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.


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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