Before there was Neal Cassady to whom the writer Jack Kerouac was in thrall, there was Lucien Carr. A St. Louis friend of William Burroughs, Carr was a fast and scary driver, catalyst for acts of rebellion, and key player in perhaps the first bit of beat scandal, the murder of Dave Kammerer, his former boy scout leader and stalker, with a boy scout knife. “Kill” co-screenwriters, director John Krokidas and Austin Bunn, play fast and loose with beat lore, favoring a point of view from Allen Ginsberg’s journals, fashioning a gay coming of age tale featuring a deflowering when they could have sought out the more fully formed fictions in Kerouac’s ample telling and retelling. They clearly wanted to tell a gay story, and in skewing events this way, describing a period when heterosexual yearnings too had a subversive edge, they come closer to a beat vibe than any other movie fictionalization thus far. They even make leering Dave Kammerer (Michael C. Hall) seem sympathetic.