BEING HUMAN

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.

*

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

82

*

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

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

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

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

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

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

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

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

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

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

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

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

*

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

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

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

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

*

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

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

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

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

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

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

This is translated. and tell him that I want to make him a very special gift as one King to another.. The Slave translates. Various Officers raise their eyebrows at this. but please do not insist that he take your necklace.. DOM PAULO I shouldn't do this... They are impressed.. The King nods his head in approval and shows the nails to his attendants.. Dom Paulo's Officers enjoy a muted titter as he peels off his precious rings and gives them to the King. (CONTINUED) * * . SLAVE He says he could not accept such a treasured gift. Instead he is pointing to a couple of chunky and valuable-looking rings on Dom Paulo's fingers which he has forgotten to remove. Dom Paulo solemnly and without a blush removes the cheap rosary from around his neck and offers it to the King.92.. 113 CONTINUED: (2) 113 The Officer produces a handful of large nails and gives them directly to the King.. DOM PAULO ... replacing the worthless baubles around his own neck... It is impossible to know if the King is being naively polite or hugely clever. DOM PAULO Of these precious things. which my fathers and forefathers have worn for many long years before. it is ten days from here.. but it is such a special occasion.. and he is such a great and worthy King. something of such value to your family.. instead he would be happy to take one or two of the old rings you have on your fingers.. The King begins talking again. SLAVE He will give you guides to help you across the first of the big rivers. The King refuses to accept the rosary...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

. leading a laden pack horse. "Pennsylvania Boundary Expedition 1761. keeping his secret.. 130 They (CONTINUED) .NIGHT Hector and Bobby sit by the fire with their supper. Marker 152. pleased with himself. It is Hector.... nailed to a tree. CAMPSITE . They are in trouble. and now 128 * BOBBY Cheer up. He holds up a canteen 129 HECTOR It's Sandy's.. It reads.. at least. Behind them. whiskey." Also on the plaque someone has written. 129 EXT. 20th October. He folds his hand over it again. Have a look around." 130 EXT. They look at each other. are both anxious. Bobby unfolds his fist and looks at what he has found. CAMP . I'll start on a fire. they know it.DAY Hector has scoured the campsite. my lad! Hector walks to the fire. 128 CONTINUED: Up the slope and INTO VIEW comes his companion. an Indian arrowhead with a few inches of broken shaft. but pretend not to be. HECTOR Damn them. HECTOR How long? BOBBY They've been gone a week.. "We left here.. BOBBY Well done. is a plaque their companions have left. he has found. BOBBY We're ten days late..107.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

. HECTOR You did? Thomas nods proudly.. but Mom wouldn't let him. One year and eight months. you're right.. I had to testify against him.. HECTOR You're right. 166 CONTINUED: (2) BETSY It's forty minutes away on a slow bus. Hector thinks about this. I'll tell you all about it some day. HECTOR Well I appreciate that... remembering the pain. there was a lot of money in it. 166 * . (CONTINUED) A solid excuse.. Hector looks at Thomas. THOMAS We didn't even know when you got out.. THOMAS What for? HECTOR We were doing government work. my boss asked me to shuffle a few papers..147.. there were some temptations. I was in jail. but I'm glad your mother didn't let you. It was no fun. Hector is pleased with this.. For us there is the echo of the real killing that was done long ago.. I don't have too many excuses for the first year..... big contracts... the second year is easier. it was like killing somebody. BETSY Thomas wanted to visit you in jail.

He's my friend. and I missed you two. BETSY What about your girl friend? HECTOR Who told you about her? BETSY Nobody.. found a partner... HECTOR No..148.... HECTOR Anna. she's nice.. BETSY That's what you do now? HECTOR Yes.. she sells flowers... real soon.. I sure didn't want you to see me then. in real estate.. so here we are. you know that. a good man. The kids look shocked at this.. 166 CONTINUED: (3) HECTOR I wasn't in great shape.. (CONTINUED) 166 * * * * * * * .. We rent apartments... HECTOR Just recently I've been feeling good... and on Monday she's probably going to kill me. we met in jail. I like him.. well. things have been going well...... she wants to meet you.. so I got back to work..... He's a good man.. BETSY How should I know? Hector carries on with his story. The kids smile. does that sound bad? Betsy shrugs her shoulders. people are a nuisance. I mean it.. but we want to get into commercial property..

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

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

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

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

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

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

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

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

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

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

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

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