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.
in a reasonably temperate zone of the planet. Hector calls out. He sharply turns. a shallow cave given protection at its entrance by a covering of branches and brush. He strokes his long hair and fingers a blemish on his cheek. much too hard.* BEING HUMAN Hector is a family man. If it ever went out it would be a catastrophe. 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. deflecting his stream of pee now and then so that his image reforms itself and then is disrupted again. Hector doesn't know that his name is Hector. We see that the figure is a young BOY. a GIRL of six and Boy of eight.. Hector's son. a few times a day encouraged into life for cooking or warmth. But in his act of wild rage he gets carried away. Beyond the fire on a rock shelf HECTOR plays with his children. Boy thinks about it for a moment. 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. He picks up his son and throws him hard. It is the usual rough romp that fathers indulge in. so it remains a smouldering comfort and a constant preoccupation for the whole family. (CONTINUED) The 1-4 . not afraid to show itself. When he is finished. Hector is living out his life 4000 years before the birth of Christ. It is simply a convenience to help us tell his story. 1-4 TITLE SCENES The small fire that never goes out has been enlarged to cook the day's meal.. a trace of vanity makes him bend down closer to his reflection. HECTOR Go back home. Then he is aware of another presence. The image suddenly fragments.. before turning and disappearing behind the rocks. He and his woman and two children live near the ocean in a sheltered fold on a hillside. The idea of individual names is an imaginative leap that has not yet been made by mankind when we first meet him. Hector is acting the part of some trapped wild animal. lashing out at the hunters surrounding him. on his back. Just inside a small fire smoulders permanently. Hector is enjoying himself..
As we MOVE CLOSER we see that they are far from sleep.. Deidre scowls at Hector.. Hector is in the classic. If the gesture had been invented he would probably shrug his shoulders... By its light we see Deirdre and Hector making love. She holds out her arms ready to comfort the Boy rejected by his father. howling in pain.. . Hector is arguing with his son.. She is a vivid dreamer. HECTOR No. With a sigh of frustration he heads for the beach.2. Deirdre from their bed watches Hector. lying beside him? Hector's daughter delights him. The Boy stubbornly tags along at a safe distance. HECTOR Leave me alone! Stay here.. She emits unearthly nighttime noises. The Boy wisely retreats to the cave. 1-4 CONTINUED: The Boy tumbles down from the shelf to the cave floor at his mother. taking big. The Boy follows. stay! Hector takes a few steps. We CUT BETWEEN them. on their bed of dried grass and skins. What has 6000 years done to that art? We will think about it. Hector kneels beside his daughter. Two sets of bright eyes peek out from under their cover. squeals and giggles and moans. just outside their cave. the cave is quiet and the fire has diminished. Where has his daughter gone? Who is this strange wild creature that has taken her form. learning children. On the far side of the cave we see the sleeping children. It's difficult to say what their lovemaking might look like. The Boy wants to go foraging with him again. go back. angry father strides. Hector is fascinated. Her whole little form wriggles and contorts in response to the fantasy unspooling in her head. the loving parents and the watching. The Boy howls on. As Hector turns to continue his walk alone he see Deirdre looking at him accusingly from the entrance. go away.. no-win situation and he knows it. 1-4 * HECTOR No. And while Hector watches his daughter.. It is almost dawn... DEIRDRE's feet. stay here. Hector walks on for some time before turning on him. timeless.. Stay! There is real anger in his voice. Hector walks on again. absorbed in her antics as she sleeps.
He smiles. insistently making their way into Hector's bay. He splashes in the shallows. slowly. gut-turning fear. hoarding the food in a roughly-woven bag. He steadies himself and gazes hard out to sea. Also. He watches some wading seabirds nearby. He has a heavy cold and an irritating hack in his throat. We can feel the strain in his eyes as he tries to detect any hint of threat in the glinting water. mussels. Hector looks about 30 years old. This is advanced middle age for his times and it shows. surveying his world. HILLSIDE . blind. He jumps from the rocks and runs up the beach toward the cave. Whether the larger world is round or flat. simple things. In a similar condition a modern individual would spend two or three pleasantly drugged days in bed. or even naturalist. 6 EXT. Then something disturbs him. Hector picks up his bag and runs. Hector belongs to it in ways that a present-day hunter or holiday maker. 5 EXT.3. There is a strange atmosphere of appropriateness in the scene. rough the safety of Further along the shore Hector drops his bag and straightens himself. In another season they or their eggs will provide a meal or two. gathering cockles. Oardriven boats. seaweeds. racing up the steep slope in the direction of his home. orbiting. One thing else that Hector knows is fear. He knows comfort and companionship. He knows where he is going. easing the ache in his back. Around the edge of the headland two dark shapes proceed in regular motion. anything edible. Then his jaw drops in fear. crabs.DAY Hector is a small figure in the landscape now. The easy fit of the man in his landscape strikes us. Like him they are nosing around the margins of low tide for food. His family and their cave. Hector seems such an integral part of it. perhaps attempting a little light paperwork propped up on some pillows. From behind a distant headland a smudge of smoke trails into the sky.DAY 5 * Hector is foraging on the shoreline. Hector sits on a rock. SHORE . The sun is warming the day. Their steady progress is full of menace. Cold and hunger. He seems very much a part of it. (CONTINUED) 6 . He reaches a vantage point on some rocks. Every now and then he will suck a cockle from its shell or crunch on a particularly tasty piece of seaweed. never could. spinning or He knows warmth. Hector neither knows nor cares. there is an odd sense of the world being rather empty.
confused argument takes place. The little ones can't take the hill. 7 INT. Neither can I.DAY 7 Inside. Deirdre runs on. his family are in a state of panic. by now dropping precious bits of food and other possessions. down onto the other beach. Hector and the children also turn and run back the way they have come. It must stay burning in their absence. Then from these same trees she sees the figures of the RAIDERS coming toward her. (CONTINUED) 8 . running back up the hill. Hector's children are attempting to take too much. A hasty. I saw them! DEIRDRE You're wrong! She runs off down the slope. 6 CONTINUED: 6 * He stops for breath and to look back on the bay. HECTOR'S CAVE . 8 EXT. heading for the lower slope and the cover of some trees. five or six of them. HECTOR Up the hill! DEIRDRE No. Hector gathers his family together and they leave the cave. The Raiders are running strongly. Hector shouts instructions to them as he puts more wood on the fire. The boats are nearing the beach now and figures can be seen preparing to land. two large open boats. HILLSIDE . coastal raiding. roughly made but menacingly adequate for their purpose.4. They gather bits and pieces to carry with them in their flight. Hector gathers enough of his wits and strength to continue his race up the hillside. His woman runs off the other way. Hector has no choice but to follow her.DAY Hector shoves his children in one direction up the slope further into the hills. The shapes are distinct now. HECTOR Up the hill! They're down there already. They seem to have prepared for this moment. herding the children in front of him. Through their agitation there is purpose. She turns.
as if to go back and help her.DAY Hector and the children have reached the safety of a small valley higher up in the hills. but then changes his mind and runs off once again with the children. the distance between them and Deirdre. and the raiders below. His face is a confusion of fear and indecision. she stops in her tracks and waits for her pursuers. (CONTINUED) 10 9 8 * . But they don't stop and the effort tires her even more. She doesn't have the stamina for the hill. Some way up the slope he stops and turns. He sees his children. feeling the first stab of a guilt that will never leave him. and runs on alone. Deirdre is trailing behind them. Then he runs on. In a moment of utter panic he lets go of his son. He stops for a moment to watch Deirdre being finally surrounded by the Raiders. With the Girl still awkwardly clinging to his neck he is picking his way up a steep slope. But it doesn't last long. too. Deirdre is by now throwing the things she is carrying at her pursuers. Hector is watching all of this over his shoulder. He can't do it. He stops for a breath and sees the raiders moving into the valley below.. only now beginning to work out what has happened. 8 CONTINUED: The little Girl starts to go back for a precious toy she has dropped.. The raiders have been slowed down by their capture of Deirdre.DAY Hector is tiring.5. Hector picks her up and carries her off over his shoulder. She was right. VALLEY . hoping that they will stop to retrieve them and allow her to gain some ground. VALLEY . drops the Girl from his shoulder. half-dragging the Boy up behind him. We can sense the moment of release in his unburdened flight. Even as the Girl calls to him he is running back down the hill. He almost stops. GIRL Come back. Hector is hoisting his two children into the lower branches of a solitary tree on the hillside. The Boy follows. He coaxes them up into the higher branches. still running. 9 EXT. all of her energy gone. the Raiders break their run also and trot and finally walk. Dada. Hector looks back and sees the Raiders gaining on her. She attempts one final dash and then.ANOTHER ANGLE . 10 EXT.
she wants to see you. His friendly tone of voice has an effect.. Don't cry.. 10 CONTINUED: BOY I'm hungry.. He is close enough to hear the voice of the solitary Raider. Hector moves off.DUSK It is dusk now. she sent me.. Hector can see the dark shapes of his two children clambering down. Hector heads off alone. Food.DUSK 12 11 10 Hector has returned to the area of the tree... higher into the hills. (CONTINUED) . His face hardens as awareness of his predicament returns. and watches. Maybe waving hasn't been invented yet. 11 EXT. He slows down some distance away and just in time. persuasive way. ROCKS . moves off down the hill. I'll come for you in the morning. RAIDER It's too cold to spend all night up there.. She's happy. There is movement in the branches. she's warm.6. He sits up and takes in his surroundings. He moves forward to the protection of some rocks. We find Hector waking from a fitful sleep behind some rocks. VALLEY . too. The Raider coaxes RAIDER Come on! Your mother's down there. Try and sleep in the branches. He stands up and then crouching low. There is no response from the tree. too. The Raider looks up into the branches and talks in a friendly. He sees a figure standing beneath the tree. The Raider stretches out his arms and helps the Boy to the ground. again. HECTOR Don't move from here. 12 EXT... We've got a fire at the beach.. They don't wave. They too gaze anxiously at him. looking back to his children in the tree. although he doesn't understand the words. Don't make a noise. and full. There's no food.
12 CONTINUED: 12 Then he reaches up for the Girl. BEACH . 14 13 * . He is hiding somewhere way off from the camp. The smell of fire and food and concern for his family. catches her as she drops and keeps her in his arms. In the morning they will be gone. a fertile woman and two healthy children are as gold will be to plunderers of later ages. no friend to run to. the Raider carrying the Girl in one arm and holding the Boy's hand. His two children have become fast friends with the man who coaxed them from the tree. He stares into the darkness. That was not the intention of the Raiders.NIGHT It is fully dark now. This night he is utterly alone. no philosophy or religion. but close enough to observe it. down the hillside. Food and shelter are the best that life can offer. ROCK SHELTER . To them. out to sea and round the headland forever. They almost look like a family. eh? You're half asleep already.7. He laughs in a comforting way. His family appear to be happily integrated with the Raiders. 14 EXT. He doesn't sleep. the family have to accept the situation. little girl. or even attempt to close his eyes. but for odd reasons. He watches them for a while longer. she is smiling. and although still a little timid. His family have been stolen from him. have drawn him here. We are still with Hector. RAIDER That was easy. For their part. They are playfully attempting to communicate with her. then it becomes too painful. plain and simple. I'll carry you. 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. rape or abuse. cold night alone. 13 EXT. Hector watches the Raider and his children move slowly off. squatting in a narrow crevice in the rocks. Hector takes in the reality of the scene. What he sees disturbs him. Painfully. He retreats into the darkness and up into the empty hills again. There is no hint of barbarity. His woman is with a larger group closer to the fire.NIGHT Hector spends a long. There is nothing in the world to comfort him.
The men lift their oars and prepare to leave. nodding in the direction of Hector. There is not much else that he can do. although he's still only about thirty years old. hardly into their twenties. The LEADER is impudently brushing Hector's missiles aside. He stands looking at the Raiders and they look at him. Hector's children instictively rise as if to defend their father. refresh him. take hold of Hector. bemused. A sign. still smiling and gives an order. Hector watches these moments of departure. The Leader looks there and nods his head. for a long moment. Then an older man stands up in the other boat. Hector stands. His woman and children sit on the boat. however meager. Then Hector trots off in the direction of the shore. but Deirdre. But in Hector's time they are men in the full prime of life. awaiting whatever lies ahead.MORNING 15 In the morning it is lightly raining. The Raiders are all young men. 15 EXT. The PRIEST talks and points to the cliffs. * 16 * * * * * * * . Suddenly Hector's rage and energy leave him. The older man seems to be an adviser.DAY The Raiders are loading up their boats. BEACH . even comfort him. He returns their looks fiercely. watches the faces of his family.8. but they have an intense exchange. It seems to revive him. that life goes on. Hector watches from cover. like so many flies and smiling. too afraid to betray real emotion. Hector charges at full speed to the water's edge. The last Raiders are climbing aboard. The Leader listens to him intently. In a mad act he breaks cover and runs down toward the departing boats. His family are already on one of the boats. Hector makes his move. Hector doesn't know what they are saying. wading back and forth from the shoreline. frozen in fear. He gives some instructions to his men. wade ashore and without any resistance from him. Six or so of the Raiders leave the boats. Hector stands in the drizzle outside the shelter. despite her own feelings. The Raiders all look at him. wisely holds them back. He calls over to the Leader. The last of the Raiders on shore wade out the short distance to the boats. a priest or wise man. The Leader eventually turns from Hector. They begin to laugh and exchange remarks about Hector. and nowadays might resemble something like a motorcycle gang. obviously centered on him. ROCKS . He screams agonizingly at the Raiders and impotently starts throwing stones at them. 16 EXT.
At the top of the cliff the bay and the boats and the wide sea are stretched out beneath them. reasoning tone. CLIFFS . LEADER What's it got to do with the sun? PRIEST I don't know. as they arrive. He looks at him blankly. 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. The Priest and the Leader walk on ahead. He is being led up to the top of the cliffs. checking it out from all sides as if it was some infernal machine that he didn't know the workings of. still talking intensely. LEADER What do we do? Do we throw you over. Then he makes up his mind. The Leader sits down beside him. The ageless intimacy of sacrificer and victim. it's one man. yet. is that the idea? Hector doesn't understand.. one stone.9. The Leader is unsure. The Leader looks at Hector. The Priest. Hector doesn't know how to respond. They sit together like friends. He squats down and squints through it to the watery sun emerging from the clouds far out to sea.. It'll help the voyage. now sitting on the grass. He looks across to Hector. He walks around the pile of stones. 17 EXT. PRIEST I told you! I knew they did it around here! Ask him. The mound of stones is obviously man-made. (CONTINUED) . becomes excited. PRIEST I tell you. He points to a pile of large stones at the very summit of the headland.DAY Hector's hands have been bound with rope. The Leader moves closer to Hector and talks to him in a friendly. 17 LEADER He wants me to throw you over.
Let him go. Hector's family are tense with fear for his life. He comes out of the water and walks up to Hector. he stands up. then stands and bleakly watches them. Hector starts to follow them. The Priest. Hector watches them go. Again and again the Leader stops to shoo Hector away. When they are some distance from him. but Hector dumbly tags along behind.DAY 18 The Raiders wade out to the waiting boats. 17 He turns from Hector and moves on. The Raiders prepare to move off. On the boat. Hector follows to the very water's edge. With that. The Leader eventually stops and calls to Hector. without him going over the cliff. giving a final look or smile to Hector. The Raiders are aware of him behind them. The man clambers out of the boat and wades ashore again. at first running to catch up and then simply trotting after them.10. Hector persists in following them. The man comes close. too shocked still to react in any meaningful way. That's the best we can do. It's too much of a risk. LEADER We don't want you. His link with them is all that is left. action. Hector is beyond any form of reaction. He stands alone. apart from the Priest. They are his only connection now with anything that thinks or feels in the world. At the last moment the Leader gives a brusque order to one of his men. 18 EXT. with some ceremony. the knife held ready. The others follow him. (CONTINUED) . trying to unpick the rope that binds his hands. 17 CONTINUED: LEADER No. Let's go. He waits for almost as if he expects some consequence of his PRIEST It's meaningless. Just add a stone to the pile. who looks him up and down. regretting that he is not by now a corpse in the ocean. BEACH . The Leader strides off back toward the beach. looks around for a large stone. He stands in front of Hector for a moment. He will take whatever is offered to him. Off you go. picks and places it on top of the pile. carrying a large flint-bladed knife. sense of one up a moment. Hector is an embarrassment to them now.
Hector refuses the gift. a weird gesture of conciliation. . To one side of the oppressive. in the simplest act of physical survival. He is working on his instincts now. retreat from his view and his life. oozing water and steam at every joint. He offers Hector the cut piece of rope. drops back into the water. Hector understands. Filthy. an endless task given the ferocity of the fire. In fact we might be in hell. He goes back to the water's edge. The man stops. an odd human sound in an inhuman setting. 19 INT. and returns to Hector on the shore. picks up the piece of rope that bound him. still emotionally in shock. He even smiles. We TILT UP TO the space above the furnace to see a mass of dangerously crude clay pipes. Then he turns and wades back to the boat.DAY Hector has returned to his cave home. achingly slowly.DAY 20 19 18 * This is another. low-ceilinged furnace room. He digs around in the embers of the fire. Hector bends low and starts to waft expertly and blow at the fire's remains. his family and the strange Raiders. At last he turns and moves up from the shoreline. We leave our first Hector squatting at his fire. Hector watches them for some time. A piece of rope in exchange for a family. then retraces his steps. some small boys endlessly toil at two large bellows. bigger fire. For him the problems of emotional survival without his family lie ahead. still bound with rope. thinks for a moment. Shadowy figures come and go with barrow loads of wood. as the man grunts and nods at Hector's hands. 20 INT. A crude furnace blazes. 18 CONTINUED: Then the tense moment passes.11. now cold and empty of life. He lifts his hands and the man with some effort hacks through the rough hemp. then drops the rope at Hector's feet and wades back to the boat. Some of the larger bits of wood still hold some life. The man stands sheepishly for a moment. OVER the NOISE of the FURNACE someone is WHISTLING. feeding the flames with jets of air. It might be of some use to him. As the man clambers aboard the Leader speaks to him. He goes some distance then stops. and walks off with it. CAVE . sweat-covered men feed it with wood and charcoal. BATHHOUSE FURNACE . as they.
emotionally detached from his surroundings. Although clean-shaven and more healthy-looking we can still recognize Hector. some around the edge of the pool. droning conversations and resonant laughter.COOL ROOM . He is a personal body slave. It is the hot room of a bathhouse somewhere in the Roman Empire. And then we find our Hector.DAY 21 Above the heat and filth there is a different world. Hector immediately moves to the side of the pool with the towel as Lucinnius climbs out of the water. It is men's day at the bathhouse. BATHHOUSE . and the proprietorial way that they look after their masters gives the place the odd atmosphere of a kindergarten for overindulged grown-ups.12. 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. There is a set to his face that tells us he is a man alone.DAY 22 * * * * Hector wraps the towel around his master and follows him. 22 INT. All of the people relaxing in the water look prosperous and comfortable with themselves. more so by the look in his eyes. Slaves wait in attendance.ANOTHER ANGLE . others in the water rubbing backs and massaging shoulders. a look of concern on his face. BATHHOUSE . He watches his master in the pool. The older man gives a final dismissive shake of his head. All around them slaves attend to their pampered masters. 23 INT. Lucinnius goes towards three men occupying a marble bench. We have advanced 4000 years into the future and it shows in the technology. 21 INT. Hector's master LUCINNIUS is not as relaxed as the others around him. beautifully tiled world of lazing figures. Hector walks a pace behind Lucinnius through various chambers of the bathhouse. passing the games area and the massage room as they go. A clean. He stands against the wall. (CONTINUED) 23 * . holding a large towel. BATHHOUSE . alert to any hint of need that he might have. He is in anxious conversation with an older man wading beside him.DAY After an anxious scan of the cool room. Lucinnius' worries are Hector's also. LUCINNIUS I'm going to the cool room. There are three or four times as many slaves as bathers.
robe. Hector follows three paces behind him. Hector then moves out of earshot. Lucinnius tries to muster his dignity as they leave. MAN #1 Well washed. (CONTINUED) 24 * . The stool goes with them everywhere. Human status symbols. in case Lucinnius has to stop in the street and converse with a friend. faces from every corner of the Mediterranean world. Slave and master exist so closely together that many of their feelings are shared. and probably in his dreams too. From morning until night. his own and his master's. Hector is living two lives. A final sarcastic remark comes from one of the three. Lucinnius leaves the bathhouse. Hector almost winces to see his master submit to this patronizing treatment. It is a one-way exchange. Lucinnius's feelings are shared by Hector. except that here the half-finished buildings are made of brick and stone. 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. loaded down with the large towel. Other notables are among the street throng. the scrubber. their own slaves tagging along behind with their little wooden stools. Hector watches the older man put a paternal hand on Luccinius's shoulder and speak with a calm smile on his face. Hector stops beside him.DAY This is not the grandeur of Rome. The eldest of the three gives off as much of the aura of a Godfather as a naked man in a towel can. Lucinnius stops near some street stalls. It has something of the atmosphere of a frontier town in a western. but still alert to his master's behavior. Lucinnius. Lucinnius is nervous as he attempts to casually join his friends. It is difficult to tell from the people because they are such a cosmopolitan crowd. 24 EXT. and treat Lucinnius with apparent contempt.13. Hector is quickly on his feet and by Lucinnius's side as he goes. and the wooden stool. The other two are deferential to the older man. but the dusty main street of a provincial capital in Greece or Spain or North Africa. Some have whole trains of slaves shadowing them. 23 CONTINUED: 23 Hector as if by magic produces a small wooden stool for his master to sit on as he joins the others. STREET . More precisely.
STALLHOLDER No mice. HECTOR Yes. Lucinnius's mood has brightened since the arrival of his friend. trailed by TWO SLAVES. The Two Slaves move off to one side. SLAVE #2 His ships have gone too.. (CONTINUED) 24 * . hearing a snatch of the conversation as he goes. he's been avoiding him all week. One of them is carrying a folding chair much more substantial than Lucinnius's. Lucinnius at something of a height disadvantage. and some bread. Get me something to eat... HECTOR Two chicken legs. and the bread. 24 CONTINUED: LUCINNIUS Bad omens. about their masters. Hector keeps an eye on Lucinnius as he orders the food. Hector gives his master his food. SLAVE #1 Spoiled his day. They easily fall into conversation. meeting your man. approach Lucinnius. JULIAN Of course you're free to call at my house at anytime. then. Julian and Lucinnius greet one another and sit down to talk. Just a mouse or two. Lucinnius sits down. Bad omens. inevitably. still absorbed in his problems. Hector places the stool at Lucinnius's feet and moves off. he sees another man..... how could I admit you? Hector offers to share his bread with the other Two Slaves. Their conversation seems open and friendly. HECTOR Two mice. and then moves to join the Two Slaves. we heard. As Hector is given the food and pays for it. Hector.14.. cold. JULIAN. but I was receiving Nepos.
... at the baths.15.... (CONTINUED) . Hector less so than the other two. HECTOR Well. eh? HECTOR This is the worst it's been. he reckons.. or so used to it that they are oblivious to it.. half way home. They're sunk.. SLAVE #1 Yes. STREET ... Nepos knew.... and they resume the formality of their roles. Lucinnius and his friend stand and exchange their final words.. Hector and the Slaves hurry to gather up the seats and take their positions behind their masters.. 25 EXT. HECTOR He's finished..DAY 25 * * Lucinnius is eager to talk. Hector nods his head thoughtfully. unaware of the scrutiny they have been under. That could finish him. The casualness of their conversation has gone. SLAVE #1 And you with him. you reckon? The other two nod their heads. HECTOR When did you hear? SLAVE #2 Last night. I could tell. and tosses his words over his shoulder to Hector. Pirates. they smelled blood.. SLAVE #1 You'll be up for sale before you know it! This makes them laugh. HECTOR And me with him. 24 CONTINUED: (2) 24 This is news to Hector... if he'd pulled it off he'd be in Rome by now.
Hector obligingly trots a step or two closer to Lucinnius to aid their conversation. Hermas prods them with a knife. the diviner. (CONTINUED) 26 25 .. plain and simple. He said so..DAY At home. HECTOR Will he lend you the money? LUCINNIUS He was honest about it. We can see the concentration on Hector's face as he concocts appropriate responses. HECTOR Yes. Lucinnius unburdens himself. No.16. HECTOR That's a problem.. They are gathered around a shrine in the large public room. The entrails of a chicken lie on a slab of marble. as if it were a skill beyond ordinary men.. 25 CONTINUED: LUCINNIUS He's a true friend. LUCINNIUS When we get home I want you to get some chickens. He has a tough occupation. LUCINNIUS And the ships have gone. HOUSE . 26 INT. probably the only one I have left. and fetch Hermas. And he has to carry the stool and the towel as well. He'll want his money back too.. did I tell you that? HECTOR Have they? LUCINNIUS Cyprian knows already. He makes much of the mysteries of his craft. we find Lucinnius and Hector with the diviner HERMAS.. being the alter ego to an ambitious loser in one of the most competitive and dangerous societies ever to exist.
.. offer the grain first. and I'd like the first fifteen now please.. you need another chicken and another fifteen sesterces..... HERMAS . but let's see.. Hector looks a Lucinnius. The other two wait in silence... I want you to do it again.... it's a gentle. 26 CONTINUED: The other two peer over his shoulders. who nods reluctantly. HERMAS The liver says no. no.... Lucinnius objects... Hector opens his purse and counts out the coins for Hermas. and we can't ask the Gods specific questions like that. LUCINNIUS Do it again.? Hermas tetchily stops him...... Lucinnius obeys. sprinkle it on the altar..... He cuts into the chicken liver and prods around the inside. no. in the future? HERMAS If you want to do it again.. Lucinnius talks in a reverent low voice. 26 * * * .. probing enquiry.. general questions... * LUCINNIUS What do you mean? I mean.17.. Is it the Gods' will.. Suitably mystified. be well disposed towards me. LUCINNIUS Are my ships from Sicily still afloat. HERMAS General answer. that Cyprian. no. HERMAS No.
.. Hector smiles ruefully. first thing tomorrow. I had plans for you too.. Hector.NIGHT Hector is giving Lucinnius a soothing shoulder massage. His tense * * * * This burst of resolve has relaxed Lucinnius.. She carries a lighted torch and moves around the room lighting the wall lamps.. His troubles 27 LUCINNIUS Cyprian loaned me half a million to fit out these ships... It's the only chance we have.. Should I do it? HECTOR You must... and then in ten years you'd be a citizen... you.. She is a household slave.. You're right.. Hector. Lucinnius is still in a talking mood.. I can't. before the others can get to him... Lucinnius misses the irony in Hector's voice and enthuses about his own future generosity.. LUCINNIUS I must.. LUCINNIUS I shouldn't give up.. THALIA enters the room. HECTOR It sounds good. a Nubian from Africa.. I can pay him back. Lucinnius watches her. muscles yield more to Hector's fingers. brought them here...18. Just when things were going well. 27 INT. I'll visit Cyprian... HOUSE . (CONTINUED) . sometime. doesn't it! Lucinnius is silent for a while as Hector continues to rub his shoulders. I'm finished. LUCINNIUS It does. he's got to see reason.. you could've found your family. won't allow him to relax. everything.. in four or five years I was going to make you a free man.
He takes the torch from Thalia and discreetly leaves the room. ROOF . Hector finds a small ladder propped against the wall. At the end of the passage. 27 CONTINUED: LUCINNIUS Thalia. We can tell that they are close. HECTOR'S ROOM . The figure speaks. I think I need one of your massages. The only sound is a crack or two of far-away THUNDER. He rises from his bed and quietly moves out of the room. FIGURE I missed you last night. and lifts open the trap door above his head. HOUSE . Hector makes his way up some stairs and along a passage. some of them sprawled on the floor. hearing Lucinnius as he closes the door. Hector. In one corner he sees what he is looking for. THALIA What's happening? (CONTINUED) Hector . He shares his bedroom with at least eight other slaves. Hector does as he is told.19. Hector is still awake.NIGHT In the darkened house. 30 EXT. 29 INT. He moves towards it. LUCINNIUS Lower. He is careful not to disturb the sleeping forms lying all around him. Privacy is a master's privilege. Thalia.NIGHT Late at night. sits down beside her.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. It is Thalia. you can finish the lamps. HECTOR He kept me working until morning. the outline of a figure resting against the low parapet wall. 28 INT. He climbs this.
. If he's very clever he'll survive. but gradually we understand it. he said as much.. he'll be lying awake down there. * 30 HECTOR If he goes down I'll ask for my freedom. We get a feeling for what they have given one another. HECTOR It's the Gods arguing.. the giving and taking of comfort where it can be found.. their physical intimacy alongside their matterof-fact conversation. They're working out what to do with Lucinnius.. HECTOR Nobody does. THALIA She doesn't like him. and the realness of their friendship.. (CONTINUED) .. Their stroking and touching and holding becomes good to watch. up here on the roof. Clumsy and sad. Far away some street DOGS BARK. They laugh. the only place where they can be themselves... THALIA Why does the thunder always stay out on the ocean? Hector puts an arm around Thalia. but the omens are bad..... we could be free.. wondering what they're saying about him. 30 CONTINUED: HECTOR He has no money and a lot of enemies.. you too. Thalia looks out towards the sea.20. At first it feels strange. he owes it to me... THALIA Then what? HECTOR What we talk about. in stolen hours and half hours.. and he's not very clever. He's unfortunate. You get people like that. By now he is kissing her.
I don't know which way they are. 31 INT... anyway . you can't think like that. Well. 31 . HECTOR Then I can see you every night.NIGHT Hector is back in his bed.. What we do is you and me. He yawns as he * * * * * * * * 30 Hector is silent. whispering.21.. HECTOR We talk about it because it can never happen.. That's all. 30 CONTINUED: (2) THALIA We talk about going home.. We'll do it ourselves. THALIA It's what you talk about.. I want to make another sacrifice. HECTOR I just made that up. Yours is that way and mine is that way. Not after so many years. speaks. HECTOR Never. Get me a chicken. Lucinnius stands over him. He'll survive.. I think you'll leave. Hector comes to. Hector wearily takes himself out of bed and follows Lucinnius out of the room. It's you and me now. I'm tired. LUCINNIUS I can't sleep.. You're going to leave me here. HECTOR'S ROOM .. steps over the sleeping bodies on the floor and shakes him awake. THALIA I don't understand... A figure enters the room. your family is that way. THALIA We stay here. still kissing her.
just fetching a chicken. in the dark. the roof's free..MORNING 33 32 * Hector and Lucinnius are approaching the home of Cyprian. Lucinnius and Hector even have to join a line at the door and are checked in by the gateman.. 33 EXT. Hector as usual is walking some paces behind his master. but there is already activity around the house.NIGHT Hector is in the henhouse. visitors coming and going. Hector keeps an eye on Lucinnius.MORNING 34 The slaves gather on one side of the courtyard. (CONTINUED) . petitioners..22. others last merely seconds. MAN Can't you find a woman.. The Slaves have their meeting places scattered all over the house. gossiping and playing games of chance on the ground.. He is about to leave when he sees a MAN and WOMAN. sitting in a corner. Their masters wait on the other side of the courtyard. Big. and he carries a large satchel of documents.. The Man looks at the white hen Hector is holding.. HENHOUSE . Lucinnius's hopes of quietly bending Cyprian's ear are dashed. seated on benches along the wall. some have an audience of a few minutes. Hector smiles. STREET . carried by slaves. good night .. selecting a chicken for sacrifice. arms around each other. Hector leaves. He isn't surprised to see them. HECTOR Sorry to trouble you.. like a mother watching her child from a distance on its first day at school. COURTYARD . The Man shakes his head with a smile. miss. 32 INT. Hector.. It seems as if the whole world owes allegiance to this provincial Mr. HECTOR Come on. you can tell Lucinnius his future. the sleepy chicken going to meet her fate in his arms. A few important callers arrive in litters. Cyprian's aides usher the visitors into his presence in a regular flow. They are only doing what he and Thalia do on the roof. messengers. 34 EXT. Cyprian's home is a street palace. It is early in the morning.
alert. The first signs seem good. sitting expectantly in line. familiar to us from the bathhouse. so that they can talk. does look a little pathetic.. (CONTINUED) 35 . One or two others. We almost expect Hector to give him a little wave of encouragement as he is finally summoned into the inner office.. Eventually Lucinnius emerges into the sunlight. hands on knees. HECTOR What if you don't.DAY Lucinnius and Hector are walking home in their usual formation. worried. More minutes pass. even ridiculous.23. Lucinnius doesn't emerge within the first minute. HECTOR You look happier. Hector is closer than normal.. HECTOR Will he help you? LUCINNIUS I have to kill myself by tomorrow morning. Lucinnius strides out of the courtyard with Hector following after him. Straight-backed. 35 EXT. So does Lucinnius' friend Julian. LUCINNIUS Relieved anyway. Hector waits. He has all my letters to Titinius. STREETS ... 34 CONTINUED: 34 Lucinnius. Hector watches a game of handball while keeping an eye on the office door. 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. he looks a bit like a sacrificial offering himself. Cyprian is at least giving him the time of day. go into the office. He says it's like treason. none of them got through. Hector relaxes and leaves the ball game to join him. a broad smile on his face. relieved that it's over at last... Hector is shocked. and he says I should want to die for owing him half a million anyway..
. LUCINNIUS I'm done for.. he would drag me to Rome... (CONTINUED) 36 35 . We must. Lucinnius quickens his pace. eh? HECTOR I don't know what to say. we must die together.. peace at last... Lucinnius shivers to think of them. We have a lot to do. Hector. 36 INT.... Lucinnius is obviously in a state of shock. LUCINNIUS We'll do it with a knife.DAY Hector and Lucinnius are in his study. HOUSE .. 35 CONTINUED: LUCINNIUS Then he will... we've seen it through together. those letters.. to the end. more aware of the reality of what he has to do. I feel kind of good about it. Lucinnius is busy clearing up his papers.. We've been through this whole mess together. and that wouldn't be pleasant... LUCINNIUS We'll help each other. but it's strange.. When everyone has gone to bed. The two of us. I don't think I can help you. Hector.. LUCINNIUS Let's get home.. He is less hysterical than in the previous scene.24. What do you want me to do. the struggle is over ... Hector.... LUCINNIUS Tonight... HECTOR I don't understand..
I don't know. mess? What * 36 LUCINNIUS You don't understand do you? I'm asking you to die with me. we were short of names........ Hector.... I had to sign certain papers . HECTOR So I'm a conspirator? LUCINNIUS Yes. if you would die with me. Lucinnius changes his tone. I know nothing... most of the people I know were in the room...25.. I mean it.. what is we? I've done nothing... people I thought were my friends.... frank. I don't want you to die with me just because of my honor. * * * HECTOR What kind of story? LUCINNIUS A confession. we're not going to submit to the humiliations that Cyprian can heap on us... I'm sorry. I had to. becomes more.. LUCINNIUS Hector. Hector manages to speak. in his own mind.. it's more complicated. 36 CONTINUED: HECTOR I don't know what you mean... So you see.. I would be honored...... we're choosing death. tell a bit of a story..... at Cyprian's this morning . what would they say about me if you refused to die with me? This is honor....... man-to-man. are we? HECTOR You say we.. so I mentioned you.. Hector is stunned with shock.... That we were plotting against Cyprian and the provincial senate. you're my closest. my dearest slave. (CONTINUED) .
considering his scheduled death.. Today there is an air of distraction about Hector. 36 CONTINUED: (2) HECTOR Can I sit down? LUCINNIUS Of course.26. As we listen to their conversation it becomes clear that Hector finds comfort in the boy. who is Lucinnius's ten-year-old son. and we must be out here somewhere. beside the kitchen. Hector has a close friendship with him. it's not round like that.DAY 37 36 * Hector is in the inner courtyard of the house. 37 EXT. Hector becomes more interested. here. Gallus sees his playball... COURTYARD . it's round like this.... He is talking to GALLUS. GALLUS Rome must be right in the middle. for the family that he lost. The kitchen slaves come and go as they talk. GALLUS No. HECTOR But even if it's round you can still fall off the edge.. (CONTINUED) . HECTOR This is the worst it's been.? Gallus ignores this tease. Understandable.. He picks it up. HECTOR Do you believe everything that Greek tells you. Hector has picked up a large metal plate to help him make his point... intent on the ball...
. ask him something else. tell me tomorrow. HECTOR I wasn't upside down.. ALTAR .. His fingers stop on the other side of the ball. every day.27.. because my children are round there and I want to know that they're getting the sun.. GALLUS But then you'd be upside down. 38 INT. HECTOR Yes.. GALLUS It must be about here.NIGHT Lucinnius is at it again. He looks on Gallus with a new tenderness. GALLUS I'll ask him tomorrow. they're out here. Gallus walks out the distance from Rome with his fingers. Gallus is stumped for answers. where is my home? GALLUS How many months did they march you here? HECTOR Seven....... that's how they can look down and see everything. (CONTINUED) 38 * * * * 37 * * * * .. too.. as if there is serious calculation. where are the gods if the whole thing is round? GALLUS I think I know that.. a live chicken stands on the altar.... 37 CONTINUED: HECTOR So. In the lamplight.. and all around..... I saw the sun at home... Hector remembers that he and the boy's father are supposed to die that night. I'd like to know. and how could you see the sun round there ..
it's saying yes... LUCINNIUS No.. Lucinnius is drinking more wine than usual.. HECTOR But you asked it if we had to die. She attempts to break the silence. Dalmia knows something is up. LUCINNIUS If he eats the grain it means yes. I ate chicken yesterday and the day before. The chicken at once 38 HECTOR It's saying yes. The chicken is inscrutable... Thalia is also there.. we should die. or if there was another way. He scatters some grain on the table. LUCINNIUS No... there is.28. Perhaps they do.. She calls on the cook from the kitchen. He and his wife. and their son are lying on their couches picking at the food with their fingers.. DALMIA. 39 INT. DALMIA Solus. begins to peck them up. DINING ROOM .. The bird is certainly enjoying his food. HECTOR Maybe it's just hungry.. DALMIA Solus! The kitchen slave quickly appears. it's saying yes. I'm eating chicken again. we should die.. as they are prone to be. there's a way. but she doesn't know what. serving her mistress. Hector and the other household slaves are in attendance. 38 CONTINUED: Hector and Lucinnius watch it as if their lives depended on it.NIGHT A dead chicken adorns Lucinnius's table. it's saying yes. will I be eating chicken again tomorrow? Why am I always eating chicken? (CONTINUED) 39 .
ma'am. They might be coming with good news.... comfortable. perhaps a softening of Cyprian's heart. I always try to use the fresh stuff..29.NIGHT 40 39 The two VISITORS that await Lucinnius and Hector are an unpromising sight. 40 INT.. LUCINNIUS Thank you. (CONTINUED) * * . the chickens have just been turning up. as you could wish. Lucinnius. But I feel that I will be capable of taking care of my affairs tonight without your help. unsophisticated and look uncomfortable in their well-cut togas. Lucinnius sighs.. in the business that you have to conduct tonight.. Cyprian asked us if we could be of any assistance..... From Cyprian.. He looks again at Lucinnius and Hector... Lucinnius and Hector look at each other and share a moment of hope. Thank Cyprian for his kind thought. to make that business as. They look at each other.. A SLAVE interrupts them. They greet Lucinnius deferentially. but they offer him no help. as his last hope expires. A couple of the godfather's foot soldiers. SLAVE Two men have come to see you.. RECEPTION ROOM .. VISITOR Good evening.. but he knows that they would break his back at the whim of their master. Dalmia looks at them all looking at each other. SOLUS It's what we have to hand in the kitchen.. They are big men. gentlemen. more intrigued than she was before.. Thalia looks at Hector. 39 CONTINUED: SOLUS looks up at Lucinnius and Hector.. The heavies metaphorically keep their foot in the door..
. LUCINNIUS Thank you. Get it in deep. at any time.. We leave Hector nodding obediently as this weirdest of coaching lessons continues... He prods at Hector's body freely.. Hector doesn't let on.. VISITOR Getting it out's not as easy as you might think..30. you have to twist a bit. Hector is left alone with the Visitors. LUCINNIUS Good night... VISITOR Come here. We're anxious that things should go well for you.. VISITOR . the heart... showing him what to do.. Don't hesitate to send your man for us. feel for a space between the ribs... Use a thin blade. but retreats into the house.. If it is ticklish.. Lucinnius doesn't protest. VISITOR He's not much different.. but long... 40 VISITOR We'll call in the morning at any rate. VISITOR He looks like the kind that'll want some help. 40 CONTINUED: VISITOR We're spending the night at the house of Nepos. Hector instinctively looks to his master. to get over the stickiness. Hector is closing the door when one of the Visitors talks roughly to him. You. Have you ever killed before? HECTOR Only chickens. not far from here. just to make sure.... any place he'll let you.. Thank you.. or go in from the back.
. by this proclamation.. Lucinnius finishes writing and lays down the pen. 41 INT. who is counting out coins and other valuables on his table. then reaches out for his paper and pen...... Hector however is cold sober. I make you a freed man.. (CONTINUED) * . but I want something.. * HECTOR In writing. resigned now to his fate.NIGHT 41 Late at night in Lucinnius's study. Lucinnius places the money in a box on his table.. you want some wine? Don't HECTOR No. cash ...... STUDY . Hector stands beside Lucinnius.. Lucinnius looks up at him.... grim-faced.. keenly watching what he writes.. so that when they find me. He is quite drunk.. I don't know the exact words. they know I died a free man.. I don't want to die a slave.. Lucinnius looks at him grimly and manages a smile.. what a failure... adding to the tension in the room. He clears his throat and attempts to put a note of ceremony into his voice. please.. that's all that's left. He scratches out a few words on the paper. Lucinnius looks at him for a moment. LUCINNIUS What is it? HECTOR I want to die a free man. LUCINNIUS Eight hundred sesterces. an oil lamp and a candle cast their shadowy light. I've never done it before.. Hector.... Hector looking over his shoulder. my father left me three farms and forty thousand. But you're free.31. LUCINNIUS Nothing else to be done.. LUCINNIUS Hector.. LUCINNIUS Very well.
I have to do it first... Lucinnius stands and leaves the room. let's do it.. 42 INT... defeated form. (CONTINUED) 43 . or perhaps hoping. I mean.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. 43 INT. if I don't succeed.. then you must help me.... Hector. Lucinnius begins to sob. Lucinnius picks up a large kitchen knife which lies on the table. LUCINNIUS Well. * A trickle of fear passes across Hector's face. Hector walks behind. 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. and then you. casting the light on Lucinnius's crumpled. HECTOR I understand. then more loudly and more pathetically. with drink and terror and self pity. freed man. afraid. at first quietly. HECTOR Thank you.. PASSAGE .. you were right to ask. Let's go downstairs. Hector looks around and behind him.. It's a nice thought... 41 CONTINUED: LUCINNIUS They'll find it in the morning. you understand that. not to me. WASH ROOM ..NIGHT Lucinnius has worked himself into a dramatic state of distress... that Lucinnius's moans will wake the household. with the oil lamp.32. He fingers its blade.
hurry... 43 CONTINUED: He runs into the tiled washing room. Hector. you promised.. Hector sits down beside him. They sit absurdly like this for a long moment...... neither of them knowing what do do next. Hector.... The movement has increased the spread of blood over Lucinnius' clothing. you did it. It looks as if Hector is playing for time... do it. lie still.. Lucinnius crumples to the floor and squats on his knees... He raises his head.. LUCINNIUS Do it Hector. They both look down at the blade. like coaxing a frightened animal. He calls out in pain. like in a waiting room. LUCINNIUS Thank you.. LUCINNIUS You do it now. you've done it . HECTOR Lie still. that hurts.. LUCINNIUS Oh. thank you. HECTOR Close your eyes. Hector speaks gently... HECTOR You've done it.... Hector sees all of this from behind as he enters the room.. holding his stomach. wails loudly and makes a stabbing motion at his stomach. Then Lucinnius speaks. He helps Lucinnius lie out on the marble floor... lie down...33. (CONTINUED) 43 * . It's awkward. LUCINNIUS This is hopeless. still in Lucinnius' body. that stings! Lucinnius sits back on the step of the washing pool. I'll need the knife. HECTOR Shush.. LUCINNIUS Help me.
He makes a decision and retraces his steps across the courtyard and back into the house.NIGHT Hector is walking quickly from the kitchen across the courtyard to the street gate. 46 INT. Hector has won this final battle of wills. Hector gently shakes her shoulder.. do it... He makes his decision.NIGHT 44 43 Hector runs into the study and makes for the box containing the coins. (CONTINUED) . 43 CONTINUED: (2) LUCINNIUS Take it. pulls off his worn shoes and places on his feet a pair of Lucinnius's stout street sandals. Near the gate he stops and looks back at the house... trying not to wake the others.. Hector. He returns quickly to pick up his certificate of freedom from the table. willing the last dregs of life from him. LUCINNIUS Do it. Hector waits. Then just as he is leaving.. but still he waits. LUCINNIUS Do it.. It's as if the life flows out of him as the knife is released from the wound... Hector has run out of the room before it has come to rest against the wall. He stands up. Lucinnius lies still. His voice is even more faint. 45 EXT.34... do it. 44 INT. looking at Lucinnius.NIGHT 46 45 Thalia is sleeping in a large pallet bed on the floor with two other women. We see on his face the effort as he pulls at it. Then he pulls on Lucinnius's cloak and rushes out of the room. sits down on the chair. suddenly repulsed by what has happened. Lucinnius' voice is fading now. The whispers fade to a croak. Hector has the knife in his hand. But quickly he gathers his wits. COURTYARD . do it.. STUDY . THALIA'S ROOM .. do it. and do we detect a subtle twisting of the blade to speed Lucinnius on his way? Lucinnius sighs and twitches a little. he again stops. It clatters along the hard shiny floor. He throws the knife down. He puts most of them into a leather money bag and ties it to his waist.. do it.. After a moment or two Thalia opens her eyes. then reaches down for the knife in Lucinnius' stomach.
... Final supplies are being carried aboard.NIGHT The shadowy cloaked figures making their way down to the harbor are Hector and Thalia. QUAY .. but we must hurry. Will you come? 47 EXT. I'm free. HARBOR . With an authoritative nod. where are the east-bound ships? WATCHMAN Ask at the harbor. And then? THALIA Then you go home? * * 47 * * 46 Hector hurries on. HECTOR Where is the Captain? (CONTINUED) 48 .. WINCHES CREAK.35. they go west.. Hector encounters a night WATCHMAN. straight to Rome. noncommittal in his reply. Thalia at his heels... 48 EXT.. I'm a free man. By the light of oil lamps cargos are manhandled aboard..NIGHT Hector and Thalia approach a ship heavily laden with timber. Hector approaches them.. come now if you want to. Hector talks when the Watchman is out of earshot... 46 CONTINUED: Hector whispers to her before she has time to open her mouth. HECTOR You can go to anywhere from Rome.. supervised by two men on the quay. voices shout. Nearer the harbor we sense the nighttime work of loading and preparing ships for the morning tide. HECTOR I have some mail for Tyre. but diverts his suspicion by boldly addressing him. HECTOR We want a timber ship. HECTOR I'm leaving... Hector strides off in the direction of the noise and lights.
.. are you? HECTOR Keen to start. HECTOR Good morning. * CAPTAIN Well. you can walk or ride from there. let's see. Hector and Thalia climb up the gangplank and approach him.36... CAPTAIN It's five or six days. the WIND in the CANVAS.. we have business in Rome.DAY 49 * 48 Hector and Thalia are asleep.. to Brundisium. A CREWMAN comes and shakes Hector awake.. 48 CONTINUED: CREWMAN He's on the ship. 49 INT. I'm looking for passage to Rome.. what were you thinking of offering? HECTOR When do you leave? CAPTAIN Anxious to leave.. the sounds of the SEAWASH. CREWMAN Captain says to come on deck. for both of us. the MOANS of the TIMBERS... SHIP .. He indicates a man standing on the rear deck. He stirs himself to the sounds of a SHIP UNDERWAY... huddled together in a corner of the ship that they have claimed as their quarters... passage for two. I need an immediate passage.. food for two.. six days. Captain. Hector wakes Thalia and they clamber out of the darkness of the hold onto the brightest. CAPTAIN And who might you be? HECTOR I'm the steward of Lucinnius the merchant..... you have money? HECTOR Of course. . freshest of days at sea. yes...
but they kept us down there. Their senses and their feelings. too. THALIA Me. beckons them. We can tell he is lying.. clean breeze and a light sea.37. Everything is novel to her and it shows. CAPTAIN Your master's ships. at least never above deck. THALIA Have you been on a ship before? HECTOR Yes. The Captain on the other side of the ship. He points to three shapes in the mid-distance. Her excitement is childlike... she gets even more excited. going home. exhilarate them. SHIP .DAY 50 There is no sign of land behind them. There is a thrill in their glamor.. * (CONTINUED) * * Then . THALIA Where's the land gone? * * Hector.. we'll be where the thunder is! They look at each other and then all around them. of course. is taken by the novelty of it all but is less prepared to admit it. 50 EXT.. CAPTAIN Thought you would like to see them. They are like children in a brand-new world. He waves his hands around the empty horizon noncommittally. THALIA Tonight. ships heading for the port they have left. We can tell from Thalia's reactions that she has never been out at sea before. She points down into the lower depths of the hold. The freshness of the day and on an overwhelming feeling of freedom. are in new territory. their fine progress under full sail. too. even the movement of the ship. The ship is moving swiftly in a strong.
The wind catches the sailor's hat. A sailor on the forward deck is sorting out some rope. I know these ships.. 52 EXT. (CONTINUED) 52 51 50 * * * * * * . The drama of the lives of Thalia and Hector has played itself out long ago.. lies 1400 years.. Watching him from the back of the wagon is Hector. They are quieter now. Thalia and Hector are sitting on deck. absorbed in thought. thoughts of each other.. an echo of a previous time and place. CAPTAIN Somebody been putting the wind up Lucinnius? That's an old one. 50 CONTINUED: HECTOR No.. my brother-in-law's the master of the big one with the brown sail.. 51 EXT. they're lost. A tiny human moment. didn't think anybody'd fall for that. more thoughtful. Hector and Thalia look at each other. Hector catches her eye. Hector looks around him. some distance from one another.. Hector sits in the wagon beside a woman.DAY Later..DAY A man is driving a heavy two-horse wagon. coursing healthily on their way. WAGON . 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.. The Captain smiles at them and looks back to the ships. Hector is drawn by her smile and moves to join her. There are tantalizing similarities between their situation and the one we left Thalia and Hector in on the boat a few moments ago. He spends some time replacing it carefully.. As if they are talking without words. He grabs it from the air and spends time arranging it once more on his head.. SHIP . they can't be.38. just so. CAPTAIN No they're not. their looks and smiles tell us that... They sit quietly. just so. The wind has just lifted his hat from his head.... the ship is still making brisk progress. 1400 years ago.
There is an Irish lilt to his voice which colors what he is saying with a tinge of mischief.. all the wonders of his creation revealed to us. already a child of God's. what generous parents you have. you are a glorious example to us all. gaunt and hungry-looking.. Don't you? The child sobs more noisily. Hector looks at him amusedly... (MORE) 52 * * * * * I (CONTINUED) ... before she left her family. perched on its half load of timber.. struggle against it. She belongs to God now... What a sacrifice.. his face unseen.. PRIEST Yes weep. PRIEST We want to praise God because we live in this ultimate age.. is snoring underneath his hat. delicate signals of mutual awareness. is dressed in the rough travelling clothes of a monk or PRIEST. With them is a NUN accompanying a GIRL of about eight. The Nun interrupts the Priest cheerfully.... A younger man. when all things are done. He is a difficult fellow to pin down. BEATRICE. A man.. nothing more for man to see or do. They are not alone in the wagon. still sharing his thoughts silently with the woman. destined for paradise.39. 52 CONTINUED: The woman and Hector exchange glances now and then. The Girl is tearful.. weep for joy.. Even without his habit we would know he was a holy man. child.. The Girl is sobbing through all of this. giving you to the sisters.. His incessant talk tells us. PRIEST Fortunate child. Untouched by the abiding curse of carnal lust.. blessed to spend your earthly days within his church as Christ's servant. NUN She's already received the last rites.. all is known.. even for our humbler sisters. all that is left is the hope of salvation.. Talking without words.
think how much the sooner would come the day of judgement. all God's chosen gathered in paradise. they messed it up in nine hours! * 52 * * * * * * .. Hector smiles... and within nine hours the Lord had to expel the both of them! Just think. then jumps down from the wagon and. She shakes her head with a smile........ walking slowly. PRIEST .... I've written a small treatise in favor of virginity. The ramblings of the Priest fade away. but which man was so unfit to inhabit that within seven hours Eve was already tempting her master and mate. 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..... 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. Now Hector is getting the hard looks from the Priest.... If all men forsook forever the fleshy temptations. We could discuss it later if you like.. as should every man...40. He looks accusingly at Beatrice. and held womankind to barrenness. too. allows it to gain ground in front of him. 52 CONTINUED: (2) PRIEST (CONT'D) I will not join myself carnally with any woman.. that same paradise that God gave to man before. sister. PRIEST It's simple. The DRIVER of the wagon turns his head briefly to the Priest. brother. I will carry my unspilt seed from this world to the next. PRIEST .
Then a SOUND in the distance makes him open them again. They are travelling high in the mountains. Then he sees where the noise is coming from. The last sound he hears from the wagon is the renewed WAILING OF the GIRL. Hector is where he belongs. His eyes begin to close.DAY 53 * Hector smiles as the Priest's VOICE FADES into the distance. Hector lays himself down at the side of the road. and allows his foot to touch hers. He sits opposite her in the wagon. Hector looks at Beatrice. He smiles at Beatrice.. Hector calls to the Driver. MOUNTAIN TRACK . HECTOR How long to get there? DRIVER When it gets dark.41. with twice as many foot soldiers and squires. just where a wooden bridge crosses the small river. From this distance it is like a puppet show. She doesn't move away. WAGON .. we'll be there. But this is not the case. The scene places Hector in his time and for us there is a strange feeling to it. He walks back along the rim of the road. eating a hard biscuit he takes from his pocket.DAY Hector catches up with the moving wagon and jumps onto it.. (CONTINUED) 54 * * * * * . MORE SOUNDS drift up to him from the floor of the valley. happily back in the security of his fellow travellers. in Medieval Europe. Hector dawdles on his way. 54 EXT. With a last look behind him he runs off in the direction of the wagon. Hector makes his decision. He listens. A mounted skirmish is in progress. It is a cold fresh day of early summer. almost insane in its intensity. Hector knows when to leg it. except the violence is real. She smiles at him. HECTOR A bit cold. 53 EXT. There are no more than 30 knights in full armor. Even from such a distance Hector can see and hear that the fighting is ferocious. Like any wise citizen of a violent age. almost as if Hector has awoken from sleep and found himself transported to some distant age. At first he can see nothing. walking.. He stands up and crosses the track. at the very bottom of the valley.
HECTOR I don't understand. He can do nothing to help her. BEATRICE I don't know what you're saying. They repeat their incomprehensible statements. Beside Hector the Girl has stopped sobbing but she is still troubled. Beatrice replies. FARMYARD . HECTOR I don't know what you're saying. I haven't understood anything you've said all day. It doesn't seem to disturb them too much that they don't share a language. bread and wine.. Hector talks back to her.. back there. The travellers settle down to eat. Hector doesn't know how to respond. FARMHOUSE .. GIRL I want to go home to my mother.. She turns to him and speaks quietly but with determination.. He calls loudly to the wife working at the open fire. and anyway. but in a language that Hector doesn't understand. The Priest. (CONTINUED) .42. is more interested in Beatrice.NIGHT 56 55 * * * 54 The Farmer and his Wife have laid out a table with simple food. a stew.NIGHT It is almost dark when the wagon finally turns into the yard of the farm where they will spend the night. just for the fun of it. 55 EXT. 54 CONTINUED: HECTOR I thought I heard fighting. They both smile..... however makes a performance out of his more modest needs.. 56 INT. BEATRICE I don't know what you're saying.
Hector rouses himself and follows the other. excluding all others from his conversation with the Almighty. One of the forms stirs and sits up on one elbow. becomes aware of this. 57 INT. I deserve to suffer. He speaks normally. Gentle snores and regular breathing lay a blanket of soft sound over the human forms.NIGHT 57 56 In the dark. The figure pauses and crouches over Beatrice. He sees Hector standing by the table. Do you think I dare heat that up on the fire? He indicates the large pot containing the remains of the stew. cheekily.. The figure has gone to the pantry and can be heard RUMMAGING there. I'm starving. FARMHOUSE . long sigh. sleeping lightly. I have no need of wine or meat. 56 CONTINUED: PRIEST Just bread and water for me. I'll eat it cold. He emerges from the pantry. Hector. He pours some wine into the cup and slides it across the table to Hector. and then a deep. They recognize one another and relax. disappearing downstairs. Hector creeps closer and sees that it is the Priest. muttering his grace quietly to himself. The Priest doesn't re-enter his holy act.. (CONTINUED) 58 * . Hector can hear the distinct sounds of the figure sniffing her. She brings him a jug of water and he makes much of giving thanks to God for his simple meal. 58 INT. He already has a chicken leg between his teeth as he hunts for a cup for the jar of wine tucked under his arm.43. The figure stands up and moves quietly to the door. FARMHOUSE . PRIEST God. sleeping bodies lie all over the floor of an upstairs room.NIGHT Hector creeps cautiously into the dark kitchen. from head to toe.. Mistress. PRIEST No.. He watches as the figure stands up and picks its way between the bodies to the door. in another corner of the room.
. is she not.. Hector takes a drink... HECTOR They all look the PRIEST It might help us get through. you must keep out of the way of temptation. she smells like paradise.. for now. I saw the way you were eyeing up that widow. Hector. (CONTINUED) .. what were they.... but we're going home. she could lead you into trouble. we'll still travel separately though. hungry eyes.. mocking his own holy act. He talks straight. 58 CONTINUED: 58 Then he digs his hands into the cold stew and eats chunks of meat as they talk. though.. He changes his tone yet again.. the mad knights are at it again.44... PRIEST But... same to me. Swiss or English? I don't know...... The Priest changes his tone of voice. HECTOR How do you know she's a widow? PRIEST Look at her eyes. remember. now stay away from that.. although she is beautiful. back up the road. HECTOR I saw some fighting today... PRIEST Have some wine. PRIEST So. Hector is smiling. if there's a bit of confusion.
58 CONTINUED: (2) PRIEST Listen.... in five or so days. PRIEST You're not a sinning fellow. you couldn't handle her. remember.. Hector.. don't forget them.. Hector obeys the Priest without thought. She's a glory of a woman.... PRIEST And don't you forget it... PRIEST May the Lord forgive us our sins... but I trust you. The Priest is worried. you're not a sinning kind of fellow.. don't worry. Hector approaches the Priest with the bread. at any rate. PRIEST Who saved your neck in Venice? HECTOR You did. The Priest has stirred thoughts that he had intended to dampen entirely. Hector doesn't answer. (CONTINUED) The Priest is * ... Hector still remains silent. she'd bewitch you. He raises his cup to Hector. or me. happier now that he is in control again. but smiles.. let's get this clear. are you.. you weren't even thinking of her 'til I opened my mouth. Ronald... another month and we'll be at the channel. those we have committed and those we as yet only dream of. and I'll catch you up. I know you wouldn't do anything to anger your God. then home.45.. why don't you get off up the road tomorrow.. the little ones you only talk about when you're drunk. 58 PRIEST Why do I always talk so much.. Get me some bread.. if anyone's going to dally with that widow it'll be me...
HECTOR I'll stay. the remnants of a company of soldiers..DAY Overnight. catching Beatrice's eye. (CONTINUED) 60 59 * * . rich men. HECTOR I won't be travelling today. others are wounded. Hector shakes his head. PRIEST You should go.DAY The travellers look out on the exciting scene.. 58 CONTINUED: (3) 58 For all his wit and endless talk we can sense a trace of vulnerabililty in Ronald. my girl? Hector talks to the company. PEDLAR Have you ever seen so many fine.. Our Travellers watch from the farm window. 59 EXT. brother . The Nun puts an arm around the Girl.46. but means his words for the Priest.. For all his bluster. well-dressed knights and squires. FARMHOUSE . herding in front of them a small group of prisoners. have collected in the courtyard. and talk as they eat their breakfast of bread and milk. 60 INT. they've got. you'll be safe enough.. fresh from battle. Some are tired.. The Priest looks him straight in the eye. too. there is the feeling that he needs Hector as much as he claims Hector needs him. they only take the rich ones. FARMYARD . PRIEST The fighting's behind us. He turns to the forlorn Girl. dispirited. PEDLAR Hostages. A few mounted knights come into the yard.
(CONTINUED) * . The Officer turns to the Soldiers. Blood oozes from the joints of the helmet. The ugly dent suggests an equally ugly wound inflicted on the head inside.. Priest. into the room. They scatter the food from the table and lay out the MOANING suit of armor on it. OFFICER You.. there's a hundred thousand livres on his head if I get him to Paris alive. The Soldiers gingerly try to remove the helmet. The Priest obediently goes up to the knight and starts to pray earnestly. SOLDIER Must be sore in there. then at the astonished group of Travellers.. He picks on the Priest. The Officer looks at the moaning suit of armor. Has your dada got a big head? An OFFICER comes into the room. The MOANING suit of armor seems inhuman. dada? Is it your Hector looks * * 60 * The Squire looks at him and nods his head. Suddenly the door is thrown open and four SOLDIERS manhandle an inert body. 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. he's not ready for heaven yet. come here. SOLDIER #2 If he's got a little head it might be alright. sir. get to work on him. God will protect his ewe lambs. 60 CONTINUED: NUN We're going.... Start praying.. Their efforts are useless. half a day away.47. robot-like. dressed in full armor. A young SQUIRE follows them in and kneels by the knight in the suit. there's fifteen livres in it for you if he lives... with sympathy at the boy...
. a little. inhuman machine. They become like one evil. hypnotic movements. A deadly dance. Individual soldiers. but. the oldest are red-faced. Hector takes time to watch the Squire still kneeling beside his father. The youngest are squires of twelve or thirteen. 61 EXT.. like lost souls. 60 CONTINUED: (2) OFFICER Get that helmet off. It is mesmerizing to watch. they soon employ this as another titillating element in their love-play. Everywhere is the chaos of war. Hector and Beatrice have found a quiet corner where they can sit and talk.. resourceful as lovers are. To the BEAT of DRUMS they perform rhythmic. The Priest looks on helplessly as they slide past the table and head for the door. quietly stroking the helmet. The Soldiers scatter to carry out their orders... Everyone looks for food. overweight knights in expensive armor. (CONTINUED) * . repeating the same pattern over and over again.. The suit of armor twitches and MOANS.DAY 61 60 * * * More soldiers have continued to make their way to the shelter of the farm. They have the problem of not sharing a language.48. FARM . Ronald the Priest mutters every prayer he can remember. get hammers. thrusting their pikes in unison. Wounded men lie awaiting the attentions of either the medicos or the priest. HECTOR I think you know what I'm saying . and one of you get back down into the valley and fetch an armorer. Their movements are a strange cross between parade ground drill and battle training. reserves who have not yet joined the battle.. all the more so in relation to the coy seduction scene that Hector and Beatrice are acting out. Hector looks at Beatrice and motions for her to follow him outside. run here and there trying to regroup with their comrades. anything you can find. Behind them is a group of soldiers. Prisoners huddle in cowed groups.. They are much fresher than the rest and are drilling as a disciplined unit.
HECTOR I'm far from home.. then across the sea. fell right over the edge.. went too far. * BEATRICE Tell me something else.. BEATRICE You're losing me again. it's a sad story.. * * * * * * 61 HECTOR You think that's funny? It's true. I had to run away. HECTOR Have you ever seen the sea? Water everywhere. (CONTINUED) * * . too.... into nothing... I come from the other side of the little water..... Hector smiles.... BEATRICE Talk about home again.. 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.. am I? Well... I've been away for too long. let's go back to homes.. They never came back.. then there's the big. they fell off the world. remember you said home? HECTOR I'm not making sense.. pleased with himself. I don't understand a word.. That's where I'm going. way. 61 CONTINUED: BEATRICE No. home......49.. right to the end of the world. way over there. big water... I don't. you shouldn't laugh.... Beatrice laughs.. I had a friend who sailed on that. Some people locked me up.
.. BEATRICE That's it.... home. In this tiny victory the dynamic of their relationship is set.... Then it changes.. clever boy! They fall silent. suddenly shy. BEATRICE Tick.. BEATRICE I know what you're saying. home...... say it.. I want you to say mine.. very delicately.. says it in her language. turning the tables on Hector. home.. Triumphantly she shows him the flea she has caught. you can do it. 61 CONTINUED: (2) HECTOR We have to learn to talk the same. Beatrice looks at him directly now. home. home...... home. Hector smiles. Beatrice smiles. try it like me.. home. home. Beatrice completes her movement with a sharp grab at Hector's hair. home. say it. you're saying home.... say something else... Beatrice breaks this moment by reaching out to Hector's neck... Beatrice has her way... HECTOR I don't want your word for home.50. try it. HECTOR Home.. home.... their intimacy well under way.. There first touch. BEATRICE Come on.. a flea. it's a tick.... and pinches her fingers on something...... (CONTINUED) * * He 61 . like a caress.. thanks. HECTOR Flea. HECTOR Home. BEATRICE You want the word for home? It's home..
I could do you. They understand each other perfectly now. FARM . You need a good going over. The boy Squire still sits by his father's head. just the impression of lifeless bulk. There are a few souls out here you can help on their way to heaven. He understands her well now.. HECTOR Why don't we go somewhere and have a good session. but there is no response from the knight. nobody's been looking after you. in a motherly but then again sexually provocative way. Ronald quickly follows him outside. 61 CONTINUED: (3) BEATRICE Bet there's more in there. The Officer leaves...DAY They look * 61 62 Ronald the Priest still kneels by the inert knight in armor.51.. Ten sous a soul to you.. The Officer re-enters the room from outside. .. 62 INT. come on.. are there? When they have gone the Squire gives his father a nudge. at peace. I'd like to give you a good grooming. There is no sense of it containing life. OFFICER How is he? PRIEST Sleeping now... around for a more private spot. How many * * * * * * * RONALD Twenty sous is normal.. The suit of armor seems to grow even more rigid as we look at it... no sight or sound of breathing or moaning. The knight is deathly still. for the moment. OFFICER Leave him for a while. Ronald mumbles quietly to himself in prayer. She ruffles his hair.
. 63 EXT. BEATRICE That's four. and fair.52.. and perhaps the best. HECTOR Yes. happily..... There is no hope for this man. I'm a little itchy there. yours are so small. HECTOR I don't know your name. and then stops. Hector still kneading her scalp. form of foreplay. Mutual grooming is the original. I'm Beatrice. Hector certainly likes it. a tiny little one.. near the trees and by a low wall. Beatrice replies with a hint of breathlessness.. She gives his scalp a final delicious rub.. (CONTINUED) * * * * * * .. inspired to caress ever more tenderly her scalp and neck.. She arches her back under the first touch of his fingers. who are you? I'm Hector. Hector.. Beatrice moans softly.. it does feel good. I'm Hector. He seems to want to keep it as a pet. Some bushes hide them from full view of the farm yard. FARM . BEATRICE Yes. BEATRICE You can do me now... I think you'll have to do under my arms. Beatrice loosens her clothing to bare her neck and shoulders....... yes. HECTOR Got one. Hector laps it up.. Hector begins to probe her hair and scalp. still with the outward purpose of looking for fleas. HECTOR Beatrice. Hector is sitting crosslegged and Beatrice kneels behind him.DAY 63 Hector and Beatrice have found some privacy. To Hector even her fleas are a delight. BEATRICE Hector. giving his head a thorough going over.
. I think Beatrice is a good name. but soon the kisses become longer and the grooming less. PRIEST Goodbye. 63 CONTINUED: HECTOR Yes. FARMYARD . NUN They're not killing nuns... Beatrice is sighing contentedly now. Hector. little girl.. yet. BEATRICE Maybe we should find the river. They mount up. the Lord will bless you. PRIEST How long for you on the road? NUN Three or four days. PRIEST The Saxon. At first it is small. Ronald is taking his duties seriously. I know. laid out in a corner of the farmyard. the Girl behind the Nun. They have acquired a mule. He sees the Nun and the little Girl preparing to leave. There is a little of the rogue about him now. and plod off through the farmyard.DAY The Priest is with some seriously wounded soldiers. snatched kisses amongst the grooming. He talks to the Nun as they move off. in his house. PRIEST Good luck to you. Whether he is a bogus priest or not. 64 EXT. BEATRICE I'm still itchy lots of places. In between parting the hairs on her scalp Hector is kissing her on the neck now. and have a proper wash. They stop briefly beside the Priest to say their farewells. won't he go with you? (CONTINUED) 64 63 * .53.
65 EXT. tell everybody . A smile flickers across her face before she turns away forever. say it again... and clings to the presence of Ronald. Peter... don't forget it. my name is Peter. FARMYARD .54. don't forget . Peter.. Ronald stays with the boy as he struggles against his own annihilation.. Peter. Peter.. 64 CONTINUED: NUN He's nowhere to be seen. SOLDIER My name is Peter. PRIEST Peter. Peter. A few Soldiers are burying some of their dead nearby.. It's probably the first and last that the Girl will see. 66 EXT. Ronald is mumbling his prayers...... Ahead of her there might be many a bleak night in her convent when she will remember the image. Ronald behaves well with the dying boy.. tell them Peter died here . He is frightened. all pretence at grooming now gone. PRIEST Lie still. and then returns to his duties with the wounded. write it......... but in his youth is fighting it. He is close to death.. 66 65 64 * .... the mingled bodies of Hector and Beatrice. TRACK . tell everybody that was my name. SOLDIER That's it. The Nun watches this and doesn't see what the Girl sees on the other side. engaged in fervent lovemaking... and that same smile will return to her lips.DAY The Nun's mule turns out of the farmyard and heads off along the track.DAY The Priest is kneeling beside a young wounded Soldier. The Priest watches them go.
He steps over her and settles into his own space by the window. If he is not. still and sleeping. then the pretence has been just as exhausting. She snores lightly. She moans softly in her pretence of sleep. a long.55. 68 INT. The others have already left. He yawns. 67 INT. pulling his cloak over his head. They make love quietly in the dark. The Priest looks at them in turn. He suddenly misses the presence of Hector. What the Priest doesn't see is the extra pair of hands massaging her neck and head. FARMHOUSE . Outside he can hear the first sounds of the day. The Priest bends over and takes a long sniff at her. He looks again at Beatrice. stretching herself and fixing her hair. but Beatrice is there. Then. in the general direction of Beatrice. Some officers have moved in and the place is more crowded than before. Their cheeky act of innocence mocks him. in another part of the room. then he sighs out his admiration. In the room it is still semi-dark. FARMHOUSE . the CLATTER OF MILK PAILS. Hector's head emerges from the covering beside Beatrice. The Priest is troubled. Hector is not with her.NIGHT In the room sleeping forms lie here and there in the darkness.NIGHT The Priest makes his way upstairs in the darkness. The Priest sits up. Hector and Beatrice look at each other. but he settles down. HECTOR Good morning. suspicious. Hector emerges from what looks like a pile of clothing. also enjoying the thrill of confounding the Priest. 69 INT. the murmuring VOICES of Soldiers in the yard. He sniffs again. The mingled smells that his sensitive nose detects perplex him. but he doesn't know why. He has completed the hardest day's work that he has undertaken as a priest. The Priest makes his way to his corner. FARMHOUSE . contented yawn. He wants to sleep.ANOTHER ANGLE .DAY 69 68 67 * The Priest wakes up. if he really is a priest. sits up and smiles too. Across the room. . but on the way he pauses by Beatrice. She smiles at the Priest.
They want me to go with them. reproachful.56. I'll wait for you at the channel. spoiling their friendship. Both of them are unhappy now. The Priest sees him from the farmyard and comes to join him. * * PRIEST She'll do you harm. 70 EXT. HECTOR Witch my arse. A Soldier shouts down to them from the farm.DAY 70 Hector is washing himself by the stream that flows close by the yard... we'll meet up. like you said. I still have the money from Venice. HECTOR Nothing at all. I told you. as you told me to. HECTOR You're a strange fellow. They are saved from hurting each other more. Hector is in a cheerful mood. HECTOR You're a busy man. Father. We can be home in a month. PRIEST There's nothing wrong with helping someone to die in peace. Are you a priest? Are you jealous? The Priest is silent. She might be a witch. what with all these souls departing. Stop giving me orders. He drinks a handful of water for breakfast. FARMYARD . confusing one another. SOLDIER We're moving soon. pleased with himself and his success with Beatrice. (CONTINUED) . The Priest is sullen. PRIEST Are you staying here? HECTOR Moving on. Wait for me.
and the thrill of knowing it will go further. Hector and Beatrice are enjoying the first pulsequickening flush of their intimacy. you're leaving? HECTOR You have work to do here. and more battered bodies requiring comfort. TRACK .57. Hector feeds Beatrice a piece of cheese from his knife. HILLSIDE . HECTOR I'm glad we're going the same way.DAY 72 * Hector and Beatrice have stopped to eat. Other battles lie ahead to be blessed. 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. He is ridden off in the opposite direction with the rest of the troop. behind a Soldier. They turn out of the farmyard and walk down the main track. HECTOR I don't understand you. with a wide stream running some way below. then walks on. They chatter freely. 72 EXT. PRIEST So. 70 CONTINUED: The Priest turns to Hector for what might be the last time. Hector calls out what might be an attempt at an apology or simply another taunt. Hector catches a last glimpse of the Priest being helped onto the back of a horse. despite not sharing a language. The Priest walks back up to the farm. BEATRICE We'll have to sleep in the hills tonight. (CONTINUED) . 71 EXT. The Priest looks back at him briefly. They shelter in the fold of a hillside.DAY 71 * * 70 Hector and Beatrice have packed their few belongings into a shoulder bag.
She stretches herself out happily. BEATRICE I don't believe it. not even attempting to hide. BEATRICE Oh. Down by the stream a head peering over the top of a rock. he's down by the water. the dirty devil. He lifts her skirts and caresses and kisses her naked legs and thighs. Hector seems to know what she is saying... I put it here.. Hector kisses her more. do you? I make it from the flowers. He throws down his knife and cheese. She smiles and turns her head to the sky.. someone's watching us. He must've seen us.58. and there. by the rocks.. and there. There is an uneasy silence while Hector works it out.. and keeps on with his kissing. * She sits up and straightens her clothing. But Hector still looks at the figure in the distance. Hector doesn't understand. though. suddenly anxious. HECTOR He's not moving. Hector sees him too. Only her persistent giggling makes him stop and look up. down the other side of the hill. Then he speaks. BEATRICE Don't look at him anymore. you like my smell. He kisses her breasts and her body eagerly. don't look.. arms spread wide on the grass. Hector talks through his kisses. Then she starts to giggle... 72 CONTINUED: BEATRICE Hurry up and finish your wine and then we can make love. (CONTINUED) * * * 72 * . lying down with her on the grass. HECTOR Why do you smell so wonderful? He lifts his head to let her see him sniffing. Let's go. BEATRICE Cheeky devil..
Hector looks around at the ground.DAY It is the body of a young squire. HECTOR That's good of you. 73 EXT. handsomely dressed in the livery of his master. or just one. an expression something like a smile on his face. Isn't he fine-looking. but in their age sentiment was of a tougher strain.. Look at his shoes. As he lays him down Hector sees a small.. and can see it for what is is. Such a squire would follow his knight into battle. dry wound on the boy's side. guiding him through the chaos. He lies leaning against a rock. so the crows don't get him.ANOTHER ANGLE . we're going that way at any rate. Beatrice brings her armful of stones and starts to build a mound around the squire's head. HECTOR No sign of a battle.. still 72 HECTOR Come on. Hector and Beatrice are open to this sadness.. Hector stands up. There is a sadness about this young death in such a lonely place. BEATRICE We'll cover his eyes at least. She is already gathering stones. 72 CONTINUED: (2) HECTOR It's a dead man. They move cautiously. He wasn't killed in a fight. looking at the figure. There is no sign of a wound.. only a few horses. But this boy seems to have died a less public. though. Beatrice doesn't understand. Beatrice is doing. they walk straight for the dead body. (CONTINUED) Hector sees what * 73 * * * . When they are closer to it. eyes open. HILLSIDE . Look at these shoes.59. more furtive death. BEATRICE Poor boy..
. STREAM . HECTOR It's all we can do. she keeps in a small bottle kept in a pouch on a chain around her neck. and she proudly shows them off to Hector.60. as if absurdly hiding its eyes from the antics of Hector and Beatrice. * Nearby the corpse of the squire still lies. Hector and Beatrice are enjoying each other immensely. she likes them so much. he has discovered. you're bewitching me. BEATRICE It's not stealing if I give him mine. BEATRICE His feet are like mine. Hector continues to bask in her wonderful aroma. (CONTINUED) * . Soon they have covered his head completely with stones. HECTOR You've put magic in this stuff. Beatrice is still taken by the boy's shoes. 73 CONTINUED: Hector helps her by gathering stones from the stream. Beatrice hasn't removed her new shoes. It won't keep the wolves away though.. poor boy. 74 EXT. She looks at Hector. you know. and I'll have yours. haven't you. He smiles at her. making love by the stream. his body lying exposed. I'll give you mine. but perhaps it only looks strange to our modern eyes. They fit her well. She is dabbing Hector with her perfume which.DAY 74 73 Later. I have more walking to do. The old shoes Beatrice has placed on its feet look odd compared to the fine uniform. is it? Hector watches as Beatrice exchanges her old shoes for the squire's. its head shrouded in stones. They appear to get the gist of one another's love talk. Hector and Beatrice seem unaware of the strangeness of their situation.
She smiles.. HILLSIDE . She takes a handful of dried flowers or herbs from a pouch in her bag. HILLSIDE . friendly Beatrice returns... During the few moments that it takes. 74 CONTINUED: BEATRICE You're eager today. mama.61. the familiar. She completes her ceremony by throwing a few drops of her perfume over the body.DAY Hector is watching Beatrice conduct some kind of ceremony over the corpse of the squire.. Then... BEATRICE I wonder if his mama will ever know what happened. 75 EXT. she walks around the corpse three times. There might be the glimpse of a castle on a hill. but a few smudges of smoke in the distance suggest farms or villages. mama. The landscape looks untouched by man. scattering the leaves over the body... all of a sudden. Hector. I know what that is. Below them lies the valley. but a little uneasy. aren't you? Is it all this death? HECTOR I don't know what you're saying but I like you when you talk. HECTOR We should go now. 76 EXT. BEATRICE That should help him a little.ANOTHER ANGLE . HECTOR You said mama. He watches from a safe distance. It is like the roof of the world. The air is clean... We can talk the same.. (CONTINUED) 76 * 75 74 * . Beatrice seems like a different person. that's right.DAY They have reached the summit of the hills.. We've been here too long. Mumbling strangely and quickly to herself. BEATRICE Mama. Hector is fascinated.
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
.. tonight we'll try them on. All the men around here are old. HECTOR What did he die of? BEATRICE I'm getting shy. (CONTINUED) 84 * * * * * * . Hector is beginning to understand what she means. She tries to direct his thoughts to the one area she is sure about. And we have a big bed upstairs for you and me. Beatrice talks on. 84 INT. a rough mattress on the floor covered in some blankets she has probably made herself.DAY Beatrice is proud of her bed.. don't you? We were lucky to meet the way we did. Hector understands fully what she means now.. I'll make them fit.. make them fit you.. You like me too.65.. in the rafters. I'll 83 She holds the jacket up against Hector to measure it. Now that she has started. 83 CONTINUED: She lifts the lid and removes some men's clothing. she wants to say it all. overtaken by her shyness. Hector's reaction to a dead man's clothing is predictable. He can't respond. but his mind is a confusion.. I'm a good sewer. rough working trousers and a hide jacket. sleep. COTTAGE . BEATRICE I still have his clothes. She climbs a ladder nearby and lifts open a trapdoor on the wooden ceiling.. You're the same height as Arnaud. BEATRICE Come up and I'll show you the bed. I made this for him. BEATRICE I like you... but a little thinner.. but he keeps his feelings to himself.. You and me..ANOTHER ANGLE . Imagine me being shy with you. 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.
. and the moment tingles happily... They have been working outside. MOTHER (OLD WOMAN) So. BEATRICE .. this? The Girl eyes Hector up and down.) Mama. Then from outside they hear voices. We can have fun up here.. Firstly a young Boy calling.. surrounded by instant family. Beatrice goes to embrace each of them. better than a ditch. She speaks to her daughter. BEATRICE A good bed.S. are you home? 85 INT. The CREAK of a door makes Hector turn his head. (CONTINUED) * She stands Who's 85 * * * 84 .DAY Beatrice and Hector descend back in the room. you found one. Eventually he speaks... BOY (O. eh? Hector stands.66. Hector's expression lightens a little too. and this is my mother. eh? For you and me. She catches his thought. An OLD WOMAN stands in the main doorway. A BOY of about eight and a GIRL of ten are coming in from the garden. GIRL You were gone a long time. smiling at Hector and nodding her head. 84 CONTINUED: The bed takes up most of the space of the small attic. BEATRICE These are my children. Hector's face is a confusion once again. Beatrice pronounces his name with care..... proudly by her children. They look at it together.. COTTAGE . She laughs. BEATRICE This is Hector. It occurs to him to take up her offer immediately. and doesn't know what to do.
In a flurry of apology she rises.. She is working on some lace..DAY The Mother sits by the window in the nearest thing to a comfortable chair that the house has to offer. to drink... HECTOR No. He is delighted.. (CONTINUED) 87 . WELL . He guides the Mother back to the good chair. please. but come here first.. still engrossed in his new shoes. no. to wash? He mimes with his hands. She mumbles unhappily. He smiles and stands shyly at the door. The Boy is beside him. Beatrice understands that he wants some breathing space.. living as she does in the harsh male world of her time. sit.. 85 CONTINUED: HECTOR Is there water. She talks to her son. Hector splashes some water on his face and looks back at the house.DAY 86 85 * Hector stands at the well some way from the house. but eventually she allows Hector to settle her there. The Mother thinks he wants her chair for himself..... heady impact of Beatrice.... The scented air and the dizzy SOUNDS OF the BEES almost make Hector swoon. I just came to watch. harvested by her for scents and powders. He is full of embarrassment. 87 INT. and it is summed up in a full-blown pollen-filled sneeze. BEATRICE Take Hector to the well. He does a little dance in them before leaving with Hector. He drinks at her well. He is experiencing the full. drops her work and motions for Hector to have the good seat. She takes off the dead Squire's shoes and puts them on the Boy's bare feet. 86 EXT. sit down.. COTTAGE . Hector enters the room to watch her. He has some decisions to make. Beatrice's garden is a madness of wild flowers. They struggle comically for a while.67. She is a remarkable woman.
The Girl is boiling some dyes in a cauldron over an open fire. (CONTINUED) 88 87 * . I can sit on the box. Hector gently pacifies her.. HECTOR Good color. She stands by her cauldron. This chicken is making the supreme sacrifice in Beatrice's final effort at total seduction.. Hector will never dare rest his bones in it. pulling petals and separating the hearts.. Hector goes to watch her work. stirring the bubbling liquid. she has secured the best seat in the house for herself. I don't want it. He motions for Hector to have a sniff of the jar of liquid. Hector takes in what the Boy is doing and joins in the work. 87 CONTINUED: MOTHER We can't have this. HECTOR You must sit there... it's your seat. HECTOR Ah... Hector is aware of Beatrice watching him. firmly holding a struggling chicken. you need the light from the window. putting them in a large jar of colored liquid.68.. Whether in innocence or mischief. The smell is heady and pleasant. it's yours now.. He backs off. it's yours. Hector is guiltily aware of this as their eyes meet briefly.... The Boy smiles at Hector's initial clumsiness... If he stays.. for cloth? Without thinking. 88 EXT.. The Boy is working at a basketful of flower heads. She is returning to the kitchen. this was Arnaud's seat. A hideous odor assaults him. The Boy says something and points towards his sister.DAY Hector has retreated to the yard. YARD ... Hector does so.. The old woman allows herself a shy smile. wings flapping and feathers flying everywhere. a wonderful meal. I can sit on the box. Hector leans over the cauldron to sniff. He looks in the cauldron... look....
although her face is all innocence. but as he paces here and there Beatrice knows that he is unhappy. Hector submits... you look as if you need a walk. The Girl says something to him. The old Mother's appetite is prodigious. 89 INT. he is making an effort to appear relaxed.. and points to a bucket of liquid at her feet. knowing she will understand his feelings if not his words. She does.. She is an eating machine. BEATRICE Take a walk to the village if you want.. In Beatrice's house there is the luxury of small individual plates. 88 CONTINUED: HECTOR Ugh. 89 88 * ... COTTAGE . The others wait for Hector to begin. 90 EXT. There is definitely some power play going on in the old woman's mind. quietly and methodically. taking only a modest portion of food. There is an air of awkward silence. but he indicates to the old Mother to help herself first. She leaves the kitchen to join him. and she doesn't stop until her plate is heaped high with food.69... HECTOR Mmmm. The meal has been served in a communal pot. But this time their talking without words is a serious affair. although the Boy and Girl look openly at Hector." HECTOR Peepee? The Girl nods enthusiastically. Hector makes out something like the word "peepee. It is comical to watch her little frame consume so much.DAY From the kitchen Beatrice watches Hector in the garden. (CONTINUED) 90 The Boy is sniggering. COTTAGE . good food. perhaps assessing him as a future father.. Hector opens his heart to her.DAY Hector sits at the table with Beatrice and her family.. During the meal Beatrice and Hector exchange glances.
This Hector is awakening into what might be a nightmare. He turns to look at Beatrice. He speaks to ANDRE sitting close by. HECTOR I have to go. or the billionth? It is one of them at any rate.....MORNING His * * 93 * 92 91 90 * Hector awakes.DUSK Hector has reached the river... Hector is fully awake now. I have to get home. 93 EXT... eyes begin to close. We have left our previous Hector sitting under his tree 400 years ago. (CONTINUED) . RAFT . I can't stay.. She stands outside her house for a long time.. I have a family. you smell good. but the scene of parting is timeless.. Hector fumbles awkwardly with his bag and then walks off down the track. sitting against some boxes. 92 EXT. He sits down against the trunk of a large tree.. 90 CONTINUED: HECTOR I have to leave soon. it would be wrong to stay for just a while. menacing. 91 EXT. I like you.70. The pain and the awkwardness in Beatrice and Hector are specific. watching him until he turns onto the main road and OUT OF SIGHT.DAY It is awkward for Hector to say goodbye. Is this the ten millionth such parting. Hector sees the boat. He is on a huge raft. wonderful. There are over a hundred and fifty people perched on them. The huge raft is many smaller rafts lashed together. have to keep the sun on my back.. It is early morning.. dragged out of the water. He looks around him.. The sea is calm around them. like a controlled anger.. and a sad one. COTTAGE . but the deep ocean swell is still there to remind them of their predicament... just like you. RIVER . but it is already growing dark and the boatman has gone for the night. made of ship's timbers. lying or squatting in sleep.
ANDRE I would like some water. taking in the new day. intelligent man.. WOMAN Let me keep him.. and the dreadful reality of their situation. The place stinks enough as it is. they said we'll find land in a day or so. beautiful clear water.. All over the raft figures are coming awake. beside a river. this is the worst. Hector looks around him at the squalid mass of distressed humanity. capable. still bound to him in service through shipwreck and disaster. but with that same lost look in his eyes that Hector had as a slave. the worst. We can hear some of their exchanges.. ANDRE Do you think I'll still see Europe? HECTOR I think there's more chance of me eating you. Andre. He too is far from home. then a cry of a Woman. I heard the water. 93 CONTINUED: Andre is Hector's slave. A quiet. you're evil... MAN When they're dead they go over the side. sitting up. then a splash. (CONTINUED) * * * 93 * .71.. I was dozing. Our Hector is now a master. I was lying under a tree.. like a domestic squabble.. Andre is a young Asian. Andre speaks to Hector. HECTOR God.. I think I ate some raspberries too.. Some figures rise and an argument takes place. There is a flurry of movement amongst the figures. The noise has awakened others. I got up and drank some.. HECTOR I had a wonderful dream.
SAILOR Never mind the three crowns. and they hold each other's gaze for a long time. 94 EXT. A man. There is antipathy but also pain in their look. The man. DOM PAULO. 93 CONTINUED: (2) 93 The more we see of the people. RAFT . The year could be 1590. God preserve us all. or a drink of clean water. Someone speaks from under a crude canvas shelter. (CONTINUED) 94 He * . He watches a man and woman. The place is the Indian Ocean. weapons. hoping to survive this final trial of the sea. their costumes. my friends. The raft is now standing off-shore riding out the heavy ocean surf before finally beaching. sleeping on a pile of canvas. moves among the waking wretches.. there'll be food for all ashore. The woman. closer to him. Those too weak to help are huddled beside their possessions.DAY The sun is up. speaks with authority. Dom Paulo strides off to his station by the makeshift rudder. and Dom Paulo was right. His eye catches Hector's. Three crowns to the first one to sight the coast. mannerisms. We've been in the inshore currents since yesterday. the easier we will place them in their time.. DOM PAULO Don't worry. The strong are helping to row ashore. Hector turns his eyes to another part of the raft. under the shouted instructions of the NAVIGATOR. SAILOR It's full of Africans too. They are survivors of a foundered ship some time at the height of the great colonial empires. stands beside her holding a cloak over her to protect her from sea spray. DOM PAULO I think today will be the day.. still has her eyes closed. URSULA. Africa's full of meat and drink.72.. a side of beef would do. FRANCISCO.
the other down. Dom Paulo. he would. Finally the raft makes it through the barrier of the outer surf. Up from the beach lies an area of dunes. one half up. A few people are washed overboard with no way of saving them. and behind him SAILORS are erectig a tent-like house. The silks and ginghams that were destined for the finest halls in Europe now give shelter to sick slaves. a crazy. The others are making their own shelters all along the beach. They have managed to hoard a surprising amount from their doomed ship. NUNO. chests. Hector's attention is never far from Ursula. already has a table and chair set up in the sand. She refuses his help. The raft is in the full rage of the surf. Snake-like it rides the waves. (CONTINUED) . all are dragged ashore. A youth. goes to help her. made from timbers and rich tapestries and carpets. and beyond that a thick belt of jungle. Those near the beach scramble ashore. He has time to cast a glance at Ursula and Francisco. Soon the survivors are dragging their possessions from the raft. angrily wades to the shore and dumps it on the sand. In amongst the drama of their situation their little battle of wills seems petty and pathetic. The raft scrapes onto the sand. She is struggling in the water with some of her baggage. but it reveals much about their past. The sense behind its loose construction is obvious now. 95 EXT. If Hector had time or energy to laugh. the leader.73. Hector overtakes him and nudges him out of the way. ruined traders and grieving mothers. chairs. 94 CONTINUED: Hector works his oar with the rest. They are in a long curving bay. 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. offering to take Ursula's load from her shoulders. The beaching isn't easy. CAMP .DAY 95 * 94 * * * * Civilization has taken hold quickly in this little corner of Africa. starving sailors. Francisco in his manic-heroic way manages to row while at the same time trying to offer a steadying arm to Ursula. Waist-deep in water they tussle over her bundle of possessions. A regular little community is taking shape. wrestles her load from her grasp. Carpets. rich-textured village decked out in all the colors of the East. Hector overpowers her.
.. The Officer leaves to carry out his orders. 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. fruit. addresses another of his men.. DOM PAULO How many made it? OFFICER Eighty men.. Some of the absurdities and comedies of the situation can be highlighted in this way. By Dom Paulo's side always is his SON. Most of what he has earned or plundered in his colonial years now lies at the bottom of the ocean. discharge three shots. Since he is socially superior to anyone else on the ship he assumes responsibility and command. and send someone back as soon as you find fresh water. the pain of a son witnessing his father's compromises or failures all too closely. and we can enjoy Hector watching the boy watching his father. He is like a little miniature of his father. good or bad. DOM PAULO Two parties of ten men each. Ten women. dressed in the same style of clothes. wise or foolish. one to the north and one to the south. Dom Paulo 95 * (CONTINUED) . silent witness to everything that Dom Paulo does.74. bring back what you can. game. Although Dom Paulo is the man in authority he is also a man in deep shock. anything. There can be sadness in it too however. Amidst the construction work. He is a constant. He and his father are a continuing fascination for Hector. The habits of ownership die hardest of all.. and Dom Paulo's sad awareness of his image slowly tarnishing in his son's eyes. Dom Paulo is talking with some of his OFFICERS. Any trouble.. A quiet boy of about eleven. Da Cunha.. Eighteen children and forty-five slaves.. There are probably fifty men among the survivors more suited to lead them to safety.
... Hector finds what he is looking for.75... CAMP ... Francisco barely stops his work to reply. with the help of some slaves. I know she would agree with me.. Andre is carrying Hector's possessions. FRANCISCO If it's a joke it's a poor one.. And where's Dias.. walking two paces behind with his master's possessions. FRANCISCO I don't have to ask her. would you take my cloth. making another attempt to heal wounds from his past. HECTOR At least ask Dona Ursula.... 96 EXT. We feel an echo of the days when Hector was a slave. His stubborn rejection of Hector reveals just how strong their friendship once was. at least? FRANCISCO Keep it and build your own hovel somewhere else. tell him I want to see him. Hector approaches him. We'll look for a spot later. leave us alone.. Francisco is working on a shelter for himself and Ursula. I thought if we worked together we could make a better shelter. We've all got a lot of praying to do. Father Diogo wants a place of worship by this time tomorrow... leave us alone. HECTOR I have a carpet and some cloth. a big one. HECTOR Well.! (CONTINUED) * 96 95 .DAY Hector and Andre are walking through the half-built village.... 95 CONTINUED: (2) DOM PAULO Have the carpenter start immediately on a cross.. a rolled-up carpet and a bolt of colorful cloth.
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
. who's going to conduct the executions.. Tell Father Diogo. DOM PAULO The cross the carpenter is working on. or have a volunteer. sir. The dazed Deserters are led off... ALVAREZ.. Hector. 97 CONTINUED: (3) 97 DA CUNHA steps forward. Dom Paulo's face clouds DOM PAULO Everyone in agreement with hanging? Or should we shoot them.. now. We can sense the feeling of relief in Hector... Send the Priest to them tonight. have it erected along the beach.. in doubt again. away from the women.. tell him to turn it into a scaffold. Dom Paulo looks over the faces of the men. Dom Paulo. ALVAREZ I'll do it.. or what? DA CUNHA Hanging is fine. DOM PAULO Take them to the raft. should we pick someone... * * DOM PAULO Very well. Sunrise tomorrow. DOM PAULO Hector? Hector doesn't have the will to accept or the courage to refuse.. * * * * * He stops at . but his blank face reveals nothing of his feelings. Alvarez. the executions will be at sunrise tomorrow..79. He is saved by another young man. DOM PAULO Thank you. He turns to the Sailors holding the Deserters. Dom Paulo's son has been a silent witness to everything that has happened. eager to prove himself..
. * Hector turns to Andre. He pulls out his prize. Nuno is holding four fruits. HECTOR You go and sleep by the big fire. He is surprised by the sound of the boy. maybe you can try three. HECTOR Thank you. NUNO This was all they found in the forest. NUNO My mother ate three and she was sick. He guiltily gnaws at the hard bread. He looks across to the well-made shelter of Ursula and Francisco.. So try two. They taste kind of milky. 99 INT. NUNO Senor Hector? Hector quickly stows his food back into his sack.. but she's sick anyway. and somehow looks mean compared with the others. 98 EXT. Andre leaves. Andre. Four for each of us. CAMP . HECTOR Good work. Nuno outside. Nuno.. Andre is building Hector's tent while Hector watches him. CAMP . (CONTINUED) 99 98 . about the size of large apples.. and with a grunt of irritation sticks his head out of the shelter. Fires are being lit outside the shelters.EVENING It is growing dark. but sour.80. The tent is only large enough for one person. Ursula herself works at the fire. Andre. Keep warm. but green and thick-skinned.NIGHT Hector goes inside his little house. He puts his back to the entrance and opens the canvas sack which contains all his possessions. a sizeable chunk of bread and some dried fruit..
Nuno. I thought...... He looks at the fruit he has just given Hector.... we'll need strong people like you. HECTOR But there's tomorrow... His eyes turn again to his playmate tied to the raft..... Nuno looks disappointed. Nuno makes to leave. cheerily. NUNO Lopo.. NUNO You said you might just eat two. NUNO Hector. God knows what we have ahead of us. that's what he'd say. Nuno.. You must keep yourself strong.. one of yours and one of mine.. so that you can help the others. I was going to take him something to eat.... perhaps. 99 CONTINUED: HECTOR I'll start with two. but then hesitates. The guards wouldn't let you near him anyway. will you help me? Nuno is looking down the beach to the remains of the raft on the shoreline. he was cook's cabin boy. HECTOR Try not to think about Lopo any more.. we must eat tomorrow too. unconvinced.81. HECTOR Goodnight! Hector shouts after him 99 * ... Nuno is silent... the boy they're going to hang tomorrow. HECTOR Dom Paulo would call it a waste. The shapes of the two Deserters chained there can just be seen. Nuno stomps away in silence.
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
What? ANDRE I want my real name back. Hector smiles at his own insensitivity. Andre is satisfied. and leaves. when I remember... good night. 108 CONTINUED: HECTOR Have you any eggs left? ANDRE The slaves only got three.. HECTOR You were lucky.86.. (CONTINUED) Hector calls to him... Keta. HECTOR Yes. I promise.... to ask you something. Andre. Andre looks at him expectantly. I want 108 * . HECTOR I will. HECTOR Good night..... HECTOR I've forgotten your name... Andre. I want to hear the name they call me.. I'll call you that..... HECTOR You don't like Andre anymore? ANDRE I think of my home all the time. HECTOR We're not going to die. ANDRE Ketabomago Pululo.. We should die with our real names. ANDRE Ketabomago Pululo.. HECTOR Now I remember why we called you Andre.
here..87. DOM PAULO How wise of you to think of that now. sir. Cheap goods. a box of rosaries and crucifixes made of common beads.. some of them very sick indeed. are being gone through and suitable junk selected for gifts. It's the eggs. DOM PAULO How many eggs did you have? (CONTINUED) * * * * . It would have been better to ration them. Others just ate too many. 109 EXT. I'll give you an egg if you stop. a YOUTH with a few older children by his side. will you? Think of the older people.. for example. The next source of annoyance is the continuing noise of the HARMONIUM. Any deaths? DA CUNHA Six. Hector gives up on the eggs and pulls out his store of bread and fruit from the tent. He shouts across to the musical enthusiast.. 108 CONTINUED: (2) 108 * * Hector is alone. A couple of the crates were full of rotten ones. DOM PAULO How many are sick? DA CUNHA About fifty. I suppose. and the sick. HECTOR Hey! Stop that.. They talk as they work. CAMP . Hector and other notables are also there. but eaten just the same.NEXT MORNING 109 * * The Officers and Dom Paulo are selecting items for barter from their crates and boxes of valuables..
. (CONTINUED) 111 * * * * . 109 CONTINUED: Three.. The others work on at the table. and then retires to his tent. BEACH ..... DOM PAULO I don't feel well 109 I had four. what have you got? Salgado comes forward with a handful of the broken remains of a kettle. DOM PAULO Organize some men to gather all the nails they can find. and nails.. and a valuable brooch from his coat.. holds a silencing finger to his mouth. Salgado shows a handful of nails from a small sack in his hand. Dom Paulo... Dom Paulo rummages in a box of cheap rosaries. Luis cleaned up a sackful from the crates. We have to keep control of that particular currency. close to a pile of discarded boxes and crates. Hector drifts off down to the beach..MORNING Hector is walking along the beach. selects a couple. now. Then he adorns himself in the cheap rosary and other trashy items. He takes off the heavy silver chain and medallion from around his neck.. DOM PAULO Let's not think about it. He stows them safely in a locked box and replaces it in its hiding place in the sand floor.MORNING 110 * * * Inside his tent Dom Paulo goes to his small mirror. the really ill ones had eaten eight. catching sight of his watching Son in the mirror. SALGADO It worked well... DOM PAULO'S TENT .. ten.. they'll go for this. DA CUNHA Four's all right.88. 111 EXT. Copper is a useful currency. 110 INT. DA CUNHA I had them boiled.
how can you play like this when there are people needing your help back there.? The Boy is standing now and fixing his clothing. Hector is a survivor. she's still here..... you come back. And not the first Hector to scavenge on a beach.....89. 111 CONTINUED: 111 * He quickly searches through them. a piece of wood with some nails still attached to it. DUNES .. He soon finds what he is looking for. It's their day of discovery and it is like a dream of love.. too embarrassed even to raise her head to Hector. Hector realizes he has broken something precious and in their circumstances infinitely fragile and irretrievable. in a world that feels big and empty. He walks off back to the camp. then continues to rummage amongst the wood for more. He pulls out the nails and pockets them. He calls after the Boy. HECTOR Stop that.... Cautiously he crawls up the dune and looks over to the other side. or I'll tell your mother. I didn't mean it.. They are coyly in the early stages of making love. Then Hector is touched by something. He stands up in full view of them. the Boy lying close to the Girl.. I won't say anything.. kissing her. buttoning her dress... The Girl remains sitting in the sand. it was a joke. get back to the camp.. The Boy is just about to discover some more and is fumbling with the Girl's clothing. We see him climb over a dune and then as he nears the summit duck and retreat down the slope again.MORNING Hector is enjoying the freshness of the day. when he looks up and catches sight of Hector.. Hector ducks down but knows he has been seen and decides to brazen it out.. (CONTINUED) 112 * * * . They are twelve or thirteen years old. 112 EXT. He feels like an oaf. leave her alone. beginning to caress her.. perhaps the sad stoop in the Boy's shoulder or the Girl's lowered head. HECTOR Come back. He is watching a young Girl and the boy Nuno. Their love-making is poised oddly between child's play and eroticism.
he didn't think you would be such a strange color. somehow still muster an absurd sense of their own importance for the occasion. (CONTINUED) * 113 * * * * * * * * . and porters carrying baskets. who feels foolish and mean. SLAVE . already scanning the baskets of the Natives for signs of solid food. The Natives. But she doesn't look up.. The ragged Europeans. HECTOR I'm sorry. so that he will know that you were born like real people.DAY The meeting of the two leaders is weird and wonderful to see. Hector calls down to the Girl. Then he sees the procession of the Native King and his people.... like human fruit. 112 CONTINUED: 112 But the Boy walks on. turning around now and then to look at Hector. 113 EXT. so he wants to see your.. Many of the Natives have climbed into the trees. Hector curses quietly and looks out across the dunes. either out of timidity or to get a better view The trees around the meeting place are dripping with bodies. excited and curious.. trying to contain their exuberance so that they don't miss a single detail of this most significant day. CLEARING . angry with himself. When he has stopped talking the Slave begins to haltingly translate. Hector slips into the crowd as the NATIVE KING is in mid-speech... SLAVE He was excited when he heard you had come. still fumbling with her buttons. some cattle.90.. Hector runs off towards the camp. He points repeatedly at his navel.. but he wants to know if you are real people.
.. Dom Paulo regains his composure.. very far away. Dom Paulo steps forward to the King. we have a long way to travel.... to buy food..91. He speaks again to the He talks to 113 SLAVE He wants to see you breathe.... Then they step back... The King is enjoying himself. (CONTINUED) * * * . It is a strange. The King joins them. SLAVE He has heard of white men very.. the Officers standing closest to him. and for a few moments there is a kind of communion between them. He begins to open up his coat and shirt. Dom Paulo opens it. An Officer brings a wrapped cloth. twenty big rivers. then nods to Dom Paulo. DOM PAULO Right.. Dom Paulo and the Officers fix their clothing and re-muster their dignity. The King listens and talks back for a long time. you four as well. to where the white men have their big ships. all the Natives and all the Europeans united in the simple act of breathing. The four Officers do the same. Slave. and we want him to guide us out of here.. Then the Slave translates again.. who then translates. He speaks to the Slave. letting the King see the pieces of broken copper inside. The King and a few of his attendants take a step or two forward and peer at the exposed white European bellies.. this way. poignant moment..... The Slave speaks to the King. * DOM PAULO Tell him that we want to trade with him. DOM PAULO Tell him I want to give him these. 113 CONTINUED: Dom Paulo won't suffer the indignity alone. Dom Paulo and the Officers do as they are told. Then everyone joins in. but you have to cross many rivers. They look at one another and mumble solemnly.. The King takes a deep breath.
. and tell him that I want to make him a very special gift as one King to another. DOM PAULO Of these precious things. it is ten days from here. Dom Paulo solemnly and without a blush removes the cheap rosary from around his neck and offers it to the King. and he is such a great and worthy King. The King nods his head in approval and shows the nails to his attendants. The King refuses to accept the rosary.92. replacing the worthless baubles around his own neck.. which my fathers and forefathers have worn for many long years before. 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. DOM PAULO .. The King begins talking again. The Slave translates. (CONTINUED) * * .. DOM PAULO I shouldn't do this. 113 CONTINUED: (2) 113 The Officer produces a handful of large nails and gives them directly to the King.. Dom Paulo's Officers enjoy a muted titter as he peels off his precious rings and gives them to the King.... but please do not insist that he take your necklace. something of such value to your family..... but it is such a special occasion. This is translated. They are impressed.. SLAVE He says he could not accept such a treasured gift. Instead he is pointing to a couple of chunky and valuable-looking rings on Dom Paulo's fingers which he has forgotten to remove... Various Officers raise their eyebrows at this. It is impossible to know if the King is being naively polite or hugely clever...
. at the fire.. 114 EXT. SLAVE . 113 CONTINUED: (3) DOM PAULO Thank you.. SLAVE Because with the new moon the turtles will arrive and lay their eggs. with the lostlooking cow the Natives have left. Hector is. A doomed cow if ever there was. you must be gone. Nuno grabs it. licking his fingers. Nuno is sitting by himself. He heat to pull at a couple of blackened Nuno... and he asks you to be ready to leave the beach in two days time. Some are still on their feet by the large fire. The image is once again timeless. They are the survivors of the pack.EVENING The remains of the cow hang on the spit over the large fire the survivors have made on the beach.. He sees Girl earlier in staring vacantly 114 * 113 Hector sits down in the sand beside him. if any will be. even the fit ones. gnawing on the roasted flesh. he cannot permit you to stay longer.. the elements of it simple. you may frighten them. thank you.. The mention of turtles' eggs almost turns the stomachs of most of the survivors.. fire.. Soon the survivors are alone again. BEACH . The Slave continues. man... the boy he chased away from the the day.. Now and then a hand will dart out over the flames to snatch a bone hanging loose or a tasty-looking piece of gristle. Small groups of people sit around it.. Nuno hardly notices him until Hector offers him one of his bones. One cow doesn't go far between a hundred starving people. (CONTINUED) . of course. Dom Paulo looks shocked. The King and his followers walk back into the forest. food. flesh. NUNO Thanks.93. among them. risks the searing bones.
HECTOR If you don't respect me.. Hector regains his * * 114 HECTOR You don't think too badly of me? NUNO No. NUNO I know.... Hector allows him to feel the benefit of his gift before he starts to talk. HECTOR But it does... and respect each other. * HECTOR You do? NUNO Yes. They are silent for a moment... just say so. we all have to like each other. Hector is satisfied now.. I was upset at something. NUNO It doesn't matter.. that's important too. 114 CONTINUED: HECTOR Suck out the marrow. I wasn't really angry at you. Nuno follows Hector's example......94. HECTOR I'm sorry about today.. Nuno is taking it rather well. it was mean of me.. natural self-confidence... it's the best bit.... that makes me feel better. (CONTINUED) . HECTOR You still like me? Nuno shyly nods his head. HECTOR Well...
95.. (CONTINUED) 115 * * * * * . maybe you could meet him when we get home. DIAS How can I be accurate without instruments? As it is I'm sighting the sun with two pieces of wood. eh? Nuno shakes his head. This doesn't produce much of a response. the navigator. This is Hector the social animal. Hector tries again... 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.. HECTOR You can take her back there tomorrow.. Then he turns away in silence. 115 EXT. he said twenty rivers. Gasper Dias has drawn a rough map which lies on the table. * DOM PAULO Can't you be more accurate? Hector comes to the meeting.. our Hector with his pockets full of stolen nails and his tent full of stashes of food.. NUNO No.. she's sick now. HECTOR I have a boy like you. Hector tries another approach to win the Boy over. 114 CONTINUED: (2) 114 Nuno looks at him.. smiling weakly.. his expression changing with the shifts in mood of the others.. CAMP .. He starts to chuckle to himself and nudges Nuno in the ribs. He sits down on a box near the table and watches and listens. An argument is in progress between Dom Paulo and GASPAR DIAS.
? Dom Paulo lets out a heavy sigh. I'm sure that God has an answer to it. the ship did manage to find that rock with admirable precision.. we'll be leaving them here to die. SALGADO Oh. FATHER DIOGO I'm going to search the scriptures tonight..... I don't see how a hundred of us can carry seventy sick.. DIAS An excuse. She was overloaded before she left India and you know it... Dom Paulo.. DOM PAULO I've discussed it with Father Diogo. Dias.. Dias! (CONTINUED) * . There are mock groans and laughter at the thought of it. After all.. that's an insult. I've told leader or jungle on have been DIAS you.. DA CUNHA What about the sick and the injured.... Dias.... it should done days ago.. she hit that rock because she was taking water and unsteerable. you can't stay here forever. Dom Paulo.. you mean... * 115 DA CUNHA Calm down. Dias pounds his fist on the table.. we vote for a you can walk into the your own. DIAS Confound you..96.. so you're coming with us now.. The tension for the moment is broken.. 115 CONTINUED: DOM PAULO We just want you to be as accurate as we know you can be. living on turtles' eggs.
.97. HECTOR Will you share a bottle of wine with me? I've had it since we left the ship. willing their old friendship back into existence in the urgency of the moment. From what he has heard at the meeting this is serious news. HECTOR Where is Ursula? Sleeping? FRANCISCO Sick. and set an example to the heathens. is outside. the chance to die a good Christian death here. He speaks to Francisco. I want to drink it tonight.... 115 CONTINUED: (2) 115 Dias mumbles to himself. FRANCISCO You have a bottle of wine? (CONTINUED) . An impulse takes join him. Hector. close to the tent of Francisco and Ursula. She hasn't been able to rise since yesterday. * Hector's face expresses his shock. Hector lingers. He makes a decision. 116 EXT.. with you. HECTOR I'll be glad when we're on the move... CAMP . This offer has found a chink in Francisco's armor..NIGHT Hector is He passes Francisco Hector to 116 making his way in the dark back to his shelter. FRANCISCO Good night.. FATHER DIOGO It might be the best we can offer them now. DIAS After the vote. the sound of the sea is driving me mad.... by the fire.
Francisco sips the wine with the relish of long abstinence. FRANCISCO You rogue. CAMP . fetch it. Francisco by some miracle has two fine crystal glasses. Some people on the raft might have lived with a glass of this in their stomach.. do you want to kill her? HECTOR Surely. FRANCISCO Much too rich for her... I feel very guilty. give it here. FRANCISCO You should hang for this. I 117 116 * Hector pulls a cotton bag from under his coat.. smiles in anticipation.. 116 CONTINUED: HECTOR Yes..... brought this too.NIGHT Hector has returned with his precious bottle.. HECTOR I know... HECTOR Honeyed fruit. Francisco can't believe such food still exits. Francisco talks through his munching. FRANCISCO Well. Francisco grabs at the bag and stuffs two or three sweets into his mouth...98. (CONTINUED) He . As they drink they begin to reveal a hint of their old intimacy.. not so much the gentleman now. HECTOR I brought it for Ursula. some fruit couldn't.. The last I have. 117 EXT.
...... FRANCISCO And then you get on the same ship. what else can she do but hate you? Hector is silent. you took away her pride. HECTOR I had to get home.. just like you. FRANCISCO And when the ship went down. The younger boys have been organized into a choir.DAY 118 * * * * * * * 117 On a headland overlooking the bay. you were stupid... FRANCISCO So? HECTOR Francisco. 117 CONTINUED: FRANCISCO Don't argue with me. Father Diogo's mass is in progress.. the other raft was sinking.. you did the one thing you can't do to a strong woman. always sorry.99.... the complexity of their friendship having gone beyond words...... The harmonium has been carried up the hill and is in full voice..... HECTOR Why is it always me? Why am I always guilty. MASS .. 118 EXT. and a good many of the sick have been carried in litters to take part. HECTOR But. what a fool. Every fit member of the camp is there... you're the guilty one around here. please. old friend. and don't you forget it. They drink the rest of the bottle in silence. it was as if you were trying to torment her.... why did you have to get on the same raft. (CONTINUED) ... some youths dissipating their precious energy on its bellows.. Francisco's face breaks into a smile. am I so bad? FRANCISCO With Ursula you weren't bad.
perhaps by the music.. a low. ten cows.MORNING 121 * Hector is sitting beside Nuno on a box.. of stones. With them are some messengers from the king.100. NUNO No. * HECTOR You must come with us.ANOTHER ANGLE . the machine that makes music. Dom Paulo and the officers watch the work.. and then with the chanting voices of all the Europeans. the kneeling Hector... the cliffs. When he finishes. 119 EXT.. until it seems that the whole world is praying. rhythmic. to take with us.. but the King would like one thing.. 120 EXT. then the King can have the music. or perhaps by the simple. DOM PAULO We need food as well. One of the messengers is talking.. They have been moved.. the ocean. The amount of damage that a hundred and fifty people can do to a beach in two days is impressive. Slave translates. 118 CONTINUED: The large cross stands behind Father Diogo. CLEARING ... universal posture of worship itself. 121 EXT. They begin to sing. held by a cairn of piled stones at its base.. When we Hector there is something tantalizingly familiar all.. they will look after the sick. compelling chant. CAMP . It mingles with the distant voice of Father Diogo.DAY 118 * in place FIND about it a pile * 119 * * The natives have gathered nearby. CAMP .MORNING 120 Next morning the camp on the beach is being broken up. Andre stands beside them. The place is like a junkyard. and the Slave translator. the SLAVE Yes. the offering to a god. talking earnestly to him. (CONTINUED) .
DOM PAULO You're staying with them? Father Diogo hastens to correct this misunderstanding. carry the sick in crudely-made litters. what will you do then? NUNO Follow you and the others. 123 EXT. Two sailors. A long line of people.. 121 CONTINUED: ANDRE Your mother might not get well.DAY Dom Paulo and Father Diogo are standing beside Dom Paulo's table. FATHER DIOGO No.DAY 123 122 * * 121 The trek from the beach to the village has started. leaving Dom Paulo and Father Diogo propless on the beach. (CONTINUED) . enter and remove the table. including some local natives. CAMP . I'll comfort them before we leave. FATHER DIOGO I'll comfort them as best as I can. HECTOR And afterwards. ANDRE Let him be. all that remains of his headquarters on the beach. Somewhere in the line six sailors manhandle the harmonium up the jungle path.101. Even this short trip is hard. do you understand that? NUNO That's why I have to stay. HECTOR Alone? Nuno remains silent. 122 EXT. JUNGLE PATH .... like stagehands. no.. I think my place is with you..
125 INT. He finds him taking some of his possessions into a hut. ashen and fevered. watching the small human dramas all around him. I have to see her before we leave. HUT . In a day or two the wind and the sea will have rubbed out all evidence of their stay.. HECTOR We're leaving soon. Her voice is a whisper.. NATIVE VILLAGE . Emotional farewells take place in dark corners of the small huts. Francisco goes into the hut. A group of unmoved sailors are playing cards in the dirt. stooping low at the small entrance. She turns her eyes to him but doesn't speak. FRANCISCO In you go. 123 CONTINUED: Just behind them Hector is helping Nuno to carry his Mother in a litter. It is like a civilization on the move.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. He kneels beside her. 124 EXT... FRANCISCO I'll ask her. Soon Francisco emerges from the hut. In amongst the bustle Hector is looking for Francisco..DAY Ursula is lying in a darkened corner. (CONTINUED) 125 124 123 * * * * . Hector waits outside.. Hector goes into the hut. and the bay will welcome its regular tenants. it's Hector. I've come to say goodbye.102. the turtles. HECTOR Ursula. but tries not to show it. HECTOR Francisco. Hector is shaken by the sight of her.
. almost jumping out of his skin. I'll pray for you in Lisbon.. and then falls back into a dead faint.103. He whispers nervously... speaks again. She manages a whispered word... Hector leans over her to make sure she is still breathing.. nothing..... I can't forget how I hurt you. finding wells of energy from sheer indignation. She lies still. URSULA What? What did you say? you talking about? HECTOR Nothing. many things... Ursula speaks one word.. Hector lingers for a moment. I could have explained.. I won't forget India... HECTOR Ursula? What are . HECTOR Yes. Ursula pulls herself up on an elbow.. HECTOR I won't forget you... 125 CONTINUED: URSULA Goodbye. URSULA Idiot! She lies still. HECTOR We should have talked.. She looks at him but doesn't or cannot speak. at the Cathedral. URSULA Lisbon.. Hector is astonished.. Then he 125 * HECTOR I'm sorry I hurt your pride.. Hector has blown it.
... They shake hands.. thank you.....DAY Hector takes Francisco by the arm and leads him behind the hut. Dom Paulo.104.. of course. DOM PAULO Yes. or what you are doing for these poor people.. DOM It's too heavy to knows. 127 EXT. Dom Paulo is talking with Francisco.. FRANCISCO I'm not staying here with the intention of dying... * * * * 126 Hector comes out of the hut. HUT .. it might impression on the PAULO carry. we'll be following you. but I don't know what else I can do.. FRANCISCO . HECTOR Francisco... DOM PAULO We won't forget you. They make what they both know is their final parting.... FRANCISCO Oh.DAY Outside the hut. 126 EXT.ANOTHER ANGLE . FRANCISCO You've made your peace with her? (CONTINUED) 127 . it breaks my heart to leave you all here. HUT ... DOM PAULO God protect you. I must talk to you alone.. and who make some heathens. solemn-faced. DOM PAULO We're leaving the cross with you... and good luck to you.. when we are fit and well.
.. God.. you're right. if you go empty-handed I can put you out of my mind! Hector smiles uncertainly. 127 * * FRANCISCO Thank. Francisco looks down at his boots. (CONTINUED) * * * * * * ... unsure if Francisco is making a joke... goodbye. HECTOR Your boots....... Francisco is stunned into silence. Then he becomes more serious..... I daresay my boots would take you six hundred miles. Hector.... HECTOR Is there anything that I can do for you? A letter. a message? Francisco laughs softly. But then a smile comes to his face... but I have to walk six hundred miles. Hector lifts a foot to show Francisco his boot. I look after them.. HECTOR I want to ask you something.. FRANCISCO What about them? HECTOR Can I have them? You can have mine. they'll be fine for here. 127 CONTINUED: Yes.. FRANCISCO Yes. HECTOR I think so.... if you were carrying something for me I would have to worry about you. There's no easy way to do it. FRANCISCO No. Well.105. Hector becomes almost poetic in his pleading. FRANCISCO Go on.
FOREST .. Hector. you have surpassed yourself. HECTOR They were made by Da Fosca.. looks around. and calls out in a powerful voice.106. HECTOR Yes. (CONTINUED) * . FRANCISCO Hector. BOBBY... There is one human sound in the cold stillness. It is late in the year. He stops singing. He can't believe his luck.. cleared areas for tents. Francisco is laughing. In my boots. BOBBY They've gone. I'll pray for your soul in the Cathedral in Lisbon. long gone! Bobby looks around the abandoned camp.... FRANCISCO The best bootmaker in Goa.. 127 CONTINUED: (2) HECTOR I'll walk all the way home. pray for my soul in Lisbon. a voice singing... FRANCISCO .. he loves Francisco.. He makes nonsensical small talk. sit down and take my boots! Francisco starts to take off his boots.. He is making his way up a steep slope to an area of flat ground..DAY 128 * * * * * * * 127 A different forest.. the dead fires. At this moment. Hector does the same. Francisco. * 128 EXT. ranging through the mountains for hundred of miles. Francisco starts to laugh out loud... has a pack on his back. weren't they? Francisco is giggling now. but Hector doesn't get the joke. hopping around on one foot. the owner of the voice. A wilderness of giant pines. and pray for your own.
DAY Hector has scoured the campsite." Also on the plaque someone has written.NIGHT Hector and Bobby sit by the fire with their supper.." 130 EXT.. HECTOR How long? BOBBY They've been gone a week. It is Hector. 128 CONTINUED: Up the slope and INTO VIEW comes his companion.. "We left here. an Indian arrowhead with a few inches of broken shaft. whiskey. Marker 152... 129 EXT. pleased with himself. Behind them. but pretend not to be. He folds his hand over it again. Bobby unfolds his fist and looks at what he has found. BOBBY We're ten days late. and now 128 * BOBBY Cheer up. BOBBY Well done. 130 They (CONTINUED) . my lad! Hector walks to the fire. He holds up a canteen 129 HECTOR It's Sandy's. It reads. They are in trouble. 20th October. Have a look around.. CAMPSITE . They look at each other. are both anxious. leading a laden pack horse. "Pennsylvania Boundary Expedition 1761. CAMP .. they know it. is a plaque their companions have left. he has found. at least. nailed to a tree. keeping his secret... I'll start on a fire..107. HECTOR Damn them.
had some tobacco....... From under the pack that makes his pillow he pulls a piece of broken arrow. a shaft and some feathers. 131 EXT. keep us busy..108. we'll still hit the river. watching Bobby's sleeping form on the ground at the other side of the dying fire. CAMP . what would he be? BOBBY You wouldn't. .ANOTHER ANGLE . we can't miss that. Their forced tone of matter-of-factness only serves to heighten the growing feeling of doom. HECTOR It's too high for Indians? BOBBY Much too high. He is worried about something else. then looks back to Bobby and the wolf.. You won't find an Indian up here.. We can log the peaks on the far side. 130 CONTINUED: BOBBY Even if we lose their track. HECTOR You think we'll get out? BOBBY If we keep our heads. He looks at it.NIGHT I wish I 130 * 131 Hector is lying awake.. the other end of Bobby's find. Hector isn't anxious. He knows the wolf will soon become aware of them and move off. Behind Bobby is a wolf. but he might be a Delaware if you did. no panic. sniffing and edging his way closer to them. HECTOR We keep working? BOBBY Why not. just a couple of sightings a day. HECTOR If you did find an Indian. We just have to keep our heads.
There is a difference of some four or five minutes in the time. They obviously have this tiff every morning... you should throw yours away.. you're slowing down. temperature.MORNING In the morning Hector and Bobby are taking readings from the instruments they have hung on a large tree. BOBBY It's getting worse. thirty-four.. BOBBY Barometer.. Bobby. (CONTINUED) . forty-two and a half.. 132 EXT. It gives some shape and meaning to their predicament. Hector takes out a smaller chronometer from his own pack.. He speaks pointedly. HECTOR You're unscientific.... HECTOR What's the point of having two chronometers when you don't take the average? BOBBY Exactly.. at heart. The going is easy through the ferns and grasses.. 133 EXT... Bobby mocks him with a laugh.. Hector writes in the book. twenty-eight and three-eighths. CAMP ...... time. HECTOR I'm not fast... FOREST ... Hector writes it in the log book.DAY 133 * * * Bobby is leading the horse and Hector walks on ahead. 132 * * HECTOR Seven twenty-five.. Bobby goes to the horse and takes a brass chronometer from a box strapped to the saddle.. maintaining the disciplines of their work. high. Bobby for a moment forgets his apprehensions and starts to sing loudly.109. you're nearly five minutes fast now. low.. They compare readings....
He eyes the forest all around as the echo of his voice fades. It unnerves them. Bobby scratches the center point on the top stone of the cairn. finding comfort in the closeness of each other. CLEARING . They work quietly. BOBBY There's not a bonny bird that sings But minds me o' my Jean. 134 EXT..DAY Hector and Bobby have stopped at a point of bare rock looking out across the broad valley. built for this or that purpose. They hastily dismantle the equipment and load up the horse.. HECTOR Sure this is a good idea. FOREST .110. a cairn. They are establishing a survey point. BOBBY Let's get out of here. and dangle a plumb line from the tripod. Our doomed surveyors are acting out the same ritual. They talk as they work. quietly this time.. When they anchor their tripod. 133 CONTINUED: BOBBY I see her in the dewy flowers I see her sweet and fair. on either side of the horse's nose. They finish the cairn and erect their heavy tripod over it. They are building a pile of stones. (CONTINUED) 135 134 133 * . taken by surprise. 135 EXT.DAY They are travelling together now. this time in the name of science. The only sounds are of their breathing and the CLICK-CLACK of the stones. We feel the echoes of our many previous Hectors and their piles of stones. Bobby has frightened himself too. Chastened. They stop for Bobby to consult his compass.. methodically. under his breath. in an atmosphere of controlled panic. the cold hard sound of their CHISELS STRIKING ROCK ECHOES all through the forest. His voice rings sharply around the forest. They stop hammering and listen to the ECHO BOUNCING down the valley. Hector far ahead turns around. he begins to sing again.
111. as if to say. It is difficult to know who is more shaken by their encounter. but even the CRIES of the BIRDS now seem to mock them. FOREST . I'm just leaving. Hi! Hello! Hector absurdly greets him.DAY They are on the valley floor now. (CONTINUED) 137 136 135 * .. HECTOR Hey. goodbye.DAY They are moving more slowly. FOREST .. It hasn't seen grass this good in weeks. They are moving quickly but they have a hard time keeping the horse on the trot. The trees are more openly spaced and the grass is richer. The encounter is high comedy but full of terror for all of them. They take the easy way up the hillside. the Indian or Hector and Bobby.. At the same instant the Indian comes to his senses and sits bolt upright. The route takes them downhill. the ground is rockier and the trees are thickening. come back. Why don't they talk? They proceed in this weighty silence. They no longer look much like conquerors of the wilderness. The Indian stands up.. but Hector gives a turn of his head and there is the Indian four feet from him. "Don't mind me. The slopes are more dense with undergrowth now and the going isn't so easy. 135 CONTINUED: He indicates a slight change of direction. We can feel their anxiety breeding in the silence.. Sometimes they are reduced to an undignified scramble." Hector and Bobby are equally silly in their response. and they move off again. 136 EXT.. Still they don't talk. we're just moving through. dozing or deep in reverie. HECTOR The Indian backs off from them. boys.... They almost pass without noticing him. hanging onto the bulk of the horse between them. holding his hands up and smiling crazily.. we all got a fright. 137 EXT. The INDIAN is sitting behind a tree as they pass.. a natural path made by deer or bear.. don't apologize.
gathering their wits. he is gone.. Bobby. BOBBY That was stupid. 137 CONTINUED: 137 * The Indian is in full retreat now. and Indians don't come in ones. It has headed back down to the tastier pastures in the valley. HECTOR Did you see him? BOBBY Sure I saw him.. Hector... 138 EXT. Then they realize that in their fright they have let go of the horse. a mad race through the forest. What about the horse? BOBBY I'm not going back down there..DAY Hector and Bobby are sitting on a rock. HECTOR Was he a Delaware? BOBBY How the fuck should I know? He was an Indian. but making good distance from them. waving his hands about apologetically.. It has happened so quickly that Hector and Bobby scarcely believe it has happened. HECTOR Don't panic. FOREST . It is odd how they talk so matter-of-factly... BOBBY Why not? He runs off into the forest.. I think he was an Indian too. HECTOR What did you see? (CONTINUED) 138 Then he turns and shouts to .112. BOBBY Come on! Hector follows him. Suddenly.. They see it disappearing into the trees below them... HECTOR Yeah.
HECTOR Yeah. BOBBY A gun? HECTOR No. 139 EXT.. We should make a shelter though.. my letters. BOBBY We won't have a fire tonight.DAY 139 They have stopped to make camp. without a fire? Bobby laughs quietly. Bobby looks at Hector's backpack.. kind of short.. with long hair. . HECTOR Let's get a bit further up. It is late afternoon.113. a purple glow in the air.... a candle.. the logbooks.. BOBBY That's the one. BOBBY Don't even think about bears. he was't tall. 138 * BOBBY What've you got in there? HECTOR Some food. sharp shadows on the far peaks. They move off... BOBBY That's it. Hector scans the hills above them. the sky just darkening. HECTOR What about bears. HECTOR An Indian.... CAMP . 138 CONTINUED: BOBBY Same as you. Hector. in case it snows.
. Father. they did not have names. must be Delaware.. Come back soon. Do not worry about the frogs. they used to farm on the coast... (CONTINUED) . Hector looks up at Bobby.. He has the air of someone putting his affairs in order.. read it out.NIGHT 141 They are safe and snug in their hideaway. HECTOR Dear.. holding them close to his eyes in the dimness.. they were chased up here years ago. everybody thought they'd cleared off west. CAMP .... Bobby is thinking aloud. on his own. BOBBY Go on.. Nathaniel. Everybody misses you.. 141 INT.. 140 EXT. Bring me a bear's head and claws and a gun. Miss White has married a fireman.. to curl up in a ball and hide. He holds a scrap of paper close to the candle and reads. not tonight.NIGHT 140 * They are making a round frame of bent branches and covering it with foliage. He looks up at Hector. they were an angry lot.... He is reading his letters. no wonder. BOBBY I've had to listen to it every night since April. and allows himself a small smile. it is big enough for two men to huddle in. Three frogs are dead. Tonight they feel the most basic of urges. What? HECTOR No.. BOBBY Maybe he's lost too. the other side of Ohio.114. Hector looks up. I miss you. Hector has lit his candle... why not now? Hector gives in. CAMP .. Half-hidden in the undergrowth.. HECTOR It's not so funny now as it was.. School is good.
(CONTINUED) He tenses.. nine months on a whaler and then three weeks at home telling us all how much he missed us. Bobby doesn't pursue his argument.. HECTOR If you knew him. then 141 * . BOBBY I can't tell.. smell it? Hector sniffs some more. for the winter.. 141 CONTINUED: BOBBY It wasn't funny then... BOBBY I had a father like you. BOBBY Goddam it.. a night like this it could carry for miles. if you could picture him saying it..115... BOBBY I wish I had a smoke. He huddles back inside the shelter.... BOBBY Where the hell is it coming from? He puts his head out of the shelter.. HECTOR I'm going home... it would be funnier. BOBBY Smell it? HECTOR No. sniffs the air vigorously. HECTOR Tobacco? They whisper.
. the fucking king? HECTOR Go on. Hector takes a small package from an inside pocket.. BOBBY I bloody won't..116... you have it.. BOBBY I have to wait until your birthday for a smoke? Who are you.... that's why we're friends... we try hard.. BOBBY What do you mean. but that's how I feel about you. HECTOR Well have it now. smoke your pipe... He hands it to Bobby.. you were saving it? You know the rules. I was going to give it to you then.. what do they have to do for a piece of candy in your house? It's very hard to like you sometimes. I'm not smoking on your command... BOBBY God. Bobby takes it. I bloody won't.. d'you know that? HECTOR I know.... come on. take it.. and you don't even use it.... Bobby. wanting a smoke..... 141 CONTINUED: (2) 141 * After a tense silence. There is a brooding silence. no hoarding.. HECTOR I was saving it... (CONTINUED) . day and night. HECTOR I was saving it for my birthday.. too. have it now... It is a wedge of tobacco. BOBBY You've kept it from me.......... you've listened to me for a month.... tobacco or food. your poor children... I don't smoke. smoke it.
but after Daniel Boone... 141 CONTINUED: (3) 141 * Hector is neatly turning the tables on Bobby.117. HECTOR So. HECTOR Yeah... (CONTINUED) . HECTOR Alicia. tell me.. friendship now. all night.. but you're impossible to like sometimes. BOBBY I can't think of anyone else.. most vulnerable smile we have yet seen on his face. Suddenly Bobby grows shy of their growing intimacy.. who now appears churlish... and then breaks into a smile... HECTOR I know where you want to start... childish. who would you rather be sitting here with. BOBBY Daniel Boone? Hector smiles... BOBBY We should sleep. but still smiles his acquiescent smile. I'll have it in the morning. BOBBY No.. we're going to talk.. But Hector has other plans. have a think. where do you want to start? Bobby is silent... HECTOR Come on... too.. He is in control of their HECTOR No we're not. We've got a lot of running to do in the morning. He would be a help. Bobby does. Bobby is still silent.. Hector reads the silence well..... Bobby yields to this with the softest.
.. I'm sorry. I've named it Nathanial Mountain... Want to sign it. or Mount Alicia.. 141 CONTINUED: (4) 141 * Bobby's smile breaks into a boyish laugh. write anything? BOBBY No.. Behind him Hector is busy writing in his log book..DAWN It is a glorious dawn.. 142 EXT... what about Alicia? HECTOR I'm sorry. HECTOR What do you mean... I'm the one that has to apologize. It will be a worthwhile night for both of them.. HECTOR I've said who we are and where we're headed. but Nathaniel's fine. Bobby sits looking out on the valley... FOREST . He offers it to Bobby.. you're sorry. HECTOR The peak we logged yesterday.. After my boy.. is that fine with you? BOBBY I was going to call it Tobacco Mountain. BOBBY Isn't it a beautiful day? Hector finishes his writing. BOBBY Oh no you're not.. smoking his pipe.. BOBBY No. BOBBY Well. tears out the page from his book. (CONTINUED) 142 ..118.. Bobby is mischievous now...
. Hector takes a last look at their shelter and its little memorial cairn and then runs to catch up with Bobby. (CONTINUED) . BOBBY Let's get away from here. hugging the ground. 144 EXT. FOREST . They move like ghosts. Hector tries to struggle free. 143 EXT. as if to challenge their night-time tormentor. Bobby stands. BOBBY They're on the other side.. 142 * Bobby walks off with great clouds of tobacco smoke billowing defiantly around him. 142 CONTINUED: Hector smiles. FOREST . and starts to build a small pile of protective stones on top of it. and turns to watch him. Bobby is already sliding up the slope to look over the rise. we just have to keep moving. HECTOR North? Yeah. He puts the paper in a small leather pouch.119. He throws himself and Hector to the ground. Hector follows him... BOBBY We can move quicker without the horse.DAY Hector and Bobby look vulnerable as they walk through the open forest with their meager packs on their backs. Behind them they don't see the figure moving from the cover of one tree to another. He dips down over a rise.. Hector ducks lower.DAY 144 143 Bobby is a few steps ahead of Hector. we have to get away from here. puts the pouch on the ground near the shelter. HECTOR What's wrong? Quiet. and then another figure following the first. BOBBY Keep the sun on our backs. and instantly returns..
Hector knows they are doomed. The women are washing clothes. HECTOR What's wrong? BOBBY They're behind us. Hector looks and sees nothing. He sees another figure caught in the act of seeking cover. From behind trees and rocks they emerge and begin the chase. His eyes flick across the forest behind them.. A tragedy of misunderstanding. BOBBY We're right in the middle of them. To the watching Indians it looks like a direct attack on their families. over the rise. We are close enough to hear their laughter.... They must think we're stalking the women. BOBBY Oh-oh. a man who is looking at death.. There is only one way to go. * They leap to their feet and run.. 144 CONTINUED: 144 On the other side. Are they teasing them? It looks so much like a game children would play. Fifty Indians hold their breath. they see the women and children of a small group of Indians at the edge of a stream. just the ghost of a shadow moving from tree to rock.. That is when he sees the first of the figures. Then Bobby sees another. Bobby turns to Hector to make his point. But Hector looks at Bobby..... BOBBY Do you want to run? HECTOR I'll do what you do.. He is grey-faced. the children are splashing and playing. The forest seems empty. (CONTINUED) * * . They might BOBBY They were chased here. HECTOR Does it have to be bad? be friendly. looking absurdly embarrassed for the fleeting moment that we see it.120. through the women and children and across the stream. They should be on the coast growing corn.
it'll be quicker. HECTOR They're not going to catch us. Hector is trying to make his way into a crumbling apartment building in Queens. There are no whoops or shouts. waiting for the white men to tire. BUILDING . It is a menacing spectacle. Policemen help Hector through the barrage of shouted questions. fight like hell.121. shaping the human net that will soon engulf them. Although their families are safe. Troup? REPORTER #2 Think you'll go to jail again? CAMERAMAN Look here for a second. burning all their energy in this mad life-or-death race. Bobby.. and Bobby stay close together as they run.DAY A war party of media people surround Hector as he exits a Yellow Cab.. He forces his way through the yelling crowd of REPORTERS and camera crews... spreading out on either side.. They hold hands and run.. Death is near. We're going home. REPORTER #1 Do you know the lady. Mr. HECTOR Hold my hand. will you. the moment of confusion compounded in action. BOBBY When they catch up.. Troup? REPORTER #1 Will you talk to us when you come out? (CONTINUED) 145 Hector * * . fight. 145 EXT.. They lope easily after them. Hector stretches out an arm to Bobby... 144 CONTINUED: (2) 144 * Hector and Bobby scatter the women and children and splash across the stream. the Indians keep up the chase. Mr. They follow Hector and Bobby into the trees.
The media mob immediately switch off their energy. Hector looks at the Policeman curiously. stare into space.... carrying a stretcher. This is Mr.. I'm Cobb. They continue climbing. license... 146 A POLICEMAN goes with 145 * Two paramedics come up the stairs behind them.122.... 145 CONTINUED: Hector enters the building." 146 INT. fire certificate.. from the city. POLICEMAN You're forty-eight. APARTMENT . (CONTINUED) .. They light cigarettes. Troup. sanitation certificate.. POLICEMAN You guys are downstairs. as if someone has shouted "Cut. BUILDING . DETECTIVE You bring everything? HECTOR What? DETECTIVE Building warrant. The paramedics turn around and head back down the stairs. Hector joins them. insurance. I want them all. 147 INT.DAY Hector climbs to the fourth floor..DAY 147 Hector and the Policeman squeeze past a cluster of people at the door and enter the apartment. Santiago. fiddle with cameras. him. POLICEMAN This is Troup! A DETECTIVE is with another man who looks like a city official. third floor. thirty-eight.. DETECTIVE Come here. The Policeman stops.
. She tries to sit up when she sees Hector peering at her over the rim of the hole. Philippopolis. HECTOR Where is she? The Detective and Hector walk down the hall... PHILIPPOPOLIS I phoned you Monday. Troup.... HECTOR Not me. Lying on the floor below. The Detecitve is unimpressed. SANTIAGO I might have to close the place down. you're staying here 'til Mr... with everything.. Santiago. my ex-partner. At the far side of it the toilet unit dangles at a dangerous angle into the hole.. HECTOR 3:35.123.. so it's 3:15 on a Friday. it's my partner's. (CONTINUED) 147 * * . Hector looks at his watch. MR. for the benefit of the Detective and Mr.. and being attended by the paramedics. Troup.. is an old lady... She looks angry.... get your partner over here. I think you spoke to him. How are you feeling? Hector says this clearly.. MRS. DETECTIVE Slow down. the floor's still moving. this is serious... Hector looks inside.. PHILIPPOPOLIS. DETECTIVE Come back from there. I just took the call and came right over. I told you the floor was making noises. held only by its plumbing. MR.. I have to leave town in an hour or so anyway.. surrounded by rubble. There is a large ragged hole in the floor...... Firemen are working to secure it and what is left of the floor with metal props and hydraulic jacks. Santiago gets the paperwork. 147 CONTINUED: HECTOR This isn't really my building... Mrs. They stop at the door of the bathroom..
.124. you're a lousy landlord... now.. I've been talking about it all week. is she bad? Why don't they move her? DETECTIVE They waited for a portable X-Ray machine.... HECTOR She seems in good spirits... how come they phoned me...... BUILDING .. you have me falling down a toilet! 148 INT. I have my kids tonight.. I haven't seen them in four years.. he's gonna sue you. (CONTINUED) 148 147 * . I'll straighten it out.. I'll phone the lawyer.. I did tell you... they want all kinds of certificates. Hector gets connected. but you move.. I phoned you Monday. I have a witness! I was dancing with a prince on my eighteenth birthday. HECTOR Boris..DAY Hector retreats into the hallway. this isn't my building? What? Don't tell me anymore. Santiago making copius notes in his book. while watching the ominous Mr...... I want you here..... you should be ashamed. and on your knee. They won't let me leave the building.. PHILIPPOPOLIS Wait 'til my son sees his mother lying here like this... they can move her now.. As if in response.. 147 CONTINUED: (2) HECTOR I'll make a couple of calls.. and now look at me. MRS.. why did you do this to me? Get down here now. Takes out his mobile phone and dials. to let old people live like this.. My weekend's ruined before it's started... Philippopolis shouts up to Hector as she sees him leaving the bathroom above her. Mrs. Hector quickly dials another number.
I don't have time to pick up the rental now. I have to pick the kids up by six.... He finishes the call just as Santiago approaches...... you come down here. no. right.. they won't let me leave the building... you didn't use water-resistent paint on the ceilings did you? Hector shakes his head wearily. I'm still in Queens..... HECTOR I don't really know. absorbed in the mundane mechanics of Hector's building. I've got cops here and everything .. SANTIAGO You're going to have to check out the whole building.... waving his notebook now full of incriminating notes. (CONTINUED) * 148 * * * * .... I might have some bills. Santiago is talking almost to himself now.... what can I say? Please. and put my bag in the car..... okay. this is an emergency.. it'll take you a month....... I don't know how water could sit in there for so long without somebody noticing .125. you have to help me. it's not my building.. SANTIAGO It looks like water rotted the floor... thank God.. otherwise I fuck up her weekend too. 148 CONTINUED: HECTOR Anna.... I need your car. don't you? HECTOR Can I do it Monday? SANTIAGO Good joke. you know that.. she'll kill me...... SANTIAGO It's a weird one. You have any plumbing maintenance records? HECTOR At the office.
.... He sees Mrs. go on. and an old lady.... I'm on my mobile.. At the sight of him.126.. Deutsch? My name is Hector Troup....DAY Hector is following the paramedics as they negotiate Mrs. (CONTINUED) 149 * * * . what I need to know is what certificates you have on file for the building. it's Hector. 148 CONTINUED: (2) 148 Hector is already dialing another number as Santiago wanders off in search of further fascinating discoveries.. Mr.. During the call Hector has walked down the hall and back to the hole in the floor. Philippopolis down the three flights of stairs. she tries to sit up... MRS. let me know if the insurance is current. jump through the hole.... straining on her straps.. 149 INT.. There is a moment's pause... PHILIPPOPOLIS My son's downstairs..... BUILDING . see what it feels like! Break both legs! Hector is almost tempted to do what she says. we've had a domestic accident at our Eighth Street building. I know it's Friday. please. but it might have been hysterics... before five ... HECTOR Can I speak with Leonard. listen. yes... Borlonski and Troup. Philippopolis... just do one thing.. Borlonski and Troup... when he sees me like this he'll kill you. Real Estate. she did mention the word sue.ANOTHER ANGLE ... He is on the phone again.... This time to his former wife. being carried out of the room below. thank you. anything you have. I need to know that. a floor . now strapped in a stretcher.. HECTOR Leonard...
They shake hands. I've been trying to put this weekend together for years.. SON Well. I won't take it out on the kids...calmly and in a considered tone..... as soon as I get the car... When she is safely inside he walks towards Hector. SON Mr.. I wasn't planning to.127.... I'll be there. HECTOR I'm sorry about your mother. but obviously obscene. All the while Mrs... it's important to me too.. 150 EXT.DAY On a street Hector stands with a Policeman watching Mrs.. Hector is shocked. HECTOR Well. and he seems to be saving his wrath for the Courthouse.. or do you have a car? HECTOR What? SON To the hospital. what do you think? I'll be there.. Troup. I'll be there.. you want to travel with us. Her SON is with her.. I can't say... BUILDING . I can walk away from problems. Queens to New Jersey.. and a head shorter than Hector. Philippopolis issues a non-stop torrent of Greek expletives -. it's happened.. on a Friday. 149 CONTINUED: HECTOR I'll be on the way in thirty minutes at the outside. I'm George Philippopolis.. Fortunately he is of modest build.. Philippopolis being loaded into the ambulance.. SON You're not making a visit to the hospital? (CONTINUED) 150 * * * * 149 .
POLICEMAN That could look bad. here's what I can do. I'll organize some flowers. lots... HECTOR Look.. POLICEMAN That's true. * He nods his head to the Policeman.ANOTHER ANGLE . SON Wait 'til they hear this in court .128. The Son addresses the Policeman.... The Policeman looks at Hector. George. Hector 151 * * * * 150 * (CONTINUED) .... SON Screw the flowers.. runs to the car.. HECTOR They won't let me leave here.DAY The ambulance drives off just as BORIS arrives. The Policeman this time backs him up... Hector takes out his diary. BUILDING .. 150 CONTINUED: HECTOR I've talked to your mother. she wants her family with her now..... The Son backs off to the waiting ambulance reluctantly. Any other Friday but this one....... Can't you even give me a credit card number? 151 EXT. who's gonna pay? It's your building that fell down. he wouldn't even make a trip to the hospital.. The cop is enjoying his role as straight man to these two. given her my best wishes... I'll visit her on Tuesday. SON He's not coming to the hospital.. who's gonna check her into the hospital.
... why does this keep happening to me. her bones must be made of steel.. will you remember that? Boris Borlonski! Boris is conciliatory..... HECTOR What's with the we. I didn't plan this. 151 CONTINUED: HECTOR It's never been this bad. we're covered for most things. my name is mine.... the license is current. use your own name..... she didn't break a thing.. Deutsch is checking the insurance. it's your problem. I just borrowed your name on the titles.. the inspection certificate is okay. don't let it spoil your weekend. Hector.... I just put your name on the lousy forms. Boris. Boris Borlonski...... BORIS How is she? HECTOR She's a witch. four years... despite Boris's pranks. We can sense real depth in their relationship. I'm sorry. it might help if you make a visit to the hospital.129..... and don't worry. Hector is calm now... why did you do this to me? BORIS I'm sorry.. I'll take care of it.. you'll walk away from this... Hector doesn't let up on his anger..... HECTOR I told you to stop doing that.. huh? You make the most of it.. BORIS Hector.. forgive me... did you bring the rest? BORIS Yeah. (CONTINUED) 151 * .
HECTOR You bring my bag? ANNA Yeah.. I thought I had.." and "FRESH OR DRY. Everything is falling into place. you have to get out of this business. we'll straighten everything out..DAY Anna drives skilfully through the busy Friday streets. I'll talk to you on Monday. Your camera's in there too. in Anna's pink car....." Anna is a florist. BORIS Everything can be fixed. HECTOR This is the worst it's been... Sure. Hector brightens when he sees her.. ANNA Get in... WE'LL PLEASE THE EYE... I'm sorry too. All he has to do now is cross two rivers and Manhatan Island in under an hour.. ANNA Nervous? (CONTINUED) 152 151 * .. Take some photographs of the kids.. smiling broadly. 152 INT. you can dropp me at the shop. highly decorated with flower motifs and slogans like "ANNA'S ARRANGEMENTS. always. have a great weekend.. HECTOR Thanks. CAR .. Then Hector's girl friend ANNA arrives in her car. It is a bright pink station wagon. 151 CONTINUED: (2) HECTOR Yeah. Hector gets into the car.. He runs to meet her.130. BORIS Go on.
.. when we have the space......... ANNA Don't worry... ANNA Well you deserve to suffer... HECTOR You're right... you can start being a father again. that'll work out. when we get the bigger apartment. Anna is looking at him amusedly. (CONTINUED) 152 * ... we can have them over sometimes....... it can't go on.. not the end. Our Hectors have been hearing this for centuries...... but at least Anna smiles when she says it. HECTOR Right.. nodding her head with every earnest pronouncement that he makes. HECTOR .. ANNA There you go.. and the kids.. I was ready. when we have the space... that was the plan. HECTOR I'm glad you talked me into it.... I am ready.. you were ready. you said it. just like I'm being executed. together.131.. you're absolutely right. I want my freedom.. the bigger apartment together. ANNA I didn't do much. I told him. for everything... Hector is pleased with himself... this is the beginning of something.. 152 CONTINUED: HECTOR Not much.. I'm fixing all that shit with Boris. Yeah? ANNA Sure.......
. taking up the whole of the luggage space in the car. ANNA Do the best you can with them. Hector leans over to embrace her before she has stopped the car..... deliver these. a five minute detour. I said it.. It's a golden wedding... I said it . everything.. and cheeky with it... (CONTINUED) . I don't have the time to go 'round the block. Hector.. just two blocks before the bridge.. Hector.. Anna pulls into the curb.. didn't I? ANNA You're a man of decision... HECTOR Thanks...... Hector is high on his optimism now. and get out of my car at the corner here... Hector accepts this.. Hector. ANNA Oh. for the car...... HECTOR Yes I am. ANNA We have to help each other.. 152 CONTINUED: (2) HECTOR Yeah. you have to.132. and one more thing.. She kisses him quickly.. you'll need gas too.. Go to it. Together.... but lovingly. 152 ANNA Here's the address. She looks him straight in the eye.. What? HECTOR Anna.. I can't.. She indicates a massive bouquet of flowers wrapped in cellophane.
.. come out of the house as Hector walks up to the door.EVENING Hector's former wife. HECTOR Hello. If the traffic allows. we're insured.. We will be aware of our other Hectors. in her business-like way./EXT.. On the outskirts of Jersey City he finds the suburban street he is looking for. He is almost home. thank God.. We will GO WITH Hector OVER the bridge. 153 INT.133..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. 154 EXT. aching for his family... ACROSS the avenues of Manhattan and THROUGH the tunnel. DONALD. If the last crosslight holds on green then he might even make it on time. hello. Donald is carrying luggage and heads straight for their car in the driveway.. And after so many images of the natural world.. yes. when all the pieces fit.. Six thousand years ago we left Hector on a beach. thanks... and her new husband.. Hector stops the car outside Janet's house and lets out a sigh of relief.. Leonard. and the journeys home that they did or didn't manage to make. tonight in New Jersey Hector will complete his journey.. yes now I know God's a lawyer. This car trip will pull the threads together. If there is a breathtaking moment in this film. (CONTINUED) 154 . the PANORAMIC SHOTS of New York in all its mad glory will place our Hector in a new dimension. don't suffer alone. a world little altered by man... and that's fine. Hector's trip to his children has more meaning for us than a simple journey from A to B. when everything comes together. Hector watches Anna stride. CAR . His PHONE RINGS ONCE. HOUSE . 152 CONTINUED: (3) ANNA Phone if there's any disasters. then it will be somewhere around here that it happens. around the corner OUT OF SIGHT. JANET.
. you'll know them. JANET This is where we'll be.. who is eleven... JANET By Monday.. She hands Hector a piece of paper. HECTOR Why didn't you say? I could have fixed up something else. Check into a hotel if it gets too much. Hector.. they like hotels. and TOM. HECTOR Maybe this is a bit sudden for them. She shouts into the house. (CONTINUED) * . BETSY. It's only for a couple of nights. Then the children come out of the house. The kids are just coming. they can take it.. He starts loading up the car. thanks for the break. and you'll learn. 154 CONTINUED: DONALD Hi. Hector gets a little scared about what he has taken on..... Janet doesn't let him off the hook. if anything crops up. I thought it would be a good place to get to know them again. I figured you should be allowed to make your own mistakes. 154 JANET You made it.134.... I ought to warn you.. who is about thirteen. Janet talks to Hector. JANET Well... your father's ready to go... JANET Come on. Maybe I should have come over a couple of nights and got to know them. They're not over the moon about going to the beach house.. you two...
Hector. Hector. Betsy notices the huge arrangement of flowers. Hector is daunted by how grown up they are. JANET Good luck. She turns to Hector. He always did with Janet. Hector nods his head obediently. 154 CONTINUED: (2) JANET Here he is. The kids load themselves into the back of Hector's car. TOM Hi. wrapped in cellophane and red ribbon. the invisible dad. Donald shouts from behind the wheel of his car. Janet takes control of the farewells. The children let their mother pat them and follow Hector to his car. BETSY Are those for mom? Hector looks at the flowers. HECTOR Hi. JANET That's what they call you. where he has been hiding. DONALD See you Monday. His face contorts in guilt (CONTINUED) 154 * . They hardly lift their heads to him.135. BETSY Hi. It seems to have grown even larger than before. not any more the little kids in the photograph in his wallet. If it's too miserable at the house your father said he'll take you to a hotel. eyes to the ground. and anxiety. JANET You three have a good weekend.
... I have the kids in the car with me right now. 154 CONTINUED: (3) HECTOR Oh no. 155 INT.. He gets connected. I have to consult the oracle.DUSK They are driving on the freeway. not just now..../EXT. what have I done. HECTOR Hello. make her an offer. you're right...... then he stops.. oh... sorry to phone you at home.. Jesus save me. me. HECTOR Excuse me... she's got a lawyer already? That's a bad omen. I can't face it. did Boris call you? The insurance is fine? Good . with the insurance company. (CONTINUED) 155 154 * . HECTOR No.. Sure.136. Hector is on the telephone again.. HECTOR Let's go.. kids.... sure.. God? No. He looks at the kids. CAR .... It is dusk.... sorry to bother you... Betsy and Tom are listening in the back seat. but she could claim negligence .. BETSY What's wrong? He picks up his mobile phone and is about to dial Anna's number. HECTOR Is there anything we can do right now.. He can't let go of business.. eager for clues about this virtual stranger in front of them... Leonard. it's Hector.. too.. 'bye. just a joke.....
NIGHT Hector is pushing a cart around a large Safeway.. the phone and offers it to them. and catches sight of the kids in the mirror. Hector wisely lets it go. it's your name... Hector's heart aches for them. He smiles and puts on an act of brightness.. (CONTINUED) 156 * * * * Betsy? He picks up ... keep your eyes skinned.. you can do that.. lets out a sigh. 156 INT. look out for a Safeway. The place is almost deserted. HECTOR That's it! The last call. THOMAS (TOM) I changed it... Their perplexed expressions make them look younger than they are.. 155 CONTINUED: 155 Hector throws the phone onto the passenger seat. and I could murder a Chicken McNugget... that's what it says on your birth certificate. and gas. Betsy and Thomas are tagging along. and vulnerable...... we have things to do. HECTOR Want to make any calls? She shakes her head.. oh my God.... They return his look with blank expressions.137.. the weekend starts right now... HECTOR Tom? TOM No.. we need some supplies... and it's Thomas. HECTOR But we called you Tom. SAFEWAY . gas. HECTOR Right.... Safeway.. soon...
.. 156 CONTINUED: For every four items Hector puts in his cart Betsy removes three and returns them to the shelf.. Betsy.. Hector pushes the cart to her.. HECTOR What's wrong with that? It's a kitchen roll... BETSY It's bleached. I'll just tag along.. (CONTINUED) 156 .. we won't eat it... Betsy keeps on the attack. Hector warms to her.. Hector has the sense to back down. BETSY Ugh! Why don't you ask us what we like. and what's this.. HECTOR Good point. and it isn't recycled. Betsy moves off with the cart. you just buy junk. She picks up a more friendly brand of kitchen towel from the shelf and throws it into the cart.. HECTOR Well.. She prods a packet of frozen hamburgers. you buy junk. BETSY I do it every week anyway. HECTOR You're right. A trace of girlish common sense has crept into her voice. why can't I pick a kitchen roll? Betsy is defiant.. He turns to face her. you don't care....138. But when Betsy returns the rolls of kitchen towel he has selected he makes a stand.... it'll save you money.... get to it. Hector notices and puts up with it for a while.. BETSY Everything you buy is junk... I don't eat steak.
An attractive woman is filling her car in the next line. He carries Thomas. . She talks through her yawns.139. By the time their credit cards are back in their pockets their love is a memory. Hector walks to the house and unlocks the door. groaning fussily. Her eyes and Hector's meet. still half-asleep. He puts on a couple of exterior lights. From the back of the car the kids have watched it all. still sleeping. She tells us what to eat. 159 EXT. Betsy follows him. The ten billionth romance in the history of the planet sparks into life and fizzles out again in the twinkling of an eye. BETSY Are you going to bring the flowers in? HECTOR Don't mention the flowers. He watches them in their sleep. GAS STATION . The kids have fallen asleep. It is dark. Hector follows them up the aisle. 158 INT. Hector gets out. it is later. Betsy gives Hector a withering look of disapproval as he climbs back into the car.NIGHT 158 157 * Back on the road. the tots he abandoned./EXT. HECTOR Can I just keep a couple of those steaks? We can't live on chicken.NIGHT 159 The car pulls up at the holiday house. from the car and into the house. 157 EXT. searching for some traces of the little children that have haunted his thoughts for so many years. but we can hear the sound of the SEA and there is sand underfoot. For a few brief moments they are talking without words as their tanks fill. CAR . We let her. For some reason they exchange the smallest smile. THOMAS She does. Hector relaxes. HOLIDAY HOUSE .NIGHT Hector is filling up the car in a gas station close to the Safeway. 156 CONTINUED: (2) 156 Thomas backs her up.
TV MAN (V.O.. money or the purpose of your life. Tony.O..) Yes I am... Tony. love. he watches the kids sleeping in their little holiday beds. but I want a specific question from you. (CONTINUED) 161 160 * ..) This is good. anything? TONY (V.. He stands up and leaves the room. Tony? These stones are really talking here... Perhaps this might have enthralled one of our earlier Hectors.NIGHT Next door. I've been thinking about a move to California. or your income level next year? Be as specific as you can.O. travel. now listen. there is no doubt in my mind about that. movement... We've seen our Hectors do this before.. the stones are talking to me already. 160 INT. Hector can't sleep. HOUSE .NIGHT Later.....) The big one. Hector watches them.. HOUSE .) Tony. Mel. travel..... 161 INT.. you have to be specific.O.. these stones really like what you're planning. Tony.. these stones really want to tell you something. now here's something. He sits bleary-eyed watching a late-night TV SHOW.. But as he turns to leave the room Hector gets a fright. The TV man has five small stones which he regularly scatters on the floor.. are you planning a move.. be it love..140... what are you planning for yourself in California? TONY (V. and we feel the echo.......O.. what do you want to know. TV MAN (V... A man sits cross-legged on a studio floor and is talking to a phone-in viewer. It has been too eventful a day. think about it. TV MAN (V. eh..) I'm hoping for an acting career.. but our modern one is simply restless.
.... 161 CONTINUED: 161 * Betsy starts talking loudly. no. HOUSE .O. Hector moves quietly out of the room. don't let the oil run out. no.. The kids are having juice and cereal... moved 162 In the morning. She changes in an instant from a bossy adolescent to a tearful.... more mystical than the mumbo-jumbo still issuing from the TV next door... no. She sobs pitifully.. find your true cosmic partner first time around. not the pancakes... yes you did. HECTOR How about some eggs? They shake their heads.... Hector is scrambling some eggs... crumpled little girl.. watch the oil. How can he help her? How could he possibly unravel the secret of the pancakes.. (CONTINUED) ....141. giving him into trouble. Lucinda's Horoscope Dating Show.. THOMAS .. impotent.. BETSY Get me the books.. human being. this time from the sleeping Thomas. but she is fast asleep..) . Betsy's sobs having subsided.... all of the books. Hector is a confusion of feelings: frightened. remember there is an answer.. no.. 162 INT. Just as he is closing the door he gets another surprise. they are making breakfast in the kitchen. what comfort could he offer his stranger daughter if he did? It is a spooky. why? Hector closes the bedroom door.. and there is a special partner out there for you. every weekday morning at three here on the Psychic Network.. At first Hector thinks she is awake. mystical moment for Hector.. not the pancakes. why. all the books. not the pancakes. fascinated. TV WOMAN (V.MORNING He is one spooked. BETSY .
. HECTOR How about pancakes. HECTOR We're taking a walk. THOMAS I brought some books. HECTOR Is that all right? 162 * BETSY For a week. The mystery of Betsy's pancake dream is evidently lost in infinity. No. why? HECTOR I just wondered.142. I want to Why? Hector is determined to make it work. I saw the Funfair when we came through last night.... maybe. stay home and read. Hector does a little probing. HECTOR I thought we could walk into town this morning. HECTOR Nothing. HECTOR Let's take the walk anyway.. Hector changes the subject. d'you like pancakes? BETSY Not much. Pancakes don't mean much to you? BETSY They don't mean a thing. Betsy. THOMAS We don't go to Funfairs. 162 CONTINUED: HECTOR You don't eat eggs? BETSY How many have you got in there? Three.
THOMAS Donald has some shoes. 163 INT...143. emerges with a pair of sturdy walking shoes... Thomas is already in the cupboard under the stairs. He sits down on the stairs to put them on. Then something on the wall catches his eye. and there must be some old coats in here.DAY They are preparing to leave the house. Wow.. we should stay.. It's going to get worse. What's this? He points to a mark and a date lower down on the wall. HECTOR I don't know if I want to wear Donald's shoes. THOMAS That was the flood..... HECTOR Look at this. That's why Mom's selling the place. The dates are beside them. The sea came right up. 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. and shoes.. Thomas is still 163 THOMAS It's going to rain.. (CONTINUED) .. HECTOR Six years ago. reluctant to go. Look at that. HECTOR Here's an umbrella. Donald says it's the icecap melting. He * The kids' heights have been marked on the wall on some long-ago holiday.. I only have these I'm wearing. HALLWAY .
.144. Hector strides ahead in a show of enthusiasm. It is the end of the season. The kids trail behind. please.. Hector looks at the sky. The shellfish have gone. FUNFAIR . 165 EXT.. (CONTINUED) 165 * * .. HECTOR Let's have a ride. although awkward in Donald's big shoes. He speaks quietly to himself. He has stopped at some dated space rockets. BETSY The seats are wet. 164 EXT.. He calls back to them. HECTOR Where are the birds? wrong time of year? Is it the 164 163 BETSY They don't come over so much. The Funfair is not much fun. Hector still tries to make a go of it.. HECTOR That's what Donald says? BETSY Yes.. Heavy-hearted. walking in the direction of town. and it happens to be true. Hector triumphs. getting back at Hector for four years of neglect. BEACH . The kids seem to glory in the misery of it all. 163 CONTINUED: HECTOR It comes up every year? BETSY The last two..DAY The light DRIZZLE now falling is keeping away what few fun-seekers there are left in town.... HECTOR Please don't rain.DAY They are on the beach. Hector and the kids are a sorry sight parading the empty alleys.. He pulls a wad of kitchen roll from his pocket and starts to wipe the seats. that's what.
BETSY No! (CONTINUED) * * * * * 166 165 . if you want to. re-cycled. her courage. BETSY All right. COFFEE SHOP . Hector is happier... beyond them through the window is the beach and the ocean. talk to them seriously. Hector.. He looks at them. HECTOR This is ridiculous. dry seats. explain himself. HECTOR Sure you won't have a pancake. HECTOR How do we land these things? 166 INT..145. her stoicism. They sit grimly in their rockets.. 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. Betsy and Thomas sit at a corner table.. He looks at Betsy's face and sees in it the years of his absence. They are waiting for him to open up to them. As the attendant releases the brakes and cranks them up into the drizzle. He leans over to her. one in front of him and one behind. Hector knows that he has to do something to break the awful distance between him and his kids. Let's go somewhere and talk. It moves him. unbleached. Hector looks to Thomas.DAY The only place the small town has to offer is a deserted coffee shop on the shorefront. Thomas vigorously nods his agreement. He looks down on the decrepit fairground. Betsy? Betsy gets impatient. Betsy has the grace to smile as the three of them climb aboard the rockets. 165 CONTINUED: HECTOR Kitchen roll. her patience. 'round and 'round.
.146. everything with her and Donald happened pretty quickly. HECTOR Well.... There is no coyness now. that's a fair question.. it went to my head ..... your mother and I married young. for a good while. 166 CONTINUED: HECTOR Okay.. that's not really true. your mother and I got divorced.. I came around a few times.. but I was kind of crazy at the same time... until your mother got settled. but for a while I thought I should stay away. but lots of people get divorced... you're big enough to remember....... I went kind of crazy after that.. she must have told you all that? BETSY Sure she has. it wasn't easy... what can I tell you..... first question? The kids are ready for this. HECTOR You're right.. no... I wasn't used to the freedom. I missed you both really badly. HECTOR Well. 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.. that doesn't mean they disappear.. I missed you. remember? THOMAS Not really. (CONTINUED) . then you moved to New Jersey.....
BETSY Thomas wanted to visit you in jail.. Hector thinks about this... THOMAS We didn't even know when you got out...147.. Hector looks at Thomas... I don't have too many excuses for the first year.. it was like killing somebody. For us there is the echo of the real killing that was done long ago.. HECTOR Well I appreciate that. the second year is easier. but I'm glad your mother didn't let you. there were some temptations. (CONTINUED) A solid excuse. my boss asked me to shuffle a few papers. I was in jail. 166 * . I had to testify against him. but Mom wouldn't let him. I'll tell you all about it some day.. 166 CONTINUED: (2) BETSY It's forty minutes away on a slow bus. One year and eight months. you're right. HECTOR You did? Thomas nods proudly.... HECTOR You're right. remembering the pain. It was no fun.. THOMAS What for? HECTOR We were doing government work. there was a lot of money in it. Hector is pleased with this.. big contracts...
does that sound bad? Betsy shrugs her shoulders. We rent apartments.. so I got back to work... you know that. I like him.. she wants to meet you. The kids smile.. in real estate. BETSY That's what you do now? HECTOR Yes.. she's nice... (CONTINUED) 166 * * * * * * * . The kids look shocked at this.. she sells flowers... and I missed you two... HECTOR Anna..148.. so here we are.. BETSY How should I know? Hector carries on with his story. a good man. but we want to get into commercial property.... we met in jail. found a partner.. He's my friend. and on Monday she's probably going to kill me..... HECTOR No. well.. people are a nuisance.. I mean it. BETSY What about your girl friend? HECTOR Who told you about her? BETSY Nobody. He's a good man....... HECTOR Just recently I've been feeling good. things have been going well. real soon.. I sure didn't want you to see me then. 166 CONTINUED: (3) HECTOR I wasn't in great shape..
HECTOR She's right. if people don't tell you things..DAY Betsy and Hector are sitting on the sea wall.. that's terrible.. you mustn't think that.... BETSY I have to ask you something else. Hector has to think to remember... Tom. HECTOR The rain's off. Thomas. HECTOR Go on. HECTOR No.... (CONTINUED) 167 166 ... heck. did you think she was following us? THOMAS She's always thinking up stories like that... BETSY Well.. They have almost exhausted themselves in this first bout of talking.. BETSY Shut up. Let's go.... she never stops. watching Thomas play on the beach... 167 EXT. BEACH . people should talk more. Hector looks out at the sea. 166 CONTINUED: (4) THOMAS Betsy thinks that was her at the gas station. The sun is emerging. 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.. no..149.
.. Betsy. He puts a tentative arm around her shoulder.... that's what I mean.. I taught you how to swim. Betsy is still crying. God.. She is beginning to cry silently. Hector leaves his limp arm on her shoulder. Betsy said she'll even let me eat a steak! BETSY Hurry up. HECTOR Oh.. we're having a barbecue. in the test? BETSY I passed. her pain. we went to the pool twice a week. HECTOR I didn't leave because it was two days before your test.. His emotions are full. it was just what your mother and I decided. HECTOR Hey. Hector doesn't make the obvious comment. 167 CONTINUED: BETSY Why did you leave just two days before my swimming test? Hector is moved by the depth of her memory. Thomas! We're going home.. why would I leave? BETSY I know. I'm sorry. After a long moment she speaks. He hides his feelings in a gruff call to Thomas. HECTOR How did you do. It is too soon for gestures of emotion.150... Tom! (CONTINUED) * * * 167 .. BETSY It doesn't matter. BETSY I'm a life-saver now.. why did you leave just then? Hector looks at Betsy...
when we split up. he doesn't like it. But she was right. didn't mean much at the time. Betsy.. HECTOR On Monday will you come when I take the flowers Anna? I can't face her She wants to meet you BETSY .. with me back to alone.. HECTOR Don't call him Tom. don't lose the children. BETSY I'm allowed.151. HECTOR Just tell them you were with your invisible dad. that could be good. Somehow Hector is touched by this. HECTOR You'll be there.. 167 CONTINUED: (2) 167 * Thomas breaks off from his play and runs towards them. HECTOR Is that bad? BETSY No. right beside me? BETSY I'd have to take the morning off school.. Sure. HECTOR Your mother said it. anyway. BETSY Who said I'd let you eat a steak? There is a silence. Betsy and Hector are quite close now.. Then Hector speaks.
. 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. dreamland ... just when I was closest to you.. HECTOR I remember when you two were tiny... I smelled her. remember I'd been inside for nearly two years with four hundred sweating males... BETSY That's what it's like.... BEACH ...... I was on the train and she was sitting behind me.. that's how good she is... it was just this incredible perfume. I felt it last night...... she listened to a bum who followed her off a train. HECTOR . but you weren't there. it was like now. I couldn't help it.. 168 EXT.. I used to watch you sleeping... you were gone.. (CONTINUED) . There is a silence. isn't it? Betsy doesn't take the bait. Betsy looks out to the ocean.. but she's still going to kill me on Monday... too.. could touch you... It was the day I got out of jail. along behind them... Betsy looks at him kindly... Thomas tags 168 * BETSY I think I'll paint the sunset tonight. you should know that.DAY Hector and Betsy are walking on the shore.. HECTOR It's just like a big pancake up there. I felt close to you. They share a laugh..152. you weren't there. She got off the train and I followed her.
. She smiles. Hector is out of his depth with this daughter of his. Betsy moves off briskly along the beach.153.. They are watching Hector who is collecting a pile of large stones on the beach. some distance from the shore. BETSY Don't be so tough on yourself..DAY Betsy and Thomas are in a small fragile rowboat. HECTOR No? BETSY No. we can do that. usually. look out for yourself.. Hector trails after her. 168 CONTINUED: HECTOR I'm not smart about things like that. These human rituals never stop.. BETSY I thought he was taller. you don't have to. Another Hector and another pile of stones. hooked.. Who are you? there? HECTOR Who's inside 168 * BETSY You'll never know.. Future generations of women are going to be just as unknowable to our Hectors as past ones were. You seem to want to be.. 169 EXT. I mean it. One of those moments when another human being stands before you and is an utter mystery.. HECTOR Is that a joke? BETSY No. This one is making a fire for the barbecue. Hector looks at her in wonderment.. (CONTINUED) 169 . BOAT ...
. but he doesn't have the confidence yet. He's getting fat. Thomas. 170 EXT. HECTOR Come on in. The kids reluctantly pull on the oars and bring the little boat in.. 169 CONTINUED: THOMAS Well.. Thomas. A few feet from the beach they hit some sand.. that boat doesn't look too safe. kids.. HECTOR Throw me the rope. He is edgy. I'll pull you in. He calls to them. or something. I don't want to lose you.. it's been a while. An ago. BETSY I suppose so.154.. HECTOR I've just found you.. Out at sea the kids look small and vulnerable. too. and they all laugh. 170 169 .. Hector ends up with all of the rope in his hands. What would I tell your mother.. 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. BEACH .DAY Hector turns from his work. He stands there. I bet I could beat him at the breast-stroke now... BETSY We're fine! Hector tries to relax. and his kids Hector rope. come on in. you're bigger. out of practice at fatherhood.. The boat sticks. Then he calls to Thomas. Thomas throws the mooring rope to Hector. But are safe. Hector wades out in his shoes so far. He walks down to the water. They call back to him. HECTOR This is one useless piece of rope. Hector is more anxious than he should be.. It isn't attached to the boat.
HECTOR I'd forgotten that. He is in a splendid frame of mind.. He wafts and blows ineffectually at a flicker of flame. how you eat. The sun has won the race again. HECTOR I used to know how to do this.... They laugh a little. She has set up an easel on the beach....DUSK It is a calm dusk. smell it. I used to be really good at this... and smiles. Hector is turning the meat on the barbecue. BEACH . 171 EXT.. He watches Thomas attack his chicken. He is trying to light his barbecue. Hector serves the chicken onto their plates. Tough little Betsy can even lose patience with the sun. He has seen her attempt this before.? Thomas is laughing at her. and Betsy goes limp at her easel. The sun finally vanishes. Hector has other concerns. BETSY Why does it always go so fast. scorched meat.. BEACH . the smell of civilization. HECTOR Ah. HECTOR I did. dedicated. (CONTINUED) 172 171 * . only to fizzle out. racing the sun as it dips into the ocean.. There's not much of the caveman about him now. 172 EXT..SUNSET At the very moment of sunset Betsy is trying to capture it in a watercolor sketch.... It's like action painting. like it's your religion! THOMAS Things I like. He sits down beside them with his steak. After a while he is conscious of their amused attention on him....... Match after match disappears into his elaborate stone structure. then he becomes a little self-conscious.155. She works frantically on the picture. She and Thomas watch Hector trying to light the fire. and a glass of wine.
Thomas tries it out. Hector is impressed by his son. It feels good to him. HECTOR I'd forgotten. But we always get a methane build up. we used to watch the stars... I'm glad you still like astronomy though. old Mercury... (CONTINUED) * * * 172 . THOMAS I'm not into star-gazing so much .. Hector lifts his eyes to a bright point low on the horizon... not to worry... His head nods with the chewing and the tune. The early stars are appearing in the sky. so I did.... 172 CONTINUED: HECTOR You used to hum to yourself too.... I'd forgotten about that... HECTOR Uh-huh? THOMAS A self-sustaining life system. HECTOR There she is.. THOMAS No.. THOMAS Hey. like everything was fine with the world... for inter-stellar travel. that's Jupiter. Mercury doesn't rise 'til after midnight.. it doesn't matter what we do... you could tell me the names of all the planets...156.... when you ate.. you could recite them like a poem. eating and humming.. at the tiny window upstairs in the old house? THOMAS No... we're trying to make a biosphere.. HECTOR Oh well.. remember. we're working on computer modelling..
(CONTINUED) 172 * . and found peace at last. life will take over. here on the beach. HECTOR Sounds like Donald said that. I'm glad you two are thinking about the old planet. let's leave him while he's ahead. that's the truth. Hector has come to rest. beneath the same stars that our first Hector wailed at six thousand years ago.. HECTOR Don't worry. Hector realizes how far his kids have travelled from him.. We're making such a mess of the world.. HECTOR Well. We see the three of them in a WIDE SHOT. Look how beautiful everything is. On Monday he will face the music. Sometimes I think it's people that make it all wrong. the very latest. If it wasn't for us there'd be nobody around to see it all. Hector stands to fetch another baked potato from the fire. on Monday. black sheet up there with holes in it so the light comes through..... BETSY I don't know. you two. 172 CONTINUED: (2) HECTOR This is at school? THOMAS Yeah. I'm proud of you. In general... He looks at them.... however temporary. Hector's voice and laughter carry to us. Betsy chimes in..157.. I'll tell you. Mrs. Philippopolis will have to be dealt with.. and the wilting three hundred dollar bouquet of flowers.. The kids will go back home. we walk around with all our problems. the evening sky now pulsing with more and more points of light.. it's just a big.. But at this moment of calm on the beach. one day we're going to have to take off for somewhere else.
Betsy.. The three of them are laughing now. BETSY Wait a minute. stars and everything.. BETSY Skimmed milk... long pause. we're inside a pancake.... 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.. Betsy.. And then.. I'll tell you... after a long..... 172 CONTINUED: (3) 172 Their voices ring out playfully across the expanse of darkening beach and light-laden sky. the whole thing... HECTOR I have an idea.... But they try.. HECTOR Okay. and somebody's just about to eat it.... Perhaps that's just about as close as Hector and his tribe of humans will ever come to working it all out.. HECTOR No. 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.. please. is sitting on the skin of a bubble of milk in a bowl of cornflakes. what d'you think? (CONTINUED) * * * * * * * ....... not tonight..158. I know. it's half-and-half. HECTOR Don't mention flowers.
172 CONTINUED: (4) BETSY Why are you always talking about pancakes.. FADE OUT. 172 * * * * * THE END . what's wrong with you? THOMAS You've got pancakes on the brain.159..
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