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