones to buy."
It's a valid, if obvious, argument that would carry a bigger punch if the people who make it were less pious, and acknowledged that their chosen sport is a wholly selfish pursuit.
Found Moments
David Milch, the show's creator and head writer, loves to improvise on the set, often adding lines - and, occasionally, entire characters - just before the cameras roll.
Such a moment happened in this episode at the Snug Harbor Motel. Barry, the new owner of the hotel, has decided to return to Room 24, where a man named Gilbert Rollins abused him as a child, in order to shut the door that he'd left open a few minutes before when fleeing the ghost of his molester. Dickstein, the surfing attorney, and Ramon, the motel manager, decide to escort Barry to the room.
While that scene was being shot, three life-size cardboard cut-outs of bikini models happened to be propped up on the other side of the parking lot. They'd been left there by Butchie, Shaun's junkie father, in the previous episode after he bought them with John's high-octane credit card.
Milch decided at the last minute to have Barry, still rattled from having seen a ghost, look over at cut-outs and ask, "Animate or inaminate?"
To which Dickstein replies: "Inanimate."
Another found moment that bears fruit in this episode came in Episode One, when Butchie and John are outside the Yost family surf shop, having just met Kai, the female shop employee. John tells Butchie he likes Kai.
Butchie: "Yeah, you would John, I'm beginning to see that about you. You know, you could probably even f***king bone her if you tried hard enough."
John: "I'll bone her."
Austin Nichols, who plays John, improvised that last line during rehearsal, and Milch liked it so much he told Austin to repeat it for the cameras. None of us knew then that the "boning" idea would reverberate through future episodes.
Alternate Titles
Three alternate titles to the official one ("His Visit: Day Two Continued"):
a. "Kai Sees God"
b. "John Bones Kai"
c. "On the Precipice of a Clusterf**k"