This action might not be possible to undo. Are you sure you want to continue?
Written by Bill Forsyth
THIRD DRAFT WARNER BROS. INC. 4000 Warner Boulevard Burbank, California 91522 January, 1992 © 1992 WARNER BROS. INC. All Rights Reserved
"... and as he stared at the sky and listened to a cow mooing almost dreamily in a distant village, he tried to understand what it all meant -- the sky, and the fields, and the humming telegraph pole; he felt that he was just at the point of understanding it when his head started to spin and the lucid languor of the moment became intolerable..." Vladimir Nabokov
In this script there are six main characters who inhabit different periods of time, from pre-history to the present day. But there is just one story. Because we blend into one developing narrative the lives that we show. There is no suggestion of time travel or re-incarnation or any other tricksy or mystic device. We can do in real time and with real characters what other movies strive to do with immortal time travellers and ghosts. Our story is thoroughly based in reality and the magic we are dealing with is real, human magic. In moving from one character to the next everything will change; supporting characters, setting, period. But the essential situation of our hero of the moment will relate to the one before and the one following. The magic will be in the transitions, in leaving one character and advancing the film through hundreds or thousands of years to find our next hero in tantalizingly similar human circumstances. The effect of these transitions across space and time, will let the audience grasp the simple truth behind our story; that we are all in it together. The key to allowing the audience to enjoy this human connection at the heart of the film is that one actor will play the six individuals. The feeling will be of the endless, glorious playing and replaying of the simple drama of being alive. We end the film with a present-day hero, but by that time we will be seeing this modern man in an entirely fresh light, feeling his kinship with the caveman and the slave and the others who have gone before. The resolution of his contemporary story is theirs also. By then perhaps, we will be able to see ourselves in this novel perspective, too. And the structure of the film itself has the thrill of novelty. It has never before been used in cinema. Never. Our six characters and their stories connect in many different ways, some obvious, others vague, tantalizing threads. Even global connections are made, as the planet itself and all its people, come and go in the story. For the audience the game of making the connections, feeling the bonds, even inventing or discovering associations of their own, will be endless in this biggest of stories, smallest of stories. It is truly a new cinematic experience.
. a shallow cave given protection at its entrance by a covering of branches and brush.. Then he is aware of another presence. The idea of individual names is an imaginative leap that has not yet been made by mankind when we first meet him. But in his act of wild rage he gets carried away. a trace of vanity makes him bend down closer to his reflection. Hector's son. It is the usual rough romp that fathers indulge in. (CONTINUED) The 1-4 .. on his back. He picks up his son and throws him hard. HECTOR Go back home. lashing out at the hunters surrounding him. We see that the figure is a young BOY. much too hard. Hector is acting the part of some trapped wild animal. Boy thinks about it for a moment. 1-4 TITLE SCENES The small fire that never goes out has been enlarged to cook the day's meal. so it remains a smouldering comfort and a constant preoccupation for the whole family. FADE IN: FIRST IMAGE is the reflection of Hector's face in a rock pool. Some way off a solitary figure stands on the rise of some rocks. If it ever went out it would be a catastrophe. Hector is living out his life 4000 years before the birth of Christ. in a reasonably temperate zone of the planet. He sharply turns. Beyond the fire on a rock shelf HECTOR plays with his children.* BEING HUMAN Hector is a family man. He and his woman and two children live near the ocean in a sheltered fold on a hillside. It is simply a convenience to help us tell his story. before turning and disappearing behind the rocks. Just inside a small fire smoulders permanently. Hector calls out. When he is finished. Hector doesn't know that his name is Hector. He strokes his long hair and fingers a blemish on his cheek. The image suddenly fragments. leave me alone. but in 4000 BC possibly rougher than normal. In his entire life Hector will traverse no more than ten square miles of it. deflecting his stream of pee now and then so that his image reforms itself and then is disrupted again.. a GIRL of six and Boy of eight. a few times a day encouraged into life for cooking or warmth. Hector is enjoying himself. not afraid to show itself.
lying beside him? Hector's daughter delights him. absorbed in her antics as she sleeps. DEIRDRE's feet. Hector walks on again.. She is a vivid dreamer.2.. The Boy wisely retreats to the cave. Two sets of bright eyes peek out from under their cover.. learning children. Hector is arguing with his son. the loving parents and the watching. Deidre scowls at Hector. go back. on their bed of dried grass and skins.. the cave is quiet and the fire has diminished. angry father strides. . What has 6000 years done to that art? We will think about it.. taking big. On the far side of the cave we see the sleeping children. 1-4 * HECTOR No. Stay! There is real anger in his voice.. Hector is in the classic. go away. It's difficult to say what their lovemaking might look like. Hector kneels beside his daughter. howling in pain.. 1-4 CONTINUED: The Boy tumbles down from the shelf to the cave floor at his mother. stay here. With a sigh of frustration he heads for the beach. Hector is fascinated. HECTOR Leave me alone! Stay here. And while Hector watches his daughter. Hector walks on for some time before turning on him. HECTOR No.. It is almost dawn. The Boy howls on. By its light we see Deirdre and Hector making love. If the gesture had been invented he would probably shrug his shoulders.. Deirdre from their bed watches Hector. She emits unearthly nighttime noises. squeals and giggles and moans. Where has his daughter gone? Who is this strange wild creature that has taken her form.. The Boy wants to go foraging with him again. We CUT BETWEEN them. The Boy follows. stay! Hector takes a few steps.. As we MOVE CLOSER we see that they are far from sleep. She holds out her arms ready to comfort the Boy rejected by his father. no-win situation and he knows it.. Her whole little form wriggles and contorts in response to the fantasy unspooling in her head. As Hector turns to continue his walk alone he see Deirdre looking at him accusingly from the entrance. timeless. just outside their cave. The Boy stubbornly tags along at a safe distance.
Oardriven boats. HILLSIDE . hoarding the food in a roughly-woven bag. Every now and then he will suck a cockle from its shell or crunch on a particularly tasty piece of seaweed. slowly. surveying his world. He knows where he is going. crabs. seaweeds. Like him they are nosing around the margins of low tide for food. never could. There is a strange atmosphere of appropriateness in the scene. spinning or He knows warmth. His family and their cave. 5 EXT. mussels. Hector neither knows nor cares. blind. One thing else that Hector knows is fear. Also. He steadies himself and gazes hard out to sea. The easy fit of the man in his landscape strikes us. perhaps attempting a little light paperwork propped up on some pillows. easing the ache in his back. gathering cockles. From behind a distant headland a smudge of smoke trails into the sky. anything edible. In another season they or their eggs will provide a meal or two. He jumps from the rocks and runs up the beach toward the cave. rough the safety of Further along the shore Hector drops his bag and straightens himself. orbiting. He watches some wading seabirds nearby. Hector looks about 30 years old. Hector belongs to it in ways that a present-day hunter or holiday maker. Around the edge of the headland two dark shapes proceed in regular motion. The sun is warming the day. simple things. This is advanced middle age for his times and it shows. In a similar condition a modern individual would spend two or three pleasantly drugged days in bed. Cold and hunger. Then something disturbs him. SHORE . insistently making their way into Hector's bay. Their steady progress is full of menace. 6 EXT. or even naturalist.DAY 5 * Hector is foraging on the shoreline. Hector sits on a rock. (CONTINUED) 6 . He splashes in the shallows. He reaches a vantage point on some rocks. Then his jaw drops in fear. gut-turning fear. He smiles. We can feel the strain in his eyes as he tries to detect any hint of threat in the glinting water. He has a heavy cold and an irritating hack in his throat.3. Whether the larger world is round or flat. there is an odd sense of the world being rather empty. Hector seems such an integral part of it. He knows comfort and companionship. racing up the steep slope in the direction of his home.DAY Hector is a small figure in the landscape now. He seems very much a part of it. Hector picks up his bag and runs.
DAY 7 Inside. Hector gathers enough of his wits and strength to continue his race up the hillside. coastal raiding. by now dropping precious bits of food and other possessions. Hector has no choice but to follow her. down onto the other beach. Hector and the children also turn and run back the way they have come. heading for the lower slope and the cover of some trees.4. It must stay burning in their absence. five or six of them. I saw them! DEIRDRE You're wrong! She runs off down the slope. herding the children in front of him. 6 CONTINUED: 6 * He stops for breath and to look back on the bay. Hector's children are attempting to take too much. HILLSIDE . Through their agitation there is purpose. The Raiders are running strongly. running back up the hill. They seem to have prepared for this moment. roughly made but menacingly adequate for their purpose. his family are in a state of panic. The shapes are distinct now. HECTOR'S CAVE . Neither can I. confused argument takes place. Hector gathers his family together and they leave the cave. She turns. 7 INT. HECTOR Up the hill! DEIRDRE No. (CONTINUED) 8 . The boats are nearing the beach now and figures can be seen preparing to land. 8 EXT. They gather bits and pieces to carry with them in their flight. His woman runs off the other way. Hector shouts instructions to them as he puts more wood on the fire. A hasty. Deirdre runs on.DAY Hector shoves his children in one direction up the slope further into the hills. Then from these same trees she sees the figures of the RAIDERS coming toward her. The little ones can't take the hill. HECTOR Up the hill! They're down there already. two large open boats.
all of her energy gone.5. the distance between them and Deirdre. 9 EXT. He stops for a moment to watch Deirdre being finally surrounded by the Raiders.DAY Hector and the children have reached the safety of a small valley higher up in the hills. The Boy follows. In a moment of utter panic he lets go of his son. (CONTINUED) 10 9 8 * . drops the Girl from his shoulder. The raiders have been slowed down by their capture of Deirdre. She was right. Hector is watching all of this over his shoulder. She doesn't have the stamina for the hill. Hector is hoisting his two children into the lower branches of a solitary tree on the hillside. Dada. He coaxes them up into the higher branches. She attempts one final dash and then.. Hector looks back and sees the Raiders gaining on her. she stops in her tracks and waits for her pursuers. as if to go back and help her. half-dragging the Boy up behind him. but then changes his mind and runs off once again with the children. He stops for a breath and sees the raiders moving into the valley below. But it doesn't last long. His face is a confusion of fear and indecision. He sees his children. too. Even as the Girl calls to him he is running back down the hill. the Raiders break their run also and trot and finally walk. only now beginning to work out what has happened. feeling the first stab of a guilt that will never leave him. 8 CONTINUED: The little Girl starts to go back for a precious toy she has dropped. and runs on alone. With the Girl still awkwardly clinging to his neck he is picking his way up a steep slope. He almost stops. Deirdre is by now throwing the things she is carrying at her pursuers.ANOTHER ANGLE . still running. Some way up the slope he stops and turns. But they don't stop and the effort tires her even more. Then he runs on. hoping that they will stop to retrieve them and allow her to gain some ground..DAY Hector is tiring. We can sense the moment of release in his unburdened flight. Hector picks her up and carries her off over his shoulder. and the raiders below. VALLEY . GIRL Come back. He can't do it. Deirdre is trailing behind them. VALLEY . 10 EXT.
His face hardens as awareness of his predicament returns. I'll come for you in the morning. Hector can see the dark shapes of his two children clambering down. He slows down some distance away and just in time. He moves forward to the protection of some rocks.. He sits up and takes in his surroundings. The Raider looks up into the branches and talks in a friendly. Don't make a noise. she wants to see you. again. 11 EXT. His friendly tone of voice has an effect. HECTOR Don't move from here. We've got a fire at the beach.DUSK It is dusk now. Maybe waving hasn't been invented yet. She's happy. Hector moves off. He stands up and then crouching low. RAIDER It's too cold to spend all night up there. looking back to his children in the tree. He is close enough to hear the voice of the solitary Raider. They don't wave. Don't cry. 10 CONTINUED: BOY I'm hungry. higher into the hills. VALLEY . moves off down the hill.. Hector heads off alone. Try and sleep in the branches.. ROCKS . and watches.6.. There's no food. she sent me. although he doesn't understand the words. persuasive way. 12 EXT.. Food. We find Hector waking from a fitful sleep behind some rocks. (CONTINUED) . The Raider coaxes RAIDER Come on! Your mother's down there. and full. There is no response from the tree... There is movement in the branches.. too. He sees a figure standing beneath the tree.. They too gaze anxiously at him. The Raider stretches out his arms and helps the Boy to the ground.DUSK 12 11 10 Hector has returned to the area of the tree.. she's warm. too.
To them. 13 EXT.NIGHT It is fully dark now. down the hillside. catches her as she drops and keeps her in his arms. That was not the intention of the Raiders. He doesn't sleep. a fertile woman and two healthy children are as gold will be to plunderers of later ages. 12 CONTINUED: 12 Then he reaches up for the Girl. squatting in a narrow crevice in the rocks. and although still a little timid. Food and shelter are the best that life can offer. His family have been stolen from him. His family appear to be happily integrated with the Raiders. They are playfully attempting to communicate with her. They almost look like a family. His woman is with a larger group closer to the fire. 14 EXT. then it becomes too painful. ROCK SHELTER . no friend to run to. I'll carry you. He stares into the darkness. His two children have become fast friends with the man who coaxed them from the tree. the Raider carrying the Girl in one arm and holding the Boy's hand. He laughs in a comforting way. We are still with Hector. He retreats into the darkness and up into the empty hills again. The smell of fire and food and concern for his family. For their part. but close enough to observe it. There is nothing in the world to comfort him. He is hiding somewhere way off from the camp. RAIDER That was easy. or even attempt to close his eyes. rape or abuse. the family have to accept the situation. What he sees disturbs him. she is smiling.7. have drawn him here. Hector watches the Raider and his children move slowly off. plain and simple. There is no hint of barbarity. no philosophy or religion. This night he is utterly alone. He has come down from his bleak hiding place in the hills. On the beach the Raiders have set up a comfortable camp with a large fire. cold night alone. He watches them for a while longer. Hector takes in the reality of the scene. In the morning they will be gone.NIGHT Hector spends a long. BEACH . eh? You're half asleep already. little girl. Painfully. 14 13 * . but for odd reasons. out to sea and round the headland forever.
In a mad act he breaks cover and runs down toward the departing boats. A sign. awaiting whatever lies ahead. but they have an intense exchange. a priest or wise man. ROCKS . It seems to revive him. But in Hector's time they are men in the full prime of life. Hector's children instictively rise as if to defend their father. frozen in fear. The older man seems to be an adviser. nodding in the direction of Hector. wisely holds them back. like so many flies and smiling. for a long moment. obviously centered on him. His family are already on one of the boats. Then an older man stands up in the other boat. The LEADER is impudently brushing Hector's missiles aside. Hector watches from cover. Hector charges at full speed to the water's edge. His woman and children sit on the boat. that life goes on. BEACH . He stands looking at the Raiders and they look at him.DAY The Raiders are loading up their boats. He screams agonizingly at the Raiders and impotently starts throwing stones at them. 16 EXT. 15 EXT. He gives some instructions to his men. wading back and forth from the shoreline. bemused. The men lift their oars and prepare to leave. too afraid to betray real emotion. even comfort him. The Leader eventually turns from Hector. watches the faces of his family. still smiling and gives an order. hardly into their twenties. The Leader listens to him intently. Six or so of the Raiders leave the boats. There is not much else that he can do. wade ashore and without any resistance from him. but Deirdre. however meager. The last of the Raiders on shore wade out the short distance to the boats. although he's still only about thirty years old. The Leader looks there and nods his head. take hold of Hector. He calls over to the Leader. The Raiders are all young men. and nowadays might resemble something like a motorcycle gang.8. The Raiders all look at him. Suddenly Hector's rage and energy leave him. The PRIEST talks and points to the cliffs. He returns their looks fiercely.MORNING 15 In the morning it is lightly raining. The last Raiders are climbing aboard. despite her own feelings. Then Hector trots off in the direction of the shore. Hector stands. Hector watches these moments of departure. refresh him. Hector doesn't know what they are saying. Hector makes his move. They begin to laugh and exchange remarks about Hector. * 16 * * * * * * * . Hector stands in the drizzle outside the shelter.
. CLIFFS . He walks around the pile of stones. At the top of the cliff the bay and the boats and the wide sea are stretched out beneath them. Then he makes up his mind. 17 LEADER He wants me to throw you over. reasoning tone. (CONTINUED) . one stone. The Priest. as they arrive. The Leader looks at Hector. What does it do? Does it help the sun? Should I throw you over? The Leader tries to help Hector understand by miming the act of throwing him off the cliff. LEADER What do we do? Do we throw you over.DAY Hector's hands have been bound with rope. PRIEST I tell you. becomes excited. They sit together like friends. Hector doesn't know how to respond. The Priest and the Leader walk on ahead. now sitting on the grass. He looks at him blankly. The Leader is unsure. He squats down and squints through it to the watery sun emerging from the clouds far out to sea. The mound of stones is obviously man-made. still talking intensely. He looks across to Hector. He points to a pile of large stones at the very summit of the headland.9. The Leader sits down beside him. It'll help the voyage. checking it out from all sides as if it was some infernal machine that he didn't know the workings of. 17 EXT. is that the idea? Hector doesn't understand. He is being led up to the top of the cliffs. LEADER What's it got to do with the sun? PRIEST I don't know. it's one man. The ageless intimacy of sacrificer and victim. PRIEST I told you! I knew they did it around here! Ask him. yet. The Leader moves closer to Hector and talks to him in a friendly..
He stands alone. action. who looks him up and down. carrying a large flint-bladed knife. 17 CONTINUED: LEADER No. the knife held ready. at first running to catch up and then simply trotting after them. Let him go. with some ceremony. (CONTINUED) . That's the best we can do. Again and again the Leader stops to shoo Hector away. The Priest. He stands in front of Hector for a moment. The man clambers out of the boat and wades ashore again. picks and places it on top of the pile. He will take whatever is offered to him. Hector is beyond any form of reaction.10. too shocked still to react in any meaningful way. The Raiders prepare to move off. They are his only connection now with anything that thinks or feels in the world. He waits for almost as if he expects some consequence of his PRIEST It's meaningless. The others follow him. without him going over the cliff. When they are some distance from him. BEACH . Hector persists in following them. Hector's family are tense with fear for his life. but Hector dumbly tags along behind. He comes out of the water and walks up to Hector. Hector starts to follow them. Off you go. The Raiders are aware of him behind them. Hector watches them go. Hector follows to the very water's edge. With that. apart from the Priest. regretting that he is not by now a corpse in the ocean. Just add a stone to the pile. giving a final look or smile to Hector. His link with them is all that is left. Let's go. 17 He turns from Hector and moves on. The Leader eventually stops and calls to Hector. LEADER We don't want you. then stands and bleakly watches them. The Leader strides off back toward the beach. looks around for a large stone. 18 EXT. At the last moment the Leader gives a brusque order to one of his men. On the boat. he stands up. sense of one up a moment. Hector is an embarrassment to them now. trying to unpick the rope that binds his hands. It's too much of a risk. The man comes close.DAY 18 The Raiders wade out to the waiting boats.
Hector bends low and starts to waft expertly and blow at the fire's remains. some small boys endlessly toil at two large bellows. He even smiles. It might be of some use to him. sweat-covered men feed it with wood and charcoal. an odd human sound in an inhuman setting. In fact we might be in hell. The man stops. as they. He goes some distance then stops. Hector watches them for some time. A crude furnace blazes. drops back into the water. At last he turns and moves up from the shoreline. retreat from his view and his life. feeding the flames with jets of air. He offers Hector the cut piece of rope. an endless task given the ferocity of the fire. Hector refuses the gift.DAY Hector has returned to his cave home. thinks for a moment. now cold and empty of life. Filthy. in the simplest act of physical survival. He is working on his instincts now. He digs around in the embers of the fire. achingly slowly. bigger fire. . CAVE . Then he turns and wades back to the boat. Some of the larger bits of wood still hold some life. A piece of rope in exchange for a family. a weird gesture of conciliation. and returns to Hector on the shore. low-ceilinged furnace room. and walks off with it. BATHHOUSE FURNACE . still emotionally in shock. Shadowy figures come and go with barrow loads of wood. then drops the rope at Hector's feet and wades back to the boat. still bound with rope. 19 INT. Hector understands. For him the problems of emotional survival without his family lie ahead.11. as the man grunts and nods at Hector's hands. We TILT UP TO the space above the furnace to see a mass of dangerously crude clay pipes. 20 INT. OVER the NOISE of the FURNACE someone is WHISTLING. To one side of the oppressive. As the man clambers aboard the Leader speaks to him. his family and the strange Raiders. then retraces his steps. oozing water and steam at every joint. We leave our first Hector squatting at his fire. The man stands sheepishly for a moment. He goes back to the water's edge.DAY 20 19 18 * This is another. 18 CONTINUED: Then the tense moment passes. picks up the piece of rope that bound him. He lifts his hands and the man with some effort hacks through the rough hemp.
DAY 22 * * * * Hector wraps the towel around his master and follows him. Slaves wait in attendance. We don't hear what they are saying but there is enough body language to detect Lucinnius' pleading and the older man's cool distraction.ANOTHER ANGLE . There is a set to his face that tells us he is a man alone. droning conversations and resonant laughter. 21 INT. BATHHOUSE . 22 INT. There are three or four times as many slaves as bathers. Hector's master LUCINNIUS is not as relaxed as the others around him. He watches his master in the pool. and the proprietorial way that they look after their masters gives the place the odd atmosphere of a kindergarten for overindulged grown-ups. holding a large towel.DAY 21 Above the heat and filth there is a different world. We have advanced 4000 years into the future and it shows in the technology. And then we find our Hector. Hector immediately moves to the side of the pool with the towel as Lucinnius climbs out of the water. more so by the look in his eyes. All of the people relaxing in the water look prosperous and comfortable with themselves. 23 INT. (CONTINUED) 23 * .12. A clean. All around them slaves attend to their pampered masters. The older man gives a final dismissive shake of his head. Lucinnius goes towards three men occupying a marble bench. It is the hot room of a bathhouse somewhere in the Roman Empire. Although clean-shaven and more healthy-looking we can still recognize Hector.COOL ROOM . BATHHOUSE . He is a personal body slave. Lucinnius' worries are Hector's also. others in the water rubbing backs and massaging shoulders. emotionally detached from his surroundings. BATHHOUSE . LUCINNIUS I'm going to the cool room. passing the games area and the massage room as they go. a look of concern on his face.DAY After an anxious scan of the cool room. beautifully tiled world of lazing figures. Hector walks a pace behind Lucinnius through various chambers of the bathhouse. It is men's day at the bathhouse. He is in anxious conversation with an older man wading beside him. alert to any hint of need that he might have. He stands against the wall. some around the edge of the pool.
(CONTINUED) 24 * . Hector stops beside him. and probably in his dreams too. A final sarcastic remark comes from one of the three. 23 CONTINUED: 23 Hector as if by magic produces a small wooden stool for his master to sit on as he joins the others. Lucinnius stops near some street stalls. Hector then moves out of earshot. It is a one-way exchange. Some have whole trains of slaves shadowing them. but the dusty main street of a provincial capital in Greece or Spain or North Africa. Hector is quickly on his feet and by Lucinnius's side as he goes. Hector follows three paces behind him. in case Lucinnius has to stop in the street and converse with a friend. Lucinnius leaves the bathhouse. but still alert to his master's behavior. Other notables are among the street throng. their own slaves tagging along behind with their little wooden stools. It is difficult to tell from the people because they are such a cosmopolitan crowd. robe.13. From morning until night. The stool goes with them everywhere. Here in ancient Rome is this what they call classic schizophrenia? As Luccinius stands to leave we can tell by their expressions that the THREE MEN are open in their contempt for him. Hector watches the older man put a paternal hand on Luccinius's shoulder and speak with a calm smile on his face. More precisely. Lucinnius is nervous as he attempts to casually join his friends. Human status symbols. loaded down with the large towel. Lucinnius. and the wooden stool.DAY This is not the grandeur of Rome. The other two are deferential to the older man. MAN #1 Well washed. Slave and master exist so closely together that many of their feelings are shared. It has something of the atmosphere of a frontier town in a western. Lucinnius's feelings are shared by Hector. and treat Lucinnius with apparent contempt. STREET . the scrubber. Lucinnius tries to muster his dignity as they leave. The eldest of the three gives off as much of the aura of a Godfather as a naked man in a towel can. Hector is living two lives. 24 EXT. Hector almost winces to see his master submit to this patronizing treatment. his own and his master's. except that here the half-finished buildings are made of brick and stone. faces from every corner of the Mediterranean world.
inevitably. he sees another man.. STALLHOLDER No mice. Julian and Lucinnius greet one another and sit down to talk.. and then moves to join the Two Slaves. meeting your man. still absorbed in his problems. about their masters. One of them is carrying a folding chair much more substantial than Lucinnius's. hearing a snatch of the conversation as he goes. SLAVE #1 Spoiled his day. Lucinnius at something of a height disadvantage. cold. Bad omens.. approach Lucinnius. then. Get me something to eat. (CONTINUED) 24 * . and the bread. he's been avoiding him all week. The Two Slaves move off to one side.14... 24 CONTINUED: LUCINNIUS Bad omens. They easily fall into conversation. but I was receiving Nepos. Their conversation seems open and friendly. Just a mouse or two. JULIAN. HECTOR Yes.. SLAVE #2 His ships have gone too. how could I admit you? Hector offers to share his bread with the other Two Slaves.. Lucinnius's mood has brightened since the arrival of his friend. trailed by TWO SLAVES. JULIAN Of course you're free to call at my house at anytime. HECTOR Two chicken legs. Hector. As Hector is given the food and pays for it. HECTOR Two mice. Hector keeps an eye on Lucinnius as he orders the food. we heard. Hector gives his master his food. and some bread. Hector places the stool at Lucinnius's feet and moves off.. Lucinnius sits down.
they smelled blood. That could finish him.. unaware of the scrutiny they have been under.. Nepos knew. or so used to it that they are oblivious to it. Hector nods his head thoughtfully.. SLAVE #1 You'll be up for sale before you know it! This makes them laugh. you reckon? The other two nod their heads.. if he'd pulled it off he'd be in Rome by now. SLAVE #1 And you with him.. HECTOR When did you hear? SLAVE #2 Last night.. They're sunk. eh? HECTOR This is the worst it's been. HECTOR He's finished.. The casualness of their conversation has gone.. Hector and the Slaves hurry to gather up the seats and take their positions behind their masters. at the baths. he reckons.. STREET .. 24 CONTINUED: (2) 24 This is news to Hector.DAY 25 * * Lucinnius is eager to talk.15....... Lucinnius and his friend stand and exchange their final words. I could tell. SLAVE #1 Yes. Pirates.. 25 EXT. HECTOR Well. (CONTINUED) . half way home. and tosses his words over his shoulder to Hector.. HECTOR And me with him.. Hector less so than the other two. and they resume the formality of their roles..
. The entrails of a chicken lie on a slab of marble. 25 CONTINUED: LUCINNIUS He's a true friend. They are gathered around a shrine in the large public room. being the alter ego to an ambitious loser in one of the most competitive and dangerous societies ever to exist. He makes much of the mysteries of his craft. 26 INT. HOUSE . Lucinnius unburdens himself.. And he has to carry the stool and the towel as well. He said so. HECTOR Yes. (CONTINUED) 26 25 . He'll want his money back too. HECTOR That's a problem.. LUCINNIUS And the ships have gone. probably the only one I have left.. No.16. plain and simple.. as if it were a skill beyond ordinary men. Hector obligingly trots a step or two closer to Lucinnius to aid their conversation. HECTOR Will he lend you the money? LUCINNIUS He was honest about it.. He has a tough occupation. and fetch Hermas. LUCINNIUS When we get home I want you to get some chickens. Hermas prods them with a knife. the diviner. did I tell you that? HECTOR Have they? LUCINNIUS Cyprian knows already.DAY At home. we find Lucinnius and Hector with the diviner HERMAS. We can see the concentration on Hector's face as he concocts appropriate responses.
* LUCINNIUS What do you mean? I mean. but let's see. and we can't ask the Gods specific questions like that. that Cyprian. 26 CONTINUED: The other two peer over his shoulders.. Suitably mystified. in the future? HERMAS If you want to do it again.. Lucinnius objects. Lucinnius obeys.. HERMAS No.? Hermas tetchily stops him.. Hector opens his purse and counts out the coins for Hermas.17.. probing enquiry.. LUCINNIUS Do it again... 26 * * * .... who nods reluctantly. HERMAS General answer.... Lucinnius talks in a reverent low voice... no.. no. HERMAS The liver says no. The other two wait in silence.. Is it the Gods' will.... Hector looks a Lucinnius..... be well disposed towards me. you need another chicken and another fifteen sesterces... it's a gentle. LUCINNIUS Are my ships from Sicily still afloat. general questions.. no. sprinkle it on the altar. I want you to do it again... He cuts into the chicken liver and prods around the inside.. offer the grain first... HERMAS .. and I'd like the first fifteen now please.
. HECTOR It sounds good. you could've found your family. Lucinnius misses the irony in Hector's voice and enthuses about his own future generosity... muscles yield more to Hector's fingers. His troubles 27 LUCINNIUS Cyprian loaned me half a million to fit out these ships. You're right..NIGHT Hector is giving Lucinnius a soothing shoulder massage.. She carries a lighted torch and moves around the room lighting the wall lamps. Lucinnius watches her.... I'll visit Cyprian. sometime. LUCINNIUS It does... His tense * * * * This burst of resolve has relaxed Lucinnius... he's got to see reason. LUCINNIUS I shouldn't give up. won't allow him to relax. I can't. I had plans for you too. first thing tomorrow... It's the only chance we have. (CONTINUED) . 27 INT. a Nubian from Africa.. you. I'm finished. doesn't it! Lucinnius is silent for a while as Hector continues to rub his shoulders.. Should I do it? HECTOR You must. Just when things were going well. She is a household slave. and then in ten years you'd be a citizen. everything. HOUSE . brought them here. Lucinnius is still in a talking mood.18... Hector.. LUCINNIUS I must... Hector smiles ruefully..... in four or five years I was going to make you a free man.. Hector.. THALIA enters the room. before the others can get to him.. I can pay him back.
sits down beside her.NIGHT Late at night. LUCINNIUS Lower. He is careful not to disturb the sleeping forms lying all around him. He climbs this. We can tell that they are close. some of them sprawled on the floor. HECTOR He kept me working until morning.19. hearing Lucinnius as he closes the door. Hector does as he is told. 30 EXT. He takes the torch from Thalia and discreetly leaves the room. Hector makes his way up some stairs and along a passage. FIGURE I missed you last night. and lifts open the trap door above his head. 27 CONTINUED: LUCINNIUS Thalia. you can finish the lamps. Hector. 28 INT. Hector finds a small ladder propped against the wall. The only sound is a crack or two of far-away THUNDER. THALIA What's happening? (CONTINUED) Hector . At the end of the passage. HECTOR'S ROOM . ROOF . He rises from his bed and quietly moves out of the room. I think I need one of your massages. Privacy is a master's privilege. He shares his bedroom with at least eight other slaves. 29 INT.NIGHT In the darkened house. He moves towards it. HOUSE . Hector is still awake. It is Thalia. the outline of a figure resting against the low parapet wall. In one corner he sees what he is looking for. The figure speaks. Thalia.NIGHT 30 29 28 27 * Odd flashes of lightning far out to sea are the only source of light as Hector moves across the flat roof.
Thalia looks out towards the sea. the giving and taking of comfort where it can be found. Their stroking and touching and holding becomes good to watch.. You get people like that. wondering what they're saying about him. * 30 HECTOR If he goes down I'll ask for my freedom... THALIA Why does the thunder always stay out on the ocean? Hector puts an arm around Thalia.. we could be free. THALIA Then what? HECTOR What we talk about. HECTOR Nobody does. Far away some street DOGS BARK. At first it feels strange... If he's very clever he'll survive. They're working out what to do with Lucinnius.. They laugh.. he'll be lying awake down there. We get a feeling for what they have given one another..20. he owes it to me.. He's unfortunate. he said as much. in stolen hours and half hours. but the omens are bad.. HECTOR It's the Gods arguing... (CONTINUED) ... the only place where they can be themselves.. and he's not very clever. Clumsy and sad. but gradually we understand it. By now he is kissing her. you too. and the realness of their friendship.. their physical intimacy alongside their matterof-fact conversation.. THALIA She doesn't like him. 30 CONTINUED: HECTOR He has no money and a lot of enemies. up here on the roof.
. 31 . Hector comes to.. I'm tired. HECTOR Never. LUCINNIUS I can't sleep. 30 CONTINUED: (2) THALIA We talk about going home.NIGHT Hector is back in his bed. speaks. HECTOR We talk about it because it can never happen. I want to make another sacrifice.. He'll survive.. steps over the sleeping bodies on the floor and shakes him awake... Well. It's you and me now. 31 INT. your family is that way. He yawns as he * * * * * * * * 30 Hector is silent. Lucinnius stands over him. whispering. A figure enters the room.21. You're going to leave me here. still kissing her. Yours is that way and mine is that way. That's all. HECTOR Then I can see you every night. THALIA It's what you talk about. I think you'll leave. We'll do it ourselves.. you can't think like that.. THALIA We stay here.. Not after so many years. HECTOR'S ROOM . Get me a chicken. What we do is you and me. I don't know which way they are. HECTOR I just made that up.. Hector wearily takes himself out of bed and follows Lucinnius out of the room. THALIA I don't understand... anyway .
. the roof's free. 34 EXT. sitting in a corner. He isn't surprised to see them. good night .NIGHT Hector is in the henhouse. and he carries a large satchel of documents. They are only doing what he and Thalia do on the roof. It is early in the morning. The Man shakes his head with a smile.22. Hector keeps an eye on Lucinnius. seated on benches along the wall. HENHOUSE . MAN Can't you find a woman. in the dark.. It seems as if the whole world owes allegiance to this provincial Mr. gossiping and playing games of chance on the ground. some have an audience of a few minutes. Hector as usual is walking some paces behind his master.. carried by slaves. Lucinnius's hopes of quietly bending Cyprian's ear are dashed.. petitioners.. (CONTINUED) . selecting a chicken for sacrifice. 32 INT. like a mother watching her child from a distance on its first day at school. miss.. just fetching a chicken.. COURTYARD . STREET .MORNING 34 The slaves gather on one side of the courtyard. Their masters wait on the other side of the courtyard. 33 EXT.. Cyprian's aides usher the visitors into his presence in a regular flow. The Slaves have their meeting places scattered all over the house.. you can tell Lucinnius his future. the sleepy chicken going to meet her fate in his arms. Lucinnius and Hector even have to join a line at the door and are checked in by the gateman. HECTOR Sorry to trouble you. He is about to leave when he sees a MAN and WOMAN. but there is already activity around the house. The Man looks at the white hen Hector is holding.MORNING 33 32 * Hector and Lucinnius are approaching the home of Cyprian. HECTOR Come on. Hector. Cyprian's home is a street palace.. Hector leaves. visitors coming and going. messengers. Big. arms around each other. A few important callers arrive in litters. others last merely seconds. Hector smiles.
so that they can talk.DAY Lucinnius and Hector are walking home in their usual formation. He says it's like treason.. none of them got through.. and he says I should want to die for owing him half a million anyway. Hector is closer than normal. familiar to us from the bathhouse. a broad smile on his face. Hector is shocked. Lucinnius doesn't emerge within the first minute.23.. does look a little pathetic. sitting expectantly in line. The first signs seem good.. relieved that it's over at last. worried. STREETS . Lucinnius strides out of the courtyard with Hector following after him. Eventually Lucinnius emerges into the sunlight. LUCINNIUS Relieved anyway. Hector watches a game of handball while keeping an eye on the office door. go into the office. hands on knees. he looks a bit like a sacrificial offering himself. He has all my letters to Titinius.. So does Lucinnius' friend Julian. Cyprian is at least giving him the time of day.. Hector waits. We almost expect Hector to give him a little wave of encouragement as he is finally summoned into the inner office.. even ridiculous. HECTOR You look happier. alert. More minutes pass. 35 EXT. HECTOR Will he help you? LUCINNIUS I have to kill myself by tomorrow morning.. Hector relaxes and leaves the ball game to join him. 34 CONTINUED: 34 Lucinnius. Straight-backed. (CONTINUED) 35 . HECTOR What if you don't. One or two others. Hector plays a game of five-stone with some other slaves as he watches Lucinnius shuffling up the bench place by place to the front of the line.
.. I don't think I can help you..... Hector. Lucinnius is obviously in a state of shock. I feel kind of good about it.. Lucinnius is busy clearing up his papers. LUCINNIUS We'll help each other... and that wouldn't be pleasant. LUCINNIUS Tonight. 36 INT. We must. we've seen it through together. Hector.. When everyone has gone to bed. we must die together.DAY Hector and Lucinnius are in his study. he would drag me to Rome.... (CONTINUED) 36 35 ..24.... Lucinnius quickens his pace. The two of us. HOUSE .. eh? HECTOR I don't know what to say.. LUCINNIUS Let's get home. He is less hysterical than in the previous scene. We've been through this whole mess together. the struggle is over . We have a lot to do. peace at last. more aware of the reality of what he has to do. but it's strange. those letters.. LUCINNIUS We'll do it with a knife.. Hector.... LUCINNIUS I'm done for.. 35 CONTINUED: LUCINNIUS Then he will. to the end.. What do you want me to do. Lucinnius shivers to think of them. HECTOR I don't understand...
man-to-man.. That we were plotting against Cyprian and the provincial senate... Hector is stunned with shock... I mean it.... I had to..... it's more complicated. my dearest slave... I don't want you to die with me just because of my honor. Lucinnius changes his tone.. what is we? I've done nothing. 36 CONTINUED: HECTOR I don't know what you mean.. most of the people I know were in the room.. in his own mind.25.... I would be honored. becomes more. (CONTINUED) ... people I thought were my friends... if you would die with me.. frank.. Hector manages to speak. Hector. HECTOR So I'm a conspirator? LUCINNIUS Yes. * * * HECTOR What kind of story? LUCINNIUS A confession. you're my closest. LUCINNIUS Hector.... so I mentioned you.. we were short of names.. are we? HECTOR You say we... at Cyprian's this morning ... we're not going to submit to the humiliations that Cyprian can heap on us.. what would they say about me if you refused to die with me? This is honor. I don't know. we're choosing death. tell a bit of a story. I know nothing..... mess? What * 36 LUCINNIUS You don't understand do you? I'm asking you to die with me...... I'm sorry. So you see. I had to sign certain papers ....
intent on the ball..... it's not round like that. considering his scheduled death. it's round like this. HECTOR But even if it's round you can still fall off the edge. Hector becomes more interested. He picks it up. As we listen to their conversation it becomes clear that Hector finds comfort in the boy.. The kitchen slaves come and go as they talk. Today there is an air of distraction about Hector. 36 CONTINUED: (2) HECTOR Can I sit down? LUCINNIUS Of course.. He is talking to GALLUS.? Gallus ignores this tease. GALLUS No. who is Lucinnius's ten-year-old son. (CONTINUED) .26. for the family that he lost... Understandable... beside the kitchen. HECTOR Do you believe everything that Greek tells you. GALLUS Rome must be right in the middle. Gallus sees his playball.DAY 37 36 * Hector is in the inner courtyard of the house.. Hector has picked up a large metal plate to help him make his point. Hector has a close friendship with him. here. and we must be out here somewhere. 37 EXT. COURTYARD . HECTOR This is the worst it's been..
too. ask him something else.. GALLUS But then you'd be upside down. HECTOR I wasn't upside down. because my children are round there and I want to know that they're getting the sun. and how could you see the sun round there . I saw the sun at home.... they're out here. GALLUS It must be about here.. and all around. ALTAR . Gallus walks out the distance from Rome with his fingers.. In the lamplight.... 38 INT.. 37 CONTINUED: HECTOR So. where are the gods if the whole thing is round? GALLUS I think I know that. (CONTINUED) 38 * * * * 37 * * * * .. HECTOR Yes. He looks on Gallus with a new tenderness.. as if there is serious calculation. I'd like to know..... that's how they can look down and see everything. a live chicken stands on the altar...... His fingers stop on the other side of the ball... Gallus is stumped for answers. every day. tell me tomorrow..NIGHT Lucinnius is at it again.27. where is my home? GALLUS How many months did they march you here? HECTOR Seven.. Hector remembers that he and the boy's father are supposed to die that night. GALLUS I'll ask him tomorrow..
The chicken at once 38 HECTOR It's saying yes.NIGHT A dead chicken adorns Lucinnius's table. She attempts to break the silence. it's saying yes. Thalia is also there. I'm eating chicken again. He scatters some grain on the table.. HECTOR Maybe it's just hungry. DALMIA.. we should die. HECTOR But you asked it if we had to die. Hector and the other household slaves are in attendance.. there is.. DALMIA Solus! The kitchen slave quickly appears.. 38 CONTINUED: Hector and Lucinnius watch it as if their lives depended on it. begins to peck them up. it's saying yes. Dalmia knows something is up. LUCINNIUS If he eats the grain it means yes.. will I be eating chicken again tomorrow? Why am I always eating chicken? (CONTINUED) 39 . DINING ROOM . Perhaps they do.. Lucinnius is drinking more wine than usual. She calls on the cook from the kitchen.28. 39 INT. or if there was another way.. serving her mistress. LUCINNIUS No.... there's a way. it's saying yes.. DALMIA Solus. but she doesn't know what. as they are prone to be. He and his wife. The bird is certainly enjoying his food.. LUCINNIUS No.. and their son are lying on their couches picking at the food with their fingers. The chicken is inscrutable. we should die. I ate chicken yesterday and the day before.
.. A SLAVE interrupts them..... the chickens have just been turning up. but he knows that they would break his back at the whim of their master. Dalmia looks at them all looking at each other. Lucinnius sighs.. They greet Lucinnius deferentially. more intrigued than she was before. SOLUS It's what we have to hand in the kitchen. Thalia looks at Hector.. He looks again at Lucinnius and Hector. They might be coming with good news. (CONTINUED) * * . unsophisticated and look uncomfortable in their well-cut togas. gentlemen.. I always try to use the fresh stuff.. They are big men.. From Cyprian... RECEPTION ROOM . SLAVE Two men have come to see you. Thank Cyprian for his kind thought. perhaps a softening of Cyprian's heart... ma'am.. to make that business as. VISITOR Good evening. But I feel that I will be capable of taking care of my affairs tonight without your help. A couple of the godfather's foot soldiers. comfortable. Cyprian asked us if we could be of any assistance... LUCINNIUS Thank you. 39 CONTINUED: SOLUS looks up at Lucinnius and Hector. The heavies metaphorically keep their foot in the door. Lucinnius... They look at each other.29. 40 INT. as you could wish. in the business that you have to conduct tonight.NIGHT 40 39 The two VISITORS that await Lucinnius and Hector are an unpromising sight. but they offer him no help... as his last hope expires. Lucinnius and Hector look at each other and share a moment of hope.
.. Hector is left alone with the Visitors. VISITOR He's not much different.. Hector is closing the door when one of the Visitors talks roughly to him... Hector doesn't let on.. 40 VISITOR We'll call in the morning at any rate.. you have to twist a bit. not far from here. We leave Hector nodding obediently as this weirdest of coaching lessons continues.... but retreats into the house.. Use a thin blade..30. LUCINNIUS Good night.... feel for a space between the ribs. You. Get it in deep. LUCINNIUS Thank you.. the heart. to get over the stickiness. at any time. We're anxious that things should go well for you.. just to make sure.. If it is ticklish. VISITOR .. VISITOR Getting it out's not as easy as you might think.. Lucinnius doesn't protest. VISITOR He looks like the kind that'll want some help. Don't hesitate to send your man for us. but long.. He prods at Hector's body freely.. 40 CONTINUED: VISITOR We're spending the night at the house of Nepos. showing him what to do. any place he'll let you. Hector instinctively looks to his master. . VISITOR Come here. Thank you. or go in from the back.. Have you ever killed before? HECTOR Only chickens..
. by this proclamation.. Lucinnius looks up at him... but I want something. Hector looking over his shoulder. keenly watching what he writes. my father left me three farms and forty thousand.... LUCINNIUS Very well.. Hector.. He clears his throat and attempts to put a note of ceremony into his voice... LUCINNIUS What is it? HECTOR I want to die a free man.. I don't want to die a slave.. I've never done it before.. you want some wine? Don't HECTOR No. LUCINNIUS Nothing else to be done.. He is quite drunk..31. But you're free. who is counting out coins and other valuables on his table.. Hector stands beside Lucinnius. LUCINNIUS Eight hundred sesterces.. Lucinnius looks at him grimly and manages a smile.. 41 INT. (CONTINUED) * .. they know I died a free man.... an oil lamp and a candle cast their shadowy light. then reaches out for his paper and pen. cash . Lucinnius places the money in a box on his table. * HECTOR In writing. that's all that's left... I make you a freed man... Lucinnius looks at him for a moment. He scratches out a few words on the paper. grim-faced. Lucinnius finishes writing and lays down the pen. I don't know the exact words.NIGHT 41 Late at night in Lucinnius's study.. please. so that when they find me. LUCINNIUS Hector. what a failure. Hector however is cold sober.. resigned now to his fate.... STUDY .. adding to the tension in the room..
. WASH ROOM . I mean. defeated form. 42 INT. with the oil lamp. at first quietly. that Lucinnius's moans will wake the household.. LUCINNIUS Well.. you were right to ask. Hector. let's do it.. HECTOR Thank you.. afraid.. 41 CONTINUED: LUCINNIUS They'll find it in the morning.NIGHT Hector follows Will the * 41 42 The house is quiet and in darkness as they walk along the passage and down the stairs to the washing room... LUCINNIUS No point in messing up the room. half-drunk Lucinnius want to kill him first? HECTOR What do you want me to do? LUCINNIUS Nothing.. He fingers its blade. then you must help me. and then you.NIGHT Lucinnius has worked himself into a dramatic state of distress.32. It's a nice thought. (CONTINUED) 43 . Hector looks around and behind him... Lucinnius stands and leaves the room. if I don't succeed. or perhaps hoping... with drink and terror and self pity. Let's go downstairs.. Hector walks behind. freed man. 43 INT. * A trickle of fear passes across Hector's face. you understand that. casting the light on Lucinnius's crumpled.. I have to do it first.. PASSAGE .. then more loudly and more pathetically. not to me. Lucinnius begins to sob. HECTOR I understand.. Lucinnius picks up a large kitchen knife which lies on the table.
. I'll need the knife.. like coaxing a frightened animal.... LUCINNIUS You do it now. He raises his head. like in a waiting room. LUCINNIUS Thank you. They both look down at the blade. Hector sits down beside him. The movement has increased the spread of blood over Lucinnius' clothing. thank you.. do it.. Hector speaks gently. Lucinnius crumples to the floor and squats on his knees. LUCINNIUS Oh. lie down.. you promised. Then Lucinnius speaks.. It looks as if Hector is playing for time... you did it. They sit absurdly like this for a long moment. LUCINNIUS This is hopeless. you've done it . (CONTINUED) 43 * . It's awkward. Hector..... still in Lucinnius' body. hurry. HECTOR You've done it.. neither of them knowing what do do next.... Hector sees all of this from behind as he enters the room..33...... that stings! Lucinnius sits back on the step of the washing pool.. He calls out in pain. Hector. LUCINNIUS Do it Hector. 43 CONTINUED: He runs into the tiled washing room.. wails loudly and makes a stabbing motion at his stomach... HECTOR Lie still. holding his stomach. HECTOR Shush.. HECTOR Close your eyes. He helps Lucinnius lie out on the marble floor. LUCINNIUS Help me. lie still. that hurts.
. But quickly he gathers his wits.. do it. Then just as he is leaving. do it.. STUDY . willing the last dregs of life from him. then reaches down for the knife in Lucinnius' stomach. Lucinnius lies still. (CONTINUED) .. He makes his decision... Then he pulls on Lucinnius's cloak and rushes out of the room. His voice is even more faint. he again stops. 45 EXT... He puts most of them into a leather money bag and ties it to his waist.. do it.34. Near the gate he stops and looks back at the house. do it. Hector gently shakes her shoulder. Hector.NIGHT 44 43 Hector runs into the study and makes for the box containing the coins... 44 INT. The whispers fade to a croak. sits down on the chair. pulls off his worn shoes and places on his feet a pair of Lucinnius's stout street sandals.NIGHT 46 45 Thalia is sleeping in a large pallet bed on the floor with two other women.. Hector has the knife in his hand. It's as if the life flows out of him as the knife is released from the wound. COURTYARD . Hector waits. He stands up. but still he waits. THALIA'S ROOM . He returns quickly to pick up his certificate of freedom from the table.. We see on his face the effort as he pulls at it. Hector has run out of the room before it has come to rest against the wall.NIGHT Hector is walking quickly from the kitchen across the courtyard to the street gate. LUCINNIUS Do it. LUCINNIUS Do it. He throws the knife down. 43 CONTINUED: (2) LUCINNIUS Take it. After a moment or two Thalia opens her eyes. do it. suddenly repulsed by what has happened. looking at Lucinnius.. Lucinnius' voice is fading now. and do we detect a subtle twisting of the blade to speed Lucinnius on his way? Lucinnius sighs and twitches a little. It clatters along the hard shiny floor... Hector has won this final battle of wills. 46 INT. trying not to wake the others. He makes a decision and retraces his steps across the courtyard and back into the house.
. supervised by two men on the quay. Hector encounters a night WATCHMAN. straight to Rome. 48 EXT. HARBOR ...... QUAY . I'm free. voices shout. come now if you want to. With an authoritative nod.. Hector strides off in the direction of the noise and lights.. Hector talks when the Watchman is out of earshot. Final supplies are being carried aboard. HECTOR You can go to anywhere from Rome... HECTOR We want a timber ship. where are the east-bound ships? WATCHMAN Ask at the harbor. By the light of oil lamps cargos are manhandled aboard.NIGHT The shadowy cloaked figures making their way down to the harbor are Hector and Thalia. And then? THALIA Then you go home? * * 47 * * 46 Hector hurries on.NIGHT Hector and Thalia approach a ship heavily laden with timber. HECTOR I have some mail for Tyre. Nearer the harbor we sense the nighttime work of loading and preparing ships for the morning tide.. Will you come? 47 EXT. 46 CONTINUED: Hector whispers to her before she has time to open her mouth. Hector approaches them. I'm a free man. noncommittal in his reply... WINCHES CREAK.. but diverts his suspicion by boldly addressing him. HECTOR I'm leaving. HECTOR Where is the Captain? (CONTINUED) 48 . but we must hurry.35. they go west... Thalia at his heels.
. yes.. 48 CONTINUED: CREWMAN He's on the ship.. the WIND in the CANVAS. you can walk or ride from there. CAPTAIN And who might you be? HECTOR I'm the steward of Lucinnius the merchant. . Hector and Thalia climb up the gangplank and approach him.. let's see. SHIP . huddled together in a corner of the ship that they have claimed as their quarters. for both of us..DAY 49 * 48 Hector and Thalia are asleep.36. Captain. CREWMAN Captain says to come on deck..... passage for two. I need an immediate passage. He stirs himself to the sounds of a SHIP UNDERWAY. HECTOR Good morning. A CREWMAN comes and shakes Hector awake. six days.. to Brundisium. you have money? HECTOR Of course. what were you thinking of offering? HECTOR When do you leave? CAPTAIN Anxious to leave. freshest of days at sea. 49 INT.. I'm looking for passage to Rome. the MOANS of the TIMBERS. CAPTAIN It's five or six days...... * CAPTAIN Well.... He indicates a man standing on the rear deck.. the sounds of the SEAWASH. food for two.... are you? HECTOR Keen to start. we have business in Rome. Hector wakes Thalia and they clamber out of the darkness of the hold onto the brightest..
their fine progress under full sail. 50 EXT. THALIA Have you been on a ship before? HECTOR Yes.. are in new territory. she gets even more excited. We can tell from Thalia's reactions that she has never been out at sea before. The ship is moving swiftly in a strong.DAY 50 There is no sign of land behind them. THALIA Me. She points down into the lower depths of the hold. of course. but they kept us down there. CAPTAIN Your master's ships.37. beckons them. THALIA Where's the land gone? * * Hector.. THALIA Tonight.. Her excitement is childlike. The freshness of the day and on an overwhelming feeling of freedom. The Captain on the other side of the ship. We can tell he is lying. too. is taken by the novelty of it all but is less prepared to admit it. Everything is novel to her and it shows. at least never above deck. SHIP . They are like children in a brand-new world. CAPTAIN Thought you would like to see them. too. going home. ships heading for the port they have left. we'll be where the thunder is! They look at each other and then all around them. Their senses and their feelings. clean breeze and a light sea. He points to three shapes in the mid-distance. * (CONTINUED) * * Then .. exhilarate them.. He waves his hands around the empty horizon noncommittally.. There is a thrill in their glamor. even the movement of the ship.
their looks and smiles tell us that.. The Captain smiles at them and looks back to the ships.. an echo of a previous time and place. Hector and Thalia look at each other. didn't think anybody'd fall for that. absorbed in thought.. coursing healthily on their way. my brother-in-law's the master of the big one with the brown sail...... CAPTAIN Somebody been putting the wind up Lucinnius? That's an old one.DAY A man is driving a heavy two-horse wagon. just so. Between the breath of sea breeze that lifted the hat of the Roman sailor and the gust of mountain wind that snatches the hat of the wagoner. He spends some time replacing it carefully. some distance from one another. WAGON . He grabs it from the air and spends time arranging it once more on his head.. 51 EXT.DAY Later. The wind has just lifted his hat from his head. They are quieter now. As if they are talking without words. they can't be. The wind catches the sailor's hat. CAPTAIN No they're not. Hector is drawn by her smile and moves to join her. Hector catches her eye. more thoughtful.. the ship is still making brisk progress.. 50 CONTINUED: HECTOR No. I know these ships. 1400 years ago. The drama of the lives of Thalia and Hector has played itself out long ago.. They sit quietly. thoughts of each other. Watching him from the back of the wagon is Hector. A sailor on the forward deck is sorting out some rope. There are tantalizing similarities between their situation and the one we left Thalia and Hector in on the boat a few moments ago. SHIP .. just so... Hector sits in the wagon beside a woman. lies 1400 years. they're lost.. A tiny human moment. Thalia and Hector are sitting on deck. 52 EXT.38. Hector looks around him. (CONTINUED) 52 51 50 * * * * * * .
He is a difficult fellow to pin down. gaunt and hungry-looking. The Girl is tearful. Don't you? The child sobs more noisily.. A man... his face unseen. NUN She's already received the last rites. still sharing his thoughts silently with the woman.. A younger man. already a child of God's. all the wonders of his creation revealed to us... What a sacrifice. BEATRICE.. Hector looks at him amusedly. giving you to the sisters...... destined for paradise. The Nun interrupts the Priest cheerfully..... even for our humbler sisters. is snoring underneath his hat. perched on its half load of timber. Talking without words.. With them is a NUN accompanying a GIRL of about eight. 52 CONTINUED: The woman and Hector exchange glances now and then. The Girl is sobbing through all of this. struggle against it. PRIEST We want to praise God because we live in this ultimate age.. nothing more for man to see or do. is dressed in the rough travelling clothes of a monk or PRIEST. His incessant talk tells us. There is an Irish lilt to his voice which colors what he is saying with a tinge of mischief. all is known. They are not alone in the wagon. you are a glorious example to us all.. Even without his habit we would know he was a holy man. when all things are done.. child. (MORE) 52 * * * * * I (CONTINUED) . PRIEST Yes weep. blessed to spend your earthly days within his church as Christ's servant. Untouched by the abiding curse of carnal lust. before she left her family. what generous parents you have. weep for joy. delicate signals of mutual awareness... She belongs to God now.39.. all that is left is the hope of salvation. PRIEST Fortunate child..
brother.. too.. then jumps down from the wagon and. 52 CONTINUED: (2) PRIEST (CONT'D) I will not join myself carnally with any woman. and within nine hours the Lord had to expel the both of them! Just think.. He looks accusingly at Beatrice.. think how much the sooner would come the day of judgement.... PRIEST . they messed it up in nine hours! * 52 * * * * * * .. as should every man.... If all men forsook forever the fleshy temptations.... The DRIVER of the wagon turns his head briefly to the Priest. if we cease carnal union entirely then in fifty or so years we'll all be rid of our earthly lives and God can proceed with His reign over His heavenly kingdom. PRIEST . She shakes her head with a smile.... I've written a small treatise in favor of virginity.. DRIVER What are you talking about? Hector gestures to Beatrice that he is leaving the wagon to walk for a while and asks her to join him. I will carry my unspilt seed from this world to the next. Now Hector is getting the hard looks from the Priest... The ramblings of the Priest fade away.. that same paradise that God gave to man before. PRIEST It's simple. allows it to gain ground in front of him. but which man was so unfit to inhabit that within seven hours Eve was already tempting her master and mate. sister.40.. and held womankind to barrenness. We could discuss it later if you like.. walking slowly. all God's chosen gathered in paradise. Hector smiles..
There are no more than 30 knights in full armor. Then a SOUND in the distance makes him open them again. MORE SOUNDS drift up to him from the floor of the valley. Hector looks at Beatrice. 54 EXT. we'll be there. He smiles at Beatrice.. Hector is where he belongs. Hector calls to the Driver. She smiles at him. Even from such a distance Hector can see and hear that the fighting is ferocious. almost insane in its intensity. Then he sees where the noise is coming from. Hector lays himself down at the side of the road. They are travelling high in the mountains.. She doesn't move away. and allows his foot to touch hers. He walks back along the rim of the road. 53 EXT. With a last look behind him he runs off in the direction of the wagon. But this is not the case. The scene places Hector in his time and for us there is a strange feeling to it. Hector dawdles on his way. A mounted skirmish is in progress. HECTOR How long to get there? DRIVER When it gets dark. His eyes begin to close. with twice as many foot soldiers and squires.41.. MOUNTAIN TRACK . almost as if Hector has awoken from sleep and found himself transported to some distant age. At first he can see nothing. walking. (CONTINUED) 54 * * * * * .DAY Hector catches up with the moving wagon and jumps onto it.DAY 53 * Hector smiles as the Priest's VOICE FADES into the distance. It is a cold fresh day of early summer. He sits opposite her in the wagon. Like any wise citizen of a violent age. just where a wooden bridge crosses the small river. HECTOR A bit cold. happily back in the security of his fellow travellers. Hector knows when to leg it. eating a hard biscuit he takes from his pocket. He stands up and crosses the track. From this distance it is like a puppet show. in Medieval Europe. WAGON . at the very bottom of the valley. Hector makes his decision. The last sound he hears from the wagon is the renewed WAILING OF the GIRL.. He listens. except the violence is real.
back there. however makes a performance out of his more modest needs. They repeat their incomprehensible statements. (CONTINUED) .. The Priest. Hector doesn't know how to respond... I haven't understood anything you've said all day. BEATRICE I don't know what you're saying.. She turns to him and speaks quietly but with determination. He calls loudly to the wife working at the open fire.. He can do nothing to help her. They both smile.NIGHT It is almost dark when the wagon finally turns into the yard of the farm where they will spend the night... BEATRICE I don't know what you're saying. HECTOR I don't understand. 55 EXT.. FARMHOUSE . HECTOR I don't know what you're saying. bread and wine. is more interested in Beatrice.42. Beside Hector the Girl has stopped sobbing but she is still troubled. just for the fun of it. a stew. 54 CONTINUED: HECTOR I thought I heard fighting. Hector talks back to her. It doesn't seem to disturb them too much that they don't share a language.. and anyway. 56 INT. FARMYARD .NIGHT 56 55 * * * 54 The Farmer and his Wife have laid out a table with simple food.. but in a language that Hector doesn't understand. The travellers settle down to eat. Beatrice replies. GIRL I want to go home to my mother.
They recognize one another and relax. muttering his grace quietly to himself. becomes aware of this. sleeping lightly. 57 INT. Hector rouses himself and follows the other. She brings him a jug of water and he makes much of giving thanks to God for his simple meal. Mistress. from head to toe. The figure pauses and crouches over Beatrice. PRIEST No. long sigh. I deserve to suffer.NIGHT 57 56 In the dark.. Hector creeps closer and sees that it is the Priest. Do you think I dare heat that up on the fire? He indicates the large pot containing the remains of the stew.. The figure stands up and moves quietly to the door. Hector can hear the distinct sounds of the figure sniffing her. He speaks normally. He pours some wine into the cup and slides it across the table to Hector. He already has a chicken leg between his teeth as he hunts for a cup for the jar of wine tucked under his arm.NIGHT Hector creeps cautiously into the dark kitchen. cheekily.43. The figure has gone to the pantry and can be heard RUMMAGING there. 58 INT. disappearing downstairs. One of the forms stirs and sits up on one elbow.. The Priest doesn't re-enter his holy act. FARMHOUSE . FARMHOUSE .. in another corner of the room. sleeping bodies lie all over the floor of an upstairs room. I'm starving. I'll eat it cold. I have no need of wine or meat. PRIEST God. He emerges from the pantry. excluding all others from his conversation with the Almighty. 56 CONTINUED: PRIEST Just bread and water for me. Hector. He sees Hector standing by the table. (CONTINUED) 58 * . and then a deep. Gentle snores and regular breathing lay a blanket of soft sound over the human forms. He watches as the figure stands up and picks its way between the bodies to the door.
He talks straight. HECTOR They all look the PRIEST It might help us get through. you must keep out of the way of temptation.44. for now. is she not.... what were they... The Priest changes his tone of voice. Hector is smiling.. same to me. (CONTINUED) .... PRIEST But. hungry eyes.. 58 CONTINUED: 58 Then he digs his hands into the cold stew and eats chunks of meat as they talk. we'll still travel separately though. remember.... back up the road. PRIEST Have some wine. although she is beautiful.. HECTOR How do you know she's a widow? PRIEST Look at her eyes. the mad knights are at it again... she smells like paradise. if there's a bit of confusion. but we're going home. though. Hector takes a drink. PRIEST So. I saw the way you were eyeing up that widow.. He changes his tone yet again. now stay away from that.. Swiss or English? I don't know... mocking his own holy act... HECTOR I saw some fighting today. Hector.. she could lead you into trouble..
remember... The Priest is worried. (CONTINUED) The Priest is * .. let's get this clear.. PRIEST Who saved your neck in Venice? HECTOR You did. you couldn't handle her.. Hector. why don't you get off up the road tomorrow. Hector still remains silent. Get me some bread. happier now that he is in control again. she'd bewitch you.. and I'll catch you up. Ronald. He raises his cup to Hector..45. don't worry. you weren't even thinking of her 'til I opened my mouth.. in five or so days. another month and we'll be at the channel. those we have committed and those we as yet only dream of.. 58 PRIEST Why do I always talk so much. Hector obeys the Priest without thought.... but I trust you. the little ones you only talk about when you're drunk. PRIEST And don't you forget it.. 58 CONTINUED: (2) PRIEST Listen.. PRIEST May the Lord forgive us our sins.. She's a glory of a woman... or me. are you.. then home.... Hector approaches the Priest with the bread. you're not a sinning kind of fellow... I know you wouldn't do anything to anger your God. The Priest has stirred thoughts that he had intended to dampen entirely.. but smiles. don't forget them. Hector doesn't answer. if anyone's going to dally with that widow it'll be me. at any rate... PRIEST You're not a sinning fellow.
there is the feeling that he needs Hector as much as he claims Hector needs him. 60 INT. well-dressed knights and squires. 59 EXT. catching Beatrice's eye. He turns to the forlorn Girl. Some are tired. have collected in the courtyard. PRIEST The fighting's behind us. FARMYARD . 58 CONTINUED: (3) 58 For all his wit and endless talk we can sense a trace of vulnerabililty in Ronald. For all his bluster. they only take the rich ones.DAY Overnight. you'll be safe enough. herding in front of them a small group of prisoners. Our Travellers watch from the farm window. rich men. A few mounted knights come into the yard.. PEDLAR Have you ever seen so many fine. my girl? Hector talks to the company.. too. brother . and talk as they eat their breakfast of bread and milk.. HECTOR I'll stay.. but means his words for the Priest. others are wounded. The Priest looks him straight in the eye. (CONTINUED) 60 59 * * . HECTOR I won't be travelling today. Hector shakes his head.DAY The travellers look out on the exciting scene.46. they've got. The Nun puts an arm around the Girl.. dispirited. fresh from battle. PRIEST You should go. the remnants of a company of soldiers. PEDLAR Hostages. FARMHOUSE ..
. (CONTINUED) * ... OFFICER Is there a blacksmith here? Where's the smith? FARM WOMAN In the village. The MOANS are MUFFLED because the knight's helmet has been battered out of shape in the battle and can't be removed. Suddenly the door is thrown open and four SOLDIERS manhandle an inert body. Priest. Start praying. The ugly dent suggests an equally ugly wound inflicted on the head inside. The Officer turns to the Soldiers. Blood oozes from the joints of the helmet. he's not ready for heaven yet. A young SQUIRE follows them in and kneels by the knight in the suit. SOLDIER #2 If he's got a little head it might be alright.47. dressed in full armor.. half a day away. there's fifteen livres in it for you if he lives. The Soldiers gingerly try to remove the helmet.. Has your dada got a big head? An OFFICER comes into the room.. He picks on the Priest. then at the astonished group of Travellers. The Priest obediently goes up to the knight and starts to pray earnestly.. there's a hundred thousand livres on his head if I get him to Paris alive. dada? Is it your Hector looks * * 60 * The Squire looks at him and nods his head. come here. OFFICER You. 60 CONTINUED: NUN We're going. sir. into the room. The MOANING suit of armor seems inhuman. Their efforts are useless.. with sympathy at the boy. The Officer looks at the moaning suit of armor.. God will protect his ewe lambs. They scatter the food from the table and lay out the MOANING suit of armor on it... get to work on him.. robot-like. SOLDIER Must be sore in there.
FARM . like lost souls. They have the problem of not sharing a language. thrusting their pikes in unison. Their movements are a strange cross between parade ground drill and battle training. hypnotic movements. the oldest are red-faced.. a little. A deadly dance. To the BEAT of DRUMS they perform rhythmic. It is mesmerizing to watch.. and one of you get back down into the valley and fetch an armorer. Prisoners huddle in cowed groups. repeating the same pattern over and over again.48. Hector and Beatrice have found a quiet corner where they can sit and talk. but. The Soldiers scatter to carry out their orders. overweight knights in expensive armor. all the more so in relation to the coy seduction scene that Hector and Beatrice are acting out. Everyone looks for food. The youngest are squires of twelve or thirteen.. run here and there trying to regroup with their comrades. The suit of armor twitches and MOANS. reserves who have not yet joined the battle.. 60 CONTINUED: (2) OFFICER Get that helmet off. HECTOR I think you know what I'm saying ... Ronald the Priest mutters every prayer he can remember. The Priest looks on helplessly as they slide past the table and head for the door. Everywhere is the chaos of war. inhuman machine. (CONTINUED) * . they soon employ this as another titillating element in their love-play. resourceful as lovers are. Individual soldiers. anything you can find. Hector takes time to watch the Squire still kneeling beside his father. Behind them is a group of soldiers. They are much fresher than the rest and are drilling as a disciplined unit..DAY 61 60 * * * More soldiers have continued to make their way to the shelter of the farm. Hector looks at Beatrice and motions for her to follow him outside.. get hammers. Wounded men lie awaiting the attentions of either the medicos or the priest. They become like one evil. quietly stroking the helmet. 61 EXT.
... I had to run away. into nothing. fell right over the edge. * BEATRICE Tell me something else.. pleased with himself. Hector smiles. I had a friend who sailed on that.. HECTOR I'm far from home. I don't.... too.. home.49.. then across the sea.. am I? Well... HECTOR Have you ever seen the sea? Water everywhere. HECTOR How come you don't speak like anyone else? Are you far from home? Home? Where you sleep and live? BEATRICE I think I know what you mean.. Beatrice laughs. That's where I'm going.. Some people locked me up. I've been away for too long. went too far.. I don't understand a word... BEATRICE You're losing me again.. they fell off the world. remember you said home? HECTOR I'm not making sense. then there's the big....... way over there.. They never came back.. right to the end of the world. big water.. 61 CONTINUED: BEATRICE No... you shouldn't laugh. let's go back to homes. way. it's a sad story. BEATRICE Talk about home again...... * * * * * * 61 HECTOR You think that's funny? It's true. (CONTINUED) * * .. I come from the other side of the little water.
home. BEATRICE That's it. Beatrice has her way. says it in her language... Hector smiles... Then it changes.... home. a flea... try it. 61 CONTINUED: (2) HECTOR We have to learn to talk the same....50.. very delicately. home. turning the tables on Hector. Beatrice smiles.... Triumphantly she shows him the flea she has caught... In this tiny victory the dynamic of their relationship is set... BEATRICE Come on. home. BEATRICE Tick.. home. say it.. say something else.... it's a tick. There first touch.. like a caress. I want you to say mine... Beatrice completes her movement with a sharp grab at Hector's hair.. say it.. and pinches her fingers on something. home.. HECTOR I don't want your word for home. thanks.. (CONTINUED) * * He 61 .. Beatrice looks at him directly now... home.. home...... try it like me. HECTOR Home.. BEATRICE I know what you're saying... you're saying home..... suddenly shy. you can do it. BEATRICE You want the word for home? It's home. Beatrice breaks this moment by reaching out to Hector's neck. home. HECTOR Flea. home.. clever boy! They fall silent.. their intimacy well under way. HECTOR Home.
The knight is deathly still. He understands her well now.. in a motherly but then again sexually provocative way.. They understand each other perfectly now. The Officer re-enters the room from outside. come on. The Officer leaves. The boy Squire still sits by his father's head. FARM .. There are a few souls out here you can help on their way to heaven. 62 INT. OFFICER Leave him for a while.. 61 CONTINUED: (3) BEATRICE Bet there's more in there. There is no sense of it containing life... around for a more private spot. at peace. I'd like to give you a good grooming.DAY They look * 61 62 Ronald the Priest still kneels by the inert knight in armor. . HECTOR Why don't we go somewhere and have a good session. Ten sous a soul to you....51. Ronald quickly follows him outside. She ruffles his hair. are there? When they have gone the Squire gives his father a nudge.. no sight or sound of breathing or moaning. OFFICER How is he? PRIEST Sleeping now. The suit of armor seems to grow even more rigid as we look at it. for the moment.. nobody's been looking after you. Ronald mumbles quietly to himself in prayer.. just the impression of lifeless bulk. but there is no response from the knight. You need a good going over. How many * * * * * * * RONALD Twenty sous is normal. I could do you.
. She gives his scalp a final delicious rub.. it does feel good.. I think you'll have to do under my arms. HECTOR I don't know your name. BEATRICE Hector.. yes. HECTOR Yes. Hector still kneading her scalp.. I'm a little itchy there.. BEATRICE That's four. Hector laps it up. FARM ..52. She arches her back under the first touch of his fingers. near the trees and by a low wall. (CONTINUED) * * * * * * . BEATRICE You can do me now.. yours are so small. Beatrice moans softly. To Hector even her fleas are a delight. and perhaps the best. Some bushes hide them from full view of the farm yard. HECTOR Beatrice. happily. form of foreplay.... giving his head a thorough going over.. Beatrice replies with a hint of breathlessness. Hector begins to probe her hair and scalp. still with the outward purpose of looking for fleas.DAY 63 Hector and Beatrice have found some privacy.. I'm Beatrice. and fair... BEATRICE Yes. 63 EXT.. Mutual grooming is the original. HECTOR Got one. inspired to caress ever more tenderly her scalp and neck.. He seems to want to keep it as a pet.. and then stops... I'm Hector. a tiny little one. There is no hope for this man. who are you? I'm Hector... Beatrice loosens her clothing to bare her neck and shoulders. Hector. Hector certainly likes it. Hector is sitting crosslegged and Beatrice kneels behind him.
BEATRICE Maybe we should find the river. snatched kisses amongst the grooming. There is a little of the rogue about him now. PRIEST The Saxon. I think Beatrice is a good name. but soon the kisses become longer and the grooming less. In between parting the hairs on her scalp Hector is kissing her on the neck now. I know. They have acquired a mule.. PRIEST Good luck to you. They mount up. NUN They're not killing nuns. Whether he is a bogus priest or not. PRIEST How long for you on the road? NUN Three or four days. Ronald is taking his duties seriously. and plod off through the farmyard. He talks to the Nun as they move off.. the Girl behind the Nun. yet. They stop briefly beside the Priest to say their farewells.. BEATRICE I'm still itchy lots of places.53. won't he go with you? (CONTINUED) 64 63 * . and have a proper wash.DAY The Priest is with some seriously wounded soldiers. Beatrice is sighing contentedly now. PRIEST Goodbye. At first it is small. Hector. the Lord will bless you.. FARMYARD . 63 CONTINUED: HECTOR Yes. He sees the Nun and the little Girl preparing to leave. laid out in a corner of the farmyard. in his house. little girl. 64 EXT.
A smile flickers across her face before she turns away forever. Ronald is mumbling his prayers. say it again. Ronald stays with the boy as he struggles against his own annihilation. PRIEST Peter.54. 65 EXT. and that same smile will return to her lips. 66 65 64 * .. but in his youth is fighting it. 64 CONTINUED: NUN He's nowhere to be seen. He is close to death. It's probably the first and last that the Girl will see.. engaged in fervent lovemaking.DAY The Priest is kneeling beside a young wounded Soldier. A few Soldiers are burying some of their dead nearby. don't forget . He is frightened. tell everybody that was my name. Peter. 66 EXT. SOLDIER My name is Peter.... Peter.. Ronald behaves well with the dying boy. tell them Peter died here ...... The Priest watches them go.. The Nun watches this and doesn't see what the Girl sees on the other side..... don't forget it...DAY The Nun's mule turns out of the farmyard and heads off along the track.. and then returns to his duties with the wounded.. all pretence at grooming now gone. PRIEST Lie still. FARMYARD . Peter.. my name is Peter.. Peter.. SOLDIER That's it. Peter.. Ahead of her there might be many a bleak night in her convent when she will remember the image... the mingled bodies of Hector and Beatrice.. TRACK . and clings to the presence of Ronald.. tell everybody . write it.
Hector's head emerges from the covering beside Beatrice. She moans softly in her pretence of sleep. but on the way he pauses by Beatrice. He steps over her and settles into his own space by the window. 69 INT. In the room it is still semi-dark. He has completed the hardest day's work that he has undertaken as a priest. He wants to sleep. FARMHOUSE . What the Priest doesn't see is the extra pair of hands massaging her neck and head. stretching herself and fixing her hair. FARMHOUSE . Across the room. If he is not. if he really is a priest. the murmuring VOICES of Soldiers in the yard. She snores lightly. . Hector is not with her. a long. He yawns. 67 INT. The others have already left.ANOTHER ANGLE . but he doesn't know why. Then. Hector and Beatrice look at each other. The Priest bends over and takes a long sniff at her. The Priest looks at them in turn. but Beatrice is there. Some officers have moved in and the place is more crowded than before. in another part of the room. He suddenly misses the presence of Hector. contented yawn. He sniffs again. pulling his cloak over his head. 68 INT. sits up and smiles too.55. suspicious. then he sighs out his admiration. The mingled smells that his sensitive nose detects perplex him. in the general direction of Beatrice. then the pretence has been just as exhausting. She smiles at the Priest. The Priest is troubled. but he settles down. Their cheeky act of innocence mocks him. The Priest sits up. FARMHOUSE .NIGHT In the room sleeping forms lie here and there in the darkness. Outside he can hear the first sounds of the day. He looks again at Beatrice. still and sleeping. Hector emerges from what looks like a pile of clothing. the CLATTER OF MILK PAILS. HECTOR Good morning. They make love quietly in the dark. The Priest makes his way to his corner. also enjoying the thrill of confounding the Priest.DAY 69 68 67 * The Priest wakes up.NIGHT The Priest makes his way upstairs in the darkness.
We can be home in a month.. HECTOR You're a busy man. They want me to go with them. The Priest sees him from the farmyard and comes to join him. Hector is in a cheerful mood. He drinks a handful of water for breakfast. reproachful. HECTOR You're a strange fellow. She might be a witch. Father. pleased with himself and his success with Beatrice.. I told you. SOLDIER We're moving soon. HECTOR Witch my arse. Both of them are unhappy now. as you told me to. HECTOR Nothing at all. spoiling their friendship. A Soldier shouts down to them from the farm. I'll wait for you at the channel. * * PRIEST She'll do you harm. like you said. (CONTINUED) . I still have the money from Venice.DAY 70 Hector is washing himself by the stream that flows close by the yard.56. 70 EXT. Stop giving me orders. The Priest is sullen. Are you a priest? Are you jealous? The Priest is silent. confusing one another. They are saved from hurting each other more. we'll meet up. Wait for me. PRIEST There's nothing wrong with helping someone to die in peace. what with all these souls departing. FARMYARD . PRIEST Are you staying here? HECTOR Moving on.
They turn out of the farmyard and walk down the main track. PRIEST So. and more battered bodies requiring comfort. He is ridden off in the opposite direction with the rest of the troop.57. They shelter in the fold of a hillside. Hector catches a last glimpse of the Priest being helped onto the back of a horse. HECTOR I don't understand you. HILLSIDE . and the thrill of knowing it will go further. with a wide stream running some way below.DAY 72 * Hector and Beatrice have stopped to eat. The Priest walks back up to the farm. then walks on. behind a Soldier. The Priest looks back at him briefly. Other battles lie ahead to be blessed. They chatter freely. Hector calls out what might be an attempt at an apology or simply another taunt. Hector and Beatrice are enjoying the first pulsequickening flush of their intimacy. 72 EXT. (CONTINUED) . Hector feeds Beatrice a piece of cheese from his knife. TRACK . despite not sharing a language. Will you keep me warm? The damp greyness of the early morning has lifted and the sun is shining as they step out onto the higher hills. BEATRICE We'll have to sleep in the hills tonight.DAY 71 * * 70 Hector and Beatrice have packed their few belongings into a shoulder bag. HECTOR I'm glad we're going the same way. you're leaving? HECTOR You have work to do here. 71 EXT. 70 CONTINUED: The Priest turns to Hector for what might be the last time.
suddenly anxious. HECTOR Why do you smell so wonderful? He lifts his head to let her see him sniffing. lying down with her on the grass.. * She sits up and straightens her clothing. She smiles and turns her head to the sky. Hector sees him too.. He lifts her skirts and caresses and kisses her naked legs and thighs. not even attempting to hide. Hector seems to know what she is saying.. I put it here. There is an uneasy silence while Hector works it out. He must've seen us. by the rocks. do you? I make it from the flowers. BEATRICE Oh. you like my smell. Only her persistent giggling makes him stop and look up. BEATRICE Cheeky devil. and there. Down by the stream a head peering over the top of a rock.. Hector kisses her more...58. (CONTINUED) * * * 72 * . Then he speaks. BEATRICE Don't look at him anymore. Let's go. Then she starts to giggle. BEATRICE I don't believe it.. But Hector still looks at the figure in the distance. Hector doesn't understand. someone's watching us. He throws down his knife and cheese. arms spread wide on the grass... he's down by the water. Hector talks through his kisses. and keeps on with his kissing. 72 CONTINUED: BEATRICE Hurry up and finish your wine and then we can make love. and there. down the other side of the hill. don't look. He kisses her breasts and her body eagerly. She stretches herself out happily.. HECTOR He's not moving. the dirty devil. though.
only a few horses. When they are closer to it. or just one.DAY It is the body of a young squire.59. HECTOR That's good of you. Hector stands up. Hector and Beatrice are open to this sadness. They move cautiously. but in their age sentiment was of a tougher strain. There is no sign of a wound.. guiding him through the chaos.. She is already gathering stones. Such a squire would follow his knight into battle. we're going that way at any rate. There is a sadness about this young death in such a lonely place.ANOTHER ANGLE . Look at his shoes. But this boy seems to have died a less public. 73 EXT. handsomely dressed in the livery of his master. so the crows don't get him. BEATRICE Poor boy. they walk straight for the dead body. still 72 HECTOR Come on. eyes open. looking at the figure. BEATRICE We'll cover his eyes at least.. though. Beatrice is doing. Isn't he fine-looking. more furtive death. an expression something like a smile on his face. 72 CONTINUED: (2) HECTOR It's a dead man.. HILLSIDE . Beatrice brings her armful of stones and starts to build a mound around the squire's head. He wasn't killed in a fight. As he lays him down Hector sees a small. dry wound on the boy's side.. (CONTINUED) Hector sees what * 73 * * * . HECTOR No sign of a battle. and can see it for what is is. He lies leaning against a rock.. Beatrice doesn't understand. Look at these shoes. Hector looks around at the ground.
I have more walking to do. It won't keep the wolves away though. Beatrice is still taken by the boy's shoes. his body lying exposed. as if absurdly hiding its eyes from the antics of Hector and Beatrice. making love by the stream. haven't you. HECTOR It's all we can do. They appear to get the gist of one another's love talk.. you know.60. he has discovered..DAY 74 73 Later. you're bewitching me. (CONTINUED) * . she keeps in a small bottle kept in a pouch on a chain around her neck. 73 CONTINUED: Hector helps her by gathering stones from the stream. BEATRICE It's not stealing if I give him mine. but perhaps it only looks strange to our modern eyes. is it? Hector watches as Beatrice exchanges her old shoes for the squire's. Beatrice hasn't removed her new shoes. Hector and Beatrice are enjoying each other immensely. Hector and Beatrice seem unaware of the strangeness of their situation. I'll give you mine. The old shoes Beatrice has placed on its feet look odd compared to the fine uniform. its head shrouded in stones. she likes them so much. 74 EXT. Soon they have covered his head completely with stones. They fit her well. and I'll have yours. BEATRICE His feet are like mine. She is dabbing Hector with her perfume which. He smiles at her. and she proudly shows them off to Hector. poor boy. HECTOR You've put magic in this stuff. Hector continues to bask in her wonderful aroma. * Nearby the corpse of the squire still lies. She looks at Hector. STREAM .
. He watches from a safe distance. the familiar. Below them lies the valley... she walks around the corpse three times... I know what that is... that's right. HILLSIDE . friendly Beatrice returns. HILLSIDE . aren't you? Is it all this death? HECTOR I don't know what you're saying but I like you when you talk. mama. but a few smudges of smoke in the distance suggest farms or villages. BEATRICE I wonder if his mama will ever know what happened. 76 EXT. It is like the roof of the world. HECTOR We should go now. We can talk the same. The landscape looks untouched by man. Then.. 75 EXT. The air is clean. She completes her ceremony by throwing a few drops of her perfume over the body. There might be the glimpse of a castle on a hill. Hector is fascinated. scattering the leaves over the body.. mama. (CONTINUED) 76 * 75 74 * . Hector.61.DAY Hector is watching Beatrice conduct some kind of ceremony over the corpse of the squire. She smiles. HECTOR You said mama.DAY They have reached the summit of the hills.. She takes a handful of dried flowers or herbs from a pouch in her bag. 74 CONTINUED: BEATRICE You're eager today. During the few moments that it takes.. Beatrice seems like a different person..ANOTHER ANGLE . all of a sudden. BEATRICE Mama. BEATRICE That should help him a little. We've been here too long. but a little uneasy. Mumbling strangely and quickly to herself.
62. 76 CONTINUED: If it all feels oddly familiar to us, then perhaps it is the memory of a picture in a forgotten story book, or an ancient landscape on a gallery wall. Once again in the film there is the tantalizing feeling of awaking not from a dream, but in a dream. The moment passes in the more down to earth concerns of Hector and Beatrice. HECTOR I have to keep the sun on my back, that's what Ronald said... the sun on my back all the way home... I'll stay on this side of the river... BEATRICE Yes, of course... we stay on this side of the river, all the way down... until tomorrow... HECTOR I stay on this side... BEATRICE Yes... On this side. Then the other. They move off, each thinking that they have reached agreement. Beatrice starts to sing as they make a gentle descent into the forests below. 77 EXT. FOREST - DAY Beatrice is milking a stray cow they have found in the forest. Hector is watching her, especially her hands. She manipulates the udders of the cow deftly, sexily. Her hands seem to have sensual personalities all of their own. She is chattering non-stop, explaining the subtleties of milking to Hector. But he can't take his eyes or his mind off her thrilling hands. He responds distractedly. HECTOR Oh yes... oh yes. 78 EXT. HILLS - NIGHT 78 77 * 76
Hector lies by their small fire, watching Beatrice, who sleeps by his side. She is dreaming. She mumbles in her sleep, whole sentences. She turns this way and that. Hector watches in fascination. (CONTINUED)
63. 78 CONTINUED: We feel the echo of another night when a man watched someone sleep and dream. He handles some of the things spilling from her bag, lying beside him. Her dried flowers and herbs, which he sniffs, her little bottles and phials. Witches brew? Or simply an early version of a cluttered handbag? We don't know what is passing through Hector's mind. Perhaps he is trying to work out how he came to be lying with the strange, wonderful, unknowable creature by his side. And how many people have done that through the ages, in caves or by campfires, or in suburban bedrooms? There are many ways in which we will be able to connect with this perplexed, flea-ridden man, far away from home, huddling by a fire in the forest, trapped in his time, as we all are. 79 EXT. FOREST - MORNING Hector and Beatrice are on the move again. They make their way down into the thickening forest. Beatrice walks ahead, light-footed and humming to herself. She seems to be in comfortably familiar territory now. The mist swirls about him as Hector follows on behind, tagging along as if caught in her sexual wake. 80 EXT. BOAT - DAY 80 79 78
Hector and Beatrice have reached the river, broad and slow-moving. Beatrice has hailed a boatman from the far side. He maneuvers his small boat to them and they clamber aboard. Beatrice and the boatman greet each other familiarly. They gossip amiably as the ferry makes its way across the river. Hector sits quietly with a smile on his face, their chatter incomprehensible to him. 81 EXT. SHORE - DAY As they climb out of the ferry Hector is suddenly unsure of what he is doing. HECTOR I think we're going the wrong way. I want the sun on my back. We should have stayed on the other side. He mimes what he means. (CONTINUED) 81
64. 81 CONTINUED: BEATRICE Don't worry... we're nearly there. I'll fix your back for you... give you a good rub. Before he can protest she has moved off. her. 82 EXT. VILLAGE OUTSKIRTS - DAY They have reached the outskirts of a village. Beatrice turns off the main track and up a narrow path. Hector follows her. Soon she stops at a small house close to an orchard. The house sits in the mess of a run-down farm yard, chickens and goats running here and there. Beatrice opens the door of the house and goes inside. Hector hesitates before following her. 83 INT. COTTAGE - DAY Beatrice turns to him when they are inside. BEATRICE Here we are... home... you want some food... and then I'll show you everything. We have a spring ... you can wash... Hector stands looking around the small dark room. Beatrice suddenly seems shy and awkward. BEATRICE This is when I wish you could understand me. You'll have to learn, you know... I want you to stay here. You want to, don't you? Hector looks at her in silence. BEATRICE I look after the hens, and I make dyes from the plants, and perfumes too. I'm good at that. But I'm no good with the sheep and the goats. I wish you could understand... Arnaud's been dead two years... She crosses the room to a wooden chest under the window. (CONTINUED) * * 83 So he follows 81
overtaken by her shyness.DAY Beatrice is proud of her bed.. You like me too... Now that she has started. She climbs a ladder nearby and lifts open a trapdoor on the wooden ceiling. a rough mattress on the floor covered in some blankets she has probably made herself. 83 CONTINUED: She lifts the lid and removes some men's clothing. 84 INT.. Hector climbs up to join her and together they stand on the ladder with their heads poking into the tiny space above. Beatrice falls silent. You and me. I'm a good sewer. You're the same height as Arnaud. sleep.. She tries to direct his thoughts to the one area she is sure about. don't you? We were lucky to meet the way we did. Hector is beginning to understand what she means....65. HECTOR What did he die of? BEATRICE I'm getting shy. BEATRICE Come up and I'll show you the bed. tonight we'll try them on. (CONTINUED) 84 * * * * * * . I'll make them fit. I made this for him... And we have a big bed upstairs for you and me. but his mind is a confusion. rough working trousers and a hide jacket.. COTTAGE . Beatrice talks on. I'll 83 She holds the jacket up against Hector to measure it. He can't respond. Hector's reaction to a dead man's clothing is predictable. BEATRICE I still have his clothes. All the men around here are old. she wants to say it all. but he keeps his feelings to himself.ANOTHER ANGLE .. Hector understands fully what she means now. in the rafters. but a little thinner.. make them fit you. Imagine me being shy with you.. BEATRICE I like you.
eh? Hector stands.. you found one. An OLD WOMAN stands in the main doorway. and this is my mother. BEATRICE These are my children. this? The Girl eyes Hector up and down. are you home? 85 INT. surrounded by instant family. She laughs..) Mama. smiling at Hector and nodding her head. Hector's face is a confusion once again. BEATRICE This is Hector.. Beatrice pronounces his name with care. BEATRICE A good bed. Beatrice goes to embrace each of them. and the moment tingles happily. proudly by her children. COTTAGE . BOY (O. better than a ditch. Then from outside they hear voices...S. We can have fun up here.. They look at it together.. The CREAK of a door makes Hector turn his head. 84 CONTINUED: The bed takes up most of the space of the small attic.. BEATRICE .. She catches his thought. It occurs to him to take up her offer immediately. Hector's expression lightens a little too.. She speaks to her daughter. A BOY of about eight and a GIRL of ten are coming in from the garden.. Firstly a young Boy calling. and doesn't know what to do. GIRL You were gone a long time. Eventually he speaks.. eh? For you and me. (CONTINUED) * She stands Who's 85 * * * 84 .66. They have been working outside.DAY Beatrice and Hector descend back in the room. MOTHER (OLD WOMAN) So..
sit down. harvested by her for scents and powders. (CONTINUED) 87 .. He smiles and stands shyly at the door. no. sit. WELL . BEATRICE Take Hector to the well. He has some decisions to make... He is full of embarrassment. still engrossed in his new shoes.. Beatrice understands that he wants some breathing space. but eventually she allows Hector to settle her there. They struggle comically for a while. She is a remarkable woman. COTTAGE . She talks to her son. living as she does in the harsh male world of her time. She is working on some lace.. He is delighted.. He guides the Mother back to the good chair. Hector enters the room to watch her.. heady impact of Beatrice. He does a little dance in them before leaving with Hector. He is experiencing the full.. Hector splashes some water on his face and looks back at the house. please. The Boy is beside him. He drinks at her well.. HECTOR No..DAY 86 85 * Hector stands at the well some way from the house....DAY The Mother sits by the window in the nearest thing to a comfortable chair that the house has to offer.. 85 CONTINUED: HECTOR Is there water. Beatrice's garden is a madness of wild flowers. to drink. to wash? He mimes with his hands. She mumbles unhappily. 86 EXT. but come here first. The scented air and the dizzy SOUNDS OF the BEES almost make Hector swoon. drops her work and motions for Hector to have the good seat. and it is summed up in a full-blown pollen-filled sneeze.. The Mother thinks he wants her chair for himself. In a flurry of apology she rises. 87 INT..67. She takes off the dead Squire's shoes and puts them on the Boy's bare feet. I just came to watch.
87 CONTINUED: MOTHER We can't have this. Hector leans over the cauldron to sniff. The Girl is boiling some dyes in a cauldron over an open fire. it's yours now.DAY Hector has retreated to the yard. A hideous odor assaults him... this was Arnaud's seat. Hector goes to watch her work.. I can sit on the box. YARD . Hector is aware of Beatrice watching him... firmly holding a struggling chicken. The Boy smiles at Hector's initial clumsiness... The Boy is working at a basketful of flower heads.... HECTOR Ah... for cloth? Without thinking. He looks in the cauldron. HECTOR Good color. stirring the bubbling liquid. wings flapping and feathers flying everywhere.. She stands by her cauldron. He motions for Hector to have a sniff of the jar of liquid.. Hector gently pacifies her. it's yours.. This chicken is making the supreme sacrifice in Beatrice's final effort at total seduction. I can sit on the box. Hector takes in what the Boy is doing and joins in the work. She is returning to the kitchen. The old woman allows herself a shy smile.. If he stays. He backs off... putting them in a large jar of colored liquid. a wonderful meal.. look.. Whether in innocence or mischief. HECTOR You must sit there.. The smell is heady and pleasant.68. Hector does so. Hector will never dare rest his bones in it. (CONTINUED) 88 87 * .. Hector is guiltily aware of this as their eyes meet briefly. pulling petals and separating the hearts. it's your seat.. I don't want it. 88 EXT. The Boy says something and points towards his sister. you need the light from the window. she has secured the best seat in the house for herself..
BEATRICE Take a walk to the village if you want. She leaves the kitchen to join him. COTTAGE . but as he paces here and there Beatrice knows that he is unhappy....DAY Hector sits at the table with Beatrice and her family. perhaps assessing him as a future father. The old Mother's appetite is prodigious.. She is an eating machine. and she doesn't stop until her plate is heaped high with food. There is an air of awkward silence... COTTAGE . During the meal Beatrice and Hector exchange glances. taking only a modest portion of food. But this time their talking without words is a serious affair.. She does. Hector submits. It is comical to watch her little frame consume so much.69. although the Boy and Girl look openly at Hector. quietly and methodically. There is definitely some power play going on in the old woman's mind. 89 88 * .. The meal has been served in a communal pot. The others wait for Hector to begin. 88 CONTINUED: HECTOR Ugh. you look as if you need a walk.. knowing she will understand his feelings if not his words. Hector makes out something like the word "peepee. good food. (CONTINUED) 90 The Boy is sniggering. but he indicates to the old Mother to help herself first.. and points to a bucket of liquid at her feet. 89 INT. he is making an effort to appear relaxed. In Beatrice's house there is the luxury of small individual plates. although her face is all innocence. HECTOR Mmmm. The Girl says something to him.. Hector opens his heart to her." HECTOR Peepee? The Girl nods enthusiastically. 90 EXT.DAY From the kitchen Beatrice watches Hector in the garden.
Hector is fully awake now. or the billionth? It is one of them at any rate.. wonderful. This Hector is awakening into what might be a nightmare. but the scene of parting is timeless.... HECTOR I have to go. Hector fumbles awkwardly with his bag and then walks off down the track.DAY It is awkward for Hector to say goodbye. The sea is calm around them.70. It is early morning. He speaks to ANDRE sitting close by. I like you. RAFT . and a sad one. you smell good. dragged out of the water. eyes begin to close.. lying or squatting in sleep. 93 EXT... I have a family.. have to keep the sun on my back. made of ship's timbers. but the deep ocean swell is still there to remind them of their predicament. He turns to look at Beatrice..MORNING His * * 93 * 92 91 90 * Hector awakes. There are over a hundred and fifty people perched on them. The huge raft is many smaller rafts lashed together. menacing. sitting against some boxes. RIVER .. We have left our previous Hector sitting under his tree 400 years ago. Hector sees the boat. COTTAGE .. like a controlled anger. just like you.... The pain and the awkwardness in Beatrice and Hector are specific..DUSK Hector has reached the river. He sits down against the trunk of a large tree.. I can't stay.. She stands outside her house for a long time. 90 CONTINUED: HECTOR I have to leave soon. it would be wrong to stay for just a while. watching him until he turns onto the main road and OUT OF SIGHT. He looks around him. He is on a huge raft. I have to get home. (CONTINUED) . Is this the ten millionth such parting. 91 EXT. but it is already growing dark and the boatman has gone for the night.. 92 EXT.
taking in the new day. Some figures rise and an argument takes place. but with that same lost look in his eyes that Hector had as a slave. We can hear some of their exchanges. I was lying under a tree... capable.71.. still bound to him in service through shipwreck and disaster. sitting up. then a cry of a Woman. A quiet. beautiful clear water. All over the raft figures are coming awake. intelligent man... I got up and drank some.. Andre.. (CONTINUED) * * * 93 * . Andre is a young Asian. MAN When they're dead they go over the side. ANDRE I would like some water. The place stinks enough as it is. beside a river. I think I ate some raspberries too. I heard the water. 93 CONTINUED: Andre is Hector's slave. the worst.. this is the worst.. then a splash.. Andre speaks to Hector. The noise has awakened others. WOMAN Let me keep him.. you're evil. I was dozing. they said we'll find land in a day or so. and the dreadful reality of their situation. Hector looks around him at the squalid mass of distressed humanity. HECTOR God. ANDRE Do you think I'll still see Europe? HECTOR I think there's more chance of me eating you. Our Hector is now a master. HECTOR I had a wonderful dream. There is a flurry of movement amongst the figures. He too is far from home.. like a domestic squabble.
The woman. the easier we will place them in their time. The year could be 1590. He watches a man and woman. speaks with authority. Africa's full of meat and drink.DAY The sun is up. my friends. Dom Paulo strides off to his station by the makeshift rudder. A man. DOM PAULO. closer to him. under the shouted instructions of the NAVIGATOR. 93 CONTINUED: (2) 93 The more we see of the people.72. DOM PAULO I think today will be the day. SAILOR It's full of Africans too. still has her eyes closed. and they hold each other's gaze for a long time. Hector turns his eyes to another part of the raft. The raft is now standing off-shore riding out the heavy ocean surf before finally beaching. God preserve us all. RAFT . Someone speaks from under a crude canvas shelter. or a drink of clean water. Three crowns to the first one to sight the coast. There is antipathy but also pain in their look. their costumes. They are survivors of a foundered ship some time at the height of the great colonial empires. 94 EXT. hoping to survive this final trial of the sea. weapons. The man. Those too weak to help are huddled beside their possessions. a side of beef would do.. His eye catches Hector's. DOM PAULO Don't worry. (CONTINUED) 94 He * ... sleeping on a pile of canvas. and Dom Paulo was right. FRANCISCO. SAILOR Never mind the three crowns. The strong are helping to row ashore. there'll be food for all ashore. The place is the Indian Ocean.. stands beside her holding a cloak over her to protect her from sea spray. mannerisms. URSULA. moves among the waking wretches. We've been in the inshore currents since yesterday.
They are in a long curving bay. but it reveals much about their past. A youth. the leader. rich-textured village decked out in all the colors of the East. wrestles her load from her grasp. 95 EXT. starving sailors. angrily wades to the shore and dumps it on the sand. chairs. immediately prostrating themselves in prayers of thanks while those at the back jump into the water and clumsily wade the last few feet to safety. Dom Paulo. made from timbers and rich tapestries and carpets. In amongst the drama of their situation their little battle of wills seems petty and pathetic. Up from the beach lies an area of dunes. Snake-like it rides the waves. Hector overpowers her. Carpets. and behind him SAILORS are erectig a tent-like house. She is struggling in the water with some of her baggage. Finally the raft makes it through the barrier of the outer surf. The raft is in the full rage of the surf. a crazy. Waist-deep in water they tussle over her bundle of possessions. Francisco in his manic-heroic way manages to row while at the same time trying to offer a steadying arm to Ursula. (CONTINUED) . 94 CONTINUED: Hector works his oar with the rest. one half up. all are dragged ashore. A regular little community is taking shape. already has a table and chair set up in the sand. offering to take Ursula's load from her shoulders. Hector's attention is never far from Ursula.73. The raft scrapes onto the sand. Soon the survivors are dragging their possessions from the raft. he would. Those near the beach scramble ashore. She refuses his help. NUNO. The sense behind its loose construction is obvious now. They have managed to hoard a surprising amount from their doomed ship.DAY 95 * 94 * * * * Civilization has taken hold quickly in this little corner of Africa. The others are making their own shelters all along the beach. The silks and ginghams that were destined for the finest halls in Europe now give shelter to sick slaves. goes to help her. and beyond that a thick belt of jungle. Hector overtakes him and nudges him out of the way. A few people are washed overboard with no way of saving them. The beaching isn't easy. He has time to cast a glance at Ursula and Francisco. chests. If Hector had time or energy to laugh. the other down. CAMP . ruined traders and grieving mothers.
the pain of a son witnessing his father's compromises or failures all too closely.74. Amidst the construction work. By Dom Paulo's side always is his SON. A quiet boy of about eleven. Some of the absurdities and comedies of the situation can be highlighted in this way. Da Cunha.. DOM PAULO How many made it? OFFICER Eighty men. There can be sadness in it too however.. He is a constant. He and his father are a continuing fascination for Hector. Dom Paulo is talking with some of his OFFICERS. The Officer leaves to carry out his orders. fruit. Any trouble. Since he is socially superior to anyone else on the ship he assumes responsibility and command. and Dom Paulo's sad awareness of his image slowly tarnishing in his son's eyes. Most of what he has earned or plundered in his colonial years now lies at the bottom of the ocean.. The habits of ownership die hardest of all. one to the north and one to the south. Eighteen children and forty-five slaves. DOM PAULO Two parties of ten men each. Ten women. and we can enjoy Hector watching the boy watching his father. He is like a little miniature of his father.. silent witness to everything that Dom Paulo does. Although Dom Paulo is the man in authority he is also a man in deep shock.. There are probably fifty men among the survivors more suited to lead them to safety. and send someone back as soon as you find fresh water. bring back what you can. 95 CONTINUED: Some of the survivors have recovered sufficiently from the trauma of near death to mark out the boundaries of their new beach homes with lines of stones.. anything.. addresses another of his men. game. Dom Paulo 95 * (CONTINUED) . good or bad. dressed in the same style of clothes. wise or foolish.. discharge three shots.
.... Hector finds what he is looking for. We've all got a lot of praying to do..75.! (CONTINUED) * 96 95 . tell him I want to see him. FRANCISCO If it's a joke it's a poor one. We feel an echo of the days when Hector was a slave.... Father Diogo wants a place of worship by this time tomorrow.. CAMP . at least? FRANCISCO Keep it and build your own hovel somewhere else. a rolled-up carpet and a bolt of colorful cloth.. leave us alone. HECTOR Well. HECTOR I have a carpet and some cloth. Francisco is working on a shelter for himself and Ursula.. Francisco barely stops his work to reply.. FRANCISCO I don't have to ask her. And where's Dias... leave us alone. a big one... I know she would agree with me. with the help of some slaves. His stubborn rejection of Hector reveals just how strong their friendship once was. Andre is carrying Hector's possessions..DAY Hector and Andre are walking through the half-built village.. Hector approaches him.. 96 EXT. HECTOR At least ask Dona Ursula.. would you take my cloth. making another attempt to heal wounds from his past. walking two paces behind with his master's possessions. I thought if we worked together we could make a better shelter. We'll look for a spot later. 95 CONTINUED: (2) DOM PAULO Have the carpenter start immediately on a cross.
76. 96 CONTINUED: Then from along the beach the sound of RAISED VOICES distracts them. They see some figures, laden with supplies, running off into the forest. Others are following them, discharging MUSKETS, shouting for the DESERTERS to stop. Hector and Francisco walk briskly in the direction of the trouble. They see two of the Deserters being overtaken by their pursuers. The rest make their escape into the jungle. 97 EXT. CAMP - DAY Hector and Francisco reach Dom Paulo's office in the sand. The leading citizens are gathering there as the two captured Deserters are brought in. SAILOR They ran off with the dry bread... about eight of them, sir... Dom Paulo looks at the two prisoners. DOM PAULO You men are deserters. You will die tomorrow. He speaks again to the Sailor. DOM PAULO Chain them on the raft for tonight, and watch them... Francisco steps forward, outraged. FRANCISCO I must object... these sentences can't be lawful... Dom Paulo's authoritative manner vanishes in an instant. He becomes hesitant, unsure of himself. As always, his Son watches every detail of the exchange. DOM PAULO Do you think so? FRANCISCO Of course... we can't allow ourselves to fall into terror and violence... DOM PAULO You're right... but then how can we punish them? We can't lock them up... (CONTINUED) * * * * 97 96
77. 97 CONTINUED: Dom Paulo looks around at the assembled notables, confused, out of his depth. Other opinions are voiced. SALGADO You were right the first time, sir... they must hang... they were stealing the bread from our mouths... The captured Deserters look on helplessly as their lives are argued over. YOUNG DESERTER I didn't steal any bread... Gomes had the bread... he's off, in the forest... DOM PAULO Oh dear... Dom Paulo turns to the Priest. DOM PAULO What do you think, Father? The Priest throws open his arms noncommittally. PRIEST I'll comfort them whether they live or die, now or later, any of you, all of you... I'll comfort you all. SALGADO Hang them... you have to set an example... Dom Paulo is deeply confused. DOM PAULO So I was right the first time? Francisco confuses him even more. FRANCISCO No, sir... there must be proper justice... DOM PAULO What's proper justice? DESERTER I didn't steal any bread... (CONTINUED) * 97
78. 97 CONTINUED: (2) SALGADO You have to make a decision, sir. DESERTER It was Gomes... he told us to run. DOM PAULO I'll decide... no I won't... we'll all decide... most of the people that matter are here... we'll have a vote... who agrees with Salgado... and me... that they should die? A lot of hands go up. Hector hesitates, his instincts are not for killing. But the force of the majority weighs on him. He starts to raise his hand. At that moment, as he scans the crowd, he meets the eyes of the Deserter whose death they are voting on. For a moment they communicate. Hector is thrown. He drops his hand, only to find in the next instant the stern gaze of Salgado on him. He hesitates again, then starts to raise his hand. Then the eyes of the Deserter find him once more. This comic pantomime goes on while a solid majority of the crowd firmly raise their hands. DOM PAULO ... and those against death... One of the Deserters raises his own hand meekly. DOM PAULO You can't vote... Then he looks to Salgado. DOM PAULO Can he? SALGADO It doesn't matter. Then the other Deserter raises his hand too. SALGADO I don't think this is working, Dom Paulo... we need authority... you must decide... Dom Paulo thinks. DOM PAULO Very well... Da Cunha? (CONTINUED) 97
in doubt again. eager to prove himself. Dom Paulo looks over the faces of the men. DOM PAULO Take them to the raft. DOM PAULO Hector? Hector doesn't have the will to accept or the courage to refuse.. Hector.. Dom Paulo's face clouds DOM PAULO Everyone in agreement with hanging? Or should we shoot them. * * * * * He stops at . 97 CONTINUED: (3) 97 DA CUNHA steps forward. but his blank face reveals nothing of his feelings. He turns to the Sailors holding the Deserters. or what? DA CUNHA Hanging is fine. away from the women. have it erected along the beach. or have a volunteer.. who's going to conduct the executions. should we pick someone. ALVAREZ. Dom Paulo..79. Sunrise tomorrow.... The dazed Deserters are led off. We can sense the feeling of relief in Hector. * * DOM PAULO Very well.. tell him to turn it into a scaffold. DOM PAULO The cross the carpenter is working on. Dom Paulo's son has been a silent witness to everything that has happened. DOM PAULO Thank you.. the executions will be at sunrise tomorrow..... now. ALVAREZ I'll do it... He is saved by another young man.. Alvarez. Tell Father Diogo. Send the Priest to them tonight. sir.
* Hector turns to Andre.80. but sour. HECTOR Thank you. He guiltily gnaws at the hard bread. and somehow looks mean compared with the others. Ursula herself works at the fire.EVENING It is growing dark. Four for each of us. HECTOR You go and sleep by the big fire.. CAMP .. He pulls out his prize. CAMP . NUNO This was all they found in the forest. Andre.NIGHT Hector goes inside his little house. He looks across to the well-made shelter of Ursula and Francisco. about the size of large apples. Andre. 99 INT. HECTOR Good work. He is surprised by the sound of the boy. Andre leaves. Keep warm. NUNO My mother ate three and she was sick. but green and thick-skinned. but she's sick anyway. and with a grunt of irritation sticks his head out of the shelter. The tent is only large enough for one person. So try two. NUNO Senor Hector? Hector quickly stows his food back into his sack. Nuno is holding four fruits. Nuno outside. 98 EXT.... maybe you can try three. He puts his back to the entrance and opens the canvas sack which contains all his possessions. Fires are being lit outside the shelters. (CONTINUED) 99 98 .. Nuno. a sizeable chunk of bread and some dried fruit. They taste kind of milky. Andre is building Hector's tent while Hector watches him.
. Nuno looks disappointed.. Nuno. HECTOR Dom Paulo would call it a waste. we must eat tomorrow too. You must keep yourself strong. NUNO Lopo. HECTOR Goodnight! Hector shouts after him 99 * . 99 CONTINUED: HECTOR I'll start with two.... The shapes of the two Deserters chained there can just be seen. Nuno makes to leave... The guards wouldn't let you near him anyway.. NUNO You said you might just eat two.. the boy they're going to hang tomorrow. I thought. unconvinced.81. He looks at the fruit he has just given Hector. HECTOR But there's tomorrow.. Nuno. perhaps.. but then hesitates.. I was going to take him something to eat.. that's what he'd say.... Nuno stomps away in silence.. His eyes turn again to his playmate tied to the raft.. HECTOR Try not to think about Lopo any more.. God knows what we have ahead of us.. NUNO Hector. Nuno is silent. cheerily... one of yours and one of mine. he was cook's cabin boy.. so that you can help the others. will you help me? Nuno is looking down the beach to the remains of the raft on the shoreline... we'll need strong people like you..
82. 100 INT. CAMP - NIGHT In the privacy of their tent Dom Paulo and his son are engaged in their nightly ritual, practicing on their recorders. Dom Paulo leads the young boy through an intricate, pretty tune. They sit formally and there is an air of stoicism about them, determined as they are to maintain their civilized habits in these bleakest of circumstances. But there is also a feeling of madness about it. The madness of a man who has lost a grip of what is going on about him. Down on the beach men are waiting to die in the morning on his orders. The blend of formality and madness make the scene comic. 101 EXT. CAMP - DAWN The sun has risen sharply, soaring out of the ocean. It blinds the eyes of those in the little execution party making their way along the beach. The cross-cum-scaffold has been erected some way from the camp. Most people are attending to their morning chores with one eye on the grim act of justice being carried out along the shore. Our view of the hangings will be from the distance of the camp; marionette figures, men dancing on ropes, the formality of legal death. The priest and the executioners. It takes a while for the people in the camp to become aware of the other observers up on the dunes. Three figures stand in full view, boldly, silently, watching the camp and the pantomime at the scaffold. The word passes around the camp. Eyes pass between the executions and the tall natives watching. The first man is already dangling on the rope by the time that Dom Paulo and his officers are discussing the appearance of the natives. DA CUNHA Some gunpowder would scatter them, sir. DOM PAULO No, they might want to be friendly... they'll have food too... get one of our African slaves... we must try and talk to them... If they think we're timid we're dead. 101 100
83. 102 EXT. DUNES - DAWN 102
A solitary SLAVE makes his way up from the camp to the natives on the dunes. Everyone in the camp watches as he approaches them. There is tension. Will the natives run or fight or talk. They begin to talk. The natives seem most interested in the hangings, and point in that direction, asking questions. The Slave makes an attempt at explaining what is happening, but the natives seem baffled. They start laughing and shaking their heads. By now the second figure is dangling on the rope, the cross making an efficient double-gallows. 103 EXT. CAMP - DAWN While Francisco's attention has been on the natives, Hector has sidled up to him, still hoping to ingratiate himself. He talks while they watch the two events, the hanging and the meeting. HECTOR I hate it when people have to die. FRANCISCO It's foolishness. Killing our own men when we have the whole of Africa to face. HECTOR It's foolish squabbling at all. We should be friends. Francisco looks at him for the meaning in what he is saying. Hector shrugs. He takes a small bundle from his jacket and gives it to Francisco. FRANCISCO What's this? HECTOR Some bread and raisins. FRANCISCO I thought everything was shared out on the raft... HECTOR Well this wasn't. It's for her... and you. Francisco looks Hector straight in the eye, looking for his angle. But this time there is none. Hector is simply a lonely man seeking to retrieve lost friendship. There is a glimmer of sympathy in Francisco's face. (CONTINUED) * 103
84. 103 CONTINUED: On the high dunes the Slave and the natives have now parted company. The Deserters still spin at the end of their ropes, the Priest praying at their feet. Francisco walks away from him. HECTOR I must speak to her! 104 EXT. CAMP - DAY The Slave approaches Dom Paulo outside his tent. SLAVE They want to make a visit here... with their King... he will bring gifts, and will receive gifts. They said not to sacrifice anymore men for them... they don't like that... Dom Paulo and the others laugh. 105 EXT. BAY - DAY 105 104 Hector calls out. 103
The tide is sweeping more wreckage into the bay. Barrels and boxes and timber bob in the waves. People make their way to the shoreline to retrieve these new gifts from the sea. The whole of the camp is eager and shouting. They bring in the boxes and barrels. A whole harmonium is manhandled ashore. Some boys drag it up onto dry sand and start to work its bellows. At first only water spurts from it, but then a watery note or two is emitted. The mood soon becomes festive. Dom Paulo makes his way down to the shore to make the celebrations official. By now the first of the newly-arrived crates are being opened. Inside are eggs, many, many large eggs, in crate after crate. An OFFICER brings the first of the eggs to Dom Paulo. OFFICER Turtles' eggs, sir... Doctor Correa was shipping them to the Royal Zoo... I think they hoped some of them would hatch. DOM PAULO Well... it's eggs for supper tonight... for everyone...
85. 106 EXT. CAMP - DUSK That night everyone does eat turtles' eggs. At their fires in the dusk they fry them, boil them, scramble them. Some eat them raw. The abundant green fruits make a tolerable side dish. The happy mood of the afternoon has survived into the night. For once there is enough to eat, and the hangings are a thing of the past. Above the ROAR of the constantly rolling SURF the CROAKY sounds of the waterlogged HARMONIUM can be heard. 107 INT. HECTOR'S TENT - DUSK Sadly for Hector, the harmonium enthusiast is very close to his shelter. The JANGLY MUSIC is loud and insistent. Hector removes six large eggs from a bag and takes them outside to his fire. 108 EXT. CAMP - DUSK Andre is there eating the last of his omelette. HECTOR How are they? ANDRE Good. Hector cracks one of his eggs into a copper pan. Inside is a brown smudge of dried yoke and some dust. Hector grunts in annoyance and cracks another egg. The yoke is discolored and the smell is rank. Hector looks at Andre, rapidly finishing his omelette before Hector can demand it. HECTOR Yours were fine? ANDRE Yes. Hector picks up a third egg and shakes it close to his ear. It seems as empty as the other two. He picks up a fourth egg and cracks it open. A small dried-up, halfformed baby turtle RATTLES into the pan. Andre is quietly enjoying Hector's frustration. He stands up to leave. ANDRE Good night. (CONTINUED) * * * 108 107 106
. good night. to ask you something. Andre looks at him expectantly. HECTOR We're not going to die... and leaves. Hector smiles at his own insensitivity. We should die with our real names. I promise. Andre is satisfied. HECTOR You don't like Andre anymore? ANDRE I think of my home all the time. ANDRE Ketabomago Pululo.. Keta..... HECTOR Good night. Andre. HECTOR I've forgotten your name.86. HECTOR You were lucky. I want 108 * . 108 CONTINUED: HECTOR Have you any eggs left? ANDRE The slaves only got three...... ANDRE Ketabomago Pululo. I'll call you that. Andre.. I want to hear the name they call me.... HECTOR I will.. HECTOR Yes. (CONTINUED) Hector calls to him. HECTOR Now I remember why we called you Andre.. What? ANDRE I want my real name back.. when I remember...
Hector and other notables are also there.. DOM PAULO How many are sick? DA CUNHA About fifty.. It's the eggs.87. Any deaths? DA CUNHA Six.. He shouts across to the musical enthusiast. They talk as they work... Others just ate too many. some of them very sick indeed. HECTOR Hey! Stop that.. DOM PAULO How wise of you to think of that now. here. I'll give you an egg if you stop. a YOUTH with a few older children by his side. for example. It would have been better to ration them. Hector gives up on the eggs and pulls out his store of bread and fruit from the tent. sir. Cheap goods. The next source of annoyance is the continuing noise of the HARMONIUM. I suppose. a box of rosaries and crucifixes made of common beads. 109 EXT. A couple of the crates were full of rotten ones. will you? Think of the older people. 108 CONTINUED: (2) 108 * * Hector is alone. are being gone through and suitable junk selected for gifts. but eaten just the same. DOM PAULO How many eggs did you have? (CONTINUED) * * * * . CAMP . and the sick.NEXT MORNING 109 * * The Officers and Dom Paulo are selecting items for barter from their crates and boxes of valuables.
He takes off the heavy silver chain and medallion from around his neck.. DOM PAULO I don't feel well 109 I had four.MORNING 110 * * * Inside his tent Dom Paulo goes to his small mirror.... BEACH . the really ill ones had eaten eight. what have you got? Salgado comes forward with a handful of the broken remains of a kettle.. and then retires to his tent.. DOM PAULO Let's not think about it.. SALGADO It worked well...88. selects a couple. Then he adorns himself in the cheap rosary and other trashy items..MORNING Hector is walking along the beach. 109 CONTINUED: Three. and nails. Hector drifts off down to the beach.. close to a pile of discarded boxes and crates. DA CUNHA Four's all right.. He stows them safely in a locked box and replaces it in its hiding place in the sand floor. DA CUNHA I had them boiled. holds a silencing finger to his mouth. 110 INT. The others work on at the table. and a valuable brooch from his coat. they'll go for this. now. We have to keep control of that particular currency.. (CONTINUED) 111 * * * * . catching sight of his watching Son in the mirror. Copper is a useful currency. Dom Paulo.. 111 EXT.. Dom Paulo rummages in a box of cheap rosaries. ten. Luis cleaned up a sackful from the crates. DOM PAULO Organize some men to gather all the nails they can find. Salgado shows a handful of nails from a small sack in his hand. DOM PAULO'S TENT ..
. Their love-making is poised oddly between child's play and eroticism. it was a joke. leave her alone. how can you play like this when there are people needing your help back there. He stands up in full view of them. she's still here.. Hector realizes he has broken something precious and in their circumstances infinitely fragile and irretrievable. a piece of wood with some nails still attached to it. beginning to caress her.. He feels like an oaf. the Boy lying close to the Girl.... too embarrassed even to raise her head to Hector. He soon finds what he is looking for. kissing her. It's their day of discovery and it is like a dream of love. I won't say anything. The Boy is just about to discover some more and is fumbling with the Girl's clothing.. He pulls out the nails and pockets them. when he looks up and catches sight of Hector. perhaps the sad stoop in the Boy's shoulder or the Girl's lowered head. DUNES .89.. They are twelve or thirteen years old. 112 EXT. then continues to rummage amongst the wood for more.. He walks off back to the camp. you come back.. Hector is a survivor. Hector ducks down but knows he has been seen and decides to brazen it out.... Cautiously he crawls up the dune and looks over to the other side.. I didn't mean it..MORNING Hector is enjoying the freshness of the day.. Then Hector is touched by something. They are coyly in the early stages of making love. buttoning her dress. He calls after the Boy. The Girl remains sitting in the sand.. He is watching a young Girl and the boy Nuno. or I'll tell your mother. HECTOR Stop that. (CONTINUED) 112 * * * . HECTOR Come back. We see him climb over a dune and then as he nears the summit duck and retreat down the slope again..? The Boy is standing now and fixing his clothing.. get back to the camp. And not the first Hector to scavenge on a beach.. in a world that feels big and empty.. 111 CONTINUED: 111 * He quickly searches through them..
Hector runs off towards the camp. When he has stopped talking the Slave begins to haltingly translate.90. (CONTINUED) * 113 * * * * * * * * . trying to contain their exuberance so that they don't miss a single detail of this most significant day. But she doesn't look up. some cattle. already scanning the baskets of the Natives for signs of solid food.. He points repeatedly at his navel. so that he will know that you were born like real people. he didn't think you would be such a strange color. The ragged Europeans. Many of the Natives have climbed into the trees. CLEARING . like human fruit. The Natives. who feels foolish and mean. 112 CONTINUED: 112 But the Boy walks on. HECTOR I'm sorry. either out of timidity or to get a better view The trees around the meeting place are dripping with bodies. turning around now and then to look at Hector..DAY The meeting of the two leaders is weird and wonderful to see. Then he sees the procession of the Native King and his people. Hector calls down to the Girl... 113 EXT. but he wants to know if you are real people. somehow still muster an absurd sense of their own importance for the occasion.. SLAVE He was excited when he heard you had come... Hector slips into the crowd as the NATIVE KING is in mid-speech.. SLAVE .. Hector curses quietly and looks out across the dunes. still fumbling with her buttons.. excited and curious. so he wants to see your. angry with himself. and porters carrying baskets.
. DOM PAULO Right..... The King is enjoying himself.. very far away... poignant moment. twenty big rivers.. and for a few moments there is a kind of communion between them. who then translates. * DOM PAULO Tell him that we want to trade with him. Dom Paulo and the Officers fix their clothing and re-muster their dignity. the Officers standing closest to him. then nods to Dom Paulo.. 113 CONTINUED: Dom Paulo won't suffer the indignity alone.. DOM PAULO Tell him I want to give him these. He speaks to the Slave. to where the white men have their big ships. Dom Paulo opens it. but you have to cross many rivers. He begins to open up his coat and shirt. we have a long way to travel. It is a strange. The King joins them.. you four as well. this way... letting the King see the pieces of broken copper inside.. The four Officers do the same.... The King takes a deep breath. Dom Paulo regains his composure. Dom Paulo and the Officers do as they are told. The King and a few of his attendants take a step or two forward and peer at the exposed white European bellies. (CONTINUED) * * * . Then they step back. Then the Slave translates again. to buy food. all the Natives and all the Europeans united in the simple act of breathing.. An Officer brings a wrapped cloth.. The Slave speaks to the King. and we want him to guide us out of here... Dom Paulo steps forward to the King. He speaks again to the He talks to 113 SLAVE He wants to see you breathe. They look at one another and mumble solemnly. SLAVE He has heard of white men very.91. The King listens and talks back for a long time. Then everyone joins in. Slave.
. (CONTINUED) * * .. The King nods his head in approval and shows the nails to his attendants.. DOM PAULO .. Dom Paulo's Officers enjoy a muted titter as he peels off his precious rings and gives them to the King. which my fathers and forefathers have worn for many long years before.... They are impressed. Instead he is pointing to a couple of chunky and valuable-looking rings on Dom Paulo's fingers which he has forgotten to remove... Dom Paulo solemnly and without a blush removes the cheap rosary from around his neck and offers it to the King.... but please do not insist that he take your necklace. The Slave translates. 113 CONTINUED: (2) 113 The Officer produces a handful of large nails and gives them directly to the King. SLAVE He says he could not accept such a treasured gift. replacing the worthless baubles around his own neck. It is impossible to know if the King is being naively polite or hugely clever. but it is such a special occasion.92. and he is such a great and worthy King. instead he would be happy to take one or two of the old rings you have on your fingers. SLAVE He will give you guides to help you across the first of the big rivers. and tell him that I want to make him a very special gift as one King to another. The King refuses to accept the rosary. Various Officers raise their eyebrows at this. something of such value to your family... DOM PAULO Of these precious things.. This is translated.... The King begins talking again. DOM PAULO I shouldn't do this. it is ten days from here.
thank you. SLAVE Because with the new moon the turtles will arrive and lay their eggs. He heat to pull at a couple of blackened Nuno. Nuno hardly notices him until Hector offers him one of his bones. even the fit ones. at the fire.. the elements of it simple. the boy he chased away from the the day. Soon the survivors are alone again.. The image is once again timeless. Nuno is sitting by himself. licking his fingers. Hector is.. man..EVENING The remains of the cow hang on the spit over the large fire the survivors have made on the beach.. Dom Paulo looks shocked. Small groups of people sit around it. NUNO Thanks. Nuno grabs it. food. risks the searing bones. flesh. gnawing on the roasted flesh. with the lostlooking cow the Natives have left. 114 EXT. (CONTINUED) . 113 CONTINUED: (3) DOM PAULO Thank you.... SLAVE . fire. he cannot permit you to stay longer. The mention of turtles' eggs almost turns the stomachs of most of the survivors.. The Slave continues. A doomed cow if ever there was. Some are still on their feet by the large fire. you must be gone... you may frighten them.... of course. among them. if any will be. and he asks you to be ready to leave the beach in two days time.93. Now and then a hand will dart out over the flames to snatch a bone hanging loose or a tasty-looking piece of gristle. The King and his followers walk back into the forest. They are the survivors of the pack. BEACH . One cow doesn't go far between a hundred starving people. He sees Girl earlier in staring vacantly 114 * 113 Hector sits down in the sand beside him.
. HECTOR Well. I was upset at something. Hector regains his * * 114 HECTOR You don't think too badly of me? NUNO No... and respect each other.. Hector is satisfied now. HECTOR But it does. that makes me feel better. HECTOR I'm sorry about today. we all have to like each other.. Nuno is taking it rather well. They are silent for a moment.... Nuno follows Hector's example. I wasn't really angry at you.. 114 CONTINUED: HECTOR Suck out the marrow. (CONTINUED) .. Hector allows him to feel the benefit of his gift before he starts to talk... NUNO It doesn't matter. just say so.. NUNO I know.... HECTOR If you don't respect me.. it's the best bit. HECTOR You still like me? Nuno shyly nods his head. natural self-confidence... it was mean of me.... that's important too...94. * HECTOR You do? NUNO Yes.
he said twenty rivers... HECTOR You can take her back there tomorrow.... DIAS How can I be accurate without instruments? As it is I'm sighting the sun with two pieces of wood. This doesn't produce much of a response. 115 EXT. He sits down on a box near the table and watches and listens.. 114 CONTINUED: (2) 114 Nuno looks at him. maybe you could meet him when we get home. our Hector with his pockets full of stolen nails and his tent full of stashes of food. * DOM PAULO Can't you be more accurate? Hector comes to the meeting. smiling weakly. his expression changing with the shifts in mood of the others.. CAMP . This is Hector the social animal...95. NUNO No. the navigator.. eh? Nuno shakes his head. Hector tries again. An argument is in progress between Dom Paulo and GASPAR DIAS. she's sick now. Then he turns away in silence. Gasper Dias has drawn a rough map which lies on the table.. He starts to chuckle to himself and nudges Nuno in the ribs. Call it five hundred and be done with it..NIGHT Dom Paulo and the Priest and some of the Officers are having a more formal meal at Dom Paulo's table outside his shelter. (CONTINUED) 115 * * * * * . Hector tries another approach to win the Boy over. HECTOR I have a boy like you.
you mean. Dias. we'll be leaving them here to die. she hit that rock because she was taking water and unsteerable. 115 CONTINUED: DOM PAULO We just want you to be as accurate as we know you can be. I've told leader or jungle on have been DIAS you... DIAS Confound you... I'm sure that God has an answer to it. SALGADO Oh. There are mock groans and laughter at the thought of it.. that's an insult....... I don't see how a hundred of us can carry seventy sick. FATHER DIOGO I'm going to search the scriptures tonight. Dom Paulo.. the ship did manage to find that rock with admirable precision. DIAS An excuse.? Dom Paulo lets out a heavy sigh... we vote for a you can walk into the your own.. Dias! (CONTINUED) * . living on turtles' eggs.... * 115 DA CUNHA Calm down. The tension for the moment is broken.... DA CUNHA What about the sick and the injured..96.. Dias. She was overloaded before she left India and you know it.... Dias pounds his fist on the table. After all. Dom Paulo. DOM PAULO I've discussed it with Father Diogo. so you're coming with us now. it should done days ago.. you can't stay here forever.
the sound of the sea is driving me mad. 116 EXT.. FATHER DIOGO It might be the best we can offer them now. Hector... * Hector's face expresses his shock. willing their old friendship back into existence in the urgency of the moment. Hector lingers. This offer has found a chink in Francisco's armor. the chance to die a good Christian death here. FRANCISCO Good night... 115 CONTINUED: (2) 115 Dias mumbles to himself. HECTOR I'll be glad when we're on the move. An impulse takes join him. is outside. She hasn't been able to rise since yesterday... HECTOR Will you share a bottle of wine with me? I've had it since we left the ship. by the fire.. DIAS After the vote. FRANCISCO You have a bottle of wine? (CONTINUED) . He makes a decision.... close to the tent of Francisco and Ursula. with you.NIGHT Hector is He passes Francisco Hector to 116 making his way in the dark back to his shelter.. HECTOR Where is Ursula? Sleeping? FRANCISCO Sick. and set an example to the heathens. CAMP .97. He speaks to Francisco. From what he has heard at the meeting this is serious news. I want to drink it tonight.
smiles in anticipation.. some fruit couldn't. 117 EXT. (CONTINUED) He . HECTOR I know..... do you want to kill her? HECTOR Surely. HECTOR I brought it for Ursula... Francisco grabs at the bag and stuffs two or three sweets into his mouth. brought this too. As they drink they begin to reveal a hint of their old intimacy.. fetch it.NIGHT Hector has returned with his precious bottle. CAMP . not so much the gentleman now. FRANCISCO You should hang for this. FRANCISCO Much too rich for her. give it here. The last I have.. I 117 116 * Hector pulls a cotton bag from under his coat.. Francisco talks through his munching..98... Francisco sips the wine with the relish of long abstinence. Francisco by some miracle has two fine crystal glasses. 116 CONTINUED: HECTOR Yes. FRANCISCO You rogue. FRANCISCO Well.. I feel very guilty. Some people on the raft might have lived with a glass of this in their stomach... Francisco can't believe such food still exits. HECTOR Honeyed fruit.
why did you have to get on the same raft...DAY 118 * * * * * * * 117 On a headland overlooking the bay. you were stupid. MASS . FRANCISCO So? HECTOR Francisco. just like you. am I so bad? FRANCISCO With Ursula you weren't bad.. what a fool...... FRANCISCO And then you get on the same ship...99.. old friend... Francisco's face breaks into a smile. Every fit member of the camp is there. 118 EXT. HECTOR I had to get home... the complexity of their friendship having gone beyond words..... and don't you forget it. always sorry... you did the one thing you can't do to a strong woman. some youths dissipating their precious energy on its bellows. what else can she do but hate you? Hector is silent... and a good many of the sick have been carried in litters to take part.. Father Diogo's mass is in progress. They drink the rest of the bottle in silence. HECTOR But. you're the guilty one around here. it was as if you were trying to torment her. 117 CONTINUED: FRANCISCO Don't argue with me. HECTOR Why is it always me? Why am I always guilty. please... The harmonium has been carried up the hill and is in full voice. The younger boys have been organized into a choir. (CONTINUED) .. you took away her pride... FRANCISCO And when the ship went down. the other raft was sinking....
. The place is like a junkyard. a low. the kneeling Hector. They begin to sing.. It mingles with the distant voice of Father Diogo..MORNING 121 * Hector is sitting beside Nuno on a box. When we Hector there is something tantalizingly familiar all. CLEARING . they will look after the sick. held by a cairn of piled stones at its base.. One of the messengers is talking. (CONTINUED) . 120 EXT.DAY 118 * in place FIND about it a pile * 119 * * The natives have gathered nearby. the machine that makes music. of stones. the cliffs. * HECTOR You must come with us.MORNING 120 Next morning the camp on the beach is being broken up. 118 CONTINUED: The large cross stands behind Father Diogo. 119 EXT. but the King would like one thing.. The amount of damage that a hundred and fifty people can do to a beach in two days is impressive. the SLAVE Yes.. rhythmic. With them are some messengers from the king. DOM PAULO We need food as well. talking earnestly to him. and then with the chanting voices of all the Europeans. Slave translates. the ocean. ten cows. to take with us. CAMP .... or perhaps by the simple. NUNO No. 121 EXT. Dom Paulo and the officers watch the work. universal posture of worship itself. CAMP .. perhaps by the music. compelling chant. When he finishes.. the offering to a god.ANOTHER ANGLE . then the King can have the music.100. and the Slave translator.. They have been moved... Andre stands beside them. until it seems that the whole world is praying.
122 EXT.. I think my place is with you.DAY Dom Paulo and Father Diogo are standing beside Dom Paulo's table.. including some local natives. do you understand that? NUNO That's why I have to stay. like stagehands.DAY 123 122 * * 121 The trek from the beach to the village has started. I'll comfort them before we leave. 123 EXT. leaving Dom Paulo and Father Diogo propless on the beach. (CONTINUED) . carry the sick in crudely-made litters. HECTOR And afterwards... ANDRE Let him be. Even this short trip is hard. Somewhere in the line six sailors manhandle the harmonium up the jungle path.. A long line of people.101. JUNGLE PATH . FATHER DIOGO I'll comfort them as best as I can. DOM PAULO You're staying with them? Father Diogo hastens to correct this misunderstanding. HECTOR Alone? Nuno remains silent. no. 121 CONTINUED: ANDRE Your mother might not get well. all that remains of his headquarters on the beach. FATHER DIOGO No. enter and remove the table. Two sailors. what will you do then? NUNO Follow you and the others. CAMP ..
HECTOR Francisco.DAY There is a sense of bustle in the native village as the European sick are settled into their huts and the others prepare to depart. and the bay will welcome its regular tenants. the turtles.. I have to see her before we leave. FRANCISCO In you go. 123 CONTINUED: Just behind them Hector is helping Nuno to carry his Mother in a litter. He kneels beside her. Francisco goes into the hut.. HUT . He finds him taking some of his possessions into a hut. 124 EXT. In amongst the bustle Hector is looking for Francisco. HECTOR Ursula. Soon Francisco emerges from the hut. stooping low at the small entrance. (CONTINUED) 125 124 123 * * * * . Hector goes into the hut.. Her voice is a whisper. I've come to say goodbye. 125 INT. but tries not to show it. ashen and fevered.DAY Ursula is lying in a darkened corner. A group of unmoved sailors are playing cards in the dirt. Emotional farewells take place in dark corners of the small huts. FRANCISCO I'll ask her. it's Hector. HECTOR We're leaving soon.. watching the small human dramas all around him. Hector is shaken by the sight of her. NATIVE VILLAGE .102. In a day or two the wind and the sea will have rubbed out all evidence of their stay. She turns her eyes to him but doesn't speak. Hector waits outside. It is like a civilization on the move...
Hector has blown it. HECTOR Ursula? What are . I'll pray for you in Lisbon.. almost jumping out of his skin. HECTOR We should have talked... I won't forget India. She manages a whispered word. many things. speaks again.... HECTOR Yes..... finding wells of energy from sheer indignation. HECTOR I won't forget you.. Ursula pulls herself up on an elbow. Then he 125 * HECTOR I'm sorry I hurt your pride... and then falls back into a dead faint. URSULA What? What did you say? you talking about? HECTOR Nothing. She looks at him but doesn't or cannot speak.. 125 CONTINUED: URSULA Goodbye. Hector is astonished. URSULA Idiot! She lies still... He whispers nervously.. nothing.. URSULA Lisbon. Hector leans over her to make sure she is still breathing. at the Cathedral. She lies still... Ursula speaks one word..103.. I could have explained. Hector lingers for a moment. I can't forget how I hurt you...
DOM PAULO Yes... * * * * 126 Hector comes out of the hut. DOM PAULO We're leaving the cross with you. and who make some heathens. it breaks my heart to leave you all here. FRANCISCO You've made your peace with her? (CONTINUED) 127 . Dom Paulo.. DOM PAULO We won't forget you.. when we are fit and well.. DOM PAULO God protect you. Dom Paulo is talking with Francisco.. I must talk to you alone. FRANCISCO ..104...ANOTHER ANGLE . 127 EXT.. HUT . thank you..... They shake hands.. but I don't know what else I can do.... and good luck to you. of course. or what you are doing for these poor people. it might impression on the PAULO carry.. FRANCISCO I'm not staying here with the intention of dying.... HECTOR Francisco. They make what they both know is their final parting. we'll be following you...DAY Outside the hut. solemn-faced.. HUT . DOM It's too heavy to knows. 126 EXT.. FRANCISCO Oh.DAY Hector takes Francisco by the arm and leads him behind the hut.
FRANCISCO No. but I have to walk six hundred miles. There's no easy way to do it. Well. you're right.... FRANCISCO Go on. I look after them... they'll be fine for here... Hector.105.. But then a smile comes to his face...... (CONTINUED) * * * * * * . unsure if Francisco is making a joke. Francisco is stunned into silence. HECTOR Is there anything that I can do for you? A letter. 127 * * FRANCISCO Thank. HECTOR I want to ask you something.. I daresay my boots would take you six hundred miles... God.. HECTOR I think so. HECTOR Your boots.. goodbye.. FRANCISCO What about them? HECTOR Can I have them? You can have mine. 127 CONTINUED: Yes. a message? Francisco laughs softly.. FRANCISCO Yes. Hector becomes almost poetic in his pleading.. if you go empty-handed I can put you out of my mind! Hector smiles uncertainly.. Francisco looks down at his boots. Hector lifts a foot to show Francisco his boot..... Then he becomes more serious... if you were carrying something for me I would have to worry about you.
.. Francisco is laughing..106. Francisco.. a voice singing. It is late in the year. FRANCISCO The best bootmaker in Goa. the owner of the voice. the dead fires. BOBBY They've gone.. Hector does the same. pray for my soul in Lisbon. At this moment... you have surpassed yourself.. BOBBY. He makes nonsensical small talk. FRANCISCO . There is one human sound in the cold stillness. * 128 EXT.DAY 128 * * * * * * * 127 A different forest. He is making his way up a steep slope to an area of flat ground. He can't believe his luck. cleared areas for tents. and calls out in a powerful voice. has a pack on his back. but Hector doesn't get the joke. FOREST . he loves Francisco. looks around. He stops singing... sit down and take my boots! Francisco starts to take off his boots.. long gone! Bobby looks around the abandoned camp... A wilderness of giant pines. hopping around on one foot. Hector. and pray for your own. (CONTINUED) * . ranging through the mountains for hundred of miles. HECTOR They were made by Da Fosca.. FRANCISCO Hector. HECTOR Yes.. In my boots... 127 CONTINUED: (2) HECTOR I'll walk all the way home. Francisco starts to laugh out loud. I'll pray for your soul in the Cathedral in Lisbon.. weren't they? Francisco is giggling now.
. whiskey. Have a look around. He folds his hand over it again. at least. BOBBY Well done.DAY Hector has scoured the campsite.. "We left here. pleased with himself. It reads.107. "Pennsylvania Boundary Expedition 1761. an Indian arrowhead with a few inches of broken shaft." Also on the plaque someone has written... leading a laden pack horse. he has found." 130 EXT. is a plaque their companions have left. They look at each other. 20th October. are both anxious. and now 128 * BOBBY Cheer up. they know it. 128 CONTINUED: Up the slope and INTO VIEW comes his companion. Behind them. BOBBY We're ten days late. but pretend not to be.. keeping his secret. It is Hector... They are in trouble. HECTOR How long? BOBBY They've been gone a week. 130 They (CONTINUED) .. Bobby unfolds his fist and looks at what he has found. 129 EXT. CAMP .NIGHT Hector and Bobby sit by the fire with their supper. Marker 152. I'll start on a fire. nailed to a tree... my lad! Hector walks to the fire. HECTOR Damn them. He holds up a canteen 129 HECTOR It's Sandy's. CAMPSITE .
HECTOR If you did find an Indian. .. watching Bobby's sleeping form on the ground at the other side of the dying fire.. He is worried about something else.. You won't find an Indian up here. 130 CONTINUED: BOBBY Even if we lose their track. HECTOR We keep working? BOBBY Why not. Their forced tone of matter-of-factness only serves to heighten the growing feeling of doom. HECTOR You think we'll get out? BOBBY If we keep our heads. HECTOR It's too high for Indians? BOBBY Much too high. keep us busy. CAMP . 131 EXT. From under the pack that makes his pillow he pulls a piece of broken arrow.ANOTHER ANGLE ... but he might be a Delaware if you did. just a couple of sightings a day. a shaft and some feathers. We can log the peaks on the far side. had some tobacco. He knows the wolf will soon become aware of them and move off. we can't miss that. He looks at it. the other end of Bobby's find.. Behind Bobby is a wolf. we'll still hit the river. no panic. Hector isn't anxious.NIGHT I wish I 130 * 131 Hector is lying awake. then looks back to Bobby and the wolf... sniffing and edging his way closer to them..108.. what would he be? BOBBY You wouldn't. We just have to keep our heads.
. The going is easy through the ferns and grasses. 132 * * HECTOR Seven twenty-five. They obviously have this tiff every morning. CAMP . They compare readings. Bobby goes to the horse and takes a brass chronometer from a box strapped to the saddle. forty-two and a half... BOBBY It's getting worse. FOREST . Hector writes it in the log book. He speaks pointedly..MORNING In the morning Hector and Bobby are taking readings from the instruments they have hung on a large tree. There is a difference of some four or five minutes in the time. high. It gives some shape and meaning to their predicament... time. Hector writes in the book....DAY 133 * * * Bobby is leading the horse and Hector walks on ahead.... maintaining the disciplines of their work........... (CONTINUED) .. HECTOR I'm not fast. thirty-four.. 132 EXT. temperature.109. Bobby for a moment forgets his apprehensions and starts to sing loudly.. you're slowing down. HECTOR You're unscientific.. at heart.. low. you're nearly five minutes fast now. Bobby. Hector takes out a smaller chronometer from his own pack. twenty-eight and three-eighths. HECTOR What's the point of having two chronometers when you don't take the average? BOBBY Exactly. Bobby mocks him with a laugh.. you should throw yours away.. BOBBY Barometer. 133 EXT..
FOREST . It unnerves them.. finding comfort in the closeness of each other. 135 EXT. taken by surprise.DAY They are travelling together now.110. Chastened. this time in the name of science.. under his breath. They work quietly. on either side of the horse's nose.. BOBBY Let's get out of here. We feel the echoes of our many previous Hectors and their piles of stones. 133 CONTINUED: BOBBY I see her in the dewy flowers I see her sweet and fair.. Our doomed surveyors are acting out the same ritual. built for this or that purpose. They finish the cairn and erect their heavy tripod over it. CLEARING . They are establishing a survey point. When they anchor their tripod. HECTOR Sure this is a good idea. BOBBY There's not a bonny bird that sings But minds me o' my Jean. the cold hard sound of their CHISELS STRIKING ROCK ECHOES all through the forest. he begins to sing again. Bobby scratches the center point on the top stone of the cairn. 134 EXT. (CONTINUED) 135 134 133 * . and dangle a plumb line from the tripod. methodically.DAY Hector and Bobby have stopped at a point of bare rock looking out across the broad valley. His voice rings sharply around the forest. quietly this time. They stop for Bobby to consult his compass. They stop hammering and listen to the ECHO BOUNCING down the valley. a cairn. They hastily dismantle the equipment and load up the horse. The only sounds are of their breathing and the CLICK-CLACK of the stones. Hector far ahead turns around. Bobby has frightened himself too. He eyes the forest all around as the echo of his voice fades. They are building a pile of stones. in an atmosphere of controlled panic. They talk as they work.
Hi! Hello! Hector absurdly greets him. holding his hands up and smiling crazily. 137 EXT. and they move off again. FOREST .. goodbye... "Don't mind me. We can feel their anxiety breeding in the silence.DAY They are moving more slowly. I'm just leaving. FOREST .. hanging onto the bulk of the horse between them. come back. as if to say. Sometimes they are reduced to an undignified scramble. but Hector gives a turn of his head and there is the Indian four feet from him. the ground is rockier and the trees are thickening.. HECTOR The Indian backs off from them. They almost pass without noticing him.111. The trees are more openly spaced and the grass is richer. we're just moving through. The route takes them downhill.. It is difficult to know who is more shaken by their encounter. 135 CONTINUED: He indicates a slight change of direction. The INDIAN is sitting behind a tree as they pass. The encounter is high comedy but full of terror for all of them. It hasn't seen grass this good in weeks. boys. The slopes are more dense with undergrowth now and the going isn't so easy. (CONTINUED) 137 136 135 * .DAY They are on the valley floor now.. don't apologize.. but even the CRIES of the BIRDS now seem to mock them.. a natural path made by deer or bear.. the Indian or Hector and Bobby. At the same instant the Indian comes to his senses and sits bolt upright. Still they don't talk. They no longer look much like conquerors of the wilderness. we all got a fright. The Indian stands up. 136 EXT.. They are moving quickly but they have a hard time keeping the horse on the trot. They take the easy way up the hillside. dozing or deep in reverie. HECTOR Hey." Hector and Bobby are equally silly in their response.. Why don't they talk? They proceed in this weighty silence.
waving his hands about apologetically. Suddenly.. I think he was an Indian too. HECTOR Yeah. HECTOR What did you see? (CONTINUED) 138 Then he turns and shouts to . 138 EXT. It is odd how they talk so matter-of-factly. It has headed back down to the tastier pastures in the valley. 137 CONTINUED: 137 * The Indian is in full retreat now. HECTOR Did you see him? BOBBY Sure I saw him. HECTOR Was he a Delaware? BOBBY How the fuck should I know? He was an Indian. What about the horse? BOBBY I'm not going back down there. Then they realize that in their fright they have let go of the horse. BOBBY Come on! Hector follows him. BOBBY That was stupid...DAY Hector and Bobby are sitting on a rock. a mad race through the forest. gathering their wits. HECTOR Don't panic.. but making good distance from them...... Hector... BOBBY Why not? He runs off into the forest. Bobby. FOREST .. It has happened so quickly that Hector and Bobby scarcely believe it has happened. he is gone. They see it disappearing into the trees below them. and Indians don't come in ones.112.
. HECTOR An Indian. Hector scans the hills above them. 138 CONTINUED: BOBBY Same as you.... without a fire? Bobby laughs quietly. my letters. BOBBY A gun? HECTOR No.. 139 EXT. the sky just darkening.... . HECTOR What about bears. HECTOR Yeah.DAY 139 They have stopped to make camp. kind of short. BOBBY We won't have a fire tonight. They move off. sharp shadows on the far peaks. Hector.. with long hair. 138 * BOBBY What've you got in there? HECTOR Some food. BOBBY That's the one. We should make a shelter though. Bobby looks at Hector's backpack.. he was't tall. the logbooks.. CAMP .. HECTOR Let's get a bit further up. a purple glow in the air.113.. It is late afternoon. BOBBY Don't even think about bears. in case it snows. a candle.. BOBBY That's it.
.114... BOBBY Go on. no wonder. He is reading his letters... Half-hidden in the undergrowth. CAMP . read it out. it is big enough for two men to huddle in. why not now? Hector gives in.. He holds a scrap of paper close to the candle and reads. on his own.NIGHT 141 They are safe and snug in their hideaway.... Bring me a bear's head and claws and a gun. HECTOR Dear. to curl up in a ball and hide. School is good... they did not have names. 140 EXT... Nathaniel. He has the air of someone putting his affairs in order. Come back soon. must be Delaware. (CONTINUED) . Bobby is thinking aloud. Hector looks up. not tonight. BOBBY I've had to listen to it every night since April.. BOBBY Maybe he's lost too. I miss you. Tonight they feel the most basic of urges. they were an angry lot. Miss White has married a fireman. Do not worry about the frogs. Hector has lit his candle. they used to farm on the coast. 141 INT.. Everybody misses you. HECTOR It's not so funny now as it was. holding them close to his eyes in the dimness.... Father.NIGHT 140 * They are making a round frame of bent branches and covering it with foliage. everybody thought they'd cleared off west.. Three frogs are dead. the other side of Ohio.. Hector looks up at Bobby.. they were chased up here years ago.. and allows himself a small smile... What? HECTOR No. CAMP . He looks up at Hector.
. nine months on a whaler and then three weeks at home telling us all how much he missed us.. BOBBY Where the hell is it coming from? He puts his head out of the shelter. HECTOR I'm going home. BOBBY I had a father like you.. He huddles back inside the shelter. smell it? Hector sniffs some more.... BOBBY Smell it? HECTOR No... for the winter.. HECTOR If you knew him. BOBBY Goddam it. HECTOR Tobacco? They whisper. it would be funnier. Bobby doesn't pursue his argument. then 141 * . (CONTINUED) He tenses. 141 CONTINUED: BOBBY It wasn't funny then..115. if you could picture him saying it... BOBBY I can't tell.. sniffs the air vigorously... a night like this it could carry for miles. BOBBY I wish I had a smoke..
. come on.... day and night... HECTOR Well have it now. you have it. He hands it to Bobby. HECTOR I was saving it for my birthday. BOBBY I have to wait until your birthday for a smoke? Who are you... BOBBY God... but that's how I feel about you. BOBBY I bloody won't. I'm not smoking on your command. I don't smoke.. and you don't even use it.. (CONTINUED) . that's why we're friends.. wanting a smoke. your poor children.. smoke it. I was going to give it to you then... BOBBY What do you mean..116.... Bobby. BOBBY You've kept it from me... smoke your pipe. d'you know that? HECTOR I know... no hoarding. the fucking king? HECTOR Go on. what do they have to do for a piece of candy in your house? It's very hard to like you sometimes. There is a brooding silence...... Hector takes a small package from an inside pocket....... take it. too.... 141 CONTINUED: (2) 141 * After a tense silence...... we try hard.. you've listened to me for a month...... have it now. you were saving it? You know the rules.. Bobby takes it. tobacco or food. It is a wedge of tobacco. HECTOR I was saving it. I bloody won't.
all night.. HECTOR Alicia. who now appears churlish. childish. who would you rather be sitting here with... Bobby yields to this with the softest. BOBBY We should sleep.... BOBBY Daniel Boone? Hector smiles. Bobby does. He is in control of their HECTOR No we're not. but still smiles his acquiescent smile.. He would be a help. BOBBY I can't think of anyone else. Bobby is still silent. Suddenly Bobby grows shy of their growing intimacy.. where do you want to start? Bobby is silent. Hector reads the silence well. but you're impossible to like sometimes. BOBBY No.. have a think.. HECTOR I know where you want to start... (CONTINUED) . But Hector has other plans.... tell me. We've got a lot of running to do in the morning... HECTOR Come on.... friendship now. 141 CONTINUED: (3) 141 * Hector is neatly turning the tables on Bobby.117. most vulnerable smile we have yet seen on his face.. and then breaks into a smile... HECTOR So. but after Daniel Boone.. we're going to talk.. HECTOR Yeah. too... I'll have it in the morning..
....... FOREST .. HECTOR What do you mean... HECTOR I've said who we are and where we're headed. Bobby is mischievous now. I'm the one that has to apologize. HECTOR The peak we logged yesterday. I'm sorry. After my boy..118. is that fine with you? BOBBY I was going to call it Tobacco Mountain. Behind him Hector is busy writing in his log book... BOBBY Oh no you're not.. tears out the page from his book. or Mount Alicia. smoking his pipe.DAWN It is a glorious dawn.. you're sorry. It will be a worthwhile night for both of them.. Want to sign it. write anything? BOBBY No. 141 CONTINUED: (4) 141 * Bobby's smile breaks into a boyish laugh.. He offers it to Bobby. (CONTINUED) 142 ... BOBBY Isn't it a beautiful day? Hector finishes his writing.... what about Alicia? HECTOR I'm sorry. but Nathaniel's fine. Bobby sits looking out on the valley. I've named it Nathanial Mountain.. 142 EXT.. BOBBY Well. BOBBY No.
puts the pouch on the ground near the shelter. 142 CONTINUED: Hector smiles. 144 EXT. BOBBY They're on the other side. He dips down over a rise. He throws himself and Hector to the ground. and turns to watch him. as if to challenge their night-time tormentor. They move like ghosts. HECTOR North? Yeah. FOREST . Hector tries to struggle free. Hector ducks lower. Behind them they don't see the figure moving from the cover of one tree to another. (CONTINUED) . we just have to keep moving. He puts the paper in a small leather pouch. BOBBY Keep the sun on our backs. and then another figure following the first... Hector takes a last look at their shelter and its little memorial cairn and then runs to catch up with Bobby.DAY Hector and Bobby look vulnerable as they walk through the open forest with their meager packs on their backs. BOBBY We can move quicker without the horse.. and instantly returns. hugging the ground.DAY 144 143 Bobby is a few steps ahead of Hector. FOREST .. 143 EXT. Hector follows him. Bobby is already sliding up the slope to look over the rise. 142 * Bobby walks off with great clouds of tobacco smoke billowing defiantly around him... we have to get away from here. BOBBY Let's get away from here. Bobby stands. and starts to build a small pile of protective stones on top of it. HECTOR What's wrong? Quiet.119.
HECTOR What's wrong? BOBBY They're behind us. through the women and children and across the stream. BOBBY Oh-oh.. Are they teasing them? It looks so much like a game children would play. looking absurdly embarrassed for the fleeting moment that we see it.. There is only one way to go. He sees another figure caught in the act of seeking cover. 144 CONTINUED: 144 On the other side... The women are washing clothes. Then Bobby sees another. From behind trees and rocks they emerge and begin the chase.. They should be on the coast growing corn. To the watching Indians it looks like a direct attack on their families. He is grey-faced.. the children are splashing and playing. they see the women and children of a small group of Indians at the edge of a stream. They might BOBBY They were chased here. Bobby turns to Hector to make his point. The forest seems empty. (CONTINUED) * * .120. Hector knows they are doomed. They must think we're stalking the women. A tragedy of misunderstanding.. BOBBY We're right in the middle of them.. over the rise. Fifty Indians hold their breath. That is when he sees the first of the figures. BOBBY Do you want to run? HECTOR I'll do what you do. We are close enough to hear their laughter. a man who is looking at death.. * They leap to their feet and run.. Hector looks and sees nothing. just the ghost of a shadow moving from tree to rock. HECTOR Does it have to be bad? be friendly.. But Hector looks at Bobby.. His eyes flick across the forest behind them.
We're going home... shaping the human net that will soon engulf them. spreading out on either side.. REPORTER #1 Do you know the lady. He forces his way through the yelling crowd of REPORTERS and camera crews. HECTOR They're not going to catch us. Hector is trying to make his way into a crumbling apartment building in Queens. the Indians keep up the chase. There are no whoops or shouts. 145 EXT.DAY A war party of media people surround Hector as he exits a Yellow Cab. Policemen help Hector through the barrage of shouted questions. Death is near. Bobby. fight.. BUILDING .121. It is a menacing spectacle. Hector stretches out an arm to Bobby. HECTOR Hold my hand. Although their families are safe. They hold hands and run. the moment of confusion compounded in action.. fight like hell. and Bobby stay close together as they run.. Mr. it'll be quicker. They lope easily after them.. burning all their energy in this mad life-or-death race. Mr. BOBBY When they catch up. They follow Hector and Bobby into the trees.. Troup? REPORTER #2 Think you'll go to jail again? CAMERAMAN Look here for a second.. Troup? REPORTER #1 Will you talk to us when you come out? (CONTINUED) 145 Hector * * .. 144 CONTINUED: (2) 144 * Hector and Bobby scatter the women and children and splash across the stream. will you. waiting for the white men to tire.
Santiago. BUILDING . as if someone has shouted "Cut. DETECTIVE You bring everything? HECTOR What? DETECTIVE Building warrant... They light cigarettes.. The media mob immediately switch off their energy.. The Policeman stops. They continue climbing. 147 INT. The paramedics turn around and head back down the stairs. Hector joins them.. POLICEMAN This is Troup! A DETECTIVE is with another man who looks like a city official...DAY Hector climbs to the fourth floor.. This is Mr.. (CONTINUED) . Troup..122. third floor. insurance. I'm Cobb. APARTMENT . him.. fire certificate. POLICEMAN You guys are downstairs.. carrying a stretcher.. Hector looks at the Policeman curiously.. stare into space. 145 CONTINUED: Hector enters the building. 146 A POLICEMAN goes with 145 * Two paramedics come up the stairs behind them. POLICEMAN You're forty-eight." 146 INT. sanitation certificate. license. DETECTIVE Come here.DAY 147 Hector and the Policeman squeeze past a cluster of people at the door and enter the apartment. thirty-eight. from the city. fiddle with cameras. I want them all.
this is serious. held only by its plumbing... 147 CONTINUED: HECTOR This isn't really my building. DETECTIVE Come back from there. Santiago.. MRS. Hector looks inside. the floor's still moving.. you're staying here 'til Mr. Hector looks at his watch. I told you the floor was making noises. Troup. HECTOR Not me.. The Detecitve is unimpressed. with everything. There is a large ragged hole in the floor.. get your partner over here.. I just took the call and came right over. Firemen are working to secure it and what is left of the floor with metal props and hydraulic jacks. HECTOR Where is she? The Detective and Hector walk down the hall. They stop at the door of the bathroom. MR..... PHILIPPOPOLIS.. my ex-partner.... How are you feeling? Hector says this clearly. She looks angry.. PHILIPPOPOLIS I phoned you Monday. is an old lady.. it's my partner's.. Philippopolis.. She tries to sit up when she sees Hector peering at her over the rim of the hole. SANTIAGO I might have to close the place down. for the benefit of the Detective and Mr.. HECTOR 3:35.... DETECTIVE Slow down. so it's 3:15 on a Friday. Santiago gets the paperwork. At the far side of it the toilet unit dangles at a dangerous angle into the hole. Lying on the floor below. (CONTINUED) 147 * * .. I think you spoke to him.. Troup. Mrs. and being attended by the paramedics. MR...123. I have to leave town in an hour or so anyway... surrounded by rubble....
....... I want you here.. I have a witness! I was dancing with a prince on my eighteenth birthday.... you're a lousy landlord. you have me falling down a toilet! 148 INT. 147 CONTINUED: (2) HECTOR I'll make a couple of calls. and now look at me. HECTOR She seems in good spirits. and on your knee. (CONTINUED) 148 147 * .. you should be ashamed.. They won't let me leave the building... I phoned you Monday.. I'll straighten it out. I haven't seen them in four years. why did you do this to me? Get down here now... Philippopolis shouts up to Hector as she sees him leaving the bathroom above her. Hector gets connected.. Hector quickly dials another number...DAY Hector retreats into the hallway... Mrs.... Santiago making copius notes in his book. to let old people live like this. My weekend's ruined before it's started... he's gonna sue you. this isn't my building? What? Don't tell me anymore.. I've been talking about it all week. while watching the ominous Mr. they want all kinds of certificates. BUILDING ... MRS.. HECTOR Boris. is she bad? Why don't they move her? DETECTIVE They waited for a portable X-Ray machine.. PHILIPPOPOLIS Wait 'til my son sees his mother lying here like this. but you move... they can move her now. I'll phone the lawyer.. Takes out his mobile phone and dials.124. As if in response. now. I have my kids tonight.. I did tell you..... how come they phoned me..
... I don't know how water could sit in there for so long without somebody noticing . no.. I'm still in Queens..... right... Santiago is talking almost to himself now.. okay.... you didn't use water-resistent paint on the ceilings did you? Hector shakes his head wearily... this is an emergency.. You have any plumbing maintenance records? HECTOR At the office.125.... you know that.. (CONTINUED) * 148 * * * * . SANTIAGO It looks like water rotted the floor.. I might have some bills.. I don't have time to pick up the rental now..... it'll take you a month...... absorbed in the mundane mechanics of Hector's building. thank God. I've got cops here and everything . HECTOR I don't really know..... and put my bag in the car.. SANTIAGO You're going to have to check out the whole building... you come down here. don't you? HECTOR Can I do it Monday? SANTIAGO Good joke. I have to pick the kids up by six.. waving his notebook now full of incriminating notes. otherwise I fuck up her weekend too. SANTIAGO It's a weird one.. you have to help me..... I need your car. He finishes the call just as Santiago approaches. what can I say? Please.... it's not my building. they won't let me leave the building. she'll kill me. 148 CONTINUED: HECTOR Anna..
but it might have been hysterics.. Philippopolis down the three flights of stairs.... HECTOR Can I speak with Leonard.ANOTHER ANGLE .... There is a moment's pause. what I need to know is what certificates you have on file for the building... HECTOR Leonard.... she did mention the word sue. PHILIPPOPOLIS My son's downstairs...... I need to know that.... anything you have. when he sees me like this he'll kill you.. 148 CONTINUED: (2) 148 Hector is already dialing another number as Santiago wanders off in search of further fascinating discoveries... go on. Mr. He sees Mrs. please.. (CONTINUED) 149 * * * . I'm on my mobile. Real Estate. MRS. Borlonski and Troup. she tries to sit up.. He is on the phone again. being carried out of the room below. a floor . before five . straining on her straps. let me know if the insurance is current.. Philippopolis.. we've had a domestic accident at our Eighth Street building... just do one thing.... Deutsch? My name is Hector Troup.. BUILDING . now strapped in a stretcher... listen... see what it feels like! Break both legs! Hector is almost tempted to do what she says.... This time to his former wife. it's Hector.... Borlonski and Troup.126.. 149 INT. During the call Hector has walked down the hall and back to the hole in the floor. jump through the hole. and an old lady.DAY Hector is following the paramedics as they negotiate Mrs. At the sight of him. yes.. thank you.. I know it's Friday.
I'm George Philippopolis. HECTOR Well. BUILDING . All the while Mrs. Hector is shocked.. When she is safely inside he walks towards Hector.....127... it's important to me too... what do you think? I'll be there.. SON Mr. but obviously obscene... I won't take it out on the kids.. Queens to New Jersey. HECTOR I'm sorry about your mother.. SON Well. as soon as I get the car... or do you have a car? HECTOR What? SON To the hospital. I wasn't planning to.. I'll be there.calmly and in a considered tone.. Philippopolis issues a non-stop torrent of Greek expletives -... on a Friday. SON You're not making a visit to the hospital? (CONTINUED) 150 * * * * 149 . Her SON is with her. They shake hands. you want to travel with us.. 149 CONTINUED: HECTOR I'll be on the way in thirty minutes at the outside. I can walk away from problems...DAY On a street Hector stands with a Policeman watching Mrs. Fortunately he is of modest build. I can't say. and a head shorter than Hector.. Troup. Philippopolis being loaded into the ambulance. it's happened. 150 EXT. I'll be there. I've been trying to put this weekend together for years. and he seems to be saving his wrath for the Courthouse.....
who's gonna pay? It's your building that fell down.. George..... POLICEMAN That's true... HECTOR Look. Can't you even give me a credit card number? 151 EXT. The Son backs off to the waiting ambulance reluctantly.. The Son addresses the Policeman. SON Screw the flowers. The cop is enjoying his role as straight man to these two. POLICEMAN That could look bad.. she wants her family with her now...ANOTHER ANGLE . runs to the car.. The Policeman looks at Hector.. I'll visit her on Tuesday. SON He's not coming to the hospital. given her my best wishes. HECTOR They won't let me leave here. I'll organize some flowers.. Hector 151 * * * * 150 * (CONTINUED) ...... Any other Friday but this one. who's gonna check her into the hospital. * He nods his head to the Policeman. BUILDING . he wouldn't even make a trip to the hospital. The Policeman this time backs him up. SON Wait 'til they hear this in court .128. lots..... 150 CONTINUED: HECTOR I've talked to your mother.. Hector takes out his diary.....DAY The ambulance drives off just as BORIS arrives. here's what I can do.
.. I just put your name on the lousy forms.... did you bring the rest? BORIS Yeah. (CONTINUED) 151 * .. don't let it spoil your weekend... BORIS How is she? HECTOR She's a witch. I'll take care of it. my name is mine.. and don't worry. it might help if you make a visit to the hospital. BORIS Hector. Hector is calm now. Deutsch is checking the insurance.. I didn't plan this....... we're covered for most things. the license is current.. We can sense real depth in their relationship... it's your problem. HECTOR I told you to stop doing that.. use your own name.. you'll walk away from this.. why did you do this to me? BORIS I'm sorry. HECTOR What's with the we. four years... 151 CONTINUED: HECTOR It's never been this bad. Boris. she didn't break a thing. the inspection certificate is okay.. Hector... Hector doesn't let up on his anger...... why does this keep happening to me. despite Boris's pranks....129.... Boris Borlonski. huh? You make the most of it. I just borrowed your name on the titles.... will you remember that? Boris Borlonski! Boris is conciliatory... forgive me. I'm sorry.. her bones must be made of steel...
you have to get out of this business. It is a bright pink station wagon. ANNA Get in. have a great weekend.. HECTOR You bring my bag? ANNA Yeah. 152 INT... Hector gets into the car.. we'll straighten everything out.. 151 CONTINUED: (2) HECTOR Yeah... Your camera's in there too. Take some photographs of the kids. BORIS Go on. HECTOR Thanks. All he has to do now is cross two rivers and Manhatan Island in under an hour. HECTOR This is the worst it's been... always. ANNA Nervous? (CONTINUED) 152 151 * .." and "FRESH OR DRY. smiling broadly. I thought I had.130... highly decorated with flower motifs and slogans like "ANNA'S ARRANGEMENTS. Everything is falling into place........ in Anna's pink car.. WE'LL PLEASE THE EYE. you can dropp me at the shop. I'll talk to you on Monday." Anna is a florist.DAY Anna drives skilfully through the busy Friday streets. BORIS Everything can be fixed. CAR . He runs to meet her. Then Hector's girl friend ANNA arrives in her car. Hector brightens when he sees her. I'm sorry too. Sure.
. the bigger apartment together. I want my freedom. ANNA Don't worry. nodding her head with every earnest pronouncement that he makes. I am ready... Yeah? ANNA Sure... ANNA There you go... HECTOR .. just like I'm being executed..... but at least Anna smiles when she says it. Our Hectors have been hearing this for centuries...... HECTOR You're right. I told him.. when we have the space. you can start being a father again.. HECTOR Right..... 152 CONTINUED: HECTOR Not much. that was the plan... this is the beginning of something.. ANNA Well you deserve to suffer... it can't go on. ANNA I didn't do much.... together. for everything. HECTOR I'm glad you talked me into it... not the end.. when we have the space.. Anna is looking at him amusedly. (CONTINUED) 152 * ... that'll work out..... I'm fixing all that shit with Boris. you said it.. and the kids....... you were ready.. I was ready. when we get the bigger apartment. Hector is pleased with himself. you're absolutely right..131.... we can have them over sometimes..
Hector accepts this..... ANNA Do the best you can with them. ANNA We have to help each other... and one more thing. Hector is high on his optimism now.132. Hector leans over to embrace her before she has stopped the car.. a five minute detour. but lovingly. Hector... Anna pulls into the curb. I said it. Go to it.. deliver these... Together.. HECTOR Yes I am.... I can't. She looks him straight in the eye. I said it ..... I don't have the time to go 'round the block. and get out of my car at the corner here. and cheeky with it. 152 ANNA Here's the address... just two blocks before the bridge. Hector. (CONTINUED) . She kisses him quickly.. Hector. She indicates a massive bouquet of flowers wrapped in cellophane.. you have to. taking up the whole of the luggage space in the car. everything.. didn't I? ANNA You're a man of decision..... ANNA Oh. HECTOR Thanks.......... What? HECTOR Anna.. It's a golden wedding. for the car. 152 CONTINUED: (2) HECTOR Yeah. you'll need gas too..
And after so many images of the natural world. On the outskirts of Jersey City he finds the suburban street he is looking for. Six thousand years ago we left Hector on a beach. We will GO WITH Hector OVER the bridge. Hector's trip to his children has more meaning for us than a simple journey from A to B.EVENING Hector's former wife. ACROSS the avenues of Manhattan and THROUGH the tunnel.DAY 153 152 * A trip from Queens to New Jersey at five o'clock on a Friday afternoon is going to look like a dream sequence whatever you do with it... Hector stops the car outside Janet's house and lets out a sigh of relief. JANET. (CONTINUED) 154 . thank God. come out of the house as Hector walks up to the door.. If the last crosslight holds on green then he might even make it on time. aching for his family. yes now I know God's a lawyer. 152 CONTINUED: (3) ANNA Phone if there's any disasters.. then it will be somewhere around here that it happens.. in her business-like way.. 154 EXT. 153 INT. we're insured. thanks./EXT. around the corner OUT OF SIGHT.. when all the pieces fit.. and that's fine.. a world little altered by man. when everything comes together.. CAR .133. If there is a breathtaking moment in this film. Leonard... and the journeys home that they did or didn't manage to make. DONALD. Hector watches Anna stride. We will be aware of our other Hectors. If the traffic allows.. HOUSE .. hello. tonight in New Jersey Hector will complete his journey.. His PHONE RINGS ONCE.. This car trip will pull the threads together.. the PANORAMIC SHOTS of New York in all its mad glory will place our Hector in a new dimension. and her new husband. yes. He is almost home. HECTOR Hello. Donald is carrying luggage and heads straight for their car in the driveway. don't suffer alone..
. and you'll learn. She shouts into the house.. they like hotels. who is about thirteen. your father's ready to go. Maybe I should have come over a couple of nights and got to know them. they can take it. BETSY. if anything crops up...... Janet talks to Hector... Check into a hotel if it gets too much. (CONTINUED) * . Janet doesn't let him off the hook. It's only for a couple of nights. I thought it would be a good place to get to know them again. HECTOR Maybe this is a bit sudden for them.. JANET Come on. JANET By Monday. I figured you should be allowed to make your own mistakes.. who is eleven. thanks for the break. JANET This is where we'll be. 154 JANET You made it. you'll know them.. The kids are just coming... I ought to warn you. Hector gets a little scared about what he has taken on. JANET Well. She hands Hector a piece of paper. HECTOR Why didn't you say? I could have fixed up something else.134. They're not over the moon about going to the beach house.... Hector.... 154 CONTINUED: DONALD Hi. and TOM.. Then the children come out of the house.. He starts loading up the car. you two.
The children let their mother pat them and follow Hector to his car. Hector nods his head obediently. His face contorts in guilt (CONTINUED) 154 * . Hector. JANET Good luck. wrapped in cellophane and red ribbon. Donald shouts from behind the wheel of his car. TOM Hi. JANET That's what they call you. The kids load themselves into the back of Hector's car. They hardly lift their heads to him. BETSY Hi. the invisible dad. where he has been hiding. He always did with Janet. eyes to the ground. It seems to have grown even larger than before. JANET You three have a good weekend. Betsy notices the huge arrangement of flowers.135. If it's too miserable at the house your father said he'll take you to a hotel. not any more the little kids in the photograph in his wallet. 154 CONTINUED: (2) JANET Here he is. Hector is daunted by how grown up they are. She turns to Hector. DONALD See you Monday. HECTOR Hi. and anxiety. BETSY Are those for mom? Hector looks at the flowers. Janet takes control of the farewells. Hector.
....... what have I done. God? No... sure. HECTOR Let's go.. HECTOR Excuse me. kids. she's got a lawyer already? That's a bad omen... I can't face it. sorry to bother you. He looks at the kids.. me. then he stops. BETSY What's wrong? He picks up his mobile phone and is about to dial Anna's number... make her an offer. He can't let go of business...DUSK They are driving on the freeway. 154 CONTINUED: (3) HECTOR Oh no. (CONTINUED) 155 154 * . I have to consult the oracle... 'bye. Hector is on the telephone again...136. did Boris call you? The insurance is fine? Good ./EXT. sorry to phone you at home.. Betsy and Tom are listening in the back seat. CAR .. with the insurance company... It is dusk. 155 INT... Jesus save me... I have the kids in the car with me right now... not just now... eager for clues about this virtual stranger in front of them.. you're right. too. just a joke. He gets connected. HECTOR No.. HECTOR Is there anything we can do right now.... Leonard. but she could claim negligence ..... Sure. oh.. it's Hector. HECTOR Hello..
. and gas.. we have things to do. gas..... that's what it says on your birth certificate. HECTOR Right......... SAFEWAY ... HECTOR Tom? TOM No. and vulnerable.. lets out a sigh. Hector wisely lets it go.. the weekend starts right now.. soon. The place is almost deserted. you can do that. THOMAS (TOM) I changed it. Safeway. it's your name...... 155 CONTINUED: 155 Hector throws the phone onto the passenger seat. keep your eyes skinned. HECTOR Want to make any calls? She shakes her head. and catches sight of the kids in the mirror. 156 INT. Their perplexed expressions make them look younger than they are. HECTOR That's it! The last call. He smiles and puts on an act of brightness. we need some supplies.. look out for a Safeway. and it's Thomas. oh my God. and I could murder a Chicken McNugget..NIGHT Hector is pushing a cart around a large Safeway. HECTOR But we called you Tom.137. Hector's heart aches for them... Betsy and Thomas are tagging along. the phone and offers it to them.. They return his look with blank expressions..... (CONTINUED) 156 * * * * Betsy? He picks up ..
... Betsy. Betsy keeps on the attack... HECTOR Good point. HECTOR What's wrong with that? It's a kitchen roll.. HECTOR Well. you don't care. Hector pushes the cart to her.. why can't I pick a kitchen roll? Betsy is defiant. He turns to face her.. you buy junk... Hector notices and puts up with it for a while.. HECTOR You're right.. Betsy moves off with the cart. it'll save you money. She picks up a more friendly brand of kitchen towel from the shelf and throws it into the cart..... Hector has the sense to back down... get to it.. BETSY I do it every week anyway. Hector warms to her. we won't eat it.. and it isn't recycled. 156 CONTINUED: For every four items Hector puts in his cart Betsy removes three and returns them to the shelf.138. (CONTINUED) 156 . BETSY It's bleached..... But when Betsy returns the rolls of kitchen towel he has selected he makes a stand. BETSY Everything you buy is junk. I don't eat steak. A trace of girlish common sense has crept into her voice. you just buy junk. I'll just tag along.. BETSY Ugh! Why don't you ask us what we like. She prods a packet of frozen hamburgers.... and what's this.
Her eyes and Hector's meet. From the back of the car the kids have watched it all. searching for some traces of the little children that have haunted his thoughts for so many years. it is later. We let her. Hector relaxes. By the time their credit cards are back in their pockets their love is a memory. He puts on a couple of exterior lights. 158 INT. The kids have fallen asleep. THOMAS She does.NIGHT 159 The car pulls up at the holiday house.139. Hector follows them up the aisle. Betsy follows him./EXT. the tots he abandoned. He watches them in their sleep. but we can hear the sound of the SEA and there is sand underfoot. An attractive woman is filling her car in the next line. from the car and into the house. HOLIDAY HOUSE . still half-asleep. GAS STATION . 156 CONTINUED: (2) 156 Thomas backs her up. He carries Thomas. It is dark. She tells us what to eat. 157 EXT. She talks through her yawns. Hector gets out. The ten billionth romance in the history of the planet sparks into life and fizzles out again in the twinkling of an eye. Betsy gives Hector a withering look of disapproval as he climbs back into the car. CAR . Hector walks to the house and unlocks the door. 159 EXT. For some reason they exchange the smallest smile. . BETSY Are you going to bring the flowers in? HECTOR Don't mention the flowers. For a few brief moments they are talking without words as their tanks fill. HECTOR Can I just keep a couple of those steaks? We can't live on chicken.NIGHT Hector is filling up the car in a gas station close to the Safeway.NIGHT 158 157 * Back on the road. groaning fussily. still sleeping.
these stones really like what you're planning. or your income level next year? Be as specific as you can. Mel.O. now listen... A man sits cross-legged on a studio floor and is talking to a phone-in viewer. We've seen our Hectors do this before. money or the purpose of your life. TV MAN (V.. what are you planning for yourself in California? TONY (V.. The TV man has five small stones which he regularly scatters on the floor.) Tony.... Tony............. and we feel the echo. travel. eh. he watches the kids sleeping in their little holiday beds.. TV MAN (V.. HOUSE . It has been too eventful a day. He sits bleary-eyed watching a late-night TV SHOW. there is no doubt in my mind about that. think about it. now here's something. Tony. Tony.140. He stands up and leaves the room....) The big one. love..O.. I've been thinking about a move to California. Hector can't sleep.O.. these stones really want to tell you something.) I'm hoping for an acting career. are you planning a move. you have to be specific.. But as he turns to leave the room Hector gets a fright. anything? TONY (V. HOUSE . Perhaps this might have enthralled one of our earlier Hectors. but I want a specific question from you. Tony? These stones are really talking here. (CONTINUED) 161 160 * . be it love... TV MAN (V.. 161 INT...) Yes I am... Hector watches them.NIGHT Next door.O.O. 160 INT.NIGHT Later.. travel. the stones are talking to me already... what do you want to know..) This is good. movement.. but our modern one is simply restless.
.141. not the pancakes. The kids are having juice and cereal. watch the oil. every weekday morning at three here on the Psychic Network..... moved 162 In the morning... why.. Just as he is closing the door he gets another surprise. human being.. giving him into trouble. She sobs pitifully. Betsy's sobs having subsided... not the pancakes. Lucinda's Horoscope Dating Show. not the pancakes.. 162 INT.. no.. all the books. HECTOR How about some eggs? They shake their heads. Hector is scrambling some eggs....... HOUSE .. what comfort could he offer his stranger daughter if he did? It is a spooky. remember there is an answer.. crumpled little girl. Hector is a confusion of feelings: frightened.. impotent. all of the books. this time from the sleeping Thomas.. fascinated. but she is fast asleep. no. mystical moment for Hector. don't let the oil run out. THOMAS ..) .... She changes in an instant from a bossy adolescent to a tearful. At first Hector thinks she is awake.MORNING He is one spooked.. why? Hector closes the bedroom door. more mystical than the mumbo-jumbo still issuing from the TV next door. TV WOMAN (V... no. 161 CONTINUED: 161 * Betsy starts talking loudly... and there is a special partner out there for you. BETSY .. How can he help her? How could he possibly unravel the secret of the pancakes. (CONTINUED) . no. Hector moves quietly out of the room. they are making breakfast in the kitchen... find your true cosmic partner first time around.. BETSY Get me the books.O.. yes you did.
Betsy. stay home and read. THOMAS I brought some books. THOMAS We don't go to Funfairs.. HECTOR Nothing. . HECTOR I thought we could walk into town this morning. I want to Why? Hector is determined to make it work. HECTOR How about pancakes. Hector changes the subject. 162 CONTINUED: HECTOR You don't eat eggs? BETSY How many have you got in there? Three. I saw the Funfair when we came through last night. d'you like pancakes? BETSY Not much. maybe. The mystery of Betsy's pancake dream is evidently lost in infinity. Pancakes don't mean much to you? BETSY They don't mean a thing.142.. HECTOR We're taking a walk... No. Hector does a little probing. HECTOR Let's take the walk anyway. why? HECTOR I just wondered. HECTOR Is that all right? 162 * BETSY For a week.
DAY They are preparing to leave the house. THOMAS Why not? Hector declines to explain the complex reasons that he might have for not wanting to wear the shoes of his children's replacement father.. What's this? He points to a mark and a date lower down on the wall.. THOMAS Donald has some shoes. Thomas is already in the cupboard under the stairs.. (CONTINUED) . and shoes. HECTOR I don't know if I want to wear Donald's shoes. He * The kids' heights have been marked on the wall on some long-ago holiday.. emerges with a pair of sturdy walking shoes..143. THOMAS That was the flood.. Donald says it's the icecap melting. HECTOR Look at this. Wow.. reluctant to go. HECTOR Six years ago. He sits down on the stairs to put them on. The dates are beside them. Thomas is still 163 THOMAS It's going to rain. and there must be some old coats in here.. 163 INT... HECTOR Here's an umbrella. HALLWAY . That's why Mom's selling the place... Look at that. I only have these I'm wearing. The sea came right up. we should stay. Then something on the wall catches his eye... It's going to get worse.
. Hector looks at the sky. BETSY The seats are wet. The kids trail behind. He calls back to them. HECTOR Let's have a ride.. HECTOR That's what Donald says? BETSY Yes. (CONTINUED) 165 * * . Hector and the kids are a sorry sight parading the empty alleys. It is the end of the season. Hector still tries to make a go of it. He speaks quietly to himself.. The Funfair is not much fun.144...DAY The light DRIZZLE now falling is keeping away what few fun-seekers there are left in town. getting back at Hector for four years of neglect. Hector triumphs. The kids seem to glory in the misery of it all. Heavy-hearted....DAY They are on the beach. HECTOR Please don't rain. He pulls a wad of kitchen roll from his pocket and starts to wipe the seats.. BEACH . although awkward in Donald's big shoes. that's what. Hector strides ahead in a show of enthusiasm. HECTOR Where are the birds? wrong time of year? Is it the 164 163 BETSY They don't come over so much. 164 EXT. The shellfish have gone. 165 EXT. FUNFAIR .. He has stopped at some dated space rockets.. walking in the direction of town. and it happens to be true. 163 CONTINUED: HECTOR It comes up every year? BETSY The last two. please..
Let's go somewhere and talk. her patience. Betsy smiles her small patient smile. biodegradable. Their faces are set in expressions of what? Boredom? Resignation? Patience? Expectancy? Then he realizes what is going on. her courage. Thomas vigorously nods his agreement. Betsy has the grace to smile as the three of them climb aboard the rockets. Hector is happier.. He looks at Betsy's face and sees in it the years of his absence.. re-cycled.DAY The only place the small town has to offer is a deserted coffee shop on the shorefront. They are waiting for him to open up to them.. HECTOR This is ridiculous.. talk to them seriously.. He looks down on the decrepit fairground. if you want to. BETSY No! (CONTINUED) * * * * * 166 165 . 'round and 'round. her stoicism. It moves him. They sit grimly in their rockets. unbleached. Hector. HECTOR Sure you won't have a pancake. beyond them through the window is the beach and the ocean. Hector looks to Thomas. Betsy? Betsy gets impatient. dry seats. BETSY All right. He leans over to her. 165 CONTINUED: HECTOR Kitchen roll. Hector knows that he has to do something to break the awful distance between him and his kids.145. He looks at them. HECTOR How do we land these things? 166 INT. COFFEE SHOP . explain himself.. As the attendant releases the brakes and cranks them up into the drizzle. Betsy and Thomas sit at a corner table. one in front of him and one behind.
.. I came around a few times.. then you moved to New Jersey.... what can I tell you.... it went to my head .. but for a while I thought I should stay away... I went kind of crazy after that... your mother and I got divorced. that's a fair question. no. everything with her and Donald happened pretty quickly. There is no coyness now.. I missed you... HECTOR Well.... I missed you both really badly...... remember? THOMAS Not really. your mother and I married young. she must have told you all that? BETSY Sure she has.. HECTOR Well. first question? The kids are ready for this. it wasn't easy... until your mother got settled.146.... but I was kind of crazy at the same time. 166 * THOMAS Where have you been? BETSY What he means is why did you stay away? Hector begins like a story-teller embarking on a long saga... for a good while... (CONTINUED) .. but lots of people get divorced.. that doesn't mean they disappear. I wasn't used to the freedom. HECTOR You're right. that's not really true. 166 CONTINUED: HECTOR Okay. you're big enough to remember..
.. It was no fun. it was like killing somebody. there was a lot of money in it.. I'll tell you all about it some day.. HECTOR You're right.. you're right. I had to testify against him. Hector thinks about this... 166 CONTINUED: (2) BETSY It's forty minutes away on a slow bus.. big contracts. 166 * . HECTOR Well I appreciate that.. Hector looks at Thomas. I was in jail.. BETSY Thomas wanted to visit you in jail. For us there is the echo of the real killing that was done long ago.. but Mom wouldn't let him.. (CONTINUED) A solid excuse.. but I'm glad your mother didn't let you... HECTOR You did? Thomas nods proudly. remembering the pain. my boss asked me to shuffle a few papers. I don't have too many excuses for the first year... the second year is easier..147. One year and eight months. THOMAS We didn't even know when you got out. Hector is pleased with this. there were some temptations. THOMAS What for? HECTOR We were doing government work.
. you know that. well. (CONTINUED) 166 * * * * * * * ..... she's nice..... a good man. so I got back to work.. We rent apartments.. I sure didn't want you to see me then... she sells flowers...148. she wants to meet you. people are a nuisance... does that sound bad? Betsy shrugs her shoulders.. in real estate.. we met in jail. but we want to get into commercial property. I like him.. The kids look shocked at this. real soon..... HECTOR Anna. found a partner... and on Monday she's probably going to kill me. HECTOR No. things have been going well.. The kids smile.. He's a good man.. so here we are.. He's my friend... and I missed you two. BETSY That's what you do now? HECTOR Yes. BETSY What about your girl friend? HECTOR Who told you about her? BETSY Nobody. 166 CONTINUED: (3) HECTOR I wasn't in great shape. HECTOR Just recently I've been feeling good. BETSY How should I know? Hector carries on with his story. I mean it...
. 167 EXT. BETSY Well..... you mustn't think that... BEACH .. HECTOR Go on... Thomas. HECTOR She's right... heck. Hector looks out at the sea.... she never stops... watching Thomas play on the beach. 166 CONTINUED: (4) THOMAS Betsy thinks that was her at the gas station. HECTOR No. The sun is emerging. Tom. that's terrible. Hector has to think to remember. people should talk more. THOMAS So you haven't been staying away because of us? HECTOR What do you mean? Is that what you thought? I was avoiding you two? No. did you think she was following us? THOMAS She's always thinking up stories like that.149. BETSY I have to ask you something else. BETSY Shut up. They have almost exhausted themselves in this first bout of talking. if people don't tell you things.. Let's go.. HECTOR The rain's off. no..... (CONTINUED) 167 166 .DAY Betsy and Hector are sitting on the sea wall..
that's what I mean. I taught you how to swim. HECTOR How did you do. we went to the pool twice a week. Betsy is still crying... Betsy. her pain. HECTOR Oh. Thomas! We're going home. in the test? BETSY I passed.... it was just what your mother and I decided... Betsy said she'll even let me eat a steak! BETSY Hurry up. BETSY I'm a life-saver now. She is beginning to cry silently. After a long moment she speaks. It is too soon for gestures of emotion. Hector leaves his limp arm on her shoulder. HECTOR I didn't leave because it was two days before your test. we're having a barbecue.... BETSY It doesn't matter. His emotions are full. why did you leave just then? Hector looks at Betsy. He hides his feelings in a gruff call to Thomas. 167 CONTINUED: BETSY Why did you leave just two days before my swimming test? Hector is moved by the depth of her memory.150. I'm sorry.. God... Hector doesn't make the obvious comment.. He puts a tentative arm around her shoulder. why would I leave? BETSY I know. HECTOR Hey. Tom! (CONTINUED) * * * 167 ...
that could be good. Then Hector speaks..151. HECTOR You'll be there. But she was right. HECTOR Is that bad? BETSY No. 167 CONTINUED: (2) 167 * Thomas breaks off from his play and runs towards them. Betsy. when we split up. HECTOR Just tell them you were with your invisible dad. anyway. Sure... BETSY I'm allowed. HECTOR Don't call him Tom.. didn't mean much at the time. he doesn't like it. HECTOR Your mother said it. BETSY Who said I'd let you eat a steak? There is a silence.. right beside me? BETSY I'd have to take the morning off school. Somehow Hector is touched by this. don't lose the children. with me back to alone. Betsy and Hector are quite close now. HECTOR On Monday will you come when I take the flowers Anna? I can't face her She wants to meet you BETSY ..
I felt it last night........ HECTOR I remember when you two were tiny.. you were gone... They share a laugh. isn't it? Betsy doesn't take the bait.. BEACH . I was on the train and she was sitting behind me. It was the day I got out of jail.. Betsy looks out to the ocean. remember I'd been inside for nearly two years with four hundred sweating males... 168 EXT.. Betsy looks at him kindly.DAY Hector and Betsy are walking on the shore.. (CONTINUED) ... just when I was closest to you... too....... I used to watch you sleeping... she listened to a bum who followed her off a train. I smelled her. HECTOR . it was just this incredible perfume.152.. you should know that. Thomas tags 168 * BETSY I think I'll paint the sunset tonight.. could touch you.. dreamland .. it was like now. but she's still going to kill me on Monday.. that's how good she is. BETSY That's what it's like. I couldn't help it.... but you weren't there.. along behind them. I felt close to you.. There is a silence... HECTOR It's just like a big pancake up there. She got off the train and I followed her.. you weren't there. BETSY What's she like? How did you meet her? HECTOR The funny thing is I fell in love with her before I ever saw her.
. Betsy moves off briskly along the beach.. Hector trails after her.. Hector is out of his depth with this daughter of his.. Future generations of women are going to be just as unknowable to our Hectors as past ones were. You seem to want to be. Another Hector and another pile of stones. you don't have to.DAY Betsy and Thomas are in a small fragile rowboat. This one is making a fire for the barbecue.. She smiles. BETSY I thought he was taller. BOAT .. One of those moments when another human being stands before you and is an utter mystery.. some distance from the shore. 169 EXT. BETSY Don't be so tough on yourself. HECTOR Is that a joke? BETSY No. look out for yourself. hooked. we can do that. I mean it.. They are watching Hector who is collecting a pile of large stones on the beach. Who are you? there? HECTOR Who's inside 168 * BETSY You'll never know... HECTOR No? BETSY No. (CONTINUED) 169 .. These human rituals never stop. usually.153. 168 CONTINUED: HECTOR I'm not smart about things like that.. Hector looks at her in wonderment.
He's getting fat. 170 169 . Hector ends up with all of the rope in his hands. He calls to them... He stands there. and his kids Hector rope. They call back to him. Hector wades out in his shoes so far.. It isn't attached to the boat. kids. 170 EXT. but he doesn't have the confidence yet. An ago.. HECTOR This is one useless piece of rope. He walks down to the water... Hector is more anxious than he should be. BETSY I suppose so. Thomas throws the mooring rope to Hector. BEACH . and they all laugh.DAY Hector turns from his work. The boat sticks. that boat doesn't look too safe. Out at sea the kids look small and vulnerable. 169 CONTINUED: THOMAS Well. HECTOR Throw me the rope. out of practice at fatherhood. or something.. Thomas. I bet I could beat him at the breast-stroke now.. What would I tell your mother. He is edgy. The kids reluctantly pull on the oars and bring the little boat in. too.. I don't want to lose you.. But are safe. A few feet from the beach they hit some sand. I'll pull you in. come on in... BETSY We're fine! Hector tries to relax. you're bigger.. it's been a while. HECTOR Come on in. Then he calls to Thomas. HECTOR I've just found you. Thomas. Just for a moment we have the image of our standing on the shoreline with a length of image with an echo from six thousand years this time Hector is laughing.154..
.. There's not much of the caveman about him now... He watches Thomas attack his chicken. (CONTINUED) 172 171 * . The sun has won the race again. HECTOR I did. She works frantically on the picture. He is trying to light his barbecue.. the smell of civilization. Hector has other concerns. After a while he is conscious of their amused attention on him........ 171 EXT. BEACH .SUNSET At the very moment of sunset Betsy is trying to capture it in a watercolor sketch. like it's your religion! THOMAS Things I like.. then he becomes a little self-conscious.. Match after match disappears into his elaborate stone structure. HECTOR I used to know how to do this. BEACH . Hector serves the chicken onto their plates. Tough little Betsy can even lose patience with the sun. and a glass of wine.DUSK It is a calm dusk..155. racing the sun as it dips into the ocean. 172 EXT. only to fizzle out. how you eat. She has set up an easel on the beach.. Hector is turning the meat on the barbecue. smell it. It's like action painting. He sits down beside them with his steak. BETSY Why does it always go so fast.. dedicated. I used to be really good at this. HECTOR Ah.. and smiles. She and Thomas watch Hector trying to light the fire.. and Betsy goes limp at her easel.. He has seen her attempt this before. scorched meat.. HECTOR I'd forgotten that.? Thomas is laughing at her. They laugh a little. He is in a splendid frame of mind. He wafts and blows ineffectually at a flicker of flame.. The sun finally vanishes.
. we're working on computer modelling. THOMAS I'm not into star-gazing so much ...... Mercury doesn't rise 'til after midnight.. Hector lifts his eyes to a bright point low on the horizon. when you ate. remember.... It feels good to him... it doesn't matter what we do. you could tell me the names of all the planets.. HECTOR Oh well. old Mercury... that's Jupiter... His head nods with the chewing and the tune... like everything was fine with the world.. Thomas tries it out. THOMAS No. HECTOR Uh-huh? THOMAS A self-sustaining life system... you could recite them like a poem.. But we always get a methane build up. not to worry. HECTOR I'd forgotten. eating and humming. I'm glad you still like astronomy though. at the tiny window upstairs in the old house? THOMAS No... so I did.... 172 CONTINUED: HECTOR You used to hum to yourself too.. The early stars are appearing in the sky.. for inter-stellar travel.156. HECTOR There she is... Hector is impressed by his son. THOMAS Hey. we used to watch the stars. I'd forgotten about that.... we're trying to make a biosphere.. (CONTINUED) * * * 172 .
black sheet up there with holes in it so the light comes through.... beneath the same stars that our first Hector wailed at six thousand years ago. the evening sky now pulsing with more and more points of light. and the wilting three hundred dollar bouquet of flowers. (CONTINUED) 172 * . BETSY I don't know. Betsy chimes in... Sometimes I think it's people that make it all wrong.. The kids will go back home. Mrs. one day we're going to have to take off for somewhere else. however temporary. Hector's voice and laughter carry to us. I'll tell you. Hector has come to rest. let's leave him while he's ahead. we walk around with all our problems.. you two. on Monday. If it wasn't for us there'd be nobody around to see it all.. HECTOR Sounds like Donald said that. it's just a big... that's the truth. Look how beautiful everything is. 172 CONTINUED: (2) HECTOR This is at school? THOMAS Yeah. I'm glad you two are thinking about the old planet. Philippopolis will have to be dealt with. HECTOR Don't worry. In general... HECTOR Well.. here on the beach. We're making such a mess of the world.. We see the three of them in a WIDE SHOT.157. Hector realizes how far his kids have travelled from him.. and found peace at last. Hector stands to fetch another baked potato from the fire. He looks at them. On Monday he will face the music.. But at this moment of calm on the beach. I'm proud of you.. the very latest. life will take over..
Betsy.. Betsy... is sitting on the skin of a bubble of milk in a bowl of cornflakes. I'll tell you..... what d'you think? (CONTINUED) * * * * * * * . Perhaps that's just about as close as Hector and his tribe of humans will ever come to working it all out. and somebody's just about to eat it.. we're inside a pancake. HECTOR Okay. we're all inside a speck of pollen that's stuck to the wing of a bee while it sits on a flower..... BETSY I've got a better one.. THOMAS You don't get bubbles in skimmed milk.... HECTOR Don't mention flowers. the whole thing.... BETSY Skimmed milk.. the whole universe is inside a speck of dust that's lying in a ball of fluff in the cuff of a pair of pants hanging over the back of a chair.. long pause. HECTOR I have an idea. please.... stars and everything.... it's half-and-half. The three of them are laughing now. BETSY Wait a minute.... after a long... But they try.158... And then. I know. not tonight. HECTOR No... 172 CONTINUED: (3) 172 Their voices ring out playfully across the expanse of darkening beach and light-laden sky.
FADE OUT. 172 CONTINUED: (4) BETSY Why are you always talking about pancakes. 172 * * * * * THE END . what's wrong with you? THOMAS You've got pancakes on the brain..159..
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