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