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.


Hector calls out. Just inside a small fire smoulders permanently. But in his act of wild rage he gets carried away. He picks up his son and throws him hard. but in 4000 BC possibly rougher than normal. The image suddenly fragments. Hector is acting the part of some trapped wild animal. a few times a day encouraged into life for cooking or warmth. lashing out at the hunters surrounding him. He and his woman and two children live near the ocean in a sheltered fold on a hillside.* BEING HUMAN Hector is a family man. Hector's son. Beyond the fire on a rock shelf HECTOR plays with his children. 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. He strokes his long hair and fingers a blemish on his cheek. Hector is living out his life 4000 years before the birth of Christ. We see that the figure is a young BOY.. a trace of vanity makes him bend down closer to his reflection. on his back. deflecting his stream of pee now and then so that his image reforms itself and then is disrupted again. Boy thinks about it for a moment.. so it remains a smouldering comfort and a constant preoccupation for the whole family. in a reasonably temperate zone of the planet. Hector is enjoying himself. a GIRL of six and Boy of eight. HECTOR Go back home. FADE IN: FIRST IMAGE is the reflection of Hector's face in a rock pool. It is simply a convenience to help us tell his story. Some way off a solitary figure stands on the rise of some rocks. The idea of individual names is an imaginative leap that has not yet been made by mankind when we first meet him. He sharply turns.. not afraid to show itself. When he is finished. Then he is aware of another presence. In his entire life Hector will traverse no more than ten square miles of it.. If it ever went out it would be a catastrophe. Hector doesn't know that his name is Hector. (CONTINUED) The 1-4 . 1-4 TITLE SCENES The small fire that never goes out has been enlarged to cook the day's meal. leave me alone. much too hard. before turning and disappearing behind the rocks.

. 1-4 CONTINUED: The Boy tumbles down from the shelf to the cave floor at his mother.. Two sets of bright eyes peek out from under their cover. on their bed of dried grass and skins. taking big. It is almost dawn. Hector walks on again. And while Hector watches his daughter.. With a sigh of frustration he heads for the beach. absorbed in her antics as she sleeps. no-win situation and he knows it.. Deidre scowls at Hector. She holds out her arms ready to comfort the Boy rejected by his father. the cave is quiet and the fire has diminished. lying beside him? Hector's daughter delights him. It's difficult to say what their lovemaking might look like. The Boy follows. go away. HECTOR Leave me alone! Stay here. stay! Hector takes a few steps. She emits unearthly nighttime noises.. What has 6000 years done to that art? We will think about it. timeless. As Hector turns to continue his walk alone he see Deirdre looking at him accusingly from the entrance. She is a vivid dreamer. As we MOVE CLOSER we see that they are far from sleep.. the loving parents and the watching.. The Boy wisely retreats to the cave. just outside their cave.. Hector kneels beside his daughter. go back. stay here... learning children. DEIRDRE's feet. HECTOR No. The Boy wants to go foraging with him again.. angry father strides. If the gesture had been invented he would probably shrug his shoulders. . 1-4 * HECTOR No. Hector walks on for some time before turning on him. The Boy howls on.2. howling in pain. The Boy stubbornly tags along at a safe distance. Her whole little form wriggles and contorts in response to the fantasy unspooling in her head. Stay! There is real anger in his voice. squeals and giggles and moans. Hector is in the classic. Hector is fascinated. We CUT BETWEEN them. By its light we see Deirdre and Hector making love. Where has his daughter gone? Who is this strange wild creature that has taken her form. On the far side of the cave we see the sleeping children.. Deirdre from their bed watches Hector. Hector is arguing with his son.

spinning or He knows warmth. blind. Like him they are nosing around the margins of low tide for food. Hector sits on a rock.DAY 5 * Hector is foraging on the shoreline. anything edible. perhaps attempting a little light paperwork propped up on some pillows. insistently making their way into Hector's bay. Around the edge of the headland two dark shapes proceed in regular motion. One thing else that Hector knows is fear. hoarding the food in a roughly-woven bag. Hector seems such an integral part of it. He jumps from the rocks and runs up the beach toward the cave. gathering cockles. This is advanced middle age for his times and it shows. His family and their cave. there is an odd sense of the world being rather empty. He splashes in the shallows. There is a strange atmosphere of appropriateness in the scene. The easy fit of the man in his landscape strikes us. Hector belongs to it in ways that a present-day hunter or holiday maker. Every now and then he will suck a cockle from its shell or crunch on a particularly tasty piece of seaweed. orbiting. Cold and hunger. He seems very much a part of it. simple things.DAY Hector is a small figure in the landscape now. surveying his world. gut-turning fear. Hector picks up his bag and runs. Hector neither knows nor cares. seaweeds. Also. Then something disturbs him. rough the safety of Further along the shore Hector drops his bag and straightens himself. SHORE . crabs. 6 EXT. Whether the larger world is round or flat. slowly. He knows where he is going. mussels. He knows comfort and companionship. Then his jaw drops in fear. or even naturalist. He steadies himself and gazes hard out to sea. He watches some wading seabirds nearby.3. never could. He has a heavy cold and an irritating hack in his throat. Hector looks about 30 years old. racing up the steep slope in the direction of his home. Their steady progress is full of menace. He smiles. easing the ache in his back. 5 EXT. We can feel the strain in his eyes as he tries to detect any hint of threat in the glinting water. In another season they or their eggs will provide a meal or two. (CONTINUED) 6 . HILLSIDE . The sun is warming the day. Oardriven boats. From behind a distant headland a smudge of smoke trails into the sky. In a similar condition a modern individual would spend two or three pleasantly drugged days in bed. He reaches a vantage point on some rocks.

five or six of them. His woman runs off the other way. down onto the other beach. Hector has no choice but to follow her. Hector and the children also turn and run back the way they have come. herding the children in front of him. The shapes are distinct now. Hector gathers enough of his wits and strength to continue his race up the hillside. heading for the lower slope and the cover of some trees. 8 EXT. She turns. They gather bits and pieces to carry with them in their flight. I saw them! DEIRDRE You're wrong! She runs off down the slope. Hector gathers his family together and they leave the cave. Hector shouts instructions to them as he puts more wood on the fire. The little ones can't take the hill. Deirdre runs on. Then from these same trees she sees the figures of the RAIDERS coming toward her. They seem to have prepared for this moment. roughly made but menacingly adequate for their purpose.DAY 7 Inside. by now dropping precious bits of food and other possessions. HECTOR Up the hill! DEIRDRE No. HECTOR'S CAVE .DAY Hector shoves his children in one direction up the slope further into the hills. (CONTINUED) 8 . The Raiders are running strongly. Through their agitation there is purpose. 7 INT. Hector's children are attempting to take too much. Neither can I. coastal raiding. HILLSIDE . It must stay burning in their absence. The boats are nearing the beach now and figures can be seen preparing to land. confused argument takes place. 6 CONTINUED: 6 * He stops for breath and to look back on the bay. his family are in a state of panic. running back up the hill. HECTOR Up the hill! They're down there already. A hasty.4. two large open boats.

feeling the first stab of a guilt that will never leave him. all of her energy gone. Hector is watching all of this over his shoulder. too. but then changes his mind and runs off once again with the children. He sees his children.DAY Hector and the children have reached the safety of a small valley higher up in the hills. Hector looks back and sees the Raiders gaining on her. Even as the Girl calls to him he is running back down the hill. only now beginning to work out what has happened.. She was right. as if to go back and help her.5. He stops for a breath and sees the raiders moving into the valley below. (CONTINUED) 10 9 8 * . She doesn't have the stamina for the hill. Then he runs on. drops the Girl from his shoulder. GIRL Come back. the distance between them and Deirdre. and the raiders below. the Raiders break their run also and trot and finally walk. VALLEY . He stops for a moment to watch Deirdre being finally surrounded by the Raiders. The raiders have been slowed down by their capture of Deirdre. He can't do it.DAY Hector is tiring.ANOTHER ANGLE . 8 CONTINUED: The little Girl starts to go back for a precious toy she has dropped. He coaxes them up into the higher branches. half-dragging the Boy up behind him. 10 EXT. Deirdre is trailing behind them. He almost stops. Hector picks her up and carries her off over his shoulder. We can sense the moment of release in his unburdened flight. His face is a confusion of fear and indecision. she stops in her tracks and waits for her pursuers. With the Girl still awkwardly clinging to his neck he is picking his way up a steep slope. But they don't stop and the effort tires her even more. But it doesn't last long. hoping that they will stop to retrieve them and allow her to gain some ground. 9 EXT. Some way up the slope he stops and turns. Deirdre is by now throwing the things she is carrying at her pursuers. VALLEY . still running. The Boy follows. In a moment of utter panic he lets go of his son. and runs on alone. Dada. She attempts one final dash and then.. Hector is hoisting his two children into the lower branches of a solitary tree on the hillside.

. They too gaze anxiously at him.6.. ROCKS . moves off down the hill. Maybe waving hasn't been invented yet. HECTOR Don't move from here. (CONTINUED) .. higher into the hills. VALLEY . Hector heads off alone. They don't wave. His face hardens as awareness of his predicament returns. There is no response from the tree. 11 EXT. The Raider stretches out his arms and helps the Boy to the ground. Try and sleep in the branches. RAIDER It's too cold to spend all night up there. We find Hector waking from a fitful sleep behind some rocks. I'll come for you in the morning. She's happy. Hector can see the dark shapes of his two children clambering down. Food. His friendly tone of voice has an effect. too.. and full. Don't make a noise. Hector moves off.. again. looking back to his children in the tree.. too.DUSK It is dusk now. There is movement in the branches. Don't cry.. There's no food. 12 EXT. and watches.. persuasive way. He sits up and takes in his surroundings. He slows down some distance away and just in time. 10 CONTINUED: BOY I'm hungry. The Raider looks up into the branches and talks in a friendly. We've got a fire at the beach. although he doesn't understand the words. she's warm. she wants to see you. He moves forward to the protection of some rocks. He sees a figure standing beneath the tree. He stands up and then crouching low.. He is close enough to hear the voice of the solitary Raider. The Raider coaxes RAIDER Come on! Your mother's down there. she sent me.DUSK 12 11 10 Hector has returned to the area of the tree..

and although still a little timid. Hector watches the Raider and his children move slowly off. the family have to accept the situation. Hector takes in the reality of the scene. BEACH . They almost look like a family. He retreats into the darkness and up into the empty hills again. There is nothing in the world to comfort him. little girl. He stares into the darkness. On the beach the Raiders have set up a comfortable camp with a large fire. He has come down from his bleak hiding place in the hills. His two children have become fast friends with the man who coaxed them from the tree. cold night alone. or even attempt to close his eyes. have drawn him here. For their part. Painfully. then it becomes too painful. but for odd reasons. no philosophy or religion.NIGHT It is fully dark now.NIGHT Hector spends a long. 14 EXT. but close enough to observe it. a fertile woman and two healthy children are as gold will be to plunderers of later ages. ROCK SHELTER . out to sea and round the headland forever. In the morning they will be gone.7. the Raider carrying the Girl in one arm and holding the Boy's hand. The smell of fire and food and concern for his family. I'll carry you. 14 13 * . There is no hint of barbarity. He laughs in a comforting way. His woman is with a larger group closer to the fire. His family have been stolen from him. He watches them for a while longer. They are playfully attempting to communicate with her. His family appear to be happily integrated with the Raiders. Food and shelter are the best that life can offer. This night he is utterly alone. plain and simple. He is hiding somewhere way off from the camp. We are still with Hector. That was not the intention of the Raiders. catches her as she drops and keeps her in his arms. He doesn't sleep. no friend to run to. eh? You're half asleep already. down the hillside. RAIDER That was easy. rape or abuse. 13 EXT. squatting in a narrow crevice in the rocks. What he sees disturbs him. 12 CONTINUED: 12 Then he reaches up for the Girl. To them. she is smiling.

Hector charges at full speed to the water's edge. The Raiders are all young men. Then Hector trots off in the direction of the shore. He gives some instructions to his men. The men lift their oars and prepare to leave. hardly into their twenties. The older man seems to be an adviser. a priest or wise man. despite her own feelings. Suddenly Hector's rage and energy leave him. wading back and forth from the shoreline. still smiling and gives an order. that life goes on. ROCKS . Hector stands. The Raiders all look at him. Hector makes his move. His family are already on one of the boats. The LEADER is impudently brushing Hector's missiles aside. His woman and children sit on the boat. A sign. The last of the Raiders on shore wade out the short distance to the boats. The last Raiders are climbing aboard. In a mad act he breaks cover and runs down toward the departing boats. The Leader listens to him intently. even comfort him.MORNING 15 In the morning it is lightly raining. But in Hector's time they are men in the full prime of life. wisely holds them back. awaiting whatever lies ahead. The PRIEST talks and points to the cliffs. Hector watches from cover. Then an older man stands up in the other boat. watches the faces of his family. Hector doesn't know what they are saying. He calls over to the Leader. for a long moment. Six or so of the Raiders leave the boats. take hold of Hector. 16 EXT.DAY The Raiders are loading up their boats. but Deirdre. refresh him. but they have an intense exchange. however meager. The Leader eventually turns from Hector. obviously centered on him. They begin to laugh and exchange remarks about Hector. although he's still only about thirty years old. BEACH . There is not much else that he can do. Hector stands in the drizzle outside the shelter. * 16 * * * * * * * . 15 EXT. too afraid to betray real emotion. Hector watches these moments of departure. like so many flies and smiling. nodding in the direction of Hector. frozen in fear. It seems to revive him. bemused. and nowadays might resemble something like a motorcycle gang. wade ashore and without any resistance from him. He stands looking at the Raiders and they look at him. The Leader looks there and nods his head.8. Hector's children instictively rise as if to defend their father. He screams agonizingly at the Raiders and impotently starts throwing stones at them. He returns their looks fiercely.

PRIEST I told you! I knew they did it around here! Ask him. The ageless intimacy of sacrificer and victim. LEADER What's it got to do with the sun? PRIEST I don't know. The Priest. 17 LEADER He wants me to throw you over.9. (CONTINUED) . He looks at him blankly. The Leader sits down beside him. What does it do? Does it help the sun? Should I throw you over? The Leader tries to help Hector understand by miming the act of throwing him off the cliff. The Leader moves closer to Hector and talks to him in a friendly. now sitting on the grass.DAY Hector's hands have been bound with rope. is that the idea? Hector doesn't understand.. The mound of stones is obviously man-made. He walks around the pile of stones. one stone. PRIEST I tell you. it's one man. yet. They sit together like friends. He points to a pile of large stones at the very summit of the headland. checking it out from all sides as if it was some infernal machine that he didn't know the workings of. He squats down and squints through it to the watery sun emerging from the clouds far out to sea. Hector doesn't know how to respond. The Priest and the Leader walk on ahead. He is being led up to the top of the cliffs. CLIFFS . 17 EXT.. as they arrive. It'll help the voyage. He looks across to Hector. reasoning tone. Then he makes up his mind. The Leader looks at Hector. still talking intensely. The Leader is unsure. LEADER What do we do? Do we throw you over. becomes excited. At the top of the cliff the bay and the boats and the wide sea are stretched out beneath them.

(CONTINUED) . Again and again the Leader stops to shoo Hector away. He waits for almost as if he expects some consequence of his PRIEST It's meaningless. with some ceremony. The man clambers out of the boat and wades ashore again. Hector is beyond any form of reaction. carrying a large flint-bladed knife. When they are some distance from him. but Hector dumbly tags along behind. The others follow him. Hector watches them go. who looks him up and down. Just add a stone to the pile. regretting that he is not by now a corpse in the ocean. With that. They are his only connection now with anything that thinks or feels in the world. The Leader strides off back toward the beach. He comes out of the water and walks up to Hector. The Raiders are aware of him behind them. Hector's family are tense with fear for his life. the knife held ready. Hector follows to the very water's edge. picks and places it on top of the pile. BEACH . 18 EXT. Let's go. It's too much of a risk. sense of one up a moment. then stands and bleakly watches them. Hector persists in following them. he stands up. Let him go. On the boat. The Priest. trying to unpick the rope that binds his hands. He will take whatever is offered to him. too shocked still to react in any meaningful way. 17 He turns from Hector and moves on. That's the best we can do. looks around for a large stone. He stands alone.DAY 18 The Raiders wade out to the waiting boats. Hector is an embarrassment to them now. apart from the Priest. without him going over the cliff. Off you go. At the last moment the Leader gives a brusque order to one of his men. action. He stands in front of Hector for a moment. The man comes close. giving a final look or smile to Hector.10. The Leader eventually stops and calls to Hector. at first running to catch up and then simply trotting after them. The Raiders prepare to move off. LEADER We don't want you. His link with them is all that is left. 17 CONTINUED: LEADER No. Hector starts to follow them.

He goes back to the water's edge.11.DAY 20 19 18 * This is another. Hector refuses the gift. then drops the rope at Hector's feet and wades back to the boat. He digs around in the embers of the fire. Hector watches them for some time. sweat-covered men feed it with wood and charcoal. The man stands sheepishly for a moment. a weird gesture of conciliation. He goes some distance then stops.DAY Hector has returned to his cave home. some small boys endlessly toil at two large bellows. Shadowy figures come and go with barrow loads of wood. his family and the strange Raiders. 18 CONTINUED: Then the tense moment passes. A piece of rope in exchange for a family. He offers Hector the cut piece of rope. . For him the problems of emotional survival without his family lie ahead. still emotionally in shock. as the man grunts and nods at Hector's hands. thinks for a moment. 19 INT. OVER the NOISE of the FURNACE someone is WHISTLING. At last he turns and moves up from the shoreline. CAVE . A crude furnace blazes. Then he turns and wades back to the boat. still bound with rope. Hector understands. then retraces his steps. and walks off with it. achingly slowly. He is working on his instincts now. an odd human sound in an inhuman setting. picks up the piece of rope that bound him. We leave our first Hector squatting at his fire. retreat from his view and his life. The man stops. in the simplest act of physical survival. bigger fire. In fact we might be in hell. Hector bends low and starts to waft expertly and blow at the fire's remains. Filthy. To one side of the oppressive. As the man clambers aboard the Leader speaks to him. It might be of some use to him. We TILT UP TO the space above the furnace to see a mass of dangerously crude clay pipes. low-ceilinged furnace room. oozing water and steam at every joint. He lifts his hands and the man with some effort hacks through the rough hemp. BATHHOUSE FURNACE . He even smiles. now cold and empty of life. 20 INT. feeding the flames with jets of air. and returns to Hector on the shore. Some of the larger bits of wood still hold some life. drops back into the water. as they. an endless task given the ferocity of the fire.

Lucinnius goes towards three men occupying a marble bench. All of the people relaxing in the water look prosperous and comfortable with themselves. He stands against the wall. more so by the look in his eyes. others in the water rubbing backs and massaging shoulders.DAY 21 Above the heat and filth there is a different world. Hector's master LUCINNIUS is not as relaxed as the others around him. He is in anxious conversation with an older man wading beside him.12.ANOTHER ANGLE . emotionally detached from his surroundings. It is the hot room of a bathhouse somewhere in the Roman Empire. He is a personal body slave. a look of concern on his face. alert to any hint of need that he might have. There are three or four times as many slaves as bathers. We have advanced 4000 years into the future and it shows in the technology. Lucinnius' worries are Hector's also.DAY After an anxious scan of the cool room. 23 INT. passing the games area and the massage room as they go. and the proprietorial way that they look after their masters gives the place the odd atmosphere of a kindergarten for overindulged grown-ups. There is a set to his face that tells us he is a man alone. BATHHOUSE . BATHHOUSE . A clean. All around them slaves attend to their pampered masters.DAY 22 * * * * Hector wraps the towel around his master and follows him. The older man gives a final dismissive shake of his head. some around the edge of the pool. droning conversations and resonant laughter. LUCINNIUS I'm going to the cool room. And then we find our Hector. holding a large towel. 22 INT. Hector walks a pace behind Lucinnius through various chambers of the bathhouse. beautifully tiled world of lazing figures. Slaves wait in attendance. (CONTINUED) 23 * . 21 INT. 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. He watches his master in the pool.COOL ROOM . Hector immediately moves to the side of the pool with the towel as Lucinnius climbs out of the water. BATHHOUSE . Although clean-shaven and more healthy-looking we can still recognize Hector. It is men's day at the bathhouse.

Here in ancient Rome is this what they call classic schizophrenia? As Luccinius stands to leave we can tell by their expressions that the THREE MEN are open in their contempt for him. Hector follows three paces behind him. Hector is quickly on his feet and by Lucinnius's side as he goes. Hector stops beside him. From morning until night. the scrubber. Hector almost winces to see his master submit to this patronizing treatment. and the wooden stool. Hector then moves out of earshot. Lucinnius stops near some street stalls. 24 EXT. except that here the half-finished buildings are made of brick and stone. Lucinnius. The stool goes with them everywhere. Lucinnius's feelings are shared by Hector. It is difficult to tell from the people because they are such a cosmopolitan crowd. their own slaves tagging along behind with their little wooden stools.13. It has something of the atmosphere of a frontier town in a western. but still alert to his master's behavior. A final sarcastic remark comes from one of the three. 23 CONTINUED: 23 Hector as if by magic produces a small wooden stool for his master to sit on as he joins the others. Hector is living two lives. STREET . More precisely.DAY This is not the grandeur of Rome. The eldest of the three gives off as much of the aura of a Godfather as a naked man in a towel can. MAN #1 Well washed. Slave and master exist so closely together that many of their feelings are shared. loaded down with the large towel. in case Lucinnius has to stop in the street and converse with a friend. faces from every corner of the Mediterranean world. and treat Lucinnius with apparent contempt. and probably in his dreams too. Some have whole trains of slaves shadowing them. Hector watches the older man put a paternal hand on Luccinius's shoulder and speak with a calm smile on his face. robe. (CONTINUED) 24 * . It is a one-way exchange. Human status symbols. his own and his master's. Other notables are among the street throng. Lucinnius leaves the bathhouse. The other two are deferential to the older man. Lucinnius is nervous as he attempts to casually join his friends. Lucinnius tries to muster his dignity as they leave. but the dusty main street of a provincial capital in Greece or Spain or North Africa.

Hector keeps an eye on Lucinnius as he orders the food. then. HECTOR Yes. we heard. Bad omens. Hector gives his master his food. but I was receiving Nepos. he's been avoiding him all week. cold. Get me something to eat.. Lucinnius sits down. inevitably.. Lucinnius at something of a height disadvantage. Hector. SLAVE #2 His ships have gone too. The Two Slaves move off to one side. As Hector is given the food and pays for it.. trailed by TWO SLAVES. HECTOR Two chicken legs. JULIAN Of course you're free to call at my house at anytime. STALLHOLDER No mice. Lucinnius's mood has brightened since the arrival of his friend... still absorbed in his problems. Hector places the stool at Lucinnius's feet and moves off.. how could I admit you? Hector offers to share his bread with the other Two Slaves. and some bread. HECTOR Two mice. They easily fall into conversation. Just a mouse or two. SLAVE #1 Spoiled his day. and the bread. Their conversation seems open and friendly. hearing a snatch of the conversation as he goes. and then moves to join the Two Slaves. 24 CONTINUED: LUCINNIUS Bad omens. JULIAN. meeting your man. Julian and Lucinnius greet one another and sit down to talk. (CONTINUED) 24 * .14. approach Lucinnius... One of them is carrying a folding chair much more substantial than Lucinnius's. about their masters. he sees another man.

HECTOR Well. they smelled blood.DAY 25 * * Lucinnius is eager to talk. 25 EXT. Pirates. SLAVE #1 You'll be up for sale before you know it! This makes them laugh. SLAVE #1 Yes. Nepos knew. SLAVE #1 And you with him. HECTOR And me with him.... Lucinnius and his friend stand and exchange their final words.... you reckon? The other two nod their heads.. and tosses his words over his shoulder to Hector. and they resume the formality of their roles. HECTOR When did you hear? SLAVE #2 Last night. he reckons. (CONTINUED) . Hector nods his head thoughtfully.. eh? HECTOR This is the worst it's been. half way home. The casualness of their conversation has gone. I could tell. 24 CONTINUED: (2) 24 This is news to Hector..... unaware of the scrutiny they have been under. if he'd pulled it off he'd be in Rome by now. That could finish him.. STREET . or so used to it that they are oblivious to it. Hector and the Slaves hurry to gather up the seats and take their positions behind their masters... at the baths. They're sunk. HECTOR He's finished.....15. Hector less so than the other two..

being the alter ego to an ambitious loser in one of the most competitive and dangerous societies ever to exist. He'll want his money back too. Hermas prods them with a knife. The entrails of a chicken lie on a slab of marble. They are gathered around a shrine in the large public room. Lucinnius unburdens himself. HECTOR Yes. HOUSE . And he has to carry the stool and the towel as well. No. He makes much of the mysteries of his craft.. and fetch Hermas.. We can see the concentration on Hector's face as he concocts appropriate responses. probably the only one I have left. 25 CONTINUED: LUCINNIUS He's a true friend.DAY At home. HECTOR Will he lend you the money? LUCINNIUS He was honest about it. LUCINNIUS And the ships have gone. Hector obligingly trots a step or two closer to Lucinnius to aid their conversation.16. HECTOR That's a problem.. He has a tough occupation. the diviner. as if it were a skill beyond ordinary men.. we find Lucinnius and Hector with the diviner HERMAS. LUCINNIUS When we get home I want you to get some chickens. 26 INT. plain and simple. (CONTINUED) 26 25 . did I tell you that? HECTOR Have they? LUCINNIUS Cyprian knows already. He said so...

26 CONTINUED: The other two peer over his shoulders. He cuts into the chicken liver and prods around the inside. no. be well disposed towards me. you need another chicken and another fifteen sesterces... and I'd like the first fifteen now please... and we can't ask the Gods specific questions like that. in the future? HERMAS If you want to do it again. Lucinnius talks in a reverent low voice. LUCINNIUS Are my ships from Sicily still afloat. Lucinnius obeys.. Is it the Gods' will.... HERMAS General answer.. Hector looks a Lucinnius. that Cyprian..... I want you to do it again... general questions.. no.. The other two wait in silence... sprinkle it on the altar.... HERMAS No. HERMAS . probing enquiry.. who nods reluctantly.. Hector opens his purse and counts out the coins for Hermas.. offer the grain first.17. it's a gentle. but let's see...? Hermas tetchily stops him.... Suitably mystified. LUCINNIUS Do it again. HERMAS The liver says no... * LUCINNIUS What do you mean? I mean. no. Lucinnius objects. 26 * * * ...

and then in ten years you'd be a citizen.. LUCINNIUS I shouldn't give up.. won't allow him to relax. Lucinnius watches her..... (CONTINUED) . Lucinnius is still in a talking mood. I had plans for you too. sometime. first thing tomorrow. I can pay him back. Hector smiles ruefully. I can't. She is a household slave. Lucinnius misses the irony in Hector's voice and enthuses about his own future generosity. Should I do it? HECTOR You must.. Hector. I'll visit Cyprian. HECTOR It sounds good. THALIA enters the room. muscles yield more to Hector's fingers.. His troubles 27 LUCINNIUS Cyprian loaned me half a million to fit out these ships.. before the others can get to him. 27 INT. LUCINNIUS It does. LUCINNIUS I must. It's the only chance we have.18.. in four or five years I was going to make you a free man.. you could've found your family. you... brought them here... I'm finished.. a Nubian from Africa.. he's got to see reason.......NIGHT Hector is giving Lucinnius a soothing shoulder massage. everything. Hector. His tense * * * * This burst of resolve has relaxed Lucinnius... You're right.. HOUSE . Just when things were going well.. She carries a lighted torch and moves around the room lighting the wall lamps. doesn't it! Lucinnius is silent for a while as Hector continues to rub his shoulders..

In one corner he sees what he is looking for. We can tell that they are close. He shares his bedroom with at least eight other slaves. He is careful not to disturb the sleeping forms lying all around him. HECTOR'S ROOM . HOUSE . 27 CONTINUED: LUCINNIUS Thalia. ROOF . At the end of the passage.19. hearing Lucinnius as he closes the door. Hector makes his way up some stairs and along a passage. LUCINNIUS Lower. He moves towards it. the outline of a figure resting against the low parapet wall. 28 INT. Hector is still awake. It is Thalia. and lifts open the trap door above his head. Privacy is a master's privilege. He takes the torch from Thalia and discreetly leaves the room. The only sound is a crack or two of far-away THUNDER. sits down beside her. Thalia. 29 INT. some of them sprawled on the floor. FIGURE I missed you last night. you can finish the lamps. THALIA What's happening? (CONTINUED) Hector . Hector does as he is told.NIGHT In the darkened house. Hector. I think I need one of your massages. The figure speaks. He rises from his bed and quietly moves out of the room. HECTOR He kept me working until morning. 30 EXT. Hector finds a small ladder propped against the wall.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. He climbs this.NIGHT Late at night.

You get people like that.... he'll be lying awake down there. Thalia looks out towards the sea.. We get a feeling for what they have given one another. their physical intimacy alongside their matterof-fact conversation. (CONTINUED) .. * 30 HECTOR If he goes down I'll ask for my freedom.20. HECTOR Nobody does. the only place where they can be themselves. 30 CONTINUED: HECTOR He has no money and a lot of enemies.. Their stroking and touching and holding becomes good to watch.. At first it feels strange.... They're working out what to do with Lucinnius. up here on the roof. and the realness of their friendship.. in stolen hours and half hours.. THALIA She doesn't like him. THALIA Why does the thunder always stay out on the ocean? Hector puts an arm around Thalia. we could be free. He's unfortunate. They laugh. By now he is kissing her. Clumsy and sad. THALIA Then what? HECTOR What we talk about. but gradually we understand it. Far away some street DOGS BARK. he said as much... but the omens are bad. you too.. the giving and taking of comfort where it can be found. wondering what they're saying about him. HECTOR It's the Gods arguing.... If he's very clever he'll survive. and he's not very clever. he owes it to me.

31 INT. I'm tired. HECTOR We talk about it because it can never happen.... You're going to leave me here. HECTOR'S ROOM ... That's all. 31 . It's you and me now. Well. 30 CONTINUED: (2) THALIA We talk about going home. A figure enters the room. THALIA I don't understand. Lucinnius stands over him. Hector comes to. HECTOR I just made that up. still kissing her. What we do is you and me. We'll do it ourselves. I don't know which way they are.NIGHT Hector is back in his bed. Yours is that way and mine is that way. Get me a chicken. Not after so many years.. THALIA We stay here. He yawns as he * * * * * * * * 30 Hector is silent. anyway .. your family is that way. I want to make another sacrifice. He'll survive. LUCINNIUS I can't sleep. you can't think like that.. Hector wearily takes himself out of bed and follows Lucinnius out of the room.. steps over the sleeping bodies on the floor and shakes him awake.. speaks. HECTOR Then I can see you every night. THALIA It's what you talk about. whispering. I think you'll leave... HECTOR Never.21.

COURTYARD .. selecting a chicken for sacrifice. carried by slaves. gossiping and playing games of chance on the ground. just fetching a chicken. A few important callers arrive in litters. 34 EXT.. It seems as if the whole world owes allegiance to this provincial Mr. HECTOR Sorry to trouble you. 33 EXT. but there is already activity around the house. Big. and he carries a large satchel of documents. like a mother watching her child from a distance on its first day at school. He is about to leave when he sees a MAN and WOMAN. petitioners. The Man looks at the white hen Hector is holding. seated on benches along the wall. Hector. He isn't surprised to see them. arms around each other. you can tell Lucinnius his future... some have an audience of a few minutes. HECTOR Come on. Lucinnius's hopes of quietly bending Cyprian's ear are dashed. MAN Can't you find a woman. messengers. Hector as usual is walking some paces behind his master. (CONTINUED) .. STREET . The Man shakes his head with a smile. Cyprian's aides usher the visitors into his presence in a regular flow. Hector smiles. visitors coming and going.. It is early in the morning. 32 INT. Hector leaves. Lucinnius and Hector even have to join a line at the door and are checked in by the gateman. in the dark. the roof's free. Hector keeps an eye on Lucinnius.MORNING 33 32 * Hector and Lucinnius are approaching the home of Cyprian. The Slaves have their meeting places scattered all over the house.NIGHT Hector is in the henhouse. Cyprian's home is a street palace..22..MORNING 34 The slaves gather on one side of the courtyard. Their masters wait on the other side of the courtyard. sitting in a corner. miss.. the sleepy chicken going to meet her fate in his arms. They are only doing what he and Thalia do on the roof. others last merely seconds. good night .. HENHOUSE .

Cyprian is at least giving him the time of day. relieved that it's over at last. and he says I should want to die for owing him half a million anyway. Hector is shocked. 34 CONTINUED: 34 Lucinnius.. STREETS .. does look a little pathetic. More minutes pass. HECTOR You look happier. alert. 35 EXT. 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. so that they can talk.. (CONTINUED) 35 . One or two others. HECTOR What if you don't. So does Lucinnius' friend Julian. Eventually Lucinnius emerges into the sunlight. Straight-backed. We almost expect Hector to give him a little wave of encouragement as he is finally summoned into the inner office.23. Lucinnius strides out of the courtyard with Hector following after him. Lucinnius doesn't emerge within the first minute. a broad smile on his face. Hector watches a game of handball while keeping an eye on the office door. even ridiculous. none of them got through. hands on knees. familiar to us from the bathhouse. sitting expectantly in line.. go into the office. worried. HECTOR Will he help you? LUCINNIUS I have to kill myself by tomorrow morning. LUCINNIUS Relieved anyway.. He has all my letters to Titinius. Hector is closer than normal.... Hector waits. he looks a bit like a sacrificial offering himself.DAY Lucinnius and Hector are walking home in their usual formation. He says it's like treason. Hector relaxes and leaves the ball game to join him. The first signs seem good.

the struggle is over . 36 INT. When everyone has gone to bed. LUCINNIUS I'm done for.. HECTOR I don't understand. those letters.24.DAY Hector and Lucinnius are in his study....... LUCINNIUS We'll do it with a knife. he would drag me to Rome.. The two of us. LUCINNIUS We'll help each other. I don't think I can help you. we've seen it through together..... more aware of the reality of what he has to do. Lucinnius is busy clearing up his papers. He is less hysterical than in the previous scene. to the end. eh? HECTOR I don't know what to say.. HOUSE . We must. We have a lot to do.. Hector....... Lucinnius quickens his pace... We've been through this whole mess together. peace at last. I feel kind of good about it. 35 CONTINUED: LUCINNIUS Then he will. What do you want me to do. we must die together. Hector. LUCINNIUS Let's get home. Lucinnius is obviously in a state of shock. but it's strange. LUCINNIUS Tonight. Hector..... and that wouldn't be pleasant... (CONTINUED) 36 35 . Lucinnius shivers to think of them.

Hector manages to speak. we were short of names.. you're my closest... most of the people I know were in the room. at Cyprian's this morning .. So you see. I had to sign certain papers ..... so I mentioned you. becomes more..... in his own mind.. I had to.. I don't want you to die with me just because of my honor. if you would die with me..... people I thought were my friends. That we were plotting against Cyprian and the provincial senate.25. 36 CONTINUED: HECTOR I don't know what you mean.. Lucinnius changes his tone.. tell a bit of a story. Hector... HECTOR So I'm a conspirator? LUCINNIUS Yes. it's more complicated. I mean it.... we're not going to submit to the humiliations that Cyprian can heap on us. frank. we're choosing death....... Hector is stunned with shock. what is we? I've done nothing.. I would be honored..... mess? What * 36 LUCINNIUS You don't understand do you? I'm asking you to die with me. * * * HECTOR What kind of story? LUCINNIUS A confession. are we? HECTOR You say we..... my dearest slave.. what would they say about me if you refused to die with me? This is honor. I know nothing.... man-to-man. I don't know. LUCINNIUS Hector..... I'm sorry. (CONTINUED) .

.. As we listen to their conversation it becomes clear that Hector finds comfort in the boy.. Hector has a close friendship with him. HECTOR But even if it's round you can still fall off the edge. Understandable. (CONTINUED) . Gallus sees his playball.? Gallus ignores this tease.. GALLUS No.26. here.. He is talking to GALLUS. 37 EXT. HECTOR Do you believe everything that Greek tells you. Hector has picked up a large metal plate to help him make his point.. considering his scheduled death. it's round like this. who is Lucinnius's ten-year-old son. GALLUS Rome must be right in the middle.DAY 37 36 * Hector is in the inner courtyard of the house. for the family that he lost... The kitchen slaves come and go as they talk. COURTYARD . HECTOR This is the worst it's been... Today there is an air of distraction about Hector.. intent on the ball. it's not round like that. 36 CONTINUED: (2) HECTOR Can I sit down? LUCINNIUS Of course.. Hector becomes more interested. He picks it up. beside the kitchen. and we must be out here somewhere.

Gallus walks out the distance from Rome with his fingers. 38 INT. I saw the sun at home. Hector remembers that he and the boy's father are supposed to die that night. that's how they can look down and see everything. GALLUS I'll ask him tomorrow. because my children are round there and I want to know that they're getting the sun. 37 CONTINUED: HECTOR So. HECTOR I wasn't upside down. GALLUS It must be about here.27.. He looks on Gallus with a new tenderness. In the lamplight.. His fingers stop on the other side of the ball.. as if there is serious calculation. ask him something else.. and how could you see the sun round there . every day. (CONTINUED) 38 * * * * 37 * * * * .NIGHT Lucinnius is at it again. I'd like to know.. GALLUS But then you'd be upside down....... HECTOR Yes...... where is my home? GALLUS How many months did they march you here? HECTOR Seven.. and all around... they're out here. ALTAR . tell me tomorrow. a live chicken stands on the altar.. where are the gods if the whole thing is round? GALLUS I think I know that..... Gallus is stumped for answers... too.

. Perhaps they do. She calls on the cook from the kitchen... DALMIA Solus! The kitchen slave quickly appears. The chicken at once 38 HECTOR It's saying yes. as they are prone to be. and their son are lying on their couches picking at the food with their fingers. DALMIA.. there is.28. LUCINNIUS No.. DINING ROOM . Thalia is also there.. will I be eating chicken again tomorrow? Why am I always eating chicken? (CONTINUED) 39 . The bird is certainly enjoying his food. begins to peck them up. HECTOR But you asked it if we had to die... or if there was another way. but she doesn't know what. I ate chicken yesterday and the day before.NIGHT A dead chicken adorns Lucinnius's table. He scatters some grain on the table. The chicken is inscrutable. 39 INT. LUCINNIUS No... I'm eating chicken again. Dalmia knows something is up. there's a way. She attempts to break the silence. it's saying yes. Hector and the other household slaves are in attendance. serving her mistress.. 38 CONTINUED: Hector and Lucinnius watch it as if their lives depended on it.. He and his wife. it's saying yes.. HECTOR Maybe it's just hungry. DALMIA Solus. it's saying yes.. Lucinnius is drinking more wine than usual. we should die. LUCINNIUS If he eats the grain it means yes. we should die.

Thank Cyprian for his kind thought. A SLAVE interrupts them. Dalmia looks at them all looking at each other...... in the business that you have to conduct tonight. VISITOR Good evening. as you could wish..... SOLUS It's what we have to hand in the kitchen. perhaps a softening of Cyprian's heart... ma'am. They greet Lucinnius deferentially. Thalia looks at Hector. They are big men.. but he knows that they would break his back at the whim of their master. but they offer him no help. the chickens have just been turning up. to make that business as. They might be coming with good news. He looks again at Lucinnius and Hector.. Lucinnius. as his last hope expires. The heavies metaphorically keep their foot in the door.. (CONTINUED) * * . unsophisticated and look uncomfortable in their well-cut togas. A couple of the godfather's foot soldiers. RECEPTION ROOM ... But I feel that I will be capable of taking care of my affairs tonight without your help.. Cyprian asked us if we could be of any assistance.. SLAVE Two men have come to see you.. more intrigued than she was before. Lucinnius sighs. LUCINNIUS Thank you. I always try to use the fresh stuff. gentlemen. From Cyprian. Lucinnius and Hector look at each other and share a moment of hope. comfortable.. They look at each other. 40 INT..NIGHT 40 39 The two VISITORS that await Lucinnius and Hector are an unpromising sight. 39 CONTINUED: SOLUS looks up at Lucinnius and Hector.29..

LUCINNIUS Thank you.. Hector is closing the door when one of the Visitors talks roughly to him. just to make sure. VISITOR He's not much different. LUCINNIUS Good night.. He prods at Hector's body freely.30.. to get over the stickiness... Have you ever killed before? HECTOR Only chickens.. or go in from the back. showing him what to do.. 40 VISITOR We'll call in the morning at any rate.. If it is ticklish. .. but retreats into the house. Get it in deep. any place he'll let you. Don't hesitate to send your man for us. VISITOR Getting it out's not as easy as you might think. VISITOR . but long. You.. Thank you. not far from here... Hector instinctively looks to his master... at any time.. VISITOR Come here. feel for a space between the ribs. Lucinnius doesn't protest... Hector doesn't let on.. Use a thin blade. We leave Hector nodding obediently as this weirdest of coaching lessons continues.. 40 CONTINUED: VISITOR We're spending the night at the house of Nepos. you have to twist a bit. Hector is left alone with the Visitors.... the heart... VISITOR He looks like the kind that'll want some help. We're anxious that things should go well for you.

.. STUDY .. so that when they find me. He is quite drunk.... resigned now to his fate. an oil lamp and a candle cast their shadowy light. adding to the tension in the room. LUCINNIUS Nothing else to be done... you want some wine? Don't HECTOR No. please... Hector looking over his shoulder.... Lucinnius looks up at him. But you're free... but I want something. (CONTINUED) * .. Lucinnius finishes writing and lays down the pen.. who is counting out coins and other valuables on his table. LUCINNIUS Eight hundred sesterces.. keenly watching what he writes.. Hector stands beside Lucinnius.31.. cash .. I don't want to die a slave.. Lucinnius looks at him grimly and manages a smile. LUCINNIUS Hector.. Hector however is cold sober. Hector... Lucinnius looks at him for a moment.. Lucinnius places the money in a box on his table... He scratches out a few words on the paper. LUCINNIUS What is it? HECTOR I want to die a free man. my father left me three farms and forty thousand. I don't know the exact words... LUCINNIUS Very well. they know I died a free man. by this proclamation. He clears his throat and attempts to put a note of ceremony into his voice. * HECTOR In writing..NIGHT 41 Late at night in Lucinnius's study. 41 INT. I make you a freed man... I've never done it before. grim-faced. that's all that's left. then reaches out for his paper and pen.. what a failure.

that Lucinnius's moans will wake the household. or perhaps hoping. Let's go downstairs. 41 CONTINUED: LUCINNIUS They'll find it in the morning.. It's a nice thought. PASSAGE . then you must help me. with drink and terror and self pity. then more loudly and more pathetically. He fingers its blade. LUCINNIUS Well. afraid. freed man. Hector... with the oil lamp.. Lucinnius begins to sob.. at first quietly. half-drunk Lucinnius want to kill him first? HECTOR What do you want me to do? LUCINNIUS Nothing. 42 INT. Hector looks around and behind him.. you understand that.. defeated form. casting the light on Lucinnius's crumpled. * A trickle of fear passes across Hector's face. HECTOR Thank you... I mean... Lucinnius picks up a large kitchen knife which lies on the table.. let's do it. I have to do it first.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.. HECTOR I understand. and then you.. you were right to ask. WASH ROOM . if I don't succeed. 43 INT.. Hector walks behind.NIGHT Lucinnius has worked himself into a dramatic state of distress. not to me. Lucinnius stands and leaves the room.. LUCINNIUS No point in messing up the room. (CONTINUED) 43 ..32..

They both look down at the blade... (CONTINUED) 43 * .. that stings! Lucinnius sits back on the step of the washing pool. They sit absurdly like this for a long moment... 43 CONTINUED: He runs into the tiled washing room.. I'll need the knife. Hector.. wails loudly and makes a stabbing motion at his stomach... HECTOR Lie still.. HECTOR Close your eyes.. that hurts. lie still.. LUCINNIUS Thank you. Then Lucinnius speaks. Hector. like in a waiting room. LUCINNIUS Help me. Hector sees all of this from behind as he enters the room. holding his stomach... HECTOR You've done it. Hector speaks gently. hurry. He helps Lucinnius lie out on the marble floor.33. LUCINNIUS You do it now.. HECTOR Shush. LUCINNIUS This is hopeless.. you did it. lie down.. do it..... The movement has increased the spread of blood over Lucinnius' clothing.. you promised. neither of them knowing what do do next. Hector sits down beside him.. It's awkward.... Lucinnius crumples to the floor and squats on his knees.. He raises his head. like coaxing a frightened animal.. still in Lucinnius' body. thank you. you've done it . LUCINNIUS Oh.. It looks as if Hector is playing for time.. He calls out in pain. LUCINNIUS Do it Hector.

trying not to wake the others. Then he pulls on Lucinnius's cloak and rushes out of the room. Hector has the knife in his hand. willing the last dregs of life from him..NIGHT 44 43 Hector runs into the study and makes for the box containing the coins.. THALIA'S ROOM . It's as if the life flows out of him as the knife is released from the wound... then reaches down for the knife in Lucinnius' stomach. But quickly he gathers his wits. 44 INT. Hector gently shakes her shoulder. Hector waits. looking at Lucinnius. He returns quickly to pick up his certificate of freedom from the table. pulls off his worn shoes and places on his feet a pair of Lucinnius's stout street sandals... do it. He makes a decision and retraces his steps across the courtyard and back into the house. do it... do it. He throws the knife down. He makes his decision.. he again stops.. do it. Hector has run out of the room before it has come to rest against the wall. sits down on the chair. He stands up. STUDY . Hector..NIGHT Hector is walking quickly from the kitchen across the courtyard to the street gate. We see on his face the effort as he pulls at it. After a moment or two Thalia opens her eyes. He puts most of them into a leather money bag and ties it to his waist.34. His voice is even more faint. (CONTINUED) .. It clatters along the hard shiny floor. COURTYARD . suddenly repulsed by what has happened. Lucinnius lies still.. Then just as he is leaving. and do we detect a subtle twisting of the blade to speed Lucinnius on his way? Lucinnius sighs and twitches a little.NIGHT 46 45 Thalia is sleeping in a large pallet bed on the floor with two other women. do it. 43 CONTINUED: (2) LUCINNIUS Take it. LUCINNIUS Do it... but still he waits. Near the gate he stops and looks back at the house. Lucinnius' voice is fading now.. 46 INT. 45 EXT. Hector has won this final battle of wills. The whispers fade to a croak. LUCINNIUS Do it.

And then? THALIA Then you go home? * * 47 * * 46 Hector hurries on. WINCHES CREAK. I'm free.... Nearer the harbor we sense the nighttime work of loading and preparing ships for the morning tide.. Hector strides off in the direction of the noise and lights. I'm a free man. HECTOR You can go to anywhere from Rome.NIGHT The shadowy cloaked figures making their way down to the harbor are Hector and Thalia.. supervised by two men on the quay. HARBOR . 46 CONTINUED: Hector whispers to her before she has time to open her mouth. Thalia at his heels.NIGHT Hector and Thalia approach a ship heavily laden with timber. Hector encounters a night WATCHMAN. Hector talks when the Watchman is out of earshot. voices shout. Final supplies are being carried aboard. noncommittal in his reply. but we must hurry. QUAY .. Will you come? 47 EXT.. HECTOR I have some mail for Tyre.. where are the east-bound ships? WATCHMAN Ask at the harbor. HECTOR We want a timber ship. Hector approaches them... HECTOR I'm leaving.... straight to Rome....35. 48 EXT. they go west. come now if you want to. HECTOR Where is the Captain? (CONTINUED) 48 . but diverts his suspicion by boldly addressing him. By the light of oil lamps cargos are manhandled aboard. With an authoritative nod.

I'm looking for passage to Rome. for both of us. He stirs himself to the sounds of a SHIP UNDERWAY. you can walk or ride from there.DAY 49 * 48 Hector and Thalia are asleep. CAPTAIN And who might you be? HECTOR I'm the steward of Lucinnius the merchant. food for two..... * CAPTAIN Well. you have money? HECTOR Of course...36.. the WIND in the CANVAS. passage for two. let's see. 48 CONTINUED: CREWMAN He's on the ship. huddled together in a corner of the ship that they have claimed as their quarters..... yes... the MOANS of the TIMBERS. I need an immediate passage. what were you thinking of offering? HECTOR When do you leave? CAPTAIN Anxious to leave. Hector wakes Thalia and they clamber out of the darkness of the hold onto the brightest. are you? HECTOR Keen to start... A CREWMAN comes and shakes Hector awake. Captain.. freshest of days at sea. we have business in Rome. six days.. to Brundisium. Hector and Thalia climb up the gangplank and approach him... CAPTAIN It's five or six days... 49 INT. CREWMAN Captain says to come on deck. He indicates a man standing on the rear deck.. HECTOR Good morning. ... SHIP . the sounds of the SEAWASH.

SHIP . Her excitement is childlike. she gets even more excited. of course. even the movement of the ship. * (CONTINUED) * * Then . Everything is novel to her and it shows. we'll be where the thunder is! They look at each other and then all around them. THALIA Me. THALIA Where's the land gone? * * Hector. ships heading for the port they have left... We can tell from Thalia's reactions that she has never been out at sea before. but they kept us down there.37. She points down into the lower depths of the hold.. is taken by the novelty of it all but is less prepared to admit it. The ship is moving swiftly in a strong. THALIA Tonight. CAPTAIN Your master's ships. at least never above deck.. 50 EXT. their fine progress under full sail. The Captain on the other side of the ship. They are like children in a brand-new world. We can tell he is lying. too. going home. The freshness of the day and on an overwhelming feeling of freedom.. He points to three shapes in the mid-distance. clean breeze and a light sea. There is a thrill in their glamor. beckons them.DAY 50 There is no sign of land behind them. too. THALIA Have you been on a ship before? HECTOR Yes. CAPTAIN Thought you would like to see them. exhilarate them.. are in new territory. He waves his hands around the empty horizon noncommittally. Their senses and their feelings.

.. absorbed in thought. They are quieter now. They sit quietly. they're lost.. lies 1400 years.DAY A man is driving a heavy two-horse wagon.. just so. Hector looks around him.... A tiny human moment. the ship is still making brisk progress. SHIP . Hector sits in the wagon beside a woman. 1400 years ago.. The Captain smiles at them and looks back to the ships... I know these ships. Thalia and Hector are sitting on deck. The wind catches the sailor's hat. CAPTAIN No they're not.. Hector and Thalia look at each other. Hector is drawn by her smile and moves to join her. coursing healthily on their way.. 51 EXT. The wind has just lifted his hat from his head. CAPTAIN Somebody been putting the wind up Lucinnius? That's an old one. WAGON ..DAY Later. The drama of the lives of Thalia and Hector has played itself out long ago. my brother-in-law's the master of the big one with the brown sail. didn't think anybody'd fall for that. 50 CONTINUED: HECTOR No. He spends some time replacing it carefully.. some distance from one another. As if they are talking without words. A sailor on the forward deck is sorting out some rope.. Watching him from the back of the wagon is Hector. their looks and smiles tell us that.. (CONTINUED) 52 51 50 * * * * * * . an echo of a previous time and place. He grabs it from the air and spends time arranging it once more on his head. more thoughtful. 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.38. thoughts of each other. There are tantalizing similarities between their situation and the one we left Thalia and Hector in on the boat a few moments ago. 52 EXT. Hector catches her eye. just so. they can't be.

... is dressed in the rough travelling clothes of a monk or PRIEST. when all things are done.. before she left her family. PRIEST Yes weep. PRIEST We want to praise God because we live in this ultimate age. all the wonders of his creation revealed to us. Talking without words. you are a glorious example to us all. perched on its half load of timber. A man. (MORE) 52 * * * * * I (CONTINUED) .... A younger man. There is an Irish lilt to his voice which colors what he is saying with a tinge of mischief. still sharing his thoughts silently with the woman.. Don't you? The child sobs more noisily. what generous parents you have. nothing more for man to see or do. is snoring underneath his hat. his face unseen..39.. Hector looks at him amusedly. With them is a NUN accompanying a GIRL of about eight. Even without his habit we would know he was a holy man...... The Nun interrupts the Priest cheerfully.. all that is left is the hope of salvation. She belongs to God now. gaunt and hungry-looking. PRIEST Fortunate child. The Girl is sobbing through all of this. 52 CONTINUED: The woman and Hector exchange glances now and then. What a sacrifice. all is known. The Girl is tearful. already a child of God's. They are not alone in the wagon. He is a difficult fellow to pin down. even for our humbler sisters. NUN She's already received the last rites. struggle against it. destined for paradise.... Untouched by the abiding curse of carnal lust. BEATRICE. weep for joy.. blessed to spend your earthly days within his church as Christ's servant.... child. His incessant talk tells us.. giving you to the sisters. delicate signals of mutual awareness.

I've written a small treatise in favor of virginity..... We could discuss it later if you like. and within nine hours the Lord had to expel the both of them! Just think... DRIVER What are you talking about? Hector gestures to Beatrice that he is leaving the wagon to walk for a while and asks her to join him. if we cease carnal union entirely then in fifty or so years we'll all be rid of our earthly lives and God can proceed with His reign over His heavenly kingdom. The DRIVER of the wagon turns his head briefly to the Priest.. too. 52 CONTINUED: (2) PRIEST (CONT'D) I will not join myself carnally with any woman.. brother..40.. Now Hector is getting the hard looks from the Priest.. and held womankind to barrenness. that same paradise that God gave to man before.. then jumps down from the wagon and. think how much the sooner would come the day of judgement.. I will carry my unspilt seed from this world to the next.. He looks accusingly at Beatrice. allows it to gain ground in front of him. PRIEST It's simple... If all men forsook forever the fleshy temptations. they messed it up in nine hours! * 52 * * * * * * ... She shakes her head with a smile. The ramblings of the Priest fade away. but which man was so unfit to inhabit that within seven hours Eve was already tempting her master and mate.. walking slowly. as should every man... Hector smiles. all God's chosen gathered in paradise... PRIEST . PRIEST .. sister.

in Medieval Europe. There are no more than 30 knights in full armor. His eyes begin to close. walking. Like any wise citizen of a violent age. almost insane in its intensity.. at the very bottom of the valley. Hector calls to the Driver. Hector lays himself down at the side of the road. The scene places Hector in his time and for us there is a strange feeling to it. eating a hard biscuit he takes from his pocket. (CONTINUED) 54 * * * * * . With a last look behind him he runs off in the direction of the wagon.. Even from such a distance Hector can see and hear that the fighting is ferocious. Hector looks at Beatrice.DAY 53 * Hector smiles as the Priest's VOICE FADES into the distance. He smiles at Beatrice. It is a cold fresh day of early summer. except the violence is real. HECTOR How long to get there? DRIVER When it gets dark. Hector makes his decision. He sits opposite her in the wagon. Hector is where he belongs. just where a wooden bridge crosses the small river. we'll be there. 54 EXT. But this is not the case. almost as if Hector has awoken from sleep and found himself transported to some distant age. Then a SOUND in the distance makes him open them again.. The last sound he hears from the wagon is the renewed WAILING OF the GIRL. with twice as many foot soldiers and squires. He stands up and crosses the track. A mounted skirmish is in progress. Hector dawdles on his way. She doesn't move away. At first he can see nothing. He listens. 53 EXT. She smiles at him. Then he sees where the noise is coming from.. Hector knows when to leg it. MOUNTAIN TRACK .41. happily back in the security of his fellow travellers. They are travelling high in the mountains. From this distance it is like a puppet show. He walks back along the rim of the road.DAY Hector catches up with the moving wagon and jumps onto it. HECTOR A bit cold. MORE SOUNDS drift up to him from the floor of the valley. WAGON . and allows his foot to touch hers.

I haven't understood anything you've said all day. just for the fun of it. The Priest. HECTOR I don't understand.. 54 CONTINUED: HECTOR I thought I heard fighting. is more interested in Beatrice. FARMHOUSE . back there. and anyway.. Beatrice replies. FARMYARD .42. He can do nothing to help her. but in a language that Hector doesn't understand.. She turns to him and speaks quietly but with determination. (CONTINUED) . 55 EXT.. GIRL I want to go home to my mother.. Hector talks back to her.. HECTOR I don't know what you're saying. They repeat their incomprehensible statements.. BEATRICE I don't know what you're saying. BEATRICE I don't know what you're saying. 56 INT. bread and wine.. He calls loudly to the wife working at the open fire. a stew. however makes a performance out of his more modest needs. It doesn't seem to disturb them too much that they don't share a language. The travellers settle down to eat. Beside Hector the Girl has stopped sobbing but she is still troubled... Hector doesn't know how to respond.NIGHT It is almost dark when the wagon finally turns into the yard of the farm where they will spend the night.NIGHT 56 55 * * * 54 The Farmer and his Wife have laid out a table with simple food. They both smile.

Hector creeps closer and sees that it is the Priest. Gentle snores and regular breathing lay a blanket of soft sound over the human forms. He already has a chicken leg between his teeth as he hunts for a cup for the jar of wine tucked under his arm. He watches as the figure stands up and picks its way between the bodies to the door. FARMHOUSE . becomes aware of this. Hector rouses himself and follows the other.. 58 INT. Hector. I deserve to suffer.NIGHT Hector creeps cautiously into the dark kitchen. He sees Hector standing by the table.43. 57 INT. excluding all others from his conversation with the Almighty. I'm starving.NIGHT 57 56 In the dark. PRIEST No. Hector can hear the distinct sounds of the figure sniffing her. and then a deep. He speaks normally. long sigh. Do you think I dare heat that up on the fire? He indicates the large pot containing the remains of the stew. in another corner of the room. I have no need of wine or meat. He pours some wine into the cup and slides it across the table to Hector. (CONTINUED) 58 * . PRIEST God. sleeping bodies lie all over the floor of an upstairs room. She brings him a jug of water and he makes much of giving thanks to God for his simple meal. One of the forms stirs and sits up on one elbow. from head to toe.. muttering his grace quietly to himself. Mistress. He emerges from the pantry. I'll eat it cold. The figure stands up and moves quietly to the door. cheekily. FARMHOUSE . They recognize one another and relax. sleeping lightly. 56 CONTINUED: PRIEST Just bread and water for me.. disappearing downstairs.. The figure pauses and crouches over Beatrice. The Priest doesn't re-enter his holy act. The figure has gone to the pantry and can be heard RUMMAGING there.

.... hungry eyes. Hector. she smells like paradise. HECTOR How do you know she's a widow? PRIEST Look at her eyes... The Priest changes his tone of voice. HECTOR They all look the PRIEST It might help us get through. the mad knights are at it again. remember. PRIEST Have some wine.... 58 CONTINUED: 58 Then he digs his hands into the cold stew and eats chunks of meat as they talk. HECTOR I saw some fighting today.44.. PRIEST So. He talks straight. if there's a bit of confusion.. Hector takes a drink. you must keep out of the way of temptation.. I saw the way you were eyeing up that widow. she could lead you into trouble.. but we're going home.. mocking his own holy act. same to me. is she not. though. PRIEST But. (CONTINUED) . Hector is smiling. although she is beautiful. for now.. what were they.. back up the road.... now stay away from that.. He changes his tone yet again. we'll still travel separately though.... Swiss or English? I don't know..

. Hector obeys the Priest without thought. don't forget them..... The Priest has stirred thoughts that he had intended to dampen entirely.. PRIEST You're not a sinning fellow. she'd bewitch you. Hector.. don't worry.. those we have committed and those we as yet only dream of. PRIEST Who saved your neck in Venice? HECTOR You did. the little ones you only talk about when you're drunk. Get me some bread. (CONTINUED) The Priest is * . 58 CONTINUED: (2) PRIEST Listen.. happier now that he is in control again. Hector still remains silent. you couldn't handle her. Hector approaches the Priest with the bread.. PRIEST May the Lord forgive us our sins. in five or so days.. if anyone's going to dally with that widow it'll be me.. then home. another month and we'll be at the channel. He raises his cup to Hector. PRIEST And don't you forget it. and I'll catch you up. you're not a sinning kind of fellow. She's a glory of a woman.... remember..45... but I trust you.. The Priest is worried.. Ronald... but smiles. why don't you get off up the road tomorrow.. let's get this clear. you weren't even thinking of her 'til I opened my mouth.. at any rate. I know you wouldn't do anything to anger your God. Hector doesn't answer. are you.. 58 PRIEST Why do I always talk so much.. or me.

. PRIEST The fighting's behind us. 60 INT. and talk as they eat their breakfast of bread and milk. herding in front of them a small group of prisoners. but means his words for the Priest.DAY The travellers look out on the exciting scene. PRIEST You should go. 58 CONTINUED: (3) 58 For all his wit and endless talk we can sense a trace of vulnerabililty in Ronald.. rich men. He turns to the forlorn Girl. HECTOR I won't be travelling today. 59 EXT. too. they've got. HECTOR I'll stay. FARMYARD .DAY Overnight. the remnants of a company of soldiers. my girl? Hector talks to the company. they only take the rich ones. you'll be safe enough.. PEDLAR Hostages. Hector shakes his head. FARMHOUSE .. (CONTINUED) 60 59 * * . The Nun puts an arm around the Girl. have collected in the courtyard. Our Travellers watch from the farm window. PEDLAR Have you ever seen so many fine. others are wounded.46.. A few mounted knights come into the yard. dispirited.. The Priest looks him straight in the eye. fresh from battle. For all his bluster. there is the feeling that he needs Hector as much as he claims Hector needs him. catching Beatrice's eye. Some are tired. brother . well-dressed knights and squires.

Blood oozes from the joints of the helmet. sir. SOLDIER #2 If he's got a little head it might be alright.. The Officer turns to the Soldiers. Their efforts are useless. (CONTINUED) * .47. SOLDIER Must be sore in there. A young SQUIRE follows them in and kneels by the knight in the suit. he's not ready for heaven yet... get to work on him. Suddenly the door is thrown open and four SOLDIERS manhandle an inert body. with sympathy at the boy. Start praying. The MOANS are MUFFLED because the knight's helmet has been battered out of shape in the battle and can't be removed.. there's a hundred thousand livres on his head if I get him to Paris alive. The Priest obediently goes up to the knight and starts to pray earnestly. 60 CONTINUED: NUN We're going. Priest. dressed in full armor. half a day away. The ugly dent suggests an equally ugly wound inflicted on the head inside... then at the astonished group of Travellers. The Soldiers gingerly try to remove the helmet. dada? Is it your Hector looks * * 60 * The Squire looks at him and nods his head.. there's fifteen livres in it for you if he lives. The MOANING suit of armor seems inhuman. God will protect his ewe lambs. robot-like. They scatter the food from the table and lay out the MOANING suit of armor on it.. The Officer looks at the moaning suit of armor.. OFFICER You.. OFFICER Is there a blacksmith here? Where's the smith? FARM WOMAN In the village. Has your dada got a big head? An OFFICER comes into the room.. He picks on the Priest.. come here. into the room.

60 CONTINUED: (2) OFFICER Get that helmet off. all the more so in relation to the coy seduction scene that Hector and Beatrice are acting out.. Behind them is a group of soldiers. Hector and Beatrice have found a quiet corner where they can sit and talk. thrusting their pikes in unison. but. and one of you get back down into the valley and fetch an armorer.. 61 EXT. get hammers. (CONTINUED) * . a little. Their movements are a strange cross between parade ground drill and battle training. Hector looks at Beatrice and motions for her to follow him outside. HECTOR I think you know what I'm saying . It is mesmerizing to watch. A deadly dance. resourceful as lovers are. inhuman machine. overweight knights in expensive armor. hypnotic movements. They are much fresher than the rest and are drilling as a disciplined unit. Wounded men lie awaiting the attentions of either the medicos or the priest. they soon employ this as another titillating element in their love-play. reserves who have not yet joined the battle.. Everyone looks for food.48. Hector takes time to watch the Squire still kneeling beside his father.. anything you can find.. FARM . The suit of armor twitches and MOANS.DAY 61 60 * * * More soldiers have continued to make their way to the shelter of the farm. Ronald the Priest mutters every prayer he can remember. run here and there trying to regroup with their comrades. The Priest looks on helplessly as they slide past the table and head for the door. They become like one evil. They have the problem of not sharing a language. quietly stroking the helmet.. Individual soldiers... Everywhere is the chaos of war. The youngest are squires of twelve or thirteen. Prisoners huddle in cowed groups. repeating the same pattern over and over again. The Soldiers scatter to carry out their orders. like lost souls. the oldest are red-faced. To the BEAT of DRUMS they perform rhythmic.

.. BEATRICE Talk about home again. way over there. * * * * * * 61 HECTOR You think that's funny? It's true. pleased with himself.. * BEATRICE Tell me something else.. I had to run away.. it's a sad story. they fell off the world.... 61 CONTINUED: BEATRICE No. remember you said home? HECTOR I'm not making sense. big water..49..... am I? Well... I've been away for too long. home. They never came back.. right to the end of the world.. too. fell right over the edge. (CONTINUED) * * .. That's where I'm going. BEATRICE You're losing me again. I come from the other side of the little water.. then there's the big.. Hector smiles.. I had a friend who sailed on that. I don't understand a word. Beatrice laughs.. went too far. 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.... Some people locked me up. let's go back to homes. you shouldn't laugh. I don't... HECTOR I'm far from home.. HECTOR Have you ever seen the sea? Water everywhere. then across the sea..... into nothing... way...

turning the tables on Hector. home... Beatrice breaks this moment by reaching out to Hector's neck..... home. home.. clever boy! They fall silent. Beatrice smiles. I want you to say mine.. home.... HECTOR Flea. BEATRICE Come on.... BEATRICE That's it.. home. you can do it......... BEATRICE I know what you're saying. Then it changes. suddenly shy. a flea. you're saying home. say something else. home........ Triumphantly she shows him the flea she has caught... 61 CONTINUED: (2) HECTOR We have to learn to talk the same.50.. HECTOR Home. (CONTINUED) * * He 61 . HECTOR I don't want your word for home. BEATRICE Tick. and pinches her fingers on something....... Beatrice completes her movement with a sharp grab at Hector's hair.. say it. In this tiny victory the dynamic of their relationship is set. like a caress.. BEATRICE You want the word for home? It's home.. HECTOR Home. home. their intimacy well under way.. Hector smiles.. say it. very delicately.. home. There first touch. try it.. it's a tick. Beatrice looks at him directly now.. try it like me. thanks. says it in her language... Beatrice has her way. home. home..

He understands her well now. are there? When they have gone the Squire gives his father a nudge. The Officer re-enters the room from outside. I'd like to give you a good grooming. OFFICER Leave him for a while. There is no sense of it containing life. no sight or sound of breathing or moaning.51. . come on. around for a more private spot. for the moment. They understand each other perfectly now.. just the impression of lifeless bulk.. You need a good going over. There are a few souls out here you can help on their way to heaven. 61 CONTINUED: (3) BEATRICE Bet there's more in there. The suit of armor seems to grow even more rigid as we look at it. OFFICER How is he? PRIEST Sleeping now. FARM .DAY They look * 61 62 Ronald the Priest still kneels by the inert knight in armor. at peace.. The boy Squire still sits by his father's head. but there is no response from the knight. in a motherly but then again sexually provocative way. Ronald quickly follows him outside. How many * * * * * * * RONALD Twenty sous is normal... The Officer leaves.. Ronald mumbles quietly to himself in prayer. 62 INT. She ruffles his hair.. HECTOR Why don't we go somewhere and have a good session. Ten sous a soul to you. The knight is deathly still... nobody's been looking after you... I could do you..

DAY 63 Hector and Beatrice have found some privacy.... BEATRICE Yes. and fair.. form of foreplay. BEATRICE That's four.. inspired to caress ever more tenderly her scalp and neck.. HECTOR Yes.. giving his head a thorough going over. Hector... I'm Beatrice. Hector laps it up... I'm a little itchy there.. it does feel good. near the trees and by a low wall. Beatrice replies with a hint of breathlessness.. Beatrice loosens her clothing to bare her neck and shoulders.. HECTOR I don't know your name. Hector still kneading her scalp. happily. Beatrice moans softly. and perhaps the best.. Hector begins to probe her hair and scalp. and then stops. yes.. a tiny little one. To Hector even her fleas are a delight. Hector is sitting crosslegged and Beatrice kneels behind him.. 63 EXT. BEATRICE You can do me now. FARM .. Some bushes hide them from full view of the farm yard. HECTOR Beatrice. HECTOR Got one.52. There is no hope for this man... yours are so small. who are you? I'm Hector. She arches her back under the first touch of his fingers.. She gives his scalp a final delicious rub. He seems to want to keep it as a pet. I think you'll have to do under my arms. still with the outward purpose of looking for fleas. BEATRICE Hector.. (CONTINUED) * * * * * * . Hector certainly likes it. I'm Hector. Mutual grooming is the original.

PRIEST The Saxon. I know. and plod off through the farmyard. PRIEST Good luck to you.. the Lord will bless you. won't he go with you? (CONTINUED) 64 63 * . I think Beatrice is a good name. He sees the Nun and the little Girl preparing to leave. They mount up. He talks to the Nun as they move off. laid out in a corner of the farmyard.. the Girl behind the Nun. In between parting the hairs on her scalp Hector is kissing her on the neck now. but soon the kisses become longer and the grooming less. Whether he is a bogus priest or not.53. They stop briefly beside the Priest to say their farewells. They have acquired a mule. At first it is small.. PRIEST How long for you on the road? NUN Three or four days. yet. 63 CONTINUED: HECTOR Yes. little girl.DAY The Priest is with some seriously wounded soldiers. Ronald is taking his duties seriously.. and have a proper wash. FARMYARD . There is a little of the rogue about him now. BEATRICE Maybe we should find the river. Hector. PRIEST Goodbye. Beatrice is sighing contentedly now. 64 EXT. NUN They're not killing nuns. in his house. BEATRICE I'm still itchy lots of places. snatched kisses amongst the grooming.

DAY The Nun's mule turns out of the farmyard and heads off along the track. SOLDIER That's it.. Ahead of her there might be many a bleak night in her convent when she will remember the image.. Ronald stays with the boy as he struggles against his own annihilation... A few Soldiers are burying some of their dead nearby.... Peter. write it... the mingled bodies of Hector and Beatrice.. TRACK . PRIEST Peter. tell everybody that was my name.. Peter. Ronald is mumbling his prayers. say it again. FARMYARD . my name is Peter. It's probably the first and last that the Girl will see.. He is frightened... PRIEST Lie still. Peter... 66 65 64 * . Peter.. and clings to the presence of Ronald. and that same smile will return to her lips.. Peter. Ronald behaves well with the dying boy. don't forget it.. The Priest watches them go. tell everybody ...DAY The Priest is kneeling beside a young wounded Soldier.. A smile flickers across her face before she turns away forever...54. He is close to death.. engaged in fervent lovemaking.. all pretence at grooming now gone.. and then returns to his duties with the wounded. 64 CONTINUED: NUN He's nowhere to be seen. 66 EXT. The Nun watches this and doesn't see what the Girl sees on the other side. tell them Peter died here . SOLDIER My name is Peter. but in his youth is fighting it. 65 EXT.. don't forget .

He has completed the hardest day's work that he has undertaken as a priest. contented yawn.NIGHT The Priest makes his way upstairs in the darkness. Then. but he settles down. 67 INT. The others have already left. He sniffs again. Their cheeky act of innocence mocks him. in another part of the room. The Priest looks at them in turn. He looks again at Beatrice. FARMHOUSE . if he really is a priest. then he sighs out his admiration. The Priest is troubled. Some officers have moved in and the place is more crowded than before.ANOTHER ANGLE . If he is not. pulling his cloak over his head. suspicious. The Priest sits up. FARMHOUSE . What the Priest doesn't see is the extra pair of hands massaging her neck and head. FARMHOUSE . 69 INT. Hector emerges from what looks like a pile of clothing. sits up and smiles too. The Priest makes his way to his corner. He suddenly misses the presence of Hector. but Beatrice is there. . The Priest bends over and takes a long sniff at her. He yawns.55. still and sleeping. Hector's head emerges from the covering beside Beatrice. She snores lightly. in the general direction of Beatrice. stretching herself and fixing her hair. They make love quietly in the dark. Hector and Beatrice look at each other. She smiles at the Priest. The mingled smells that his sensitive nose detects perplex him. 68 INT. a long. She moans softly in her pretence of sleep. Outside he can hear the first sounds of the day. Across the room. also enjoying the thrill of confounding the Priest. but on the way he pauses by Beatrice. In the room it is still semi-dark. HECTOR Good morning. then the pretence has been just as exhausting. He steps over her and settles into his own space by the window.NIGHT In the room sleeping forms lie here and there in the darkness. the murmuring VOICES of Soldiers in the yard.DAY 69 68 67 * The Priest wakes up. Hector is not with her. the CLATTER OF MILK PAILS. He wants to sleep. but he doesn't know why.

They want me to go with them. like you said. SOLDIER We're moving soon. 70 EXT. Hector is in a cheerful mood. We can be home in a month. PRIEST Are you staying here? HECTOR Moving on. Both of them are unhappy now. A Soldier shouts down to them from the farm. Are you a priest? Are you jealous? The Priest is silent. Wait for me. They are saved from hurting each other more. confusing one another.56. I'll wait for you at the channel. The Priest sees him from the farmyard and comes to join him. She might be a witch.. The Priest is sullen. HECTOR Witch my arse. * * PRIEST She'll do you harm. Stop giving me orders. we'll meet up. He drinks a handful of water for breakfast. I still have the money from Venice.DAY 70 Hector is washing himself by the stream that flows close by the yard. HECTOR You're a busy man. what with all these souls departing. (CONTINUED) . as you told me to.. HECTOR Nothing at all. spoiling their friendship. pleased with himself and his success with Beatrice. HECTOR You're a strange fellow. reproachful. Father. PRIEST There's nothing wrong with helping someone to die in peace. I told you. FARMYARD .

with a wide stream running some way below. Hector feeds Beatrice a piece of cheese from his knife. and the thrill of knowing it will go further. 71 EXT. They turn out of the farmyard and walk down the main track. you're leaving? HECTOR You have work to do here.DAY 72 * Hector and Beatrice have stopped to eat. BEATRICE We'll have to sleep in the hills tonight. PRIEST So.57. then walks on. and more battered bodies requiring comfort. Hector and Beatrice are enjoying the first pulsequickening flush of their intimacy. 70 CONTINUED: The Priest turns to Hector for what might be the last time. They shelter in the fold of a hillside. HECTOR I don't understand you. Hector calls out what might be an attempt at an apology or simply another taunt. TRACK .DAY 71 * * 70 Hector and Beatrice have packed their few belongings into a shoulder bag. despite not sharing a language. behind a Soldier. 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. The Priest walks back up to the farm. Hector catches a last glimpse of the Priest being helped onto the back of a horse. The Priest looks back at him briefly. (CONTINUED) . They chatter freely. He is ridden off in the opposite direction with the rest of the troop. HILLSIDE . HECTOR I'm glad we're going the same way. Other battles lie ahead to be blessed. 72 EXT.

Hector kisses her more. He kisses her breasts and her body eagerly. (CONTINUED) * * * 72 * . and there.. Only her persistent giggling makes him stop and look up.. Hector seems to know what she is saying. the dirty devil. Hector talks through his kisses. 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.. She stretches herself out happily.. He must've seen us. BEATRICE Don't look at him anymore. She smiles and turns her head to the sky. BEATRICE Oh. lying down with her on the grass. 72 CONTINUED: BEATRICE Hurry up and finish your wine and then we can make love. though.. There is an uneasy silence while Hector works it out. Hector doesn't understand. He throws down his knife and cheese. suddenly anxious.. and keeps on with his kissing. But Hector still looks at the figure in the distance.. BEATRICE Cheeky devil. someone's watching us. Then she starts to giggle. Down by the stream a head peering over the top of a rock.58. by the rocks. down the other side of the hill. he's down by the water. Then he speaks. Let's go.. * She sits up and straightens her clothing. BEATRICE I don't believe it. arms spread wide on the grass.. He lifts her skirts and caresses and kisses her naked legs and thighs. not even attempting to hide.. HECTOR He's not moving. Hector sees him too. I put it here. and there. don't look. you like my smell.

. When they are closer to it. Beatrice doesn't understand.DAY It is the body of a young squire. 73 EXT. and can see it for what is is. HILLSIDE . She is already gathering stones. Hector stands up. Such a squire would follow his knight into battle.. they walk straight for the dead body. He wasn't killed in a fight. (CONTINUED) Hector sees what * 73 * * * . He lies leaning against a rock. Beatrice is doing. so the crows don't get him. BEATRICE Poor boy. eyes open.ANOTHER ANGLE . we're going that way at any rate. Beatrice brings her armful of stones and starts to build a mound around the squire's head. As he lays him down Hector sees a small. BEATRICE We'll cover his eyes at least. guiding him through the chaos. though. Isn't he fine-looking. HECTOR No sign of a battle. HECTOR That's good of you. Look at these shoes. But this boy seems to have died a less public... They move cautiously. looking at the figure. an expression something like a smile on his face. There is a sadness about this young death in such a lonely place. Hector looks around at the ground.. but in their age sentiment was of a tougher strain. Hector and Beatrice are open to this sadness. more furtive death. or just one. handsomely dressed in the livery of his master. 72 CONTINUED: (2) HECTOR It's a dead man. only a few horses..59. Look at his shoes. dry wound on the boy's side. still 72 HECTOR Come on. There is no sign of a wound.

BEATRICE His feet are like mine. and she proudly shows them off to Hector. The old shoes Beatrice has placed on its feet look odd compared to the fine uniform.. but perhaps it only looks strange to our modern eyes. BEATRICE It's not stealing if I give him mine. HECTOR You've put magic in this stuff. Beatrice hasn't removed her new shoes. as if absurdly hiding its eyes from the antics of Hector and Beatrice. poor boy. you're bewitching me. They appear to get the gist of one another's love talk. Hector and Beatrice are enjoying each other immensely. and I'll have yours. she likes them so much. is it? Hector watches as Beatrice exchanges her old shoes for the squire's. HECTOR It's all we can do. (CONTINUED) * . I have more walking to do. She looks at Hector. It won't keep the wolves away though. He smiles at her. * Nearby the corpse of the squire still lies. STREAM . its head shrouded in stones. 73 CONTINUED: Hector helps her by gathering stones from the stream. Soon they have covered his head completely with stones. Hector and Beatrice seem unaware of the strangeness of their situation. Hector continues to bask in her wonderful aroma. making love by the stream. you know.60. They fit her well. haven't you.DAY 74 73 Later. 74 EXT. I'll give you mine. his body lying exposed.. Beatrice is still taken by the boy's shoes. she keeps in a small bottle kept in a pouch on a chain around her neck. he has discovered. She is dabbing Hector with her perfume which.

she walks around the corpse three times. the familiar. During the few moments that it takes.. mama. He watches from a safe distance. HECTOR You said mama. (CONTINUED) 76 * 75 74 * . There might be the glimpse of a castle on a hill... BEATRICE Mama. She takes a handful of dried flowers or herbs from a pouch in her bag. We can talk the same.. HILLSIDE .61. BEATRICE I wonder if his mama will ever know what happened.. 75 EXT. Beatrice seems like a different person.DAY They have reached the summit of the hills. Hector. but a few smudges of smoke in the distance suggest farms or villages. Hector is fascinated.. It is like the roof of the world. The air is clean.. We've been here too long. 76 EXT. mama. all of a sudden..ANOTHER ANGLE . that's right.. but a little uneasy. HILLSIDE . She completes her ceremony by throwing a few drops of her perfume over the body. The landscape looks untouched by man.. HECTOR We should go now. aren't you? Is it all this death? HECTOR I don't know what you're saying but I like you when you talk. 74 CONTINUED: BEATRICE You're eager today. I know what that is. BEATRICE That should help him a little.DAY Hector is watching Beatrice conduct some kind of ceremony over the corpse of the squire. scattering the leaves over the body. Below them lies the valley. She smiles. Then. friendly Beatrice returns. Mumbling strangely and quickly to herself...

62. 76 CONTINUED: If it all feels oddly familiar to us, then perhaps it is the memory of a picture in a forgotten story book, or an ancient landscape on a gallery wall. Once again in the film there is the tantalizing feeling of awaking not from a dream, but in a dream. The moment passes in the more down to earth concerns of Hector and Beatrice. HECTOR I have to keep the sun on my back, that's what Ronald said... the sun on my back all the way home... I'll stay on this side of the river... BEATRICE Yes, of course... we stay on this side of the river, all the way down... until tomorrow... HECTOR I stay on this side... BEATRICE Yes... On this side. Then the other. They move off, each thinking that they have reached agreement. Beatrice starts to sing as they make a gentle descent into the forests below. 77 EXT. FOREST - DAY Beatrice is milking a stray cow they have found in the forest. Hector is watching her, especially her hands. She manipulates the udders of the cow deftly, sexily. Her hands seem to have sensual personalities all of their own. She is chattering non-stop, explaining the subtleties of milking to Hector. But he can't take his eyes or his mind off her thrilling hands. He responds distractedly. HECTOR Oh yes... oh yes. 78 EXT. HILLS - NIGHT 78 77 * 76

* *

Hector lies by their small fire, watching Beatrice, who sleeps by his side. She is dreaming. She mumbles in her sleep, whole sentences. She turns this way and that. Hector watches in fascination. (CONTINUED)

63. 78 CONTINUED: We feel the echo of another night when a man watched someone sleep and dream. He handles some of the things spilling from her bag, lying beside him. Her dried flowers and herbs, which he sniffs, her little bottles and phials. Witches brew? Or simply an early version of a cluttered handbag? We don't know what is passing through Hector's mind. Perhaps he is trying to work out how he came to be lying with the strange, wonderful, unknowable creature by his side. And how many people have done that through the ages, in caves or by campfires, or in suburban bedrooms? There are many ways in which we will be able to connect with this perplexed, flea-ridden man, far away from home, huddling by a fire in the forest, trapped in his time, as we all are. 79 EXT. FOREST - MORNING Hector and Beatrice are on the move again. They make their way down into the thickening forest. Beatrice walks ahead, light-footed and humming to herself. She seems to be in comfortably familiar territory now. The mist swirls about him as Hector follows on behind, tagging along as if caught in her sexual wake. 80 EXT. BOAT - DAY 80 79 78

Hector and Beatrice have reached the river, broad and slow-moving. Beatrice has hailed a boatman from the far side. He maneuvers his small boat to them and they clamber aboard. Beatrice and the boatman greet each other familiarly. They gossip amiably as the ferry makes its way across the river. Hector sits quietly with a smile on his face, their chatter incomprehensible to him. 81 EXT. SHORE - DAY As they climb out of the ferry Hector is suddenly unsure of what he is doing. HECTOR I think we're going the wrong way. I want the sun on my back. We should have stayed on the other side. He mimes what he means. (CONTINUED) 81

64. 81 CONTINUED: BEATRICE Don't worry... we're nearly there. I'll fix your back for you... give you a good rub. Before he can protest she has moved off. her. 82 EXT. VILLAGE OUTSKIRTS - DAY They have reached the outskirts of a village. Beatrice turns off the main track and up a narrow path. Hector follows her. Soon she stops at a small house close to an orchard. The house sits in the mess of a run-down farm yard, chickens and goats running here and there. Beatrice opens the door of the house and goes inside. Hector hesitates before following her. 83 INT. COTTAGE - DAY Beatrice turns to him when they are inside. BEATRICE Here we are... home... you want some food... and then I'll show you everything. We have a spring ... you can wash... Hector stands looking around the small dark room. Beatrice suddenly seems shy and awkward. BEATRICE This is when I wish you could understand me. You'll have to learn, you know... I want you to stay here. You want to, don't you? Hector looks at her in silence. BEATRICE I look after the hens, and I make dyes from the plants, and perfumes too. I'm good at that. But I'm no good with the sheep and the goats. I wish you could understand... Arnaud's been dead two years... She crosses the room to a wooden chest under the window. (CONTINUED) * * 83 So he follows 81



DAY Beatrice is proud of her bed. I'm a good sewer.ANOTHER ANGLE .. HECTOR What did he die of? BEATRICE I'm getting shy. 83 CONTINUED: She lifts the lid and removes some men's clothing. You and me. rough working trousers and a hide jacket..65. Imagine me being shy with you. He can't respond. a rough mattress on the floor covered in some blankets she has probably made herself. You're the same height as Arnaud. Hector climbs up to join her and together they stand on the ladder with their heads poking into the tiny space above. I'll 83 She holds the jacket up against Hector to measure it. don't you? We were lucky to meet the way we did... 84 INT. but he keeps his feelings to himself. You like me too. Hector's reaction to a dead man's clothing is predictable.. She tries to direct his thoughts to the one area she is sure about. sleep.. Now that she has started. in the rafters. Hector understands fully what she means now... make them fit you.... BEATRICE I still have his clothes. but his mind is a confusion.. Beatrice falls silent. She climbs a ladder nearby and lifts open a trapdoor on the wooden ceiling. (CONTINUED) 84 * * * * * * . overtaken by her shyness. I'll make them fit. Hector is beginning to understand what she means.. I made this for him. tonight we'll try them on. BEATRICE I like you. Beatrice talks on. All the men around here are old.. BEATRICE Come up and I'll show you the bed. And we have a big bed upstairs for you and me. COTTAGE . she wants to say it all. but a little thinner.

Hector's expression lightens a little too. Eventually he speaks.) Mama.. An OLD WOMAN stands in the main doorway. BEATRICE This is Hector. and the moment tingles happily. BEATRICE A good bed. this? The Girl eyes Hector up and down. surrounded by instant family. eh? For you and me. Hector's face is a confusion once again.. you found one..S. She laughs. (CONTINUED) * She stands Who's 85 * * * 84 . They look at it together. eh? Hector stands.... are you home? 85 INT. We can have fun up here. The CREAK of a door makes Hector turn his head. A BOY of about eight and a GIRL of ten are coming in from the garden.66. They have been working outside. BOY (O.DAY Beatrice and Hector descend back in the room. smiling at Hector and nodding her head.... 84 CONTINUED: The bed takes up most of the space of the small attic. and this is my mother. Then from outside they hear voices. Firstly a young Boy calling. BEATRICE . proudly by her children... and doesn't know what to do. Beatrice goes to embrace each of them. MOTHER (OLD WOMAN) So. GIRL You were gone a long time. COTTAGE . BEATRICE These are my children.. She catches his thought. She speaks to her daughter.. Beatrice pronounces his name with care. It occurs to him to take up her offer immediately. better than a ditch.

He is experiencing the full. She talks to her son. and it is summed up in a full-blown pollen-filled sneeze. 85 CONTINUED: HECTOR Is there water. Beatrice's garden is a madness of wild flowers. harvested by her for scents and powders.DAY 86 85 * Hector stands at the well some way from the house. He does a little dance in them before leaving with Hector.. 87 INT. He is full of embarrassment. living as she does in the harsh male world of her time. In a flurry of apology she rises. (CONTINUED) 87 . She is working on some lace. He is delighted.. sit down. HECTOR No... She mumbles unhappily. He smiles and stands shyly at the door. COTTAGE . I just came to watch. The Boy is beside him. They struggle comically for a while. He drinks at her well. She takes off the dead Squire's shoes and puts them on the Boy's bare feet. no. but eventually she allows Hector to settle her there..DAY The Mother sits by the window in the nearest thing to a comfortable chair that the house has to offer.. to wash? He mimes with his hands. but come here first. Hector splashes some water on his face and looks back at the house. BEATRICE Take Hector to the well......... Hector enters the room to watch her. to drink. WELL . The Mother thinks he wants her chair for himself. drops her work and motions for Hector to have the good seat. still engrossed in his new shoes. please. 86 EXT. sit.67.. heady impact of Beatrice. Beatrice understands that he wants some breathing space.. She is a remarkable woman. He guides the Mother back to the good chair. The scented air and the dizzy SOUNDS OF the BEES almost make Hector swoon. He has some decisions to make.

The smell is heady and pleasant.. it's yours now... I can sit on the box. putting them in a large jar of colored liquid. The Boy says something and points towards his sister. I don't want it.. Hector takes in what the Boy is doing and joins in the work. a wonderful meal.... Hector leans over the cauldron to sniff. look. wings flapping and feathers flying everywhere.. The Boy smiles at Hector's initial clumsiness. He motions for Hector to have a sniff of the jar of liquid. she has secured the best seat in the house for herself. Hector goes to watch her work.... If he stays... you need the light from the window. it's yours.. She stands by her cauldron.DAY Hector has retreated to the yard. The old woman allows herself a shy smile. A hideous odor assaults him... YARD . I can sit on the box. this was Arnaud's seat. 88 EXT. Hector is aware of Beatrice watching him.. He looks in the cauldron. The Girl is boiling some dyes in a cauldron over an open fire. for cloth? Without thinking. HECTOR Good color. it's your seat.. firmly holding a struggling chicken. pulling petals and separating the hearts.. Hector is guiltily aware of this as their eyes meet briefly.. (CONTINUED) 88 87 * .. HECTOR Ah. He backs off. stirring the bubbling liquid. Hector will never dare rest his bones in it. Whether in innocence or mischief. 87 CONTINUED: MOTHER We can't have this. Hector does so. Hector gently pacifies her. This chicken is making the supreme sacrifice in Beatrice's final effort at total seduction... She is returning to the kitchen..68. The Boy is working at a basketful of flower heads. HECTOR You must sit there.

She leaves the kitchen to join him. There is definitely some power play going on in the old woman's mind. In Beatrice's house there is the luxury of small individual plates..DAY Hector sits at the table with Beatrice and her family. knowing she will understand his feelings if not his words. although her face is all innocence. The others wait for Hector to begin. 90 EXT. The old Mother's appetite is prodigious.. HECTOR Mmmm. Hector submits. COTTAGE . taking only a modest portion of food. you look as if you need a walk.. 89 88 * . But this time their talking without words is a serious affair.DAY From the kitchen Beatrice watches Hector in the garden. The meal has been served in a communal pot. Hector opens his heart to her. and points to a bucket of liquid at her feet.. BEATRICE Take a walk to the village if you want. although the Boy and Girl look openly at Hector...69. 89 INT.... It is comical to watch her little frame consume so much.. COTTAGE . During the meal Beatrice and Hector exchange glances. The Girl says something to him. perhaps assessing him as a future father. She does. he is making an effort to appear relaxed. but he indicates to the old Mother to help herself first. Hector makes out something like the word "peepee.." HECTOR Peepee? The Girl nods enthusiastically. There is an air of awkward silence. 88 CONTINUED: HECTOR Ugh. (CONTINUED) 90 The Boy is sniggering. quietly and methodically. good food. but as he paces here and there Beatrice knows that he is unhappy. and she doesn't stop until her plate is heaped high with food. She is an eating machine.

made of ship's timbers. I have to get home. There are over a hundred and fifty people perched on them.. but it is already growing dark and the boatman has gone for the night. Hector fumbles awkwardly with his bag and then walks off down the track. COTTAGE .. watching him until he turns onto the main road and OUT OF SIGHT. The huge raft is many smaller rafts lashed together. He is on a huge raft.. This Hector is awakening into what might be a nightmare. I have a family.DAY It is awkward for Hector to say goodbye. Hector is fully awake now.. it would be wrong to stay for just a while. eyes begin to close. 93 EXT. Hector sees the boat. (CONTINUED) . He speaks to ANDRE sitting close by.. We have left our previous Hector sitting under his tree 400 years ago.. I like you. lying or squatting in sleep... just like you. He turns to look at Beatrice. have to keep the sun on my back. 92 EXT. sitting against some boxes. He sits down against the trunk of a large tree. 91 EXT.. 90 CONTINUED: HECTOR I have to leave soon. but the deep ocean swell is still there to remind them of their predicament. and a sad one. menacing. dragged out of the water. or the billionth? It is one of them at any rate. The sea is calm around them. HECTOR I have to go.. you smell good. I can't stay. It is early morning.. wonderful.. RAFT . but the scene of parting is timeless.. like a controlled anger.. She stands outside her house for a long time.DUSK Hector has reached the river.. The pain and the awkwardness in Beatrice and Hector are specific.70.. He looks around him.MORNING His * * 93 * 92 91 90 * Hector awakes. RIVER ... Is this the ten millionth such parting.

71. Hector looks around him at the squalid mass of distressed humanity. the worst. this is the worst.. HECTOR God. Some figures rise and an argument takes place. I was lying under a tree. The noise has awakened others. Andre is a young Asian. A quiet. but with that same lost look in his eyes that Hector had as a slave. HECTOR I had a wonderful dream. like a domestic squabble. MAN When they're dead they go over the side. capable. you're evil. still bound to him in service through shipwreck and disaster.. He too is far from home... sitting up. they said we'll find land in a day or so. (CONTINUED) * * * 93 * . then a cry of a Woman. There is a flurry of movement amongst the figures. All over the raft figures are coming awake. taking in the new day.. and the dreadful reality of their situation.. I heard the water.. 93 CONTINUED: Andre is Hector's slave.. I think I ate some raspberries too. We can hear some of their exchanges. I was dozing. ANDRE I would like some water. ANDRE Do you think I'll still see Europe? HECTOR I think there's more chance of me eating you. The place stinks enough as it is... WOMAN Let me keep him. I got up and drank some. Our Hector is now a master. intelligent man.. beautiful clear water. then a splash. beside a river. Andre. Andre speaks to Hector..

DOM PAULO Don't worry.DAY The sun is up. Three crowns to the first one to sight the coast. They are survivors of a foundered ship some time at the height of the great colonial empires. 93 CONTINUED: (2) 93 The more we see of the people. The place is the Indian Ocean. He watches a man and woman. (CONTINUED) 94 He * .72. there'll be food for all ashore. stands beside her holding a cloak over her to protect her from sea spray. still has her eyes closed. speaks with authority. Someone speaks from under a crude canvas shelter. A man. The woman.. a side of beef would do. The year could be 1590. Hector turns his eyes to another part of the raft. closer to him. their costumes. FRANCISCO. URSULA. We've been in the inshore currents since yesterday. and they hold each other's gaze for a long time. There is antipathy but also pain in their look. God preserve us all. hoping to survive this final trial of the sea. SAILOR Never mind the three crowns. DOM PAULO I think today will be the day. the easier we will place them in their time. Africa's full of meat and drink. and Dom Paulo was right. weapons. DOM PAULO.. Dom Paulo strides off to his station by the makeshift rudder. Those too weak to help are huddled beside their possessions. sleeping on a pile of canvas. RAFT . The strong are helping to row ashore. my friends. 94 EXT. The man. mannerisms. or a drink of clean water. His eye catches Hector's. moves among the waking wretches... The raft is now standing off-shore riding out the heavy ocean surf before finally beaching. SAILOR It's full of Africans too. under the shouted instructions of the NAVIGATOR.

The raft is in the full rage of the surf. Hector overpowers her. wrestles her load from her grasp. goes to help her. They have managed to hoard a surprising amount from their doomed ship. made from timbers and rich tapestries and carpets. angrily wades to the shore and dumps it on the sand. Soon the survivors are dragging their possessions from the raft. Hector overtakes him and nudges him out of the way. chairs. NUNO. They are in a long curving bay. he would. 94 CONTINUED: Hector works his oar with the rest. starving sailors. all are dragged ashore. CAMP . offering to take Ursula's load from her shoulders. but it reveals much about their past.73. one half up. In amongst the drama of their situation their little battle of wills seems petty and pathetic. Finally the raft makes it through the barrier of the outer surf. If Hector had time or energy to laugh. and behind him SAILORS are erectig a tent-like house. She is struggling in the water with some of her baggage. The sense behind its loose construction is obvious now. A few people are washed overboard with no way of saving them. A regular little community is taking shape. Dom Paulo. the leader. already has a table and chair set up in the sand. (CONTINUED) . He has time to cast a glance at Ursula and Francisco. The beaching isn't easy. The raft scrapes onto the sand. Snake-like it rides the waves. the other down. rich-textured village decked out in all the colors of the East. Those near the beach scramble ashore. Up from the beach lies an area of dunes. 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. The silks and ginghams that were destined for the finest halls in Europe now give shelter to sick slaves. The others are making their own shelters all along the beach. and beyond that a thick belt of jungle. 95 EXT. She refuses his help. a crazy. A youth. Francisco in his manic-heroic way manages to row while at the same time trying to offer a steadying arm to Ursula. chests. Hector's attention is never far from Ursula. ruined traders and grieving mothers.DAY 95 * 94 * * * * Civilization has taken hold quickly in this little corner of Africa. Waist-deep in water they tussle over her bundle of possessions. Carpets.

bring back what you can. discharge three shots. DOM PAULO How many made it? OFFICER Eighty men. There are probably fifty men among the survivors more suited to lead them to safety. and Dom Paulo's sad awareness of his image slowly tarnishing in his son's eyes. By Dom Paulo's side always is his SON. the pain of a son witnessing his father's compromises or failures all too closely. one to the north and one to the south. He and his father are a continuing fascination for Hector. wise or foolish. He is a constant. fruit. The habits of ownership die hardest of all... Although Dom Paulo is the man in authority he is also a man in deep shock.. dressed in the same style of clothes. addresses another of his men.. There can be sadness in it too however. game.. Since he is socially superior to anyone else on the ship he assumes responsibility and command. Ten women. and we can enjoy Hector watching the boy watching his father. Eighteen children and forty-five slaves. and send someone back as soon as you find fresh water. Any trouble. Dom Paulo 95 * (CONTINUED) . Dom Paulo is talking with some of his OFFICERS.. The Officer leaves to carry out his orders. Amidst the construction work. anything. He is like a little miniature of his father. DOM PAULO Two parties of ten men each. A quiet boy of about eleven. Some of the absurdities and comedies of the situation can be highlighted in this way.. good or bad.74. 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. Da Cunha.. silent witness to everything that Dom Paulo does. Most of what he has earned or plundered in his colonial years now lies at the bottom of the ocean.

. Francisco is working on a shelter for himself and Ursula... I know she would agree with me. making another attempt to heal wounds from his past. a rolled-up carpet and a bolt of colorful cloth.DAY Hector and Andre are walking through the half-built village. HECTOR At least ask Dona Ursula.. Hector finds what he is looking for. Father Diogo wants a place of worship by this time tomorrow. Francisco barely stops his work to reply. And where's Dias..75. would you take my cloth. 96 EXT. We'll look for a spot later. His stubborn rejection of Hector reveals just how strong their friendship once was.... HECTOR I have a carpet and some cloth... leave us alone. Hector approaches him. a big one. leave us alone. 95 CONTINUED: (2) DOM PAULO Have the carpenter start immediately on a cross.. tell him I want to see him....! (CONTINUED) * 96 95 .. CAMP . walking two paces behind with his master's possessions.. at least? FRANCISCO Keep it and build your own hovel somewhere else. with the help of some slaves.. FRANCISCO I don't have to ask her... We've all got a lot of praying to do.. FRANCISCO If it's a joke it's a poor one. HECTOR Well. I thought if we worked together we could make a better shelter. We feel an echo of the days when Hector was a slave. Andre is carrying Hector's possessions.

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


tell him to turn it into a scaffold. Dom Paulo's son has been a silent witness to everything that has happened..... 97 CONTINUED: (3) 97 DA CUNHA steps forward. We can sense the feeling of relief in Hector.. sir. ALVAREZ I'll do it. away from the women. ALVAREZ.. the executions will be at sunrise tomorrow... Alvarez.. The dazed Deserters are led off. in doubt again. Dom Paulo. * * * * * He stops at .. He turns to the Sailors holding the Deserters. He is saved by another young man. Dom Paulo looks over the faces of the men. but his blank face reveals nothing of his feelings. should we pick someone. Dom Paulo's face clouds DOM PAULO Everyone in agreement with hanging? Or should we shoot them. have it erected along the beach..79... or have a volunteer. DOM PAULO Thank you. DOM PAULO The cross the carpenter is working on. or what? DA CUNHA Hanging is fine. Send the Priest to them tonight.. * * DOM PAULO Very well. who's going to conduct the executions. Sunrise tomorrow. DOM PAULO Hector? Hector doesn't have the will to accept or the courage to refuse. eager to prove himself. Tell Father Diogo. now.. Hector.. DOM PAULO Take them to the raft.

Fires are being lit outside the shelters. HECTOR Thank you..EVENING It is growing dark. NUNO This was all they found in the forest. 99 INT. but she's sick anyway. maybe you can try three. Andre is building Hector's tent while Hector watches him.NIGHT Hector goes inside his little house. CAMP . about the size of large apples. and with a grunt of irritation sticks his head out of the shelter. (CONTINUED) 99 98 .. NUNO My mother ate three and she was sick. So try two.80. CAMP . Nuno outside. Keep warm. The tent is only large enough for one person. and somehow looks mean compared with the others. They taste kind of milky. Andre. He looks across to the well-made shelter of Ursula and Francisco. Andre leaves. He puts his back to the entrance and opens the canvas sack which contains all his possessions. HECTOR Good work. Ursula herself works at the fire. He is surprised by the sound of the boy.. Nuno is holding four fruits. a sizeable chunk of bread and some dried fruit. * Hector turns to Andre... NUNO Senor Hector? Hector quickly stows his food back into his sack. He guiltily gnaws at the hard bread. HECTOR You go and sleep by the big fire. Nuno. Four for each of us. Andre. but sour.. 98 EXT. but green and thick-skinned. He pulls out his prize.

we'll need strong people like you. that's what he'd say. the boy they're going to hang tomorrow. HECTOR But there's tomorrow. HECTOR Try not to think about Lopo any more. He looks at the fruit he has just given Hector. The shapes of the two Deserters chained there can just be seen. NUNO You said you might just eat two. HECTOR Goodnight! Hector shouts after him 99 * . I thought. perhaps..... Nuno.. The guards wouldn't let you near him anyway...81. Nuno.. but then hesitates.. cheerily. His eyes turn again to his playmate tied to the raft. so that you can help the others...... he was cook's cabin boy... unconvinced.... Nuno looks disappointed. will you help me? Nuno is looking down the beach to the remains of the raft on the shoreline... God knows what we have ahead of us.. 99 CONTINUED: HECTOR I'll start with two. You must keep yourself strong. Nuno is silent.. HECTOR Dom Paulo would call it a waste. we must eat tomorrow too.. one of yours and one of mine... Nuno stomps away in silence. I was going to take him something to eat. NUNO Hector. Nuno makes to leave. NUNO Lopo.

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


HECTOR You don't like Andre anymore? ANDRE I think of my home all the time. I want to hear the name they call me... Andre. when I remember. I want 108 * ....86. Keta. HECTOR Yes. What? ANDRE I want my real name back.. Andre is satisfied. ANDRE Ketabomago Pululo. Andre.. to ask you something....... HECTOR I've forgotten your name. HECTOR We're not going to die.... HECTOR Now I remember why we called you Andre. 108 CONTINUED: HECTOR Have you any eggs left? ANDRE The slaves only got three.... I promise. HECTOR Good night. We should die with our real names. HECTOR You were lucky.. and leaves. HECTOR I will. ANDRE Ketabomago Pululo... I'll call you that. Andre looks at him expectantly. (CONTINUED) Hector calls to him. Hector smiles at his own insensitivity. good night.

It would have been better to ration them. He shouts across to the musical enthusiast. some of them very sick indeed. The next source of annoyance is the continuing noise of the HARMONIUM. I'll give you an egg if you stop.87.. It's the eggs. DOM PAULO How wise of you to think of that now. They talk as they work. are being gone through and suitable junk selected for gifts. DOM PAULO How many are sick? DA CUNHA About fifty. DOM PAULO How many eggs did you have? (CONTINUED) * * * * .. and the sick. here. will you? Think of the older people.. 108 CONTINUED: (2) 108 * * Hector is alone. a YOUTH with a few older children by his side.. sir.. 109 EXT. Hector and other notables are also there. Cheap goods. CAMP . I suppose. Others just ate too many. 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.NEXT MORNING 109 * * The Officers and Dom Paulo are selecting items for barter from their crates and boxes of valuables. A couple of the crates were full of rotten ones. but eaten just the same. HECTOR Hey! Stop that. Any deaths? DA CUNHA Six.. for example.

Hector drifts off down to the beach. SALGADO It worked well. what have you got? Salgado comes forward with a handful of the broken remains of a kettle. Salgado shows a handful of nails from a small sack in his hand. DA CUNHA I had them boiled. Copper is a useful currency.... BEACH . DOM PAULO'S TENT . He stows them safely in a locked box and replaces it in its hiding place in the sand floor.. 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..... selects a couple. holds a silencing finger to his mouth. they'll go for this.. catching sight of his watching Son in the mirror. The others work on at the table. 111 EXT.. the really ill ones had eaten eight. (CONTINUED) 111 * * * * . Dom Paulo rummages in a box of cheap rosaries.88. and nails. DA CUNHA Four's all right. We have to keep control of that particular currency. now. ten. and then retires to his tent. DOM PAULO Organize some men to gather all the nails they can find.. Then he adorns himself in the cheap rosary and other trashy items. Dom Paulo. Luis cleaned up a sackful from the crates... 109 CONTINUED: Three..MORNING Hector is walking along the beach. DOM PAULO I don't feel well 109 I had four.. close to a pile of discarded boxes and crates.. 110 INT. DOM PAULO Let's not think about it.

Then Hector is touched by something.MORNING Hector is enjoying the freshness of the day. They are twelve or thirteen years old.. HECTOR Come back.. 111 CONTINUED: 111 * He quickly searches through them. you come back. 112 EXT... The Girl remains sitting in the sand. I didn't mean it. then continues to rummage amongst the wood for more. Their love-making is poised oddly between child's play and eroticism.. DUNES . a piece of wood with some nails still attached to it. kissing her... how can you play like this when there are people needing your help back there.. He is watching a young Girl and the boy Nuno.. He calls after the Boy.. Hector ducks down but knows he has been seen and decides to brazen it out..89. it was a joke.. Hector is a survivor.? The Boy is standing now and fixing his clothing.. 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. when he looks up and catches sight of Hector.. Cautiously he crawls up the dune and looks over to the other side.. (CONTINUED) 112 * * * . in a world that feels big and empty. she's still here. leave her alone. too embarrassed even to raise her head to Hector. He soon finds what he is looking for. buttoning her dress.. HECTOR Stop that. He stands up in full view of them. or I'll tell your mother. get back to the camp. perhaps the sad stoop in the Boy's shoulder or the Girl's lowered head. He walks off back to the camp.. He pulls out the nails and pockets them... the Boy lying close to the Girl. And not the first Hector to scavenge on a beach... beginning to caress her. They are coyly in the early stages of making love. The Boy is just about to discover some more and is fumbling with the Girl's clothing. I won't say anything.. Hector realizes he has broken something precious and in their circumstances infinitely fragile and irretrievable. He feels like an oaf.

CLEARING . (CONTINUED) * 113 * * * * * * * * . When he has stopped talking the Slave begins to haltingly translate. 112 CONTINUED: 112 But the Boy walks on. But she doesn't look up. somehow still muster an absurd sense of their own importance for the occasion.... Hector calls down to the Girl. Many of the Natives have climbed into the trees. still fumbling with her buttons. and porters carrying baskets. Hector runs off towards the camp. but he wants to know if you are real people. so that he will know that you were born like real people. Hector slips into the crowd as the NATIVE KING is in mid-speech. he didn't think you would be such a strange color.. already scanning the baskets of the Natives for signs of solid food. SLAVE . some cattle. 113 EXT. Then he sees the procession of the Native King and his people. like human fruit.DAY The meeting of the two leaders is weird and wonderful to see. either out of timidity or to get a better view The trees around the meeting place are dripping with bodies. who feels foolish and mean. The Natives. The ragged Europeans... so he wants to see your.. Hector curses quietly and looks out across the dunes. turning around now and then to look at Hector.90. trying to contain their exuberance so that they don't miss a single detail of this most significant day. excited and curious. angry with himself.... SLAVE He was excited when he heard you had come. He points repeatedly at his navel. HECTOR I'm sorry.

* DOM PAULO Tell him that we want to trade with him. DOM PAULO Right. The King and a few of his attendants take a step or two forward and peer at the exposed white European bellies. you four as well. The King listens and talks back for a long time. Dom Paulo opens it.. to buy food... They look at one another and mumble solemnly...... Then they step back. He begins to open up his coat and shirt.... who then translates.. DOM PAULO Tell him I want to give him these.91. this way. The King joins them.. the Officers standing closest to him. and we want him to guide us out of here. poignant moment... It is a strange.. The four Officers do the same. Dom Paulo regains his composure. Then the Slave translates again. Then everyone joins in.. and for a few moments there is a kind of communion between them. An Officer brings a wrapped cloth. The Slave speaks to the King. Dom Paulo and the Officers do as they are told.. then nods to Dom Paulo. (CONTINUED) * * * . to where the white men have their big ships... He speaks to the Slave. letting the King see the pieces of broken copper inside. He speaks again to the He talks to 113 SLAVE He wants to see you breathe. Slave. twenty big rivers.. The King takes a deep breath. The King is enjoying himself. SLAVE He has heard of white men very. we have a long way to travel.. Dom Paulo steps forward to the King. very far away. but you have to cross many rivers. all the Natives and all the Europeans united in the simple act of breathing. Dom Paulo and the Officers fix their clothing and re-muster their dignity. 113 CONTINUED: Dom Paulo won't suffer the indignity alone.

... it is ten days from here... The King begins talking again...92. This is translated. DOM PAULO . instead he would be happy to take one or two of the old rings you have on your fingers. but please do not insist that he take your necklace. replacing the worthless baubles around his own neck. and he is such a great and worthy King.... 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. Various Officers raise their eyebrows at this. and tell him that I want to make him a very special gift as one King to another. SLAVE He says he could not accept such a treasured gift. It is impossible to know if the King is being naively polite or hugely clever.. (CONTINUED) * * . Instead he is pointing to a couple of chunky and valuable-looking rings on Dom Paulo's fingers which he has forgotten to remove.. Dom Paulo solemnly and without a blush removes the cheap rosary from around his neck and offers it to the King. The Slave translates. but it is such a special occasion. 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.. SLAVE He will give you guides to help you across the first of the big rivers... The King refuses to accept the rosary. which my fathers and forefathers have worn for many long years before. They are impressed. DOM PAULO Of these precious things. The King nods his head in approval and shows the nails to his attendants.

of course. he cannot permit you to stay longer.. The Slave continues. NUNO Thanks.. He heat to pull at a couple of blackened Nuno. Dom Paulo looks shocked.. Soon the survivors are alone again.. the elements of it simple. man. Nuno grabs it.. licking his fingers.EVENING The remains of the cow hang on the spit over the large fire the survivors have made on the beach... with the lostlooking cow the Natives have left. at the fire.. Small groups of people sit around it. you must be gone.. food. 113 CONTINUED: (3) DOM PAULO Thank you.. 114 EXT. you may frighten them. among them. thank you. The King and his followers walk back into the forest. gnawing on the roasted flesh. fire. if any will be.. Nuno hardly notices him until Hector offers him one of his bones. the boy he chased away from the the day. and he asks you to be ready to leave the beach in two days time. Nuno is sitting by himself. even the fit ones. They are the survivors of the pack. A doomed cow if ever there was. He sees Girl earlier in staring vacantly 114 * 113 Hector sits down in the sand beside him. SLAVE Because with the new moon the turtles will arrive and lay their eggs. Hector is. Some are still on their feet by the large fire. 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. risks the searing bones.. SLAVE .93. BEACH . The image is once again timeless. (CONTINUED) . The mention of turtles' eggs almost turns the stomachs of most of the survivors. One cow doesn't go far between a hundred starving people..

. NUNO It doesn't matter.. They are silent for a moment. HECTOR You still like me? Nuno shyly nods his head. (CONTINUED) . Nuno is taking it rather well.. just say so.. that's important too.. it was mean of me. * HECTOR You do? NUNO Yes. 114 CONTINUED: HECTOR Suck out the marrow..... Hector allows him to feel the benefit of his gift before he starts to talk. Nuno follows Hector's example. I wasn't really angry at you... we all have to like each other. NUNO I know. Hector regains his * * 114 HECTOR You don't think too badly of me? NUNO No. it's the best bit.. HECTOR I'm sorry about today. HECTOR Well.... Hector is satisfied now.... I was upset at something.. HECTOR If you don't respect me.94. that makes me feel better... and respect each other. natural self-confidence.. HECTOR But it does...

HECTOR You can take her back there tomorrow. He sits down on a box near the table and watches and listens. she's sick now.... (CONTINUED) 115 * * * * * . Call it five hundred and be done with it. he said twenty rivers. 114 CONTINUED: (2) 114 Nuno looks at him.. An argument is in progress between Dom Paulo and GASPAR DIAS. Gasper Dias has drawn a rough map which lies on the table. Then he turns away in silence.. This doesn't produce much of a response.. eh? Nuno shakes his head. Hector tries again. his expression changing with the shifts in mood of the others. smiling weakly.. HECTOR I have a boy like you. our Hector with his pockets full of stolen nails and his tent full of stashes of food. 115 EXT. CAMP .. This is Hector the social animal.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. He starts to chuckle to himself and nudges Nuno in the ribs. the navigator. Hector tries another approach to win the Boy over..95.. * DOM PAULO Can't you be more accurate? Hector comes to the meeting. NUNO No.. DIAS How can I be accurate without instruments? As it is I'm sighting the sun with two pieces of wood.. maybe you could meet him when we get home.

. you can't stay here forever. Dom Paulo. FATHER DIOGO I'm going to search the scriptures tonight. I'm sure that God has an answer to it.. we vote for a you can walk into the your own..? Dom Paulo lets out a heavy sigh. she hit that rock because she was taking water and unsteerable. the ship did manage to find that rock with admirable precision... I've told leader or jungle on have been DIAS you..... DOM PAULO I've discussed it with Father Diogo. DIAS An excuse. Dias pounds his fist on the table.. Dom Paulo.. After all.. Dias. I don't see how a hundred of us can carry seventy sick. The tension for the moment is broken.. living on turtles' eggs.. you mean... that's an insult...96. Dias! (CONTINUED) * ... Dias. * 115 DA CUNHA Calm down... DIAS Confound you.. 115 CONTINUED: DOM PAULO We just want you to be as accurate as we know you can be. it should done days ago.. There are mock groans and laughter at the thought of it.. DA CUNHA What about the sick and the injured. so you're coming with us now. She was overloaded before she left India and you know it.. we'll be leaving them here to die. SALGADO Oh..

FRANCISCO Good night.. HECTOR I'll be glad when we're on the move. * Hector's face expresses his shock.. and set an example to the heathens. HECTOR Where is Ursula? Sleeping? FRANCISCO Sick. DIAS After the vote.97. Hector. 116 EXT. the chance to die a good Christian death here. He speaks to Francisco..NIGHT Hector is He passes Francisco Hector to 116 making his way in the dark back to his shelter... 115 CONTINUED: (2) 115 Dias mumbles to himself.. 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.. An impulse takes join him. with you.. FRANCISCO You have a bottle of wine? (CONTINUED) ... Hector lingers.. CAMP . by the fire. FATHER DIOGO It might be the best we can offer them now. From what he has heard at the meeting this is serious news. close to the tent of Francisco and Ursula. He makes a decision. She hasn't been able to rise since yesterday. I want to drink it tonight. is outside. the sound of the sea is driving me mad. willing their old friendship back into existence in the urgency of the moment.

I 117 116 * Hector pulls a cotton bag from under his coat. FRANCISCO You rogue. HECTOR Honeyed fruit. Some people on the raft might have lived with a glass of this in their stomach. HECTOR I brought it for Ursula. give it here. do you want to kill her? HECTOR Surely.NIGHT Hector has returned with his precious bottle.. 116 CONTINUED: HECTOR Yes.. smiles in anticipation. Francisco by some miracle has two fine crystal glasses. FRANCISCO Much too rich for her.. CAMP . fetch it. Francisco can't believe such food still exits. FRANCISCO You should hang for this.. not so much the gentleman now... brought this too.98. FRANCISCO Well.. Francisco sips the wine with the relish of long abstinence. Francisco talks through his munching. (CONTINUED) He .. HECTOR I know... I feel very guilty. 117 EXT.... some fruit couldn't. The last I have.. Francisco grabs at the bag and stuffs two or three sweets into his mouth. As they drink they begin to reveal a hint of their old intimacy...

. Every fit member of the camp is there. HECTOR I had to get home. FRANCISCO And then you get on the same ship. what else can she do but hate you? Hector is silent.. what a fool.... always sorry....... and a good many of the sick have been carried in litters to take part.. The younger boys have been organized into a choir...99. you did the one thing you can't do to a strong woman..DAY 118 * * * * * * * 117 On a headland overlooking the bay.. (CONTINUED) .. you were stupid. FRANCISCO So? HECTOR Francisco. old friend... am I so bad? FRANCISCO With Ursula you weren't bad. you're the guilty one around here. HECTOR Why is it always me? Why am I always guilty.. They drink the rest of the bottle in silence. MASS . HECTOR But. The harmonium has been carried up the hill and is in full voice. 118 EXT. 117 CONTINUED: FRANCISCO Don't argue with me.... FRANCISCO And when the ship went down. Father Diogo's mass is in progress... please.. Francisco's face breaks into a smile. why did you have to get on the same raft. the complexity of their friendship having gone beyond words. just like you.. some youths dissipating their precious energy on its bellows..... it was as if you were trying to torment her. you took away her pride. and don't you forget it. the other raft was sinking..

.... and the Slave translator.. universal posture of worship itself. The place is like a junkyard. until it seems that the whole world is praying. Slave translates. CAMP . It mingles with the distant voice of Father Diogo.DAY 118 * in place FIND about it a pile * 119 * * The natives have gathered nearby. * HECTOR You must come with us. ten cows. and then with the chanting voices of all the Europeans. held by a cairn of piled stones at its base.. the machine that makes music. perhaps by the music. When we Hector there is something tantalizingly familiar all. or perhaps by the simple.100. When he finishes.MORNING 121 * Hector is sitting beside Nuno on a box. 118 CONTINUED: The large cross stands behind Father Diogo. NUNO No.ANOTHER ANGLE . 119 EXT. to take with us. 121 EXT. DOM PAULO We need food as well. the kneeling Hector. a low. CLEARING . CAMP . then the King can have the music. they will look after the sick. They have been moved. With them are some messengers from the king. The amount of damage that a hundred and fifty people can do to a beach in two days is impressive. One of the messengers is talking. rhythmic.MORNING 120 Next morning the camp on the beach is being broken up. the ocean. talking earnestly to him.. the cliffs.. of stones. compelling chant... 120 EXT. Dom Paulo and the officers watch the work. (CONTINUED) .... but the King would like one thing. the SLAVE Yes.. They begin to sing. the offering to a god. Andre stands beside them.

.101.. Even this short trip is hard. A long line of people. leaving Dom Paulo and Father Diogo propless on the beach.. 123 EXT. like stagehands. HECTOR And afterwards. Two sailors. DOM PAULO You're staying with them? Father Diogo hastens to correct this misunderstanding. 122 EXT. FATHER DIOGO No. do you understand that? NUNO That's why I have to stay. 121 CONTINUED: ANDRE Your mother might not get well. CAMP . no.. JUNGLE PATH . what will you do then? NUNO Follow you and the others... including some local natives. HECTOR Alone? Nuno remains silent. ANDRE Let him be.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 I'll comfort them as best as I can. (CONTINUED) . I think my place is with you. all that remains of his headquarters on the beach. Somewhere in the line six sailors manhandle the harmonium up the jungle path. I'll comfort them before we leave.DAY 123 122 * * 121 The trek from the beach to the village has started.

NATIVE VILLAGE . and the bay will welcome its regular tenants. watching the small human dramas all around him. Hector is shaken by the sight of her. HUT . (CONTINUED) 125 124 123 * * * * . but tries not to show it.. Hector goes into the hut. 125 INT. He finds him taking some of his possessions into a hut. stooping low at the small entrance. It is like a civilization on the move. A group of unmoved sailors are playing cards in the dirt.. I've come to say goodbye. In amongst the bustle Hector is looking for Francisco.DAY There is a sense of bustle in the native village as the European sick are settled into their huts and the others prepare to depart. HECTOR We're leaving soon. 123 CONTINUED: Just behind them Hector is helping Nuno to carry his Mother in a litter. Her voice is a whisper.. She turns her eyes to him but doesn't speak. 124 EXT. Francisco goes into the hut. the turtles. FRANCISCO I'll ask her. Hector waits outside. Soon Francisco emerges from the hut. HECTOR Ursula. it's Hector. ashen and fevered. Emotional farewells take place in dark corners of the small huts... HECTOR Francisco. I have to see her before we leave.DAY Ursula is lying in a darkened corner.102. He kneels beside her.. FRANCISCO In you go. In a day or two the wind and the sea will have rubbed out all evidence of their stay.

HECTOR Ursula? What are .. Ursula speaks one word.. HECTOR I won't forget you. almost jumping out of his skin... Ursula pulls herself up on an elbow.. many things. 125 CONTINUED: URSULA Goodbye... I'll pray for you in Lisbon.. speaks again. She manages a whispered word. Hector lingers for a moment... finding wells of energy from sheer indignation... URSULA Idiot! She lies still. and then falls back into a dead faint.. Hector leans over her to make sure she is still breathing.... Hector is astonished. URSULA Lisbon. Hector has blown it... I won't forget India...... She looks at him but doesn't or cannot speak. HECTOR We should have talked. URSULA What? What did you say? you talking about? HECTOR Nothing. I could have explained.103. at the Cathedral. Then he 125 * HECTOR I'm sorry I hurt your pride. HECTOR Yes. nothing. She lies still.. He whispers nervously. I can't forget how I hurt you.

.. HUT ... thank you. HECTOR Francisco..104. when we are fit and well. but I don't know what else I can do. or what you are doing for these poor people... DOM PAULO Yes. and who make some heathens. Dom Paulo is talking with Francisco. of course.. * * * * 126 Hector comes out of the hut.. They shake hands. They make what they both know is their final parting.... DOM PAULO We're leaving the cross with you. DOM It's too heavy to knows. 126 EXT. we'll be following you.. HUT . solemn-faced. Dom Paulo... and good luck to you. FRANCISCO ..DAY Outside the hut..... it might impression on the PAULO carry...DAY Hector takes Francisco by the arm and leads him behind the hut.... DOM PAULO We won't forget you. it breaks my heart to leave you all here. FRANCISCO I'm not staying here with the intention of dying. 127 EXT.. DOM PAULO God protect you.ANOTHER ANGLE . FRANCISCO Oh. FRANCISCO You've made your peace with her? (CONTINUED) 127 . I must talk to you alone.

FRANCISCO No.. HECTOR I think so.. I daresay my boots would take you six hundred miles..105.. goodbye. There's no easy way to do it.. you're right.. I look after them. if you were carrying something for me I would have to worry about you. they'll be fine for here. HECTOR I want to ask you something. FRANCISCO Go on... God. Then he becomes more serious. 127 * * FRANCISCO Thank. Hector lifts a foot to show Francisco his boot...... but I have to walk six hundred miles... FRANCISCO What about them? HECTOR Can I have them? You can have mine.. Hector becomes almost poetic in his pleading... unsure if Francisco is making a joke... Francisco is stunned into silence. Francisco looks down at his boots. But then a smile comes to his face. 127 CONTINUED: Yes. Well. HECTOR Is there anything that I can do for you? A letter. (CONTINUED) * * * * * * . if you go empty-handed I can put you out of my mind! Hector smiles uncertainly.. Hector. HECTOR Your boots. a message? Francisco laughs softly...... FRANCISCO Yes...

Hector. the dead fires. he loves Francisco. I'll pray for your soul in the Cathedral in Lisbon.. pray for my soul in Lisbon.106.. FRANCISCO Hector. In my boots. the owner of the voice.. He makes nonsensical small talk.. hopping around on one foot. HECTOR Yes. FRANCISCO ... He is making his way up a steep slope to an area of flat ground. There is one human sound in the cold stillness. weren't they? Francisco is giggling now. BOBBY. FOREST . * 128 EXT.. At this moment. long gone! Bobby looks around the abandoned camp. 127 CONTINUED: (2) HECTOR I'll walk all the way home.DAY 128 * * * * * * * 127 A different forest. has a pack on his back... and calls out in a powerful voice... but Hector doesn't get the joke. Hector does the same. FRANCISCO The best bootmaker in Goa... looks around. cleared areas for tents.. BOBBY They've gone. sit down and take my boots! Francisco starts to take off his boots. He can't believe his luck.. and pray for your own. you have surpassed yourself. Francisco starts to laugh out loud. ranging through the mountains for hundred of miles.. Francisco is laughing.. HECTOR They were made by Da Fosca. A wilderness of giant pines. It is late in the year.. Francisco. a voice singing. (CONTINUED) * . He stops singing.

BOBBY We're ten days late.NIGHT Hector and Bobby sit by the fire with their supper.. Bobby unfolds his fist and looks at what he has found. 129 EXT. He holds up a canteen 129 HECTOR It's Sandy's." Also on the plaque someone has written. They look at each other.. whiskey. "We left here. Have a look around... 130 They (CONTINUED) . CAMP . my lad! Hector walks to the fire. keeping his secret. and now 128 * BOBBY Cheer up. nailed to a tree. HECTOR Damn them..DAY Hector has scoured the campsite. an Indian arrowhead with a few inches of broken shaft. HECTOR How long? BOBBY They've been gone a week.. but pretend not to be.. It is Hector.. "Pennsylvania Boundary Expedition 1761.. Behind them." 130 EXT. BOBBY Well done. Marker 152.107. is a plaque their companions have left. CAMPSITE . are both anxious. 20th October. He folds his hand over it again.. I'll start on a fire. he has found. leading a laden pack horse. It reads. at least. they know it. pleased with himself. They are in trouble. 128 CONTINUED: Up the slope and INTO VIEW comes his companion.

. . we can't miss that. a shaft and some feathers.. HECTOR It's too high for Indians? BOBBY Much too high. the other end of Bobby's find. Behind Bobby is a wolf. HECTOR If you did find an Indian. 130 CONTINUED: BOBBY Even if we lose their track. We can log the peaks on the far side. We just have to keep our heads. what would he be? BOBBY You wouldn't. Hector isn't anxious.. just a couple of sightings a day. 131 EXT. then looks back to Bobby and the wolf.ANOTHER ANGLE . keep us busy. HECTOR You think we'll get out? BOBBY If we keep our heads. Their forced tone of matter-of-factness only serves to heighten the growing feeling of doom. From under the pack that makes his pillow he pulls a piece of broken arrow.. He knows the wolf will soon become aware of them and move off. HECTOR We keep working? BOBBY Why not. You won't find an Indian up here. He is worried about something else. but he might be a Delaware if you did.. we'll still hit the river. no panic. had some tobacco.... He looks at it. CAMP . watching Bobby's sleeping form on the ground at the other side of the dying fire.. sniffing and edging his way closer to them..108.NIGHT I wish I 130 * 131 Hector is lying awake.

133 EXT. high.MORNING In the morning Hector and Bobby are taking readings from the instruments they have hung on a large tree....... you should throw yours away. BOBBY It's getting worse. (CONTINUED) . Hector takes out a smaller chronometer from his own pack... HECTOR What's the point of having two chronometers when you don't take the average? BOBBY Exactly. 132 * * HECTOR Seven twenty-five. thirty-four. Bobby.DAY 133 * * * Bobby is leading the horse and Hector walks on ahead.. It gives some shape and meaning to their predicament.. maintaining the disciplines of their work. They obviously have this tiff every morning. you're slowing down. He speaks pointedly. twenty-eight and three-eighths. low. BOBBY Barometer... There is a difference of some four or five minutes in the time. Bobby mocks him with a laugh... HECTOR You're unscientific.. you're nearly five minutes fast now.. time.. They compare readings. 132 EXT..109. HECTOR I'm not fast.. The going is easy through the ferns and grasses. Bobby goes to the horse and takes a brass chronometer from a box strapped to the saddle.. temperature. Hector writes in the book.. Hector writes it in the log book.... at heart... forty-two and a half. Bobby for a moment forgets his apprehensions and starts to sing loudly.... CAMP . FOREST ..

When they anchor their tripod. They hastily dismantle the equipment and load up the horse. and dangle a plumb line from the tripod. built for this or that purpose... in an atmosphere of controlled panic. Bobby scratches the center point on the top stone of the cairn.DAY They are travelling together now. 133 CONTINUED: BOBBY I see her in the dewy flowers I see her sweet and fair. finding comfort in the closeness of each other. this time in the name of science. We feel the echoes of our many previous Hectors and their piles of stones. It unnerves them. HECTOR Sure this is a good idea. taken by surprise. FOREST . quietly this time. Bobby has frightened himself too.DAY Hector and Bobby have stopped at a point of bare rock looking out across the broad valley.110. (CONTINUED) 135 134 133 * . the cold hard sound of their CHISELS STRIKING ROCK ECHOES all through the forest. he begins to sing again. Our doomed surveyors are acting out the same ritual. They stop for Bobby to consult his compass. They are building a pile of stones. 135 EXT. The only sounds are of their breathing and the CLICK-CLACK of the stones. They stop hammering and listen to the ECHO BOUNCING down the valley. BOBBY Let's get out of here. on either side of the horse's nose.. under his breath. methodically. They talk as they work.. BOBBY There's not a bonny bird that sings But minds me o' my Jean. a cairn. They finish the cairn and erect their heavy tripod over it. 134 EXT. They work quietly. Chastened. CLEARING . Hector far ahead turns around. His voice rings sharply around the forest. He eyes the forest all around as the echo of his voice fades. They are establishing a survey point.

111. holding his hands up and smiling crazily. we're just moving through.. The INDIAN is sitting behind a tree as they pass. The trees are more openly spaced and the grass is richer. At the same instant the Indian comes to his senses and sits bolt upright.. 136 EXT.. They take the easy way up the hillside.. FOREST . The encounter is high comedy but full of terror for all of them. goodbye. don't apologize. It is difficult to know who is more shaken by their encounter. boys.. They are moving quickly but they have a hard time keeping the horse on the trot. HECTOR Hey.. It hasn't seen grass this good in weeks. The Indian stands up... the ground is rockier and the trees are thickening. HECTOR The Indian backs off from them. The route takes them downhill.DAY They are moving more slowly. They almost pass without noticing him.. hanging onto the bulk of the horse between them.." Hector and Bobby are equally silly in their response. we all got a fright. 137 EXT. but even the CRIES of the BIRDS now seem to mock them. "Don't mind me. Hi! Hello! Hector absurdly greets him. FOREST . and they move off again. I'm just leaving. a natural path made by deer or bear. We can feel their anxiety breeding in the silence... dozing or deep in reverie.DAY They are on the valley floor now. Still they don't talk. Sometimes they are reduced to an undignified scramble. They no longer look much like conquerors of the wilderness. as if to say. the Indian or Hector and Bobby. come back. The slopes are more dense with undergrowth now and the going isn't so easy. but Hector gives a turn of his head and there is the Indian four feet from him. 135 CONTINUED: He indicates a slight change of direction. Why don't they talk? They proceed in this weighty silence. (CONTINUED) 137 136 135 * .

What about the horse? BOBBY I'm not going back down there.. 138 EXT.. BOBBY That was stupid.. 137 CONTINUED: 137 * The Indian is in full retreat now. HECTOR What did you see? (CONTINUED) 138 Then he turns and shouts to . FOREST .. Hector. HECTOR Yeah. HECTOR Did you see him? BOBBY Sure I saw him.. It has headed back down to the tastier pastures in the valley. Then they realize that in their fright they have let go of the horse.. BOBBY Why not? He runs off into the forest.. and Indians don't come in ones. waving his hands about apologetically..112.. HECTOR Don't panic. They see it disappearing into the trees below them. Bobby. BOBBY Come on! Hector follows him.. he is gone. but making good distance from them. a mad race through the forest.DAY Hector and Bobby are sitting on a rock.. Suddenly. It has happened so quickly that Hector and Bobby scarcely believe it has happened. HECTOR Was he a Delaware? BOBBY How the fuck should I know? He was an Indian.. It is odd how they talk so matter-of-factly. gathering their wits. I think he was an Indian too.

We should make a shelter though. Bobby looks at Hector's backpack. BOBBY That's the one.. CAMP . without a fire? Bobby laughs quietly.. 138 CONTINUED: BOBBY Same as you. a candle. BOBBY Don't even think about bears.....DAY 139 They have stopped to make camp. HECTOR Yeah. my letters. he was't tall. in case it snows. kind of short. HECTOR What about bears. with long hair. HECTOR Let's get a bit further up. BOBBY That's it. Hector scans the hills above them.. BOBBY A gun? HECTOR No. 138 * BOBBY What've you got in there? HECTOR Some food.113... It is late afternoon. the sky just darkening.... BOBBY We won't have a fire tonight. 139 EXT. Hector. They move off.. sharp shadows on the far peaks. the logbooks. a purple glow in the air. HECTOR An Indian.. .

. What? HECTOR No. Come back soon... (CONTINUED) .. everybody thought they'd cleared off west. Father... Do not worry about the frogs. He is reading his letters. BOBBY Go on.. not tonight. Hector looks up.. 141 INT. Bring me a bear's head and claws and a gun. read it out.NIGHT 140 * They are making a round frame of bent branches and covering it with foliage. Miss White has married a fireman. and allows himself a small smile. He has the air of someone putting his affairs in order. Tonight they feel the most basic of urges. must be Delaware. HECTOR Dear. to curl up in a ball and hide... the other side of Ohio. Three frogs are dead. CAMP . Hector has lit his candle. School is good.NIGHT 141 They are safe and snug in their hideaway. CAMP . I miss you.. Everybody misses you. they used to farm on the coast. no wonder. 140 EXT. HECTOR It's not so funny now as it was... they did not have names... He holds a scrap of paper close to the candle and reads. on his own. BOBBY I've had to listen to it every night since April.. Nathaniel.. Bobby is thinking aloud.. they were chased up here years ago. BOBBY Maybe he's lost too.. Half-hidden in the undergrowth.114.. Hector looks up at Bobby. holding them close to his eyes in the dimness. they were an angry lot. He looks up at Hector... why not now? Hector gives in.. it is big enough for two men to huddle in..

. BOBBY Goddam it... a night like this it could carry for miles. BOBBY I wish I had a smoke. 141 CONTINUED: BOBBY It wasn't funny then.115.. HECTOR I'm going home. BOBBY Where the hell is it coming from? He puts his head out of the shelter.. HECTOR If you knew him. Bobby doesn't pursue his argument. sniffs the air vigorously. HECTOR Tobacco? They whisper... He huddles back inside the shelter.... smell it? Hector sniffs some more. it would be funnier.. BOBBY I can't tell. for the winter... (CONTINUED) He tenses.. if you could picture him saying it.. BOBBY I had a father like you. nine months on a whaler and then three weeks at home telling us all how much he missed us.. then 141 * . BOBBY Smell it? HECTOR No.

HECTOR I was saving it for my birthday.... I don't smoke........ we try hard.... you were saving it? You know the rules.. smoke it. Bobby. He hands it to Bobby.. smoke your pipe.. BOBBY I bloody won't.... wanting a smoke. BOBBY I have to wait until your birthday for a smoke? Who are you. tobacco or food. HECTOR Well have it now.... what do they have to do for a piece of candy in your house? It's very hard to like you sometimes. have it now..... d'you know that? HECTOR I know.. the fucking king? HECTOR Go on. come on. Bobby takes it. HECTOR I was saving it. It is a wedge of tobacco. Hector takes a small package from an inside pocket. you've listened to me for a month... I bloody won't....... that's why we're friends. take it..116. day and night.. too. BOBBY You've kept it from me.. and you don't even use it. your poor children. BOBBY What do you mean. no hoarding.. BOBBY God. There is a brooding silence. I'm not smoking on your command....... 141 CONTINUED: (2) 141 * After a tense silence. but that's how I feel about you. I was going to give it to you then..... you have it. (CONTINUED) ..

. BOBBY No.... BOBBY We should sleep.. HECTOR So.. who would you rather be sitting here with. BOBBY Daniel Boone? Hector smiles. (CONTINUED) . all night. where do you want to start? Bobby is silent. He would be a help. and then breaks into a smile.. HECTOR Come on. I'll have it in the morning... but after Daniel Boone.. too. Suddenly Bobby grows shy of their growing intimacy. But Hector has other plans. Bobby yields to this with the softest.. childish. Bobby does. HECTOR I know where you want to start. 141 CONTINUED: (3) 141 * Hector is neatly turning the tables on Bobby.. He is in control of their HECTOR No we're not.. Hector reads the silence well. HECTOR Alicia.... tell me. Bobby is still silent. but you're impossible to like sometimes. We've got a lot of running to do in the morning.117.. have a think.. most vulnerable smile we have yet seen on his face.. HECTOR Yeah.. but still smiles his acquiescent smile..... friendship now.. BOBBY I can't think of anyone else. who now appears churlish.. we're going to talk...

.118. BOBBY Isn't it a beautiful day? Hector finishes his writing. FOREST . Bobby sits looking out on the valley.. BOBBY No. or Mount Alicia. smoking his pipe. After my boy...DAWN It is a glorious dawn. what about Alicia? HECTOR I'm sorry. HECTOR What do you mean.. write anything? BOBBY No. 141 CONTINUED: (4) 141 * Bobby's smile breaks into a boyish laugh. but Nathaniel's fine. is that fine with you? BOBBY I was going to call it Tobacco Mountain.... BOBBY Oh no you're not. I've named it Nathanial Mountain.... Bobby is mischievous now.... It will be a worthwhile night for both of them... He offers it to Bobby. I'm sorry. Want to sign it. BOBBY Well... 142 EXT. Behind him Hector is busy writing in his log book. I'm the one that has to apologize. HECTOR I've said who we are and where we're headed.. HECTOR The peak we logged yesterday. you're sorry.. (CONTINUED) 142 . tears out the page from his book.....

Bobby stands. and instantly returns.. HECTOR North? Yeah. puts the pouch on the ground near the shelter. 144 EXT. (CONTINUED) . BOBBY Let's get away from here. HECTOR What's wrong? Quiet. BOBBY We can move quicker without the horse.. Hector ducks lower. hugging the ground. FOREST . He throws himself and Hector to the ground. FOREST . BOBBY They're on the other side. 142 * Bobby walks off with great clouds of tobacco smoke billowing defiantly around him. Bobby is already sliding up the slope to look over the rise. as if to challenge their night-time tormentor. Hector takes a last look at their shelter and its little memorial cairn and then runs to catch up with Bobby. we just have to keep moving.. They move like ghosts. we have to get away from here..DAY Hector and Bobby look vulnerable as they walk through the open forest with their meager packs on their backs. and turns to watch him. He puts the paper in a small leather pouch. Hector tries to struggle free..119.DAY 144 143 Bobby is a few steps ahead of Hector.. Hector follows him. and then another figure following the first. BOBBY Keep the sun on our backs. 142 CONTINUED: Hector smiles. 143 EXT. Behind them they don't see the figure moving from the cover of one tree to another. and starts to build a small pile of protective stones on top of it. He dips down over a rise.

HECTOR What's wrong? BOBBY They're behind us. He is grey-faced. But Hector looks at Bobby. BOBBY We're right in the middle of them. HECTOR Does it have to be bad? be friendly. looking absurdly embarrassed for the fleeting moment that we see it.. Fifty Indians hold their breath. They must think we're stalking the women.. We are close enough to hear their laughter. Hector looks and sees nothing. From behind trees and rocks they emerge and begin the chase. They should be on the coast growing corn. His eyes flick across the forest behind them.. Then Bobby sees another. BOBBY Do you want to run? HECTOR I'll do what you do. The women are washing clothes. Are they teasing them? It looks so much like a game children would play. To the watching Indians it looks like a direct attack on their families...... a man who is looking at death.. 144 CONTINUED: 144 On the other side. The forest seems empty.. Hector knows they are doomed. (CONTINUED) * * . They might BOBBY They were chased here. A tragedy of misunderstanding. That is when he sees the first of the figures.120. they see the women and children of a small group of Indians at the edge of a stream. through the women and children and across the stream. the children are splashing and playing.. * They leap to their feet and run. BOBBY Oh-oh. just the ghost of a shadow moving from tree to rock.. Bobby turns to Hector to make his point. There is only one way to go. He sees another figure caught in the act of seeking cover. over the rise.

spreading out on either side.. He forces his way through the yelling crowd of REPORTERS and camera crews. They lope easily after them.DAY A war party of media people surround Hector as he exits a Yellow Cab. Hector stretches out an arm to Bobby. waiting for the white men to tire. There are no whoops or shouts.. burning all their energy in this mad life-or-death race.. It is a menacing spectacle. the moment of confusion compounded in action. HECTOR Hold my hand. the Indians keep up the chase. 145 EXT. We're going home.. Troup? REPORTER #2 Think you'll go to jail again? CAMERAMAN Look here for a second. Although their families are safe.121. BUILDING .. Bobby. HECTOR They're not going to catch us. REPORTER #1 Do you know the lady. Troup? REPORTER #1 Will you talk to us when you come out? (CONTINUED) 145 Hector * * .. and Bobby stay close together as they run. will you.. Policemen help Hector through the barrage of shouted questions. fight.. They hold hands and run. Hector is trying to make his way into a crumbling apartment building in Queens. 144 CONTINUED: (2) 144 * Hector and Bobby scatter the women and children and splash across the stream. They follow Hector and Bobby into the trees. it'll be quicker.. shaping the human net that will soon engulf them. BOBBY When they catch up. Mr.. Mr. Death is near. fight like hell.

stare into space. (CONTINUED) . fire certificate. I want them all. Hector looks at the Policeman curiously. POLICEMAN This is Troup! A DETECTIVE is with another man who looks like a city official.. third floor.. thirty-eight.. insurance. DETECTIVE You bring everything? HECTOR What? DETECTIVE Building warrant. The media mob immediately switch off their energy. sanitation certificate. him. APARTMENT .DAY Hector climbs to the fourth floor. DETECTIVE Come here. They light cigarettes. The Policeman stops. 145 CONTINUED: Hector enters the building.. Hector joins them.DAY 147 Hector and the Policeman squeeze past a cluster of people at the door and enter the apartment." 146 INT. Troup..122.. Santiago. license. They continue climbing. fiddle with cameras. BUILDING ... POLICEMAN You guys are downstairs. POLICEMAN You're forty-eight.... 147 INT. The paramedics turn around and head back down the stairs. 146 A POLICEMAN goes with 145 * Two paramedics come up the stairs behind them.. This is Mr. as if someone has shouted "Cut. carrying a stretcher. I'm Cobb. from the city...

PHILIPPOPOLIS I phoned you Monday.. surrounded by rubble... HECTOR 3:35. At the far side of it the toilet unit dangles at a dangerous angle into the hole.... Mrs.. you're staying here 'til Mr. MR. and being attended by the paramedics. it's my partner's. for the benefit of the Detective and Mr. Philippopolis.. She looks angry. DETECTIVE Slow down. I think you spoke to him. How are you feeling? Hector says this clearly.... so it's 3:15 on a Friday.. Lying on the floor below.. (CONTINUED) 147 * * . Troup... Santiago. this is serious. I told you the floor was making noises. MR.. Santiago gets the paperwork. I have to leave town in an hour or so anyway.. Firemen are working to secure it and what is left of the floor with metal props and hydraulic jacks. DETECTIVE Come back from there. MRS. There is a large ragged hole in the floor.. my ex-partner. 147 CONTINUED: HECTOR This isn't really my building... Hector looks at his watch.. I just took the call and came right over.123. SANTIAGO I might have to close the place down. The Detecitve is unimpressed. get your partner over here.. She tries to sit up when she sees Hector peering at her over the rim of the hole... held only by its plumbing.. HECTOR Where is she? The Detective and Hector walk down the hall. the floor's still moving. Hector looks inside.. HECTOR Not me. They stop at the door of the bathroom.. Troup... with everything.... PHILIPPOPOLIS. is an old lady.

. now.. I want you here.... (CONTINUED) 148 147 * . I did tell you.. Santiago making copius notes in his book... As if in response. and on your knee... he's gonna sue you..... Takes out his mobile phone and dials. 147 CONTINUED: (2) HECTOR I'll make a couple of calls. you're a lousy landlord... they can move her now.. why did you do this to me? Get down here now... I've been talking about it all week. Hector quickly dials another number. I have my kids tonight. I phoned you Monday. I haven't seen them in four years. I'll straighten it out.124. you should be ashamed. Philippopolis shouts up to Hector as she sees him leaving the bathroom above her.. HECTOR She seems in good spirits. and now look at me. BUILDING . but you move.... Hector gets connected. you have me falling down a toilet! 148 INT... to let old people live like this.. Mrs..... HECTOR Boris. I'll phone the lawyer. how come they phoned me.DAY Hector retreats into the hallway...... this isn't my building? What? Don't tell me anymore.... they want all kinds of certificates. while watching the ominous Mr. is she bad? Why don't they move her? DETECTIVE They waited for a portable X-Ray machine.. They won't let me leave the building. MRS. PHILIPPOPOLIS Wait 'til my son sees his mother lying here like this. My weekend's ruined before it's started.. I have a witness! I was dancing with a prince on my eighteenth birthday...

... you didn't use water-resistent paint on the ceilings did you? Hector shakes his head wearily. okay. otherwise I fuck up her weekend too.. (CONTINUED) * 148 * * * * ... they won't let me leave the building... don't you? HECTOR Can I do it Monday? SANTIAGO Good joke. it'll take you a month. I don't have time to pick up the rental now. what can I say? Please... this is an emergency. I don't know how water could sit in there for so long without somebody noticing . thank God. I have to pick the kids up by six... You have any plumbing maintenance records? HECTOR At the office.. she'll kill me... I need your car.. HECTOR I don't really know.125. you have to help me. Santiago is talking almost to himself now.. you come down here. SANTIAGO It looks like water rotted the floor.... I'm still in Queens. 148 CONTINUED: HECTOR Anna. SANTIAGO It's a weird one... and put my bag in the car.. no.. you know that.... right.... I might have some bills. waving his notebook now full of incriminating notes.. SANTIAGO You're going to have to check out the whole building............ I've got cops here and everything ..... He finishes the call just as Santiago approaches. it's not my building.. absorbed in the mundane mechanics of Hector's building...

thank you... HECTOR Leonard. before five . but it might have been hysterics. Philippopolis.. go on. PHILIPPOPOLIS My son's downstairs... yes.. jump through the hole. see what it feels like! Break both legs! Hector is almost tempted to do what she says. There is a moment's pause... we've had a domestic accident at our Eighth Street building..... BUILDING . being carried out of the room below.126. a floor ...DAY Hector is following the paramedics as they negotiate Mrs... Borlonski and Troup.. please... I know it's Friday.... At the sight of him. MRS. Mr.. and an old lady.. Deutsch? My name is Hector Troup. He is on the phone again..... During the call Hector has walked down the hall and back to the hole in the floor.. Philippopolis down the three flights of stairs.. now strapped in a stretcher.ANOTHER ANGLE . when he sees me like this he'll kill you..... Borlonski and Troup. straining on her straps. let me know if the insurance is current. He sees Mrs. I'm on my mobile. listen.. 149 INT. Real Estate. I need to know that.... 148 CONTINUED: (2) 148 Hector is already dialing another number as Santiago wanders off in search of further fascinating discoveries. (CONTINUED) 149 * * * . just do one thing...... anything you have. she tries to sit up. HECTOR Can I speak with Leonard. it's Hector. This time to his former wife. what I need to know is what certificates you have on file for the building.... she did mention the word sue.

... HECTOR I'm sorry about your mother.... They shake hands... Queens to New Jersey. on a Friday. what do you think? I'll be there.calmly and in a considered tone.. and a head shorter than Hector. HECTOR Well... SON Well. When she is safely inside he walks towards Hector.. All the while Mrs....... as soon as I get the car. Fortunately he is of modest build. Troup. it's important to me too. but obviously obscene. I'm George Philippopolis.. I've been trying to put this weekend together for years. BUILDING . you want to travel with us. I won't take it out on the kids. I'll be there. 149 CONTINUED: HECTOR I'll be on the way in thirty minutes at the outside. SON Mr... Hector is shocked. Her SON is with her.. Philippopolis issues a non-stop torrent of Greek expletives -... I'll be there. I can't say. 150 EXT. or do you have a car? HECTOR What? SON To the hospital.127. I wasn't planning to.... it's happened. Philippopolis being loaded into the ambulance. I can walk away from problems.. and he seems to be saving his wrath for the Courthouse.DAY On a street Hector stands with a Policeman watching Mrs. SON You're not making a visit to the hospital? (CONTINUED) 150 * * * * 149 .

. SON Wait 'til they hear this in court . The cop is enjoying his role as straight man to these two. 150 CONTINUED: HECTOR I've talked to your mother.. Hector takes out his diary. who's gonna pay? It's your building that fell down.128.ANOTHER ANGLE ...... given her my best wishes.. here's what I can do. HECTOR They won't let me leave here. HECTOR Look. The Policeman this time backs him up... * He nods his head to the Policeman. Any other Friday but this one...... Can't you even give me a credit card number? 151 EXT..... Hector 151 * * * * 150 * (CONTINUED) .. I'll organize some flowers.DAY The ambulance drives off just as BORIS arrives.. POLICEMAN That could look bad. he wouldn't even make a trip to the hospital. The Son addresses the Policeman. SON Screw the flowers. I'll visit her on Tuesday. SON He's not coming to the hospital.. lots. POLICEMAN That's true. George. BUILDING . runs to the car.... she wants her family with her now. who's gonna check her into the hospital.... The Policeman looks at Hector. The Son backs off to the waiting ambulance reluctantly.

the license is current.. despite Boris's pranks. (CONTINUED) 151 * . I just borrowed your name on the titles. did you bring the rest? BORIS Yeah. Boris. Hector doesn't let up on his anger. you'll walk away from this.... I'm sorry... 151 CONTINUED: HECTOR It's never been this bad...... my name is mine. HECTOR I told you to stop doing that.. Hector.. Deutsch is checking the insurance. BORIS How is she? HECTOR She's a witch. I'll take care of it. will you remember that? Boris Borlonski! Boris is conciliatory.. why did you do this to me? BORIS I'm sorry. it's your problem. the inspection certificate is okay..... BORIS Hector... huh? You make the most of it.. we're covered for most things. We can sense real depth in their relationship...... use your own name...129...... I just put your name on the lousy forms... Hector is calm now. it might help if you make a visit to the hospital. she didn't break a thing... forgive me. and don't worry. I didn't plan this. why does this keep happening to me.. don't let it spoil your weekend.. four years..... Boris Borlonski. HECTOR What's with the we. her bones must be made of steel....

Take some photographs of the kids.. BORIS Everything can be fixed. BORIS Go on.. smiling broadly." and "FRESH OR DRY... I thought I had. Then Hector's girl friend ANNA arrives in her car. He runs to meet her. ANNA Nervous? (CONTINUED) 152 151 * . Hector brightens when he sees her.... Hector gets into the car. HECTOR You bring my bag? ANNA Yeah. have a great weekend. ANNA Get in. Your camera's in there too. I'm sorry too... in Anna's pink car. always. HECTOR This is the worst it's been.DAY Anna drives skilfully through the busy Friday streets.130. 152 INT. WE'LL PLEASE THE EYE.. CAR . I'll talk to you on Monday.. HECTOR Thanks. Sure... Everything is falling into place.." Anna is a florist.. you can dropp me at the shop.... 151 CONTINUED: (2) HECTOR Yeah. we'll straighten everything out. highly decorated with flower motifs and slogans like "ANNA'S ARRANGEMENTS.. It is a bright pink station wagon. you have to get out of this business.. All he has to do now is cross two rivers and Manhatan Island in under an hour.

... that'll work out. Anna is looking at him amusedly. when we have the space... and the kids. 152 CONTINUED: HECTOR Not much.... ANNA I didn't do much......131. HECTOR . when we get the bigger apartment. nodding her head with every earnest pronouncement that he makes. Hector is pleased with himself.. I'm fixing all that shit with Boris. ANNA There you go.. it can't go on. I am ready.. HECTOR I'm glad you talked me into it....... for everything. I told him... but at least Anna smiles when she says it.. the bigger apartment together... Yeah? ANNA Sure.... (CONTINUED) 152 * .. this is the beginning of something.... when we have the space. HECTOR You're right. that was the plan.... you're absolutely right. ANNA Well you deserve to suffer. Our Hectors have been hearing this for centuries. we can have them over sometimes. not the end...... ANNA Don't worry.. you said it.. just like I'm being executed...... HECTOR Right.. I was ready. together.... you can start being a father again. I want my freedom.. you were ready.

Hector leans over to embrace her before she has stopped the car.. I said it . and one more thing. taking up the whole of the luggage space in the car.. but lovingly. HECTOR Thanks.. She looks him straight in the eye.. Hector. Go to it. She kisses him quickly... Hector. It's a golden wedding... Hector accepts this. ANNA Do the best you can with them.132.. (CONTINUED) .. 152 CONTINUED: (2) HECTOR Yeah. deliver these.. ANNA Oh...... Hector is high on his optimism now. I can't.. Anna pulls into the curb... you have to. HECTOR Yes I am...... and cheeky with it.... I said it.... I don't have the time to go 'round the block. Hector.. Together.. She indicates a massive bouquet of flowers wrapped in cellophane. everything. What? HECTOR Anna. a five minute detour.. 152 ANNA Here's the address. didn't I? ANNA You're a man of decision. you'll need gas too. and get out of my car at the corner here... for the car.... just two blocks before the bridge.. ANNA We have to help each other..

HECTOR Hello. His PHONE RINGS ONCE. don't suffer alone. If the traffic allows.. and her new husband.. yes now I know God's a lawyer./EXT. we're insured. JANET. DONALD. Hector's trip to his children has more meaning for us than a simple journey from A to B. thanks.. thank God. tonight in New Jersey Hector will complete his journey. This car trip will pull the threads together. Hector watches Anna stride. when everything comes together.133. a world little altered by man. (CONTINUED) 154 . On the outskirts of Jersey City he finds the suburban street he is looking for. aching for his family. in her business-like way. and that's fine. We will GO WITH Hector OVER the bridge. We will be aware of our other Hectors. Leonard. around the corner OUT OF SIGHT.. He is almost home. If there is a breathtaking moment in this film. the PANORAMIC SHOTS of New York in all its mad glory will place our Hector in a new dimension.. when all the pieces fit. Six thousand years ago we left Hector on a beach.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.. come out of the house as Hector walks up to the door... HOUSE . and the journeys home that they did or didn't manage to make... ACROSS the avenues of Manhattan and THROUGH the tunnel. hello.. then it will be somewhere around here that it happens...EVENING Hector's former wife. 154 EXT. Hector stops the car outside Janet's house and lets out a sigh of relief.. 152 CONTINUED: (3) ANNA Phone if there's any disasters. Donald is carrying luggage and heads straight for their car in the driveway... yes. CAR .. If the last crosslight holds on green then he might even make it on time.. 153 INT. And after so many images of the natural world.

. your father's ready to go. you two. Maybe I should have come over a couple of nights and got to know them.... Janet doesn't let him off the hook. 154 CONTINUED: DONALD Hi.. you'll know them. JANET Come on.. Then the children come out of the house...134. who is eleven. and you'll learn. He starts loading up the car. HECTOR Why didn't you say? I could have fixed up something else.. 154 JANET You made it. they can take it.. Hector gets a little scared about what he has taken on. JANET By Monday.... JANET Well. It's only for a couple of nights. HECTOR Maybe this is a bit sudden for them. BETSY. thanks for the break. they like hotels.... The kids are just coming. I ought to warn you. JANET This is where we'll be. Check into a hotel if it gets too much. I thought it would be a good place to get to know them again... and TOM. Janet talks to Hector.. if anything crops up.. I figured you should be allowed to make your own mistakes. Hector. (CONTINUED) * . They're not over the moon about going to the beach house. She shouts into the house. She hands Hector a piece of paper.. who is about thirteen..

eyes to the ground. JANET Good luck. He always did with Janet. The kids load themselves into the back of Hector's car. Hector. His face contorts in guilt (CONTINUED) 154 * . JANET You three have a good weekend. the invisible dad. TOM Hi.135. not any more the little kids in the photograph in his wallet. Donald shouts from behind the wheel of his car. HECTOR Hi. If it's too miserable at the house your father said he'll take you to a hotel. She turns to Hector. They hardly lift their heads to him. It seems to have grown even larger than before. Hector is daunted by how grown up they are. The children let their mother pat them and follow Hector to his car. Janet takes control of the farewells. wrapped in cellophane and red ribbon. JANET That's what they call you. Hector. Betsy notices the huge arrangement of flowers. DONALD See you Monday. Hector nods his head obediently. BETSY Hi. and anxiety. BETSY Are those for mom? Hector looks at the flowers. where he has been hiding. 154 CONTINUED: (2) JANET Here he is.

.. too. HECTOR Excuse me. sorry to bother you. 'bye. 154 CONTINUED: (3) HECTOR Oh no. but she could claim negligence . Sure...... eager for clues about this virtual stranger in front of them. HECTOR Hello.. make her an offer. sorry to phone you at home..136... then he stops. I have the kids in the car with me right now. I have to consult the oracle.. 155 INT.. God? No.. she's got a lawyer already? That's a bad omen.... what have I done. HECTOR Let's go.... not just now. did Boris call you? The insurance is fine? Good . (CONTINUED) 155 154 * ...... Hector is on the telephone again... He can't let go of business.. me. just a joke.. Jesus save me. sure.. I can't face it.. HECTOR No. It is dusk. He gets connected. with the insurance company. it's Hector. you're right..DUSK They are driving on the freeway.. kids. HECTOR Is there anything we can do right now.... Betsy and Tom are listening in the back seat. BETSY What's wrong? He picks up his mobile phone and is about to dial Anna's number.. oh. CAR ..... Leonard./EXT.. He looks at the kids...

.. the phone and offers it to them. and I could murder a Chicken McNugget... look out for a Safeway. Their perplexed expressions make them look younger than they are... Hector's heart aches for them.. and vulnerable... oh my God. and catches sight of the kids in the mirror. Hector wisely lets it go..... THOMAS (TOM) I changed it. gas.. The place is almost deserted. that's what it says on your birth certificate... HECTOR Tom? TOM No... soon.. (CONTINUED) 156 * * * * Betsy? He picks up . HECTOR But we called you Tom. Betsy and Thomas are tagging along. 155 CONTINUED: 155 Hector throws the phone onto the passenger seat.. HECTOR Want to make any calls? She shakes her head... and it's Thomas.. 156 INT.. we have things to do.. keep your eyes skinned. the weekend starts right now..... Safeway. we need some supplies.. HECTOR Right... it's your name.. and gas. lets out a sigh. He smiles and puts on an act of brightness.137. SAFEWAY .. They return his look with blank expressions. HECTOR That's it! The last call.NIGHT Hector is pushing a cart around a large Safeway. you can do that.

.. HECTOR You're right. why can't I pick a kitchen roll? Betsy is defiant... Hector warms to her. BETSY Everything you buy is junk. and what's this.. Betsy moves off with the cart.. you just buy junk. Hector notices and puts up with it for a while. He turns to face her.. HECTOR What's wrong with that? It's a kitchen roll.138. we won't eat it. I don't eat steak. BETSY I do it every week anyway... BETSY Ugh! Why don't you ask us what we like..... I'll just tag along. and it isn't recycled. you don't care. Betsy. Hector has the sense to back down.. But when Betsy returns the rolls of kitchen towel he has selected he makes a stand...... HECTOR Good point. Betsy keeps on the attack... (CONTINUED) 156 ... HECTOR Well. She picks up a more friendly brand of kitchen towel from the shelf and throws it into the cart.. you buy junk. BETSY It's bleached.. get to it... it'll save you money. 156 CONTINUED: For every four items Hector puts in his cart Betsy removes three and returns them to the shelf. Hector pushes the cart to her. A trace of girlish common sense has crept into her voice. She prods a packet of frozen hamburgers..

still sleeping./EXT. 158 INT. . from the car and into the house. She talks through her yawns. BETSY Are you going to bring the flowers in? HECTOR Don't mention the flowers. Her eyes and Hector's meet. For some reason they exchange the smallest smile. but we can hear the sound of the SEA and there is sand underfoot. groaning fussily. CAR . He watches them in their sleep.NIGHT 159 The car pulls up at the holiday house. GAS STATION . HOLIDAY HOUSE . For a few brief moments they are talking without words as their tanks fill. Betsy gives Hector a withering look of disapproval as he climbs back into the car. Hector gets out. The kids have fallen asleep. Betsy follows him. We let her. it is later.139. Hector relaxes. THOMAS She does. 156 CONTINUED: (2) 156 Thomas backs her up. Hector walks to the house and unlocks the door. The ten billionth romance in the history of the planet sparks into life and fizzles out again in the twinkling of an eye. still half-asleep. searching for some traces of the little children that have haunted his thoughts for so many years. She tells us what to eat. By the time their credit cards are back in their pockets their love is a memory. 157 EXT.NIGHT Hector is filling up the car in a gas station close to the Safeway. It is dark.NIGHT 158 157 * Back on the road. An attractive woman is filling her car in the next line. the tots he abandoned. He puts on a couple of exterior lights. He carries Thomas. HECTOR Can I just keep a couple of those steaks? We can't live on chicken. Hector follows them up the aisle. From the back of the car the kids have watched it all. 159 EXT.

think about it. I've been thinking about a move to California.. He sits bleary-eyed watching a late-night TV SHOW. these stones really like what you're planning.O. TV MAN (V.. money or the purpose of your life.. (CONTINUED) 161 160 * .O... Tony? These stones are really talking here...) Yes I am.. love. are you planning a move.. 161 INT. travel. what are you planning for yourself in California? TONY (V.O.. but our modern one is simply restless...140. there is no doubt in my mind about that.. and we feel the echo.. The TV man has five small stones which he regularly scatters on the floor.) This is good.. or your income level next year? Be as specific as you can... TV MAN (V. now listen.) I'm hoping for an acting career.O. Tony. but I want a specific question from you... HOUSE ... what do you want to know. these stones really want to tell you something. now here's something..O....... A man sits cross-legged on a studio floor and is talking to a phone-in viewer. Tony. travel. eh.. It has been too eventful a day. 160 INT.NIGHT Next door. HOUSE .. He stands up and leaves the room. the stones are talking to me already. Tony.. you have to be specific. be it love.NIGHT Later.. Mel. Perhaps this might have enthralled one of our earlier Hectors. But as he turns to leave the room Hector gets a fright. Hector can't sleep.. We've seen our Hectors do this before.) Tony. he watches the kids sleeping in their little holiday beds.) The big one. Hector watches them... TV MAN (V.. anything? TONY (V..... movement.

BETSY . HOUSE . not the pancakes.. At first Hector thinks she is awake. no. TV WOMAN (V. no.. why? Hector closes the bedroom door. 162 INT. find your true cosmic partner first time around... human being..... all the books. giving him into trouble.. (CONTINUED) . Just as he is closing the door he gets another surprise. She sobs pitifully. Betsy's sobs having subsided... why.. they are making breakfast in the kitchen. THOMAS ..... Hector is a confusion of feelings: frightened.. but she is fast asleep. BETSY Get me the books. no.. more mystical than the mumbo-jumbo still issuing from the TV next door. this time from the sleeping Thomas.. 161 CONTINUED: 161 * Betsy starts talking loudly. remember there is an answer. Hector moves quietly out of the room... The kids are having juice and cereal.. moved 162 In the morning. don't let the oil run out. Hector is scrambling some eggs.. and there is a special partner out there for you. all of the books. HECTOR How about some eggs? They shake their heads. How can he help her? How could he possibly unravel the secret of the pancakes.) .. not the pancakes...MORNING He is one spooked. not the pancakes.... crumpled little girl. what comfort could he offer his stranger daughter if he did? It is a spooky. Lucinda's Horoscope Dating Show.141. every weekday morning at three here on the Psychic Network...O. watch the oil... yes you did. no.. fascinated.. She changes in an instant from a bossy adolescent to a tearful.... impotent. mystical moment for Hector.

HECTOR Nothing.142. The mystery of Betsy's pancake dream is evidently lost in infinity. No. 162 CONTINUED: HECTOR You don't eat eggs? BETSY How many have you got in there? Three.. Pancakes don't mean much to you? BETSY They don't mean a thing. HECTOR I thought we could walk into town this morning. THOMAS I brought some books. I want to Why? Hector is determined to make it work. . HECTOR We're taking a walk. THOMAS We don't go to Funfairs. HECTOR How about pancakes. I saw the Funfair when we came through last night. why? HECTOR I just wondered.. d'you like pancakes? BETSY Not much. Hector does a little probing.. HECTOR Is that all right? 162 * BETSY For a week. Betsy. HECTOR Let's take the walk anyway.. maybe. Hector changes the subject. stay home and read.

HECTOR Here's an umbrella.. The sea came right up. 163 INT..143. reluctant to go. HALLWAY . Thomas is already in the cupboard under the stairs. THOMAS That was the flood. He * The kids' heights have been marked on the wall on some long-ago holiday... That's why Mom's selling the place. Then something on the wall catches his eye. emerges with a pair of sturdy walking shoes.. HECTOR Six years ago.. (CONTINUED) .. The dates are beside them.. What's this? He points to a mark and a date lower down on the wall.. THOMAS Donald has some shoes. we should stay. 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.. It's going to get worse. and there must be some old coats in here.. Look at that.. HECTOR I don't know if I want to wear Donald's shoes.. I only have these I'm wearing. and shoes. HECTOR Look at this. He sits down on the stairs to put them on. Donald says it's the icecap melting. Thomas is still 163 THOMAS It's going to rain. Wow..DAY They are preparing to leave the house.

. getting back at Hector for four years of neglect. He speaks quietly to himself. 163 CONTINUED: HECTOR It comes up every year? BETSY The last two. although awkward in Donald's big shoes. that's what. Heavy-hearted. Hector triumphs. please. 165 EXT. HECTOR Let's have a ride.DAY They are on the beach. HECTOR Please don't rain. Hector and the kids are a sorry sight parading the empty alleys... (CONTINUED) 165 * * .. and it happens to be true. He has stopped at some dated space rockets. BEACH .. 164 EXT. The kids seem to glory in the misery of it all. Hector looks at the sky.. The kids trail behind. He calls back to them. HECTOR Where are the birds? wrong time of year? Is it the 164 163 BETSY They don't come over so much. FUNFAIR .. He pulls a wad of kitchen roll from his pocket and starts to wipe the seats. Hector strides ahead in a show of enthusiasm. Hector still tries to make a go of it..144.DAY The light DRIZZLE now falling is keeping away what few fun-seekers there are left in town.. The Funfair is not much fun. The shellfish have gone. HECTOR That's what Donald says? BETSY Yes. walking in the direction of town. It is the end of the season.. BETSY The seats are wet...

her stoicism.145. re-cycled. biodegradable. Hector is happier. As the attendant releases the brakes and cranks them up into the drizzle. 165 CONTINUED: HECTOR Kitchen roll. Thomas vigorously nods his agreement. Betsy has the grace to smile as the three of them climb aboard the rockets. BETSY No! (CONTINUED) * * * * * 166 165 . He looks down on the decrepit fairground. HECTOR Sure you won't have a pancake. 'round and 'round. Let's go somewhere and talk. explain himself. BETSY All right. Hector looks to Thomas. beyond them through the window is the beach and the ocean. her patience. Hector knows that he has to do something to break the awful distance between him and his kids. Betsy and Thomas sit at a corner table. They are waiting for him to open up to them... He leans over to her.. her courage. Hector. COFFEE SHOP .. Betsy smiles her small patient smile. one in front of him and one behind.. talk to them seriously. Betsy? Betsy gets impatient. HECTOR This is ridiculous.. They sit grimly in their rockets. He looks at Betsy's face and sees in it the years of his absence. Their faces are set in expressions of what? Boredom? Resignation? Patience? Expectancy? Then he realizes what is going on. He looks at them. dry seats. unbleached.DAY The only place the small town has to offer is a deserted coffee shop on the shorefront. It moves him. if you want to. HECTOR How do we land these things? 166 INT.

.. she must have told you all that? BETSY Sure she has. HECTOR You're right.146. but I was kind of crazy at the same time. (CONTINUED) . first question? The kids are ready for this.. remember? THOMAS Not really. HECTOR Well. but lots of people get divorced... that's a fair question. There is no coyness now... what can I tell you. 166 * THOMAS Where have you been? BETSY What he means is why did you stay away? Hector begins like a story-teller embarking on a long saga. that doesn't mean they disappear.. it wasn't easy. I wasn't used to the freedom... I missed you both really badly... 166 CONTINUED: HECTOR Okay.... I missed you.. I went kind of crazy after that.. no... that's not really true.... you're big enough to remember...... until your mother got settled...... but for a while I thought I should stay away. your mother and I married young. then you moved to New Jersey. it went to my head .. your mother and I got divorced. everything with her and Donald happened pretty quickly. I came around a few times.. HECTOR Well. for a good while.....

.147.. there were some temptations. I don't have too many excuses for the first year. HECTOR Well I appreciate that. BETSY Thomas wanted to visit you in jail. HECTOR You did? Thomas nods proudly. Hector is pleased with this.. it was like killing somebody.. I was in jail. the second year is easier. It was no fun. THOMAS We didn't even know when you got out. One year and eight months. THOMAS What for? HECTOR We were doing government work.. (CONTINUED) A solid excuse.... HECTOR You're right. my boss asked me to shuffle a few papers. you're right... I had to testify against him. 166 * . 166 CONTINUED: (2) BETSY It's forty minutes away on a slow bus.. big contracts.. but Mom wouldn't let him.. there was a lot of money in it.. Hector thinks about this. I'll tell you all about it some day... Hector looks at Thomas.. remembering the pain. but I'm glad your mother didn't let you.. 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.. The kids look shocked at this. she sells flowers. I like him. so here we are. He's my friend.. we met in jail.. I mean it. HECTOR Just recently I've been feeling good.. she's nice... so I got back to work. you know that. We rent apartments. He's a good man. things have been going well. HECTOR Anna.... well. in real estate. real soon. HECTOR No. BETSY That's what you do now? HECTOR Yes...... BETSY What about your girl friend? HECTOR Who told you about her? BETSY Nobody... I sure didn't want you to see me then..... 166 CONTINUED: (3) HECTOR I wasn't in great shape. The kids smile... a good man. found a partner. people are a nuisance. and I missed you two.... does that sound bad? Betsy shrugs her shoulders..... (CONTINUED) 166 * * * * * * * .. BETSY How should I know? Hector carries on with his story...148.. she wants to meet you. but we want to get into commercial property.

.. did you think she was following us? THOMAS She's always thinking up stories like that. Tom. BETSY Well.. watching Thomas play on the beach.. BEACH . Thomas. They have almost exhausted themselves in this first bout of talking.... HECTOR The rain's off.. you mustn't think that. HECTOR Go on.... she never stops.. no..... 167 EXT.. 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.149. The sun is emerging.. (CONTINUED) 167 166 .... Let's go. HECTOR She's right. 166 CONTINUED: (4) THOMAS Betsy thinks that was her at the gas station. Hector has to think to remember. HECTOR No.. if people don't tell you things. heck.. Hector looks out at the sea.DAY Betsy and Hector are sitting on the sea wall. that's terrible. people should talk more. BETSY I have to ask you something else. BETSY Shut up..

it was just what your mother and I decided. He hides his feelings in a gruff call to Thomas. we went to the pool twice a week. in the test? BETSY I passed. why would I leave? BETSY I know... Hector leaves his limp arm on her shoulder. HECTOR Oh... His emotions are full. She is beginning to cry silently. we're having a barbecue. HECTOR How did you do.. Thomas! We're going home.... 167 CONTINUED: BETSY Why did you leave just two days before my swimming test? Hector is moved by the depth of her memory. After a long moment she speaks. Betsy is still crying... Betsy said she'll even let me eat a steak! BETSY Hurry up.. I taught you how to swim. her pain.. It is too soon for gestures of emotion. Hector doesn't make the obvious comment. BETSY It doesn't matter.. why did you leave just then? Hector looks at Betsy. God. HECTOR Hey. Betsy.. HECTOR I didn't leave because it was two days before your test.150. that's what I mean... BETSY I'm a life-saver now. I'm sorry. Tom! (CONTINUED) * * * 167 . He puts a tentative arm around her shoulder.

But she was right.. HECTOR Don't call him Tom. HECTOR Just tell them you were with your invisible dad. he doesn't like it. HECTOR Is that bad? BETSY No. don't lose the children. when we split up. Then Hector speaks. Somehow Hector is touched by this. BETSY Who said I'd let you eat a steak? There is a silence.151. 167 CONTINUED: (2) 167 * Thomas breaks off from his play and runs towards them.. BETSY I'm allowed. right beside me? BETSY I'd have to take the morning off school. that could be good. with me back to alone. HECTOR You'll be there... HECTOR Your mother said it. Sure. anyway... HECTOR On Monday will you come when I take the flowers Anna? I can't face her She wants to meet you BETSY . Betsy and Hector are quite close now. Betsy. didn't mean much at the time.

Betsy looks out to the ocean... I felt close to you. It was the day I got out of jail. BEACH .... just when I was closest to you.DAY Hector and Betsy are walking on the shore. I used to watch you sleeping.. HECTOR . HECTOR It's just like a big pancake up there.. she listened to a bum who followed her off a train... dreamland .... I couldn't help it.. There is a silence... it was like now. you weren't there.. but you weren't there.. but she's still going to kill me on Monday. too...152... that's how good she is... Thomas tags 168 * BETSY I think I'll paint the sunset tonight.. I was on the train and she was sitting behind me..... along behind them.. you were gone... Betsy looks at him kindly. She got off the train and I followed her. (CONTINUED) .. 168 EXT... you should know that. could touch you.. remember I'd been inside for nearly two years with four hundred sweating males. I felt it last night. 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. isn't it? Betsy doesn't take the bait.. They share a laugh. I smelled her. it was just this incredible perfume.... HECTOR I remember when you two were tiny... BETSY That's what it's like.

. You seem to want to be.153.. (CONTINUED) 169 . some distance from the shore. Hector trails after her. BETSY I thought he was taller. She smiles. 169 EXT. BETSY Don't be so tough on yourself. I mean it.DAY Betsy and Thomas are in a small fragile rowboat... 168 CONTINUED: HECTOR I'm not smart about things like that. Another Hector and another pile of stones. Hector looks at her in wonderment. Betsy moves off briskly along the beach. Who are you? there? HECTOR Who's inside 168 * BETSY You'll never know. look out for yourself. HECTOR Is that a joke? BETSY No... Hector is out of his depth with this daughter of his. These human rituals never stop. hooked. They are watching Hector who is collecting a pile of large stones on the beach.. we can do that. One of those moments when another human being stands before you and is an utter mystery. Future generations of women are going to be just as unknowable to our Hectors as past ones were..... you don't have to. This one is making a fire for the barbecue. HECTOR No? BETSY No.. usually. BOAT .

HECTOR I've just found you. What would I tell your mother. BEACH . Thomas throws the mooring rope to Hector. The boat sticks. HECTOR Throw me the rope. Hector is more anxious than he should be. 169 CONTINUED: THOMAS Well. BETSY We're fine! Hector tries to relax.. HECTOR This is one useless piece of rope. They call back to him.. you're bigger. too. I bet I could beat him at the breast-stroke now... He stands there. He's getting fat. Out at sea the kids look small and vulnerable. An ago. He is edgy.DAY Hector turns from his work. 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. A few feet from the beach they hit some sand. Thomas. Thomas. He calls to them. Hector wades out in his shoes so far.... BETSY I suppose so. The kids reluctantly pull on the oars and bring the little boat in... Then he calls to Thomas. I don't want to lose you. Hector ends up with all of the rope in his hands.. or something. but he doesn't have the confidence yet. and they all laugh. But are safe.. It isn't attached to the boat. 170 EXT. out of practice at fatherhood. HECTOR Come on in...154. kids. come on in. He walks down to the water. it's been a while. I'll pull you in. 170 169 . that boat doesn't look too safe. and his kids Hector rope..

After a while he is conscious of their amused attention on him. HECTOR Ah. He is in a splendid frame of mind.. scorched meat. He sits down beside them with his steak.? Thomas is laughing at her.. smell it. He watches Thomas attack his chicken. He is trying to light his barbecue... 172 EXT. like it's your religion! THOMAS Things I like..DUSK It is a calm dusk. and Betsy goes limp at her easel.155. (CONTINUED) 172 171 * . She and Thomas watch Hector trying to light the fire. HECTOR I'd forgotten that. the smell of civilization.. They laugh a little.... The sun has won the race again. BEACH ... Tough little Betsy can even lose patience with the sun. Match after match disappears into his elaborate stone structure. It's like action painting. dedicated.. BEACH . I used to be really good at this. He wafts and blows ineffectually at a flicker of flame. Hector serves the chicken onto their plates.. and smiles. Hector is turning the meat on the barbecue.. HECTOR I used to know how to do this.. He has seen her attempt this before.. Hector has other concerns. HECTOR I did. The sun finally vanishes. racing the sun as it dips into the ocean. only to fizzle out. then he becomes a little self-conscious. BETSY Why does it always go so fast. She has set up an easel on the beach. how you eat.. She works frantically on the picture... 171 EXT. There's not much of the caveman about him now..SUNSET At the very moment of sunset Betsy is trying to capture it in a watercolor sketch... and a glass of wine.

......... His head nods with the chewing and the tune.. Mercury doesn't rise 'til after midnight.. (CONTINUED) * * * 172 . remember..... It feels good to him. HECTOR Oh well... old Mercury. HECTOR I'd forgotten. we're trying to make a biosphere. 172 CONTINUED: HECTOR You used to hum to yourself too.. HECTOR Uh-huh? THOMAS A self-sustaining life system. we used to watch the stars. THOMAS I'm not into star-gazing so much ....156.. THOMAS Hey. HECTOR There she is. eating and humming. at the tiny window upstairs in the old house? THOMAS No. not to worry... Thomas tries it out. when you ate. The early stars are appearing in the sky... we're working on computer modelling.... you could recite them like a poem. it doesn't matter what we do.. Hector lifts his eyes to a bright point low on the horizon. like everything was fine with the world.. I'd forgotten about that... that's Jupiter.. Hector is impressed by his son. for inter-stellar travel. THOMAS No.. so I did. I'm glad you still like astronomy though.. you could tell me the names of all the planets. But we always get a methane build up.

. (CONTINUED) 172 * .. and found peace at last. the very latest... I'm glad you two are thinking about the old planet.. one day we're going to have to take off for somewhere else. I'll tell you. The kids will go back home. 172 CONTINUED: (2) HECTOR This is at school? THOMAS Yeah. We see the three of them in a WIDE SHOT. on Monday. it's just a big.. If it wasn't for us there'd be nobody around to see it all. here on the beach.. Betsy chimes in.. Hector's voice and laughter carry to us. life will take over. Hector has come to rest... HECTOR Well. In general. BETSY I don't know. He looks at them. Hector realizes how far his kids have travelled from him. Hector stands to fetch another baked potato from the fire. HECTOR Don't worry. we walk around with all our problems. Philippopolis will have to be dealt with. HECTOR Sounds like Donald said that.. We're making such a mess of the world. that's the truth.... the evening sky now pulsing with more and more points of light. and the wilting three hundred dollar bouquet of flowers.. Look how beautiful everything is. however temporary... Sometimes I think it's people that make it all wrong. Mrs. black sheet up there with holes in it so the light comes through.157. I'm proud of you.. On Monday he will face the music. But at this moment of calm on the beach. beneath the same stars that our first Hector wailed at six thousand years ago. you two. let's leave him while he's ahead.

. we're all inside a speck of pollen that's stuck to the wing of a bee while it sits on a flower. 172 CONTINUED: (3) 172 Their voices ring out playfully across the expanse of darkening beach and light-laden sky.. And then. Betsy..... BETSY I've got a better one. The three of them are laughing now. HECTOR Don't mention flowers.. I know.. we're inside a pancake.... and somebody's just about to eat it... HECTOR No..158.... Betsy.. stars and everything. But they try. BETSY Skimmed milk. HECTOR Okay. THOMAS You don't get bubbles in skimmed milk... the whole thing.... 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. Perhaps that's just about as close as Hector and his tribe of humans will ever come to working it all out. not tonight. it's half-and-half.. after a long.. what d'you think? (CONTINUED) * * * * * * * .. HECTOR I have an idea. I'll tell you.. is sitting on the skin of a bubble of milk in a bowl of cornflakes. please.... BETSY Wait a minute..... long pause...

. FADE OUT.. what's wrong with you? THOMAS You've got pancakes on the brain.159. 172 * * * * * THE END . 172 CONTINUED: (4) BETSY Why are you always talking about pancakes.

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