-2Final Draft, Inc. Final Draft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late 20s, Goth make-up, navigates her old, rusted out 2005 Holden Commodore through the congested afternoon traffic of a "Blade Runner" style city. ROLL TITLES She ashes a cigarette out the crevice of her open window, we notice her right hand is severely disfigured, not like an accident but a birth defect. Darting over a couple lanes, she slides into a metered parking spot. The cigarette butt nose-dives into the ashtray. CUT TO: INT. John'S APARTMENT -- BATHROOm -- SAME JOHN, Early 30s, crew cut, sits on the side of an old tub fingering water as it fills up. His back and arms are covered with the remnants of what could have been Neo-Nazi tattoos, which have been removed with laser surgery. He sparks life to a pair of candles. CUT TO: INT. DARCY'S CAR -- CONTINUOUS Darcy combs her hands through her hair. She tugs on her bra, boosting her cleavage. She touches up her eyeliner and holds her reflection in the rearview mirror for a final reassuring gaze. CUT TO: INT. John'S APARTMENT -- BATHROOM -- MOMENTS LATER John's shadow dances along the tiles. The doorbell chimes. He turns the "H" and "C" knobs to the right. The gushing stream reduces to an echoing dribble. CUT TO: INT. John'S APARTMENT -- living room - DAY John swings the door open. Darcy stands with her back to the entryway. He steps outside. John Wasn't sure you were coming. Darcy turns and steps inside. DARCY Yeah, well the more I think about this, the less I wanna be a part of it. John follows and closes the door. John A thousand bucks isn't cuttin' it? Darcy drops onto the couch. DARCY It's not the money. It's the stress. The nightmares. John stands behind the couch and gently rubs her shoulders. John Nothing's gone wrong yet. Nothing's going to. You're a trained professional. DARCY I could lose my license. 00020000078C00000745786,John I trust you. John circles the corner of the couch and sits beside Darcy. John (CONT'D) I need you. John's pleading hands clutch Darcy's. DARCY Regression therapy's cheaper. John This is better. You know that. DARCY Whatever you say. John snatches a remote control off the coffee table. John I need to know there's more than this... He tosses the remote aside. A laptop's screen-saver displays a series of historical events that dissolve into one another, bodies burning during The Black Death, Venice during the Renascence, women being burned at the stake during the Spanish Inquisition, Shaka Zulu charging against British troops, An advert for a 1949 Holden FX and the twin towers under attack in 9/11. John flips the laptop closed. John (CONT'D) ... And this... He yanks at his hair and tugs at his cheeks. John (CONT'D) ... And this. DARCY Johno. John I need to know there's more than just rushing through page after page of the calendar. Aimlessly plowing forward in some vain attempt at filling the voids. DARCY But you always end up having more questions than you started with. John Yeah, but they're meaningful. Don't you get hungry for meaning? John slides to his knees and lays his head on her lap. John (CONT'D) I'll never ask you again. DARCY Fine. But this is it, Johno. I'm serious. John pulls a fold of cash from his pocket and passes it to her. Their hands meet and hold the embrace, encircling the layers of twenty dollar bills in a miniature cocoon. Darcy pulls her hand away and stuffs the bills into her purse. DARCY (CONT'D) I hope you find what you're looking for. John Two minutes then. DARCY Thirty seconds. John Minute and a half. DARCY One minute. Not a second more. CUT TO: InT. John'S APARTMENT -- BATHROOM - DAY John lays a towel down in front of the tub. Darcy sits on the toilet, placing her bag at her feet. She removes a stopwatch, a stethoscope, and a pair of latex gloves. 000200000B4800000ECBB42,John kneels on the towel. DARCY (unfaltering) One minute. Darcy slips the stethoscope around her neck and fits the gloves on her hands. She grips the back of John's neck. John turns and gives Darcy a tender kiss on the cheek. He takes three deep breaths and exhales as far as his lungs physically allow. He voluntarily plunges his head into the nearly full tub. Water infiltrates John's lungs. The leaky faucet commandeers Darcy's attention as the moments drip by. John's body contorts. Darcy reinforces her grip, keeping his head submerged. She leans her weight against his convulsing body. John's fight ceases and he falls limp. Darcy places the stethoscope on his back and feels for a pulse in his neck. She starts the stopwatch. The seconds tick by... progressively... Slower. SLOW FADE to white and fade back in to: EXT. The Carpathian Mountains in the winter of 1449 - DUSK A lone horseman whips his animal to a gallop. CUT TO: EXT. TAVERN - DUSK The horseman, IVAN, (John of 2037 now dressed in period costume) dismounts, pulls a leather map from his saddle bag, and approaches the tavern. The tavern is closed but IVAN pounds on the window. A young barmaid, MARENA, opens the door. IVAN I must have directions to the main road. MARENA I can help you. CUT TO: INT. TAVERN - DUSK A smoking peat fire illuminates the dank interior. MARENA pours IVAN a cup of tea from an ancient samovar. IVAN I feel like I have been lost forever. MARENA That is how most people find us these days. IVAN Why are you closed? Where are all the peasants? MARENA They are too afraid to leave their homes to dance in my tavern. IVAN Too much fear must be bad for business. MARENA No, business is good. Too good. IVAN (Points to map) I'm trying to find this road to Moscow. MARENA But, you are heading in the direction of Scheol. (beat) Why are you going to Moscow? IVAN laughs. IVAN It's just a memory now. When I was growing up, no one in my family ever died. They "went to Moscow." MARENA Moscow? IVAN Death was taboo in our house. When I came home from working in the fields one day, I couldn't find our mare, Grey. I asked Papa, "What happened to Grey?" He replied, "The horse went to Moscow." MARENA How. . . original. IVAN To this day, I still have visions of Grey galloping by her self to Moscow. MARENA So, you never have been to a funeral? IVAN No. When my Nana passed away, we piled into the wagon and rode to the cross roads. When we got there, Papa got out, looked around, came back and said we missed her. She was already on her way to Moscow. MARENA You sure you've never been to a funeral service? IVAN I couldn't bring myself to go. Cut to FLASHBACK: EXT. GRAVEYARD - DAY IVAN slowly rides his horse past an old church surrounded by a graveyard. A service is in progress. The horse tries to enter the cemetery. IVAN pulls on the reins. The horse resists. 0002000006C300001A0D6BD,The horse and rider tug-of-war becomes so intense that IVAN draws blood from the horse's mouth and beats him till the horse is panting heavily, streaked with blood and lather. CUT TO: INT. TAVERN - DUSK IVAN I need to get back on the road. MARENA It's snowing heavily. Wait till it passes. I have nowhere else to be tonight, IVAN. IVAN Thank you. (beat) How do you know my-- MARENA Where is your family? IVAN They were killed in the fire-- Cut to FLASHBACK: EXT. VILLAGE - NIGHT A muscular male arm throws a flaming torch at a hut. IVAN --Set by a mad man. CUT TO: INT. TAVERN - DUSK MARENA Horrible. IVAN Since the fire, things haven't been the same. I... I need a change of... MARENA Perhaps you are running from your fears? IVAN It feels like I-- Cut to FLASHBACK: EXT. IVAN'S VILLAGE - DAY IVAN's neighbor gathers wood. IVAN rides past, waves to the neighbor. The neighbor doesn't acknowledge him. IVAN (V.O.) --Don't exist anymore. CuT TO: INT. TAVERN - DUSK IVAN I deserve it. MARENA Why? IVAN I couldn't bring-- Cut to FLASHBACK: EXT. GRAVEYARD - DAY IVAN watches funeral services from behind the church. IVAN (V.O) --Myself to attend my wife and child's funerals. CUT TO: INT. TAVERN - DUSK IVAN Three funerals in one week was too much to bear. MARENA Three funerals? IVAN My papa passed away earlier that week from the pestilence fever. MARENA The plague? IVAN Everybody in the village knew what it was. But, we were too afraid to talk about it. MARENA Your wife and child died from the Black Death, too? IVAN No. At night, one of the villagers, Koshchei, would burn the huts of those who had the pestilence fever. We all knew what he was doing. But nobody could stop Koshchei. We were too afraid. 000200000AFA000020CAAF4,MARENA This man prevented people from passing gracefully into death. IVAN The fear of death can drive a man crazy. MARENA It seems this Koshchei was reluctant to loosen his attachment to people's lives. IVAN When my wife and son came down with the fever, we waited for Koshchei to come. Cut to FLASHBACK: INT. HUT - NIGHT Ivan, his wife (who looks like Darcy) and child cower in the hut as a torch is thrown at it. CUT TO: INT. TAVERN - DUSK IVAN (pauses, looks up at MARENA) I died in that fire, didn't I? MARENA Yes, you-- CUT TO: EXT. GRAVEYARD - NIGHT Blinding WHITE FLASH. Both IVAN and MARENA gaze down at three gravestones. MARENA --Did. After a moment of silence, MARENA puts her hand on Ivan's shoulder. MARENA (CONT'D) It is time, Koshchei-- CUT TO: EXT. VILLAGE - NIGHT Another WHITE FLASH. The man throws the torch at the hut. It is IVAN. MARENA, now dressed like the Grim Reaper, watches. MARENA --To go. CUT TO: EXT. DIRT ROAD - NIGHT MARENA carries a scythe. She leads a procession of princes and beggars, all marked with the oozing lesions of the bubonic plague, all dancing relentlessly, twirling hysterically as they follow MARENA down the dark, winding road. In the background, etched against the horizon is a large solitary tree. IVAN's body swings from a rope. SLOW FADE to white and fade back in to: INT. THREE FROGS Inn, Seville, spain 1493 -NIGHT A small, seedy but busy bar. Music plays in the back ground as waitresses go from table to table with bottles of wine. The door opens and a man dressed entirely in black walks in. He looks to be in his thirties but his face shows a rough life. Several women watch him and whisper to each other as he walks past them to the bar. He smiles at the Bartender (John from 2037) and takes a seat on a wobbly stool. MAN IN BLACK Good day to you sir, everything all right? Juan Fine I guess, busy for a Tuesday. What can I get you? MAN IN BLACK Just bring me a pitcher of beer, we'll go from there. The bar goes silent. Juan Nobody has ordered beer here for a few weeks. MAN IN BLACK I know, but they have arrested your beer witch, the brew should be fine now. Juan scoffs and walks away. The man in black looks around the room and catches several people stealing glances at him. He smiles as he takes off his black hat and lays it on the bar. Juan returns with a pitcher and a glass. Juan There you go mister. MAN IN BLACK Thank you kindly. He fills up his glass and drains it. He refills his glass. Juan Tough day? MAN IN BLACK They're all tough. Juan I hear you. Want to talk about it? MAN IN BLACK (smiles) You don't want to hear my story. It's...complicated. Juan That's what everyone says. Anyway we are kind of dying down and I haven't heard a good story in ages. Tell me. Or better yet, let me guess...woman problems? 00020000098D00002BBE987,The man in black downs his drink and looks at Juan dead in the face. MAN IN BLACK Well, Juan it's like this. I'm sick and tired of my job. Juan Yeah I know how that...hey! How do you know my name? The Man looks right into Juans eyes. MAN IN BLACK I know everything about you. I know that you got married at twenty, widowed at twenty four. Married again at thirty. You have one child, a ten year old daughter named Carlotta and your wife ran away with your friend Jose. Juan looks hard at the man. Juan Who are you mister? How do you know all that about me? (a beat) And anyway my wife did not run away with him. Jose and I have been friends since we could walk. He wouldn't do that to me. She left with one of those dirty Moors. MAN IN BLACK Yeah well, so where is he? He refills his glass. Juan Did Jose put you up to this? I dont want to hear you talk about my wife and best friend like that. MAN IN BLACK Hey, you asked remember. A waitress walks up to the bar. She is very attractive with long black hair and a pretty face. She smiles at the man in black and blushes when he smiles back at her. Juan Uh, Margarita do you need something chica? Margarita Oh yeah, I need another bottle of the expensive wine for the inquisitor's table. The man in black turns to look at the inquisitors table, obviously an important man in important company. Juan looks at the man in black and walks over to his cellar. Margarita (CONTD) Hi, I'm Margarita. MAN IN BLACK So I heard. Margarita I don't think I've ever seen you in here before. Are you new in these parts? MAN IN BLACK Yeah. Margarita Well, maybe you will become a regular here. MAN IN BLACK (smiles) Maybe, anything is possible. Juan returns with a bottle and gives it to the waitress. Juan Here, now stop flirting with my customers. Margarita blushes again and walks away. MAN IN BLACK Don't be so hard on her. She's a good soul. She just has terrible luck with men. In fact all she really wants is someone to come here one night and sweep her off her feet. Juan Is that so? MAN IN BLACK She's lonely, but she hides it well. She has learned how to hide her feelings. After work she goes home and cries her self to sleep. Juan Mister if you try to do anything to that girl I'll... The man in black laughs. MAN IN BLACK Settle down, sorry sometimes I ramble. Juan I don't believe I caught your name sir. MAN IN BLACK Well, let's just stick with, I don't know, Joaquin. 000200000BF900003545BF3,Juan Don Joaquin, why don't you finish that pitcher and get out of here, please. Juan starts to walk away. MAN IN BLACK But I haven't told you my story yet. It's about you. Juan stops and walks back to the man in black. Juan Well, do tell. MAN IN BLACK (taking a drink) In the next six months you will die. Juan (getting loud) I dont know who you think you are, but we dont like people such as yourself around here! MAN IN BLACK (lowering his voice in a soothing manner) I know, but I can prove it, just calm down. For the last few months you have had head aches. Some so bad you could not open up for business some nights, right? Juan Yes but I was always drinking the night before, they were hang overs you know? MAN IN BLACK (nods) You've been to scared to see a doctor and now it's to late. I'm sorry. Juan You don't know what you're talking about, why don't you just leave right now? Your drink is on the house friend. The man in black grabs Juan by his wrist. He feels the cold of his grip run up his bones. MAN IN BLACK When you were six your father left you Juan. Your mother was your life and she died when you were seventeen. You can't bare to loosen your attachment to people's lives. What more do you want to know? Juan jerks his arm away from the man and steps back. Juan Who are you to come in my business and tell me this? MAN IN BLACK Fine listen, I came here to tell you that you have six months before you fall to your death in your own cellar. Last week you accused that girl who was going to leave you, Teresa, of putting a spell on your brew, and now she is going to be burned at the stake. But you know she is innocent, you know your brew is bad because your kettle is mottled. Juan (a guilty look crosses his face) I did my duty... as a christian. Man in black I know you were pressured to give that testimony. But only you can save her, only you can save an innocent life. Only you can give Teresa her life back. We can go to the inquisitor right now. (turns to look at the inquisitor's table) If you want to save the life of an innocent girl. Juan Well if I am really going to die in six months anyway, what do I care if she burns or not. The Man in Black smiles at him. MAN IN BLACK Now, Juan, we both know that is not how you really feel. All your life you have wanted to make a difference in this life, do something meaningful. Now here is your chance to do just that. Juan rubs his face and turns his back to the stranger. Juan This is crazy, you must be a witch too... Another waitress walks up to the bar. MAN IN BLACK Hello Isabel. Isabel What? (laughs) How do you know my name? MAN IN BLACK You look like an Isabel I guess. Isabel Well good guess mister. Oye Juan can I take my break now that we are slow? Juan Uh, sure yeah go ahead. Isabel smiles at the men and walks off. MAN IN BLACK Chica... Carlos is not there yet, give him another ten minutes, his horse lost a shoe. The woman turns to look at them quizzically but still exits the door. Juan In the name of hell... The man in black laughs. MAN IN BLACK 0002000007A40000413879E,What? No, I'm just here to help. Anyway the devil is only a myth. Juan The black clothes...are you like the... you know? MAN IN BLACK Angel of Death? Juan nods. MAN IN BLACK (CONTD) No, sorry. But since you're wondering the Angel Of Death...It's a woman, Marena. Juan Jesus! How do you know all that? (hushed) You are an Angel! The stranger smiles. MAN IN BLACK Well, this is not about me. Juan (still whispering) Oh my God, I cant believe I am being visited by an angel. MAN IN BLACK Calm down. I'm not an angel. Not the kind you're thinking of anyway. I just, well I know things and it's my job to give people a little push in the right direction before they go. Juan Go? MAN IN BLACK Die, what have we been talking about? Juan Oh sorry this is all a lot to take in. MAN IN BLACK I can imagine. I neglected you in your past life so I have to make amends. Look, I know this is a huge shock for you and everything but it will be fine. Anyway let me try and cheer you up. The man spins around on his stool and looks at the bar. MAN IN BLACK (CONTD) The woman there, laughing with her husband? She's pregnant. They have wanted a child for a long time, they pretty much had given up, but she will find out in a few more weeks that they finally will have a child. Juan Thats great, her husband is good man, we go to the pond to fish a lot. MAN IN BLACK Margarita? Two years from now, she will meet a man named Samuel. They will run away to get married a year later. Juan Oh that's fantastic, does it work out? The man in black spins around and looks at Jim. MAN IN BLACK Yeah, no more crying herself to sleep. Juan (smiling) Good for her. MAN IN BLACK I've said enough. Look I've got to go. I want you to remember that everything I have told you tonight is the truth. I can't make you tell the inquisitor the truth, I'm just here to offer advice. The future is up to you. He reaches out his hand, after a hesitation Juan shakes it. 000200000933000048D692D,Juan Thanks, I guess. Margarita walks up to the counter again. Margarita Another bottle of wine please. Juan Sure... Margarita, after work I want to talk to you about something. Margarita Sure. Where did that man go? Juan looks over at the empty stool. On the bar is a shiny gold coin. Juan He uh, had to leave I guess. Margarita Too bad, he was nice. Juan Yeah well, one day...one day you'll find that special someone. Margarita (nodding) Not in here I won't. Juan Just go back to work girl. She smiles and walks away. Juan walks over to the coin and looks at it. After a minute of hesitation he walks over to the inquisitor's table. Juan (CONTD) Sir? May I take a moment of your time? There is something we must talk about. Inquisitor Of course, son. What is this all about? Juan I need to change the testimony that I gave at Teresas trial. I did not tell the whole truth. The fact is... INQUisitor (stands and directs Juan away from his guests) Yes? Juan The fact is, sir... She is innocent. I dont think she put any kind of spell on our beer. The Inquisitor looks shocked and concerned. Juan smiles as he glances at the door to the bar. SLOW FADE to white and fade back in to: INT. WORKSHOP, Venice, 1547 - DAY A chisel works its way over the surface of a rough piece of gray granite. Small chips fly past an old mans dried and bandaged hands as the CLINKING of the hammer striking the chisel ECHOES throughout the shop. CUT TO: INT. wORKSHOP doorway - DAY Giovanni, a 12 year old boy who resembles Juan from the previous segment, peeks through the crack in the door, casting a small shadow on the shop floor. He slowly slips inside, careful not to make any noise. He nearly succeeds, until a strap on his leather satchel latches onto a hammer, pulling it to the floor. He winces as a loud THUD echoes in the shop. Mr. PantELLI (OS) Dont worry. I think I would have figured it out, with or with out your stealthiness. Giovanni leans to pick up the hammer. Giovanni Sorry, Mr. Pantelli. Giovanni glances at the sun dial on the window ledge, which indicates a little over one 'tide' past the midday (past 3PM in modern time). He tosses his leather satchel in the corner and picks up a large black bristled shop broom. MR. PANTELLI, an old stone carver with features so sharp they too appear chiseled from stone, pauses to examine his work. 0002000006750000520366F,MR. PANTELLI Dont be sorry. Just dont be late. Giovanni (Under his breath) Its only a little late. Mr. Pantelli smiles as he wipes chips of stone from his eyes and nose. MR. PANTELLI Someday, when your older, show up late to your wedding. Tell me then that its only a little. Giovanni smiles. Giovanni Thats a long way off. MR. PANTELLI Lucky for her. He glances up from his work just long enough to give Giovanni a wink. Giovanni Thats still the same piece? MR. PANTELLI Why wouldnt it be? Giovanni Youve been working on it for weeks. MR. PANTELLI I know. It may be weeks yet. Giovanni Well, if you got that new stone I showed you The old man interrupts him. MR. PANTELLI No art can be made from these new stones you speak of, Giovanni. Giovanni Why not? MR. PANTELLI Because they have no soul, and the soul is where the most beautiful things begin. MR. PANTELLI (CONTD) And besides, I hate the noise its not the symphony of my old hammer and chisel against marble. Giovanni Well, that soulful symphony is costing you money. MR. PANTELLI Hmmmph. Then so be it. Money, money, money. All you youngsters think about today is your money. He accusingly points the chisel at Giovanni. Giovanni You could put out twice the work, hire on new help, and the customers wouldnt even know the difference. MR. PANTELLI I would know the difference. Giovanni shakes his head and returns to his sweeping. He glances to the corner where a where a hashing cloth covers an unknown project. He stares for a moment, and then returns to his sweeping. His head jerks up when he hears the loud CLANK of Mr. Pantellis chisel falling to the concrete floor. 0002000006CE000058726C8,Giovanni Mr. Pantelli! He drops the broom and rushes over to where the old man had been working. Now slumped over, the old man anxiously clutches at his chest. Giovanni (CONT'D) What happened? Are you ill? MR. PANTELLI Quick, Giovanni. Get help. Giovanni dashes off towards the doorway. CUT TO: INT. HOSPITAL ROOM NIGHT Mr. Pantelli lies in a white linen hospital bed, eyes closed. Giovanni sits still by his side. A doctor works around him. Giovanni How is he? DOCTOR Were going to make him as comfortable as possible. Mr. Pantelli opens his eyes. MR. PANTELLI Ill be fine. DOCTOR You just get some rest, Mr. Pantelli. MR. PANTELLI (To Giovanni) What time is it? Giovanni It's been dark for a little while.. He motions towards the window. MR. PANTELLI Night? I have to lock up the shop. Giovanni I took care of it. The shop is all set. MR. PANTELLI Howd you get here? Giovanni They let me ride in the cart. My mother is waiting outside. The old man swallows hard. He struggles to speak. MR. PANTELLI Come here, Giovanni. Giovanni leans in. MR. PANtELLI (CONT'D) I need you to do something for me. Giovanni What? MR. PANTELLI Its very important. Giovanni What is it? MR. PANTELLI I need you to finish a project in the shop. Giovanni leans back. Giovanni Mr. Pantelli, I cant. I wouldnt know how, I MR. PANTELLI You know more than you think. Giovanni shakes his head. Giovanni Really MR. PANTELLI Do this thing for me. Giovanni hesitates while staring at the floor. He looks up. Giovanni Which one? MR. PANTELLI Under the hashing cloth, tucked away in the corner. You know where all the tools are. Giovanni Whats under the hashing cloth? MR. PANTELLI If you run into trouble, check the books and manuals above the tool chest. 0002000006EE00005F3A6E8,Giovanni What is it? Whats under the hashing cloth? Mr. Pantellis voice grows even weaker. MR. PANTELLI I need to rest my eyes now. Giovanni sits for a second as the old man closes his eyes. After a few moments of silence, Giovanni rises to his feet and shuffles to the door. He looks back in sympathy and nervous anticipation as he blows out the candle. CUT TO: INT. GiovanniS HOUSE- NIGHT Giovanni sits across from his MOTHER at the dinner table. (She is Darcy from the opening sequence) He stares down at an empty plate while he plays with his fork. MOTHER Giovanni, dont worry. Hell be fine. Im sure. Giovanni No he wont. MOTHER Now, how do you know that? Youre not a doctor. Giovanni Because, thats what they said about papa. His mother drops her eyes. MOTHER Your father would have faced this with courage, as you should. Giovanni A lot of good that did him. MOTHER Giovanni, there is more to life than fending off death, you have to let go. Papa is dead and we can't do anything about it. Giovanni puts down his fork. Giovanni Everyone will die, so what is the point of living? His mother smiles. MOTHER Youre not the first to ask that question, Giovanni. Giovanni is unsatisfied with the answer. Giovanni So, whats the point? MOTHER I dont know, Giovanni Maybe that is one question we learn the answer to along the journey. Listen to what Mr. Pantelli has to say, he is much further along on that road, and has seen many more things than you, or I for that matter. Giovanni I did ask him. MOTHER So, what did he say? Giovanni He said death was only the beginning of a different life. Giovanni roles his eyes. MOTHER And? Giovanni And what? Thats what he said. His mother just shakes her head. MOTHER There will be no work for you tomorrow then? 0002000006CD000066226C7,Giovanni I have to go to the shop. He holds up a brass key on a string. MOTHER Does Mr. Pantelli know this? Giovanni He asked me to. CUT TO: INT. woRKSHOP - dAY Giovanni swings open the heavy door to the shop and strides in. He pauses. The shop is unusually quiet. Lighting a candle, he stares across the room at the hashing cloth as the room flickers to life. He tosses the keys on the heavy wooden bench beside the door and walks towards the hashing cloth. With anxious anticipation he grips one corner, and in one quick motion whips it off. He stands motionless and swallows hard. From Giovanni POV the hashing cloth hangs half off a very ornate headstone. It is unfinished, but reads: Martino L. Pantelli CUT TO: INT. HOSPITAL DAY Giovanni sits alongside the old man, who appears a bit more awake. Giovanni I cant do it. MR. PANTELLI Nobody else can. Giovanni Youre not going to die! MR. PANTELLI Oh, Giovanni were all going to die. You cant hide from it like like a child from an angry parent. Giovanni Its not that. He looks away. MR. PANTELLI Let your soul move your hands, Giovanni. Feel the sculpture through the stone. Giovanni turns back quickly, almost annoyed that the old man is ignoring him. Giovanni You cant die here! Mr. Pantelli grabs Giovanni and pulls him closer. MR. PANTELLI I may die here, and I may not. Either way, its all right. He holds his bony hand to Giovannis chest. MR. PANTELLI (CONT'D) Dont let me die here. Tears well up in Giovannis eyes. The old man closes his. MR. PANTELLI (CONT'D) Death can be like the last bits of sand clinging to the sides of an hourglass. But I can beat it. Death can take me, but not what I pass along to the living in spirit, not what Im passing to you. 00020000087600006CE9870,Giovanni grows frustrated. Giovanni Dying is just giving up. MR. PANTELLI No! Giving in. Giovanni slumps back in his chair. Mr. Pantelli raises a finger. MR. PANTELLI (CONT'D) At the fathers death, he will seem not dead, since he leaves after him one like himself. Giovanni What is that? MR. PANTELLI The wisdom of Sirach. His words fade out as he falls into sleep. CUT TO: INT. woRKSHOP - dAY Giovanni stands and stares at the headstone. The look of sorrow in his eyes turns slowly into one of determination. MONTAGE WITH MUSIC OVERLAY -Giovanni looks over various manuals. -Giovanni searches drawers, collecting tools one at a time. -Chips of stone fly as Giovanni chisels away. -Giovanni by Mr. Pantellis bedside. Mr. Pantelli points out flaws with Giovannis drawings, and corrects them with a pencil. -Giovanni brushes off stone dust, and stands back to examine his work. From Giovanni's POV we see a beautifully finished headstone. It reads: Martino L. Pantelli A great friend, a great soul FADE TO: EXT. CEMETARY DAY The stone now sits on a freshly dug grave. A hand lays down a bouquet of white irises and touches the face of the stone. The camera PULLS BACK and we see Giovanni in his best outfit. He traces the lines he carved himself with his index finger, and brings his other hand up to his heart. He sits there for a moment, and then stands, and walks away. SLOW FADE to white and fade back in to: INT. JOHN'S APARTMENT -- BATHROOM 2037 - DAY The stethoscope glides across John's back. The stopwatch ticks with a profound presence. John's clenched fists dangles alongside his knees. His head floats lifelessly in the tub. The stopwatch and stethoscope drop to the tile. Darcy's arms plunge into the water and her hands hook around John's abdomen. His head bobs like an apple in a barrel. She pulls backward while lifting upward. John's torso rises above water, but his head keeps targeting the tub. She holds him tight. John's head bobbles to the rhythm of Darcy's sobs. CUT TO: EXT. PARANA RIVER, PARAGUAY/BRAZIL BORDER, 1650 - daY It is late afternoon. A bare-bones, rickety, FERRY docks on the river bank near a rural dirt road. 0002000006E1000075596DB,JOAO is John from the opening sequence minus his tatoos and in grungy clothes with must-up hair. He latches the stern line to a piling as CORDERO, a scraggly, quirky character leans against the Ferry's side rail, organizing pieces of eight in his primitive till. CORDERO Won't give up their slaves though, will they? JOAO They think they're above reproach. BASILIO, a clean-cut Jesuit priest, rides up on horseback. CORDERO What happened to loyalty? BASILIO Pardon me, fine sirs. JOAO (CONT'D) (Ignoring the priest) There is none when slaves are involved. Basilio holds a silver coin out to Cordero. BASILIO I'm sorry, but I really need to be on my way. CORDERO I'll be right with you. (to Joao) They'd make us all slaves if they could. JOAO They'll never get the chance. Cordero nods. BASILIO Enslaving men in chains is ungodly. We must all do our part to bring a halt to such a vicious practice. JOAO Yes, Padre. BASILIO You are a fellow crusader, no? Joao and Cordero exchange smiles. CORDERO (to Basilio) Come along with your fare. (taking Basilio's silver coin) Sure you don't got nothing smaller? You will take all my loose bits and pieces. BASILIO I apologize. Until I found that in my satchel a few hours ago, I thought I was destitute. JOAO (looking at Cordero) Many in these parts are. Cordero rolls his eyes. Joao laughs. CORDERO Don't make me get ugly? JOAO No, I wouldn't do that. Not after last time. They look at each other and laugh wickedly. JOAO (CONT'D) Please, come on board, Padre. Basilio rides his horse onto the Ferry. Joao casts off, steering the Ferry across the river. BASILIO Can you direct me towards the nearest stable? One of my horse's shoes went bad. It needs to be fixed. Cordero counts out bits (eight to a piece). 00020000064F00007C34649,CORDERO ...Fourteen...thirteen... JOAO Jose, a league and a half is open till nightfall. There isn't another for at least a day's ride. BASILIO Thank you. (checking a pocket watch then looking at the setting sun) Mmmm. May I have my change? CORDERO Twelve...eleven...Hold on. A few more seconds won't kill you, Cura. Cordero and Joao chuckle. Basilio smiles nervously. BASILIO I know. It's just that I already brought my horse to one stable this morning, but with no financial means-- CORDERO Jose don't work for free. BASILIO I intend to use the change you give me to pay for the shoe. If I don't get one soon though, I won't be able to make my destination on time. JOAO You should never put off till tomorrow, Padre. Nothing good ever comes of it. CORDERO Ten...nine... BASILIO (CONT'D) Sage advice. Basilio taps his hand on the saddle, looking around, trying to mask his impatience. BASILIO (CONT'D) Do many travelers pass this way? JOAO A small share. It's usually peaceful except for when a wild cat or strangler creeps up behind you. Basilio looks worried. BASILIO What do you mean? Cordero and Joao laugh as Joao picks up the stern line and plays with it. JOAO So, where are you heading? CORDERO (counting) Seven...six... BASILIO (CONT'D) Wh-- what? JOAO Where are you heading? BASILIO A funeral in just an hour. CORDERO There's nothing like a Brazilian funeral. JOAO Don't have enough of them around here. CORDERO That's because there aren't enough folk livin' here to begin with. Joao nods, then chuckles with Cordero. CORDERO (CONT'D) Funeral food is the best. (to Basilio) Who was it, died? 000200000C580000827DC52,BASILIO A close friend. JOAO Name wasn't Diego or Milagros was it? BASILIO No, Galeno. CORDERO You know Eduardo Galeno?! BASILIO No-- CORDERO (to Joao) The other day, when I went to collect what he owes, the bastardo said he didn't know what I was talkin' about. Even chased me off his land at musket point. I almost didn't make it alive. JOAO Cerdo! Someone oughta shoot him. CORDERO If I had a gun, I would have. (to Basilio) So, you're a close friend? BASILIO No. No, no, no. I'm not even acquainted with the gentleman. CORDERO Oh, yeah? Then who is it you know? BASILIO Socorro Galeno. A good friend of the church. And an abolitionist. One of the few types you can trust. JOAO Along with plantation owners. BASILIO (confused) Yes. Joao and Cordero grin at each other. BASILIO (CONT'D) Did you know him? JOAO Never heard of her. BASILIO Him actually. You would have liked him had you known him. Basilio spots shackles attached to the Ferry's bottom rail. He flashes a concerned look. Joao sees this and smirks while stepping on the shackles. BASILIO (CONT'D) May I have my change? CORDERO You sure you don't know Eduardo? BASILIO Positive. JOAO That's a blessing. Because if you did, we'd have to kill you. Cordero and Joao laugh. BASILIO My change. CORDERO Now, where was I? BASILIO Six, I think. I don't need all those small bits though. CORDERO They're all I got, hombre... (counting out coins) One...two...three... BASILIO Why are you counting forwards when you were counting backwards before? CORDERO You got a problem with my counting? BASILIO No, no. It's just that I would appreciate my money now so that once we dock I'll have time to get to the stable. CORDERO You'll get it, just stop interrupting. Basilio anxiously looks at the sun again. It's almost setting. The Ferry runs aground. Joao latches the stern line to a piling. BASILIO Please, just give me what you've counted so far. That will be fine. CORDERO (looking up) Now, you made me lose count. (starts recounting) One...two...three...four... Basilio shakes his head in disbelieve. CORDERO (CONT'D) Five...six... Oops, droped one. Basilio sighs in frustration. Suddenly, Basilio's horse quivers like he's going to collapse, then he perks up again. BASILIO Please, my money. CORDERO It's not like your friend is going any where. BASILIO I just don't want to be stranded. JOAO You got something against our company? BASILIO No, no. I just need to be moving along. BASILIO (to Cordero) Please! JOAO (checking his expensive pocket watch) Five to. CORDERO Good. I'll have enough time. Cordero puts down his till and walks ashore. BASILIO But my change. Come on. Come on! I only have a few more minutes. CORDERO Hey, I'm just going to relieve myself, Cura. So, hold on. BASILIO But the time-- Cordero walks off. BASILIO (CONT'D) Great. (to Joao) Could you get my change? JOAO Sorry, he's in charge of the till. BASILIO But the stable is going to close. JOAO He'll be back a minute. BASILIO I don't have a minute. Basilio dismounts then opens Cordero's till and counts money. Joao walks over pulling the bow line taunt in Basilio's face. JOAO Are you trying to steal? 00020000067F00008ECF679,BASILIO No, I just want my money. JOAO Around here, we don't take kindly to strangers who don't know their place. You best get back on your horse. BASILIO But-- JOAO Back on the horse, unless you're looking for trouble. Cordero appears behind Basilio and nudges him in the back. Basilio jumps in fright. BASILIO Wh-- where did you come from? CORDERO Tryin' to jilt me, huh? After I've been so nice. BASILIO No, no. I just want my change. CORDERO Then get up there and let me count it, fool. Basilio hops on his horse as Cordero resumes his counting. JOAO (to Cordero, but looking at Basilio) My pet monkey went crazy last weekend. Kept acting up so I had to put it down. (mimes strangling it with the bow line) One good tug though and his neck snapped like a twig. In these parts it's easy to lose your attachment to other being's lives. CORDERO That's what should be done to Eduardo. He better hope he don't see me again. BASILIO How are you coming with that change? CORDERO I told you, hold on. Basilio nods, as he spots Joao tie the bow line into a noose. BASILIO What's that for? CORDERO Sixteen...fifteen... Joao pulls the mouth of the noose open. CORDERO (CONT'D) Ready? Joao gives Basilio an odd look then nods to Cordero. Basilio squirms in his saddle. BASILIO What's going on? Cordero and Joao step towards Basilio. Basilio kicks his horse to run. The horse jumps on his hind legs, hurling Basilio into the river. Basilio battles to stay afloat in the current. BASILIO (CONT'D) Help! Help! Joao seems nervous but Cordero smirks as they watch Basilio struggle. JOAO There are far too many people out to betray us in this world. Cordero nods. 00020000091700009548911,The current pulls Basilio under. JOAO (CONT'D) But they get what they deserve. Bubbles appear on the surface of the water. Cordero shakes his head, then pulls out a large bag overflowing with money. CORDERO (grinning) And here's what we deserve. They laugh. JOAO Yes! In the end we all have to go. Joao looks at the horse. JOAO (CONT'D) Good looking horse. Should bring a fine price. Cordero nods. Joao spots a well-dressed NOBLEMAN ride up on horseback across the river. JOAO (CONT'D) Come on, there's more work to be done. They cast off, heading towards the Nobleman. SLOW FADE to white and fade back in to: INT. JOHN'S APARTMENT -- BATHROOM 2037 - DAY Darcy lies John's body on a bed of towels. She cradles his head, runs her hand through his dripping locks. She pries each fist apart and massages his hands. The stopwatch commands Darcy's attention. She snatches it off the floor, slides to the wall, and tucks her knees under her chin. She folds the timepiece inside her praying hands. DARCY Give him back. We'll stop. Just give him back once more. She consults the watch. It tick-ticks thirty. It tick-ticks thirty one. CUT TO: INT. CHURCH - 1775 OBSERVER'S POV - NIGHT. A moonlit, burnt-out, roofless church. A bloody bandaged, young, native American looking BOBBY BONES is propped against a wall, raggedly breathing. Flares, explosions, and cries all around. TINY,(John again) sits by his friend. TINY (almost to camera) Hey! I wondered what would happen next. Sit down! Guess there's no rush now, eh? His gaze moves to Bobby. TINY (CONT'D) This is Bobby. Never thought we'd get to this state. I guess that we never really think of the future much. Least ways, old Bones here never did. Eh! Bonesy? He pats his shoulder. TINY (CONT'D) Well! Long as we ain't in no hurry, may as well bore you a little bit, eh? Tell you about Bobby 'an me. His name ain't really Bones. He's my half brother, his Mom was a Chippewa, but he looks more like my Dad with them blue eyes of his. His Mom gave him a necklace of bones once. Bin called Bones ever since. I'm Jack but they call me Tiny. Yeah! I know. I ain't real small, but I was a runt as a kid. People used to see my Dad an' me together, "damn! He's tiny." Name stuck. Me 'an Bobby clicked from the get go. They called us the Terrible Two....Want some baccy? 00020000076700009E59761,He bites off a plug and spits. TINY (CONT'D) Na! Guess you don't at that...We was a pair. His Ma went the same way as mine, and then it was just the three of us. I was older by five years, so I got most of the blame for stuff, but we was a team. We trapped and traded furs all along the frontier with my Dad. Proudest damn Scotsman you ever did see was my Dad. Beard as ginger as a winter sunset, and a laugh that would break windows. He'd light up a dull day just by being in there. Only ever saw him down but once. Well! We trapped all along the Great Lakes. Never stayed long in one place. Every few years we'd travel to Boston, and buy new gear. My Dad said Boston was the only town that he'd ever liked, so that's where we went. Then it was back into the wilds again. I loved it. Those towering forests, and lakes as big as an ocean. It was our playground and our school. Then my Dad met Flora. Silence for a few moments. CUT TO: EXT. BOSTON ALLEY - DAY. Two children, Tiny same boy as in Venice, and Bobby, and their father DUNCAN, stand before the door of terraced house. Filth litters the cobbles of the alley. TINY Dad, these clothes itch, can't I wear my buckskins? DUNCAN You'll do as your told boy. Duncan spits on his hands and tries to tame Bobby's wild hair. TINY It smells here, and I can't see the sky. Do we have to stay dad? DUNCAN Look! I know that all this is strange to you both. I know that the city smells funny, and feels close, but this is what is best for all of us. There's opportunity here that you will never have on the frontier. You'll learn things that I can never teach you. I would be less of a man, aye and a father, if I didn't expose you to them. You're the best sons that any man could ask for, and I'm asking you as one man to another. Please just give it a chance eh? Flora's a good woman, and we can do well here. Will ye no do that for me lads? 00020000098A0000A5BA984,BOBBY Yes, I will. Tiny scuffs his new shoes on the cobbles. TINY I'll do it for you Dad. DUNCAN Good lads, and I make this promise to you both. If in a year's time you still feel the same, you can come to me, and we can talk again. CUT TO: INT.CHURCH - OBSERVER'S POV - NIGHT. Tiny stands looking out into the night. TINY Never did get to talk about it again. Me an' Bobby got sent to school just outside of Boston. We came home at weekends, but it was never really home. The school was run by a bunch of priests. They taught us about Jesus, and showed us hell. Never really figured out which side some of them were on. I can still feel the sting of Father O'Connor's birch rod on my back, and the sting of Father Taylor's words in my ear. We spent some five years like that. I hated every minute of it. Every single minute. Spits. Silence again... TINY (CONT'D) Hell! Now this ain't no fun for y'all. Don't want to get you feeling all down an' such. Heck! I ain't told you about Darcy Murphy. She taught us all about Biology. Now she didn't work at the school, but she was some teacher, I can tell you. She taught her class out in the fields around Boston, an' we all passed with honors. She taught what nobody else would. Laying down in the field with the sun all warm and golden on my skin, an' Darcy all warm an' golden by my side. Heck! If I never get to heaven, least ways I seen a touch of it. Tiny chuckles for a while. TINY (CONT'D) Then she goes and gets beaten up bad. They arrested her Daddy, and she went off to live in the South with an Aunt. Hear she had a kid. Never did see her again....Well! Bobby an' me, we just kinda ambled along in life. We weren't heading in no particular direction. Then the French started trouble, and that's what rescued us. Now Dad didn't care for the French, but he hated the English. They were the reason that he had left Scotland. So when the Redcoats started to recruit militias in Boston, we moved south to Baltimore, but that weren't no good either. We were going to move again, but we never got the chance. Flora took ill, and two weeks later she was dead. Dad took it bad, and he blamed the Redcoats for it. He hit the bottle hard, and would stagger back to the room we were renting, shouting obscenities about the English. Well didn't take but a week and he'd drunk what little money we had. The landlord could put up with drunkards, but not penniless drunkards. So! Out we went. 00020000070B0000AF3E705,Tiny sits back down and pats bobby on the shoulder again TINY (CONT'D) Have to hand it to Bobby here, he was the one with the bright idea. He said that we were going in the wrong direction. He said that we should be heading back to the frontier. He said that we couldn't lose the Redcoats in their own towns, but in the forests of the North, you could lose a whole army. Back we came. We worked our way up to our old trapping grounds, and the further from civilization we got the happier we felt. We shed the coarse cloth of the city for the comfort of the wild buckskins, and the feel was the best thing ever. Dad had been quiet as we travelled, but when we left the noise of people behind us, he started to find that part of him that he had lost. We traded and trapped for seven years like that, never once returning to civilization. We heard about the fighting from friendly tribes, but we didn't feel part of it. Tiny spits onto the floor. TINY (CONT'D) And that was a big mistake. CUT TO: EXT. SWARTZ CREEK - EVENING. Two young men, Tiny and Bobby, walk along the side of a small creek. TINY ...I didn't say that it was false, but that it might not hold up is all. BOBBY It will hold. TINY Would you swear to that? BOBBY I will swear, and more; your knife for mine if it does not hold up. TINY And what do you get if it does? BOBBY Your powder horn. TINY Done. We'll shake to it......what's wrong? Bobby has stopped and is sniffing the air. BOBBY Smoke....from the direction of camp. TINY Trouble? BOBBY Maybe. A fusillade of shots. TINY Dad! They both begin to run. It takes them several minutes of hard running until the camp comes into view. Everything is in flames, and a body lies close to the water's edge. Tiny falls to his knees beside his father, as Bobby searches beyond the camp. 0002000008C20000B6438BC,TINY (V.O.) (CONT'D) On August the fifth seventeen sixty four. Duncan MacDonald, my father, was killed by a war party of Hurons. The French and English had made peace the year before, but not all of the tribes had. One week later they did. Death seldom comes from the direction you expect it too. I thought I'd be reluctant to loosen my attachment to him, but in the end I just let him go, We buried him there where he had fallen. CUT TO: INT. CHURCH - OBSERVER'S POV - NIGHT. Tiny leans over Bobby, before pacing over to the church door. TINY We carried on of course, you know, trapping and such. That's all we knew. We was still a team, but now we were a smaller team. Leastwise that's how it seemed to me. No direction, and no color....you know? Life was just kinda grey....dull...pointless.... I started to drink some. Trade whisky mostly; rot gut. Some days I couldn't get up for the pains in my head. That's when Bobby took over. Never said much, but let me ramble and shout on. He kept the team together...Heck! He was the team. Dang! I love that boy. Tiny passes a hand over his face, before clearing his throat and spitting. TINY (CONT'D) Sorry! Just took me the wrong way is all....Now where wuz I. Oh yeah! Well me an' Bobby spent years out in the wilds. I came around slowly. Gave up drinking, mostly. Never knew my mother...Dad was my all, so took me some time. Bobby was there for me all the way. We were still kids.... Somewhere amongst those years we turned a corner. We became more than kids. We weren't men yet, 'cause you have to have experience to go with it, but we were closer. I got really quiet, but then Bobby never was a talker nohow. So it didn't make much of a difference. It was as if we was looking in and not out. Maybe that's what it takes to become a man. Got to find it in yourself, 'fore you can show it to the world. Tiny spits again. TINY (CONT'D) We came outa them wilds and into civilization twelve years later, and danged if we weren't going to war again. CUT TO: EXT. VILLAGE GREEN - DAY. A crowd has gathered to listen to a small group of armed civilians. SPEAKER 1 We need men. We need men to stand with us. We need men to fight with us. CITIZEN1 Who you fighting then? Laughter. SPEAKER 1 00020000079F0000BEFF799,You think that this is a joke? You think it funny?......You know who we fight, and don't think that the Union Jack wrapped around your waist will save you from the Redcoats. Oh yes! They are coming. Even now there transports sit fat and full in Boston Harbor. They'll be here before you can fart the national anthem, and they won't be stopping to hear which way you swing. CITIZEN 1 And you stand for something better? SPEAKER 1 No! I fight for something better. I fight for this land. I fight for choice. I fight for fair government. I fight for you, and I would willingly die for you. CITIZEN 1 I didn't ask you to die for me. SPEAKER 1 Then stand with us and fight for yourself, because now is the time to decide. When the Redcoats burn down this village, and kill your kin, the time will have passed you by. Two men, Tiny and Bobby, approach the gathering. SPEAKER 1 (CONT'D) You two! Will you join the fight? TINY Who are you fighting? Speaker 2 Where have you been for the past three years? Lost in the woods? Laughter. TINY Yes. SPEAKER 1 We fight the Redcoats. Tiny spits onto the ground. TINY I'll fight with you. BOBBY I will fight as well. SPEAKER 1 Good lads. You already have arms I see. Sign your Ians, and join the others. We march for Lexington today. CUT TO: INT. CHURCH - OBSERVER'S POV - NIGHT. TINY Maybe it was Dad talking. Maybe I was going to fight the Redcoats for him. I don't know, but we were signed up and marched off before the ink was dry. Now I hear some folks say that there ain't no just wars, but just war. Don't know about that. I ain't going to be the one that history will look at an' judge. All I know is that if you really love something, then ain't nobody going to take it from you. Has to be a time to stand up and say enough. I'll leave it to others to talk about the rights and wrongs. They can sit in their comfortable chairs at home and say what they like. I'll let them. Heck! I'd die to let them. 00020000083C0000C698836,He falls silent and stares. TINY (CONT'D) Now I've seen death. I've seen people die, I buried my own father. I thought that killing would be easy. I thought that pulling the trigger would come natural. I'm here to tell you that it ain't that simple. You can kill as many beaver, or deer as you want. You can go out and kill as many animals as you can find a name for, but when that first man walks into your sights, then that ole Kentucky gets to be fearful heavy. The barrel starts to jitter, and you almost bust your finger pulling that trigger. Then he drops. You're so close that you can see the ball strike his cross-straps. You can see the surprise on his face, and you want to call out. You want to say that you're sorry, and you think on his folks. Then you shoot the next one, and you whisper sorry, 'cause now it's getting quicker and you ain't got the time to think on him much, and the next one you blowed off his shoulder, 'cause now you're rushing. They present so you duck down for cover and the whine fills the air as their muskets roar, and you get back up, but not all of you, and they come through the smoke again. So you turn for another weapon, 'cause you ain't got time to load your own, and now you don't whisper "sorry", 'cause Joshua's screaming not five feet away with his guts ringing around his legs. So you scream obscenities, and you shoot for them cross-straps "you bastards", and he falls, and you turn for another weapon, and you shoot the next bastard, and they run, and you're laughing out loud as you shoot at their backs..... Tiny stops out of breath; panting. He spits. TINY (CONT'D) Then you look around, your eyes are all red and gritty. Now you can see what death is like, and it ain't like anything you ever saw before, and you puke. There's a smell about you, and you realize that you've soiled yourself, but it ain't nothing 'cause most others have too. Well you help the wounded, and you bury the dead, and you try to slake that raging thirst.......Then comes the night. That's when you see there faces again, and you can't drink that away. I know I tried. 0002000006690000CECE663,Tiny stops as a shadow moves furtively into the ruined church. A PREACHER looks briefly at Bobby before quickly moving off. TINY (CONT'D) Hey! Preacher, ain't you going to bless him or some such? The preacher ignores him. TINY (CONT'D) Na! Too busy rescuing his treasures, than men's souls. The preacher scurries out with a cross and chalice. TINY (CONT'D) Bye Preacher. See you in Hell. He spits after him. TINY (CONT'D) What?...What?...Now don't You go getting all righteous on me. Preacher and me have met before. CUT TO: EXT. BUNKER HILL - DAY. Troops are lined up as the Preacher walks along the lines blessing them. He stands on a box in front of them. PREACHER Men! You go into battle today. Some may not live through it. Know this though. You fight with God on your side, and anything that you may do today, you do with his blessing. Be brave, and fight well my s...... The British cannon open up from the bay, and a ball ricochets overhead. The Preacher ducks down and scurries off towards the church shouting as he goes. PREACHER (CONT'D) God ...be...with...you. The troops laugh and walk back to their positions. Bobby is waiting for Tiny. TINY Why don't you ever go to church? Can't be saved if you don't go to church. BOBBY God made the trees and, the sky right? TINY Yes. BOBBY He made the rivers and the flowers, right? TINY Sure did. BOBBY He made the animals and birds, right? TINY Yep. BOBBY He made the stars and the moon, right? TINY What you getting at? BOBBY We've been walking through a cathedral all of our lives, what do we need to go to a church for? There is our cathedral, are you too civilized to see it. 0002000006680000D531662,He gestures all around. CUT TO: INT. CHURCH - OBSERVER'S POV - DAWN. Light begins to filter into the church. Tiny gets up and walks into the light. He has a mass of bloody rags around his middle. TINY Thing about it is, he's right. He always said that you cannot seek the truth in the present with a mind full of fear for the future. Sitting here with him has given me time to think. I've been fearing what shouldn't be feared. I've been fearing the unknown. It's always been about Heaven and Hell, but what if it isn't? If the Preachers are right, only some that believe the right way will be going to heaven. Who's heaven though? Bobby ain't baptized. He'd never be let in. Heaven wouldn't be right without Bobby there. Without Bobby it would be Hell. A place where everyone does the same, and thinks the same. No other people. Maybe it's time for me to stop fearing and say,"I just don't know." Tiny spits and picks at his bloody middle. TINY (CONT'D) Guess I'll find out soon enough though. I knew I was dead when I first seen you. Had to wait for Bobby though. Just waiting for Bobby Bones. A big sigh and rattle from the wall. Bobby stands next to his corpse. BOBBY I died then? TINY We both did. Same ball. Got you in the head, and gutted me. CUT TO: EXT. BUNKER HILL - DAY. Smoke; explosions; screaming; drums beating. Bobby and Tiny are next to each other in the firing line. SERGEANT Ready for them lads, they're coming again. TINY Them Grenadiers must be mad, this is the third time. Like shooting trees. SERGEANT Watch out..... An explosion of dust and blood. Tiny screaming and crawling trying to reach Bobby. CUT TO: 000200000B520000DB93B4C,INT. CHURCH - OBSERVER'S POV - DAWN. Bobby sighs. BOBBY It's good to see you. TINY Good to see you too. Couldn't leave without you. We're a team. BOBBY The terrible two....You owe me a powder horn. Tiny laughs and hands it over. TINY (introducing Bobby to the camera) This is... BOBBY I know. Your future. SLOW FADE to white and fade back in to: INT. JOHN'S APARTMENT -- BATHROOM 2037 - DAY Darcy lies her ear to John's chest. She holds her breath silent, listening for any trace of life. She lifts his chin, tilting back his head. Her stethoscope dangles over his face like a pendulum. She positions herself beside his body. The stopwatch's alarm sounds. Darcy silences it. She opens John's mouth and ventilates twice, checks his pulse. She begins chest compressions. CUT TO: EXT. DIRT ROAD. South African VELD 1804 - DAY An OLD BLACK MAN is walking down a dusty farm road. Stooped with age, he shuffles his feet, leaning heavily on a walking stick. His face is as brown as the earth, wrinkled as a prune and his hair completely white. He is dressed in a three piece suit that, although neat, is ragged and shiny with wear. A shapeless hat shields him from the merciless sun. Across his back is slung a blanket, in which his belongings are rolled up like a long sausage, tied at the ends with a piece of rope that acts as a strap. The veld stretches out around him, a vast emptiness of grass waving gently in the wind, broken by the backdrop of a mountain range. There is no sign of other people or human habitation. This illusion is broken by the sound of a whinnying horse on the trot. The horse, a feisty BLACK STALLION, is pulling a Scotch cart, thats churning up dust. On the cart is the young boy we met in Venice, aged about 10, Johannes MALHERBE, sitting beside his father, PIET, who is holding the reins. Piet is fighting the horse all the way. He flicks a whip to get the horse going faster, and the Old Man is covered in a cloud of dust as they pass him. Seemingly oblivious to this discomfort, the Old Man plods relentlessly onwards. He stops, ostensibly to tie his shoe lace, but we see his worn and battered shoes have no laces - instead he tightens a piece of string wrapped around one shoe to keep the sole from flapping. DISSOLVE TO: EXT. DIRT ROAD - dAY The sun has moved on, casting afternoon shadows when he stops to rest in the meagre shade of a tree on the side of the road. The Old Man groans as he eased the baggage of his back and sits down, leaning against the tree. It takes him a few moments to recover his breath. He takes a white handkerchief out of his pocket and mops the sweat from his face. Pinching his nostrils with a finger and thumb, he exhales vigorously out of his nose, expertly expelling a glob of snot. He brushes his fingers off on his pants. Unfastening one end of his blanket, he takes out a jug filled with water and drinks thirstily. 000200000A280000E6DFA22,CUT TO: EXT. VELD. DAY. Johannes is hunting with a gun. He is barefoot, in short pants and a shirt hanging out. He is stalking, stopping every now and again, ducking into a crouch, cautiously testing the wind ... then takes careful aim. He is shaking with tension and excitement. He takes a deep breath and slowly squeezes the trigger. The rifle roars. Johannes Got him! YeeHaaa! He runs ... and tenderly picks up the dead bird he has just shot. He is devastated by what he has done. Tears well out of eyes and stream down his face. His body is wracked with sobs. Johannes (CONT'D) I'll never do this again. I swear I'll never kill another living thing. He hastily scrabbles a grave and buries the corpse. Then fashions a cross out of two sticks and a strip of bark and places it as a headstone. CUT TO: Ext. FARM ENTRANCE. LATE AFTERNOON. The old man walks up to the farm entrance. Each side of the driveway is framed by a short curved wall. The barred gate between them is closed. A metal sign creaks in the wind. The top is shaped in the silhouette of a horse. Underneath is written MALHERBE, PERDEVLEI. The old man shades his eyes and stares up the driveway. Far in the distance, a farmhouse is visible, nestling in the foothills of the mountain. The old mans face splits into a wide smile, revealing the gaps in his teeth. He takes off his hat, stares up at the sky. He unrolls his blanket, takes out a short spear, and stabs it at the sky. He chants a word with each thrust. OLD MAN Yebo!Yebo!.Yebo!. The Old Man puts the spear back in the blanket and rolls it up, slinging it back over his shoulder. He opens the gate, closes it behind him and slowly walks up the driveway to the farmstead. CUT TO: INT. STABLE. FARM. EVENING. The stable is lined on one side with three stalls. The camera follows the sound of happy whistling, to a stall where Johannes is brushing down a very OLD HORSE, which whinny's with pleasure. Johannes is barefoot and wearing short pants and a shirt. Something heavy bashes on the wall of the stall alongside, and it quivers under the impact. Both the boy and the old horse jump with fright. Johannes places the brush on the sawdust floor and hoists himself up on the partitioning wall between the stalls. In the other stall is the BLACK STALLION, which was pulling the Scots cart. But its clearly still wild. It rolls it eyes and kicks out with its hind feet, connecting the stall again. It then lunges at Johannes, bared teeth flashing. Johannes leaps back off the partition as the horse crashes into it. It vents it anger by again kicking the wall. 000200000CEF0000F101CE9,The shaken boy picks up his brush and, after stroking down a few times on the old horse's neck, he wraps his arms around the horse. Johannes Old Grey, Pa should rather be getting rid of Thunder, not you. He's not kind like you. I don't know why we can't keep you. I love you, Old Grey. Pa says you're too old to take riding. He says you're going to die any day now, but you're not, are you? The horse pricks up its ears while Johannes talks to it. It whinnys again and shakes it head as if agreeing with Johannes that it is not about to die. In the distance, there is the urgent clanging of a metal gong. Johannes glances up at the sun. Johannes (CONT'D) Dinner time already. Johannes hangs up the brush and throws a blanket over the horse and hugs it. Johannes (CONT'D) See you in the morning, Old Grey. Johannes shuts the stall door and heads for the barn door. CUT TO: INT. KITCHEN. FARMHOUSE. NIGHT. Although the interior of the house is immaculate, the worn furnishings indicate that the Malherbes are not financially well-off. PIET sits at the head of the table, leafing through a pile of accounts, by the light of a gas lantern. The clean lines of the ironed table cloth cannot hide the patches. Cutlery and crockery is mismatched. His wife SANTI, a buxom, middle-aged woman, brings a pot of steam food and places it on the table. She opens a door leading from the kitchen into the interior of the house and calls out loudly: SANTI Johaaaaannes. Supper is on the table. CUT TO: EXT. BARN. FARM. NIGHT. Johannes closes the barn door behind him and runs towards the farmhouse. The wind rustles the leaves of a large tree near the farm house. In the distance, the wind moans eerily as it blows through crevices and canyons in the surrounding mountains. Johannes shivers involuntarily, wraps his arms around his chest. Johannes suddenly sees the Old Man and stops in mid-step. OLD MAN Dont be scared of me or the wind. The ancestors are welcoming me home. Johannes What do you mean? The Old Man wraps an arm around Johanness shoulder. Instead of being scared, Johannes finds this comforting. OLD MAN I come from a long line of kings warriors all The camera pulls back as he begins his story. But theyre interrupted by Johanness mothers voice. SANTI (off camera) Johaaaannes!!. CUT TO: INT. KITCHEN. FARMSTEAD. NIGHT. PIET MALHERBE, sitting at the table, pushes the accounts aside. PIET Jeez, that rinderpest really cleaned us out. Johannes bursts into the room and points to the window Johannes Pa, there's ... PIET (dismissing him with a wave of his hand) Everything's gone. All our animals, my horses. All that's left is debt. Johannes (listening wide-eyed, then swallowing quickly so he can talk) But, Pa, we've still got Old Grey and. (he says far less enthusiastically) Thunder. Santi rubs Piet's shoulder and grasps his hand. SANTI And you've got your family. We've been through worse than this before, my man. We'll pull through this one. The wind howls and rattles the kitchen windows. Johannes Thats the voices of the ancestors who live in the mountains. SANTI Really, Johannes who told you such stories! Johannes (nonchalantly) Oh, an old man. PIET Primitive mumbo-jumbo. Don't listen to that tommy-rot. Johannes Pa, is it true they're going turn Old Grey into swine food? 0002000007220000FDEA71C,PIET Johannes, that horse is very old. The humane thing to do is to put him down. Who told you that anyway? Johannes The old man outside. PIET (standing) What old man? Where? What is he doing? Johannes Just standing. Johannes crosses over to the kitchen window and points out. Piet stands next to his son and looks to what he is pointing at. PIET Jesus Christ. SANTI Piet! CUT TO: EXT. FARMSTEAD. NIGHT. The Old Man walks up closer to the farm house, attracted to the light in the kitchen window like a moth to flame. He quietly watches the Malherbe family. His reverie is broken by the barking of a dog, which appears growling menacingly. The Old Man whistles. The dog wags it tail and runs across to the Old Man, licking his hand. CUT TO: INT. KITCHEN. FARMSTEAD. NIGHT. Piet opens the kitchen door, watched by his wife and son. Johannes stands to join his father but Piet points for him to sit. PIET Stay here. SANTI Be careful. CUT TO: EXT. KITCHEN. FARMSTEAD. NIGHT. The kitchen door opens, silhouetting Piet in the interior light. He sees the Old Man petting his dog. Piet whistles shrilly and the Old Man releases the dog. It bounds over to Piet and jumps up on him, barking and wagging it tail. PIET (to the dog) You are supposed to be on guard, not playing around. Piet walks from the kitchen over to the Old Man. PIET (CONT'D) Who are you? What do you want here? OLD MAN I was born here. Now I am old, I have come back here. PIET There is no work here. What good is an old man like you? OLD MAN I am not looking for work, baas. I have come to die where I was born. PIET (slaps his forehead with the heel of his hand) That's all I need right now. Listen, you can't stay here. OLD MAN (unfasten his empty water jug) May I please get some water. PIET (pausing a moment) Water. Okay, but you can't stay here. 00020000072C00010506726,CUT TO: INT. KITCHEN. FARMSTEAD. NIGHT. Piet fills the Old Man's water container. SANTI (Looking out of the window) Such an old man. Did he walk all the way out here? PIET I don't know. But he's walking on out of here. CUT TO: EXT. HOMESTEAD. NIGHT. Piet gives the Old Man his water jug, now filled. OLD MAN Please, Baas, it is late. Can I spend the night? I'll sleep here under the tree. PIET (after reflecting) Okay, under the tree. But only for tonight. Tomorrow you must go. Before breakfast. CUT TO: INT. KITCHEN. FARMSTEAD. NIGHT. PIET, SANTI and Johannes are at the table. Theyre eating. PIET (Pushes his chair back and stands) That was a fine meal. Santi scrapes the leftover food into a bowl. SANTI We may as well give this to the Old Man. PIET No, we don't want to give him any ideas about staying here. SANTI But it looks as though he has come a long way. He must be hungry. It is our duty. PIET Our duty? What, to feed a whole nation of beggars? SANTI Only one old man. Just for tonight. Piet scratches his head. He doesn't like the idea, but he knows better than to argue with his wife. PIET Okay, then, just tonight. CUT TO: EXT. FARMHOUSE. TREE. NIGHT. The OLD MAN is curled up in his blanket under the tree. He sits up when Johannes approaches with the bowl of food. Johannes My ma says .... Johannes stalls when he notices a cowhide shield, spear and fighting sticks propped up against the tree, glinting in the light from the kitchen window. Johannes (CONT'D) You're not going to kill us, are you? The Old Man throws his head back and laughs. OLD MAN Me? No, I'm too old for killing. He wriggles from under his blanket. OLD MAN (CONT'D) What have you got there, umfaan? Johannes Some food. For you. OLD MAN Hau, many thanks. The Old Man takes the container and wolfs down the food, eating with his fingers. 000200000BB300010C2CBAD,Johannes Why do you carry those weapons? The Old Man puts the container down and picks up the spear in one hand and shield in the other. OLD MAN These are not just weapons - they are my manhood. Here, watch. Old as he is, the Old Man does a few steps of a war dance, toi-toing, raising his legs chest high and slamming them down like pumping pistons, thrusting out with his shield and spear. Johannes squats on his haunches, mesmerized. Johannes But how can that make you a man? The Old Man stops dancing and squats down in front of Johannes. OLD MAN This comes from the days of Shaka Zulu, the Great Bull Elephant. Johannes Shaka, the cruel Zulu chief? OLD MAN Some say he was cruel, but he was a genius. Even though he was illegitimate. Johannes What's that? OLD MAN He had a bad start in life. His mother was not married when he was born. He was an outcast. But he was determined to start a new social order where everyone was equal. Where they could Ukugebhuza Izulu - carve the sky into chunks of heaven. Johannes Carve up the sky? OLD MAN Yes, to realize the challenge of being human. This spear... (the Old Man twirls it) is not just a weapon. It belongs to a man who is fulfilling himself. And when he dies, he will be at one with the universe. From the stables comes the sound of Thunder snorting and kicking against the walls of his stall. OLD MAN (CONT'D) Shaka also trained his troops to ride. We have never lost that touch with horses. The kitchen door opens and Santi steps outside, calling to Johannes. SANTI Johaaaaaannes! Bedtime! Johannes stands. Johannes I wish Shaka was here to do something about Old Grey. My horse is going to die. OLD MAN you must not be reluctant to loosen you attachment to other beings lives. Death is nothing to be scared of, Its the start of a new life. Santi calls again. CUT TO: EXT. BEDROOM. FARMSTEAD. EARLY MORNING. Johannes lays a school uniform out on his bed. He talks to himself. Johannes Back to boarding school tomorrow. Better make the most of my last day. CUT TO: EXT. FARMSTEAD. MORNING. PIET exits the house with Johannes. As they walk past the tree, they see the indentation in the grass where the Old Man slept. Johannes He's gone - the Old Man. PIET Good riddance. Johannes I just want to say hallo to Old Grey quickly. Johannes runs off to the barn. CUT TO: INT. BARN. FARM. MORNING Johannes opens Old Grey's stall. The horse is alive, but agitated. Johannes hugs it. Johannes What's the matter, Old Grey. Is Thunder misbehaving again? Johannes peers over into Thunder's stall ... and finds it empty. Johannes (CONT'D) Oh my gosh! He bolts from the stable. CUT TO: EXT. FARMHOUSE. MORNING. Johannes comes sprinting from the barn, runs to his father. Johannes Pa, Pa, Thunder's gone. PIET What! He runs with Johannes back to the barn. CUT TO: INT. BARN. MORNING. PIET pushes open the door to Thunder's stall. Its empty. PIET That bloody old bastard. He's stolen my horse. There is a loud whinny from outside the barn. 00020000067E000117D9678,PIET/Johannes Thunder! CUT TO: EXT. BARN. MORNING. PIET and Johannes race around the side of the barn to find the OLD MAN has Thunder on a lead and is walking him around in a big circle. There is a saddle on the horse, which appears to be much calmer. PIET What the hell do you think you're doing? OLD MAN This horse is ready for the boy to ride. PIET Who gave you permission? I don't need you're help. OLD MAN Look. He vaults onto the back to the horse, and rides it around in a tight circle. PIET (grabbing the lead to the horse) Get off . The Old Man dismounts. OLD MAN You fed me. I only wanted to return the favour. PIET You have. Okay. Thank you. But I'm telling you, there is no place for you here. I want you off my property. And I mean it. (He roughly grabs Johannes) Come on, let's go. Piet jerks Thunder by its lead and walks back to the stable. The horse fights him all the way. Johannes follows at a safe distance. The Old Man watches them go, he shoulders his bedroll. CUT TO: INT. BARN. MORNING. PIET exits the barn. Johannes goes into Old Grey's stall. He is surprised to find the Old Man there, talking gently to the horse. His shield and spear and wrapped up in the blanket and propped up against the wall. Johannes Where will you go? OLD MAN The ancestors are calling. Johannes Take my horse with you. OLD MAN Wont your father be angry? Johannes I dont care. Old Grey cant become glue. He must carve the sky. Just like you. OLD MAN Ill think about it. CUT TO: INT. BEDROOM. FARMHOUSE. EARLY MORNING. Johannes wakes up to hear a horse whinny. He quickly gets dressed and takes a pair of binoculars as he leaves the house. CUT TO: 0002000008E400011E518DE,INT. BARN. EARLY MORNING. Johannes finds Old Grey's stall is empty. Johannes smiles, although there are tears in his eyes. CUT TO: EXT. FARM. EARLY MORNING. Johannes runs to a vantage point and focuses the binoculars. In the distance, he sees the Old Man riding Old Grey. The Old Man has his shield on one arm and his spear in the other hand. The Old Man turns to Johannes, smiles and makes stabbing motions at the sky. Johannes shouts to him: Johannes Travel well! Carve the sky! SLOW FADE to white and fade back in to: INT. JOHN'S APARTMENT -- BATHROOM Darcy pumps down on John's chest. She ventilates twice, checks his pulse. DARCY Let's go, Johno. She resumes compressions. Her eyes fix on the watch. DARCY (CONT'D) C'mon, baby. It's time. CUT TO: EXT. A BRIDGE OVER A RIVER ireland 1890 - DAY A small stone bridge rises over a slow flowing river. The path leading to the bridge is bordered by large leafy trees and grassy knolls. Beneath the bridge, the figure of a man, Sean JACKSON, is discerned as he squats by the rivers edge drinking and staring into the river. Sean JACKSON How am I going to break the news to Albertina? Shes my favorite child and so like her dear departed mother. I cant bring myself to do it, but I have to, I have to give my daughter to the son of the man I most despise and to whom I owe so much. In the water a reflection stares back at him. Sean JACKSONS CONSCIENCE You always were one to put yourself first. Here you are, feeling sorry for yourself, when its your daughter you should feel sorry for. Sean Jackson stands and is about to climb up the bank to the path above when he hears footsteps. He quickly hides in the shadows of the bridge. A young couple approach and start embracing beneath a tree. CLOSE on tree trunk carved with initials AHJ and TER intertwined. The young couple draw apart as a farmer pushes cattle ahead of him down the path, forcing the young couple out of his way up a grassy knoll. The farmer tips his cap at them. FARMER Miss, Sir. The young woman, ALBERTINA DARCY JACKSON, lips trembling, teary-eyed, greets him. She could be Darcy from 2037 but a lot younger. ALBERTINA Good day Rory. The young man, THOMAS EDWARD RUSSELL watches the farmer pass by then turns back to Albertina. THOMAS 0002000007AC0001272F7A6,I have to go. Its the only way. You must realize that. Im the third son, theres nothing for me here. I have family and friends over in Australia, theyll help me get settled and once Im doing well, Ill send for you. I promise. ALBERTINA But whats to become of me? My father wants me married, my step mother hates me, and my sister is a bitter, old spinster who is only happy if shes unhappy and makes others so. THOMAS Ill write every day and Ill send for you inside of a year. I promise. And here this will keep you warm and remind you of me. He pulls off his muffler and places it around her neck. ALBERTINA I... I will miss you so. What will I do? What will I do? They cling to one another, comfortingly. THOMAS You have your work. Your father loves you. Time will go by quickly. Youll see, well be together before you can say Shillelagh! The young couple laugh and then pull apart as he pulls off a ring which he places on one of her fingers. THOMAS (CONT'D) Its not much, but it is a token of my love. Ill claim and exchange it for a diamond next time we meet. Albertina gazes down at the simple silver cladagh ring. ALBERTINA I love you. Have a safe journey and Ill write to you every day as soon as you let me have an address where you can be reached. They pull apart as they hear a splash. THOMAS Dont be so jumpy, its just a fish! Thomas gently pulls her to him by the muffler and they embrace. He then turns and runs off, pausing at the top of the path to wave back to a tearful Albertina before he disappears over a rise. She turns and walks forlornly towards a large house seen up ahead while her father, Sean Jackson, takes a swig from his bottle. Sean JACKSONS CONSCIENCE Your poor sweet lass, so in love is she, but you have to break her heart if you are going through with what you have planned. Sean defiantly finishes the bottle and then throws it at the reflection which, even while dissipating talks to him. 0002000007B200012ED57AC,Sean JACKSONS CONSCIENCE (CONT'D) It will mean breaking your own heart too for youll have to be the one to tell her... CUT TO: INT. DINING ROOM - ALBERTINAS HOME - EVENING Albertina sits at the table across from her sister, ABIGAIL, while her father and step mother, MARY ROSE, sit at either end. A SERVANT places a plate in front of everyone after Mary Rose has put a serving or Irish stew on it, over boiled potatoes. ABIGAIL Whats that youre wearing on your finger? Did you buy it off a Romany? Albertina sits, lost in thought, picking at her food. MARY ROSE Albertina! Answer your sister, Im sure wed all like to know about your new acquisition. Albertina shakes as she looks at her father for guidance. He shrugs and looks down at his food. ALBERTINA Its a token, a small token. ABIGAIL What kind of token and where did you get it? ALBERTINA Thomas gave it to me. Father its alright, isnt it? Say something, do something, please! Her father avoids her eye and eats. Mary ROSE Thomas!? Do you mean that good for nothing Thomas Russell? Albertina flushes in embarrassment as her tight lipped step mother continues. Mary ROSE (CONT'D) I wont have you associating with the likes of him. Is that understood? Why we Jacksons are above that class of people. Now get rid of that cheap piece of jewelry that only a harlot would wear. ALBERTINA Father! She pleads, he looks away embarrassed. Mary ROSE Dont you embarrass your father and your family, young lady. Give me that ring. ALBERTINA No! I wont. Her step mother pushes her chair back angrily, knocking it over as her knife falls on her plate and cracks it. She strides over to Albertina and tries to pull the ring off. As she pulls, she meets with resistance from Albertina who cries out. ALBERTINA (CONT'D) Father! Please! Sean JACKSON Do as your mother says, dear, please. As Albertina cries her step mothers plate breaks in two and the remnants of her stew seep onto table cloth. 00020000086F00013681869,ABIGAIL Mother! Look at your plate. Mary ROSE Oh! Now see what youve done! Well, I hope you are satisfied! And with one last tug she pulls the ring off Albertinas finger, scraping the knuckle which drips blood onto the tablecloth, echoing the seeping juices of the stew. Her father shudders and rises. Sean JACKSON Well its time for my meeting, Ill be off then. You ladies can sort this out, youre good at that. His wife purses her lips, nods at him and waits until she hears the front door close before she berates Albertina. Mary ROSE Clear up this mess! Then go straight to your room. You need disciplining young lady. ALBERTINA You cant tell me what to do. Youre not my mother. Mary ROSE Thank goodness for small mercies! Im ashamed of you. Consorting with the likes of that Russell boy and wearing such rubbish! She angrily throws the ring into the fireplace and leaves as Abigail rises and follows her out with backward sneer. ABIGAIL Go on then. Get on with it. Clean up the mess youve made. Albertina and the wary servant wait until they have both left the room and then the maid begins clean up the table as Albertina rushes over to the fireplace to try and find the ring. She uses the poker to locate the ring, now a sad, distorted lump of metal, and with a sob she drops it in a glass of water causing the glass to crack. Albertina and the servant look on in horror as water seeps over the cloth. SERVANT Oh Miss, Im so sorry. ALBERTINA Thats alright Mary, Ill live! But I dont understand my father, I really dont. If mother were still alive... hed... (sighs) MONTAGE OF SHOTS: - Albertina looking at the mail on hallway table as she enters the house taking off her hat. Her step mother is picking up her mail. - Albertina looking at the mail on hallway table as she enters the house taking off a different hat from previous scene as her father pockets his mail. Sean JACKSON Im sorry Albertina, there is nothing for you. - Albertina looking at mail on hallway table as she enters the house and takes off Thomas muffler, her gloves, and hat. There is nothing for her. 000200000B3900013EEAB33,- Albertina, thinner, hollow eyed asks her smirking sister if theres a letter for her as her sister sorts the mail on the hallway table. ABIGAIL For you? Whod be writing to you pray tell? Bet Thomas cant even read let alone write! - Albertina sitting in her room crying as she clutches the lump of melted metal and holds the muffler to her face. END MONTAGE OF SHOTS INT. DINING ROOM - EVENING The family is sat around the table. Sean Jackson clears his throat as his wife looks on with a self satisfied smile and the sister with a sneer. Albertina looks uneasy. Sean JACKSON Albertina it is time you were wed. ALBERTINA I dont want to be wed. Im waiting for Thomas. I gave him my promise. Sean JACKSON Dont be foolish Albertina, listen to what I have to say. You know I only want what is best for you. Well, Mr. Richardson, to whom I owe a great deal, has asked that you consider his son Robert David. Albertina looks aghast. ALBERTINA But father, hes much older than I. Besides I dont know him. How can I love him or even consider him! No, my answer is no. Sean JACKSON Now Albertina, you know I love you, and this family needs you to do this, as I said, we owe Mr. Richardson a great deal, a great deal indeed. And I have to consider the familys needs first and foremost. ALBERTINA By using me as a settlement for a debt? Sean JACKSON Well put like that, it seems a little crude, but its not really that at all. Hes a fine catch and has great prospects does Robert David. ALBERTINA But hes a soldier and I dont love him. Marry him to Abigail! Sean looks from Albertina to Abigail. Sean JACKSON Well, I.... Mary ROSE Dont talk to your father like that young lady. You should be grateful. Besides, as you say, Robert David is indeed a soldier so you wont have to put up with him much, will you?! ALBERTINA I wont do it, I tell you. I wont. Thomas promised to send for me and Ill wait, even if it takes forever. ABIGAIL Well, its been almost two years. I bet hes married and a father by now! Albertina jumps up from the table and leaves the room sobbing. Sean looks at his wife. Sean JACKSON That didnt go down very well, now did it? You could have used a little more tact. Mary ROSE And you could have not got us into such debt. But, its all for the better. Itll be a fine match. The Richardsons are well to do. ABIGAIL I hear Robert David has quite a temper and that hes a crack shot, the best in his regiment. Mary ROSE Then hell be able to control Albertina and make us all proud! The father looks from his wife to his daughter and rises. Sean JACKSON Time for my meeting. Ill be off then. Mary ROSE Better if you went to a temperance meeting than a Masons meeting! He exits and stands leaning against the coat rack in the hallway. He is startled by his conscience in the mirror. 00020000079700014A1D791,Sean JACKSONS CONSCIENCE Shes right about your drinking, it has taken over your thinking and you are no longer capable of clear thought. Sean JACKSON Stop it, stop it! Isnt it enough that I feel as though my soul and spirit are spiraling down into a vortex of shame at what I have done to my darling daughter. But, I see no other way, it is the only solution. So go away, go away! He pulls his coat off the rack and is about to drape it over the mirror when he sees Albertinas reflection in the mirror. He moans, throws his coat over the mirror and exits the house, almost at a run. Albertina, beginning to descend the stairs, looks at the closing door and turns around and goes back up. CUT TO: INT. ALBERTINAS BEDROOM - DAY She is tearfully getting into a wedding dress and looking at the shapeless lump of the Cladagh as Abigail, wearing a deep pockets apron, buttons up her dress. A fire burns in the fireplace. ABIGAIL Youre far better off as Mrs. Richardson than you would be marrying that useless Russell. ALBERTINA He promised hed write and send for me. I just dont understand, he promised. A knock is heard on the door and their fathers voice. Sean JACKSON Albertina? Are you ready? May I come in? ALBERTINA Yes father. She looks at her father as he stands in the doorway beaming at her proudly. ALBERTINA (CONT'D) I wish it were Thomas you were giving me to. Sean JACKSON Now, now. He never wrote did he? Cant trust a Russell. Albertina cries softly and her sister hands her a handkerchief which she pulls from her apron causing a bundle of letters to fall to the floor. All bear Australian stamps and addressed to Albertina. Albertina and her father look on in horror as her sister scoops them up and throws them on the fire! Albertina, white faced, her eyes glazed, is led from the room by her father as her sister looks at burning letters with fanatical eyes. ABIGAIL Mother and father told me to... 000200000D86000151AED80,CUT TO: EXT. RIVER BANK. - NIGHT Sean Jackson weaves and stumbles along the path as he drunkenly sings. He stops and looks down at the water flowing below him. The moon comes out and splays a path across the water. Sean JACKSON Oh if only I could flow away form all my troubles like you, if only. Sean JACKSONS CONSCIENCE You could have and should have, but no, you chose the easy way out. You sacrificed your daughter to serve your own ends. Sean Jackson starts to sing loudly to shut out the image in the water and then turns and runs, unsteadily, away. Cut to: EXT. PATHWAY ALONG RIVER OVER BRIDGE BY ENGRAVED TREE - NIGHT The sound of running feet is heard as the wind blows and the river laps against the banks below the bridge. The moon sails out from behind a dark cloud and illuminates the carved initials AHJ and TER as a womans pale hand gently caresses them. Then the sound of running is heard once more and we are aware of a white draped figure running onto the bridge. The white gown and wild red hair blow around the figure as it leans over the side of the bridge and throws a rope which snakes through the air, momentarily seen by the faint moonlight. Clouds scud across the sky; all is dark once more. CUT TO: EXT. ALONG THE BANKS OF A RIVER - NIGHT The moon comes out from behind a cloud and illuminates the path along the river bank. Sean Jackson weaves his way along, stumbling, and singing off key. He stops to take a swig from a bottle he carries and sees his conscience reflected in the water. Sean JACKSONS CONSCIENCE You should never have remarried. You should never have married off poor Albertina. Sean begins to raise his voice trying to shut out his consciences voice. He is almost defiant as he stands on the river bank and takes one last drink. Seeing the bottle is empty he goes to throw it at the reflection but he slips. Sean JACKSON Oops! He falls, tumbles down the bank and goes head first into the river into the embrace of his conscience. Sean JACKSONS CONSCIENCE Thats it Sean, come to me, you have learned to loosen you attachment to other peoples lives now you must not be attached to your own, come away... As Sean splashes and comes up for air his startled eyes see a swinging figure hanging from the side of the bridge. Albertinas lifeless, white clad figure hanging by Thomas muffler. Sean Jackson screams and then gives up the fight and slowly sinks beneath the water, with his reflection, as the moon retreats behind a cloud. SLOW FADE to white and fade back in to: INT. driving along sydney harbour 1949 - eVENING A man (John) and woman (Darcy) in their late twenties are sitting in a moving Holden FX car. They only differ from the opening sequence by their 40's dress, hair and makeup style. He is driving and its very dark as we see street light reflections passing over the top of the car. They both look very tired. Darcy (admiring the dashboard) I cant believe you got one? Evan Why not? I deserve it. Darcy But I read a Holden is worth 670 pounds. How on earth did you afford it on your wages? Evan I have powerful friends in very high places Darcy You borrowed the money! Evan The advantage of working for the Commonwealth. Darcy I wish I had a job like yours. Evan No, your right, youre really hard up. You only have a son, Mum, Dad, brother, Uncle and Aunt AND cousins. Thats a lot more than I have. Darcy (Laughs) Guess so. So what did you think of the film? Evan 00020000076F00015F2E769,Its not exactly realistic is it? I mean a man turning into a wolf? Come on! Darcy (Laughs) Well thats the point of the film. It was called Wolf Man, I thought the title would have given you a bit of a tip as to what was going to happen. Evan (Sarcastically) If you think about it, a gypsy turns into a wolf man that bites another guy and then suddenly they became a werewolf? Please a bit of realism!! Darcy (Laughing) So you want to see something normal next time? How about something exciting about a man called Evan who has a fear of intimacy with women? Evan looks over at Darcy smiling and raises one eyebrow. Darcy (CONT'D) Ok Ok Ok, next time we go to the cinema, its your choice. Geez, no wonder you don't have a girlfriend. You have no imagination; you have to keep your mind open to new things. Evan I am open to new things, I was open to my parents buying me a new car. They both look at each other and laugh. From the point of view from the back seat, as they both look at each other and laugh we see a young teenage boy step out in front of the car. Darcy (Shouting) Evan look out!! Evan looks over quickly towards the road, spots the boy and then veers to the left off the road. Evan looses control of the car as he tries to avoid all the pedestrians on the pavement. CUT TO: EXT. Sydney harbour - eVENING The car begins to tumble over as it plunges into the harbour. The car straightens up as it falls into the water and it begins to sink. We hear Evan and Darcy's screams from inside the car. CUT TO: EXT - underwater - EVENING Point of view from the bottom of the harbour. We see the car plunge down quickly, further into the depths of the harbour. Through the murky water we can see Evan and Darcy inside the car screaming and banging on the windows. The car finally reaches the bottom of the harbour. A gust of murky water disperses from the bottom of the car. CUT TO: 00020000061B00016697615,INT - INSIDE THE CAR - EVENING Darcy sits still in shock for a few seconds. She has blood running down her ear. She looks over to Evan whose head is balanced on the steering wheel. Darcy (Panicking) Evan, Evan can you hear me? Darcy leans over towards Evan and pulls his head off the steering wheel. She is shocked to see a large graze on his eye and blood tricking down his face. Evan gives out a painful groan. Darcy (CONT'D) (Scared) Evan can you hear me? Evan (Drowsy) What, what happened? Darcy We have fallen into the harbour. I don't know what to do. Evan looks up at Darcy. He cradles his head and then notices blood stains on his hands. Evan Oh my word!! Darcy Evan, what do we do we have to get out of here. In the silence of the car we can hear a rushing of water coming form somewhere inside the car. Evan and Darcy look around them and notice the water pouring in from the bottom of the car. Darcy (CONT'D) (Screaming) Oh my, its leaking. Evan we're going to drown. How are we going to get out, I can't swim. Evan (Drowsy) Darcy, stop screaming, please. Let me think for a moment. There is an uncomfortable pause as Evan cradles the gash on his head and Darcy looks at him expectantly. Evan (CONT'D) Ok, dont panic. All we need to do is open the car doors and quickly swim to the top, it can't be that deep. Darcy But I can't swim. Evan You don't need to be able to swim. Just take a deep breath and you will float to the top. Darcy (Panicking) We won't have enough time, as soon as we open the doors the water will rush in and we'll DROWN. 00020000064200016CAC63C,Evan grabs her to try and calm her down. Evan (Calming Voice) It will be fine, I promise. As soon as we open the doors we both push ourselves out of the car and within 10 seconds we will float to the top. I will grab you and pull you to the side. Ok? Darcy You promise? Evan I promise. We have been friends since we were kids; I have never let you down before have I? Darcy gives an uneasy smile. Evan (CONT'D) Right grab onto the side of the car, when I count to three take a deep breath, release the lock, close your eyes and push yourself out. Darcy Right Evan Ready? Evan (CONT'D) One, two ..... three. Simultaneously they push the door release. We hear a jolt and both of the doors refuse to open. They both wriggle the doors furiously in a panic but they remain jammed. Darcy (Screaming) It wont open. Evan panics and begins to kick the door. As he does the door creaks and more water begins to rush in through the bottom of the door. Darcy (CONT'D) Stop. Its not working and youre just letting more water in. Evan, now exhausted falls back into the chair. Darcy (CONT'D) What are we going to do now? We have just made things worse. Evan I don't know! Darcy (hysterical) This can't be it. This can't be the way I am going to die. Oh my, what about my son, whats going to happen to him? I left him with the babysitter, whats going to happen when I don't come home? Who's going to look after him? His going to think I've abandoned him. Oh Evan, what are we going to do? Evan It wont come to that; we are not going to die. We are just going to think another way of getting out of here. 000200000653000172E864D,The water is now up to waist level and Darcy is shaking from the temperature of the water. There is an eerie silence between the both of them. Evan (CONT'D) Right. The only thing we can do is to force these doors open. If we sit back to back we can use our feet to force open the doors and then swim out. Darcy Do you think that will work? Evan We have no choice. At least you have someone to go home to. No one will miss me until the repayments are due. Darcy Evan, please, don't speak like that. Evan You have a son, mother, father and a brother that cares for you. I don't even have that. Darcy You have me. My family cares for you very much. Evan (Sorrowfully) I know ... but its not the same. Darcy Don't worry. We'll get out of here and I am sure you are going to meet a nice gal that is perfect for you and you can start up your own family. Evan You think? Darcy I know! They exchange smiles. Evan Right, come on. Turn around, press your back against mine and place your feet up against the door. They both push each others backs together and push their feet up against the doors. Evan (CONT'D) Ready? Darcy Yup Evan And PUSH! As they push hard against the doors they begin to creak. The sound of rushing water increases and the water level begins to rise dramatically. The Windscreen begins to form a crack and water begins to squeeze through. Darcy notices and panics. Darcy Stop Stop Stop, we're making it worse again. If the windscreen breaks, the water will come through so quick well drown for sure. Evan (Hysterical) Bloody hell, I dont know what else to do. Darcy, I don't know what else to do? 0002000007EB000179357E5,They both look around them and the water is pouring in even faster. The level is now up to their chests. Darcy Lets just hope someone is out there to help us. They both look at each other un-convinced. Darcy grabs Evans hands as the water level gets higher and they begin to float inside the car. Darcy (CONT'D) (Crying) I don't care what happens to me Evan, I just want to make sure my sons OK. He's going to think I abandoned him. He wont know what has happened. Evan (Holding onto Darcy) It will be OK. We will be OK. Darcy I'm scared. I want to see my family. There is so much I need to tell them. They hug together as the water is about to submerge their faces Evan (Whispers to himself) At least someone will miss you. The water reaches critical level and Darcy can no longer hold her head above the water. Darcy (Gasping for air) Evan, help. Evan! Evan Hold on!! Evan tries to grab her to pull her head up, but as he does, they both sink under the water. CUT TO: INT - UNDER WATER IN THE CAR - EVENING We see Darcy and Evan waving their hands frantically in the water as they are beginning to drown. They both look at each other with panic and despair in their eyes. Their hands let go of one another as they begin to drift to opposite sides of the car. From Evans point of view we see Darcys body begin to go limp as she ingests more of the water. Suddenly from behind Darcy we see a huge blaze of white light suddenly submerge the outside of the car. At first we are almost fooled that its a heavenly glow. Suddenly a dark shadowy figure appears, someone is trying to rescue them. The rescuer outside begins knocking on the window to break the glass. Evan looks at Darcy and sees that she is most probably drowned as she is no longer moving. Evans eyes widen. He rushes to Darcys side of the car and pushes her lifeless body out of the way over the back of the car. The window smashes and a hand grabs Evan from behind and pulls him out of the car. Evan and the shadowy figure disappear above the car. 00020000066D0001811A667,CLOSE UP: Darcys eyes look lifeless but then suddenly her body jolts and she begins to move, she is still alive. She looks out of the window and sees the shadows of Evans body people pulled to safety by the rescuer. Darcy's eyes widen with fear as now more water enters the car. She frails about holding her hands out towards Evans disappearing form. Suddenly the light dims and they soon disappear. CLOSE UP: Darcy's head lolls back and her eyes stare widely into space. She has died. CUT TO: EXT - SYDNEY HARBOUR - EVENING Evan sits on the shore completely soaked. He looks down into the water. A rescuer puts a blanket over Evans shoulders. Evan (Quietly) Thanks mate ... CLOSE UP: Evans face. Evan looks very sorrowful and guilty as he looks deep into the water and only sees his reflection starring back at him. Evan can no longer stand seeing his face in the water and puts his hands over his eyes and begins to weep. CUT TO: INT - Darcy'S HOUSE - NIGHT Evan follows an old woman up a staircase and into a hall. Evan (Sadly) Thank you for letting me see him Mrs Donaldson. I know this has been a difficult time for you as it has been for me. I am truly sorry for what has happened. The old lady stops outside a closed door and turns to Evan with watery eyes. She places her hands around Evans face. Darcy'S MOTHER (Sympathetically) No one blames you for what happened Evan. I know you tried your best to save her; she cared about you very much. She will never be far away from us anyway. We still have apart of her right here. Darcy's mother opens the door to reveal a young infant sitting up in a crib holding a teddy bear. 00020000062F00018781629,Darcy'S MOTHER (CONT'D) Being with little Benny is like having Darcy here with us. Take as much time as you need. Darcy's mother walks out of the room leaving the door ajar. Evan leans over the crib, picks Benny up and sits on a wooden rocking chair with the toddler on his lap. Evan (Softly to baby) Hey Benny. How are you doing? Your Nanny's right, just being with you I can almost feel Darcy's presence with us. Evan tries to give the baby a little smile but then remembers why he is here. Darcy'S MOTHER (Softly to baby) I just had to see you one last time Benny. I have to go away. I can't stand staying here any moment longer, knowing what I have done. (Pause) I know it wasn't my fault about the accident and there is nothing that I can have done but (Pause) when I was rescued from the car, I am not sure .... Evan gulps as if he has something in his throat Evan (Upset) I am not sure if your mother was actually dead ..... I keep on going back in my mind that I should have checked to see if she was alive before I pushed her out of the way but, I just panicked. I was so scared of dying that I just thought about myself and ... Evan hesitates to go on any more. He rubs the toddlers hair and kisses him on his forehead. He gets up to put the toddler back in his crib. Evan (CONT'D) .. and I have to go. Evan puts the toddler back in the crib, walks towards the door, walks out and takes a last look at the baby sat in the crib alone. Evan (CONT'D) (Sympathetically to the baby) I'm sorry Benny. But feel sorry for me, I have to live with this for a long, long time. 00020000083600018DAA830,POINT OF VIEW: We are looking into the room from outside the door. We see Evans hand close the door slowly. The baby is looking out towards Evan and we see his face disappear behind the closing door. SLOW FADE to white and fade back in to: INT. JOHN'S APARTMENT -- BATHROOM Darcy labors feverishly over John's body. Sweat streams down her face. Wisps of hair stick to her cheeks. Her hand slips, she collapses on top of him. She grabs hold of his chin like a mother scolding a child. DARCY You don't do this to me. She wrestles with his weight, shakes his shoulders. DARCY (CONT'D) Don't leave me alone in here. She shifts herself back into position. DARCY (CONT'D) Not like this. Darcy resumes measured compressions. CUT TO: INT. Ian WILSON'S LIVING ROOM, Bali - NIGHT START CLOSE on a flat screen TV. At the top right corner of the screen, we read October 12, 2002. The picture shows a nightclub in Bali going up in flames while firefighters try quelling the flames but without success (STOCK FOOTAGE). An Indonesian NEWSCASTER gives his report. NEWSCASTER (in Indonesian) We don't know how many people are in the nightclub. But it doesn't look like many will come out of it alive. The BLARING of ambulance sirens and the SCREAMS of the people on the street drown the Newscaster's voice. Total chaos. Quickly PULL BACK TO REVEAL IAN WILSON (John again) as he watches the newscast -- his eyes wide with terror -- the fiery images reflected on his face. Suddenly, he goes ballistic. Ian (screaming) Sylvia! Sylvia!! Leaving the TV on, he storms out of the room. CUT TO: INT. FUNERAL PARLOR - ROOM 2 - LATE EVENING Just outside the room, a sign reads: SYLVIA WILSON. As we MOVE INTO the room and TOWARDS Ian standing next to a closed coffin, talking to Indonesian and Australian acquaintances, we overhear snippets of conversations: "Bloody terrorists"; "This is like our 9/11."; "Our kids are no longer safe here." WE STOP at Ian where a COUPLE offers him their condolences. The WIFE glances at a photograph of Sylvia resting on a stand: she is a beautiful blonde in her early 30s. 000200000635000195DA62F,WIFE We're very sorry about Sylvia. She was so young. HUSBAND If there's anything we can do -- Suddenly, off screen, a woman's piercing WAIL invades the room. Everyone stops talking. All heads, including Ian's, turn to - Ian'S POV: Across the corridor, in Room 3, MRS. ISKANDAR, an Indonesian woman of about 50, in traditional dress, still WAILING, throws herself onto a closed coffin. FARIDA, a young Indonesian woman of 26, also in traditional dress, runs to comfort her. BACK TO Ian At the sight of this painful display of emotion, Ian, distressed, closes his eyes. DISSOLVE TO: INT. FUNERAL PARLOR - CORRIDOR - MORNING Ian pushes open the front door, and enters the funeral parlor. He walks up the corridor at the end of which stands Farida talking to the Funeral Director outside Room 3 where a sign reads: HANDOKO ISKANDAR. As Ian approaches them, the Funeral Director goes inside the room where Mrs. Iskandar is standing by the coffin, her back to us, her hand resting on the closed coffin. A few pallbearers are also in the room. Ian takes Farida's hand. Ian Your husband was a good friend, Farida, I'm going to miss him. FARIDA I'm going to miss Sylvia. As Ian speaks he glances at a photograph of Handoko Iskandar, the deceased Indonesian man, resting on a stand near the closed coffin. Ian Why did he and my wife have to entertain clients in that club, on that night? FARIDA I would've been with Handoko, but my mother-in-law doesn't like to be left alone at night. Ian I never go to clubs. I hate crowds. If I'd gone, I could have died with her. Not fair, is it? 00020000063800019C09632,Mrs. Iskandar is heard SOBBING inside the room. Ian regains his composure. Ian (CONT'D) I'd like to offer your mother-in-law my condolences if I may. Farida nods yes. She and Ian enter the room, and walk over to Mrs. Iskandar who is lost in her thoughts. FARIDA (in Indonesian) Mother Iskandar, this is Ian Wilson, Sylvia's husband. The woman who worked with Handoko at the real estate agency? The woman looks at Ian, but is in a daze. MRS. ISKANDAR (in Indonesian) Fire. Fire everywhere today. Ian I'm sorry about your loss, Mrs. Iskandar. MRS. ISKANDAR (in Indonesian) He was my only son. The pallbearers start wheeling the coffin out of the room. Mrs. Iskandar holds on to the coffin. Farida puts a comforting arm around her. The two women walk down the corridor, following the coffin. We hear the door CLOSE SHUT. FOLLOW Ian, disoriented, as he walks into the room where Sylvia is laid out. Alone, he gazes at her photograph. Touches it, his eyes brimming with tears. Ian (quietly) Sylvia, help me. I feel as if my life is over. Help me. HOLD ON Ian's distraught face. Slow DISSOLVE TO: EXT. FARIDA'S FLOWER SHOP IN BALI - DAY Through a large picture window, we see Ian and Farida talking to each other. They are framed by exotic flower arrangements. CUT TO: INT. FARIDA'S FLOWER SHOP - CONTINUOUS Farida is working on a flower arrangement. Ian occasionally assists her. Ian I can't on go on living without you. FARIDA What about that job you've been offered in Jakarta? You can't turn it down. Ian I want to marry you. Farida doesn't comment. Ian (CONT'D) Farida... 0002000006560001A23B650,FARIDA Have you forgotten Sylvia? Ian How can I? We were married for twelve years. FARIDA I may have been married to Handoko for only five weeks, but I can't forget him. (distressed) I mustn't forget him. I mustn't -- Ian Are we supposed to mourn them forever? You must not be reluctant to loosen you attachment to other peoples lives. FARIDA They haven't been dead a year. Ian ...Farida, I'm about to turn 40, and I know you're only 26... Farida watches Ian struggle with his emotions. Ian (CONT'D) Well, maybe you can wait. I can't. I have to rebuild my life...Now. That job in Jakarta, I can offer you a good home. FARIDA I can't leave Handoko's mother behind. I'm the only family she's got. Ian She's welcome to live with us. Farida, we can't stay here -- not after what happened. FARIDA Are there no terrorists in Jakarta? Ian It's bigger there. It's safer. Besides, I'll be working for an American company. FARIDA (sarcastically)) Oh, that sounds very safe. They can't even save themselves. Ian I want to be a father! Ian's outburst takes Farida by surprise. She stops her work: she wants to hear more. Ian (CONTD) (he calms down) Sylvia and I never had a child. Her career. That's all she cared about. I want a child with you. The telephone RINGS. Farida answers. FARIDA (into phone) F. For Flowers... Perfect timing. I just finished your arrangement... You can pick it up any time... See you then. Goodbye. (she hangs up) Farida opens the flower refrigerator, and takes out some flowers. She puts them down on the counter. Ian Farida, please stop fussing with those flowers. FARIDA (teasingly) 0002000005FE0001A88B5F8,Well, I was thinking of putting together a wedding bouquet. But if you've changed your mind, well, then -- Ian breaks into laughter. They both smile at each other. They walk into each other's arms. They hold each other tightly. Ian I promise you, I'll make you happy. FARIDA (anxious) Ian, nothing -- no one -- must come between us. No terrorist. I want a child, too. Ian Darling, no one will hurt us. No one. Slow DISSOLVE TO: EXT. Ian AND FARIDA'S HOUSE IN THE SUBURBS OF JAKARTA - DAY Ian, in a business suit, parks his car in the driveway, in front of his house. He gets out of the car, walks towards the house, picks up a newspaper that was thrown on the front porch. He reads the headlines. subtitles: SUBURBAN LIBRARY BLOWN UP by suicide bomber. The newspaper is dated: October 12, 2012. He frowns at this. Suddenly we hear SCREAMS coming from a television set inside the house. Ian strides inside the house. CUT TO: INT. Ian AND FARIDA'S LIVING ROOM - CONTINUOUS AYU, Ian's 9-year-old daughter, is watching television. On the screen: the Twin Towers of the World Trade Center are in flames, people jumping out of windows, etc. (STOCK FOOTAGE). Ian strides to the TV, and snaps it off. AYU (she's a determined little girl) No! Turn it back on! Ian What?? AYU I want to see what's coming up. Ian (calling) Mrs. Iskandar? Ian and Ayu exchange hostile glances. Ian (CONTD) (back to Ayu) What did I tell you?...What did I tell you -- ? Mrs. Iskandar comes into the room. MRS. ISKANDAR What is it, Ian? Ian 00020000060F0001AE83609,Mrs. Iskandar, you know Ayu is not allowed this TV. Especially stuff about... you know what. AYU (defying Ian) Terrorism -- ? Ian And you let her... MRS. ISKANDAR It's no use, Ian. Every time I turn it off, she turns it right back on -- Ian (to Ayu) Why do you watch this? (swithes off the TV) All you do is end up screaming. You enjoy being scared? Farida walks in with grocery bags. She now wears Western clothes. AYU Today's the 10th anniversary of the Bali bombing and -- they're saying it all started in America... FARIDA Don't you want to watch other shows? Shows I liked when I was your age? AYU (mockingly) You mean, like Cinderella and the Swiss Family Robinson? Little Heidi with her long pigtails. Mom, don't give me fantasy when I want facts. Farida and Mrs. Iskandar exchange puzzled glances. MRS. ISKANDAR I've heard that before. (takes bag of groceries from Farida) I better start dinner. Mrs. Iskandar walks out of the room. Ian and Farida notice Ayu crying silently while staring at the blank TV screen. CUT TO: INT. THE WILSON DINING ROOM - LATER Ian, Mrs. Iskandar and Ayu are eating their dinner. But Farida, distracted, picks at her food. No dialogue for a moment. Finally... Ian (to Farida) You haven't touched your food. Aren't you hungry? FARIDA Not really. MRS. ISKANDAR I know what you're thinking about, Farida. But you have to eat. Ian notices that although Ayu is silent, she is taking in the adults' conversation as her eyes dart from one speaker to another. Ian Please, Mrs. Iskandar, tell her to 0002000006900001B48C68A,eat. FARIDA (lost in her thoughts) Ten years ago today. MRS. ISKANDAR Ian's right, you have to eat. At least, have a little salad. AYU Mom, don't be sad. Handoko's not really dead. He's here. (she eats) Ian, Farida and Mrs. Iskandar exchange puzzled glances. Ian What? FARIDA He's here? What makes you say such a thing? AYU (daring Farida playfully) I'll tell you if you eat your salad... (then in Indonesian) little bird of paradise. Farida and Mrs. Iskandar register surprise, and exchange glances. Ian Bird of paradise? What is she talking about? Ayu turns to Farida. They lock eyes. FARIDA All right. I'll eat my salad. Farida starts eating her salad. Ayu looks pleased with herself. Mrs. Iskandar watches Ayu closely. Ian remains confused, but shrugs it off, and eats. CUT TO: INT. AYU'S BEDROOM -LATER Not a typical little girl's room. Instead of dolls, model sailing ships line the bookshelves. Mrs. Iskandar and Farida question Ayu who's playing with some of her ships. FARIDA What do you mean Handoko's not really dead? AYU (absorbed by her ships) Because he's here. He's here now. CUT TO: INT. BATHROOM ACROSS FROM AYU'S BEDROOM - CONTINUOUS Ian, lying on his back under the bathroom sink, unblocks a pipe. Ian What is he? A ghost? AYU No! It's not that simple. (appears in doorway) He's inside me. Through the doorway, we see Farida grasping Mrs. Iskandar's hand. Ian is stunned. CUT TO: INT. Ian AND FARIDA'S BEDROOM - MIDDLE OF THE NIGHT Ian tosses and turns in his sleep. Suddenly, he wakes and bolts up in bed. He notices that Farida is not at his side. Perplexed, he gets out of bed. The bathroom door is open, but Farida is not there. 00020000060F0001BB16609,He opens the bedroom door. Hears Farida and Mrs. Iskandar's voices. CUT TO: INT. CORRIDOR AND STAIRWAY - CONTINUOUS FOLLOW Ian as he goes down the stairs. Farida's and Mrs. Iskandar's voices become more distinct, but Ian can't make out what they are saying as they are speaking in Indonesian. FARIDA (O.S.) (in Indonesian) You have to promise me not to tell Ian -- MRS. ISKANDAR (O.S.) (in Indonesian) You can't lie to him. He has to know. Ian (calling) Farida? FARIDA (O.S.) (in Indonesian) Not a word about -- CUT TO: INT. THE WILSON DINING ROOM - CONTINUOUS As Ian steps into the dining room, Farida and Mrs. Iskandar stop talking. Ian -- Farida, how come you're up? Farida does not answer. Ian (CONTD) What's going on? FARIDA Nothing. We couldn't sleep so we decided to have a cup of tea. Would you like some? Ian looks from one woman to the other. Ian O.K. What's up? MRS. ISKANDAR It's about Ayu. FARIDA Mother, please stay out of this -- MRS. ISKANDAR We believe Ayu is the reincarnation of Handoko. Ian Pardon? FARIDA (to Mrs. Iskandar in Indonesian) I told you that'd be his reaction. Ian How do you make that out? MRS. ISKANDAR Go ahead. Tell him. FARIDA This afternoon when Ayu said, "Mom, don't give me fantasy, I want facts," that's something Handoko always said. "No fantasy. I want facts." Ian A coincidence. MRS. ISKANDAR That's not all. FARIDA Tonight, she called me her little bird of paradise. Whenever Handoko asked me to do something I didn't feel like doing, he'd always endear himself to me by calling me his 00020000061A0001C11F614,little bird of paradise. MRS. ISKANDAR (mimicking Ayu in Indonesian) "My little bird of paradise." Ian She must of got that from you. FARIDA And her love for sailing ships -- Ian She likes model sailing ships that so starnge? FARIDA Handoko was also passionate about model ships. Collecting them was like an obsession with him. A while ago, when I showed Ayu Handoko's collection, her face lit up and she was shaking all over. She had to have his collection. I never saw her so excited. MRS. ISKANDAR Ian, tonight when Ayu said Handoko was inside her, she meant his soul had become hers. Ian Sorry, I don't believe in that stuff. I just don't. FARIDA (to Mrs. Iskandar) Why did you have to tell him? Now he's all upset. Suddenly, out of the blue, Ian bursts out laughing. FARIDA (CONTD) What's so funny? Ian If Ayu was the reincarnation of Handoko, you realize what that would make me? I'd be the father of your first husband. You mean to tell me when Ayu sits on my lap...sos Handoko??...Thats a bit much. Again, Ian roars with laughter to the dismay of Farida and Mrs. Iskandar. CUT TO: INT. THE WILSON BEDROOM - MOMENTS LATER Farida and Ian are in bed. She is resting her head on his shoulder. A lamp on a night table illuminates their faces. FARIDA I'm sorry. Mother should never have said anything. Ian I think we should get some sleep. I have a big day tomorrow. Have to take a look at the library that was bombed this morning. FARIDA Why? Ian The Mayor asked me to help his team assess the damage. FARIDA Do they know who did it? 0002000006C70001C7336C1,Ian No. Ian turns off the lamp, plunging the room into darkness. FARIDA I just hope Ayu doesn't see it on television. CUT TO: INT. THE WILSON KITCHEN - MORNING Ian eats his breakfast. Farida, dressed for work, drinks coffee, standing up. Ayu enters in her pajamas. FARIDA Ayu, why aren't you dressed? Go on, get dressed -- you'll be late for school. AYU My tummy hurts. Ian You look OK to me. AYU I don't wanna go to school. FARIDA She's upset. She's still thinking about that plane. Ian (to Ayu, gently) Sweetheart, there was nothing wrong with that plane. Ayu and Farida say nothing. Ian (CONT'D) She can't get upset every time she sees a plane. She has to go to school. AYU I'm not going -- ! FARIDA Maybe she should stay here with Mother. Ian She's going. That's final! Mrs. Iskandar enters. MRS. ISKANDAR Good morning. Ian 'Morning. MRS. ISKANDAR What's this I hear -- not wanting to go to school? Ian (to Ayu) Have some breakfast. Get dressed. I'll drive you. Ayu breaks into tears. Farida and Mrs. Iskandar exchange glances. Ian (CONT'D) We can't give in to all her whims. Farida shoots Ian a disapproving look. MRS. ISKANDAR I have an idea. What do you say your dad and I pick you up after school, and we go to the Marine Museum? Ayu slowly breaks into a smile. AYU Thanks, Grandma. Mrs. Iskandar and Farida smile. Ian (none too pleased) You're spoiling her. MRS. ISKANDAR Well, I'm supposed to. I'm a grandma. Mrs. Iskandar winks at Ayu. They both start laughing. Farida joins in the laughter. Soon, Ian throws up his hands in defeat, and laughs. Ian OK, OK, I know when I'm done for. They all laugh. DISSOLVE TO: SOUND OF A BOMB EXPLODING! The laughter is drowned by the WAILING of fire trucks' SIRENS! 0002000006120001CDF460C,EXT. SCHOOL - DAY The school goes up in flames. Ian's car drives INTO FRAME. Through the windshield, we see Ian in the driver's seat and Mrs. Iskandar in the passenger seat -- their eyes wide with terror. Mrs. Iskandar is screaming, but we don't hear her. Ian stops the car, doesn't bother to park it, and runs out, calling Ayu at the top of his lungs! Ian (calling) Ayu! Ayu! Mrs. Iskandar runs out of the car. Ian runs towards the front door of the school, but another explosion DETONATES, and the front door BLASTS open. Ian dashes towards a large window through which he sees children running and screaming in a classroom -- a teacher tries to open the classroom door, but the door is locked! Flames are eating at the walls. Ian BANGS on the window with his fists. Ian (CONTD) (calling) Ayu! Ayu! He finally spots Ayu. She spots him, too. Ian (CONTD) Open the window! Inside, Ayu runs towards the window, but then runs back to her desk to pick up the little sailing ship Ian gave her. Ian keeps BANGING on the window. Mrs. Iskandar runs INTO VIEW. Fire trucks pull up at the curb. Firefighters soon start hosing down the school but without success. Ayu tries to open the window, but it won't open! It is stuck! FIREFIGHTER (yelling in Indonesian) Hey you! -- Get out of the way! Ian (In Indonesian) Get my daughter! My daughter's trapped in there! Suddenly, the window IMPLODES as part of the ceiling CRASHES down on Ayu. She collapses to the floor, OUT OF VIEW. Firefighters quickly pull Ian and Mrs. Iskandar out of the way. 000200000CAC0001D400CA6,DISSOLVE TO: INT. CLASSROOM - MOMENTS LATER CLOSE ON Ayu's hand lying lifeless on the floor. It sticks out from under the debris, and still holds the model ship. The ship slips out of her hand, and capsizes to the floor. A steady stream of blood flows INTO FRAME on the floor, under Ayu's hand and ship. WIDEN ANGLE TO REVEAL Ian with a few firefighters. The firefighters remove some of the debris. The flames have died down, but here and there we still hear some CRACKLING of fire. Slowly MOVE IN on Ayu's face. She is dead. Ian (sinks to his knees) Ayu. Ayu! Ian cringes at the sight of Ayu's severed hand. He touches the hand. A firefighter and Mrs. Iskandar walk INTO FRAME. Ian gently strokes the severed hand. Ian (CONTD) (in tears) Ayu. Ayu. MRS. ISKANDAR (in tears) Handoko. My son. Handoko. PULL BACK TO REVEAL the devastated schoolroom filled with dead children and a dead teacher. Complete silence except for a slight CRACKLING of flames -- flames that have not quite died out. DISSOLVE TO: INT. THE WILSON LIVING ROOM - DAY Farida, with tears streaming down her face, is mending the torn sail of Ayu's little boat. Ian moves INTO FRAME, and gently kisses Farida on the forehead. DISSOLVE TO: INT. FUNERAL PARLOR IN JAKARTA - EVENING Farida and Mrs. Iskandar, sitting down, are in tears. A few mourners, near them, try to comfort them as best they can. They are speaking in Indonesian so we don't understand what they are saying. MOVE IN slowly on Ian kneeling by the open coffin in which Ayu is laid out. The little ship has been set in her severed hand. Ian, shaky, is fighting tears. His face is almost expressionless. He touches Ayu's little face. He opens his mouth, is about to speak, but can't. Finally... Ian (faintly) Ayu...Come back. Please...come back. Come back to me. HOLD ON Ayu's severed little hand, holding on to the model sailing ship. SLOW FADE to white and fade back in to: INT. John'S APARTMENT -- BATHROOM -- 2037 - DAY Darcy eludes buckets of water that spew from John's mouth. He gags, shudders, quivers over the tub's edge. She places a cold stethoscope against his back. He cringes. We notice he disfigured hand, it has similar marks to the injuries of Ayu's hand in the previous sequence. John No, not yet. I'm not ready. DARCY It's okay. You're okay. John (still in a daze) This time there was so much more. DARCY I should hope so. You were gone two minutes, fifty-two seconds. John No way. Darcy discards the latex gloves and shoves her supplies back into her bag. DARCY Trying to get you back, I could feel you resisting. JOHN (confidently) You must not be reluctant to loosen you attachment to other peoples lives. John drapes a towel over his head like a cloak. Darcy dries his hair. John (CONT'D) You were there! Not you, but... you were with me. DARCY Where? He flips the towel off his head. John Almost everywhere. Darcy consults her wristwatch. DARCY Gonna be okay? John Yeah, I think I am. DARCY Good, cause I gotta run. In a quick burst, she kisses him on the lips. He pulls her in for more, embracing her. John Will you come back? Over John's shoulder, Darcy smiles. DARCY Of course, Johno... She pecks his cheek. DARCY (CONT'D) ... I always do. The End 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Final Draft 0 lAction2 Character Character?Courier Final Draft 0  Dialogue3 Transition Parenthetical?Courier Final Draft 0 Dialogue4DialogueDialogue?Courier Final Draft 0 Action5 Parenthetical Transition?Courier Final Draft 0  Scene Heading6 Scene HeadingShot?Courier Final Draft 0 lAction Scene Heading7ActionShow/Ep. Title?Courier Final Draft 0 HTeaser/Act OneGeneralF1Action GENERAL SCENE HEADING ACTION CHARACTER PARENTHETICALDIALOGUE TRANSITION SHOTSHOW/EP. TITLEsTCHy4 EVAN DARCY VOICE MARIO MR. PANTELLIDOCTOR MR. PANRELLIMOTHER POV MARIOCORDERO JOAOBASILIO TINYDUNCAN OBBY BOBBY SPEAKER 1 CITIZEN1 CITIZEN 1PREACHERSERGEANT BRAAMOLD MAN SANTI PIET PIET/BRAAMANDREW JACKSONFARMER ALBERTINATHOMASABIGAIL MARY ROSESERVANT MARY SCOTT MARY'S MOTHER NEWSCASTER MARK WIFEHUSBANDFARIDA MRS. ISKANDAR AYU FIREFIGHTER CALEBMr. Pant B Ian John MAN IN BLACK INQUisitor J]sTCE (V.O.) (O.S.) (O.C.) (CONT'D) (SUBTITLE) (off camera)sTTR+ Cut To: Fade In: Fade Out. Fade To: Dissolve To: Back To: Match Cut To: Jump Cut To:Fade To Black. FADE OUTMONTAGE OF SHOTS: FADE TO BLACK MARK'S POV: BACK TO MARKdDiCF+'SLOW FADE to white and fade back in to:Cut to FLASHBACK:CusTSIIntExtI/EJFIN THE BACKGROUND, ETCHED AGAINST THE HORIZON IS A LARGE SOLITARY TREEh"DARCY'S CAR -- DAY YEAR 2037($EVAN'S APARTMENT -- BATHROOM -- SAMEDARCY'S CAR -- CONTINUOUS1-EVAN'S APARTMENT -- BATHROOM -- MOMENTS LATERIN THE LIVING ROOMIN THE BATHROOMWORKSHOP, ITALY, 1348 DAY AT THE DOORHOSPITAL ROOM NIGHTMARIO'S HOUSE- NIGHT SHOP DAY HOSPITAL DAY INT SHOP DAYMONTAGE WITH MUSIC OVERLAY CEMETARY DAY RIVER BANK1-SUPER: "PARANA RIVER, PARAGUAY/BRAZIL BORDER INT.CHURCH - OBSERVER'S POV BOSTON ALLEY SWARTZ CREEKCHURCH - OBSERVER'S POV VILLAGE GREEN BUNKER HILLDIRT ROAD. VELD. DAY. VELD. DAY."FARM ENTRANCE. LATE AFTERNOON.STABLE. FARM. EVENING.KITCHEN. FARMHOUSE. NIGHT.BARN. FARM. NIGHT.KITCHEN. FARMSTEAD. NIGHT.FARMSTEAD. NIGHT.HOMESTEAD. NIGHT.FARMHOUSE. TREE. NIGHT.&"BEDROOM. FARMSTEAD. EARLY MORNING.FARMSTEAD. MORNING.BARN. FARM. MORNINGFARMHOUSE. MORNING.BARN. MORNING.&"BEDROOM. FARMHOUSE. EARLY MORNING.BARN. EARLY MORNING.FARM. EARLY MORNING.A BRIDGE OVER A RIVERANDREW JACKSON'S CONSCIENCE"DINING ROOM - ALBERTINA'S HOMEEND MONTAGE OF SHOTS DINING ROOMALBERTINA'S BEDROOM RIVER BANK.40PATHWAY ALONG RIVER OVER BRIDGE BY ENGRAVED TREEALONG THE BANKS OF A RIVERINT - INSIDE CAREXT - INSIDE THE LAKEINT - INSIDE THE CAR INT - UNDER WATER IN THE CAREXT - SYDNEY HARBOURINT - MARY'S HOUSE'#MARK WILSON'S DIMLY LIT LIVING ROOMFUNERAL PARLOR - ROOM 2FUNERAL PARLOR - CORRIDOR FARIDA'S FLOWER SHOP IN BALIFARIDA'S FLOWER SHOP51MARK AND FARIDA'S HOUSE IN THE SUBURBS OF JAKARTA!MARK AND FARIDA'S LIVING ROOMTHE WILSON DINING ROOMAYU'S BEDROOM -LATER&"BATHROOM ACROSS FROM AYU'S BEDROOMMARK AND FARIDA'S BEDROOMCORRIDOR AND STAIRWAYTHE WILSON BEDROOMA ZOO IN JAKARTAA POND AT THE ZOO ANGLE ON AYUA FEMALE STROLLERTHE WILSON KITCHENSOUND OF A BOMB EXPLODING! SCHOOL CLASSROOMTHE WILSON LIVING ROOMFUNERAL PARLOR IN JAKARTA SLOW FADE OUT,(CALEB'S APARTMENT -- BATHROOM -- PRESENT#EVAN'S APARTMENT -- LIVING ROOM EVAN'S APARTMENT -- BATHROOM$ EVAN'S APARTMENT -- BATHROOM -WORKSHOP DOORWAY SHOP,($PARANA RIVER, PARAGUAY/BRAZIL BORDER.*PARANA RIVER, PARAGUAY/BRAZIL BORDER, 1650WORKSHOP, VENICE, 1548 WORKSHOP.DIRT ROAD. VELD 1804&"DIRT ROAD. SOUTH AFRICAN VELD 1804 DIRT ROAD,&"A BRIDGE OVER A RIVER IRELAND 1890($A BRIDGE OVER A RIVER IRELAND 1890 -INT%!DRIVING ALONG SYDNEY HARBOUR 1949($JOHN'S APARTMENT -- BATHROOM -- 2037DARCY'S CAR YEAR 2037($DARCY RESUMES MEASURED COMPRESSIONS.%!JOHN'S APARTMENT -- BATHROOM 2037SYDNEY HARBOUR END FLASHBACK#IVAN'S BODY SWINGS FROM A ROPE.sTSTDay Night Afternoon Morning Evening Later Moments Later Continuous The Next Day 1650" NIGHT.DAY. EVENING. DAWN. LATE EVENINGMIDDLE OF THE NIGHTD1650NDA)%CAR DRIVING ALONG SYDNEY HARBOUR 1949YmCRO9INTINT. Scene Heading01119EXTEXT. 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