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graph modification problems form an important subclass of discrete computational problems , where the task is to modify a given graph using a constrained number of modifications in order to make it satisfy some property @xmath4 , or equivalently belong to the class @xmath5 of graphs satisfying @xmath4 .
well - known examples of graph modification problems include vertex cover , cluster editing , feedback vertex set , odd cycle transversal , and minimum fill - in .
the systematic study of graph modification problems dates back to early 80s and the work of yannakakis @xcite , who showed that there is a dichotomy for the vertex deletion problems : unless a graph class @xmath5 is trivial ( finite or co - finite ) , the problem of deleting the least number of vertices to obtain a graph from @xmath5 is -hard .
however , when , in order to obtain a graph from @xmath5 , we are to modify the edge set of the graph instead of the vertex set , there are three natural classes of problems : deletion problems ( deleting the least number of edges ) , completion problems ( adding the least number of edges ) and editing problems ( performing the least number of edge additions or deletions ) . for neither of these ,
any complexity dichotomy in the spirit of yannakakis result is known . indeed , in @xcite yannakakis states
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ it [ ] would be nice if the same kind of techniques could be applied to the edge - deletion problems .
unfortunately we suspect that this is not the case the reductions we found for the properties considered [ ] do not seem to fall into a pattern . _ + mihalis yannakakis _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ even though for edge modification problems there is no general vs. classification known , much can be said about their parameterized complexity .
recall that a parameterized problem is called _ fixed - parameter tractable _ if it can be solved in time @xmath6 for some computable function @xmath7 , where @xmath8 is the size of the input and @xmath1 is its parameter . in our case , the natural parameter @xmath1 is the allowed number of modifications .
cai @xcite made a simple observation that for all the aforementioned graph modification problems there is a simple branching algorithm running in time @xmath9 for some constant @xmath10 , as long as @xmath5 is _ characterized by a finite set of forbidden induced subgraphs _
: there is a finite list of graphs @xmath11 such that any graph @xmath12 belongs to @xmath5 if and only if @xmath12 does not contain any @xmath13 as an induced subgraph .
although many studied graph classes satisfy this property , there are important examples , like chordal or interval graphs , that are outside this regime .
for this reason , the parameterized analysis of modification problems for graph classes characterized by a finite set of forbidden induced subgraphs focused on studying the design of _ polynomial kernelization algorithms _ ( _ polynomial kernels _ ) ; recall that such an algorithm is required , given an input instance @xmath14 of the problem , to preprocess it in polynomial time and obtain an equivalent output instance @xmath15 , where @xmath16 for some polynomial @xmath17 .
that is , the question is the following : can you , using polynomial - time preprocessing only , bound the size of the tackled instance by a polynomial function depending only on @xmath1 ? for vertex deletion problems
the answer is again quite simple : as long as @xmath5 is characterized by a finite set of forbidden induced subgraphs , the task is to hit all the copies of these subgraphs ( so - called _ obstacles _ ) that are originally contained in the graph .
hence , one can construct a simple reduction to the @xmath18-hitting set problem for a constant @xmath18 depending on @xmath5 , and use the classic @xmath19 kernel for the latter that is based on the sunflower lemma ( see e.g. @xcite ) . for edge modifications problems
, however , this approach fails utterly : every edge addition / deletion can create new obstacles , and thus it is not sufficient to hit only the original ones .
for this reason , edge modification problems behave counterintuitively w.r.t .
polynomial kernelization , and up to recently very little was known about their complexity . on the positive side , kernelization of edge modification problems for well - studied graph classes
was explored by guo @xcite , who showed that four problems : threshold completion , split completion , chain completion , and trivially perfect completion , all admit polynomial kernels .
however , the study took a turn for the interesting when kratch and wahlstrm @xcite showed that there is a graph @xmath20 on @xmath21 vertices , such that the deletion problem to @xmath20-free graphs ( the class of graphs not admitting @xmath20 as an induced subgraph ) does not admit a polynomial kernel , unless the polynomial hierarchy collapses .
this shows that the subtle differences between edge modification and vertex deletion problems have tremendous impact on the kernelization complexity .
kratch and wahlstrm conclude by asking whether there is a `` simple '' graph , like a path or a cycle , for which an edge modification problem does not admit a polynomial kernel under similar assumptions .
the question was answered by guillemot et al .
@xcite who showed that both for the class of @xmath22-free graphs ( for @xmath23 ) and for the class of @xmath24-free graphs ( for @xmath25 ) , the edge deletion problems probably do not have polynomial kernelization algorithms .
they simultaneously gave a cubic kernel for the cograph editing problem , the problem of editing to a graph without induced paths on four vertices .
these results were later improved by cai and cai @xcite , who tried to obtain a complete dichotomy of the kernelization complexity of edge modification problems for classes of @xmath20-free graphs , for every graph @xmath20 .
the project has been almost fully successful the question remains unresolved only for a finite number of graphs @xmath20 .
in particular , it turns out that the existence of a polynomial kernel for any of @xmath20-free editing , @xmath20-free edge deletion , or @xmath20-free completion problems is in fact a very rare phenomenon , and basically happens only for specific , constant - size graphs @xmath20 . in particular , for @xmath20 being a path or a cycle , the aforementioned three problems admit polynomial kernels if and only if @xmath20 has at most three edges .
at the same time , there is a growing interest in identifying parameterized problems that are solvable in _ subexponential parameterized time _ ,
i.e. , in time @xmath26 .
although for many classic parameterized problems already known -hardness reductions show that the existence of such an algorithm would contradict the _ exponential time hypothesis _ of impagliazzo et al .
@xcite , subexponential parameterized algorithms were known to exist for problems in restricted settings , like planar , or more generally @xmath20-minor free graphs @xcite , or tournaments @xcite .
see the book of flum and grohe @xcite for a wider discussion .
therefore , it was an immense surprise when fomin and villanger @xcite showed that chordal completion ( also called minimum fill - in ) can be solved in time @xmath27 . following this discovery , a new line of research was initiated .
ghosh et al .
@xcite showed that split completion is solvable in the same running time .
although komusiewicz and uhlmann @xcite showed that we can not expect cluster editing to be solvable in subexponential parameterized time , as shown by fomin et al .
@xcite , when the number of clusters in the target graph is sublinear in the number of allowed edits , this is possible nonetheless . following these three positive examples , drange et al .
@xcite showed that completion problems for trivially perfect graphs , threshold graphs and pseudosplit graphs all admit subexponential parameterized algorithms .
later , bliznets et al
. showed that both proper interval completion and interval completion also admit subexponential parameterized algorithms @xcite .
let us remark that in almost all these results , the known existence of a polynomial kernelization procedure for the problem played a vital role in designing the subexponential parameterized algorithm .
kernelization is namely used as an opening step that enables us to assume that the size of the considered graph is polynomial in the parameter @xmath1 , something that turns out to be extremely useful in further reasonings .
the only exception is the algorithm for the interval completion problem @xcite , for which the existence of a polynomial kernel remains a notorious open problem .
the need of circumventing this issue created severe difficulties in @xcite . in this paper
we study the trivially perfect editing problem .
recall that trivially perfect graphs are exactly graphs that do not contain a @xmath28 or a @xmath29 as an induced subgraph ; see section [ ssec : prelim - tp ] for a structural characterization of this graph class .
interest in trivially perfect graphs started with the attempts to prove the strong perfect graph theorem . in recent times ,
new source of motivation has grown , with the realization that trivially perfect graphs are related to the width parameter _ treedepth _ ( called also vertex ranking number , ordered chromatic number , and minimum elimination tree height ) .
although it had been known that both the completion and the deletion problem for trivially perfect graphs are -hard , it was open for a long time whether the editing version is -hard as well @xcite .
this question was answered very recently by nastos and gao @xcite , who showed that the problem is indeed -hard .
actually , the work of nastos and gao focuses on exhibiting applications of trivially perfect graphs in social network theory , since this graph class may serve as a model for _ familial groups _ , communities in social networks showing a hierarchical nature .
specifically , the _ editing number _ to a trivially perfect graph can be used as a measure of how much a social network resembles a collection of hierarchies .
nastos and gao also ask whether it is possibly to obtain a polynomial kernelization algorithm for this problem .
the question about the existence of a polynomial kernel for trivially perfect editing was then restated in a recent survey by liu , wang , and guo @xcite , which _ nota bene _ contains a comprehensive overview of the current status of the research on the kernelization complexity of graph modification problems .
[ [ our - contribution . ] ] our contribution .
+ + + + + + + + + + + + + + + + + we answer the question of nastos and gao @xcite and of liu , wang , and guo @xcite in affirmative by proving the following theorem .
[ thm : tpe - polykernel - intro ] the problem trivially perfect editing admits a proper kernel with @xmath0 vertices . here , we say that a kernel ( kernelization algorithm ) is _ proper _ if it can only decrease the parameter , i.e. , the output parameter @xmath30 satisfies @xmath31 .
to prove theorem [ thm : tpe - polykernel - intro ] , we employ an extensive analysis of the tackled instance , based on the equivalent structural definition of trivially perfect graphs .
the main approach is to construct a small _ vertex modulator _
, a set of vertices whose removal results in obtaining a trivially perfect graph .
however , since we are allowed only edge deletions and additions , this modulator just serves as a tool for exposing the structure of the instance .
more specifically , we greedily pack disjoint obstructions into a set @xmath32 , whose size can be guaranteed to be at most @xmath33 , with the condition that to get rid of each of these obstructions , at least one edge must be edited inside the modulator per obstruction .
having obtained such a modulator , the rest of the graph , @xmath34 , is trivially perfect , and we may apply the structural view on trivially perfect graphs to find irrelevant parts that can be reduced . while the modulator technique is commonly used in kernelization ,
the new insight in this work is as follows .
since we work with an edge modification problem , we can be less restrictive about when an obstacle can be greedily packed into the modulator .
for example , the obstacle does not need to be completely vertex - disjoint with the so far constructed @xmath32 ; sharing just one vertex is still allowed .
this observation allows us to reason about the adjacency structure between @xmath32 and @xmath35 , which is of great help when identifying irrelevant parts .
we hope that this generic technique finds applications in other edge modification problems as well . by slight modifications of our kernelization algorithm
, we also obtain polynomial kernels for trivially perfect deletion and trivially perfect completion .
[ thm : tpd - polykernel - intro ] the problem trivially perfect deletion admits a proper kernel with @xmath0 vertices .
[ thm : tpc - polykernel - intro ] the problem trivially perfect completion admits a proper kernel with @xmath0 vertices . to the best of our knowledge , no polynomial kernel for trivially perfect deletion was known so far . for trivially perfect completion
, a cubic kernel was shown earlier by guo @xcite .
unfortunately , the work of guo @xcite is published only as a conference extended abstract , where it is only sketched how the approach yielding a quartic kernel for split deletion could be used to obtain a cubic kernel for trivially perfect completion .
the details of this kernelization algorithm are deferred to the full version , which , alas , has not appeared .
for this reason , we believe that our proof of theorem [ thm : tpc - polykernel - intro ] fills an important gap in the literature the polynomial kernel for trivially perfect completion is an important ingredient of the subexponential parameterized algorithm for this problem @xcite . finally , we show that trivially perfect editing , in addition to being -complete , can not admit a subexponential parameterized algorithm , provided that the exponential time hypothesis holds .
[ thm : eth - hardness - intro ] under eth , the trivially perfect editing problem is -hard and can not be solved in time @xmath26 or @xmath36 even on graphs with maximum degree @xmath37 . in other words ; the familial group measure can not be computed in time subexponential in terms of the value of the measure .
this stands in contrast with trivially perfect completion that admits a subexponential parameterized algorithm , and shows that trivially perfect editing is more similar to trivially perfect deletion , for which a similar lower bound has been proved earlier by drange et al .
in fact , our reduction can be used as an alternative proof of hardness of trivially perfect deletion as well .
let us note that the -hardness reduction for trivially perfect editing presented by nastos and gao @xcite can not be used to prove nonexistence of a subexponential parameterized algorithm , since it involves a cubic blow - up of the parameter ( see section [ sec : hardness ] for details ) . to prove theorem [ thm : eth - hardness - intro ] , we resort to the technique used for similar hardness results by komusiewicz and uhlmann @xcite and by drange et al . @xcite .
[ [ graphs . ] ] graphs . + + + + + + + in this work we consider only undirected simple finite graphs . for a graph @xmath12 , by @xmath38 and @xmath39
we denote the vertex and edge set of @xmath12 , respectively .
the _ size _ of a graph @xmath12 is defined as @xmath40 . for a vertex @xmath41 , by @xmath42
we denote the open neighborhood of @xmath43 , i.e. @xmath44 . the closed neighborhood of @xmath43 , denoted by @xmath45 $ ] , is defined as @xmath46 .
these notions are extended to subsets of vertices as follows : @xmath47=\bigcup_{v\in x } n_g[v]$ ] and @xmath48\setminus x$ ] .
we omit the subscript whenever @xmath12 is clear from context . when @xmath49 is a subset of vertices of @xmath12 , we write @xmath50 $ ] to denote the _ induced subgraph _ of @xmath12 , i.e. , the graph @xmath51 where @xmath52 is @xmath39 restricted to @xmath53 .
the degree of a vertex @xmath41 , denoted @xmath54 , is the number of vertices it is adjacent to , i.e. , @xmath55 .
we denote by @xmath56 the maximum degree in the graph , i.e. , @xmath57 . for a set @xmath58
, we write @xmath59 to denote the set of unordered pairs of elements of @xmath58 ; thus @xmath60 . by @xmath61
we denote the _ complement _ of a graph @xmath12 , i.e. , @xmath62 and @xmath63 .
if @xmath43 and @xmath64 are such that @xmath65 = n[u]$ ] , then we call @xmath43 and @xmath64 _ true twins_. observe that @xmath43 and @xmath64 are adjacent if they are true twins . on the other hand ,
if @xmath43 and @xmath64 have @xmath66 , then we call @xmath43 and @xmath64 _ false twins _ , and in this case we may observe that @xmath43 and @xmath64 are non - adjacent . if @xmath32 is an inclusion - wise maximal set of vertices such that for every pair of vertices @xmath43 and @xmath64 in @xmath32 they are true ( resp
. false ) twins , then we call @xmath32 a true ( resp
. false ) twin class . for a graph @xmath12 and a set of vertices @xmath67 , we denote by @xmath34 the ( induced subgraph ) @xmath68 $ ] . when @xmath69 , we write @xmath70 to denote the graph @xmath71 on vertex set @xmath38 and edge set @xmath72 . finally , we let @xmath73 be the graph on vertex set @xmath38 and edge set @xmath74 , where @xmath75 denotes the _ symmetric difference _ ; for two sets @xmath58 and @xmath76 , @xmath77 .
we will also say that two sets @xmath58 and @xmath76 are _ nested _ if @xmath78 or @xmath79 .
a vertex @xmath80 is _ universal _ if it is adjacent to all the other vertices of the graph .
note that the set of universal vertices of a graph forms a clique , which is also a true twin class .
this clique will be denoted by @xmath81 and called the _ universal clique _ of @xmath12 .
[ [ modules - and - the - modular - decomposition . ] ] modules and the modular decomposition .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + in our kernelization algorithm we will use the notion of a _ module _ in a graph .
[ def : module ] given a graph @xmath12 , a set of vertices @xmath82 is called a _ module _ if for any two vertices @xmath43 and @xmath64 in @xmath83 , we have that @xmath84 , i.e. , all the vertices of @xmath83 have exactly the same neighborhood outside @xmath83 .
observe that for any graph @xmath12 , any singleton @xmath85 is a module , and also @xmath38 itself is a module .
however , @xmath12 can contain a whole hierarchy of modules .
this hierarchy can be captured using the following notion of a _ modular decomposition _ , introduced by gallai @xcite .
the following description of a modular decomposition is taken verbatim from the work of bliznets et al .
@xcite .
a module decomposition of a graph @xmath12 is a rooted tree @xmath86 , where each node @xmath87 is labeled by a module @xmath88 , and is one of four types : leaf : : : @xmath87 is a leaf of @xmath86 , and @xmath89 is a singleton ; union : : : @xmath90 $ ] is disconnected , and the children of @xmath87 are labeled with different connected components of @xmath90 $ ] ; join : : : the complement of @xmath90 $ ] is disconnected , and the children of @xmath87 are labeled with different connected components of the complement of @xmath90 $ ] ; prime : : : neither of the above holds , and the children of @xmath87 are labeled with different modules of @xmath12 that are proper subsets of @xmath89 , and are inclusion - wise maximal with this property . moreover , we require that the root of @xmath86 is labeled with the module @xmath38 .
we need the following properties of the module decomposition .
[ thm : module - decomp ] for a graph @xmath12 , the following holds . 1 .
a module decomposition @xmath91 of @xmath12 exists , is unique , and computable in linear time . 2 .
at any prime node @xmath87 of @xmath86 , the labels of the children form a partition of @xmath89 .
in particular , for each vertex @xmath43 of @xmath12 there exists exactly one leaf node with label @xmath92 .
each module @xmath83 of @xmath12 is either a label of some node of @xmath86 , or there exists a * union * or * join * node @xmath87 such that @xmath83 is a union of labels of some children of @xmath87 .
let us remark that since in this work we do not optimize the running time of the kernelization algorithm , we do not need to compute the modular decomposition in linear time . any simpler polynomial time algorithm would suffice ( see the work of mcconnell and spinrad @xcite for a literature overview ) . [
[ parameterized - complexity . ] ] parameterized complexity .
+ + + + + + + + + + + + + + + + + + + + + + + + + the running time of an algorithm is usually described as a function of the length of the input . to refine the complexity analysis of computationally hard problems ,
parameterized complexity introduced the notion of an extra `` parameter '' that is an additional part of a problem instance responsible for measuring its complexity . to simplify the notation
, we will consider inputs to problems of the form @xmath14 , which is a pair consisting of a graph @xmath12 and a nonnegative integer @xmath1 .
a problem is then said to be _ fixed parameter tractable _ if there is an algorithm which solves the problem in time @xmath93 , where @xmath7 is any function , and @xmath94 any polynomial function . in the case
when @xmath95 we say that the algorithm is a subexponential parameterized algorithm . when a problem @xmath96 is fixed - parameter tractable , where @xmath5 is the class of all graphs , we say that @xmath4 belongs to the complexity class . for a more rigorous introduction to parameterized complexity
we refer to the books of downey and fellows @xcite and of flum and grohe @xcite . a _ kernelization algorithm _ ( or _
kernel _ ) is a polynomial - time algorithm for a parameterized problem @xmath4 that takes as input a problem instance @xmath14 and returns an equivalent instance @xmath15 , i.e. @xmath97 , where both @xmath98 and @xmath30 are bounded by @xmath99 for some function @xmath7 .
we then say that @xmath7 is the _ size of the kernel_. when @xmath100 , we say that the kernel is a _
proper kernel_. specifically , a proper polynomial kernelization algorithm for @xmath4 is a polynomial time algorithm which takes as input an instance @xmath14 and returns an equivalent instance @xmath15 with @xmath100 and @xmath101 for some polynomial function @xmath17 . [
[ tools - for - lower - bounds . ] ] tools for lower bounds .
+ + + + + + + + + + + + + + + + + + + + + + + as evidence that trivially perfect editing can not be solved in subexponential parameterized time @xmath102 , we will use the exponential time hypothesis , formulated by impagliazzo , paturi , and zane @xcite .
there exists a positive real number @xmath103 such that 3sat with @xmath8 variables and @xmath104 clauses can not be solved in time @xmath105 .
impagliazzo , paturi , and zane @xcite proved a fundamental result called _ sparsification lemma _
, which can serve as a turing reduction from an arbitrary instance of 3sat to an instance where the number of clauses is linear in the number of variables . thus , the following statement is an immediate corollary of the sparsification lemma .
[ prop : eth ] unless eth fails , there exists a positive real number @xmath103 such that 3sat with @xmath8 variables and @xmath104 clauses can not be solved in time @xmath106 . in particular
, 3sat does not admit an algorithm with time complexity @xmath107 .
0.45 \(1 ) at ( 0,0 ) ; ( 2 ) at ( 1,0 ) ; ( 3 ) at ( 0,1 ) ; ( 4 ) at ( 1,1 ) ; \(1 ) ( 2 ) ; ( 2 ) ( 4 ) ; ( 3 ) ( 4 ) ; 0.45 \(1 ) at ( 0,0 ) ; ( 2 ) at ( 1,0 ) ; ( 3 ) at ( 0,1 ) ; ( 4 ) at ( 1,1 ) ; \(1 ) ( 2 ) ; ( 2 ) ( 4 ) ; ( 3 ) ( 4 ) ; ( 1 ) ( 3 ) ; [ [ combinatorial - properties . ] ] combinatorial properties .
+ + + + + + + + + + + + + + + + + + + + + + + + + a graph @xmath12 is trivially perfect if and only if it does not contain a @xmath29 or a @xmath28 as an induced subgraph .
that is , trivially perfect graphs are defined by the forbidden induced subgraph family @xmath108 ( see figure [ fig : forbidden - graphs ] ) .
however , we mostly rely on the following recursive characterization of the trivially perfect graphs : [ def : tp - recursive ] the class of trivially perfect graphs can be defined recursively as follows : * @xmath109 is a trivially perfect graph . * adding a universal vertex to a trivially perfect graph results in a trivially perfect graph . *
the disjoint union of two trivially perfect graphs results in a trivially perfect graph .
based on proposition [ def : tp - recursive ] , a superset of the current authors @xcite proposed the following notion of a decomposition for trivially perfect graphs . in the following , for a rooted tree @xmath86 and vertex @xmath110 , by @xmath111 we denote the subtree of @xmath86 rooted at @xmath87 .
[ def : univeral - clique - decomposition ] a _ universal clique decomposition _
( _ ucd _ ) of a connected graph @xmath12 is a pair @xmath112 , where @xmath86 is a rooted tree and @xmath113 is a partition of the vertex set @xmath38 into disjoint nonempty subsets , such that * if @xmath114 and @xmath115 , then either @xmath116 , @xmath87 is an ancestor of @xmath103 in @xmath86 , or @xmath103 is an ancestor of @xmath87 in @xmath86 , and * for every node @xmath117 , the set of vertices @xmath118 is the universal clique of the induced subgraph @xmath119 $ ]
. we call the vertices of @xmath86 _ nodes _ and the sets in @xmath113 _ bags _ of the universal clique decomposition @xmath120 . by slightly abusing notation
, we often identify nodes with corresponding bags .
note that by the definition , in a universal clique decomposition every non - leaf node @xmath87 has at least two children , since otherwise the bag @xmath118 would not comprise _ all _ the universal vertices of the graph @xmath121 $ ] .
the following lemma explains the connection between trivially perfect graphs and universal clique decompositions .
[ lem : tp - iff - ucd ] a connected graph @xmath12 admits a universal clique decomposition if and only if it is trivially perfect .
moreover , such a decomposition is unique up to isomorphisms .
note that a universal clique decomposition can trivially be found in polynomial time by repeatedly locating universal vertices and connected components .
moreover , we can extend the notion of a universal clique decomposition also to a disconnected trivially perfect graph @xmath12 . in this case , the universal clique decomposition of @xmath12 becomes a rooted forest consisting of universal clique decompositions of the connected components of @xmath12 . since
a graph is trivially perfect if and only if each of its connected component is , lemma [ lem : tp - iff - ucd ] can be easily generalized to the following statement : every ( possibly disconnected ) graph @xmath12 is trivially perfect if and only if it admits a universal clique decomposition , where the decomposition has the shape of a rooted forest .
moreover , this decomposition is unique up to isomorphism . the following definition of a quasi - ordering of vertices respecting the ucd will be helpful when arguing the correctness of the kernelization procedure .
let @xmath122 be the universal clique decomposition of a trivially perfect graph @xmath12 .
we impose a quasi - ordering @xmath123 on vertices of @xmath12 defined as follows .
suppose vertex @xmath64 belongs to bag @xmath118 and vertex @xmath43 belongs to bag @xmath124 .
then @xmath125 if and only if @xmath126 or @xmath87 is an ancestor of @xmath103 in the rooted forest @xmath86 .
thus , classes of vertices pairwise equivalent with respect to @xmath123 are exactly formed by the bags of @xmath113 , and otherwise the ordering respects the rooted structure of @xmath86 .
note that since the ucd of a trivially perfect graph is unique up to isomorphism , the quasi - ordering @xmath123 is uniquely defined and can be computed in polynomial time . [
[ computational - problems . ] ] computational problems .
+ + + + + + + + + + + + + + + + + + + + + + + in this work we are mainly interested in the trivially perfect editing problem , defined formally as follows : a graph @xmath12 and a non - negative integer @xmath1 .
@xmath1 is there a set @xmath127 of size at most @xmath1 such that @xmath128 is trivially perfect ? for a graph @xmath12 , any set @xmath129 for which @xmath130 is trivially perfect
will henceforth be referred to as an _ editing set_. an editing set is _ minimal _ if no proper subset @xmath131 is also an editing set . in the trivially perfect deletion and trivially perfect completion problems
we allow only edge deletions and edge additions , respectively .
more formally , we require that the editing set @xmath132 is contained in , or disjoint from @xmath39 , respectively . in section [ sec : kernel - editing ] we prove theorem [ thm : tpe - polykernel - intro ] , that is , we show that trivially perfect editing admits a kernel with @xmath0
. actually , the character of our data reduction rules will be very simple ; the kernelization algorithm will start with instance @xmath14 , and perform only the following operations : * edit some @xmath133 , decrement the budget @xmath1 by @xmath134 , and terminate the algorithm if @xmath1 becomes negative ; or * remove some vertex @xmath64 of @xmath12 and proceed with instance @xmath135 .
thus , the kernel will essentially be an induced subgraph of @xmath12 , modulo performing some edits whose safeness and necessity can be deduced . in the proofs of correctness , we will never use any minimality argument that exchanges edge deletions for completions , or vice versa .
therefore , the whole approach can be applied almost verbatim to trivially perfect deletion and trivially perfect completion , yielding proofs for theorems [ thm : tpd - polykernel - intro ] and [ thm : tpc - polykernel - intro ] after very minor modifications .
we hope that the reader will be convinced about this after understanding all the arguments of section [ sec : kernel - editing ] . however , for the sake of completeness we , in section [ sec : kernel - comp - del ] , review the modifications of the argumentation of section [ sec : kernel - editing ] that are necessary to prove theorems [ thm : tpd - polykernel - intro ] and [ thm : tpc - polykernel - intro ] .
[ [ tp - set - systems . ] ] tp - set systems .
+ + + + + + + + + + + + + + + in the kernelization algorithm we will need the following auxiliary definition and result .
[ def : tpss ] a set system @xmath136 over a ground set @xmath53 is called a _ tp - set system _ if for every @xmath137 and @xmath138 in @xmath139 with @xmath140 and @xmath141 , there is no @xmath142 with @xmath143 .
the following property bounds the size of a tp - set system , which we need later : [ lem : tpss - bounded ] let @xmath139 be a tp - set system over a finite ground set @xmath53 .
then the cardinality of @xmath139 is at most @xmath144 .
we proceed by induction on @xmath145 , with the claim being trivial when @xmath146 .
suppose @xmath139 is a tp - set system over a ground set @xmath53 , and let @xmath32 be a member of @xmath139 that has the minimum cardinality among the nonempty ones ( if there is no such set , then @xmath147 and we are done ) .
the first observation is that if @xmath148 and @xmath149 are two nonempty members of @xmath139 that satisfy @xmath150 ( possibly @xmath151 or @xmath152 ) , then in fact @xmath153 .
suppose otherwise that there exist two such nonempty sets @xmath154 with @xmath155 ; w.l.o.g .
, suppose that there exists an element @xmath156 , and hence @xmath157 .
since @xmath32 is of minimum cardinality , we have that @xmath158 . as @xmath159
, we infer that there exists an element @xmath160 .
consider the pair @xmath161 and observe that ( a ) @xmath162 , ( b ) @xmath163 , and ( c ) @xmath164 .
this contradicts the definition of a tp - set system .
define a set system @xmath165 over the ground set @xmath166 as follows : @xmath167 clearly , @xmath165 is a tp - set system over a strictly smaller ground set , so from the induction hypothesis we infer that @xmath168 .
moreover , from the observation of the previous paragraph we infer that sets @xmath169 are pairwise different for @xmath170 , and hence @xmath171 ( the additive @xmath172 comes from possibly having the empty set in @xmath139 ) . concluding , @xmath173
this section is devoted to the proof of theorem [ thm : tpe - polykernel - intro ] , stating that trivially perfect editing admits a proper kernel with @xmath0 vertices . as usual
, the kernelization algorithm will be given as a sequence of _ data reduction rules _
: simple preprocessing procedures that , if applicable , simplify the instance at hand . for each rule
we shall prove two results : ( a ) that applicability of the rule can be recognized in polynomial time , and ( b ) that the rule is _ safe _ , i.e. , the resulting instance is equivalent to the input one . at the end of the proof
we will argue that if no rule is applicable , then the size of the instance must be bounded by @xmath0 .
some rules will decrement the budget @xmath1 for edge edits ; if this budget drops below zero , we may conclude that we are dealing with a no - instance , so we immediately terminate the algorithm and provide a constant - size trivial no - instance as the obtained kernel , for example the instance @xmath174 . before starting the formal description ,
let us give a brief overview of the structure of the proof .
in section [ sec : basic - rules ] we give some preliminary basic rules , which mostly deal with situations where we can find a large number of induced @xmath29s and @xmath28s in the graph ( henceforth called _ obstacles _ ) , which share only one edge or non - edge .
we then infer that this edge or non - edge has to be included in any editing set of size at most @xmath1 , and hence we can perform the necessary edit and decrement the budget . in section [ sec : modulator ] we perform a greedy algorithm that iteratively packs disjoint induced @xmath29s and @xmath28s in the graph .
note that if we are able to pack more than @xmath1 of them , then this certifies that the considered instance does not have a solution , and we can terminate the algorithm .
hence , if @xmath32 is the union of vertex sets of the packed obstacles , then @xmath175 and @xmath34 is a trivially perfect graph .
uncovering such a set @xmath32 , which we call a tp - modulator , imposes a lot of structure on the considered instance , and is the key for further analysis of irrelevant parts of the input .
although the applied modulator technique is standard in the area of kernelization for graph modification problems , in this paper we introduce a new twist to it that may have possible further applications .
namely , we observe that since we consider edge editing problems , the packed obstacles do not have to be entirely vertex - disjoint , but the next obstacle can be packed even if it shares one vertex with the union of vertex sets of the previous obstacles ; in some limited cases even having two vertices in common is permitted .
thus , the obtained modulator @xmath32 has the property that not only is there no obstacle in the graph @xmath12 that is vertex - disjoint with @xmath32 , but even the existence of obstacles sharing one vertex with @xmath32 is forbidden .
this simple observation enables us to reason about the adjacency structure between @xmath32 and @xmath35 . in section [ sec : modulator - nei ] we analyze this structure in order to prove the most important technical result of the proof : the number of subsets of @xmath32 that are neighborhoods within @xmath32 of vertices from @xmath35 is bounded polynomially in @xmath1 ; see lemma [ lem : bounded - x - neighborhoods ] . in section [ sec : impbags ]
we proceed to analyze the trivially perfect graph @xmath34 . having the polynomial bound on the number of neighborhoods within @xmath32
, we can locate in the ucd of @xmath34 a polynomial ( in @xmath1 ) number of _ important bags _
, where something interesting from the point of view of @xmath32-neighborhoods happens .
the parts between the important bags have very simple structure .
they are either _ tassels _ : sets of trees hanging below some important bag , where each such tree is a module in the whole graph @xmath12 ; or _ combs _ : long paths stretched between two important bags where all the vertices of subtrees attached to the path have exactly the same neighborhood in @xmath32 .
tassels and combs are treated differently : large tassels contain large trivially perfect modules in @xmath12 that can be reduced quite easily , however for combs we need to devise a quite complicated irrelevant vertex rule that locates a vertex that can be safely discarded in a long comb .
the module reduction rules are described in section [ sec : module - rules ] , while in section [ sec : kernel - final ] we reduce the sizes of tassels and combs and conclude the proof . in this section
we introduce the first two basic reduction rules . in the argumentation of the next sections
, we will assume that none of these rules is applicable .
an instance satisfying this property will be called _
reduced_. 0.45 \(u ) at ( 2,0 ) @xmath64 ; ( v ) at ( 5,0 ) @xmath43 ; ( a1 ) at ( 0,1 ) ; ( a2 ) at ( 1,1 ) ; ( b1 ) at ( 2,1 ) ; ( b2 ) at ( 3,1 ) ; ( c1 ) at ( 4,1 ) ; ( c2 ) at ( 5,1 ) ; ( d1 ) at ( 6,1 ) ; ( d2 ) at ( 7,1 ) ; \(u ) ( v ) ; \(u )
( a1 ) ( v ) ( a2 ) ( u ) ; ( a1 ) ( a2 ) ; \(u ) ( b1 ) ( v ) ( b2 ) ( u ) ; ( b1 ) ( b2 ) ; \(u )
( c1 ) ( v ) ( c2 )
( u ) ; ( c1 ) ( c2 ) ; \(u ) ( d1 ) ( v ) ( d2 ) ( u ) ; ( d1 ) ( d2 ) ; 0.45 \(u ) at ( 2,0 ) @xmath64 ; ( v ) at ( 5,0 ) @xmath43 ; ( a1 ) at ( 0,1 ) ; ( a2 ) at ( 1,1 ) ; ( b1 ) at ( 2,1 ) ; ( b2 ) at ( 3,1 ) ; ( c1 ) at ( 4,1 ) ; ( c2 ) at ( 5,1 ) ; ( d1 ) at ( 6,1 ) ; ( d2 ) at ( 7,1 ) ; \(u ) ( v ) ; \(u ) ( a1 ) ; ( u ) ( b1 ) ; ( u ) ( c1 ) ; ( u ) ( d1 ) ; \(v ) ( a2 ) ; ( v ) ( b2 ) ; ( v )
( c2 ) ; ( v ) ( d2 ) ; ( a1 ) ( a2 ) ; ( b1 ) ( b2 ) ; ( c1 ) ( c2 ) ; ( d1 ) ( d2 ) ; [ rule : c4 ] for an instance @xmath14 with @xmath176 , if there is a matching of size at least @xmath177 in @xmath178}$ ] , then add edge @xmath179 to @xmath12 and decrease @xmath1 by one , i.e. , return the new instance @xmath180 .
[ rule : p4 ] for an instance @xmath14 with @xmath181 and @xmath182 $ ] and @xmath183 $ ] , if there is a matching in @xmath61 between @xmath184 and @xmath185 of size at least @xmath177 , then delete edge @xmath179 from @xmath12 and decrease @xmath1 by one , i.e. , return the new instance @xmath186 .
[ lem : basic - rules - sound ] applicability of rules [ rule : c4 ] and [ rule : p4 ] can be recognized in polynomial time . moreover , both these rules are safe , i.e. , the input instance @xmath14 is a yes - instance if and only if the output instance @xmath187 is a yes - instance .
observe that verifying applicability of rule [ rule : c4 ] or [ rule : p4 ] to a fixed ( non-)edge @xmath179 boils down to computing the cardinality of the maximum matching in an auxiliary graph .
this problem is well - known to be solvable in polynomial time @xcite .
thus , by iterating over all edges and non - edges of @xmath12 we obtain polynomial time algorithms for recognizing applicability of rules [ rule : c4 ] and [ rule : p4 ] .
we proceed to the proof of the safeness for both rules .
_ rule [ rule : c4 ] _ : let @xmath188 be edges of the found matching in @xmath178}$ ] .
observe that for each @xmath189 , @xmath190 , vertices @xmath191 induce a @xmath29 in @xmath12 .
these induced @xmath29s share only the non - edge @xmath179 , hence any editing set that does not contain @xmath179 must contain at least one element of @xmath192 , and consequently be of size at least @xmath177 .
we infer that every editing set for @xmath12 that has size at most @xmath1 has to include the edge @xmath179 , and the safeness of the rule follows .
_ rule [ rule : p4 ] _ :
we proceed similarly as for rule [ rule : c4 ] .
suppose @xmath188 is the found matching in @xmath61 , where @xmath193 and @xmath194 for @xmath190 .
then vertices @xmath195 induce a @xmath28 , and all these @xmath28s for @xmath190 pairwise share only the edge @xmath179 .
similarly as for rule [ rule : c4 ] , we conclude that every editing set for @xmath12 of size at most @xmath1 has to contain @xmath179 , and the safeness of the rule follows .
we can now use lemma [ lem : basic - rules - sound ] to apply rules [ rule : c4 ] and [ rule : p4 ] exhaustively ; note that each application reduces the budget @xmath1 , hence at most @xmath1 applications can be performed before discarding the instance as a no - instance . from now on , we assume that the considered instance @xmath14 is reduced .
we now move to the construction of a small modulator whose _
raison dtre _ is to expose structure in the considered graph @xmath12 .
we say that a subset @xmath196 with @xmath197 is an _ obstruction _ if @xmath198 $ ] is isomorphic to a @xmath29 or a @xmath28 .
formally , our modulator will be compliant to the following definition .
[ def : modulator ]
let @xmath14 be an instance of trivially perfect editing .
a subset @xmath199 is a _ tp - modulator _ if for every obstruction @xmath200 the following holds ( see figure [ fig : forbidden - modulator ] ) : * @xmath201 , and * if @xmath202 , then it can not happen that @xmath198 $ ] is a @xmath29 of the form @xmath203 or a @xmath28 of the form @xmath204 , where @xmath205 .
we call a tp - modulator @xmath32 _ small _ if @xmath175 . in particular , observe that for a tp - modulator @xmath32 there is no obstacle disjoint with @xmath32 , so @xmath34 is trivially perfect .
the following result shows that from now we can assume that a small tp - modulator is given to us .
[ lem : polytime - modulator ] given an instance @xmath14 for trivially perfect editing , we can in polynomial time construct a small tp - modulator @xmath199 , or correctly conclude that @xmath14 is a no - instance .
the algorithm starts with @xmath206 , and iteratively constructs an increasing family of sets @xmath207 . in the @xmath189th iteration
we look for an obstacle @xmath200 that contradicts the fact that @xmath208 is a tp - modulator according to definition [ def : modulator ] , by verifying all the quadruples of vertices in @xmath209 time . if this check verifies that @xmath208 is a tp - modulator
, then we terminate the algorithm and output @xmath210 .
otherwise , we set @xmath211 and proceed to the next iteration . moreover , if we performed @xmath177 iterations , i.e. , successfully constructed set @xmath212 , then we terminate the algorithm concluding that @xmath14 is a no - instance .
since in each iteration the next @xmath213 grows by at most @xmath37 vertices , we infer that if we succeed in outputting a tp - modulator @xmath32 , then it has size at most @xmath33 .
we are left with proving that if the algorithm successfully constructed @xmath212 , then @xmath14 is a no - instance . to this end
, we prove by induction on @xmath189 that for every @xmath214 and every editing set @xmath215 for @xmath12 , it holds that @xmath216 . indeed , from this statement for @xmath217 we can infer that every editing set for @xmath12 has size at least @xmath177 , so @xmath14 is a no - instance .
the base of the induction is trivial , so for the induction step suppose that @xmath218 , where @xmath200 is an obstacle with @xmath219 or having the form described in the second point of definition [ def : modulator ] . first , if @xmath219 , then @xmath220 is disjoint with @xmath221 . since @xmath215 is an editing set for @xmath12 , we have that @xmath222 , and hence @xmath223 by the induction hypothesis .
second , if @xmath224 and @xmath200 has one of the two forms described in the second point of definition [ def : modulator ] , then it is easy to see that @xmath215 in fact has to have a nonempty intersection with @xmath225 : editing only the ( non)edge @xmath226 would turn a @xmath29 into a @xmath28 or vice versa . since @xmath225 is disjoint with @xmath221
, we analogously obtain that @xmath227 by applying lemma [ lem : polytime - modulator ] , from now on we assume that we are given a small tp - modulator @xmath32 in @xmath12 .
recall that we exposed a small tp - modulator @xmath32 in the input graph @xmath12 . in polynomial time
we compute the universal clique decomposition @xmath228 of the trivially perfect graph @xmath34 .
the goal of this section is to analyze the structure of neighborhoods within @xmath32 of vertices residing outside @xmath32 .
let @xmath12 be a graph and @xmath67 . for a vertex @xmath229 , the _
@xmath32-neighborhood _ of @xmath43 , denoted @xmath230 , is the set @xmath231 .
the family of @xmath32-neighborhoods of @xmath12 is the set @xmath232 .
( a1 ) at ( 0,0 ) ; ( a2 ) at ( 1,0 ) ; ( a3 ) at ( 0,1 ) ; ( a4 ) at ( 1,1 ) ; ( a1 ) ( a2 ) ; ( a2 ) ( a4 ) ; ( a3 ) ( a4 ) ; ( a1 ) ( a3 ) ; ( b1 ) at ( 2,0 ) ; ( b2 ) at ( 3,0 ) ; ( b3 ) at ( 2,1 ) ; ( b4 ) at ( 3,1 ) ; ( b1 ) ( b3 ) ; ( b4 ) ( b3 ) ; ( b2 ) ( b4 ) ; ( c1 ) at ( 4.5,+ ) ; ( c2 ) at ( 4.5- , ) ; ( c3 ) at ( 4.5,0 ) ; ( c4 ) at ( 4.5 + , ) ; ( c1 ) ( c2 ) ; ( c2 ) ( c3 ) ; ( c3 ) ( c4 ) ; ( c4 ) ( c1 ) ; ( d1 ) at ( 6+,0 ) ; ( d2 ) at ( 6 , ) ; ( d3 ) at ( 6+,+ ) ; ( d4 ) at ( 6++ , ) ; ( d1 ) ( d2 ) ; ( d2 ) ( d3 ) ; ( d3 ) ( d4 ) ; ( e1 ) at ( 8+,0 ) ; ( e2 ) at ( 8 , ) ; ( e3 ) at ( 8+,+ ) ; ( e4 ) at ( 8++ , ) ; ( e1 ) ( e2 ) ; ( e2 ) ( e3 ) ; ( e1 ) ( e4 ) ; ( -.2 , -.2 ) rectangle ( 9 , .2 ) ; ( x ) at ( 9+,0 ) @xmath32 ; again , we shall omit the subscript @xmath12 whenever this does not lead to any confusion .
recall that the ucd @xmath233 gives us a quasi - ordering @xmath123 on the vertices of @xmath34 .
we have @xmath234 if the bag to which @xmath43 belong is a descendant of the bag which @xmath64 belongs to , where every bag is considered its own descendant .
we shall use the notation @xmath235 to denote that @xmath125 and @xmath236 .
the following two lemmas show that the quasi - ordering @xmath123 is compatible with the inclusion ordering of @xmath32-neighborhoods .
[ lem : x - nei - inclusion - diff ] if @xmath235 then @xmath237 .
suppose @xmath238 and @xmath239 , where @xmath240 and @xmath87 is an ancestor of @xmath103 in the forest @xmath86 .
recall that in a ucd , every non - leaf node has at least two children , which means that there exists some node @xmath241 that is a descendant of @xmath87 , but which is incomparable with @xmath103 .
let @xmath242 be any vertex of @xmath243 . from the definition of a ucd it follows that @xmath244 but @xmath245 .
for the sake of contradiction suppose that @xmath246 , which means there exists a vertex @xmath247 with @xmath248 and @xmath249 .
it follows that @xmath250 is an obstacle regardless of whether @xmath251 is an edge or a non - edge : it is an induced @xmath29 if @xmath252 and an induced @xmath28 if @xmath253 .
thus we have uncovered an obstacle sharing only one vertex with @xmath32 , contradicting the fact that @xmath32 is a tp - modulator .
[ lem : x - nei - inclusion - same ] if @xmath254 for some @xmath255 , then @xmath256 or @xmath257 . since @xmath254 , we have that @xmath258 . for the sake of contradiction ,
suppose that there exist some @xmath259 and @xmath260 .
it can be now easily seen that regardless whether @xmath261 belongs to @xmath39 or not , the quadruple @xmath262 forms one of the obstacles forbidden in the second point of the definition [ def : modulator ] .
this is a contradiction with the fact that @xmath32 is a tp - modulator .
lemmas [ lem : x - nei - inclusion - diff ] and [ lem : x - nei - inclusion - same ] motivate the following refinement of the quasi - ordering @xmath123 : if @xmath263 belong to different bags of @xmath233 , then we put @xmath264 if and only if @xmath125 , and if they are in the same bag , then @xmath264 if and only if @xmath265 .
thus , by lemma [ lem : x - nei - inclusion - same ] @xmath266 refines @xmath123 by possibly splitting every bag of @xmath233 into a family of linearly ordered equivalence classes . moreover , by lemmas [ lem : x - nei - inclusion - diff ] and [ lem : x - nei - inclusion - same ] we have the following corollary .
[ cor : preceqn ] if @xmath264 then @xmath265 .
observe that for a pair of vertices @xmath267 , the following conditions are equivalent : ( a ) @xmath64 and @xmath43 are comparable w.r.t @xmath123 , ( b ) @xmath64 and @xmath43 are comparable w.r.t .
@xmath266 , and ( c ) @xmath258 .
we have now prepared all the tools needed to prove the main lemma from this section .
[ lem : bounded - x - neighborhoods ] if @xmath14 is a reduced instance for trivially perfect editing and @xmath32 is a small tp - modulator , then the number of different @xmath32-neighborhoods is at most @xmath268 .
let @xmath139 be the family of @xmath32-neighborhoods in @xmath12 .
for every @xmath269 , let us choose an arbitrary vertex @xmath270 with @xmath271 .
we split @xmath139 into two subfamilies : the first family @xmath272 contains all the sets of @xmath139 that contain the endpoints of some non - edge in @xmath273 $ ] , whereas the second family @xmath274 contains all the sets of @xmath139 that induce complete graphs in @xmath273 $ ] .
we bound the sizes of @xmath272 and @xmath274 separately . _
bounding @xmath275 _ : let @xmath276 be a non - edge of @xmath273 $ ] , and for @xmath277 let @xmath278 be the family of those sets of @xmath272 that contain @xmath279 and have cardinality exactly @xmath280 .
take any distinct @xmath281 , and observe that they are not nested since both have size @xmath280 . by corollary [ cor :
preceqn ] , this means that vertices @xmath282 and @xmath283 are incomparable w.r.t .
@xmath266 , so @xmath284 .
hence , set @xmath285 is independent in @xmath12 .
observe now that if we had that @xmath286 , then rule [ rule : c4 ] would be applicable to the non - edge @xmath276 . since we assume that the instance is reduced ,
we conclude that @xmath287 , and hence also @xmath288 . by summing through all the @xmath280 between @xmath289 and @xmath290 and through all the non - edges of
@xmath273 $ ] , we infer that @xmath291 _ bounding @xmath292 _ : consider any pair of @xmath32-neighborhoods @xmath293 such that they are not nested , and moreover there exist vertices @xmath294 and @xmath295 such that @xmath296 .
since @xmath297 and @xmath298 are not nested , by corollary [ cor : preceqn ] we infer that @xmath282 and @xmath283 are incomparable w.r.t .
@xmath266 , and hence @xmath284 .
observe that then @xmath299 $ ] is an induced @xmath28 ; however , the existence of such an obstacle is not forbidden by the definition of a tp - modulator .
create an auxiliary graph @xmath20 with @xmath300 , and put @xmath301 if and only if @xmath297 and @xmath298 satisfy the condition from the previous paragraph , i.e. , @xmath297 and @xmath298 are not nested and there exist @xmath302 and @xmath303 with @xmath296 .
run the classic greedy @xmath289-approximation algorithm for vertex cover in @xmath20 .
this algorithm either finds a matching @xmath83 in @xmath20 of size more than @xmath304 , or a vertex cover @xmath305 of @xmath20 of size at most @xmath306 . in the first case , assign each edge @xmath307 of @xmath83 to the corresponding edge @xmath226 of @xmath273 $ ] as in the definition of the edges of @xmath20 .
observe that since @xmath308 , then some edge @xmath309 $ ] is assigned at least @xmath177 times .
then it is easy to see that the sets @xmath310 for @xmath307 being edges of @xmath83 assigned to @xmath226 induce @xmath28s that share only the edge @xmath226 , and hence rule [ rule : p4 ] would be applicable to @xmath226 .
this is a contradiction with the assumption that @xmath14 is reduced .
hence , we can assume that we have successfully constructed a vertex cover @xmath305 of @xmath20 of size at most @xmath311 .
let now @xmath312 .
since @xmath313 is independent in @xmath20 , it follows that for any non - nested @xmath314 and any @xmath315 , @xmath316 , we have that @xmath317 .
since the sets of @xmath313 induce complete graphs in @xmath273 $ ] , this means that in particular there is no set @xmath318 that contains both @xmath319 and @xmath320 .
this proves that the family @xmath313 is a tp - set system with @xmath32 as ground set , so by lemma [ lem : tpss - bounded ] we infer that @xmath321 .
concluding , @xmath322 and @xmath323 . .25 .,title="fig : " ] .25 .,title="fig : " ] .25 .,title="fig : " ] in the previous section we analyzed the structure of neighborhoods that nodes from @xmath35 have in @xmath32 .
our goal in this section is to perform the symmetric analysis : to understand , how the neighborhood of a fixed @xmath247 in @xmath35 looks like .
eventually , we aim to locate a family @xmath324 of @xmath325 _ important bags _ , where some non - trivial behavior w.r.t .
the neighborhoods of vertices of @xmath32 happens .
then , we will perform a lowest common ancestor - closure on the set @xmath324 , thus increasing its size to at most twice . after performing this step ,
all the connected components of @xmath326 have very simple structure from the point of view of their neighborhoods in @xmath32 .
as there are only @xmath325 such components , we will be able to kernelize them separately .
the following definition and lemma explains what are the types of neighborhoods that vertices of @xmath32 can have in @xmath35 . to simplify the notation , in the following we treat @xmath123 also as a partial order on the vertices of the forest @xmath86 denoting the ancestor - descendant relation , i.e. , @xmath327 if and only if @xmath103 is an ancestor of @xmath87 ( possibly @xmath328 ) .
let @xmath329 be any vertex and consider @xmath330 .
we say that @xmath331 is ( see figure [ fig : nx ] ) : * a _ neighborhood of type 0 _ if @xmath331 is the union of the vertex sets of a collection of connected components of @xmath34 .
* a _ neighborhood of type 1 _ if there exists a node @xmath332 such that @xmath333 .
in other words , @xmath331 consists of all the vertices contained in bags on the path from @xmath334 to the root of its subtree in @xmath86 , where some vertices of @xmath335 itself may be excluded . * a _ neighborhood of type 2 _ if there exists a node @xmath332 and a collection @xmath336 of subtrees of @xmath86 rooted at children of @xmath334 such that @xmath337 .
in other words , @xmath331 is formed by all the vertices contained in bags on the path from @xmath334 to the root of its subtree in @xmath86 , plus a selection of subtrees rooted in the children of @xmath334 , where the vertices appearing in the bags of each such subtree are either all included in @xmath331 or all excluded from @xmath331 .
[ lem : nx - two - types ] let @xmath329 be any vertex and consider @xmath330 .
then @xmath331 is of type 0 , 1 or 2 . from corollary [ cor : preceqn ]
we infer that @xmath331 is closed downwards w.r.t .
the quasi - ordering @xmath266 , i.e. , if @xmath338 and @xmath264 , then also @xmath339 .
let @xmath340 be the set of nodes of @xmath86 whose bags contain at least one vertex of @xmath331 .
it follows that @xmath340 is closed under taking ancestors in forest @xmath86 .
moreover if @xmath341 , then the bags of all the ancestors of @xmath87 other than @xmath87 are fully contained in @xmath331 . [ cl : types ] suppose @xmath342 are two nodes that are incomparable w.r.t .
then @xmath343 and @xmath344 , i.e. , @xmath331 contains all the vertices of all the bags contained in the subtrees of @xmath86 rooted at @xmath87 and @xmath345 .
we prove the statement for the subtree rooted at @xmath345 ; the proof for the subtree rooted at @xmath87 is symmetric .
let @xmath346 and @xmath347 be arbitrary vertices of @xmath348 and @xmath349 , respectively . for the sake of contradiction suppose there exists some @xmath350 such that @xmath351 . since @xmath350 and @xmath352 are incomparable w.r.t .
@xmath123 , by the properties of the universal clique decomposition we have that @xmath353 , @xmath354 and @xmath355 .
since @xmath356 by the definition of @xmath331 , we conclude that @xmath357 would induce a @xmath28 in @xmath12 that has only one vertex in common with @xmath32 ( see figure [ fig : broken - type ] ) , a contradiction to the definition of a tp - modulator .
we now use claim [ cl : types ] to perform a case study that recognizes @xmath331 as a neighborhood of type 0 , 1 , or 2 .
suppose first that @xmath331 contains vertices of at least two distinct connected components of @xmath34 .
let @xmath358 be any two such components , and let @xmath359 and @xmath360 be the trees of the forest @xmath86 that are ucds of @xmath361 and @xmath362 , respectively .
since @xmath340 is closed under taking ancestors in @xmath86 , it follows that the roots of @xmath359 and @xmath360 belong to @xmath340 .
claim [ cl : types ] implies then that the entire vertex sets of @xmath361 and @xmath362 are contained in @xmath331 . since @xmath358 was an arbitrary pair of components containing a vertex of @xmath331
, it follows that @xmath331 must be the union of vertex sets of a selection of connected components of @xmath34 , i.e. , a neighborhood of type 0 .
since @xmath363 is also a neighborhood of type 0 , we are left with analyzing the case when @xmath364 for @xmath365 being a connected component of @xmath34 ; let @xmath366 be the ucd of @xmath365 .
observe that if @xmath331 does not contain any pair of vertices incomparable w.r.t .
@xmath123 , then @xmath340 must form a path from some node of @xmath366 to the root of @xmath366 , and hence @xmath331 is a neighborhood of type 1 . otherwise , there exists some node of @xmath340 such that at least two subtrees rooted at its children contain nodes from @xmath340 .
let @xmath334 be such a node that is highest in @xmath366 , and let @xmath336 be the family of subtrees rooted at children of @xmath334 that contain nodes of @xmath340 . again applying claim [ cl : types ] , we infer that @xmath331 contains all the vertices of all the bags of every subtree of @xmath336 : for any two distinct subtrees @xmath367 , @xmath340 contains the roots of @xmath359 and @xmath360 , and hence by claim [ cl : types ] @xmath331 contains all the vertices of all the bags of @xmath359 and @xmath360 . since @xmath334 was chosen to be the highest , it follows that @xmath331 is a neighborhood of type 2 for node @xmath334 and selection of subtrees @xmath336 .
clearly , for every @xmath247 we can in polynomial time analyze @xmath331 and recognize it as a neighborhood of type 0 , 1 , or 2 .
let @xmath368 be the set of nodes @xmath334 for vertices @xmath247 for which @xmath331 is of type @xmath134 or @xmath289 . to simplify the structure of @xmath369
, we perform the lowest common ancestor - closure operation on @xmath368 .
the following variant of this operation is taken verbatim from the work of fomin et al .
@xcite . for a rooted tree @xmath86 and vertex set @xmath370 the lowest common ancestor - closure ( lca - closure )
is obtained by the following process .
initially , set @xmath371 .
then , as long as there are vertices @xmath372 and @xmath346 in @xmath373 whose least common ancestor @xmath242 is not in @xmath373 , add @xmath242 to @xmath373 . when the process terminates , output @xmath373 as the lca - closure of @xmath83 .
the following folklore lemma summarizes two basic properties of lca - closures .
[ lem : lca ] let @xmath86 be a tree , @xmath374 and @xmath375
. then @xmath376 and for every connected component @xmath305 of @xmath377 , @xmath378 .
construct now the set @xmath324 by taking @xmath379 and adding the root of every connected component of @xmath86 that contains a bag of @xmath368 ( provided it is not already included ) .
the nodes from @xmath324 will be called _ important nodes _ , or _ important bags_. from lemma [ lem : lca ]
it follows that @xmath380 , and by the construction we infer that every connected component @xmath305 of @xmath326 is of one of the following three forms : * @xmath305 is not adjacent to any node of @xmath324 , and is thus simply a connected component of @xmath86 that does not contain any important bag . *
@xmath305 is adjacent to one node @xmath381 of @xmath324 , and it is a subtree rooted at a child of @xmath381 .
* @xmath305 is adjacent to two nodes @xmath381 and @xmath382 of @xmath324 such that @xmath381 is an ancestor of @xmath382 .
then @xmath305 is formed by the internal nodes of the @xmath383 path in @xmath86 , plus all the subtrees rooted at the other children of these internal nodes . in this section
we give two new reduction rules : a twin reduction and a module reduction rule .
these rules are executed exhaustively by the algorithm as rules [ rule : twin ] and [ rule : module ] .
the reason why we introduce them now is that only after understanding the structural results of sections [ sec : modulator - nei ] and [ sec : impbags ] , the motivation of these rules becomes apparent .
namely , these rules will be our main tools in reducing the sizes of parts of @xmath34 located between the important bags .
[ rule : twin ] if @xmath384 is a true twin class of size @xmath385 , and @xmath386 is an arbitrarily picked vertex , then remove @xmath43 from the graph , i.e. , proceed with the instance @xmath387 .
[ lem : rule : twin : sound ] applicability of rule [ rule : twin ] can be recognized in polynomial time . moreover , rule [ rule : twin ] is safe , i.e. , @xmath14 is a yes - instance if and only if @xmath387 is a yes - instance . in order to recognize the applicability of rule [ rule : twin ] we only need to inspect every true twin classes in the graph , which clearly can be done in polynomial time .
we proceed to the proof of the safeness of the rule .
let @xmath86 be a true twin class of size at least @xmath388 and let @xmath43 be the vertex the rule deleted .
since the class of trivially perfect graphs is hereditary , if @xmath14 is a yes - instance , it follows that @xmath387 is a yes - instance .
suppose now that @xmath387 is a yes - instance .
let @xmath215 be a set of edges with @xmath389 such that @xmath390 is trivially perfect .
we now show that @xmath391 is also trivially perfect , which means that @xmath215 is also a solution to @xmath14 . for the sake of contradiction , suppose @xmath200 is an obstruction in @xmath392 .
since @xmath390 is trivially perfect , @xmath200 must contain the deleted vertex @xmath43 .
since @xmath215 has size at most @xmath1 , at most @xmath393 vertices of @xmath86 can be incident to an edge of @xmath215 .
let @xmath394 , @xmath395 , @xmath396 , and @xmath397 be four vertices of @xmath86 that are different from @xmath43 and are not incident to @xmath215 .
then one of them , say @xmath394 , is not contained in @xmath200 .
since @xmath43 and @xmath394 are true twins both in @xmath12 and in @xmath398 , we can replace @xmath43 with @xmath394 in @xmath200 yielding a new set @xmath399 which is an obstruction in @xmath392 .
however , since @xmath43 is not a member of @xmath399 , we have that @xmath399 is an obstruction in @xmath390 , contradicting the assumption that @xmath390 was trivially perfect .
recall that a module is a set of vertices @xmath83 such that for every vertex @xmath43 in @xmath400 , either @xmath401 or @xmath402 ; see definition [ def : module ] .
the following rule enables us to reduce large trivially perfect modules .
[ rule : module ] suppose @xmath82 is a module such that @xmath403 $ ] is trivially perfect and it contains an independent set of size at least @xmath404 . then let us take any independent set @xmath405 of size @xmath406 , and we delete every vertex of @xmath83 apart from @xmath324 , i.e. , proceed with the instance @xmath407 .
observe that rule [ rule : module ] always deletes at least one vertex , since @xmath408 and @xmath409 .
actually , we could define a stronger rule where we only assume that @xmath408 ; however , the current statement will be helpful in recognizing the applicability of rule [ rule : module ] .
we first prove that the rule is indeed safe .
[ lem : rule - mod - correct ] provided that @xmath14 is a reduced instance ( w.r.t .
rules [ rule : c4 ] and [ rule : p4 ] ) , then rule [ rule : module ] is safe , i.e. , @xmath14 is a yes - instance if and only if @xmath407 is a yes - instance .
let @xmath410 , and @xmath411 .
since @xmath71 is an induced subgraph of @xmath12 , by heredity , if @xmath14 is a yes - instance , then @xmath412 is a yes - instance .
we proceed to the proof of the other direction .
suppose then that @xmath413 is a yes - instance , and let @xmath215 , @xmath414 , be a minimum - size editing set for @xmath71 .
[ claim : i - notin - f ] no vertex of @xmath324 is incident to any edit of @xmath215 .
since @xmath215 has minimum possible size , it is inclusion - wise minimal .
we show that if @xmath415 is the set of edges of @xmath215 incident to a vertex of @xmath324 and @xmath416 , then @xmath417 being trivially perfect implies @xmath418 being trivially perfect . since @xmath409
, we can find at least four vertices @xmath419 that are not incident to any edit of @xmath215 .
suppose that @xmath418 is not trivially perfect .
then there is an obstruction @xmath200 in @xmath418 containing at least one of the vertices of @xmath324 incident to an edge of @xmath215 .
create @xmath399 by replacing every vertex of @xmath420 by a different vertex of @xmath421 that is not contained in @xmath200 .
since vertices of @xmath324 are not incident to the edits of @xmath422 , they are false twins in @xmath418 , and hence @xmath399 created in this manner induces a graph isomorphic to the one induced by @xmath200 . thus , @xmath399 is an obstacle in @xmath418 .
however , the vertices @xmath423 are not incident to the edits of @xmath215 and hence @xmath399 induces the same graph in @xmath418 as in @xmath417 .
therefore @xmath399 would be an obstacle in @xmath424 , a contradiction to @xmath425 being trivially perfect . since we argued that @xmath426 is also a solution , by the optimality of @xmath215 we infer that @xmath427 and @xmath428 .
we now argue that @xmath398 is trivially perfect , which will imply that @xmath14 is a yes - instance . for the sake of contradiction ,
suppose that there exists an obstacle @xmath200 in @xmath398 ; it follows that @xmath200 shares at least one vertex with @xmath429 . from claim [ claim : i - notin - f ]
it follows that no edit of @xmath215 is incident to any vertex of @xmath83 , so in @xmath391 we still have that @xmath83 is a module .
if the obstruction @xmath200 induces a @xmath28 , then it is known that @xmath200 is fully contained in the module @xmath83 , or has at most one vertex in @xmath83 ( * ? ? ?
* observation 1 ) . since @xmath403=(g\triangle f)[m]$ ] is trivially perfect , the latter is the case .
but since @xmath83 is a module in @xmath398 , then replacing the single vertex of @xmath430 with any vertex of @xmath324 would yield an obstacle in @xmath425 , a contradiction . consider then the case when @xmath200 induces a @xmath29 in @xmath398 .
since @xmath403=(g\triangle f)[m]$ ] is @xmath29-free , we have that @xmath200 is not entirely contained in @xmath83 .
also , if @xmath200 had three vertices in @xmath83 , then the remaining vertex would need to be contained in @xmath431 , and hence would be adjacent in @xmath398 to all the other three vertices of @xmath200 , a contradiction to @xmath432 $ ] being a @xmath29 .
therefore , at most two vertices of @xmath200 can be in @xmath83 .
suppose exactly two vertices @xmath433 and @xmath434 of @xmath200 are in @xmath83 , and @xmath435 and @xmath436 are outside @xmath83 .
as @xmath83 is a module both in @xmath12 and in @xmath398 , we must have that @xmath437 and hence the @xmath37-cycle induced by @xmath200 in @xmath398 must be @xmath438 .
take any two vertices @xmath439 and obtain @xmath399 by replacing @xmath433 and @xmath434 with them .
it follows that @xmath399 induces a @xmath29 in @xmath425 , a contradiction .
finally , consider the case when exactly one vertex of @xmath200 , say @xmath433 , is in @xmath83 .
again , replacing @xmath433 with any vertex of @xmath324 would yield an induced @xmath29 contained in @xmath425 , a contradiction .
thus , we conclude that @xmath398 is trivially perfect .
observe that in order to apply rule [ rule : module ] , one needs to be given the module @xmath83 .
given @xmath83 , finding any independent set @xmath405 of size @xmath406 can then be done easily as follows : we can find an independent set of maximum cardinality in @xmath83 in polynomial time , since @xmath403 $ ] is trivially perfect and the problem is polynomial - time solvable on trivially perfect graphs ( it boils down to picking one vertex from every leaf bag of the universal clique decomposition of the considered graph ) .
then we take any of its subsets of size @xmath406 to be @xmath324 . hence , to apply rule [ rule : module ] exhaustively , we need the following statement . [
lem : recognizing - module ] there exists a polynomial - time algorithm that , given an instance @xmath14 , either finds a module @xmath440 where rule [ rule : module ] can be applied , or correctly concludes that rule [ rule : module ] is inapplicable . using theorem [ thm : module - decomp ] we compute the module decomposition @xmath91 of @xmath12 .
then we verify applicability of rule [ rule : module ] to each module @xmath89 for @xmath110 , by checking whether @xmath403 $ ] is trivially perfect and contains an independent set of size @xmath388 ( the latter check can be done in polynomial time since @xmath403 $ ] is trivially perfect ) .
moreover , we perform the same check on all the modules @xmath441 formed as follows : take a union node @xmath110 , and construct a module @xmath441 by taking the union of labels of those children of @xmath87 that induce trivially perfect graphs . we now argue that if rule [ rule : module ] is applicable to some module @xmath83 in @xmath12 , then this algorithm will encounter some ( possibly different ) module @xmath373 to which rule [ rule : module ] is applicable as well . by the third point of theorem [ thm : module - decomp ] , either @xmath442 for some @xmath110 , or @xmath83 is the union of a collection of labels of children of some union or join node . in the first case the algorithm verifies @xmath83 explicitly . in the following ,
let @xmath443 denote the size of a maximum independent set in a graph @xmath20 .
if now @xmath83 is a union of labels of some children of a union node @xmath87 , then by heredity @xmath444 .
moreover , @xmath445 induces a trivially perfect graph ( since trivially perfect graphs are closed under taking disjoint union ) and clearly @xmath446 .
hence , rule [ rule : module ] is applicable to @xmath447 , and this will be discovered by the algorithm .
finally , suppose @xmath83 is a union of labels of some children @xmath448 of a join node @xmath87 .
observe that since for every @xmath449 , every vertex of @xmath450 is adjacent to every vertex of @xmath451 , it follows that @xmath452)=\max_{i=1,2,\ldots , p}\alpha(g[m^{t_i}])$ ] . without loss of generality
suppose that the maximum on the right hand side is attained for the module @xmath453 .
then by heredity @xmath454 $ ] is trivially perfect , and @xmath455)=\alpha(g[m])\geq 2k+5 $ ] .
therefore rule [ rule : module ] is applicable to @xmath456 , and this will be discovered by the algorithm .
we remark here that for the kernelization algorithm it is not necessary to be sure that rule [ rule : module ] is inapplicable at all .
instead , we could perform it on demand .
more precisely , during further analysis of the structure of @xmath34 we argue that some modules have to be small , since otherwise rule [ rule : module ] would be applicable .
this analysis can be performed by a polynomial - time algorithm that would just apply rule [ rule : module ] on any encountered module that needs shrinking .
however , we feel that the fact that rule [ rule : module ] can be indeed applied exhaustively provides a better insight into the algorithm , and streamlines the presentation . having introduced and verified rules [ rule : twin ] and [ rule : module ] , we can now prove that after applying them exhaustively , all the trivially perfect modules in the graph are small . [
lem : small - ind - twin - small ] a ( possibly disconnected ) trivially perfect graph with maximum true twin class size @xmath87 and maximum independent set size @xmath457 has at most @xmath458 vertices in total . let @xmath233 be the ucd of @xmath12 , a trivially perfect graph with independent set number @xmath457 and every true twin class of size at most @xmath87 .
since any collection comprising one vertex from each leaf bag of @xmath233 forms an independent set , there are at most @xmath457 leaf bags in @xmath233 .
thus the number of nodes of @xmath233 in total is at most @xmath459 .
since every bag of the decomposition @xmath384 is a true twin class , we conclude that there are at most @xmath458 vertices in @xmath12 .
[ cor : small - modules ] suppose an instance @xmath14 is reduced , and moreover rules [ rule : twin ] and [ rule : module ] are not applicable to @xmath14 .
then for every module @xmath82 such that @xmath403 $ ] is trivially perfect , we have that @xmath460 .
suppose @xmath83 is such a module .
observe that members of every true twin class in @xmath403 $ ] are also true twins in @xmath12 ( since @xmath83 is a module ) .
hence twin classes in @xmath403 $ ] have size at most @xmath406 , as otherwise rule [ rule : twin ] would be applicable .
moreover , if @xmath403 $ ] contained an independent set of size @xmath388 , then rule [ rule : module ] would be applicable . by lemma [ lem : small - ind - twin - small ] , we infer that @xmath461 . from now on we assume that in the considered instance @xmath14 we have exhaustively applied rules [ rule : c4][rule : module ] , using the algorithms of lemmas [ lem : basic - rules - sound ] , [ lem : rule : twin : sound ] , and [ lem : recognizing - module ] .
hence corollary [ cor : small - modules ] can be used . observe that to perform this step , we do not need to construct the small modulator @xmath32 at all .
however , we hope that the reader already sees that rules [ rule : c4][rule : module ] will be useful for shrinking too large parts of @xmath34 between the important bags .
recall that we have fixed a small tp - modulator @xmath32 with @xmath175 such that @xmath34 is a trivially perfect graph with universal clique decomposition @xmath233 .
moreover , rules [ rule : c4][rule : module ] are inapplicable to @xmath14 . by lemma [ lem : bounded - x - neighborhoods ]
we have that the number of @xmath32-neighborhoods is @xmath268 .
by the marking procedure , we have marked a set @xmath324 of @xmath325 bags of @xmath233 as important , in such a manner that every connected component of @xmath462 is adjacent to at most two vertices of @xmath324 , and is in fact of one of the three forms described at the end of section [ sec : impbags ] .
thus , the whole vertex set of @xmath34 can be partitioned into four sets : @xmath463 : : : vertices contained in bags from @xmath324 ; @xmath464 : : : vertices contained in bags of those components of @xmath462 that are not adjacent to any bag from @xmath324 ; @xmath465 : : : vertices contained in bags of those components of @xmath462 that are adjacent to exactly one bag from @xmath324 ; @xmath466 : : : vertices contained in bags of those components of @xmath462 that are adjacent to exactly two bags from @xmath324 .
we are going to establish an upper bound on the cardinality of each of these sets separately .
upper bounds for @xmath463 , @xmath464 , and @xmath465 follow already from the introduced reduction rules , but for @xmath466 we shall need a new reduction rule .
the upper bounds on the cardinalities of @xmath463 and @xmath464 are quite straightforward .
[ lem : vi ] @xmath467 .
consider for some @xmath468 the bag @xmath469 .
note that @xmath469 is a module in @xmath34 . by lemma [ lem : bounded - x - neighborhoods ]
there are only @xmath268 possible @xmath32-neighborhoods among vertices of @xmath34 .
hence , vertices of @xmath469 can be partitioned into @xmath268 classes w.r.t . the neighborhoods in @xmath32 .
each such class is a module in @xmath12 that is also a clique , and hence it is a true twin class .
since the twin reduction rule ( rule [ rule : twin ] ) is not applicable , each true twin class has size at most @xmath388 , which implies that @xmath470 . as @xmath471 , we conclude that @xmath467 .
we remark that using a more precise analysis of the situation in one bag @xmath469 for @xmath472 , one can see that the @xmath32-neighborhoods of elements of @xmath469 are nested , so there is only at most @xmath473 of them . by plugging in this argument in the proof of lemma [ lem : vi ] ,
we obtain a sharper upper bound of @xmath2 instead of @xmath474 .
however , the upper bounds on @xmath475 and @xmath476 are @xmath474 and @xmath0 , respectively , so establishing a better bound here would have no influence on the overall asymptotic kernel size .
hence , we resorted to a simpler proof of a weaker upper bound .
[ lem : v0 ] @xmath477 .
observe that @xmath464 is the union of bags of these connected components of @xmath34 , whose universal clique decompositions ( being components of @xmath233 ) do not contain any important bag . by the definition of important bags ,
each such connected component @xmath305 is a module in @xmath12 , and clearly its neighborhood is entirely contained in @xmath32 .
recall that by lemma [ lem : bounded - x - neighborhoods ] there are only @xmath268 possible different @xmath32-neighborhoods among vertices of @xmath34 .
thus , we can group the connected components of @xmath478 $ ] according to their @xmath32-neighborhoods into @xmath268 groups , and the union of vertex sets in each such group forms a module in @xmath12 .
since rule [ rule : module ] is not applicable , by corollary [ cor : small - modules ] we have that each of these modules has size @xmath479 .
thus we infer that @xmath477 . to bound the size of @xmath465
we need a few more definitions .
suppose that @xmath305 is a component of @xmath462 that is adjacent to exactly one important bag @xmath472 . by the construction of @xmath324 , we have that @xmath305 is a tree rooted in a child of @xmath381 .
we shall say that @xmath305 is _ attached below @xmath381_. the union of bags of all the components of @xmath462 attached below @xmath381 will be called the _ tassel rooted at @xmath381_. thus , @xmath465 can be partitioned into @xmath325 tassels .
[ lem : one - tassel ] for every @xmath472 , the tassel rooted at @xmath381 has size at most @xmath474 .
let @xmath480 be the components of @xmath462 rooted at the children of @xmath381 , whose union of bags forms the tassel rooted at @xmath381 . recall that none of the @xmath481s contains any important bag .
therefore , from lemma [ lem : nx - two - types ] we infer that for any @xmath481 and any @xmath247 , either all the vertices from the bags of @xmath481 are adjacent to @xmath372 , or none of them .
thus , the union of bags of each @xmath481 forms a module in @xmath12 : the vertices in this union have the same @xmath32-neighborhood , and moreover their neighborhoods in @xmath34 are formed by the vertices from the bags on the path from @xmath381 to the root of @xmath381 s connected component in @xmath233 .
similarly as in the proof of lemma [ lem : v0 ] , by lemma [ lem : bounded - x - neighborhoods ] there are only @xmath268 possible @xmath32-neighborhoods , so we can partition the components @xmath481 into @xmath268 classes with respect to their neighborhoods in @xmath32 .
the union of bags in each such class forms a module in @xmath12 ; since rule [ rule : module ] is not applicable , by corollary [ cor : small - modules ] we infer that its size is bounded by @xmath479 .
thus , the total number of vertices in all the components @xmath481 is at most @xmath474 . as @xmath471
, lemma [ lem : one - tassel ] immediately implies the following .
[ lem : v1 ] @xmath482 .
we are left with bounding the cardinality of @xmath466 .
let us fix any component @xmath305 of @xmath462 which is adjacent in @xmath233 to two nodes of @xmath324 . from the construction of @xmath324 , it follows that @xmath305 has the following form : * @xmath305 contains a path @xmath483 such that in @xmath233 , node @xmath484 is a child of an important node @xmath485 , and @xmath486 has exactly one important child @xmath487 . * for every @xmath488 , @xmath305 contains also all the subtrees of @xmath233 rooted in children of @xmath489 that are different from @xmath490 ( where @xmath491 ) .
such a component @xmath305 will be called a _ comb _ ( see figure [ fig : comb ] ) .
the path @xmath492 is called the _ shaft _ of a comb ; the union of the bags of the shaft will be denoted by @xmath493 .
the union of the bags of the subtrees rooted in children of @xmath489 , apart from @xmath490 , will be called the _ tooth at @xmath189 _ , and denoted by @xmath494 .
note that the subgraph induced by a tooth is not necessarily connected ; it is , however , always non - empty by the definition of the universal clique decomposition
. we also denote @xmath495 . by somehow abusing the notation
, we will also denote @xmath496 for @xmath488 .
the number of teeth @xmath18 is called the _ length _ of a comb .
since the comb @xmath305 does not contain any important vertices , from lemma [ lem : nx - two - types ] and the construction of @xmath324 we immediately infer the following observation about the @xmath32-neighborhoods of vertices of the shaft and the teeth .
[ lem : comb - neighborhoods ] there exists two sets @xmath497 with @xmath498 such that @xmath499 for every @xmath500 and @xmath501 for every @xmath502 .
in particular , lemma [ lem : comb - neighborhoods ] implies that every tooth of a comb is a module .
hence , since rule [ rule : module ] is not applicable , we infer that @xmath503 for @xmath488 .
also , observe that each @xmath504 is a twin class , so by inapplicability of rule [ rule : twin ] we conclude that @xmath505 for each @xmath488 . since @xmath233 is a forest and @xmath471
, it follows that in @xmath462 there are @xmath325 combs .
as we already observed , for each comb the sizes of individual teeth and bags on the shaft are bounded polynomially in @xmath1 .
hence , the only thing that remains is to show how to reduce combs that are long . in order to do this ,
we need one more definition : a tooth @xmath494 is called _ simple _ if @xmath506 $ ] is edgeless , and it is called _ complicated _ otherwise .
we can now state the final reduction rule .
[ rule : comb ] suppose @xmath305 is a comb of length at least @xmath507 , and adopt the introduced notation for the shaft and the teeth of @xmath305 .
define an index @xmath508 as follows : a. [ c1 ] if at least @xmath509 teeth @xmath494 are complicated , then we let @xmath510 .
b. [ c2 ] otherwise , there is a sequence of @xmath509 consecutive teeth @xmath511 that are simple .
let @xmath508 be the index of the last tooth of this sequence , i.e. , @xmath512 .
having defined @xmath508 , remove the tooth @xmath513 from the graph and do not modify the budget .
that is , proceed with the instance @xmath514 .
[ lem : rule - comb - correct ] rule [ rule : comb ] is safe .
since @xmath515 is an induced subgraph of @xmath12 , then we trivially have that the existence of a solution for @xmath14 implies the existence of a solution for @xmath514 .
hence , we now prove the converse .
suppose that @xmath215 is a solution to @xmath514 , that is , a set of edits in @xmath515 such that @xmath516 is trivially perfect and @xmath414 .
we will say that a tooth @xmath494 is _ spoiled _ if any vertex of @xmath517 is incident to an edit from @xmath215 , and _
clean _ otherwise .
the first goal is to find an index @xmath518 such that a. [ q1 ] @xmath519 , b. [ q2 ] the teeth @xmath520 and @xmath521 are clean , and c. [ q3 ] if any of the teeth @xmath522 is complicated , then @xmath521 is also complicated .
suppose first that @xmath508 was constructed according to case ( [ c1 ] ) , i.e. , there are at least @xmath509 complicated teeth in the comb , and hence @xmath510
. out of these teeth @xmath494 , at most one can have index @xmath134 , at most one can have index @xmath18 , at most @xmath393 can be spoiled ( since @xmath414 ) and at most @xmath393 can have the preceding tooth @xmath523 spoiled .
this leaves at least one complicated tooth @xmath494 such that @xmath524 and both @xmath494 and @xmath523 are clean
. then we can take @xmath525 ; thus , property ( [ q3 ] ) of @xmath518 is satisfied since @xmath521 is complicated .
suppose then that @xmath508 was constructed according to case ( [ c2 ] ) , i.e. , the following teeth are all simple : @xmath526 .
similarly as before , out of these @xmath509 teeth , one has index @xmath508 , one has index @xmath527 , at most @xmath393 can be spoiled , and at most @xmath393 can have the preceding tooth spoiled .
hence , among them there is a tooth @xmath494 such that @xmath528 and both @xmath494 and @xmath523 are clean .
again , we take @xmath525 ; thus , property ( [ q3 ] ) is satisfied since all the teeth @xmath529 are simple . with
@xmath518 defined , we are ready to complete the proof of lemma [ lem : rule - comb - correct ] . to that aim ,
define @xmath530 .
construct @xmath422 from @xmath215 by removing all the edits that are incident to any vertex of @xmath531 ; clearly @xmath532 .
we claim that @xmath422 is a solution to the instance @xmath14 , that is , that @xmath533 is trivially perfect . for the sake of a contradiction , suppose that @xmath534 is a vertex set of size @xmath37 such that @xmath535 $ ] is a @xmath28 or a @xmath29 .
let @xmath536 and @xmath537 .
[ cl : smalla0 ] @xmath538 or @xmath539 .
suppose first that @xmath540 , so @xmath541 . since @xmath542 and @xmath543 , we have that the induced subgraph @xmath535 $ ] is equal to the induced subgraph @xmath544 $ ] . however , the graph @xmath545 is trivially perfect , so it can not have an induced @xmath28 or @xmath29 ; a contradiction .
suppose now that @xmath546 .
since @xmath547 and no edit of @xmath422 is incident to any vertex of @xmath531 , we infer that there is no edit of @xmath422 between vertices of @xmath58 : only at most one vertex of @xmath58 does not belong to @xmath548
. therefore @xmath549=g\triangle f'[a]$ ] and @xmath549 $ ] is an induced @xmath29 or @xmath28 in the graph @xmath12 .
however , @xmath550 , so @xmath551 .
thus , @xmath549 $ ] would be an obstacle in @xmath12 that has at most one common vertex with tp - modulator @xmath32 , a contradiction with the definition of a tp - modulator ( definition [ def : modulator ] ) . to obtain a contradiction
, we shall construct a set @xmath552 satisfying the following properties : a. [ p1 ] @xmath553 ; b. [ p2 ] @xmath554 and @xmath555 $ ] is edgeless if and only if @xmath556 $ ] is edgeless ; c. [ p3 ] @xmath557 and hence @xmath558 .
let us define @xmath559 .
for now we postpone the exact construction [ cl : iso ] if @xmath552 satisfies properties ( [ p1 ] ) , ( [ p2 ] ) , and ( [ p3 ] ) , then @xmath535 $ ] is isomorphic to @xmath560 $ ] . by property ( [ p3 ] ) there exists a bijection @xmath561 between @xmath548 and @xmath552 that preserves belonging to @xmath493 or @xmath562 between the argument and the image .
extend @xmath561 to @xmath58 by defining @xmath563 for @xmath564 ; we claim that @xmath561 is an isomorphism between @xmath535 $ ] and @xmath560 $ ] . to see this , observe that since @xmath565 , then we have that no vertex of @xmath548 or @xmath552 is incident to any edit of @xmath422 .
moreover , in @xmath12 , all the vertices of @xmath566 have the same neighborhood in @xmath567 , and the same holds also for the vertices of @xmath568 . as the neighborhoods of these vertices in @xmath12 and in @xmath533 are exactly the same , we infer that each vertex @xmath569 is adjacent in @xmath533 to the same vertices of @xmath570 as the vertex @xmath571 is . to conclude the proof , we need to prove that @xmath561 restricted to @xmath552 is also an isomorphism between @xmath572 $ ] and @xmath573 $ ] .
again , @xmath548 and @xmath552 are not incident to any edit of @xmath422 , so @xmath572=g[a_0]$ ] and @xmath573=g[a_0']$ ] . by claim [ cl : smalla0 ]
we have that @xmath538 or @xmath539 , and we conclude by observing that a pair of simple graphs with at most two vertices are isomorphic if and only if both of them are edgeless or both of them contain an edge , and in both cases any bijection between the vertex sets is an isomorphism .
we now argue that the existence of a set @xmath552 satisfying properties ( [ p1 ] ) , ( [ p2 ] ) , and ( [ p3 ] ) leads to a contradiction .
recall that the teeth @xmath520 and @xmath521 are clean , which means that no vertex of @xmath574 is incident to any edit from @xmath215 .
moreover , as @xmath575 , we have that @xmath576 . by the construction of @xmath422 and @xmath577
we infer that @xmath560=(g-{r_{{\beta}}})\triangle f[a']$ ] . by claim [ cl : iso ]
we have that @xmath560 $ ] is a @xmath28 or a @xmath29 , since @xmath535 $ ] was .
this would , however , mean that @xmath516 would contain an induced @xmath28 or an induced @xmath29 , a contradiction to the assumption that @xmath516 is trivially perfect
. therefore , we are left with constructing a set @xmath552 satisfying properties ( [ p1 ] ) , ( [ p2 ] ) , and ( [ p3 ] ) .
we give different constructions depending on the alignment of the vertices of @xmath548 .
in each case we just define @xmath552 ; verifying properties ( [ p1 ] ) , ( [ p2 ] ) , and ( [ p3 ] ) in each case is trivial .
: : @xmath538 .
+ case 1a . ; ; @xmath578 and @xmath500 .
then @xmath579 for any @xmath580 .
case 1b . ; ; @xmath578 and @xmath581 .
then @xmath579 for any @xmath582 .
: : @xmath539 .
+ case 2a . ; ; @xmath583 , @xmath584 .
as @xmath585 $ ] is a clique , it follows that @xmath258 .
then @xmath586 for any @xmath580 and @xmath587 .
case 2b . ; ; @xmath583 , @xmath500 , @xmath588 , and @xmath589 .
then @xmath586 for any @xmath580 and @xmath590 .
case 2c . ; ; @xmath583 , @xmath500 , @xmath588 , and @xmath258 .
then @xmath586 for any @xmath591 and @xmath592 .
case 2d . ; ; @xmath583 , @xmath593 , and @xmath594 .
then @xmath586 for any @xmath595 and @xmath592 .
case 2e . ; ; @xmath583 , @xmath593 , and @xmath258 . as there are no edges in @xmath12 between different teeth
, we observe that @xmath596 for some @xmath189 such that @xmath597 , i.e. , @xmath598 .
in particular , the tooth @xmath494 must be complicated .
if @xmath599 or @xmath600 , then we can take @xmath601 .
otherwise we have that @xmath602 and @xmath494 is complicated , so by property ( [ q3 ] ) of @xmath508 we infer that @xmath521 is also complicated .
then we take @xmath586 for any @xmath603 such that @xmath604 .
this case study is exhaustive due to claim [ cl : smalla0 ] .
we can finally gather all the pieces and prove our main theorem .
[ thm : tpe - polykernel ] the problem trivially perfect editing admits a proper kernel with @xmath0 vertices .
the algorithm first applies reduction rules [ rule : c4][rule : module ] exhaustively . as each application of a reduction rule either decreases @xmath8 and does not change @xmath1 , or decreases @xmath1 while not changing @xmath8 ,
the number of applications of these rules will be bounded by @xmath605 until @xmath1 becomes negative and we can conclude that we are working with a no - instance . by lemmas [ lem : basic - rules - sound ] , [ lem :
rule : twin : sound ] , [ lem : rule - mod - correct ] , and [ lem : recognizing - module ] , these rules are safe , applicability of each rule can be recognized in polynomial time , and applying the rules also takes polynomial time . after rules [ rule : c4][rule : module ] have been applied exhaustively , we construct a small tp - modulator @xmath32 using the algorithm of lemma [ lem : polytime - modulator ] . in case
the construction fails , we conclude that we are working with a no - instance .
otherwise , in polynomial time we construct the universal clique decomposition @xmath233 of @xmath34 , and then we mark the set @xmath324 of important bags . both locating the important bags and performing the lowest common ancestor closure can be done in polynomial time .
after this , we examine all the combs of @xmath462 . in case
there is a comb of length greater than @xmath507 , we apply rule [ rule : comb ] on it and restart the whole algorithm . observe that each application of this rule reduces the vertex count by one while keeping @xmath1 , so the total number of times the algorithm is restarted is bounded by the vertex count of the original instance .
we are left with analyzing the situation when reduction rule [ rule : comb ] is not applicable , i.e. , all the combs have length less than @xmath507 . as we have argued , the inapplicability of rules [ rule : twin ] and [ rule : module ] ensures that bags of shafts of combs have sizes @xmath325 and teeth of combs have sizes @xmath479 .
hence , every comb has @xmath268 vertices .
since the number of combs is @xmath325 , we infer that @xmath606 . together with the upper bounds on the sizes of @xmath463 , @xmath464 , and @xmath465 given by lemmas [ lem : vi ] , [ lem : v0 ] , and [ lem : v1 ] , we conclude that @xmath607 hence , we can output the current instance as the obtained kernel .
we now present how the technique applied to trivially perfect editing also yields polynomial kernels for trivially perfect completion and trivially perfect deletion after minor modifications .
that is , we prove theorems [ thm : tpd - polykernel - intro ] and [ thm : tpc - polykernel - intro ] . we show that all the rules given above , with only two minor modifications are correct for both problems .
clearly , the running times of the algorithms recognizing applicability of the rule do not depend on the problem we are solving , so we only need to argue for their safeness . in the first two rules , rules [ rule : c4 ] and [ rule : p4 ] , we add and delete an edge , respectively , and the argument is that any editing set of size at most @xmath1 must necessarily include this edit .
however , in the completion and deletion version , we are not allowed both operations . hence , for the first rule , in the deletion variant we can immediately infer that we are working with a no - instance , and respectively for the second rule in the completion variant .
thus , the two following rules replace rule [ rule : c4 ] for deletion and rule [ rule : p4 ] for completion , and their safeness is guaranteed by a trivial modification of the proof of lemma [ lem : basic - rules - sound ] : [ rule : c4]d [ rule : c4d ] for an instance @xmath14 with @xmath176 , if there is a matching of size at least @xmath177 in @xmath178}$ ] , then return a trivial no - instance as the computed kernel .
[ rule : p4]c [ rule : p4c ] for an instance @xmath14 with @xmath181 and @xmath182 $ ] and @xmath183 $ ] , if there is a matching in @xmath61 between @xmath184 and @xmath185 of size at least @xmath177 , then return a trivial no - instance as the computed kernel .
observe that rules [ rule : c4d ] and [ rule : p4c ] are applicable in exactly the same instances as their unmodified variants .
hence , exhaustive application of the basic rules with any of these modifications results in exactly the same notion of a reduced instance as the one introduced in section [ sec : basic - rules ] .
we now argue that rules [ rule : twin ] and [ rule : module ] are safe for both the deletion and the completion variant , without any modifications .
[ lem : module - rules - safe ] rules [ rule : twin ] and [ rule : module ] are safe both for trivially perfect deletion and for trivially perfect completion .
the proof of the safeness of rule [ rule : twin ] ( lemma [ lem : rule : twin : sound ] ) in fact argues that every editing set @xmath215 for @xmath387 with @xmath414 is also an editing set for @xmath14 .
this holds also for editing sets that consist only of edge additions / deletions , so the reasoning remains the same for trivially perfect deletion and trivially perfect completion .
the proof of the safeness of rule [ rule : module ] ( lemma [ lem : rule - mod - correct ] ) first argues that any minimum - size editing set @xmath215 for the reduced instance @xmath413 is not incident to any vertex of @xmath324 .
this is done by showing that otherwise @xmath215 would not be an inclusion - wise minimal editing set ( proof of claim [ claim : i - notin - f ] ) , and the argumentation can be in the same manner applied to minimum - size completion / deletion sets .
then it is argued that @xmath215 is in fact an editing set for the original instance @xmath14 , and the argumentation is oblivious to whether @xmath215 is allowed to contain edge additions or deletions .
we now proceed to the analysis of rule [ rule : comb ] in the completion and deletion variants .
first , let us consider the construction of the modulator . in the completion /
deletion variants we can construct the modulator in exactly the same manner as for editing
. indeed , the main argument for the bound @xmath175 states that if the construction was performed for more than @xmath1 rounds , then we are dealing with a no - instance , since then any editing set for @xmath12 has size at least @xmath177 .
completion and deletion sets are editing sets in particular , so the same argument holds also for trivially perfect deletion and trivially perfect completion .
results of sections [ sec : modulator - nei ] and [ sec : impbags ] , i.e. , the analysis of the @xmath32-neighborhoods and marking of the important bags , work in exactly the same manner , since they are based on the same notions of a reduced instance and of a tp - modulator .
thus , lemma [ lem : bounded - x - neighborhoods ] holds as well , and we have marked the same set @xmath324 of @xmath325 important bags , with the same properties .
rules [ rule : twin ] and [ rule : module ] are not modified , so the bounds on @xmath608 , @xmath475 and @xmath476 from lemmas [ lem : vi ] , [ lem : v0 ] , and [ lem : v1 ] also hold .
we are left with analyzing rule [ rule : comb ] , and we claim that this rule is also safe for trivially perfect deletion and trivially perfect completion without any modifications . indeed , in the proof of the safeness of the rule ( lemma [ lem : rule - comb - correct ] ) , we have argued that for every editing set @xmath215 ( @xmath414 ) for the new instance @xmath413 , there exists some @xmath426 which is a solution to the original instance @xmath14 . in case
@xmath215 consists of edge deletions or edge additions only , so does @xmath422 .
hence , @xmath413 being a yes - instance of trivially perfect deletion , resp .
trivially perfect completion , implies that @xmath14 is also a yes - instance of the same problem .
thus rule [ rule : comb ] is safe without any modifications , and the kernel size analysis contained in the proof of theorem [ thm : tpe - polykernel ] ( end of section [ sec : kernel - final ] ) can be performed in exactly the same manner .
this concludes the proof of theorems [ thm : tpd - polykernel - intro ] and [ thm : tpc - polykernel - intro ] .
in this section we show that trivially perfect editing is -hard , and furthermore not solvable in subexponential parameterized time unless the exponential time hypothesis fails . recall that the -hardness of the problem was already established by nastos and gao @xcite .
their reduction ( see the proof of theorem 3.3 in @xcite ) starts with an instance of exact 3-cover with universe of size @xmath8 and set family of size @xmath104 , and constructs an instance @xmath14 of trivially perfect editing with @xmath609 .
thus , the parameter blow - up is at least cubic , and the reduction can not be used to establish the non - existence of a subexponential parameterized algorithm under eth . here , we give a direct , linear reduction from 3sat to trivially perfect editing .
furthermore , the resulting graph in our reduction has maximum degree equal to @xmath37 .
thus , we in fact prove that even on input graphs of maximum degree @xmath37 , trivially perfect editing remains -hard and does not admit a subexponential parameterized algorithm , unless eth fails .
formally , the following theorem will be proved , where for an input formula @xmath610 of 3sat , by @xmath611 and @xmath612 we denote the variable and clause sets of @xmath610 , respectively : [ thm : np - hardness ] there exists a polynomial - time reduction that , given an instance @xmath610 of 3sat , returns an equivalent instance @xmath613 of trivially perfect editing , where @xmath614 , @xmath615 , @xmath616 , and @xmath617 .
consequently , even on instances with maximum degree @xmath37 , trivially perfect editing remains -hard and can not be solved in time @xmath26 or @xmath36 , unless eth fails .
theorem [ thm : np - hardness ] clearly refines theorem [ thm : eth - hardness - intro ] , and its conclusion follows from the reduction by an application of proposition [ prop : eth ] .
hence , we are left with constructing the reduction , to which the rest of this section is devoted .
our approach is similar to the technique used by komusiewicz and uhlmann to show the hardness of a similar problem , cluster editing @xcite ; however , the gadgets are heavily modified to work for the trivially perfect editing problem .
let @xmath610 be the input instance of 3sat .
by standard modifications of the formula we may assume that every clause contains exactly three literals , all containing different variables , and that every variable appears in at least two clauses . for a variable @xmath618 , let @xmath619 be the number of occurrences of @xmath372 in the clauses of @xmath610 ; moreover , we order these occurrences arbitrarily . observe that @xmath620 .
now , for every @xmath621 we create a _ variable gadget _ , and for every @xmath622 we create a _ clause gadget_. ( tx1 ) at ( cos(60),sin(60 ) )
[ label = left:@xmath623 ; ( bx1 ) at ( cos(80),sin(80 ) ) [ label = below left:@xmath624 ; ( sx1 ) at ( cos(100),sin(100 ) ) [ label = left:@xmath625 ; ( px1 ) at ( 0.75*cos(70),0.75*sin(70 ) ) [ label = below left:@xmath626 ; ( tx2 ) at ( cos(0),sin(0 ) ) [ label = left:@xmath627 ; ( bx2 ) at ( cos(20),sin(20 ) ) [ label = left:@xmath628 ; ( sx2 ) at ( cos(40),sin(40 ) ) [ label = left:@xmath629 ; ( px2 ) at ( 0.75*cos(10),0.75*sin(10 ) ) [ label = left:@xmath630 ; ( tx3 ) at ( cos(-60),sin(-60 ) [ label = above left:@xmath631 ; ( bx3 ) at ( cos(-40),sin(-40 ) [ label = above left:@xmath632 ; ( sx3 ) at ( cos(-20),sin(-20 ) [ label = left:@xmath633 ; ( px3 ) at ( 0.75*cos(-50),0.75*sin(-50 ) ) [ label = above left:@xmath634 ; ( tx4 ) at ( cos(-120),sin(-120 ) ) [ label = above:@xmath635 ; ( bx4 ) at ( cos(-100),sin(-100 ) ) [ label = above right:@xmath636 ; ( sx4 ) at ( cos(-80),sin(-80 ) ) [ label = above:@xmath637 ; ( px4 ) at ( 0.75*cos(-110),0.75*sin(-110 ) ) [ label = above:@xmath638 ; ( gx ) at ( 0,0 ) @xmath639 ; ( sx1 ) ( bx1 ) ( tx1 ) ( sx2 ) ( bx2 ) ( tx2 ) ( sx3 ) ( bx3 ) ( tx3 ) ( sx4 ) ( bx4 ) ( tx4 ) ; ( tx1 ) ( px1 ) ( bx1 ) ; ( tx2 ) ( px2 ) ( bx2 ) ; ( tx3 ) ( px3 ) ( bx3 ) ; ( tx4 ) ( px4 ) ( bx4 ) ; ( ty1 ) at ( 2+cos(-40),2+sin(-40 ) ) [ label = left:@xmath640 ; ( by1 ) at ( 2+cos(-20),2+sin(-20 ) ) [ label = above left:@xmath641 ; ( sy1 ) at ( 2+cos(0),2+sin(0 ) ) [ label = above left:@xmath642 ; ( py1 ) at ( 2 + 0.75*cos(-30),2 + 0.75*sin(-30 ) ) [ label = left:@xmath643 ; ( ty2 ) at ( 2+cos(-100),2+sin(-100 ) ) [ label = above:@xmath644 ; ( by2 ) at ( 2+cos(-80),2+sin(-80 ) ) [ label = above:@xmath645 ; ( sy2 ) at ( 2+cos(-60),2+sin(-60 ) ) [ label = above left:@xmath646 ; ( py2 ) at ( 2 + 0.75*cos(-90),2 + 0.75*sin(-90 ) ) [ label = above:@xmath647 ; ( ty3 ) at ( 2+cos(-160),2+sin(-160 ) [ label = above right:@xmath648 ; ( by3 ) at ( 2+cos(-140),2+sin(-140 ) [ label = right:@xmath649 ; ( sy3 ) at ( 2+cos(-120),2+sin(-120 ) [ label = above right:@xmath650 ; ( py3 ) at ( 2 + 0.75*cos(-150),2 + 0.75*sin(-150 ) ) [ label = above right:@xmath651 ; ( ty4 ) at ( 2+cos(-220),2+sin(-220 ) ) [ label = above right:@xmath652 ; ( by4 ) at ( 2+cos(-200),2+sin(-200 ) ) [ label = below right:@xmath653 ; ( sy4 ) at ( 2+cos(-180),2+sin(-180 ) ) [ label = right:@xmath654 ; ( py4 ) at ( 2 + 0.75*cos(-210),2 + 0.75*sin(-210 ) ) [ label = right:@xmath655 ; ( gy ) at ( 2,2 ) @xmath656 ; ( sy1 ) ( by1 ) ( ty1 ) ( sy2 ) ( by2 )
( ty2 ) ( sy3 ) ( by3 )
( ty3 ) ( sy4 ) ( by4 ) ( ty4 ) ; ( ty1 ) ( py1 ) ( by1 ) ; ( ty2 ) ( py2 )
( by2 ) ; ( ty3 ) ( py3 ) ( by3 ) ; ( ty4 ) ( py4 )
( by4 ) ; ( tz1 ) at ( 4+cos(240),sin(240 ) ) [ label = above:@xmath657 ; ( bz1 ) at ( 4+cos(260),sin(260 ) ) [ label = above right:@xmath658 ; ( sz1 ) at ( 4+cos(280),sin(280 ) ) [ label = above:@xmath659 ; ( pz1 ) at ( 4 + 0.75*cos(250),0.75*sin(250 ) ) [ label = above right:@xmath660 ; ( tz2 ) at ( 4+cos(180),sin(180 ) ) [ label = above right:@xmath661 ; ( bz2 ) at ( 4+cos(200),sin(200 ) ) [ label = right:@xmath662 ; ( sz2 ) at ( 4+cos(220),sin(220 ) ) [ label = above right:@xmath663 ; ( pz2 ) at ( 4 + 0.75*cos(190),0.75*sin(190 ) ) [ label = right:@xmath664 ; ( tz3 ) at ( 4+cos(120),sin(120 ) [ label = below right:@xmath665 ; ( bz3 ) at ( 4+cos(140),sin(140 ) [ label = below right:@xmath666 ; ( sz3 ) at ( 4+cos(160),sin(160 ) [ label = right:@xmath667 ; ( pz3 ) at ( 4 + 0.75*cos(130),0.75*sin(130 ) ) [ label = below right:@xmath668 ; ( tz4 ) at ( 4+cos(60),sin(60 ) ) [ label = below right:@xmath669 ; ( bz4 ) at ( 4+cos(80),sin(80 ) ) [ label = below left:@xmath670 ; ( sz4 ) at ( 4+cos(100),sin(100 ) ) [ label = below:@xmath671 ; ( pz4 ) at ( 4 + 0.75*cos(70),0.75*sin(70 ) ) [ label = below left:@xmath672 ; ( gz ) at ( 4,0 ) @xmath673 ; ( sz1 ) ( bz1 ) ( tz1 ) ( sz2 ) ( bz2 ) ( tz2 ) ( sz3 ) ( bz3 ) ( tz3 ) ( sz4 ) ( bz4 )
( tz4 ) ; ( tz1 ) ( pz1 )
( bz1 ) ; ( tz2 )
( pz2 ) ( bz2 ) ; ( tz3 ) ( pz3 ) ( bz3 ) ; ( tz4 ) ( pz4 ) ( bz4 ) ; ( gc ) at ( 2,-.1 ) @xmath674 ; ( c ) at ( 2,.2 ) ; \(c ) to[looseness=1 , out=180 , in=0 ] ( tx2 ) ; ( c ) to[looseness=1 , out=90 , in=-90 ] ( by2 ) ; ( c ) to[looseness=1 , out=0 , in=180 ] ( tz2 ) ; ( tx1 ) at ( cos(60),sin(60 ) ) [ label = left:@xmath623 ; ( bx1 ) at ( cos(80),sin(80 ) ) [ label = below left:@xmath624 ; ( sx1 ) at ( cos(100),sin(100 ) ) [ label = left:@xmath625 ; ( px1 ) at ( 0.75*cos(70),0.75*sin(70 ) ) [ label = below left:@xmath626 ; ( tx2 ) at ( cos(0),sin(0 ) ) [ label = left:@xmath627 ; ( bx2 ) at ( cos(20),sin(20 ) ) [ label = left:@xmath628 ; ( sx2 ) at ( cos(40),sin(40 ) ) [ label = left:@xmath629 ; ( px2 ) at ( 0.75*cos(10),0.75*sin(10 ) ) [ label = left:@xmath630 ; ( tx3 ) at ( cos(-60),sin(-60 ) [ label = above left:@xmath631 ; ( bx3 ) at ( cos(-40),sin(-40 ) [ label = above left:@xmath632 ; ( sx3 ) at ( cos(-20),sin(-20 ) [ label = left:@xmath633 ; ( px3 ) at ( 0.75*cos(-50),0.75*sin(-50 ) ) [ label = above left:@xmath634 ; ( tx4 ) at ( cos(-120),sin(-120 ) ) [ label = above:@xmath635 ; ( bx4 ) at ( cos(-100),sin(-100 ) ) [ label = above right:@xmath636 ; ( sx4 ) at ( cos(-80),sin(-80 ) ) [ label = above:@xmath637 ; ( px4 ) at ( 0.75*cos(-110),0.75*sin(-110 ) ) [ label = above:@xmath638 ; ( gx ) at ( 0,0 ) @xmath639 ; ( bx1 ) ( tx1 )
( sx2 ) ; ( bx2 ) ( tx2 ) ( sx3 ) ; ( bx3 ) ( tx3 ) ( sx4 ) ; ( bx4 ) ( tx4 ) ; ( tx1 ) ( px1 )
( bx1 ) ; ( tx2 )
( px2 ) ( bx2 ) ; ( tx3 ) ( px3 ) ( bx3 ) ; ( tx4 ) ( px4 ) ( bx4 ) ; ( ty1 ) at ( 2+cos(-40),2+sin(-40 ) ) [ label = left:@xmath640 ; ( by1 ) at ( 2+cos(-20),2+sin(-20 ) ) [ label = above left:@xmath641 ; ( sy1 ) at ( 2+cos(0),2+sin(0 ) ) [ label = above left:@xmath642 ; ( py1 ) at ( 2 + 0.75*cos(-30),2 + 0.75*sin(-30 ) ) [ label = left:@xmath643 ; ( ty2 ) at ( 2+cos(-100),2+sin(-100 ) ) [ label = above:@xmath644 ; ( by2 ) at ( 2+cos(-80),2+sin(-80 ) ) [ label = above:@xmath645 ; ( sy2 ) at ( 2+cos(-60),2+sin(-60 ) ) [ label = above left:@xmath646 ; ( py2 ) at ( 2 + 0.75*cos(-90),2 + 0.75*sin(-90 ) ) [ label = above:@xmath647 ; ( ty3 ) at ( 2+cos(-160),2+sin(-160 ) [ label = above right:@xmath648 ; ( by3 ) at ( 2+cos(-140),2+sin(-140 ) [ label = right:@xmath649 ; ( sy3 ) at ( 2+cos(-120),2+sin(-120 ) [ label = above right:@xmath650 ; ( py3 ) at ( 2 + 0.75*cos(-150),2 + 0.75*sin(-150 ) ) [ label = above right:@xmath651 ; ( ty4 ) at ( 2+cos(-220),2+sin(-220 ) ) [ label = above right:@xmath652 ; ( by4 ) at ( 2+cos(-200),2+sin(-200 ) ) [ label = below right:@xmath653 ; ( sy4 ) at ( 2+cos(-180),2+sin(-180 ) ) [ label = right:@xmath654 ; ( py4 ) at ( 2 + 0.75*cos(-210),2 + 0.75*sin(-210 ) ) [ label = right:@xmath655 ; ( gy ) at ( 2,2 ) @xmath656 ; ( by1 ) ( ty1 ) ( sy2 ) ; ( by2 ) ( ty2 ) ( sy3 ) ; ( by3 ) ( ty3 ) ( sy4 ) ; ( by4 ) ( ty4 ) ; ( ty1 ) ( py1 ) ( by1 ) ; ( ty2 ) ( py2 ) ( by2 ) ; ( ty3 ) ( py3 )
( by3 ) ; ( ty4 ) ( py4 ) ( by4 ) ; ( tz1 ) at ( 4+cos(240),sin(240 ) ) [ label = above:@xmath657 ; ( bz1 ) at ( 4+cos(260),sin(260 ) ) [ label = above right:@xmath658 ; ( sz1 ) at ( 4+cos(280),sin(280 ) ) [ label = above:@xmath659 ; ( pz1 ) at ( 4 + 0.75*cos(250),0.75*sin(250 ) ) [ label = above right:@xmath660 ; ( tz2 ) at ( 4+cos(180),sin(180 ) ) [ label = above right:@xmath661 ; ( bz2 ) at ( 4+cos(200),sin(200 ) ) [ label = right:@xmath662 ; ( sz2 ) at ( 4+cos(220),sin(220 ) ) [ label = above right:@xmath663 ; ( pz2 ) at ( 4 + 0.75*cos(190),0.75*sin(190 ) ) [ label = right:@xmath664 ; ( tz3 ) at ( 4+cos(120),sin(120 ) [ label = below right:@xmath665 ; ( bz3 ) at ( 4+cos(140),sin(140 ) [ label = below right:@xmath666 ; ( sz3 ) at ( 4+cos(160),sin(160 ) [ label = right:@xmath667 ; ( pz3 ) at ( 4 + 0.75*cos(130),0.75*sin(130 ) ) [ label = below right:@xmath668 ; ( tz4 ) at ( 4+cos(60),sin(60 ) ) [ label = below right:@xmath669 ; ( bz4 ) at ( 4+cos(80),sin(80 ) ) [ label = below left:@xmath670 ; ( sz4 ) at ( 4+cos(100),sin(100 ) ) [ label = below:@xmath671 ; ( pz4 ) at ( 4 + 0.75*cos(70),0.75*sin(70 ) ) [ label = below left:@xmath672 ; ( gz ) at ( 4,0 ) @xmath673 ; ( sz1 ) ( bz1 ) ( tz1 ) ; ( sz2 ) ( bz2 ) ( tz2 ) ; ( sz3 ) ( bz3 ) ( tz3 ) ; ( sz4 ) ( bz4 ) ( tz4 ) ; ( tz1 ) ( pz1 ) ( bz1 ) ; ( tz2 ) ( pz2 ) ( bz2 ) ; ( tz3 ) ( pz3 ) ( bz3 ) ; ( tz4 ) ( pz4 ) ( bz4 ) ; ( gc ) at ( 2,-.1 ) @xmath674 ; ( c ) at ( 2,.2 ) ; \(c ) to[looseness=1 , out=180 , in=0 ] ( tx2 ) ; [ [ variable - gadgets . ] ] variable gadgets .
+ + + + + + + + + + + + + + + + + for @xmath675 , construct a graph @xmath639 isomorphic to @xmath676 , a cycle on @xmath677 vertices .
the vertices of @xmath639 are labeled @xmath678 for @xmath679 $ ] , in the order of their appearance on the cycle .
we then add a vertex @xmath680 adjacent to @xmath681 and @xmath682 , for each @xmath683 $ ] , see figure [ fig : clause - gadget ] .
formally , the vertices @xmath680 do not belong to @xmath639 , but they will be used to wire variable gadgets with clause gadgets .
this concludes the construction of the variable gadget , and it should be clear that the number of created vertices and edges is bounded linearly in @xmath684 ; more precisely , we created @xmath685 vertices and @xmath686 edges . for the sake of later argumentation
, we now define the deletion set @xmath687 for @xmath639 .
if , in an assignment of variables @xmath688 , we have @xmath689 , then we let @xmath687 be the set consisting of every edge of the form @xmath690 for
@xmath691 $ ] .
if , on the other hand , @xmath692 , we define the deletion set @xmath687 to be the set comprising the edges @xmath693 for @xmath691 $ ] , see figure [ fig : clause - gadget - edited ] .
we will later show that these are the only relevant editing sets of size at most @xmath684 for @xmath639 .
[ [ clause - gadget . ] ] clause gadget .
+ + + + + + + + + + + + + + the clause gadgets are very simple . a clause gadget consists simply of one vertex , i.e. , for a clause @xmath694 construct the vertex @xmath695 .
this vertex will be connected to @xmath639 , @xmath656 and @xmath673 , for @xmath372 , @xmath346 , and @xmath696 being the variables appearing in @xmath10 , in appropriate places , depending on whether the variable occurs positively or negatively in @xmath10 .
more precisely , if @xmath10 is the @xmath189th clause @xmath372 appears in , then we make @xmath695 adjacent to @xmath681 provided that @xmath372 appears positively in @xmath10 , and to @xmath682 provided that @xmath372 appears negatively in @xmath10 .
this concludes the construction of a clause gadget .
as every clause gadget contains one vertex and three edges , the construction of all the clause gadgets creates @xmath697 vertices and @xmath698 edges . the deletion set for a clause gadget will be as follows .
let @xmath688 , be an assignment of the variables that satisfies all the clauses .
suppose @xmath699 , where the literals @xmath700 , @xmath701 , and @xmath702 contain variables @xmath372 , @xmath346 , and @xmath696 , respectively .
pick any literal satisfying @xmath10 , say @xmath700 , and delete the two other edges in the connection , i.e. , the two edges connecting @xmath695 with vertices of @xmath656 and @xmath673 .
thus @xmath695 remains a vertex of degree @xmath134 , adjacent to a vertex of @xmath639 .
let @xmath703 be the constructed graph .
we set the budget for edits to @xmath704 observe also that latexmath:[\[\begin{aligned } and that @xmath617 .
thus , all the technical properties stated in theorem [ thm : np - hardness ] are satisfied , and we are left with proving that @xmath613 is a yes - instance of trivially perfect editing if and only if @xmath610 is satisfiable . before we state the main lemma , we give two auxiliary observations that settle the tightness of the budget : [ claim : var - gadget - tight ] suppose that a graph @xmath20 is a cycle on @xmath706 vertices for some @xmath707 , and suppose @xmath215 is an editing set for @xmath20 . then @xmath708 . moreover , if @xmath709 then @xmath215 consists of deletions of every third edge of the cycle .
[ claim : clause - gadget - tight ] suppose a graph @xmath20 is a _ subdivided claw _ , i.e. , the star @xmath710 with every leg subdivided once ( see figure [ fig : subdivided - claw ] ) . furthermore , suppose that @xmath215 is an editing set for @xmath20 . then @xmath711 . moreover , if @xmath712 then @xmath215 consists of deletions of two edges incident to the center of the subdivided claw ( see figure [ fig : subdivided - claw - edited ] )
. we will prove the two claims in order now .
the astute reader should already see that this implies the tightness of the budget : every editing set needs to include exactly @xmath684 edges of every variable gadget @xmath639 ( by claim [ claim : var - gadget - tight ] ) , and exactly two edges incident to every vertex @xmath695 ( by claim [ claim : clause - gadget - tight ] ) .
the additional vertices @xmath680 will form the degree-1 vertices of subdivided claws created by clause gadgets , and all the subgraphs in question pairwise share at most single vertices , which means that any edit can influence at most one of them .
this statement is made formal in the proof of lemma [ lem:3sat - tpe ] .
let @xmath713 be the vertices of @xmath20 , in their order of appearance on the cycle .
for @xmath714 , let @xmath715 ; here and in the sequel , the indices behave cyclically in a natural manner .
observe that each @xmath716 induces a @xmath28 in @xmath20 , hence @xmath717 .
however , the sets @xmath718 are pairwise disjoint for @xmath714 , from which it follows that @xmath719 .
suppose now that @xmath709 .
hence @xmath720 for each @xmath721 $ ] , and there are no edits outside the sets @xmath718 .
there are five possible ways for an @xmath716 of how @xmath722 can look like : it is either a deletion of the edge @xmath723 , @xmath724 , or @xmath725 ( henceforth referred to as types @xmath726 , @xmath727 , and @xmath728 , respectively ) , or an addition of the edge @xmath729 or @xmath730 ( henceforth called types @xmath731 and @xmath732 , respectively)the sixth possibility , which has been left out , creates an induced @xmath29 .
observe now that if some @xmath716 has type @xmath726 , then @xmath733 also has type @xmath726 , or otherwise a @xmath28 @xmath734 would remain in the graph . similarly ,
if @xmath716 has type @xmath728 then @xmath735 also has type @xmath728 .
hence , if type @xmath728 or @xmath726 appears for any @xmath716 , then all the @xmath716s have the same type .
observe now that if some @xmath716 had type @xmath731 and @xmath732 , then @xmath735 would have to have type @xmath728 and @xmath733 would have to have type @xmath726 or otherwise an unresolved @xmath28 would appear ; this is a contradiction with the previous observations , since types @xmath726 and @xmath728 can not appear simultaneously .
hence , we are left with only three possibilities : all the @xmath716s have type @xmath726 , or all have type @xmath727 , or all have type @xmath728 .
denote the vertices of @xmath20 as in figure [ fig : subdivided - claw ] .
consider the following three @xmath28s in @xmath20 : * @xmath736 , * @xmath737 , and * @xmath738 .
0.45 \(v ) at ( 0,0 ) @xmath43 ; ( a1 ) at ( 0,1 ) @xmath486 ; ( a2 ) at ( 0,2 ) @xmath739 ; ( b1 ) at ( -,- ) @xmath740 ; ( b2 ) at ( -,- ) @xmath741 ; ( c1 ) at ( , - ) @xmath742 ; ( c2 ) at ( , - ) @xmath743 ; ( a2 ) ( a1 ) ( v ) ( b1 ) ( b2 ) ; ( v )
( c1 ) ( c2 ) ; 0.45 \(v ) at ( 0,0 ) @xmath43 ; ( a1 ) at ( 0,1 ) @xmath486 ; ( a2 ) at ( 0,2 ) @xmath739 ; ( b1 ) at ( -,- ) @xmath740 ; ( b2 ) at ( -,- ) @xmath741 ; ( c1 ) at ( , - ) @xmath742 ; ( c2 ) at ( , - ) @xmath743 ; ( a2 ) ( a1 ) ( v ) ; ( b1 ) ( b2 ) ; ( c1 ) ( c2 ) ; observe that any edge addition in @xmath20 can destroy at most one of these @xmath28s , and a deletion of any of edges @xmath744 , @xmath745 , or @xmath746 also can destroy at most one of these @xmath28s .
moreover , a deletion of any of the edges incident to the center @xmath43 destroys only two of them .
we infer that @xmath711 since no single edit can destroy all three considered @xmath28s , and moreover if @xmath712 , then @xmath215 contains at least one deletion of an edge incident to @xmath43 , say @xmath747 . after deleting this edge
we are left with a @xmath748 @xmath749 , and it can be readily checked that the only way to edit it to a trivially perfect graph using only one edit is to delete @xmath750 or @xmath751 .
thus , any editing set @xmath215 with @xmath712 in fact consists of deletions of two edges incident to @xmath43 .
[ lem:3sat - tpe ] the input 3sat instance @xmath610 is satisfiable if and only if @xmath613 is a yes - instance of trivially perfect editing .
suppose @xmath610 is satisfiable and let @xmath752 be a satisfying assignment .
define editing set @xmath753 ; note that @xmath215 consists of deletions only .
then we have that @xmath754 and it can be easily seen that @xmath398 is a disjoint union of components of constant size , each being a paw or a cricket ( see figure [ fig : three - graphs ] ) . both these graphs are trivially perfect , so a disjoint union of any number of their copies is also a trivially perfect graph .
thus @xmath755 is a solution to the instance @xmath613 .
0.3 \(1 ) at ( 0,0 ) ; ( 2 ) at ( 1,0 ) ; ( 3 ) at ( 0,1 ) ; ( 4 ) at ( 1,1 ) ; \(1 ) ( 2 ) ; ( 1 ) ( 3 ) ; ( 4 ) ( 3 ) ; ( 1 ) ( 4 ) ; 0.3 \(1 ) at ( .5,0 ) ; ( 2 ) at ( 0,1 ) ; ( 3 ) at ( 1,1 ) ; ( 4 ) at ( 1,0 ) ; ( 5 ) at ( 0,0 ) ; \(1 ) ( 2 ) ( 3 ) ( 1 ) ; ( 1 ) ( 4 ) ; ( 1 ) ( 5 ) ; for the other direction , let @xmath756 be an editing set such that @xmath757 is trivially perfect , and @xmath758 .
for every @xmath621 consider the subgraph @xmath639 .
for every @xmath622 consider the subgraph @xmath674 induced in @xmath12 by * vertex @xmath695 ; * the three neighbors of @xmath695 , say @xmath759 , @xmath760 , and @xmath761 , where @xmath762 are variables appearing in @xmath10 and each symbol @xmath763 is replaced by @xmath764 or @xmath765 depending whether the variable s occurrence is positive or negative ; and * vertices @xmath766 , @xmath767 , and @xmath768 .
observe that each @xmath639 is isomorphic to a cycle on @xmath677 vertices and each @xmath674 is isomorphic to a subdivided claw .
moreover , all these subgraphs pairwise share at most one vertex , which means that sets @xmath769 for @xmath621 and @xmath770 for @xmath622 are pairwise disjoint . by claim [ claim : var - gadget - tight ]
we infer that @xmath771 for each @xmath772 , and by claim [ claim : clause - gadget - tight ] we infer that @xmath773 for each @xmath774 .
thus @xmath775 hence , in fact @xmath776 and all the used inequalities are in fact equalities : @xmath777 for each @xmath772 and @xmath778 for each @xmath774 . using claims [ claim : var - gadget - tight ] and [
claim : clause - gadget - tight ] again , we infer that @xmath215 has the following form : it consists of deletions only , from every cycle @xmath639 it deletes every third edge , and for every vertex @xmath695 it deletes two out of three edges incident to it . in particular , no edit is incident to any of the vertices @xmath680 for @xmath772 and @xmath683 $ ] .
consider now the cycle @xmath639 ; we already know that the solution deletes either all the edges @xmath779 for @xmath780 $ ] , or all the edges @xmath781 for @xmath780 $ ] , or all the edges @xmath782 for @xmath683 $ ] .
observe that the first case can not happen , since then we would have an induced @xmath28 @xmath783 remaining in the graph no other edit can destroy it . hence , one of the latter two cases happen .
construct an assignment @xmath784 by , for each @xmath621 , putting @xmath785 if all the edges @xmath781 are included in @xmath215 , and @xmath786 if all the edges @xmath782 are included in @xmath215 .
we now claim that @xmath457 satisfies @xmath610 . for the sake of contradiction ,
suppose that a clause @xmath787 is not satisfied by @xmath457 .
let @xmath788 be the edge incident to @xmath695 which has not been removed and suppose without loss of generality that this edge connects @xmath695 with @xmath639 .
suppose further that @xmath789 , i.e. , @xmath372 appears positively in @xmath10 , so @xmath790 for some @xmath683 $ ] .
since @xmath372 does not satisfy @xmath10 , @xmath692 and both edges @xmath791 and @xmath792 are not deleted in @xmath215 the deleted edge is @xmath693 .
but then we have the following induced @xmath28 : @xmath793 , which contradicts the assumption that @xmath757 is trivially perfect . the case
when @xmath794 , i.e. , @xmath372 appears negatively in @xmath10 , is symmetric .
hence @xmath457 is indeed a satisfying assignment for @xmath610 and we are done .
lemma [ lem:3sat - tpe ] guarantees that the reduction is correct , and hence theorem [ thm : np - hardness ] follows by a straightforward application of proposition [ prop : eth ] .
we can also observe that this reduction works immediately for trivially perfect deletion as well since every optimal edit set consisted purely of deletions ( see claims [ claim : var - gadget - tight ] and [ claim : clause - gadget - tight ] ) , however this result is known @xcite .
in this paper we gave the first polynomial kernels for trivially perfect editing and trivially perfect deletion , which answers an open problem by nastos and gao @xcite , and liu , wang , and guo @xcite .
we also proved that assuming eth , trivially perfect editing does not have a subexponential parameterized algorithm . together with the earlier results @xcite
, we thus obtain a complete picture of the existence of polynomial kernels and subexponential parameterized algorithms for edge modification problems related to trivially perfect graphs ; see figure [ fig : tab : tp - complexity ] for an overview . in particular
, the fact that all three problems trivially perfect editing , trivially perfect completion , and trivially perfect deletion admit polynomial kernels , stands in an interesting contrast with the results of cai and cai @xcite , who showed that this is not the case for any of @xmath29-free editing , @xmath29-free completion and @xmath29-free deletion .
the main contribution of the paper is the proof that trivially perfect editing admits a polynomial kernel with @xmath0 vertices .
we apply the existing technique of constructing a _ vertex modulator _ , but with a new twist : the fact that we are solving an edge modification problem enables us also to argue about the adjacency structure between the modulator and the rest of the graph , which is helpful in understanding the structure of the instance .
we believe that this new insight can be applied to other edge modification problems as well .
finally , we showed that trivially perfect editing , in addition to being -complete , is not solvable in subexponential parameterized time unless the exponential time hypothesis fails .
the same result was known for trivially perfect deletion , but contrasts the previous result that the completion variant _ does admit _ a subexponential parameterized algorithm @xcite .
l l l problem & polynomial kernel & subexp . par .
algorithm + + trivially perfect completion & yes @xcite & yes @xcite + trivially perfect deletion & yes & no @xcite + trivially perfect editing & yes & no + let us conclude by stating some open questions . in this paper
, we focused purely on constructing a polynomial kernel for trivially perfect editing and related problems , and in multiple places we traded possible savings in the overall kernel size for simpler arguments in the analysis .
we expect that a tighter analysis of our approach might yield kernels with @xmath474 or even @xmath795 vertices , but we think that the really challenging question is to match the size of the cubic kernel for trivially perfect completion of guo @xcite . generally , we find the vertex modulator technique very well - suited for tackling kernelization of edge modification problems , since it is at the same time versatile , and exposes well the structure of a large graph that is close in the edit distance to some graph class .
we have high hopes that this generic approach will find applications in other edge modification problems as well , both in improving the sizes of existing kernels and in finding new positive results about the existence of polynomial kernels . for concrete questions where the technique might be applicable , we propose the following : * is it possible to improve the @xmath2 vertex kernels for cograph editing and cograph completion of guillemot et al .
@xcite ? * is it possible to improve the @xmath268 vertex kernel for the split deletion problem of guo @xcite ?
* do the claw - free edge deletion or line graph edge deletion problems admit polynomial kernels ? here , the task is to remove at most @xmath1 edges to obtain a graph that is _ claw - free _ , i.e. , does not contain @xmath710 as an induced subgraph , respectively is a line graph .
n. alon , d. lokshtanov , and s. saurabh .
fast fast . in _ proceedings of the 36th colloquium of automata , languages and programming ( icalp 2009 ) _ , volume 5555 of _ lecture notes in computer science _ , pages 4958 .
springer , 2009 .
i. bliznets , f. v. fomin , m. pilipczuk , and m. pilipczuk . a subexponential parameterized algorithm for proper interval completion . in _ proceedings of the 22nd annual european symposium on algorithms ( esa 2014 ) _ , volume 8737 of _ lecture notes in computer science _ , pages 173184 .
springer , 2014 .
l. cai and y. cai .
incompressibility of @xmath20-free edge modification . in _ proceedings of the 8th international symposium on parameterized and exact computation ( ipec 2013 ) _ , volume 8246 of _ lecture notes in computer science _ , pages 8496 .
springer , 2013 .
g. drange , f. v. fomin , m. pilipczuk , and y. villanger . exploring subexponential parameterized complexity of completion problems . in _ proceedings of the 31st international symposium on theoretical aspects of computer science ( stacs 2014 ) _ , volume 25 of _ lipics _ , pages 288299 .
schloss dagstuhl - leibniz - zentrum fr informatik , 2014 .
f. v. fomin , d. lokshtanov , n. misra , and s. saurabh .
planar @xmath215-deletion : approximation , kernelization and optimal fpt algorithms . in _ proceedings of the 53rd ieee annual symposium on foundations of computer science ( focs 2012 ) _ , pages 470479 .
ieee , 2012 .
problem kernels for np - complete edge deletion problems : split and related graphs . in _ proceedings of the 18th international symposium on algorithms and computation ( isaac 2007 ) _ , volume 4835 of _ lecture notes in computer science _ , pages 915926 .
springer , 2007 .
s. kratsch and m. wahlstrm .
two edge modification problems without polynomial kernels . in _ proceedings of the 4th international workshop on parameterized and exact computation ( iwpec 2009 ) _ , volume 5917 of _ lecture notes in computer science _ , pages 264275 .
springer , 2009 . | arxiv |
Kingdom Hearts 1. Chapter 1
It was an early summer day in Simulated Twilight Town where number six and number eleven ventured. The town was partially deserted when the two organization members first stepped foot into it, but now it did not seem to be such a problem. The silence was pleasant to Zexion and he did not find the need for noise, and for once, Marluxia agreed with him.
The two sat wordlessly at the top of a building over looking Station Heights as they gazed into the artificial sunset. Soon the town would be cloaked in darkness, and after the darkness is lifted, they will be parting ways for good. Zexion found this somewhat troubling; however Marluxia did not seem to mind. Nothing about him gave sign that he was against leaving, but he so clung to Zexion that it was deeply confusing for the short one.
"You know…you do not need to follow me everywhere like this. It's annoying." Zexion finally pointed out, finding the need to break the silence now.
His green eyes narrowing as he smiled, Marluxia turned to look at Zexion. "So? Maybe I enjoy getting on your nerves." He laughed as he watched the shorter one cringe at his remark.
_If only you could stay with me like this a little longer…_
The purple haired boy stood up and looked onto the horizon with a stern face. The gentle summer breeze danced with strands of his hair as he started to speak. "You do realize that after this, you are no longer going to exist, do you not, Marluxia?" Number six asked, not bothering to look back at the other.
With a deep sigh, Marluxia too stood and flipped his long pink hair. "I never existed. You…me… all of us… We never existed. I think I will manage." Marluxia noted with a half smile. "But you know, it would have been nice if we could have been real. Don't you think so?"
"Hmm…" The shorter one sounded as he crossed his arms over his chest. "Why Twilight Town? Why have this be your burial ground?" Zexion questioned, spinning around to face the taller pink haired member.
"Well…" Marluxia started, shuffling his feet bashfully. "It reminds me of you."
"What the hell? How does this place remind you of me?" Zexion retorted, his visage furrowing angrily as if insulted.
Without an immediate answer, Marluxia strolled right over to Zexion's side and sat down. "It doesn't exist."
"…You don't either…" Number six scoffed as he inched away from his sitting friend. "Anyhow… I think you should have picked a better place to spend your last day…"
"Hey, let's get some ice cream." Marluxia said, suddenly changing the subject.
"What?"
"You heard me. Let's get some ice cream." The pink haired assassin repeated as he took a stand once again. "C'mon… I know you have short legs, but you shouldn't be _that _slow." He said tauntingly before taking a leap off of the building and making a dash down the street and up the ramp to Market Street.
Sneering irritably, Zexion chased after number eleven. Once he caught up to him in Market Street, the taller pink haired member had already bought three bars of sea salt ice cream. Giving the grinning pink haired man an annoyed glare, Zexion sighed before asking, "Why did you get three? There are only two of us."
"I'm taller. I get to eat more. So, two for me, and one for you." Marluxia teased as he gave one of the three ice cream bars to Zexion and quickly returned to lick the side of the one in his right hand before stopping a drip from the one in his left.
"You…" Zexion started, his body shuddering slightly from fury. Taking a deep breath, he calmed down. Being with Marluxia for extended periods of time had a way of raising his blood pressure, but he did not necessarily mind. Infact, he kind of enjoyed it. Marluxia was just lucky that Zexion was as patient as he is otherwise, there would be a serious problem. "…agitate me so much." The short one scoffed before licking at his ice cream.
"Zexy, this ice cream is weird tasting… Do you want mine?" Marluxia cringed as he held the bar in his left hand away from him as if it was a diseased object.
His eyes narrowing, Zexion glared at Marluxia and growled, "No, I do not want your nasty half-eaten ice cream. Next time, you shouldn't get two unless you know you like it."
"But I know you like it." Marluxia grinned devilishly as Zexion forcefully snatched the ice cream bar out of his hand. "See?"
"Shut up…" Zexion muttered as he hesitatingly licked at Marluxia's ice cream bar. _It taste like flowers…Wait, how would I know what flowers taste like? Do they taste the way they smell? _For some reason unknown to him, the ice cream bar that Marluxia just recently handed him tastes better than the other one he's been eating. Unable to comprehend that, Zexion's brows furrowed.
"What, am I really that gross to you? Honestly, that is quite insulting, that look on your face. Personally, I know that I am quite gorgeous. You can't deny it." Marluxia said, twirling a lock on pink hair in his finger as he sucked on the ice cream bar he held in his right hand.
"No…it's just that…it's really good…" Zexion said, his eyes widening in confusion.
"Do you want this one too, then?" Marluxia offered, looking as if he was about to upchuck.
"Yes, but you have to take this one…" Zexion said quietly, switching his original ice cream bar with the one in Marluxia's hand. "You have to eat it all, okay?" The short one said as he finished the first bar that Marluxia gave him and started on the second. The second bar had even more of a flowery aroma. Zexion shuddered at the taste of it.
Watching Zexion eat, Marluxia observed his behavior. "Hey, Sexion, you look like your having an orgasm over there… What's up with that?" He asked with a sly look on his face.
"Shut up! It's just good ice cream!" Zexion retorted as he turned away.
Marluxia laughed before tasting the ice cream bar that Zexion handed him. "Hey, Sexion, do you use some kind of strawberry breath mint?"
"What? I don't know… I use that…Oh dear, Lexaeus…" Zexion's voice trailed off as he made a thoughtful face. "That might have been that… But I brushed my teeth since then, you know…"
"What?" Marluxia asked with his green eyes opened wide. "What the hell does Lexaeus have anything to do with this?"
"Well, he made me do this…" Zexion said quietly before engulfing the ice cream bar with his mouth and making some inappropriate gestures with his tongue. Number eleven just stood with his mouth wide open. Obviously, there was something about his friend he had yet to know. "And that's not all…"
"Okay! Unless you want to show me first hand, I'd rather not hear anymore." Marluxia said, cutting Zexion off in case he was going to he was going to tell, or rather, show him more. "So, you two… are you in love?"
"Cut it out, Marluxia. We are nobodies. We can't love." Zexion sneered as he finished his ice cream in an acceptable manner.
Marluxia grew quiet before rushing forward and locking lips with Zexion. The short one's arms flailed about as if pleading for life. Though his body seems to want freedom, he thoroughly enjoyed the taste inside Marluxia's mouth. It was the same taste as the two ice cream bars he had given him; flowers and sea salt ice cream. Soon his body gave in and he laced his fingers behind Marluxia's neck, only to find that number eleven would pull away all too soon.
Pulling back, Marluxia frowned. "Did you feel anything?"
"Um…maybe. Did you?"
"Kind of… I think I liked it." The member with the pink hair muttered under his breath. "It was…"
"Like ice cream."
_If only you did not have to melt away like ice cream in my mouth… I pray to keep you, and if I had a heart, I would give it to you._
2. Chapter 2
On some days, I feel as though I would immediately disintegrate if I should take a step outside my house. On days like these, I lay in bed for hours,not moving a muscle, not making a sound. I lay there, just barely existing. The world outside is passing me by.
On days like these, music can kill me, and I try to sleep away my pain. I cannot get out of bed, but sleep is impossible to achieve for every time I close my eyes, all the things I fear materializes to me; I am frightened. I am haunted by all the little things that I have secretly feared. One by one, they slip pass my mind's defense to unleash their monstrosity. Through the rusty gates of my memories, they attack, each strike causing my fingers to grasps at my hair, and I scream silently to the empty room.
My limbs are trembling. The freezing sun never reaches out to me. It knows that I do not like it, and it purposely mocks me. Outside my window I know that the rest of town is drenched in its rays. I know outside of this box, people are living, not merely existing. But this is my box...Although I did not create it, I cannot seem to recall a time when I did not live here. It had been nearly five years since I have been caged,but I somehow convinced myself that it had not been long at all. I have made myself blind to the illness. This place has infected me, and I cannot grow.
On days like these, I touch my fingers to the glass and yearn to grow wings. I wish I could tie myself to a bouquet of balloons and leap into the air, but I am trapped inside my own body, and I become my worst enemy. I think, if I should be able to break from this shell, perhaps I should blossom more beautifully. But I forgot about the virus that had sealed my fate. Even if I should shed from this skin, my core is still sick. And should I ever grow wings, they would be broken and too weak to fly away from here. Still, on days like these I gaze up at the constant sky and pray that I may be able to spontaneously take flight.
On days like these, time does not seem to exist, but the songs I play are proof. Time is actually drifting away quite mercilessly. The grey sky gets increasingly darker; and now I cannot tell walls from windows. Nothing ever changes here, and I am left with unexplainable pains from phantom memories. Time does not seem to exist here, but I am getting older and older as I speak.
I feel trapped by time though. I feel like I can neither move forward nor recoil. I cannot advance into a greater plane, nor can I regress into something more primitive. I am stuck here, in this limbo stage of life. I feel as though all my thoughts and all my words are also stuck here, and regardless of how desperately I try, my voice cannot be heard by anyone, myself included.
On days like these, I lay inside myself for hours, often times contemplating my value, On days like these, more often than not, I dissect myself to examine the countless malfunctions within. Today, I am observing my phobias. Yesterday, I diagrammed my weaknesses, and tomorrow I will analyze my regrets. I lay inside myself for hours,and still I come up with no conclusion as to what is wrong with me. I say my disease was contracted from this place that I now reside, but I cannot find the source within me.
I look at all the things that I hate, and I try to find a cure for each and every one. But...in the end, the only remedy that I can conjure is Blame. It is your fault, her fault, his fault, their fault. The remedy requires everyone but me... I am never to blame. But still, more often than pointing the finger, I look in the mirror and sneer at the image on the other side. It is my fault, my fault, all of this is my fault.
On days like these, I cry about scars long faded. With each second of the clock, each progress of a verse, something more heart wrenching comes back to my memory. The sorrows that I thought were long buried with time revitalizes; my heart aches the same. I cry for death, I cry for living, but mostly I cry for whatever stage it is that I am in. I cry for the life that had left those amber eyes long ago, and I cry for the girl that sits staring out the window for days on end. I cry for the lost of a childhood that never was, and royal family ever broken. I cry for the child surrounded by dolls, and for the songs that were never sung. I cry for the bird with the broken feathers and the princess with no name. I cry for the king of yesteryear, the empress of defeat. They always catch both my fancy and my pity on days like these.
I cannot feel my body, and I am walking on air. My head is stuck in inked storm clouds, and I cannot tell dreams from truth. I drift in and out of consciousness with only the hope that I may remain unconscious longer and longer each time. I do not know where I am, nor do I know my own name. I lose my identity in the confusion, and I am stranded, unable to arrive at my destination, unable to return from which I came.
On days like these, there is so much to question, but so few answers, and even fewer voices to say. I talk to myself, but I too am drowned out by the melancholy. I close my eyes to let some stray tears escape, then I sigh. I scream into my pillow, but the pillow suffocates me temporarily, and I die a little more. I punch the walls, but my fists begins to bleed. I find no comfort in violence.
Instead, I hide away under my covers and lay perfectly still like dead. I hold my breath and count to ten, and then I start all over again. I try everything to break the monotony, but still I cannot seem to find a way. I roll on the floor, I jump on the chair, but no matter what I do, I am faced with a vacant stare; my own. I laugh before I cry...still my sadness is not conveyed.
On some days, I just want to crawl into your arms and die. On days like these, I am terrified of myself. I want so much to jump, to bleed, to disappear...to die. I do not trust myself with a pen, and I flinch at the sight of steel. I have taken every pill in the cabinet and drank all the syrups too. I have been here before so many times, but still I cannot find my way out. I have been here so many times before, but still I make the same mistakes again.
I ponder whether or not my absence would be missed,would be noticed. I usually come to the same conclusion that perhaps I would be mourned for, but within months I shall be replaced. I ponder further whether it makes a difference should I live or die. I have always been so little and insignificant. I doubt that my absence would matter much to anyone. Although I know this much to be a lie, I hold onto the bitterness on days like these.
On days like these, my thoughts of you are intensified. I call your name just to hear it echo in the vast abyss of my world. Reaching out for the picture frame, I look at how happy we are together, and I remind myself that I will be happy yet. I hear your voice on the other line, and even though it is but a recording, my spirits are suddenly lifted and I am somewhat at ease. I pacify myself by an excessive message, telling you nothing at all, and then I hang up.
You call back, on days like these, just knowing that I am in trouble, and immediately you come to my aid. You offer your perfect-to-me smile, and you jest and tease. You do whatever it is that you do, and I stop dying. Perhaps a hint of life returns to my eyes and I just do not see. On days like these, you are the only thing in the world that could rescue me.
End file.
| fanfiction |
Hetalia - Axis Powers The language of Flowers
_Kingdom of Italy, _
_1865._
* * *
Lovino was sat in the fresh, humid grass under a pale autumn sky. He took deep breaths, filling his dry lungs with cold, vivid air as he overlooked the lively city of Firenze. The afternoon had stretched dark behind Lovino's quiet thoughts. He hadn't noticed but the people he could see, seeming small from his spot on a nearby hill, had begun to slow down in the streets; they had begun to fill the smoky taverns and abandon their tasks of the day. Lovino looked at the sky again. Not quite dark yet. Surely the hour couldn't be so late. The young man needed a little more time alone. More time to think.
That morning his Grandfather; his last parent, had passed away from old age. Lovino was left alone in a tattered world, at only 21 years of age, and with two young brothers to look after.
He took his head between his hands, covered his ears, closed his eyes. What was he going to do ? He sure hadn't imagined his youngster years to be this way. But his Mother had died when birthing his youngest brother Feliciano, when Lovino was only 4 years old. He hardly remembered her or her caresses. He didn't remember her voice. But a year later, the army had called his Father to the South, to help pacify the rebellions. He had died far away from his sons. Lovino didn't remember much of him either. He remembered a tall, intimidating man who, Lovino thought, was patient enough with the child that he was. According to a large portrait hanging in the house's sitting room, Lovino looked a lot like him. That was all Lovino could recall from his parents. But he had well known his Grandfather. His grandfather was a good man. He was tall, of great stature, even at an old age. He had been a distinguished aristocrat; at ease with arts, sports, dance and civilities. He had traveled across all of Europe. He had served his Country and his Society, more than necessary, and was loved by all, but by neither as much as by his grandchildren. Lovino remembered his facetious advices about life with a smile. "Lovino mine," he would say, a glass of fine wine in hand, "no matter what choices life brings you, you must remember that two things only are immortal down here on Earth: Love...and good food."
Lovino's smile faded along with the familiar voice in his head. His Grandfather had been a great man. Lovino wondered if he would eventually forget that one voice, too. The thought froze each of his muscles...
But then the sky had started wrapping itself in a purple coat, and Lovino remarked that the shiver which shook his back came from the cold breeze rather than the cold memories. He got up, tried to dry up his breeches by patting them with both hands. Then, with a still damp garment, he mounted his horse and headed home.
He knew the path by heart. About two leagues accross the forest, then run along the pleasant country road which Lovino liked so much for its silence and nice view on the nearby village. Finally the horse's hooves lead its owner to the gates of the Vargas Domain. A little further up the House presented itself, massive, its sand coloured walls beautiful under the violet sky. Home.
Lovino left his horse to the stableman, and passed the front door, putting his gloves off as he walked. He soon found himself in the drawing room, not expecting to find it empty. He stopped his feet in the doorway.
"Feli ?" He called once, twice.
"Good Heavens, where is this child ?" He muttered under his breath.
Of course, Lovino knew where his brother was. Probably had he fled when he had gotten the chance, somewhere in the fields, or deep in the heart of the forest, or some other mysterious place known only to him.
Lovino sighed and took seat at the small desk by the window. The minutes faded into hours, letter after letter, until the young man felt sick of announcing, again and again, the passing of a loved one.
Once again, Lovino took a frugal supper alone, and went to bed early.
.
.
The maid brought Lovino a letter as he was starting his breakfast. The letter, or rather, the short bill he unfolded came from his Godmother. The name signed at the bottom of the sheet sent a wave of warmth to Lovino's heart as he read it. _Yours always, Bess. _For the first time since the morning before, Lovino felt like he could be alright again. Someone would help him. Erzsébet had helped him always. After his Mother's death, she and her husband; Lovino's Godfather Lord Roderich Edelstein, had come to live most of their lives at the Vargas House. The months when Roderich was forced to stay in Austria -where they lived originally, Erzsébet stayed with the boys, and often the Vargas family went to spend long vacation periods at the Héderváry Castle -Erzsébet's family was older and wealthier than her husband's, therefore they lived in her house. She had, however, taken Roderich's name Edelstein.
Lovino remembered Austria and its infinitely green lands, he remembered the snow in winter, and the beauty of his Godparents' sitting room when a fire was lit in the fireplace and Erzsébet read stories to his young brothers. But one day the war had ended, and Firenze was made Italian again. The Austrians, previous owners of all the Northern land, were forced to leave until the People was appeased. Lovino hadn't seen either of his Godfathers in about five years.
Thanksfully, the Italian Nation was settling down at last, and Erzsébet assured Lovino in her letter of their upcoming arrival. She begged him and his brothers to excuse her brief letter, but they had decided to leave Austria the minute they received Lovino's letter the day before - his first reflex had been to inform them and call for help, before dawn, after he had heard of the terrible tidings. Therefore, she disposed only of a few moments to write this bill before engulfing herself into the coach.
It would take them about three days to get to Firenze, Lovino mentally calculated.
Deep in thoughts again, the young man hadn't even touched his food yet when Feliciano appeared at the door. Lovino jumped to his feet, exclaimed in a panicked voice.
"Where have you been ? I've been searching for you !"
Feliciano looked terrible. His face was dark with dirt and scars loomed here and there under the dusty clay. His hair was unmade and his shirt, which he wore alone -without a vest, was just as spoilt and dirty as his face was. Besides, the boy stared at the floor, miserably.
Lovino knew that his brother wouldn't answer, and his guilty look killed every jolt of anger in the eldest's heart. He let out a deep breath, ran a hand through his hair.
"You should go and have a good bath. Hurry, breakfast awaits."
Feliciano nodded swiftly, and disappeared again. When he came back, though failing to appear well put, he at least looked clean. His hair was damp and messy, framing his round, juvenile face where a few bruises did show, more clearly now that the dust was no more.
"Come eat, Feli. You must be famished." Lovino ordered.
His brother's eyes lit up at the softer voice. He rushed to the table, and sat on the other end of the table. Lovino sat again, and waited until his young protégé had calmed his hunger, eyeing him sympathetically above his newspaper.
Finally, Feliciano spoke.
"I'm sorry, brother. I'm really sorry." He hesitated a moment. Lovino waited. "I went to the river."
"In the forest ?"
"Yes. The one that is in the South, where the trees are large and the world is far away."
Lovino nodded. He had nothing to say. He had felt the need to flee as well, and he had no words to ease neither his of his brother's pain.
"I understand." He tried anyway. "But you should have come back for the night. The wind was bitter and I much worried about you. Are you feeling well ?"
"I am. I'm sorry you worried. I felt carried away."
"Well...don't stay out anymore. Plus the forest isn't friendly."
"I must say, it is ! I felt more secure in the roots of the trees than between these walls. I couldn't stay here when Grandpa was-"
Both went silent. A long moment passed before Lovino got up.
"Mr Edelstein is coming to our help. I have much to do. Please don't cause me any more trouble before his arrival." He declared, and turned to leave when Feliciano's eager voice stopped him.
"When will he be here ? Is Lady Erzsébet with him ? Will they stay with us ?"
Lovino felt his chest lift the smallest bit to the happier voice of his brother. Feliciano had always been the joyful one. A flow of memories from their younger, carefree years filled his mind.
"I don't know yet. His wife is with him, in fact she informed me herself of their coming. They should arrive soon I hope, if their journey is safe." He turned and bowed quickly. "If you'll excuse me." Then he left for a heavy day to come.
.
.
The sight of his Godparents changed everything about Lovino's mood. Five years. Their faces were just as he remembered, or perhaps were they a little older. Erzsébet's smile was bright and reassuring. She ran to Lovino's side and took both of his hands in hers, warmly enquiring of his health and well being, of his brother's safety, and assuring him that she would take care of everything. Behind her, Roderich gave away their baggage to the servants. When the coach was cleared he sent it away as well, then he came by his wife's side. He offered a hand to his godson. "Hello, lad. I am glad to glance upon this face again. It's a pity we had to meet again on such mournful times."
"Thank you, Sir. To speak truly, I am relieved to see you here." Lovino answered simply. He led the way into the house.
Roderich and Erzsébet had arrived late in the day, and by the time they were settled dinner was ready.
"How both of you have changed..." Erzsébet wondered, looking at her godsons with visible nostalgia. "Five years...time flees, my boys, I don't know where my youth has gone." She laughed.
"I am so happy to see you again, Lady Erzsébet !" Feliciano chirped. "The house was empty without you !"
"Please, Feli. How many times have I pleaded you to call me Bess ?" She smiled.
Only Feli had been but a boy when he last had laid his eyes upon his Austrian family. Lovino wasn't sure of what his memories were of their life before, when there was people surrounding them, protecting them. Their Grandfather had given them the most he'd be able to give, to the very end, but even with him still around the boys had been forced to learn fast, to grow faster than their years. Erzsébet looked at Lovino and seemed to catch a glimpse of his thoughts. She smiled fondly.
"I hope we can stay long enough. A boy like you should not have to bear such responsabilities."
"Bess, please. We have done all we could. After Felice's death, we..." Roderich started, but was interrupted by his wife.
"Don't mention the past. We're here now. We'll help." She declared firmly, nodding in Lovino's direction.
This statment seemed to please Feliciano, who's spirits were raised from that moment on.
.
.
A sea of black coats tainted the bright grass of the cemetery. Lovino held his brother's shoulder as the Priest recited his speech. But if everyone's eyes were on the coffin, Lovino's gaze belonged to the sky. Deep blue contrasted with the surrounding black, soft clouds appealed to a grim, muddy heart. A mild breeze was in the air, and the trees were losing golden leaves all around the gathered humans. The moment was perfect to say goodbye, and Lovino felt like he alone had noticed, but the beauty of nature hadn't stopped because of a few gloomy humans. He squeezed Feli's shoulder. Now they were alone. Their last relative slowly disappearing underground, the feeling was only so real.
The procession came back in front of the church, people exchanged a few words before departing. Everybody had come. The village, the farmers, even a handful of citizens had left Firenze to pay homage to the well appreciated Old Lord Vargas. People kept coming up to Lovino and Feliciano, expressing their respect and what more. Lovino only wished he could take his brother away. In Feliciano's eyes were all the memories he could never fulfill, and Lovino's heart was broken to feel his young brother so heavy with despair. At last he caught Roderich's gaze, who nodded. So he grasped his brother's hand, and rushed in the direction of the fields.
.
.
Feliciano laughed as they ran, like they were children again, and Lovino laughed too, so happy that he was to escape the crushing blackness and be able to come back to the sorrowful memories that were his alone. His Grandfather didn't belong to any of the villagers, therefore neither did his loss.
The boys eased their path until they were slowly walking along the familiar path. Feli picked a flower on the hill's flank. A buttercup. Lovino eyed it, sighed a giggle.
"Buttercups are childish flowers, Feli."
Feliciano glanced inquisitively. "How so ?"
"I don't know. I read it somewhere. But it makes sense I believe. These are small and yellow and round. They feel...candid."
Feliciano laughed. "You are funny, Lovino."
He then picked another flower; a daisy.
"Are daisies mature enough, Lord Vargas ?" He asked, cockingly.
Lovino frowned. "I couldn't tell. I wouldn't say they are. Aren't hill flowers wild anyway ? Very uncivilized."
"You act like you know much, but I suspect you don't, brother."
"Respect your elders, boy." Lovino teased.
The Vargas House was in sight when Feliciano asked.
"How does it feel, Lovi ?...To be the Master of the house ?"
"I've been the Master for a long time...only now it is official."
Feliciano looked in deep thought.
"What torments your mind, Feli ?"
Feli's eyes met Lovino's.
"I'm worried about you."
Lovino looked away, honestly embarrassed that his hardly out of boyhood little brother would worry about him. "I will be fine."
"Will you ?" Feliciano insisted.
"I will. Besides, you will be by my side, will you not ?" He asked, peering at his brother.
The boy smiled brightly. "I will." He exclaimed.
They were crossing the gardens when Lovino noticed an unknown man further down. He stopped, surprised.
Feliciano stopped a few steps further, looking back at his brother. "Lovino ?" He enquired.
"Keep walking, Feli. I will join you later." Lovino said, and walked towards the stranger.
As he approached, Lovino felt more certain of not knowing that man. He appeared rather tall, quite muscular, and turned his back to Lovino as he seemed to be focusing on something on the ground.
"Excuse me, Sir ?" Lovino called.
The stranger peered above his shoulder, then unbended and turned to face his interlocutor.
"Yes ?" He asked.
Lovino was taken aback. "Uhm. Sir, may I ask, why are you standing in my gardens ? State your name at once."
The man smiled warmly. "Are you the Master of the House ? I shall ask for your pardon, Sir, I was hired this morning and therefore couldn't meet you before."
"Hired ? I didn't hire you !" Lovino exclaimed.
"No you didn't, Sir."
"Then who did ?"
"The gardener, Sir."
Lovino didn't understand a word that this strange man with that strange accent was saying.
"Your name, may I ask ?" He inquired again, exasperated.
"My name is Antonio Fernández, Sir. I was hired as a help by your gardener. The domain truly is wide, Sir."
"...if you'll excuse me." Lovino concluded, and turned away, in search of his gardener.
He found him in the winter garden.
"Mr Adnan ?" Lovino called.
"Ah, Young Master Vargas ! Are you back already ?"
"Yes, I..." Lovino almost asked his questions, but remembered his good manners at the last moment. "...haven't seen you at the funeral ? Were you feeling ill ?"
"I was not, I thank you. I was...ceremonials aren't for me, d'you understand ? I much prefered to mourn alone in my garden. This feels...more truthful."
"I understand, yes. Mr Adnan, I must say I found a man outside who claimed you hired him as a help. Would you be so kind to explain ?"
Mr Adnan laughed. The Turkish man's laughter was frank and rough, just as loud as his speaking voice. He had been a friend of Lovino's Grandfather, and a part of the Vargas Domain for as long as Lovino could remember. Lovino felt that this old man would call him _Young Master Vargas _for the rest of his life.
"Yes, I hired him. Your Grandfather had granted me the right to hire someone if I felt I needed help. See, Young Master, I am getting old, and your lands are vast. This fellow is young and strong, and I judge he looks truthworthy."
"Where does he come from ?"
"I didn't ask. Spain, I'd assume."
Lovino didn't understand the way that man was perceiving priorities. Mr Adnan seemed to come from a very different place. But then again, the Domain was full of people the Old Vargas had helped at some point of their lives. Here were people from every horizons, every situation known to man. Lovino's Grandfather had travelled most of his life, to civilized Nations and unknown lands. If there was one aspect of his person that his circle accused, it was this one: Lord Vargas saw no distinctions between people. Therefore, Lovino actually wasn't taken aback by the sudden appearance of another stranger.
"Very well," He said. "if you trust he will do good. I leave you to your plants." He bowed swiftly, and retraced his path. On the way, he found the new gardener.
"Have you found Mr Adnan ?"
Lovino stopped his feet. Such familiarity for someone at his service. "I have. I beg you to pardon me, I didn't know he had hired you. I welcome you to my service."
_To my service. Don't forget it, Spaniard. _He finished silently.
The man smiled. "I thank you, Sir. I know I will like it here."
Lovino entered his house just before his Godparents came back from the funeral. The evening stretched on, in silence and contemplation, sitting by the fireplace, under the sympathetic gaze of the newly arrived guests. Lovino, for his part, kept his eyes over his young, grieved brother.
.
.
The following day, when the sun was high and bright in the sky, Mr Edelstein called for Lovino to come to the small chamber where he had installed his temporary office. Lady Erzsébet was present: she had always taken part into her husband's affairs, more importantly when her relatives were involved.
"Dear child, are you feeling well ?" Roderich asked when Lovino invited himself in.
"I am well, I thank you." Lovino answered politely.
Erzsébet's gaze let him know that she had caught the lie, yet neither of them had the nerve to speak up.
"I hope you will not take my questions as inopportune, please believe that I merely need ask for your own interests." Roderich continued gravely. "Son, do you understand the role which falls on your life, now ?"
"I do, Sir." Lovino answered in a small voice, lowering his gaze. He only understood too much.
"Lovino Dear, you are the Master of this house, now. But be sure that we will help you as much as needed to hold this responsability." the Lady said.
Lovino's pride spoke for himself. "That will not be necessary. Thank you for you solicitude."
"My Dear, you are so young still !" She exclaimed. Her husband met her gaze, attempting to calm her down.
"Lovino, I have another question, of same gravity, if not higher."
Lovino nodded. "Please speak."
"Where is your brother, now ?"
Lovino's throat felt suddenly tight. He hurriedly sat down in front of his Godfather. Erzsébet was standing next to her husband.
"Feli must not know." The young Vargas warned. He heard his voice come out a lot darker than he'd intended.
Both people in front of him nodded.
"I don't know. I haven't received a letter in days, I have lost his trail, and I fear the worst. He hasn't answered to my recent letter either, about the doleful news. I fear he hasn't gotten it at all, if he has moved somehow."
Lovino stopped his speech, and observed his Godparents for an answer, hopefully an advice. They looked very serious, if concerned.
Lovino's young brother Romeo had left the family house for such a long time, Lovino wasn't sure he was to ever come back. At such a young age - barely nineteen, he had joined the Risorgimento's army, if it even was an army, Lovino wasn't so sure. Romeo had always been a reckless child, passionate, stubborn. Lovino had only begun to worry when the boy had stopped answering to his letters. Romeo's letters were never long, but they, at least, were. Now Lovino had no way to contact his brother, and protecting Feliciano from the truth grew more delicate every passing day.
"And all these uprisings in the South..." Lovino heard Roderich murmur under his breath. His wife laid a hand on his shoulder.
"They say the Prussians are helping them. Perhaps our boy will be protected from actual conflict ?" She tried, in a soft voice she hoped comforting.
Roderich shaked his head lowly. "This only means the battles are getting serious, Bess."
Lovino stared at the ground, hoping for the nightmare to stop soon. Everything fell on his shoulders at a terrible time. What if the war was brought to the North ? But that couldn't be. Firenze was Italian already, and the Austrians sure weren't willing to take it back anymore. The true battle laid in the South still, where it had been for years, Italian rebels forever fighting the Catholic Church over Roma; the city of all origins. Lovino pictured his young, reckless brother thrown in the middle of this deadly war. And for what purpose ? Lovino wasn't certain that his people could win in the end, after so long a battle. The losses had been many.
Roderich reajusted his neatly arranged hair with one hand, a sign that he was coming back to his usual placid self.
"I will see what I can do." He said. "For now, we must discuss financial issues."
Lovino had learnt long ago that, when Mr Edelstein spoke in that voice, he had to make sure his back was straight and his mind was focused.
* * *
_**Guys ! I am looking for a beta reader for this one. I've been searching for a while but, in lack of a positive response, I'll just try it out this way !**_
_** I might readjust this chapter in the future. I've worked my hardest, like I re-wrote and re-wrote and re-wrote this chapter so much I don't even know if it makes sense anymore, everything is just mixed in my mind haha~**_
_**IF ANYBODY HAS ANY INTEREST IN STORIES FROM THAT AREA and is willing to a **__**help **__**bit, well it would be more than welcome. English isn't my first language, therefore no matter how hard I try, I don't think I will make it flowy enough, let alone realistic. Speaking of which, any information/correction about Historical context, Etiquette, Habits (habits please!) in Italy in the 19th Century is also welcome.**_
_**This can be a long-ish fic if I take my time and manage to make it right.**_
_**Anyways. I am very excited about it. I've been turning this story in my mind for ages, but I always felt I wouldn't be able to write it.**_
_**I will try anyway c: .**_
_**Thank you for reading this chapter, and this little note if you did ! xx
**_
End file.
| fanfiction |
Schleese Saddlery Service, Ltd., headquartered in Ontario, Canada, is a manufacturer of English riding saddles owned and operated by Certified Master Saddler Jochen Schleese, his wife Sabine, and their partner Earl Rothery. The company offers custom manufacture and expert fitting for English dressage saddles. Schleese Saddlery was the first North American English saddle manufacturer to export their product to the European market.
Schleese is authorized by the Ontario program of local Labour Training and Adjustment Boards as a skilled trade training program and offers a three-year apprenticeship. Their certified saddlefit technicians are guest lecturers at Equine Affaires and Horse World Expos in the United States and, together with the National Riding School in Warendorf, Germany, seek to integrate saddle fitting as part of the certification process for the instructor program.
The saddlery is a good source of information about saddles, saddle fitting, and saddle production. The company illustrated the saddle manufacturing process on Discovery Channel's How it's Made season 6, episode 610.
External links
Schleese Saddlery Service, Ltd. website
Saddlefit4Life
Category:Manufacturing companies of Canada | wikipedia |
Reason behind the existence of radioactive substances till now [closed]
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If radioactive substances continuously radiates alpha particles, then that element would never be seen by us because it would had been converted into some stable atom a long time ago. Am I right?
You are right but the key point is your perception of "long time ago." Naturally occurring elements which are unstable, like U (Z=92) or Th (Z=90), have half lives on the order of the age of the Earth, i.e., they decay *very very* slowly. How old is the Earth by current estimates? About 4.5 billion years. So, these two elements, once they were formed at the time of the creation of this Earth (or the Sun?), are still present today. They are indeed continuously forming less stable elements, for example radon gas is formed in the decay series of U/Th. Their half-life are very short, on the order of a few days, but the gas is continuously being formed in the Earth's crust from the decay of U and Th daughters.
This is a very interesting topic. Paul Karoda, a Japanese American chemist, in the 1950s investigated all these questions which are coming to your mind and wrote a beautiful book (only 150 pages) titled "*The Origin of the Chemical Elements*"...buy it if you really think seriously about the origins of the elements on this Earth. Makes you wonder about the beauty of this universe and its Creator.
| stackexchange/chemistry |
With Jewish Chicks Rock, girls aren't just learning how to play instruments, they're learning to empower themselves.
That's what Less is trying to change.
Through Jewish Chicks Rock, summer campers at Camp Louise in Cascade are given the opportunity to pick up a bass and play a few riffs or sit behind the drums, even if the only music they've ever played is a far cry from rock 'n' roll.
Jewish Chicks Rock Camp was created by Less and is in its first full year at Camp Louise.
If they miss a few chords, who cares?
"This is what summer camp is all about," said Glenn Grossman, who helps his wife run the camp.
Camp Louise is a summer retreat founded in 1922 for Jewish girls entering second through 12th grade with sessions ranging from two to seven weeks long. Jewish Chicks Rock ran from July 27 to 30, culminating in a performance at the camp on July 30.
The three bands of four to six girls performed their versions of "Dynamite" by Taio Cruz, "Firework" by Katy Perry and "Forget You" by Cee Lo Green, but only after rewriting the lyrics. Some girls have previously played instruments, while others just like to sing.
That's exactly what 10-year-old Jessica Oblom did when she picked up a bass guitar at camp rather than sit behind a piano, which she's played since she was 4.
"I didn't really decide to try a new instrument, I just wanted to play the thing I'm best at, piano and a little bit of drums," she said.
The "camp within a camp" structure allows girls to experience all Camp Louise has to offer, while spending an hour and a half each day practicing and writing music.
For Less, coordinating the weeklong session is a dream come true.
"I've been on a high all week," she said.
Less grew up singing while studying the piano and violin, both appropriate instruments for a girl, she said sarcastically.
But when she turned 21 and moved into an apartment, she had nowhere to put a piano. So she picked up a guitar and taught herself to play. She wrote her first song when she was 22 and hasn't stopped since.
Although she has played in "secular" bands, Less said she couldn't help but write Jewish content.
"My music basically invites audiences into something that is extremely listener-friendly," she said. Her music explores ideas, beliefs, prayer and spirituality through a Jewish mindset, she said.
Less has traveled coast to coast performing and as far as Israel.
Although she now inspires girls in the same situation she was once in, Less gives a lot of credit to her role models such as Judy Chicago and Debbie Friedman, who stepped into fields dominated by men but were successful.
"I very humbly stand on their shoulders," she said.
About 900 girls will participate throughout this year's summer sessions at Camp Louise, Kahan said. Fifteen of them, from fourth to 12th grade, participated in Jewish Chicks Rock.
Kahan and Less hope the camp will catch on and become an annual program at Camp Louise. | slim_pajama |
cutaneous t cell lymphoma ( ctcl ) is a rare group of lymphoproliferative disorders characterized by localization of t lymphocytes to the skin with an overall incidence of 10.2 cases per million person - years .
it is becoming increasingly recognized that ctcl is heterogeneous , with multiple variants that have unique clinical presentations , histologic features , and therapeutic considerations .
the most common subtype of ctcl is mycosis fungoides ( mf ) , which typically presents with pruritic patches and plaques in areas of skin not commonly exposed to sun , and may evolve to cutaneous tumors or erythroderma .
demographic features including african - american race , male gender , and age have been found to be risk factors for ctcl , while extent of skin involvement , overall disease stage , and age are prognostic indicators [ 2 , 3 ] .
the prognostic significance of lymphocytic cd30 positivity in ctcl prognosis remains controversial : some have reported it as a favorable prognostic factor , while others have shown it to be associated with advanced disease and independently associated with poorer survival .
total skin electron irradiation ( tsei ) has been shown to be an effective palliative treatment for ctcl , even following failure with previous treatment modalities .
this has been demonstrated in multiple retrospective reviews showing that conventional dose ( 30 gy ) tsei achieves high clinical response rates [ 3 , 611 ] typically using large - field / modified stanford technique ( discontinuous irradiation ) .
however , more recent clinical series using dual - field rotational tsei ( rtsei ) technique , where a patient is rotated at a constant speed about the vertical axis while being irradiated with continuous dual - field irradiation ( providing a theoretical advantage in dose homogeneity compared to its large - field / modified stanford counterpart ) , showed promising results [ 12 , 13 ] . given that there have been no previous studies that have examined the response of cd30 + ctcl to rtsei , we investigated the effect of cd30 status on treatment response and survival in our cohort of patients with ctcl treated with conventional dose rtsei .
after institutional review board ( irb ) approval was obtained from emory university for this study , we retrospectively reviewed medical records of patients treated with rtsei identified from billing records .
patients were treated between 2000 and 2013 at emory university , atlanta , ga , usa . patient electronic medical records and a previous irb - approved dermatology database were used to ascertain information regarding demographics , diagnosis , histology , staging , treatment regimens , rtsei treatment , clinical response , recurrence , and overall survival ( os ) .
eligibility criteria for the study included : histologically confirmed ctcl and a completed first course of conventional dose ( 30 gy ) rtsei .
all cd30 + patients slides were reviewed by a board - certified hematopathologist ( k.b . ) .
pathologists typically perform cd30 immunohistochemistry when there is concern for transformation with increased numbers of large lymphoid cells .
cd30-not - tested cases lacked histological evidence of transformation and thus were grouped for statistical purposes with those that are known to be cd30 negative per pathology report .
rtsei was administered using a 21ex varian linear accelerator ( linac ; varian , palo alto , ca , usa ) equipped with 6 mev high - dose total skin electron ( hdtse ) mode at a dose rate of 888 mu / min .
rtsei used dual angles field at gantry angles of 241 and 299 to cover the upper and the lower halves of the patient body . in the 6 mev hdtse mode ,
our linac calibration was 2.99 cgy / mu at a maximum source to skin distance ( ssd ) of 100 cm .
the patient is placed on a rotating platform at an extended ssd ( 315 cm ) from the gantry .
the platform rotates at a constant speed of four revolutions per minute to ensure adequate surface dose buildup .
all patients were treated using a standard method : 36 gy delivered at 1.5 gy per fraction , administered three times weekly , typically on a monday wednesday friday schedule ( 4.5 gy / week ) .
a one - week mid - treatment break was allowed after delivery of 18 gy .
optically stimulated luminescent dosimeter ( osld ) measurements at typically under - dosed areas including but not limited to scalp , palms , inner thighs , and bottom of feet were taken prior to the mid - treatment break .
approximately 84% of patients received additional boost to these under - dosed regions based on clinical assessment of disease response at the end of rtsei . in total , the total rtsei regimen required 9 weeks followed by a 23-week boost portion .
the overall study cohort was compared across the following covariates : sex , age at diagnosis , age at rtsei , histology , t stage at start of rtsei , pre - rtsei ctcl treatments ( therapies received prior to primary rtsei course including topical , systemic antineoplastic , systemic dermatologic , and phototherapies ) , maintenance therapy ( systemic or topical therapy started within 36 months after rtsei ) , time from diagnosis to rtsei , and recurrence .
primary outcome measures were complete clinical response ( ccr ) rate , relapse - free survival ( rfs ) , and os .
ccr rate was defined as the proportion of follow - up patients with at least 90% reduction in cutaneous tumor burden .
patients considered non - complete responders ( non - cr ) included those with partial response ( > 50% reduction but less than 90% ) , stable disease , recurrence , progression , or death at each of three time points : ( 1 ) end of rtsei treatment , ( 2 ) 6 weeks post - rtsei , and ( 3 ) 6 months post - rtsei .
patients with no previous record of recurrence , those who did not follow - up or had no recorded clinical response at one of the time points were not included in the ccr proportion .
response rates were compared across cd30 status and by t stage using chi - square or fisher s exact test , as appropriate .
rfs was calculated as the number of days between start of rtsei and the date of recurrence . in the case of patients who did not have recurrence ,
rfs was censored at the date of last follow - up or date of death .
os was the number of days between diagnosis and the date of death or last known follow - up .
both rfs and os were compared across race , t stage , and previously mentioned covariates , using log - rank tests and cox proportional hazards models .
multivariate cox models were fit , adjusting for t stage pre - tsei , and the proportional hazards assumption was checked for all models .
the cutoff for statistical significance for all analyses was set at the two - sided alpha error of 0.05 .
all analysis was done in sas 9.3 ( sas institute inc . , cary , nc , usa ) .
after institutional review board ( irb ) approval was obtained from emory university for this study , we retrospectively reviewed medical records of patients treated with rtsei identified from billing records .
patients were treated between 2000 and 2013 at emory university , atlanta , ga , usa . patient electronic medical records and a previous irb - approved dermatology database were used to ascertain information regarding demographics , diagnosis , histology , staging , treatment regimens , rtsei treatment , clinical response , recurrence , and overall survival ( os ) .
eligibility criteria for the study included : histologically confirmed ctcl and a completed first course of conventional dose ( 30 gy ) rtsei .
all cd30 + patients slides were reviewed by a board - certified hematopathologist ( k.b . ) .
pathologists typically perform cd30 immunohistochemistry when there is concern for transformation with increased numbers of large lymphoid cells .
cd30-not - tested cases lacked histological evidence of transformation and thus were grouped for statistical purposes with those that are known to be cd30 negative per pathology report .
rtsei was administered using a 21ex varian linear accelerator ( linac ; varian , palo alto , ca , usa ) equipped with 6 mev high - dose total skin electron ( hdtse ) mode at a dose rate of 888 mu / min .
rtsei used dual angles field at gantry angles of 241 and 299 to cover the upper and the lower halves of the patient body . in the 6 mev hdtse mode ,
our linac calibration was 2.99 cgy / mu at a maximum source to skin distance ( ssd ) of 100 cm .
the patient is placed on a rotating platform at an extended ssd ( 315 cm ) from the gantry .
the platform rotates at a constant speed of four revolutions per minute to ensure adequate surface dose buildup .
all patients were treated using a standard method : 36 gy delivered at 1.5 gy per fraction , administered three times weekly , typically on a monday wednesday friday schedule ( 4.5 gy / week ) .
a one - week mid - treatment break was allowed after delivery of 18 gy .
optically stimulated luminescent dosimeter ( osld ) measurements at typically under - dosed areas including but not limited to scalp , palms , inner thighs , and bottom of feet were taken prior to the mid - treatment break .
approximately 84% of patients received additional boost to these under - dosed regions based on clinical assessment of disease response at the end of rtsei . in total , the total rtsei regimen required 9 weeks followed by a 23-week boost portion .
the overall study cohort was compared across the following covariates : sex , age at diagnosis , age at rtsei , histology , t stage at start of rtsei , pre - rtsei ctcl treatments ( therapies received prior to primary rtsei course including topical , systemic antineoplastic , systemic dermatologic , and phototherapies ) , maintenance therapy ( systemic or topical therapy started within 36 months after rtsei ) , time from diagnosis to rtsei , and recurrence .
primary outcome measures were complete clinical response ( ccr ) rate , relapse - free survival ( rfs ) , and os . ccr rate was defined as the proportion of follow - up patients with at least 90% reduction in cutaneous tumor burden .
patients considered non - complete responders ( non - cr ) included those with partial response ( > 50% reduction but less than 90% ) , stable disease , recurrence , progression , or death at each of three time points : ( 1 ) end of rtsei treatment , ( 2 ) 6 weeks post - rtsei , and ( 3 ) 6 months post - rtsei .
patients with no previous record of recurrence , those who did not follow - up or had no recorded clinical response at one of the time points were not included in the ccr proportion .
response rates were compared across cd30 status and by t stage using chi - square or fisher s exact test , as appropriate .
rfs was calculated as the number of days between start of rtsei and the date of recurrence . in the case of patients who did not have recurrence ,
rfs was censored at the date of last follow - up or date of death .
os was the number of days between diagnosis and the date of death or last known follow - up .
both rfs and os were compared across race , t stage , and previously mentioned covariates , using log - rank tests and cox proportional hazards models .
multivariate cox models were fit , adjusting for t stage pre - tsei , and the proportional hazards assumption was checked for all models .
the cutoff for statistical significance for all analyses was set at the two - sided alpha error of 0.05 .
all analysis was done in sas 9.3 ( sas institute inc . , cary , nc , usa ) .
medical records of 110 patients treated with rtsei identified from billing records were retrospectively reviewed . after excluding 42 patients who either had a primary diagnosis of leukemia cutis or did not complete conventional dose rtsei , 68 eligible patients remained .
patient characteristics of the study cohort , stratified by cd30 status , are summarized in table 2 .
sixty - eight patients were treated with conventional dose rtsei ( range 3036 gy ) .
median follow - up time for these patients was 80.2 months.table 1summary of cd30 + casescaseage at rtsei ( years)sexracectcl histologyt stage pre - rtseicd30 + lymphocytetransformation statustime from dx to rtsei ( months)response at end of rtseiresponse at 6 weeksresponse at 6 months153femaleaamft410%equivocal35crcrcr241femaleaamft35%no40crcrnon - cr354femalewhitemft3<5%no30crcrnon - cr461femalewhitemft310%no27crcrnon - cr567malewhitelypt3diffuse*unknown14crcrnon - cr671maleaamft4<5%no18crcrcr786maleaamft4cd30+*unknown18crcrnon - cr849femaleaamft45%no3crcrnon - cr954maleaamft430%yes2non - crnon - crnon - cr1051femaleaamft35%no4crcrcr1172malewhitepcptcl nost35%no93crcrnon - cr1246malewhitectcl nost3diffuse*equivocal10non - crnon - crnon - cr1353femalewhitectcl nost310%no17crcrnon - cr
aa african - american , cr complete response ( < 90% reduction in skin disease ) , ctcl cutaneous t cell lymphoma , lyp lymphomatoid papulosis , non - cr non - complete response , nos not otherwise specified , pcptcl primary cutaneous peripheral t cell lymphoma * slides not available for review , cd30 + description based off previous pathology reportstable 2patient characteristicscovariatecd30 status
p valuecd30 ( n = 54)cd30 + ( n = 14)sex , n ( % ) female26 ( 47.3)7 ( 53.9)0.67 male29 ( 52.7)6 ( 46.2)race , n ( % ) white27 ( 50.9)6 ( 46.2)0.76 african - american26 ( 49.1)7 ( 53.9)age , mean52.456.2time ( months ) from diagnosis to rtsei median16.835.40.30 mean27.235.8pre - rtsei tumor ( t ) stage , n ( % )
t218 ( 32.8)0 ( 0.0 )
0.01
t329 ( 52.7)8 ( 61.5 ) t48 ( 14.6)5 ( 38.5)pre - rtsei ctcl treatmentprevious use of topical agents , n ( % ) no25 ( 45.5)5 ( 38.5)0.65 yes30 ( 54.6)8 ( 61.5)previous use of systemic antineoplastic agents , n ( % ) no27 ( 49.1)6 ( 46.2)0.85 yes28 ( 50.9)7 ( 53.9)previous use of systemic dermatologic agents , n ( % ) no43 ( 78.2)12 ( 92.3)0.44 yes12 ( 21.8)1 ( 7.7)previous use of phototherapy , n ( % ) no29 ( 52.7)6 ( 46.2)0.67 yes26 ( 47.3)7 ( 53.8)maintenance therapy post - rtsei , n ( % ) no35 ( 63.6)7 ( 53.9)0.54 yes20 ( 36.4)6 ( 57.1)recurrence following rtsei , n ( % ) no18 ( 32.7)6 ( 46.2)0.42 yes37 ( 67.3)7 ( 53.9 )
ctcl cutaneous t cell lymphoma , rtsei rotational total skin electron irradiationbold p values are statistically significant ( p < 0.05 ) summary of cd30 + cases
aa african - american , cr complete response ( < 90% reduction in skin disease ) , ctcl cutaneous t cell lymphoma , lyp lymphomatoid papulosis , non - cr non - complete response , nos not otherwise specified , pcptcl primary cutaneous peripheral t cell lymphoma * slides not available for review , cd30 + description based off previous pathology reports patient characteristics
ctcl cutaneous t cell lymphoma , rtsei rotational total skin electron irradiation bold p values are statistically significant ( p < 0.05 ) pathology confirmed 13 ( 19% ) ctcl patients as cd30 + . cd30% expression ranged from 5% to 30% in tumor cells . an example photomicrograph of a cd30 + transformed ctcl case is shown in fig . 1 .
for the cd30 + patients , 7 ( 54% ) were female and 6 were male ( 46% ) , and 7 were aa ( 54% ) and 6 were white ( 46% ) .
cd30 + patients had a significantly more advanced t stage disease prior to rtsei ( 62% t3 , 39% t4 ) compared to cd30 patients ( 33% t2 , 53% t3 , 15% t4 ; table 2 ) .
there were no significant differences between cd30 subgroups in regard to sex , race , age at diagnosis , time from diagnosis to rtsei , treatments prior to rtsei , maintenance therapy , follow - up time , or proportion that recurred after rtsei.fig .
1transformed cutaneous t cell lymphoma ( case # 9 from table 1 ) . a large transformed lymphoma cells with focal epidermotropism ( h&e stain , original magnification 200 ) .
b approximately 30% of lymphoma cells are positive for cd30 ( original magnification 200 ) transformed cutaneous t cell lymphoma ( case # 9 from table 1 ) . a large transformed lymphoma cells with focal epidermotropism ( h&e stain , original magnification 200 ) .
b approximately 30% of lymphoma cells are positive for cd30 ( original magnification 200 ) table 3 summarizes ccr rates by cd30 status .
cd30 + patients had overall ccr rates of 85% at end of rtsei , 85% at 6 weeks
cd30 patients had overall ccr rates of 95% at the end of rtsei , 79% at 6 weeks
chi - square and fisher s exact tests revealed no significant differences in ccr rate between cd30 status subgroups following end of rtsei ( p = 0.24 ) or six weeks ( p = 0.44 ) , but did trend toward significance at 6 months post - tsei ( p = 0.083 ) .
this trend was driven by a significantly poorer response at 6 months for cd30 + t3 disease compared to cd30 t3 patients ( p = 0.04 ) .
further comparisons between cd30 status groups across respective t stages at all other follow - up time points showed no significance difference in ccr rates.table 3complete clinical response rates ( > 90% reduction in tumor burden ) , stratified by t stage pre - rtsei and cd30 statust stage pre - rtseifollow - up periodend of rtseisix weeks post - rtseisix months post - rtseicd30 statuscd30 statuscd30 statuscd30 +
n ( % ) cd30 n ( % )
p valuecd30 + n ( % ) cd30 n ( % )
p valueall t stages11 ( 85)52 ( 95)0.2411 ( 85)42 ( 79)13 ( 23)24 ( 50)0.083t218 ( 100)15 ( 88)5 ( 42)t37 ( 88)27 ( 93)0.537 ( 88)22 ( 79)11 ( 13)16 ( 57 )
0.044
t44 ( 80)7 ( 88)14 ( 80)5 ( 62.5)12 ( 40)3 ( 38)1bold p values are statistically significant ( p < 0.05 ) complete clinical response rates ( > 90% reduction in tumor burden ) , stratified by t stage pre - rtsei and cd30 status bold p values are statistically significant ( p < 0.05 ) as seen in table 4 , cd30 + patients had a median rfs of 12.1 months ( 8.3 and 13.2 for t3 and t4 disease , respectively , not significantly different ) .
cd30 patients had a median rfs of 9.9 months ( 14.3 , 11.3 , and 6.0 months for t2 , t3 , and t4 disease , respectively , with no significant difference between stages t3 and t4 ) .
meier rfs curves comparing cd30 groups and cd30 + patients by t stage are shown in fig .
2.table 4rfs and os , stratified by t stage pre - rtsei and cd30 statust stage pre - rtseimedian rfs ( months)median os ( months)cd30cd30 +
p valuecd30cd30 +
p valueall t stages9.912.10.7574.5103.30.57t214.3t311.38.30.64103.390.70.95t46.013.20.5130.50.10
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiationfig . 2survival outcomes .
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiation rfs and os , stratified by t stage pre - rtsei and cd30 status
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiation survival outcomes . a rfs comparing cd30 + vs. cd30 patients . b os comparing cd30 + vs. cd30 patients .
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiation on multivariate analysis , controlling for t stage , cd30 status was not associated with rfs ( p = 0.75 ) .
maintenance therapy following rtsei was associated with significantly improved rfs in cd30 group [ hazard ratio ( hr ) = 2.79 ; 95% confidence interval ( ci ) 1.176.66 ; p = 0.021 ] .
this association was not observed in the cd30 + group ( p = 0.383 ) .
all other covariates such as race , sex , t stage , histology , age at diagnosis , time from diagnosis to start of tsei , and pre - rstei treatment did not have a clinically significant association with rfs on univariate or multivariate analyses in either cd30 + or cd30 groups . as seen in table 4 , cd30 + patients had a median os of 103.3 months overall with no significant difference in os between stages t3 and t4 ( p = 0.65 ) .
cd30 patients had a median os of 74.5 months with a trend towards poorer survival for t4 compared to t3 patients ( 103.3 months for t3 , 30.5 months for t4 , p = 0.09 ) .
there was no significant difference in os across cd30 status ( p = 0.57 ) , t3 ( p = 0.95 ) , or t4 ( p = 0.10 ) subgroups .
meier os curves for comparing cd30 groups and cd30 + patients by t stage are shown in fig . 2 .
on univariate analysis , cd30 status was not associated with os ( p = 0.57 ) . in the cd30 + group , non - mf histology ( compared to mf histology )
was associated with poorer os in univariate analysis ( hr = 10.65 ; p = 0.025 ) .
however , after controlling for t stage pre - rtsei , this observed effect only trended towards significance ( p = 0.080 ) . in the cd30 group , lower t stage ( hr = 0.26 ; p = 0.049 ) in univariate analysis was associated with improved os .
in multivariate analysis , increased time from diagnosis to rtsei ( hr = 0.98 , p = 0.017 ) and younger age at rtsei ( hr = 1.06 ; p = 0.003 ) were associated with a significantly improved os .
maintenance therapy failed to show any significant improvement in os in both cd30 + ( p = 0.998 ) and cd30 ( p = 0.242 ) in multivariate analysis controlling for t stage pre - rtsei .
medical records of 110 patients treated with rtsei identified from billing records were retrospectively reviewed . after excluding 42 patients who either had a primary diagnosis of leukemia cutis or did not complete conventional dose rtsei , 68 eligible patients remained .
patient characteristics of the study cohort , stratified by cd30 status , are summarized in table 2 .
sixty - eight patients were treated with conventional dose rtsei ( range 3036 gy ) .
median follow - up time for these patients was 80.2 months.table 1summary of cd30 + casescaseage at rtsei ( years)sexracectcl histologyt stage pre - rtseicd30 + lymphocytetransformation statustime from dx to rtsei ( months)response at end of rtseiresponse at 6 weeksresponse at 6 months153femaleaamft410%equivocal35crcrcr241femaleaamft35%no40crcrnon - cr354femalewhitemft3<5%no30crcrnon - cr461femalewhitemft310%no27crcrnon - cr567malewhitelypt3diffuse*unknown14crcrnon - cr671maleaamft4<5%no18crcrcr786maleaamft4cd30+*unknown18crcrnon - cr849femaleaamft45%no3crcrnon - cr954maleaamft430%yes2non - crnon - crnon - cr1051femaleaamft35%no4crcrcr1172malewhitepcptcl nost35%no93crcrnon - cr1246malewhitectcl nost3diffuse*equivocal10non - crnon - crnon - cr1353femalewhitectcl nost310%no17crcrnon - cr
aa african - american , cr complete response ( < 90% reduction in skin disease ) , ctcl cutaneous t cell lymphoma , lyp lymphomatoid papulosis , non - cr non - complete response , nos not otherwise specified , pcptcl primary cutaneous peripheral t cell lymphoma * slides not available for review , cd30 + description based off previous pathology reportstable 2patient characteristicscovariatecd30 status
p valuecd30 ( n = 54)cd30 + ( n = 14)sex , n ( % ) female26 ( 47.3)7 ( 53.9)0.67 male29 ( 52.7)6 ( 46.2)race , n ( % ) white27 ( 50.9)6 ( 46.2)0.76 african - american26 ( 49.1)7 ( 53.9)age , mean52.456.2time ( months ) from diagnosis to rtsei median16.835.40.30 mean27.235.8pre - rtsei tumor ( t ) stage , n ( % )
t218 ( 32.8)0 ( 0.0 )
0.01
t329 ( 52.7)8 ( 61.5 ) t48 ( 14.6)5 ( 38.5)pre - rtsei ctcl treatmentprevious use of topical agents , n ( % ) no25 ( 45.5)5 ( 38.5)0.65 yes30 ( 54.6)8 ( 61.5)previous use of systemic antineoplastic agents , n ( % ) no27 ( 49.1)6 ( 46.2)0.85 yes28 ( 50.9)7 ( 53.9)previous use of systemic dermatologic agents , n ( % ) no43 ( 78.2)12 ( 92.3)0.44 yes12 ( 21.8)1 ( 7.7)previous use of phototherapy , n ( % ) no29 ( 52.7)6 ( 46.2)0.67 yes26 ( 47.3)7 ( 53.8)maintenance therapy post - rtsei , n ( % ) no35 ( 63.6)7 ( 53.9)0.54 yes20 ( 36.4)6 ( 57.1)recurrence following rtsei , n ( % ) no18 ( 32.7)6 ( 46.2)0.42 yes37 ( 67.3)7 ( 53.9 )
ctcl cutaneous t cell lymphoma , rtsei rotational total skin electron irradiationbold p values are statistically significant ( p < 0.05 ) summary of cd30 + cases
aa african - american , cr complete response ( < 90% reduction in skin disease ) , ctcl cutaneous t cell lymphoma , lyp lymphomatoid papulosis , non - cr non - complete response , nos not otherwise specified , pcptcl primary cutaneous peripheral t cell lymphoma * slides not available for review , cd30 + description based off previous pathology reports patient characteristics
ctcl cutaneous t cell lymphoma , rtsei rotational total skin electron irradiation bold p values are statistically significant ( p < 0.05 ) pathology confirmed 13 ( 19% ) ctcl patients as cd30 + . cd30% expression ranged from 5% to 30% in tumor cells . an example photomicrograph of a cd30 + transformed ctcl case is shown in fig . 1 .
for the cd30 + patients , 7 ( 54% ) were female and 6 were male ( 46% ) , and 7 were aa ( 54% ) and 6 were white ( 46% ) .
cd30 + patients had a significantly more advanced t stage disease prior to rtsei ( 62% t3 , 39% t4 ) compared to cd30 patients ( 33% t2 , 53% t3 , 15% t4 ; table 2 ) .
there were no significant differences between cd30 subgroups in regard to sex , race , age at diagnosis , time from diagnosis to rtsei , treatments prior to rtsei , maintenance therapy , follow - up time , or proportion that recurred after rtsei.fig .
1transformed cutaneous t cell lymphoma ( case # 9 from table 1 ) . a large transformed lymphoma cells with focal epidermotropism ( h&e stain , original magnification 200 ) .
b approximately 30% of lymphoma cells are positive for cd30 ( original magnification 200 ) transformed cutaneous t cell lymphoma ( case # 9 from table 1 ) . a large transformed lymphoma cells with focal epidermotropism ( h&e stain , original magnification 200 ) .
cd30 + patients had overall ccr rates of 85% at end of rtsei , 85% at 6 weeks
cd30 patients had overall ccr rates of 95% at the end of rtsei , 79% at 6 weeks
chi - square and fisher s exact tests revealed no significant differences in ccr rate between cd30 status subgroups following end of rtsei ( p = 0.24 ) or six weeks ( p = 0.44 ) , but did trend toward significance at 6 months post - tsei ( p = 0.083 ) .
this trend was driven by a significantly poorer response at 6 months for cd30 + t3 disease compared to cd30 t3 patients ( p = 0.04 ) .
further comparisons between cd30 status groups across respective t stages at all other follow - up time points showed no significance difference in ccr rates.table 3complete clinical response rates ( > 90% reduction in tumor burden ) , stratified by t stage pre - rtsei and cd30 statust stage pre - rtseifollow - up periodend of rtseisix weeks post - rtseisix months post - rtseicd30 statuscd30 statuscd30 statuscd30 +
n ( % ) cd30 n ( % )
p valueall t stages11 ( 85)52 ( 95)0.2411 ( 85)42 ( 79)13 ( 23)24 ( 50)0.083t218 ( 100)15 ( 88)5 ( 42)t37 ( 88)27 ( 93)0.537 ( 88)22 ( 79)11 ( 13)16 ( 57 )
0.044
t44 ( 80)7 ( 88)14 ( 80)5 ( 62.5)12 ( 40)3 ( 38)1bold p values are statistically significant ( p < 0.05 ) complete clinical response rates ( > 90% reduction in tumor burden ) , stratified by t stage pre - rtsei and cd30 status bold p values are statistically significant ( p < 0.05 )
as seen in table 4 , cd30 + patients had a median rfs of 12.1 months ( 8.3 and 13.2 for t3 and t4 disease , respectively , not significantly different ) .
cd30 patients had a median rfs of 9.9 months ( 14.3 , 11.3 , and 6.0 months for t2 , t3 , and t4 disease , respectively , with no significant difference between stages t3 and t4 ) .
meier rfs curves comparing cd30 groups and cd30 + patients by t stage are shown in fig . 2.table 4rfs and os , stratified by t stage pre - rtsei and cd30 statust stage pre - rtseimedian rfs ( months)median os ( months)cd30cd30 +
p valuecd30cd30 +
p valueall t stages9.912.10.7574.5103.30.57t214.3t311.38.30.64103.390.70.95t46.013.20.5130.50.10
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiationfig . 2survival outcomes .
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiation rfs and os , stratified by t stage pre - rtsei and cd30 status
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiation survival outcomes . a rfs comparing cd30 + vs. cd30 patients . b os comparing cd30 + vs. cd30 patients .
os overall survival , rfs relapse - free survival , rtsei rotational total skin electron irradiation on multivariate analysis , controlling for t stage , cd30 status was not associated with rfs ( p = 0.75 ) .
maintenance therapy following rtsei was associated with significantly improved rfs in cd30 group [ hazard ratio ( hr ) = 2.79 ; 95% confidence interval ( ci ) 1.176.66 ; p = 0.021 ] .
this association was not observed in the cd30 + group ( p = 0.383 ) .
all other covariates such as race , sex , t stage , histology , age at diagnosis , time from diagnosis to start of tsei , and pre - rstei treatment did not have a clinically significant association with rfs on univariate or multivariate analyses in either cd30 + or cd30 groups .
as seen in table 4 , cd30 + patients had a median os of 103.3 months overall with no significant difference in os between stages t3 and t4 ( p = 0.65 ) .
cd30 patients had a median os of 74.5 months with a trend towards poorer survival for t4 compared to t3 patients ( 103.3 months for t3 , 30.5 months for t4 , p = 0.09 ) .
there was no significant difference in os across cd30 status ( p = 0.57 ) , t3 ( p = 0.95 ) , or t4 ( p = 0.10 ) subgroups .
meier os curves for comparing cd30 groups and cd30 + patients by t stage are shown in fig . 2 .
on univariate analysis , cd30 status was not associated with os ( p = 0.57 ) . in the cd30 + group , non - mf histology ( compared to mf histology )
was associated with poorer os in univariate analysis ( hr = 10.65 ; p = 0.025 ) .
however , after controlling for t stage pre - rtsei , this observed effect only trended towards significance ( p = 0.080 ) . in the cd30 group ,
lower t stage ( hr = 0.26 ; p = 0.049 ) in univariate analysis was associated with improved os . in multivariate analysis , increased time from diagnosis to rtsei ( hr = 0.98 , p = 0.017 ) and younger age at rtsei ( hr = 1.06 ; p = 0.003 ) were associated with a significantly improved os .
maintenance therapy failed to show any significant improvement in os in both cd30 + ( p = 0.998 ) and cd30 ( p = 0.242 ) in multivariate analysis controlling for t stage pre - rtsei .
management is difficult as there are no standardized treatment regimens , there is prognostic heterogeneity even within group stages , and high - quality trials are lacking due to disease rarity .
there is an urgent need to identify patients at high or low risk for disease progression or mortality to aid in clinical decisions about treatment including escalation / de - escalation of radiation dose or initiation / holding of systemic agents .
since treatment for ctcl , especially advanced - stage disease , is palliative , improved prognostication would help avoid treatment toxicity in cases at low risk for progression .
recently , the prognostic cutaneous lymphoma international prognostic index ( clipi ) was developed for early- and late - stage mf using a cohort of 1502 uk patients and validated in a set of 1221 patients treated at md anderson cancer center ( mdacc ; houston , tx , usa ) ; however , this has yet to be validated in a prospective manner [ 1517 ] .
the cutaneous lymphoma international consortium ( clic ) developed a prognostic score for advanced mf stage iib to iv and sezary syndrome ( ss ) with 1394 patients from 29 centers worldwide including the following factors : stage iv disease , age greater than 60 years , large cell transformation , and elevated serum lactate dehydrogenase .
cd30 is a member of the tumor necrosis receptor family , and is found on activated t and b cells .
a recent study of 47 non - transformed mf cases from the university of pittsburgh ( pittsburgh , pa , usa ) reported that patients were found to have worse survival , higher stage at diagnosis , and higher maximum stage if dermal cells are cd30 + ( > 4.7% ) .
a study of 51 patients with large cell transformation of mf at memorial sloan kettering cancer center ( new york , ny , usa ) reported that predominance of cd30 in the epidermis rather than dermis was associated with poorer survival .
however , a retrospective analysis of 100 patients with transformed mf from the netherlands showed that cd30 negativity was associated with multivariate analysis with reduced disease - specific survival ( dss ) and os . in a long - term outcomes study , cd30 was found to have no significant effect on os , dss , and progression - free survival ( pfs ) in 1263 mf ss patients at mdacc .
the clic reported that when cd30 is scored positive above 10% of tumoral cells , it is not statistically significant for os but is associated with worse os in the subset of patients with t3 disease . finally , cd30 is also targetable with brentuximab vedotin , a monoclonal chimeric antibody conjugated to antitubulin agent monomethyl auristatin e. a recent phase 2 study found that brentuximab vedotin has significant objective global response 70% ( 21/30 ) in treatment patients with refractory or advanced mf / ss who have a range of cd30 expression levels .
similarly , another phase 2 trial found overall response of 73% ( 35/48 ) in patients with cd30 + lymphoproliferative disorders treated with brentuximab vedotin .
based on the varying reports of the prognostic significance of cd30 , we sought to assess the response and survival of our cohort of patients treated with rtsei .
we found 13 of 68 patients were cd30 + ( range 5% to 30% ) ; they presented with significantly higher t stage at time of rtsei and trended towards decreased ccr at 6 months post - rtsei compared with the cd30 group .
one patient in our cohort had 1% cd30 + lymphocytes on pathology and was classified as negative for cd30 ; however , when this patient was added to the cd30 + cohort ( data not reported in results ) the ccr was significantly reduced at 6 months ( p = 0.05 ) .
regardless , the difference in 6 month ccr was primarily driven by those with t3 stage disease .
overall , cd30 + patients had excellent ccr rates of 85% at end of rtsei but most had progressive disease at 6 months .
maintenance therapy including topical , systemic antineoplastic , systemic dermatologic , and phototherapies failed to show any significant improvement in rfs in the cd30 + group . additionally , maintenance therapy failed to show any significant improvement in os in both cd30 + and cd30 groups .
although direct comparison is not possible without further study , our rates of clinical response are comparable to those recently reported for brentuximab vedotin .
additionally , cd30 + patients may benefit from the addition of novel targeted agents such as brentuximab vedotin to radiation , perhaps concurrently or sequentially . recently , the concept of combined radiation and immunotherapy to enhance clinical outcomes has advanced .
we feel prospective trial development of combined brentuximab vedotin and radiation for ctcl should proceed based on the results of recent phase 2 trials .
our analysis is limited by small sample size ; however , this is the largest report of cd30 + patients , and their response to radiotherapy .
more specifically , the small sample size precluded us from examining in more detail the role of maintenance systemic and dermatologic agents .
in addition , if a patient did not follow up or did not have a recorded clinical response at the specified time points without record of recurrence by other providers , they were excluded from ccr analysis which further decreased patient numbers in the present analysis .
additionally , as this was a retrospective review , many patients had incomplete clinicopathological information , information from outside hospitals , or were lost to follow - up .
incomplete data regarding cd30 status increases confounding as patients deemed by clinicians to have aggressive disease or transformation often have more thorough workup .
strengths of our study included documentation of clinical response across multiple post - treatment time points , single institution experience with standardized rtsei delivery and dosing , and all cd30 + cases were reviewed by a hematopathologist to confirm cd30 status .
in this retrospective study , rtsei for ctcl resulted in excellent ccr at 6 weeks , with a median rfs of 11 months .
cd30 + patients receiving rtsei were found to have higher t stage and trended towards decreased ccr at 6 months post - rtsei compared with the cd30 patients .
maintenance therapy including topical , systemic antineoplastic , systemic dermatologic , and phototherapies failed to show any significant improvement in rfs in the cd30 + group .
future work should examine quality of life metrics , the role of maintenance systemic or targeted treatments , and combination rtsei and brentuximab vedotin in cd30 + patients with ctcl .
hasan h. danish , thatcher r. heumann , kyle t. bradley , jeffrey switchenko , natia esiashvili , mary jo lechowicz , christopher r. flowers , and mohammad k. khan have nothing to disclose .
this article is distributed under the terms of the creative commons attribution - noncommercial 4.0 international license ( http://creativecommons.org/licenses/by-nc/4.0/ ) , which permits any noncommercial use , distribution , and reproduction in any medium , provided you give appropriate credit to the original author(s ) and the source , provide a link to the creative commons license , and indicate if changes were made . | pubmed |
Q: How is an $n$ sphere in $m$ dimensions defined? How is an $n$ sphere in the euclidean space $\mathbb{R}^m$ defined?
Context:
I'm working through an excercise in Mathematical Analysis I by Zorich p417.
It says:
(a) In the space $\mathbb{R}^k$ a two-dimensional sphere $S^2$ and a circle $S^1$ are situated so that the distance from any point of the sphere to any point of the circle is the same.
Is this possible?
(b) Consider problem a) for spheres $S^m$, $S^n$ of arbitrary dimension in $\mathbb{R}^k$. Under
what relation on $m$ , $n$ , and $k$ is this situation possible?
A: To answer your question, the equations of a $n$-sphere lying in $\Bbb R^m$ with $m\ge n$ are
$$(x_1-a_1)^2+(x_2-a_2)^2+\cdots+(x_m-a_m)^2=r^2$$
and the equations of an affine manifold with dimension $n$ passing though the center $(a_1,\ldots,a_m)$.
But to solve the problem, perhaps this approach would be easier:
Consider a circle in $\Bbb R^k$, centered at the origin, and lying in a plane $H$. The set of points that are at the same distance from the points of the circle, are exactly those in $H^\perp$. Since the dimension of $H^\perp$ is $k-2$, if we want a $S^2$ sphere lying there, we need that $k-2\ge 3$.
A: Let $X$ be a $n+1$-dimensional affine subspace of $\mathbb{R}^m$, let $x_0\in X$ and $r>0$, and consider the set $\{\,x\in X\colon |x-x_0|=r\,\}$. This would be an $n$-sphere in $\mathbb{R}^m$.
(Or you could go for a much weaker definition: Any subset of $\mathbb{R}^m$ that is homeomorphic to the standard $n$-sphere. But I don't think that is the intention in the context you mention.)
| slim_pajama |
PA N ’ S L A B Y R I N T H
( E l L a b er i n t o del F au n o )
B y
Gu i ll er m o de l T o r o
( PA N’ S L AB YR I NT H i s i n Spa ni s h w i t h E n g li s h s ub t i t l e s .
T hi s i s an E n g li s h t r an s l at i o n o f t h e sc r i pt . )
© P i c t u r e h o us e 2006 . A l l r i g ht s r e s e r v e d.DA R K NE SS .
A f e m a l e v o i ce h u m s a swe et l u l l a b y .
SUP E R I M POS I T I ON:
SP AI N, 1944 .
T HE CI VI L WAR IS OVE R.
HI DDE N I N T HE M OUNT AI NS, ARM E D M E N F I GHT T HE NEW
F ASCI ST RE GI M E . M I L I T ARY P OSTS ARE E STAB L I SHED T O
E XT E RM I NAT E T HE RESI STAN CE .
T h en : t h e r aw, ras p y SOUND o f a chil d s t r uggl i ng to b r ea t h e.
F A DE I N:
E X T . L A B Y R I NT H N I GHT
I n t h e f o r egro un d, OF E L I A 11 y ea r s o l d, s ki n w hi t e as
s n o w, r uby l i p s a n d eb o ny h a i r i s s pr aw l ed o n t h e gr o un d.
A t hi ck r i bb o n o f bl o o d r un s f r o m h er n o s e.
B u t t h e bl o o d i s f lo w ing back w ar d i n t o h er n o s t r i l . Dro p
by dr o p, t h e bl o o d l ea p s up an d d i s appe a r s .
Of e li a ' s pup il s d i l at e
NA R R A T OR
L o n g ago i n t h e Un dergr o un d R ea l m . . .
C A M E R A M OVES I NT O T HE DA R K PUP I L
B L A C K SCR E E N
NA R R A T OR
. . . wh ere t h ere are n o l i e s o r pai n , t h ere
l i ved a Pr i nce s s wh o dr ea m t o f t h e h u m a n
w o r l d.T h e s o un d o f m u f f l e d w i n d.
NA R R A T OR
Sh e dr ea m t o f bl ue sk i es , t h e so f t b r ee ze
an d s uns hi ne.. .
A dark C A ST L E t ake s s h ape . Here, a tower. . . t h ere, a
t ur r e t . . . an d l i g h t ed wi n do ws .
Fi n a lly , t h e da m p, m il dewe d wa ll s o f a wat er wel l co m e i n t o
f o cus .
NA R R A T OR
On e da y , e l ud i ng her kee pers , t h e
P r i n c es s es ca ped.
A wo m a n' s s il h o uet t e c r o s s es C A M E R A
NA R R A T OR
On ce o u t s i de, t h e b r i g h t n e s s bli n ded h er
an d eras ed h er m e m o r y . . .
A c i r cu l ar s t ai r ca s e l e ads up. . . to ward da yli g h t , wh ere t h e
i m age . . .
NA R R A T OR
Sh e f o r got wh o s h e was an d w h e r e sh e ca m e
f r o m . He r b o d y s u f f ered co l d, s i c kn e s s
an d pa i n . E v en t ua l ly , s h e d i ed.
F A DE S T O W HIT E :
E X T . B OM B E D C I T Y DA Y
C A M E R A T R AC K S pas t s ce n e s o f des t r uct i o n : b o m b edo ut
b u i l d i ngs . . . ca t h edra l s i n r u i ns .
NA R R A T OR
He r f at h er, t h e Ki n g, a l wa y s k n e w t h at
t h e P r i n ce s s wo u l d r et u r n , perh aps i n
an ot h er b o dy , i n a n o t h er pl ac e, at
an ot h er t i m e.
On h a l f de m o li s h ed wa ll s , F a l a n g i s t po s ters dec l are F r a n co 'st r i u m p h . Am o n g t h e r u i n s , s m a ll er, p o i g n a n t t r ac es o f war:
s h o es , b r o ken e y eg l a s s es . . .
NA R R A T OR
A n d h e wo ul d wa i t f o r h er, un t i l h e dr ew
hi s l as t b r ea t h , un t i l t h e wo r l d s t opped
t u r ni n g…
T h r o ugh t h e r ui n ed b u il d i ng s , a S M A L L C A R A V AN OF B L AC K
B E N T L E Y C A R S co m es i n t o vi ew.
T h e s hi n y c h r o m e f e n der s pas s d i r e ct l y by C A M E R A; t h e y bea r
al l t he F as c i s t i ns i g ni as a n d f l ags .
I N T . M A I N C A R SA M E
L ooki n g o ut t h e w i n do w: OF E L I A .
Sh e' s dr es s ed i n p l a i n , s li g h t l y f r a y ed c l o t hi n g. Not v er y
dai n t y . On h er l ap i s a b o o k o f f a i r y t a l es .
C A M E R A s t ud i es o n e o f t h e wat erc o l o r s t h at ad o r n t h e page s :
an i l l u s t r a t i o n o f a l i t t l e g i r l da n c i ng w i t h s ev era l
f a i r i e s f lyi ng aro un d h er.
A t h er s i de, a s m a l l p il e o f s imi l ar b o o ks i n a b o o k s t r ap.
C A R M E N
I d o n ' t un ders t an d why y o u had t o b r i n g
s o m a ny b o o ks , Of e li a.
Of e li a t ur n s h er gaz e t o ward t h e o pp o s i t e s ea t , wh ere h er
m o t h er, C A R M E N, 28, i s n app i ng, her en o r m o us s to m ac h
evi de n c e o f adva n ce d pr egn a nc y . She, too, h as bl ac k h a i r .
C A R M E N
W e' r e go i n g to t h e co un t r y . . . t h e
o u t d oor s . . . pl e n t y o f f r es h a i r .
Sh e t ake s t h e b oo k aw ay f r o m O f e li a.
C A R M E N
F a i r y t a l e s ? Yo u' r e t oo o l d to b e f illi ng
y o ur h ea d w i t h s uc h n o ns e ns e.Sh e paus es , f ee li ng n au s ea .
C A R M E N
A s k t h e m to s to p t h e car pl e as e
Of e li a kn o cks o n t h e par t i t i o n w i n do w of t h e se d a n . T h e
Dri v er s to ps .
E X T . W OOD S SA M E
T h e ca r av a n o f ca r s s t o ps . C arm e n h ur r i e d l y c l im bs do wn a n d
m o v es t o t h e f r o n t o f t h e m a i n ca r .
Ga s p i n g f o r ai r , s h e b at t l es t h e n au s ea . Of e li a t i mi d ly
appr o ac h es h er.
C A R M E N
Of e li a, wa i t up.
Sh e gr ab s h er pr egna n t ab do m e n .
C A R M E N
Y o ur b r ot h er' s n ot we l l .
Of e li a n o ds a n d m o v e s awa y . SE R R A N O, a m i li t ar y m a n , c l i m bs
o u t o f t h e ca r b e hi nd t h e m a n d appro ac h es C ar m e n s o l i c i t o us .
S E R R A NO
M ada m , are y o u f e e l i ng ill ?
C A R M E N
W at er j u s t a b i t o f wa t er
S E R R A NO
( to o n e o f hi s m e n )
W at er, b r i n g wa t er f o r t h e Capt ai n' s
wi f e.
Of e li a wa l ks a l o n gs i de t h e r o ad , m o vi ng i n t o t h e woo ds an d
f ur t h er aw a y f r o m t h e carav a n o f ca r s .
C A M E R A s ur ve y s t h e h e a vy f o r es t : a t a n g l ed t ape s t r y o f m o s s
an d f o g.T h e t r ee s , s wa y ed by t he w i n d, m ur m ur s o f t l y aro un d Of e l i a.
Sh e s t um bl es upo n a st r an ge sto n e by t h e s i de o f t h e r o ad.
R o ughl y t h e s i ze o f a f i s t ca r v ed o n i t , th e o ut l i ne o f a
h u m a n E YE .
F as c i nat ed, t h e y o un g g i r l p i cks i t up.
Sh e l o o ks ar o un d an d f i nds a m i d s t t h e sh r u b s an a n c i e n t
s to n e m o n o l i t h i n c i s ed w i t h C e l t i c l et t eri n g.
I t ' s cr o wn ed w i t h t h e gr ot es que f ac e o f a sa t y r m o ut h o pen
wi de.
A pi ec e o f t h e b r ut i s h f a ce i s m i s s i ng: an e y e.
Of e li a f i t s t h e p i e ce o f e n gr ave d s to n e i n t h e m i s s i ng area.
A perf ec t f i t .
F r o m i ns i de t h e st at ue a cl i ck i ng n o i s e e m erges . T h e w i nd
pi cks up a n d
o u t o f t h e s at y r ' s o pen m o ut h , a S T I C K I NSE C T l az ily craw l s
o u t. Of e li a s m il e s . T h e i ns ec t cl im bs at op t h e sto n e h ea d
an d s t udi e s t h e gi r l f o r a m o m e n t . T h e n
C A R M E N
Of e li a ??
T h e s o un d o f C ar m e n' s v o i ce s t ar t l e s t h e cr ea t u r e, whi c h f li es
o f f .
Of e li a r un s t o h er m ot h er's s i de.
OF E L I A
( en t h us i a s t i c)
A f a i r y I s aw a f a i r y ! !
C A R M E N
Oh l o o k a t y o ur s h o es ! ! T h e y 'r e co v ered
i n m ud !
T h e y h e ad b ac k t o t h e carav a n .
C A R M E NW h e n we get to t h e m ill I wa n t y o u to
gr ee t C apt ai n V i d a l .
T h at m a n h a s bee n v er y go o d to us ,
darl i ng. Yo u h ave n o i d ea
S o, I wa n t y o u to ca l l him " F at h e r . " D o
y o u h ea r m e ? " F at h er. . . "
I t ' s j u s t a w o r d , Of e l i a.
T h e S t i ck I ns ec t l a n d s i n a nea r by t r ee an d o b s er v es i nqu i s i t i ve ly
as M ot h er an d daugh t er cl im b i n t o t h e m a i n ca r an d h ea d o f f .
A b ea t l at er, t h e S t i ck I n s ec t f li e s a f t er t h e m .
C UT T O:
I N T . WA T E R M I L L DA Y
C L OSE UP: a g o l d po cke t wa t ch , o n a heavy c h a i n. T h e g l a s s
di a l i s crack ed.. .
A gl o ved T HUM B s n aps t h e co v er s h ut . A VOICE C A PT A I N VIDAL
m ut t ers i n i r r i t at i o n .
VIDA L
Fi f t ee n m i nut es l at e.
A NGL E W I DE NS to des cri be a d i l ap i da t ed W A T E R M I L L .
T h e s i t e c o n s i s t s o f a pa i r o f dark s to n e b u i l d i ngs w i t h
c o r r ugat ed r oo f s , co n n ec t ed t o t h e m ill by a s m a l l s t o n e
b r i dge. A l arge wa t er wh ee l h a n g s o v er th e dr y r i verb ed.
T h e w oo den b ea m s a n d co l u m ns b ea r s c u l pt ed Ce l t i c m o t i f s a n d
h ere an d t h ere, s m a l l , o dd, ca r v ed cr ea t u r es .
T h e wa l l s h a ve b ee n r e i nf o r ce d w i t h h u ndr eds o f s a n d b ag s
an d woo den p o n too n s , as i f pr epa r i n g f o r an att ac k.
C A PT A I N VIDAL an d a s m a ll gr o up o f SE R VA NT S an d SOL DIE R S
wa i t pat i e n t l y o ut s i de.SOL DIE R
C ap t ai n! ! T h e y 'r e h ere
T h e ca r av a n o f B e n t l e y s s t o ps i n f r o n t o f t h e b u il d i ng. V i da l
an d hi s gr o up m o v es i n . Ser v a n t s an d So l d i ers u nl o ad l uggage
wi t hy mil i t ar y e f f i c i e n c y . I n ch arge i s M E R C E DE S, a y o un g
b ut s tr i ct co un t r y wo m a n .
Vi da l gr ee t s C arm e n .
VIDA L
C arm e n W e l co m e
Wi t h a p l ea s a n t s m il e, h e t o uch es h er pr egn a n t b e lly a n d
t h en po i n t s at a w oo den wh ee l c h a i r pus hed t o C arm e n's s i de
by a s m a l l , nerv o us m a n SGT . GA R C É S. B y hi s s i de s t an d s
DOC T OR F E R R E I R O, a pl e as a n t , s ch o l ar l y m a n i n hi s mi d
f o r t i e s .
C A R M E N
I I d o n ' t n ee d i t I ca n wa l k by my s e l f .
VIDA L
D o c to r F err e i r o p r ef er s t h at y o u do n ' t
ex ert y o ur s e l f .
C A R M E N
Nn o. . .
Vi da l l ea n s t o wa r ds h er an d whi s pers e v er s o s o f t l y i n h er
ea r :
VIDA L
T h e n do i t f o r m e.. .
Sh e o b e y s . As s h e s i t s , O f e li a e xi t s t h e auto m o bil e, h o l d i n g
h er b oo ks cl o s e t o h er ch es t .
C A R M E N
Of e li a. Greet t h e Capt ai n .
Sh e i s whe e l ed awa y . An awkw ard s i l e n ce pas s e s b et wee n t h e
y o un g g i r l a n d t h e Capt ai n .
VIDA L
Of e li aT h e gi r l e x t en d s her h a n d. He gr ab s i t , f ir m b ut co l d. I t i s
h er l e f t ha n d.
VIDA L
I t ' s t h e ot h er h an d, O f e li a.
He t u r n s to t h e se r v a n t s .
VIDA L
M ercede s , t ake m y w if e 's l uggag e to h er
r oo m
M E R C E DE S
Ye s , s i r .
M ercede s g l a n ce s b a ck t o f i nd O f e li a cur i o us ly gaz i ng at
a pi l e o f s a n d b ags . Per ch ed o n to p
t h e bi g St i ck I ns ec t .
I t f a n s o ut i t s m u l t i p l e w i ngs . T w i ce . O f e li a r uns o v er an d
t r i es to ca t ch i t .
B u t t h e S t i ck I ns ec t t ake s o f f a n d es ca pe s . T h e g i r l dr o ps h er
b oo ks an d go es af t er i t .
E X T . GA R DE NS F UR T HE R C ONTI NUO US
Of e li a f o l l o ws t h e S t i ck I ns ec t to t h e edge o f a s m a ll r i s e.
Sh e f o l l o ws i t w i t h h er e y e s an d s ee s , abo u t 100 m et ers
aw ay , s ur r o un ded by t r ee s , t h e r ui n s o f a garden L A B YR I NT H.
T h e C A M E R A g l i d es up f o r a b ett er vi e w. T h e l a by r i n t h i s
ci r cu l ar, i t s pat h s o v ergr o wn an d part i a lly bl o cke d.
Of e li a e n t ers t h e l a by r i n t h t h r o ugh an arch wa y . Sh e v e n t ur es
d o wn o n e o f i t s pat h wa y s a n d s to ps
M E R C E DE S
I t ' s a l a by r i n t h Of e li a t ur n s t h e y o un g wo m a n s t an ds by her s i de. O f e li a 's
b oo ks i n h a n d.
M E R C E DE S
J us t a pi l e o f o l d s t o n es .
T h e y 've a l wa y s b ee n t h ere, ev e n b e f o r e
t h e m ill . B ett er y o u d o n ' t go n ea r i t
Y o u c o ul d get l o s t.
A r ay o f s unli g h t b r ea ks t h r o ugh t h e gr e y c l o uds a n d
i ll u m i nat es t h e o l d r u i ns . M ercede s ha n d s h er t h e b o o ks .
OF E L I A
T h a n k y o u.
M E R C E DE S
Ha v e y o u r ea d t h e m a l l?
Ga r cé s s h o ut s f r o m t h e m i ll :
GA R C É S
M ercede s !
( M ercede s r ea c t s )
T h e C apt a i n ’ s ca l li ng y o u.
M ercede s m ake s a s m a ll g es t ur e o f goo d by e t o Of e li a.
M E R C E DE S
Y o ur f at h er n e eds m e.
Sh e t ur n s an d wa l ks aw a y
OF E L I A
He ' s n o t m y f at h er.
M ercede s do es n ' t un ders t an d. T h e g i r l r u n s up to h er.
OF E L I A
T h e C apt a i n h e ' s n o t m y f at h er. M y
f at h er wa s a t ai l o r . He di ed i n t h e war.
The C aptain’ s not my f ather !
M ercede s ca n' t h e l p b ut s m il e at t h e gi r l ' s s udde n
v eh e m e nce .
M E R C E DE SW e l l , y o u'v e m ade t h at cl ea r e n o ugh .
T h e y wa l k awa y t o ge t h er.
OF E L I A
Di d y o u s ee m y m o t h er?
( M ercede s n o ds )
Sh e' s pr et t y i s n' t s h e ?
( M ercede s n o ds )
Y o u s aw h er b e l ly ? S h e ' s s i ck w i t h c hi l d.
A s t h e y go i n t o t h e h o us e, t h e S t i ck I n s e ct perch ed atop
t h e l a by r i n t h' s arc h wa y m o ni t o r s t h e i r ev er y m o v e.
C UT T O:
I N T . DINI NG R OOM NIGHT
VIDA L
T h e guer i ll as are s t i ck i ng to t h e woo ds
b ec aus e i t 's hard to t r ac k t h em do wn up
t h ere.
Vi da l i s s t an d i ng at an en o r m o us d i ni ng tabl e. Ser r an o ,
Ga r cé s an d a f e w l o we r r an k i n g o f f i c i a l s s ur r o un d hi m .
VIDA L
T h o s e pr i ck s kn o w t h e t err ai n bett er t h an
any o f us . We n ee d t o f o r ce t h e m d o wn
Vi da l s t i cks p i ns i n t o o n e o f t h e l arger m aps .
VIDA L
l et ' s bl o ck t h e i r ac ce s s to m ed i c in e a n d
s uppl i e s .
M ercede s en t ers b ea r i ng a t r ay o f o l i ve s , co l d cut s an d a
b ott l e o f Oru j o l i quo r .
VIDA L
W e'll s et up t h r ee co m m a n d po s ts . Here,
h ere an d h ere.
M ercede s g l a n ce s b r i e f ly at t h e m ap s , con ce a l i ng a vi di n t eres t .
Suddenl y , V i da l gr a bs M ercede s by t he ar m .
VIDA L
Ha v e Dr. F err ei r o c o m e s ee m e.
M E R C E DE S
Ye s , Si r . . .
T u r ni n g hi s att en t i o n b ac k t o hi s m aps , V i da l t ake s t w o
o l i ves a n d po ps t h e m i n t o hi s m o ut h .
VIDA L
( ch ew i n g)
T h o s e b as t ards are g o i n g t o s t a r v e.. .
y o u'll s ee . . .
I N T . UPP E R B E DR OOM DUSK
T h e d o c to r s t i r s s o m e dr o ps o f m ed i c i ne i n t o a gl as s o f
wa t er . C arm e n li es b ac k i n a m o n u m e n t a l ca r ved b ed. On h er
l ap t h ere are s ev era l p l a y i ng ca r ds .
DOC T OR
J us t f o ur dr o ps a t b edt i m e a n d y o u'll
s l e ep a l l ni g h t l o n g.
He gi v es h er t h e wat er an d t h e m ed i c i ne vi a l . C ar m e n dr i n k s
we akl y . O f e li a st an d s by h er s i d e.
DOC T OR
D o n ' t h es i t at e t o ca l l i f y o u n e ed
any t hi ng, M ada m e. Yo u o r y o ur li t t l e
n ur s e.
He g r i ns at Of e li a, t h en exi t s t h e r oo m . C ar m e n g i ves O f e l i a
t h e m ed i c i ne vi a l .
C A R M E N
G o . C l o s e t h e doo r s o I ca n s l ee p.I N T . F OYER/ST A I R WA Y NIGHT
I n t h e h a ll wa y , t h e do ctor f i n d s M ercede s wa i t i n g f o r hi m .
T h e y pr o ce ed i n s il e n ce do wn t h e h a ll wa y a n d l o o k d o wn i n t o
t h e f o y er: e m pt y .
M E R C E DE S
Y o u m us t c o m e up t h e m o un t a i n an d s e e hi m
t h e l eg wo un d i t s gett i n g wo r s e...
T h e d o c to r n o ds t i mi d ly a n d g i ves M ercede s a s m a l l P A C KA GE
wrapped i n dark pape r an d nea t l y t i ed i n s t r i n g.
DOC T OR
T hi s i s a l l I co ul d get . I 'm s o r r y .
M ercede s s i g hs , di s appo i n t ed.
M E R C E DE S
He ' s do wn s t a i r s do n ' t kee p hi m wa i t i n g.
T h e d o c to r m o v e s do wn s t a i r s . M ercede s g l a n ce s to ward t h e
Uppe r B edroo m an d
di s co v ers O f e li a, wa t chi n g h er att en t i v e ly ho w long has
s he bee n ther e?
T h e gi r l c l o s es t h e doo r qui et l y .
I N T . UPP E R B E DR OOM NIGH T
Of e li a t ake s o f f her s h o es an d c lim bs i n t o h er m o t h er' s bed.
A s s he cudd l e s c l o s e t o h er m o t h er
C A R M E N
J es us Yo u r f ee t t h e y ' r e f r o ze n .
Sh e ca r es s es O f e l i a 's h ea d. T h e w i n d p i c ks up an d t h e h o us e
t i m bers m o an a n d creak.
C A R M E N
A r e y o u s ca r ed ?OF E L I A
A l i t t l e bi t .
OF E L I A
W h at 's t h at n o i s e ?
C A R M E N
N ot hi n g, j us t t h e w i n d. N i g h t s h e r e ar e
di f f ere n t f r o m c i t y ni g h t s . T h ere, y o u
h ea r ca r s , tr a i n s . He r e t h e h o us es are
o l d a n d creak y .
T h e h o us e u tt ers a se r i es o f dee p, r um blin g n o i s es .
C A R M E N
Al m o s t l i k e t h e y ' r e spe ak i ng.
T o m o r r o w , I 'm go i n g to gi ve y o u s o m et hi ng
s pec i a l .
OF E L I A
A b o o k?
C A R M E N
N o , s o m et hi n g m uc h bett er.
A b ea t o f s il e n ce a n d t h e n
OF E L I A
W hy d i d y o u h a v e t o ge t m arr i ed ?
C A R M E N
W e we r e a l o n e t oo l o n g.
OF E L I A
Y o u we r en' t al o n e. Yo u were n eve r al o ne.
C A R M E N
W h e n y o u ' r e o l der y o u'll u n ders t an d. I t
h as n' t b ee n ea s y f o r m e.
Sh e wi nce s i n pa i n
C A R M E N
Y o ur b r ot h er' s h e 's ac t i n g up. T ell him
o n e o f y o ur s to r i es s o h e 'll ca l m do wn .Of e li a ge n t l y l ea ns o n h er m o t h er' s s t o m ac h a n d t aps i t w i t h
o n e f i nger, as i f i t we r e a t el egrap h ke y .
C A R M E N
M y b r ot h er, m y b r ot h er. . .
C arm e n c l o s e s her e y e s an d li s t en s t o h er daugh t er' s v o i c e
OF E L I A
… a l o n g, l o n g t i m e ago i n a gr e y , s ad
c o un t r y …
I NS I DE T H E S T OM A C H
Fl o at i n g i n a l im b o o f a m ni o t i c f l u i d, t h e BA B Y o pens hi s
ey e s an d li s t ens .
OF E L I A
T h ere wa s a m ag i c r o s e t h at m ad e wh o ev er
pl ucke d i t i mm o r t al .
E X T . M A GIC A L M O UNTA I N SUNSE T
A ga i ns t a s ca r l et s k y : a BL UE R OSE . I t s t h o r ny s t e m c l ut ch es
t h e dagger l i ke cr es t o f a bl a ck gr ani t e m o un t ai n .
T h e t h o r n s gr o w ar o un d t h e gr ani t e l i ke s u f f o ca t i n g
s erpen t s .
OF E L I A ( V. O. )
B u t n o o n e wo ul d dare go n ea r i t b ec aus e
i t s t h or n s we r e f u ll o f m o r t al po i s o n .
T h e S t i ck I ns ec t l a n d s o n o n e o f t h e t h o r n s a n d t h e n f li es o f f
i n t o t h e ni g h t s k y
OF E L I A ( V. O. )
S o am o n g s t t h e m e n t al e s o f pa i n an d
dea t h we r e to l d i n h us hed v o i ce s . B u t
t h ere wa s n o t al k o f et ern a l lif e.. .
b ec aus e m e n f ea r pa i n m o r e t h an t h e ywa n t i m m o r t a l i t y .
up , up an d t h en t h r o ugh
E X T . GA R DE NS T W I L I GHT
t h e W I NDO W o f t h e Upper B edr oo m .
T h r o ugh t h e gl a s s , t h e S t i ck I n s ec t o b s erv e s h o w Of e l i a h ug s h er
m o t h er.
OF E L I A
S o ev er y da y t he r o s e wi l t ed un a bl e t o
b eque at h hi s g i f t t o any o n e
T h e S t i ck I ns ec t cl i ck s i t s j aw s i n e x c i t e m e n t .
C UT T O:
I N T . VIDA L ' S ST UDY DA Y
T h e i m pr o vi s ed o f f i ce i s i n o n e o f t h e l o wer r oo m s , w h ere
t h e gi g a n t i c m ill w h e e l a n d t h e woo den gea r s l i e i n a h ea p.
OF E L I A ( V. O. )
Al o n e a n d f o r gott en a t t h e to p o f t h at
m o un t a i n . F o r g ott en un t i l t h e e n d o f
t i m e…
Sm a ll s t ee l gea r s s hi ne l i ke m et a l li c st ars o n a s m a ll
s wa t ch o f bl a ck v e l vet .
T we ez ers pi ck t h e m up a n d
pu t t h e m i n t o pl ac e w i t hi n t h e wo r ki n g s o f a wat ch .
Us i n g a j ew e l er ' s m ag ni f yi ng g l as s , V i da l o i l s a n d c l o s es up
hi s po cke t wa t ch whi l e h e l i s t e n s t o cupl é ( t r adi t i o n a l
Spani s h m us i c) o n a ph o n o gr aph .
T h e d o c to r co m es to t h e door . Vi da l m o t i o n s f o r hi m t o
en t er .VIDA L
C o m e i n
H o w i s s h e ?
DOC T OR
Ve r y we ak.
Vi da l c l o s e s t h e wat ch .
VIDA L
Sh e'll r e s t as m uc h as s h e n ee d s to. I 'l l
s l e ep do wn h ere.
A n d m y s o n?
DOC T OR
Y o ur ?
Ser r an o an d Ga r cé s en t er t h e r oo m .
GA R C É S
E x cus e us , C apt a i n . . .
Vi da l m o t i o ns f o r t h e m to b e s i l e n t . T h en he l o o ks a t t h e
D o c to r aga i n .
VIDA L
M y s o n . Ho w i s h e ?
DOC T OR
F or t h e m o m e n t , t h ere's n o r ea s on to b e
al ar m ed.
VIDA L
G oo d. T h at ’ s g oo d.
DOC T OR
C ap t ai n .
Y o ur wi f e s h e s h o u l d n' t h av e t r av e l ed
t hi s l at e i n t h e pr egn a n c y .
VIDA L
I s t h at y o ur o pi ni o n?DOC T OR
M y pr o f e s s i o n a l o p i ni o n , y es s i r .
VIDA L
W e l l , a b o y s h o u l d b e b o r n wh er ev er hi s
f at h er i s . An d t h at ' s t h at .
He h ea ds f o r t h e d oo r .
DOC T OR
C ap t ai n . . .
Vi da l s t o ps an d l o o ks a t hi m f i xed ly .
DOC T OR
On e m o r e t hi n g, s i r . Wh at m ake s y o u s o
s ur e i t ' s a b o y ?
VIDA L
D o n ' t f uck w i t h m e.
He exi t s t h e m ill .
C UT T O:
E X T . M I L L NIGH T
T h e m ill a n d t h e t en t s are s i l h o uet t es i n t h e ni g h t .
S o l d i ers pat r o l t h e gr av e l p at h s .
Vi da l , Ga r cé s an d Ser r an o wa l k t o wa r ds t h e o u t e r W at er
W h e e l . T h ere, a s m a ll gr o up o f s o l d i ers s ur r o un ds an O L D M A N
an d hi s y o un g SON.
GA R C É S
A t 8 o ' c l o ck, we de t ec t ed ac t i vi t y i n t h e
s o u t h ea s t ern s ec t o r . Gun f i r e. Ser gea n t
B ay o na ca pt ur ed a s us pec t . T h e ot h er
pr i s o n er i s hi s s o n , wh o 's here f r om
to wn .
SONC ap t ai n , m y f at h er i s a n h o n o r able m a n .
VIDA L
I ' l l dec i de t h at . T ake y o ur h at o f f wh e n
y o u t al k t o m e.
T h e S o n qui et l y o b e y s . B A YON A h a n ds t h e Capt a i n a s m a ll
gauge r i f l e a n d a l ea t h er po uch .
VIDA L
W e f o un d t hi s we apo n . I t ' s b ee n f i r ed.
SON
He wa s h un t i n g r abbi t s
VIDA L
Sh ut up, dam n i t .
Vi da l t ake s o pen s t h e l ea t h er po uch an d f i nds a f ar m er's
al m a n ac . He r ea ds an i ns cr i pt i o n pr i n t ed o n t h e b ac k page :
VIDA L
" . . . N o Go d , n or G o v ernm e n t , n or M as t er? "
GA R C É S
R ed pr o paga n da, s i r .
SON
I t ' s n ot p r o paga n da, S i r .
Vi da l , i m pat i e n t l y m o t i o n s f o r hi m t o b e s i l e n t .
OL D M A N
" I t ' s an o l d a lm a n ac ; we ' r e f ar m er s , s i r . "
VIDA L
G o o n .
OL D M A N
I wa s i n t h e f o r es t h un t i n g r a bbi t s f o r
m y d augh t ers . T h e y ' r e s i ck.
VIDA L
R ab bi t s , uh?
I n t h e po uch , Vi da l f i nds a h a l f e m pt y bott l e o f w i ne.SON
C ap t ai n , i f my f at h er s a y s s o h e wa s
h un t i n g r abbi t s .
Vi da l h a n ds Ga r cé s t h e po uch an d m o v e s to wards t h e b o y ,
b ott l e i n h a n d.
B A M ! ! Wi t h o ut wa r ni n g he f l at t en s t h e b o y ' s n o s e w i t h t h e
b ott l e b o tto m . T h e F at h er s crea m s , h o r r i f i ed, b ut wi t h o ut
t h e gu t s to i n t erv e n e.
Vi da l l if t s t h e S o n up, b as h e s hi s n o s e ag a i n a n d aga i n ,
l e v e li ng b o ne an d ca r t i l age .
F A T HE R
N o ! ! No ! ! Yo u ki ll ed hi m ! ! Yo u s o n o f a
bi t ch! !
Vi da l dr o ps t h e b o y , wh o f a ll s t o t h e gr oun d s p i t t i n g bl o o d.
He t u r n s to t h e F at h er an d s h o ot s hi m t wi ce i n co l d bl o o d,
t h en t ur n s to t h e S o n an d s h o ot s hi m o n c e, i n t h e h e ad.
T h en a l l i s s il e n ce . T h e d i s t an t whi s t l e o f a t r ai n ca n b e
h ea r d. Vi da l h ea ds b ac k t o wards Ga r cé s an d ca lmly s ea r c h e s
t h e po uch : I n s i de h e f i nds t wo s crawny r abbi t s .
VIDA L
L ea r n to f r i s k t h es e m o t h er f ucke r s b e f o r e
y o u co m e b o t h er i n g m e.
GA R C É S
Ye s , m y C apt a i n .
He m o v es awa y . A nd he takes the r abbit s w ith him.
C UT T O:
I N T . UPP E R B E DR OOM NIGH T
E y es w i de, O f e li a h e ars a dr y r att l e, f o l l o wed by a so f t
ul u l at i o n at t h e wi n do w, whi c h i s h a lf o pen . T h e cur t ai ns
bi ll o w.T h e m ill gr o ans . Of e li a i s r es t l es s .
T h en a dr y c li ck i ng n o i s e.
OF E L I A
M am a, wa ke up
C arm e n do es n' t m o v e. A s cut t l i ng n o i s e r ea ch e s her ea r s as
s o m et hi ng s m a ll a n d qu i ck sk i t t ers o v er th e f l o o r .
OF E L I A
M ot h er pl e as e ! T h ere ' s s om ething in the
r oom
I m po s s i bl e. O f e li a get s up an d ca r e f u lly put s o n h er s h o es .
S o m et hi ng s hi f t s i n t h e ce ili ng bea m s . Of e li a l o o ks up,
s ea r chi ng.
N ot hi n g. Suddenly , s o m et hi ng t h e s i ze of a h u m a n ha n d
s curr i es pa s t h er f ee t an d hi de s un d er t h e b ed.
T h en , pu l l i ng at t h e goo s e d o wn co m f o r ter, t h e S t i ck I ns ec t c l i m bs
up i n t o t h e b ed. Of e li a l ea ns o v er i t , s h o cke d.
OF E L I A
Hh e l l o D i d y o u f o l l o w m e her e? ?
T h e S t i ck I ns ec t cl i ck s i t s m a n d i b l e s .
OF E L I A
A r e y o u a f a i r y ??
T h e S t i ck I ns ec t r ega r ds h er wi t h cur i o s it y .
OF E L I A
L oo k T hi s i s a f a i r y
Sh e pi cks up o n e o f h er b o o ks an d o pen s i t to an
i ll us t r at i o n : a b ea ut i f u l f a i r y .
T h e S t i ck I ns ec t s cru t i ni z es t h e i ll us t r at i o n an d s i t s upr i g h t . I t
o pen s an d c l o s e s i t s w i n g s , tr an s f o r m i ng i n t o a GRE E N F A I R Y
a t i ny h u m a n f o r m w i t h s t r i p ed w i n g s .
T h e Green F a i r y f li e s to t h e f o ot o f t h e bed, p o i n t i n g tot h e w i n do w.
OF E L I A
Y o u wa n t m e t o g o wi t h y o u? Ou t s i de ?
W h ere ?
C UT T O:
E X T . GA R DE NS NIGH T
T h e Green F a i r y f li e s s w i f t ly , b ut Of e l i a f o l l o ws c l o s e
b ehi nd. Suddenly i t s t o ps !
T h e y ’ r e at t h e r ui ns o f t h e l a by r i n t h , whi ch i s b at h ed i n
m o o nl i g h t .
T r ee s an d r oot s c r o wd t h e b r o ken ni c h e s , as i f f u s ed w i t h
t h e sto n e. S o m e o f t h e pat h wa y s are bl o c ked by g n ar l ed t r ee s
t h at h a v e gr o wn t h r o ugh t h e r o ck .
L A B YR I NT H C ONTI NUOU S
Of e li a r un s t h r o ugh t h e n arr o w, s poo ky pat h wa y s , b ut s h e has
l o s t s i g h t o f t h e Gr ee n F a i r y .
Of e li a s t o ps an d l o o ks ar o un d un t i l s h e s pot s i t , wai t i n g
f o r h er a t
R OT UND A A T C E NT E R OF L A B Y R I NT H NIGHT
T h e Green F a i r y a li g h t s o n an an c i e n t m o n o l i t h at t h e edge o f an
em pt y s t o n e p oo l . I t ' s dec o r a t ed i n C e l t i c l ett eri n g, j us t
l i ke t h e o n e i n t h e f o r es t .
A n o t h er m o n o l i t h s t an ds at i t s ce n t er.
Of e li a nea r s t h e edge o f t h e p oo l .
OF E L I A
He l l o ?!T h e p oo l r et ur n s h er cr y , aga i n a n d aga i n . T h e t r ee tr un ks
creak an d a c l o ud c o v ers t h e m o o n .
OF E L I A
E ch o ! E ch o !
T h en , s h e h ea r s t h e so un d o f s o m et hi ng bi g c l att eri n g a b o ut
o n h oo v es , l i ke a h o r s e o r a b u l l .
VOICE
I t ' s y o u I t ' s y o u Y o u' v e r et ur n ed ! !
T h e VOICE i s co l d a n d f u ll o f s i b il a n ce . T h e c l o ud m o v es
as i de. . .
On i t s hi nd quart ers i n t h e s h ado ws i s t he t wi s t ed an d
s i ni s t er f i gur e o f a F AUN. He' s co v ered in r oot s an d m o s s .
Of e li a bac ks aw a y s pee c hl e s s .
F A U N
N o n o d o n ' t b e a f r a i d I b eg y o u! !
L oo k! !
He o pen s a s m a ll w i c ker b a s ket an d f r o m i t e m erge t w o m o r e
F A I R I E S: o n e BL UE , o n e RE D.
Of e li a s mi l e s .
OF E L I A
M y n a m e i s O f e li a. Wh o are y o u?
F A U N
M e? I 'v e h ad so m a ny n a m e s . O l d n a m es
t h at o nl y t h e w i n d a n d t h e t r ee s c an
pr o n o un ce .
T h e Green F a i r y f li e s to wa r d i t s co l o r f u l co m pa ni o ns .
F A U N
I am t h e m o un t a i n , t h e f o r es t an d t h e
ea r t h . I am . . . a f au n .
A s h e b o ws to h er, m o o nl i g h t dappl e s his b o d y . H i s co arse
h oo v es an d t h e st r an ge an g l e o f hi s l egs m ake hi s co ur t l ym a nn er c l u m s y y et o ddl y gr ac i o u s .
F A U N
Y o ur Hi g hn e s s
OF E L I A
N o , I 'm
F A U N
Y o u a r e Pr i nce s s M o ann a, daught er o f t h e
Ki n g o f t h e Un derwo r l d.
OF E L I A
N o M y f at h er wa s a t ai l o r .
F A U N
Y o u a r e n ot b o r n o f m a n . I t was th e m o o n
t h at b o r e y o u.
L oo k o n y o ur l e f t s h o u l der a n d y o u wi ll
f i n d a m ark t h at pr o v es i t .
Of e li a i ns t i nct i ve ly t o uch es h er s h o u l der, wi t h a st r an ge
ex pr es s i o n o n h er f ac e.
F A U N
Y o ur r ea l f at her h ad us o pen po r t a l s a l l
o v er t h e wo r l d to al l o w y o ur r et u r n . T hi s
i s t h e l a s t o f t h e m .
He o pen s hi s ar m a n d ges t ur es at t h e wel l aro un d t h e m .
F A U N
B u t we h a v e t o m ake s ur e t h at y o ur
es s en c e i s i n t ac t , t h at y o u h a v e not
b ec o m e a m o r t al .
T o i n s ur e y o ur r et u r n , y o u h a v e t h r ee
t as ks to f u l f ill b e f o r e t h e m o o n i s
f u l l .
T h e F aun s t eps b a ck a f ew pace s . He depo s i t s a l arge l e at h er
b o un d b oo k o n t h e gr o un d, as wel l as a l ea t h er b ag.
F A U N
T hi s i s t h e B oo k o f C r o s s r o ads . Open i twh en y o u ' r e a l o n e a n d i t w i ll s h o w y o u
y o ur f ut ur e s h o w y o u wh at m u s t b e do n e.
T h en h e a n d t h e F a i r i es f ade b a ck i n t o t h e sh ado ws .
Of e li a go es to t h e b oo k an d o pen s i t . N o m at t er h o w m a ny
page s s h e t ur n s
t h e y are a l l bl a n k.
OF E L I A
T h ere ' s n o t hi n g h ere
B u t s h e i s a l o n e. Ab s o l ut e l y a l o n e i n t h e we l l . M USI C s t ar t s
C UT T O:
I N T . VIDA L ' S ST UDY B A T HR OOM E A R L Y M OR NING
Vi da l , s hi r t l es s , s ha v es w i t h a s w i t chbl ad e whil e l i s t e ni n g
to m u s i c.
C UT T O:
I N T . DINI NG R OOM DA Y
N o w, al o n e i n t h e m as s i ve d i ni ng r oo m , V i da l s hi ne s hi s
b oot s . M et h o di ca lly .
T h i s i s o b vi o u s l y a da ily r i t ua l f o r him . B y hi s s i de: t h e
t w o s crawny r abbi t s h e im po un ded t h e ni g h t b e f o r e.
M ercede s b r i n g s him a cup o f co f f ee .
VIDA L
M ercede s , pr epa r e t h es e r abbi t s f o r
di nn er to ni g h t .
M ercede s e y e s t h e sc r aw ny a nim a l s
M E R C E DE S
T h e y are t oo y o un g.VIDA L
W e l l , s ee i f t he y 'll do f o r a s t ew.
M E R C E DE S
Ye s s i r .
Sh e t ur n s to l e a v e b ut V i da l s t o ps h er ge n t l y .
VIDA L
A n d T hi s co f f ee wa s b ur n t . T as t e i t
y o ur s e l f .
Sh e d o es . Vi da l p l ac e s a h a n d o n h er s h o u l der.
T h ere i s s o m et hi ng u n p l ea s a n t ab o u t t h i s s udden co n t ac t,
s o m et hi ng t oo f a mil i ar. Sh e b ea r s i t i n s il e n ce .
VIDA L
Y o u s h o ul d kee p an e y e o n i t .
M E R C E DE S
Ye s , s i r .
Sh e m o ves i n t o
I N T . K I T C HE N L A T E R
T h e ki t ch e n i s e n o r m o us . T h e o pen ch ar co al co o k s to v e i s t w o
m et ers hi g h by f i ve m et ers w i de.
M E R C E DE S
( h an d s o u t t h e r ab bi t s )
T ake t h e m t o t h e t abl e
T w o o l d, s to u t c oo ks , J A C I NT A an d P AZ , was h t h e g i ga n t i c
w o r k t abl e w i t h b o i li ng wat er.
M E R C E DE S
( to t h e ot h ers )
He di d n' t l i ke t h e co f f ee .
J A C I NT A
A gh He 's n o t hi n g b ut a f us s y da n d y . Adan d y !
M E R C E DE S pi ck s up a pai l o f h o t wa t er .
M E R C E DE S
W e' r e go i n g to n ee d s o m e b e e f a n d o n e
m o r e chi ck e n . W e ha v e m o r e gues t s
C o n chi t a, Pa l o m a a n d t wo ot h er GIRL S p l uck c hi cke n s , pee l
p ot a to es , e t c .
PA Z
W e l l , wh ere are we s uppo s ed to f i nd t h at ?
M E R C E DE S
T h e do c to r ' s w i f e an d t h e m a y o r 's , too .
J A C I NT A
W e l l , t h e y ea t m o r e t h an a p i g.
PA Z
A n d t h e y do n' t s h ut up
J A C I NT A
n ot ev en u n derwat er.
I N T . B A T HR OOM , UPP E R B E DR OOM DA Y
M ercede s an d C o n c hi t a e m pt y b ucke t s of h o t wa t er i n t o a
p o r ce l a i n bat h t ub .
I N T . UPP E R B E DR OOM B E DR OOM DA Y
C arm e n o pen s o n e o f h er t r av e l t r un ks .
C A R M E N
Of e li a. Yo ur f at h er i s g i v i ng a d i nn er
par t y to ni g h t … L oo k wh at I ' v e m ade y o u.
Sh e l if t s o ut a b ea ut i f u l gr ee n dr es s i n s hi n y s il k an d
i v o r y t u l l e.Of e li a s t ud i es t h e dr es s as i f i t were a str an ge ar t i f a ct
r a t h er t h an s o m et hi ng s h e m i g h t wea r . M ercede s e n t ers wi t h a
b r ea k f as t tr ay .
C A R M E N
D o y o u l i ke i t ? Wh at I w o ul d n' t h av e
gi v e n to h av e a dr es s as f i ne a s t h i s
wh en I wa s l i t t l e.
I n a r ev er i e, C ar m e n t ake s ou t a pai r o f new pat en t l ea t h er
s h o es an d a gr ee n s il k h a i r r i bb o n .
C A R M E N
( to Of e li a)
A n d l o o k a t t h es e s h o es ! Do y o u li ke
t h e m ?
Of e li a m ak es a n e f f o r t an d s m il es a wea k s m il e.
OF E L I A
Ye s , t h e y are v er y pr et t y .
B u t C arm e n i s n o t f oo l ed
C A R M E N
G o o n , n o w . T ake y o ur b at h . G o
Of e li a o b e y s Sh e e n t ers
I N T . B A T HR OOM , UPP E R B E DR OOM DA Y
Of e li a, a l o n e i n t h e b at h r oo m , o pen s t h e m ag i ca l b o o k . A t
f i r s t , t h e page i s bl a n k, b ut a w o n dr o us i m age t ake s s hape :
Of e li a a n d f i ve ches t n ut s . Squa tt i n g at h er s i d e, un der a
h uge tr ee : a m as s i ve T OA D.
T h en a K NO C K o n t h e d oo r
C A R M E N ' S VOICE
Of e li a
I N T . UPP E R B E DR OOM DA YAl o n e n o w, C arm e n r ea d i es t h e l i t t l e gr ee n dr es s .
C A R M E N
Hur r y up. I wa n t to s ee t h e dr es s o n y o u.
I wa n t y o u to b e b ea ut i f u l f o r t h e
C ap t ai n . . .
I N T . B A T HR OOM , UPP E R B E DR OOM DA Y
On h er r i g h t s h o u l der, O f e li a e x a mi nes , ex a ct l y as t h e F au n
s a i d, a bi r t hm ark i n t h e f o r m o f t h e cr es c en t m o o n . . .
C A R M E N’ S VOICE
Y o u'l l l o o k l i k e a pr i nce s s
Of e li a s mi l e s .
OF E L I A
( to h ers e l f )
. . . a pr i n ce s s . . .
C UT T O:
I N T . K I T C HE N L A T E R
M ercede s or gani ze s t h e k i t che n .
M E R C E DE S
M ake s ur e t h o s e chi ck e n s are c l e an ed
pr o pe r l y . . . an d t h e b ea n s . . .
M ercede s t ake s o u t a sm a l l , s h arp knif e f r o m t h e f o l d s i n
h er apr o n . Sh e sk i ll f u lly c h o ps an o ni o n .
T h e b us t l e s udde nly s to ps . E v er y o n e l o o ks to ward t h e door ,
wh ere, am o n g c hi cke n f e at h ers f l o at i n g l i ke co nf ett i , O f e li a
s t an ds , dr es s ed i n gr ee n s il k.
C ONC HIT A
Y o u l oo k m ar v e l o us , m y g i r l , j us t
g o r ge o us .J A C I NT A
W h at a dr es s ! !
M ercede s s m il e s . Sh e ' s p l ea s ed t oo, b ut s h e c l aps h er h a n d s
to ge t h er
M E R C E DE S
Ge t b ac k to w o r k , s to p was t i n g t i m e.
T h e y o b e y . M ercede s go es n ex t to Of e li a .
M E R C E DE S
D o wa n t s o m e m il k w i t h h o n e y ?
Of e li a n o ds ea ger l y .
I N T . ST A B L E L A T E R
M ercede s put s a b ucke t un der a h uge m i lk co w .
M E R C E DE S
S t ep b ac k, I d o n ' t wa n t y o u ge tt i ng m il k
o n y o ur dr es s , wi t h y o u l o o ki n g s o
pr e tt y .
M ercede s b eg i ns t o m il k t h e co w.
OF E L I A
M ercede s , d o y o u b e l i e ve i n f a i r ies ?
M E R C E DE S
N o . B u t wh en I wa s a l i t t l e g i r l , I d i d.
I b e l i e v ed i n a l o t o f t hi n g s t h at I
d o n ' t b e l i e ve any m o r e.
OF E L I A
W e l l , l a s t ni g h t , a f a i r y vi s i t ed m e. A n d
i t wa s n' t al o ne, t h ere we r e l ot s o f t h e m
an d a f au n , too .
M E R C E DE S
A f au n??M ercede s p i cks up t h e b ucke t an d f ill s a woo den b o w l w i t h
m il k.
OF E L I A
He wa s v er y o l d, v er y t al l a n d s me l l ed
l i ke d i r t .
M E R C E DE S
M y m o t h er wa r n ed m e t o b e war y o f f au ns
Suddenl y , V i da l a n d Ga r cé s appro ac h t h e m .
VIDA L
M ercede s , c o m e w i t h m e.
C UT T O:
E X T . S T OR A GE B UILD I NG M I L L DA Y
Vi da l a n d M ercede s wa l k t o ward t h e bodega , o r s tor age
b u i l d i ng, ad j o i ni n g t h e m ill .
Gua r ds unl o ad gi a n t s ac ks o f pr o vi s i o n s f r o m t r ucks . A C i vi l
Gua r d C A PI T A N s uper vi s e s t h e o pera t i o n an d gr ee t s Vi da l .
C A PI T A N
C ap t ai n , e v er y t hi ng i s h ere.
I N T . B ODEGA M I L L C ONT I NUO US
T h e m e n f ill t h e en o r m o us b o dega w i t h gr a i n , b o tt l es o f
wi n e, b arr e l s o f o i l , s a l t a n d s ugar, et c .
C A PI T A N
Fl o ur , s a l t , o i l , m ed i c i ne, o l i ves ,
b ac o n , to b ac co . . .
Vi da l gr abs a packe t o f to b ac co .
VIDA L
T o b ac co , h uh? R ea l t o b ac co !T h e C A PI T A N ha n ds o v er s o m e papers w i t h t h e F a l a n g i s t
l et t erh ea d.
C A PI T A N
A n d t h e r at i o n ca r ds .
M ercede s i s s t unn ed by t h e qua n t i t y o f f oo d an d s upp l i e s .
Vi da l c h ec k s t h e pad l o ck o n t h e d oo r .
VIDA L
M ercede s , t h e ke y
M E R C E DE S
Ye s , s i r .
M ercede s h a n ds o v er t h e ke y f r o m h er l a r ge ke y r i n g.
VIDA L
( to M ercede s )
I s t h i s t h e o nl y co p y ?
M E R C E DE S
T h e o nl y o n e.
Vi da l l o cks t h e pad l o ck. Yan ks o n i t : ni c e an d s t r o n g.
VIDA L
F r o m n o w o n , I 'l l c arr y i t .
F r o m o ut s i de, Ser r an o ca l l s him .
S E R R A NO
C ap t ai n! !
Vi da l h ur r i es o v er to Ser r an o wh o h an d s him a pa i r o f
bi n o cu l ars a n d po i n t s to s o m et hi ng o n t h e h o r i zo n
SE R R A NO
C ap t ai n , perh ap s i t 's n o t hi n g.
T h r o ugh t h e bi n o cu l ars , V i d a l s ee s a p l u m e o f SMO K E o n t h e
h o r i zo n .
VIDA LI t ' s t h e m .
E X T . F OR E ST DA Y
Ga r cé s , Vi da l a n d a f ew o f hi s m e n r i de t h r o ugh t h e f o r es t
o n h o r s eb ac k.
OF E L I A ( V. O. )
W h e n t h e f o r es t wa s y o un g, a f i g t r ee
too k r oot an d gr ew to c o l o s s a l s i z e.
C UT T O:
E X T . W OOD S DA Y
Of e li a wa l ks aw a y f r o m t h e m i ll a n d i n t o t h e woo ds .
OF E L I A ( V. O. )
W h e n t h e f o r es t wa s y o un g, i t wa s h o m e t o
crea t ur es wh o we r e f u l l o f m ag i c an d
w o n der. . .
E X T . W OOD S DA Y
Vi da l a n d hi s m e n r i de t h r o ugh t h e f o r es t.
OF E L I A ( V. O. )
A t t h e h ea r t o f t hi s f o r es t s too d a
c o l o s s a l f i g t r ee . T h e F o r es t F o l k s l ept
i n i t s s h ado w.
E X T . E DG E OF T HE F OR E ST DA Y
OF E L I A ( V. O. )
B u t n o w , t h e t r ee i s d y i ng. I t s b r an c h e s
are dr y , i t s tr un k o l d an d t w i s t ed.
Of e li a f i nds h ers e lf u n d er a h uge F I G T R E E t h at h as t wi s t edi n t o an arch r ea c hi ng to a n ea r by crag.
OF E L I A ( V. O. )
A m o ns t r o us to ad h as s ett l ed i n i t s r oot s
an d wo n ' t l et t h e t r ee t h r i v e.
Of e li a o pen s h er l ea t h er bag. I n s i d e t h ere are f i ve l arge
ch es t n ut s .
OF E L I A ( V. O. )
Y o u m us t pu t t h e t h r ee m ag i c r o c ks i n i t s
m o ut h an d r etri e ve a m ag i c ke y f r o m i t s
i n s i de s . Only t h e n w ill t h e f i g t r e e
f l o ur i s h aga i n.
T h e t r ee r oot s are pa r t l y e x po s ed. T h e t r ee i t s e l f i s
s ur r o un ded by a l arge m ud pudd l e.
Of e li a dec i des t o t ake o f f h er f a n c y s il k dr es s . Sh e
ca r ef u lly h a n g s eve r y t hi ng i n c l ud i n g h e r h a i r r i bb o n o n
t h e t r ee b r an c h e s . Fi n a lly s h e 's do wn to o nl y a s i m p l e
c otto n s l i p an d h er s h o es .
A s s he en t ers
T h e wi n d p i cks up an d m o v es h er h a n g i n g dr es s . T h en , a
s udden gus t s en ds t h e h a i r r i bb o n f lyi ng.
I N T . GA L L E R Y UND E R F I G T R E E R OOTS DA Y
Of e li a craw l s s l o w ly ; t h e gaps b et wee n t h e r oot s are n arr o w
an d c l aus t r o ph o bi c.
A f e w bi g, bl ac k p i ll b ugs are n e s t l ed i n t h e m ud.
Of e li a kee ps go i n g.
C UT T O:
I N T . C A M PS I T E I N T H E M I DDL E OF T HE F OR E ST DA Y
Vi da l a n d hi s m e n pr o b e a f o r es t ca v e. I n s i d e, t h e y f i nd t h er em a i ns o f a ca m p f i r e. V i da l r e m o ves a g l o v e a n d to uch es t h e
em b ers .
VIDA L
L es s t h an t we n t y m i nut es , t h e y l e f t i n a
h ur r y .
He f i n d s t h e r e m a i ns o f f o o d an d dr i n k.
VIDA L
A do ze n m e n , at m o s t . . .
I n t h e d i r t , h e d i s co v er s t h e r em a i ns o f t h e packa ge t h e
d o c to r gav e to M ercede s .
I n s i de h e f i nds e m pt y an t i bi o t i c s co n t ai ners .
VIDA L
A n t i bi o t i cs . . .
Ga r cé s c o m e s upo n a h a l f b ur n t l o tt ery t i cke t .
GA R C É S
( s h o w i n g him t h e l o t t e r y t i cke t )
Shi t T h e y f o r got t h i s l o tt ery t i ck et .
Vi da l m o t i o ns f o r s i l e nce .
VIDA L
T h e y ' r e h ere. T h o s e b as t ards are h ere a n d
t h e y are wa t chi n g us .
He s t an ds i n r apt s i l e n c e. T h e t r ee s s wa y gen t l y . He h e f t s
t h e e m pt y pac k age l i ke a t r o phy .
VIDA L
Y o u l e f t t h i s be hi n d ! An d t h e l o tt er y
t i cke t ! C o m e b ac k a n d get i t ! ! T hi s co u l d
b e y o ur l uck y d a y !
Si l e n ce .
T h en , t h e y m o un t up an d r i de o f f .
I n vi s i b l e un d er t h e t r ee s , s i x GUERR I L L A S are i n d ee d
wa t chi n g. Am o n g t h e m i s PE DR O, a t a l l an d s er i o us y o un g m a n .I n a f l as h , t h e y a ll d i s appe ar i n t o t h e un d erb r us h .
C UT T O:
I N T . GA L L E R Y UND E R F I G T R E E R OOTS DA Y
Of e li a ' s pr o gr es s i s s l o w. W at er oo ze s f r o m t h e surr o un d i n g
r oot s an d m ud.
B ugs crawl o n h er ar m s .
Sh e h ea r s a s udde n , s o ggy m o v e m e n t up ah ea d. Sh e t ake s o u t
t h e f i ve c h e s t n ut s whi c h are s o l arge t h e y b are ly f i t i n
h er h an d s an d wo r ks h er wa y to ward t h e n o i s e.
S oo n , s h e co m e s f ac e t o f ac e w i t h
an i mm e ns e T OA D, as bi g as a b o ar. Hi s go l de n e y es bli nk;
hi s c h ee k s pu f f r hy t hm i c a lly i n a n d o u t.
OF E L I A
Hi
T h e T o ad' s l o n g to n gue f li ck s o u t , t r appi n g a co upl e o f
b ee t l e s an d pu lli ng t h e m b ac k i n t o hi s m o u t h . T h e i r
chi t i n o us s h e ll s cru n c h n o i s ily i n i t s s li my j a ws .
Of e li a s h udders a n d t r i es t o s t an d up. A s s he spe aks , a
l arge r ed p i l l b ug c l i ng s to h er ch ee k.
OF E L I A
I am I 'm pr i nce s s M o ann a a n d I 'm n o t
af r a i d o f y o u
T h e T o ad o b s er v es h er, unm o v ed.
OF E L I A
A r en' t y o u as ha m ed ? L i v i ng do w n here,
ea t i n g a ll t h e p i ll b ugs a n d gett i ng f at
whi l e t h e t r ee di es !
F WA PP PP ! ! ! ! T h e T o ad se n ds o u t i t s s of t p i n k to n gue, whi c h
f l att en s aga i ns t h er f ac e, t h en s li de s o f f , tak i n g t h e p i ll
b ug an d l ea vi ng a ge l at i n o us g oo .T h r ee o f t h e ch e s t n ut s r o l l t o t h e gr o un d. Of e li a sp i t s i n
di s gu s t .
T h e T o ad h un k ers do wn , s h ak i ng vi o l e n t ly as i t cro aks .
Of e li a bac kpeda l s , f r i g h t en ed. T h e T o ad r es u m e s i t s r es t i n g
p o s i t i o n .
Of e li a s co o ps up t h e ch e s t n ut s . T w o f a ll b ac k i n t o t h e m ud.
Sh e kn ee l s t o ge t t h e m an d
def t l y pa lm s a j u i c y , f at pi ll b ug. I t curl s i t s e l f i n t o a
t i g h t b a l l . Sh e keeps i t i n t h e sa m e ha n d as t h e ch e s t n ut s .
T h e T o ad cr o aks aga i n , s h o ot s o u t i t s to n gue, whi c h wraps
ar o un d h er wri s t . Sh e st a y s ca lm . Wh e n th e t o n gue r e t r ac t s ,
c o v er i n g her h a n d w i t h vi s co us s p i t t l e, t h e p i l l b ug i s
g o n e.
A n d s o are t h e ch es t n ut s .
T h e T o ad cr o aks vi o l e n t l y a n d s udde nly b ur ps up a g i ga n t i c
pea r l y b u bbl e, w hi c h f l o at s i n t h e a i r , b ath ed i n bl o o d an d
s a l i va.
A n d w i t h t hi s , t h e T o ad sh r i v e l s aw a y , l ike a se r pen t
s h edd i n g i t s s k i n.
Of e li a p i ck s up t h e war t y , e m pt y s k i n a nd l o o ks a t t h e
b ubbl e.
I n i t s ce n t er: a GOL D K E Y.
Of e li a p l u n ge s her h a n ds i n t o t h e b u bbl e t o gr ab i t .
E X T . E DG E OF T HE F OR E ST T W I L I GHT
Of e li a e m erges f r o m un der t h e t r ee wi t h t h e go l de n ke y i n
h an d. Sh e 's f il t hy , s we at y a n d e xh aus t ed.
Sh e n ea r s t h e p l ac e w h ere s h e l e f t h er dr es s
b u t i t ' s n o t t h ere!Af t er a b r i e f s ea r c h , s h e f i nds h er h a i r r i bb o n . C o v ered i n
m ud.
A f e w m et ers aw a y , t h e dr es s co v ered i n wet , m o s s y m ud.
I t s t ar t s to r ai n .
C UT T O:
E X T . M I L L DUSK
A pa i r o f B E NT L E YS s wee ps i n t o t h e dr i vewa y . E l ega n t di nner
gues t s get o u t o f t h e cars: t h e MA YO R , hi s W I F E , an d a
pari s h PRIE ST .
Vi da l s t an d s at t h e f r o n t d oor to gr ee t t h em . He 's i n hi s
f o r m a l u ni f o r m .
I N T . DINI NG R OOM SA M E
C arm e n , i n a v e l vet m at erni t y dr es s an d in her wh ee l c ha i r ,
wri n gs h er h a n d s i n a n gu i s h . T h e d i ni ng r oo m i s l o o k i n g i t s
b es t , wi t h s p ark l i ng cr y s t a l an d c hi na at ea c h p l ac e
s ett i n g.
C A R M E N
( to M ercede s )
Ha v e y o u ch ec ked i n h er r oo m ?? An d t h e
garden ??
M E R C E DE S
Ye s , m ada m .
T h e VOICES o f t h e d i nn er gues t s get l o uder. A s V i da l e n t ers
VIDA L
M a y I i n t r o duce y o u to m y w i f e, C ar m e n .
C arm e n m a n age s a wan s mil e o f gr ee t i ng. T h e Ma y o r ' s w i f e
s m il e s b a ckM A YO R ' S W I F E
E n c h a n t ed.
M E R C E DE S
Pl ea s ur e t o m ee t y o u.
I N T . DINI NG R OOM NIGHT
A r a t i o n ca r d w i t h t h e F a l a n g i s t s t am p s on i t . T h e Ma y o r
ex a m i ne s i t .
VIDA L
F r o m n o w o n o n e r a t i o n ca r d pee r f a mily .
Sea t ed ar o un d t h e t abl e ar e: t h e d o c to r an d hi s W I F E , t h e m a y o r an d hi s
wi f e, Ga r cé s , Ser r an o , C arm e n , t h e Gua r d i a C i v il C ap i t a n , an d t h e P r i e s t .
C arm e n i s s t o ny f a ce d i n h er d i s t r ac t i o n .
M A YO R
On e? ? C apt a i n , I 'm n o t s ur e i t 'l l be
en o ugh .
PRI E ST
I f peo pl e are ca r e f u l , i t s h o u l d b e
pl e n t y .
He ea t s m o r e p ot a to es .
VIDA L
W h at we ca n' t al l o w i s f o r any o ne t o s en d
f o o d to t h e guer i ll as i n t h e m o u n ta i ns .
T h e y ' r e l o s i n g gr o un d an d o n e o f t h e m
i s wo un ded.
DOC T OR
E x cus e m e, C apt ai n , h o w ca n y o u b e so
s ur e?
VIDA L
W e a l m o s t got t h e m to da y . T h e y h ad t hi s .
Vi da l pu l l s o ut o n e o f t h e an t i bi o t i c vi a l s .
VIDA LA n t i bi o t i cs .
M ercede s b r i e f ly ca t ch e s t h e Do c to r ' s e y e.
PRI E ST
G o d h as a l r ea d y s a v ed t h e i r s o u l s . W h at
h appe ns to t h e i r b o d i es , we l l , i t hard l y
m at t ers to Hi m .
M A YO R
W e’ll h e l p y o u i n a ny w a y we ca n ,
C ap t ai n .
W e kn o w y o u’ r e n o t h ere by c h o i ce
Vi da l paus e s an d l o ck s e y e s w i t h hi m .
VIDA L
Y o u' r e wr o n g ab o ut t h at .
T h e gues t s g r o w s i l e n t .
VIDA L
I ch oo s e to b e h ere b ec aus e I want m y s o n
to b e b o r n i n a c l e a n , n ew S pa i n .
B ec aus e t h es e peo pl e h a v e t h e i d ea t h at
we ' r e a l l a li ke. B ut t h ere's a bi g
di f f ere n c e: T h e war i s o v er an d we wo n .
A n d i f we nee d to ki l l ea c h o f t h o s e
m o t h erf uck ers to ag r ee o n i t , t h en we’ll
ki ll t h e m a ll . An d t h at ’ s t h at.
He r ai s e s hi s g l as s a n d to as t s .
VIDA L
W e' r e a ll h ere by c h o i c e.
Al l t h e gue s t s r ai s e t h e i r g l a s s es .
A L L
B y c h o i ce .
M ercede s qu i ck ly l ea ves t h e d i ni ng r oom .I N T . K I T C HE N L A T E R
T h e ki t ch e n do or o pen s an d M erced es e nt ers , t r em bli ng. On
t h e v erge o f t ea r s , s h e gr ab s a l a n t ern a nd r ea di es to
l ea v e.
M E R C E DE S
Pu t t h e co f f e e o n . I 'm go i n g f o r m o r e
w oo d.
Sh e l ea v es t h e k i t che n .
E X T . M I L L B A C K NIGHT
T h e m ill r ec ed i ng i n t h e d i s t an c e, M ercede s h ur r i es uphill .
Sh e paus es n e x t to a l arge woo d pi l e a n d s ad l y gaz e s at t h e
f o r es t.
Us i n g h er h a n d t o s hi e l d t h e l a n t ern' s l i g h t s h e s i g n a l s t h e
w oo ds o n e, t w o, t h r ee t i m e s . T h en s h e t ur n s aro un d
Sh e s ee s
M E R C E DE S
Of e li a
Shi v er i n g, co v ered i n m ud, O f e li a c lim b s do wn hill a n d i n t o
M ercede s ’ s ar m s .
C UT T O:
I N T . DINI NG R OOM NIGHT
E v ery o ne ea t s wi t h r e l i s h , i m p ec ca bly at t en ded by t h e
ki t ch e n s t a f f .
M A YO R ' S W I F E
A n d Ho w di d y o u an d t h e Capt ai n m e et ?
Vi da l s ee m s u n co m f o r t abl e b ut C ar m e n gen t l y t o uch es hi sh an d.
C A R M E N
Of e li a ' s f at h er wa s a t ai l o r h e use d to
m ake t h e C apt a i n ’ s unif o r m s
M A YO R ' S W I F E
I s ee
C A R M E N
an d af t er h e d i ed, I we n t to w o r k at t h e
s h o p. A l i t t l e m o r e t h an a y ea r ago, t h e
C ap t ai n a n d I m et aga i n . . .
Vi da l m o ves hi s ha n d aw a y f r o m C ar m e n' s .
M A YO R ' S W I F E
C ur i o us , i s n' t i t ? Fi nd i ng ea c h oth er
af t er s uch a l o n g t i m e.
DOC T OR ' S W I F E
C ur i o us i n dee d v er y cur i o us . . .
VIDA L
Pl ea s e, f o r g i v e m y w if e. Sh e h a s n' t b ee n
ex po s ed to t h e w o r l d. Sh e t hi n k s t h es e
s i lly s t o r i es are i n t eres t i n g t o ot h ers .
C arm e n gr o ws s i l e n t . A s h a m e d.
M ercede s d i s creet l y co m es o v er to C arm en a n d s pea k s to h er.
C arm e n pus h e s b a ck f r o m t h e t abl e.
C A R M E N
Pl ea s e, ex cus e m e.
Al l t h e m e n get up as C arm e n l ea v es t h e d i ni ng r oo m . T h e
Gua r di a C i v i l C ap i t an s mil e s at Vi da l .
C A PI T A N
Ha v e I to l d y o u t h at I wa s ac qua i n t ed
wi t h y o ur f at h er, C apt a i n?
Vi da l ca n' t s uppr es s a b r i e f gr i m ac e.
VIDA LN o I h ad n o i d ea .
C A PI T A N
I n M or o cc o. I m et hi m o nly b r i e f ly , b ut
h e l e f t a gr ea t i m pr es s i o n .
Vi da l c h ew s hi s f o o d n erv o us l y .
VIDA L
A n e x ce ll e n t s o l d i er.
C A PI T A N
T h e m e n i n hi s b at t al i o n s a i d t h at wh e n
Ge n era l V i da l d i ed o n t h e b at t l e f ie l d, h e
s m a s h ed hi s wa t ch o n a r o ck s o th at hi s
s o n wo ul d kn o w t h e ex ac t h o ur a n d m i nut e
o f hi s dea t h .
S o h e wo ul d kn o w h o w a b r av e m a n d i es .
Al l e y es t ur n to Vi da l .
C A PI T A N
N o n s e n s e. He d i d n' t o wn a wat ch .
C UT T O:
I N T . UPP E R B E DR OOM / B A T HR OO M M OM E NT S L A T E R
Of e li a i s f l o at i n g o n t h e war m wat er o f th e t ub .
C A R M E N
W h at y o u'v e do n e h ur t s m e. Wh e n y o u get
o u t o f t h e t ub , y o u'll go to b ed w i t h o u t
di nn er.
Of e li a l i s t e n s i n s il e nce , h o l d i ng b ac k.
C A R M E N
A r e y o u l i s t eni ng ? So m et i m e s I thi nk
y o u'll n e ver l ea r n to b eh a v e.
Y o u' v e d i s appo i n t ed m e, an d y o ur f at h er,
too.OF E L I A
T h e C apt a i n?
C A R M E N
Ye s Hi m m o r e t h a n m e.
T h e f a i n t es t tr ac e o f s at i s f ac t i o n i s vi s i b le o n Of e li a 's
f ac e. C ar m e n l ea v e s .
T h e Green F a i r y f li e s i n t h r o ugh t h e o pen w i n do w. Of e l i a
gr ee t s i t .
OF E L I A
I ' v e got t h e key . T ake m e t o t h e
l a by r i n t h .
E X T . L A B Y R I NT H T HE W E L L NI GHT
Wi t h t h e b o o k an d t h e ke y i n h a n d, O f e lia s t eps to t h e
ce n t er o f t h e wel l . Sh e i s wea r i ng a st r i p ed r o b e.
Sh e ex a mi nes t h e en gr a vi ng s o n t h e m o no l i t h : t h e F au n ,
em b r ac i ng a g i r l a n d a ba by .
F A U N
T h at ' s m e an d t h e g i r l i s y o u.
F r o m o ut o f t h e sha do ws co m es t h e F au n. T h e Gr ee n F a i r y
h ur r i e s to hi m .
OF E L I A
A n d t h e b a by ?
T h e F aun co m es n ea r O f e li a c h ew i ng a c h u n k o f r aw m ea t .
F A U N
I s ee t h at y o u g ot t h e ke y
T h e Green F a i r y l a n ds o n hi s s h o u l der. He f ee ds h er s o m e m ea t .
F A U N
Sh e' s v er y g l ad y o u s ucc ee d ed. S h e 's
b e l i e v ed i n y o u f r o m t h e v er y s t art.K ee p t h e ke y . Yo u'l l b e n ee d i ng i t. A n d
t hi s a l s o
Ou t o f n o wh ere h e pr o duce s a pi ec e o f w hi t e c h a l k.
F A U N
a pi ec e o f c h a l k
Of e li a t ake s t h e cha l k.
F A U N
T h ere are s t i ll t wo t as ks l e f t an d t h e
m o o n i s a l m o s t f u l l . B e pat i e n t .
He ca r es s es h er f ac e w i t h hi s d i r t y h a n d s , whi c h are co v ered
wi t h creep i n g b ugs .
F A U N
W e'll s o o n b e st r o l li ng t h r o ugh t h e se ve n
ci r cu l ar gardens o f y o ur pal ac e.
OF E L I A
H o w d o I kn o w t h at wh at y o u s ay i s t r ue? ?
A s h e co m es c l o s er, t h e F au n' s f ac e aga in co m es i n t o t h e
l i g h t . A wi ck ed gr i n i s r e v ea l ed
F A U N
W hy wo u l d a poor l i t t l e f au n l i ke m e l i e
to y o u ?
Of e li a l e a v es t h e we l l .
C UT T O:
E X T . M I L L SUNR I S E
VIDA L o pen s t h e war eh o us e.
A l arge C R O W D OF PE OPL E l i nes up f o r r a t i o n s .
T h e s o l d i ers kee p o r der as Vi da l s uper vis es t h e d i s t r i b ut i o n
o f wh e at , coo ki n g o i l a n d t o b ac co .VIDA L
P r o ce ed.
S E R R A NO
Ha v e y o ur ca r ds i n ha n d an d r ea d y . L et ' s
g o. Y o ur n a m e ?
I n a l o gb o o k , h e m ak es n ot e o f eve r y h a n do ut.
M ercede s , C o n chi t a an d Paz co m e o u t o f t h e gr an ar y c arr y i ng
b as ket s o f b r ea d. E ac h p i ec e i s co n t a i n ed i n a b r o wn b ag
wi t h a l ege n d pr i n t ed. T h e Guar di a C i vil C ap i t an gr abs a
pi ec e a n d s t art s r ec i t i n g t h e pr i n t ed l ege nd.
C A PI T A N
T hi s i s o ur dai ly b r ea d i n F r a n co 's
Spai n ! Whi c h we kee p s a f e i n t his m ill .
T h e R eds l i e w h e n t h e y s a y t h ere 's h u n ger
i n Spa i n . B ec au s e i n a uni t ed S pa i n ,
t h ere' s n o t a s i n g l e h o m e w i t h o ut a war m
f i r e o r wi t h o ut b r ea d.
M ercede s l o o ks to wa r d t h e m o un t a i ns .
C UT T O:
I N T . NOR T H B E DR OOM DA W N
Of e li a wa kes up n e x t to h er m o t h er. Sh e qu i et l y s li ps o u t o f
b ed; h er m o t h er s l ee ps o n . A s O f e l i a r ea ch e s t h e m i dd l e o f
t h e r oo m , h er m o t h er m o a n s s o f t l y .
I N T . B A T HR OOM NOR T H B E DR OO M DA WN
Of e li a o pen s t h e spe c i a l b o o k. I m pat i e n t , s h e st art s t u r ni n g
t h e pages
NOTH I NG.
Sh e kee ps f li pp i ng t h r o ugh , l o o ki n g a n d l o o k i n g. B ut ea ch
page f ade s t o whi t e.Of e li a l o o ks a t a b ea m o f s u nli g h t c o m i n g i n f r o m t h e s m a l l
b at h r oo m w i n do w. Sh e r ea ch es o ut h er han d a n d p l a y s w i t h i t .
Sh e l o o ks d o wn at a page i n t h e b o o k . A s m a l l r ed st a i n h a s
appe ared. B l o o d .
I t s pr ea ds r api d ly , un t i l i t co v ers t h e wh o l e page.
F r i g h t ene d, Of e li a dr o ps t h e b o o k. T h e b l o o d f l o ws o n t o t h e
n ex t page an d co v ers i t , too.
Of e li a n o t i c es a bl o o ds t ai n o n her ni g h t go wn .
Sh e s t eps b ac k. Ope n s t h e doo r .
C A R M E N ( V. O. )
( we ak)
Of e li a. . .
I N T . NOR T H B E DR OOM M OR NING
Of e li a r et ur n s to h er m o t h er. Huge tor r en t s o f bl o o d f l o w
f r o m t h e b ed o n t o t h e f l o o r . C arm e n e x t en ds a bl o o d y h a n d
to wa r d t h e g i r l .
C A R M E N
( b arel y a w hi s per)
Of e li a. . . h e l p m e.. .
Sh e get s o u t o f b ed ; t h e l o wer h a l f o f h er b o dy i s
c o m p l et e l y bl o o dy .
Of e li a r un s t o h er. C arm e n d i s app ea r s f r o m her arm s .
E X T . M I L L E A R L Y M OR NING
Of e li a h ur r i es f r o m t h e b u il d i ng an d go es to Vi d a l , wh o
s upervi s es t h e f o o d r a t i o ni ng.
OF E L I A
C ap t ai n! C o m e qu i ck l y !C A M E R A pu l l s b ac k t o f o l l o w V i d a l a s h e r uns i ns i de t h e
m ill .
T h e day i s j us t b eg i nni ng.
C UT T O:
I N T . M I L L DA Y
I t ’ s r ai ni ng. V i da l a n d t h e Do ctor s t an d nea r t h e f r o n t
en t r an ce :
DOC T OR
Y o ur wi f e n ee ds a b s o l ut e b ed r es t. Sh e'll
b e se dat ed f r o m n o w o n . T h e gi r l s h o u l d
s l e ep s o m ew h ere e l s e. I 'l l s t a y h e r e
un t i l t h e bi r t h .
VIDA L
T ake ca r e o f h er. He a l h er. I d o n 't ca r e
wh at i t c o s t s o r wh at y o u n ee d, m ake h er
we l l .
I N T . A T T I C L A T E A F T E R NOO N
Of e li a s ur ve y s t h e f il t hy at t i c a n d t h e dar k, l o w ce i li ng,
f u l l o f h o l e s .
M ercede s an d C o n c hi t a m ake a b ed w i t h a l arge co m f o r t er an d
s ev era l f l u f f y p ill o w s .
C o n chi t a l ea v e s .
M E R C E DE S
D o n ' t worr y . Yo ur m o t h er wi ll g e t b ett er
s oo n , y o u'll s ee . Ha vi ng a b a by i s
c o m p li ca t ed.
Of e li a s h ake s h er hea d.
OF E L I AT h e n I 'll n e v er h a v e a o n e.
M ercede s s i t s by her s i de.
OF E L I A
Y o u a r e h e l p i ng t h e m e n i n t h e w oo ds ,
aren ' t y o u ?
T h i s co m es o u t o f t h e bl ue. M ercede s f r e ez es a n d a f t er a
l o n g bea t :
M E R C E DE S
Ha v e y o u to l d a ny o n e ?
OF E L I A
N o , I h ave n' t I d o n ' t wa n t any t hin g bad
h appe ni ng t o y o u.
M E R C E DE S
Or m e t o y o u
T h e y e m b r ac e so f t l y .
OF E L I A
D o y o u kn o w a l u ll a by ?
M E R C E DE S
Onl y o ne, b ut I d o n ' t r em e m ber t h e wo r ds .
OF E L I A
I d o n ' t ca r e. I s t i ll w a n t to h ea r i t .
A s s he s i n g s we
C UT T O:
I N T . K I T C HE N NIGHT
M ercede s i s a l o n e i n t h e k i t ch e n . Sh e car r i es a ca nv as b ag.
T h ere i s a l o w f l a m e b ur ni ng o n t h e ch arco al r a n ge.
Sh e kn ee l s do wn an d r e m o v es a t i l e f r o m t h e f l o o r : s h e h as
hi dde n s o m e f o o d, a b ott l e o f Oru j o an d s o m e papers. Sh e
t r an s f ers e v er y t hi ng t o t h e canv a s bag. S o m eo n e co m es i n t ot h e ki t c h e n , s t ar t l i ng h er.
DOC T OR
D o n ’ t b e a f r a i d i t ’ s j us t m e
M ercede s exh a l e s , r el i e ved.
M E R C E DE S
A r e y o u r ea d y ?
DOC T OR
Ye s .
M E R C E DE S
W e l l , l et 's go .
E X T . F OR E ST / R I VE R NIGHT
C arr y i ng t h e b ag, M ercede s wa l ks t h r o u gh t h e r i v er w i t h t h e
D o c to r .
T h e y s t o p i n f r o n t o f a l arge, h a lf cut tr e e.
DOC T OR
T hi s i s s h ee r m ad n e s s . Whe n t h at m a n
f i n d s o u t ab o u t us , h e'll k ill u s a l l.
Ha v e y o u t h o ugh t ab o u t t h at ?
M E R C E DE S
A r e y o u t h at af r a i d o f hi m , Do c tor ?
Af t er a l o n g b ea t
DOC T OR
I t ' s n ot f ea r , at l ea s t n ot f o r m y s e lf .
A n o i s e. T h e n s il e n ce . T h e t r ee tr un ks s wa y a n d creak
s o f t l y . So m et hi n g m o v es a m o n g t h e t r ee s . . .
M ercede s t ake s a c o upl e st eps . . . an d s ud denly , s o m eo n e i s
t h ere: i t i s Pedr o , t h e y o un g guerr i ll a. He h ugs her.
M E R C E DE S
Pedr o, Pedr o M y b r o t h er.He ki s s es h er o n b ot h ch ee k s . T h e Do c tor l o o ks ar o un d wi t h
al ar m a s t we n t y m o r e m e n appe ar f r o m out o f t h e s h ado ws .
C UT T O:
I N T . A T T I C NIGHT
Of e li a i s l yi ng i n b ed.
F A U N
Y o u r ef us ed t h e t as k
Of e li a i s s t ar t l ed: t h e F au n i s perc h ed o n t h e f o ot r ai l o f h er
b ed, l i ke a bi g cro w.
OF E L I A
Nn o m y m o t h er i s s i ck.
F A U N
T h at ' s n o ex cus e f o r n eg l i ge nce .
T h e F aun l o o ks i n a t att e r ed b ag, t ake s out a t wi s t ed r oot
o f M A NDR AK E .
F A U N
L oo k, t hi s i s a m a n dr ake r oot. A p l a n t
t h at dr ea m t o f b e i ng h u m a n . Put i t un der
y o ur m o t h er' s b ed i n a b o w l o f f r es h
m il k. E ac h m o r ni n g g i ve i t t w o d r o ps o f
bl o o d .
Of e li a, r ev o l t ed, t ake s t h e r oot.
F A U N
N o w, we h av e n o t i m e t o was t e . T h e f u ll
m o o n wi ll b e upo n us .
L et m y p et s gui d e y o u t h r o ugh
He h an ds h er hi s b a s ket . T h e F a i r i es c hi t t er ch at t e r i n s i de
i t .
F A U N
Y o u' r e g o i n g t o a v er y dan g ero us pl ac e,s o b e ca r ef u l .
T h e t hi n g t h at s l u m bers t h ere, i t ' s n ot
h u m a n . . .
He h an ds h er a s m a ll , dark h o ur gl a s s .
F A U N
Y o u wi l l s e e a s u m pt uo us b an que t, b ut
d o n ' t ea t o r dr i n k any t hi ng.
Y o ur l if e depe n ds o n i t .
E X T . C A VE NIGH T
M ercede s , Pedr o an d t h e Do c tor ar r i ve at a l arge ca v e m o ut h .
GUERIL L A s e n t r i es a ll o w t h e m to pas s .
I N T . C A VE NIGH T
T h e wa l l s are co v ered w i t h s o ot .
A do ze n m o r e guer i ll a s s i t aro un d an o pe n f i r e i n t h e m i dd l e
o f t h e ca v e.
M ercede s o pen s up t h e canva s bag an d s t art s h an d i ng o u t
l et t ers , f o o d , to b ac co an d n ews pape r s .
M E R C E DE S
I ' v e b r o ugh t s o m e Or u j o , to b ac co, ch ee s e.
S o m e m a il f o r " T r i go " an d " P il o to. " .
T h e m e n d i v i de a n ew s pape r a m o n g t h e m s e l ves . On e page ea c h .
T h e d o c to r appr o ac h es a gr o up o f wo un ded m e n . On e o f t h e m ,
F R E NC HIE , i s v er y we ak. H i s l eg i s ba ndage d.
DOC T OR
L et « s s ee h o w t h at l eg i s do i n g, Fr en c hi e
F R E NC HIE
W e l l , h o w do y o u t h i n k i t ’ s do i ng?? I t ' sf ucke d up
S T UT T E R
. . . N o r t h Am er i ca n , B b b r i t i s h an d C c
ca n ad i a n T t tr oo ps di s e m b b b ar ked o n a
s m a ll b ea c h i n t h e No r t h o f F F f r an ce
S T UT T E R , a t hi n gu y i n hi s t hi r t i e s , r ea ds a r agge d
n ew s pape r .
T R I GO
Gi mm e t h at , y o u s t am m er i ng p i e ce o f s hi t !
M us c l e b o un d T R I GO gr ab s t h e n ew s pa per f r o m St u tt e r .
T R I GO
M o r e t h an 150, 000 s o l d i ers . . . un der t h e
c o m m a n d o f Ge n era l Dw i g h t D . E i s e nh o wer
wh o s ai d: " W e w ill n o t ac ce pt an y t hi ng
l es s t h a n co m p l et e vi ct or y o v er Ger m a ny . "
T h e D o c to r cu t s t h e b an dag es o f f F r e n c hi e 's l eg. I t l o o ks
h o r r i bl e.
F R E NC HIE
I s i t b ad, d o c to r ?
DOC T OR
L oo k, F r en c hi e T h ere 's n o wa y to s av e
i t .
E v ery o ne go es qui et
I N T . C A VE L A T E R
T h e D o c to r r ea di es a st a i nl es s s t ee l b o n e s aw.
DOC T OR
I ' l l t r y t o d o i t i n as f e w cut s as I
ca n .
T h e m e n g i ve F r e n c hi e t h e b o tt l e. He gu l ps do wn h a l f o f i t .
F R E NC HIE( s to i c a l ly )
W a i t a s ec o n d, d o c to r , j us t a se con d.
F r en c hi e l o o ks l o n g i ng ly at hi s l eg. On e l a s t t i m e T h e n , h e
t ake s h o l d o f T r i go an d R ubi o 's ar m s . M ercede s a n d Pedr o pu t
al l t he i r we i g h t o n t h e i nj ur ed l im b .
T h e D o c to r touch es hi s s aw t o t h e l eg
an d cu t s .
C UT T O:
I N T . A T T I C SUNR I S E
Of e li a t ake s t h e b o o k o u t f r o m u n der h er b ed. Openi ng i t ,
s h e s ee s h ers e lf ill u s t r a t ed i n a r oo m w i t h a l a vi s h t abl e
f u l l o f f o o d . I n t h e wa l l are t h r ee ni c h e s . An d at t h e f ar
en d o f t h e t abl e, a pal e h u m a n f i gur e.
OF E L I A ( V. O. )
Us e t h e ch a l k to tr ac e a d oo r anywh ere i n
y o ur r oo m . Ope n i t an d s t ar t t h e
h o ur gl as s l et y o ur s e l f b e gu i ded by t h e
F a i r i es
Of e li a dr aw s t h e o u t l i ne o f a doo r o n t h e wa l l . . . an d t h en
o pen s i t o n to a l o n g h a ll wa y . O f e li a go es t h r o ugh , wea r i n g
t h e w i cke r b a s ket ar o un d h er n ec k.
OF E L I A
D o n ' t ea t o r dr i n k a ny t hi ng a n d c o m e b ac k
b e f o r e t h e l as t gr ai n o f s a n d f a ll s
t h r o ugh . . .
I N T . HA L L WA Y L E A DING T O DINI NG HA L L SUNR I SE
T h e gi r l wa l k s do wn a cor r i do r wi t h a l o w ce i li ng an d a
m u l t i t ude o f arch e s . E ac h co l u m n r epres en t s a t r ee wi t h
f a nni ng b r a n c h e s . An e l a b o r a t e m o s a i c patt ern s pr ea ds o v er
t h e f l o o r ; t h e ce i li ng f r es co dep i ct s t h e l u n ar c y c l e.I N T . B A NQU E T HA L L SA M E
I n t h e n e x t r oo m , a l arge, w oo den t abl e o v er f l o w s w i t h a
c o r n uco pi a o f ca ke s , m ea t , f i s h , l i quo r , e x o t i c f r u i t s . . .
L i g h t an d wa r m t h po ur f o r t h f r o m a r o ari n g f i r ep l ac e.
A PA L E M A N w i t h a gaun t , f ea t ur e l e s s f ac e a n d s ke l et a l b o d y
s i t s s i l e n t l y at t h e f ar en d o f t h e t abl e.
He ' s o m i n o us ly s t i ll , hi s h ea d h a n g i ng at an o dd an g l e. I n
f r o n t o f him , a s m a ll m et a l li c p l at e di s p l a y s t w o h u m a n
ey e ba l l s .
I t ' s v er y h o t : b ea ds o f s wea t r o l l do wn Of e li a ' s f ac e. Her
h un gr y s to m ac h gr o wl s .
Sh e s pot s t h e t h r ee ni c h es .
Sh e t ake s o u t h er g o l de n ke y a n d co n s i d ers t h e d oo r s . E ac h
o n e c l ad i n s m o o t h go l d, wi t h i de n t i ca l lo cks .
T h e wi ck er b as k et s t ar t s to s h ake f ur i o us ly . O f e li a o pen s
i t . T h e F a i r i e s f ly o u t .
T h e y b uz z aro un d t h e t h r ee ni c hes , l i ke f li es aro un d h o n e y .
T h e y f a n t h e i r w i ngs r epe at ed l y , vi b r at i ng, c o m m u ni ca t i n g,
s ni f f i ng t h e go l d do o r s .
S t eppi n g b a ck t o l et t h e F a i r i e s i nv e s t i g a t e, Of e li a kn o cks
o v er a pl at t er o f gr ee n gr ape s .
Sh e pi cks t h e m up a n d put s t h e m bac k on t h e t abl e. One o f
t h e gr ape s r em a i ns o n t h e f l o o r .
T h e Green F a i r y s t o ps i n f r o n t o f t h e door i n t h e m i dd l e,
an n o un c i ng i t s dec i s i o n .
Of e li a go es to t h e d oo r an d pu t s t h e ke y i n t h e l o ck.
OF E L I A
N o I t ' s t hi s o n e
s h e go es to t h e ad j o i ni ng doo r , s t i ck s t h e ke y i n t h e l o ckan d t u r n s i t . C L A C K .
Sh e o pen s t h e doo r an d r ea ch e s t h r o ugh th e do or wa y to t ake
wh at ev er i s t h ere.
He r h a n d n ea r s a packa ge, ab o ut 16 ce n t i m et ers l o n g, wrapped
i n a d i r t y r ag.
Of e li a l o o ks ar o un d: n ot hi n g h as h appe ned. Al l i s ca lm . T h e
Pal e M a n i s i mm o bil e.
Of e li a r ea d i e s to exi t , b ut t h en s h e spo t s a p l at e f u ll o f
r i pe gr ape s : s o m a ny o f t h e m ! !
Sh e l o o ks b ac k at t h e eeri e, s i t t i n g f i gur e : i mm o bil e a n d
s ee m i ng l y li f e l e s s . T h e F a i r i e s wa r n h er r epe at edl y , t r y i ng
to pr ev en t h er f r o m ea t i n g a ny gr ape s . B ut t h e g i r l s nea k i ly
pi cks o n e up an d ea t s i t .
Un s ee n by h er T h e P a l e Ma n li f t s hi s h e ad an d gr abs t h e t w o
h u m a n e y e b a ll s f r o m t h e m et a l li c p l at e i n f r o n t o f him .
He i n t r o duce s t h e e y e ba l l s i n t o t wi n s t i g m at as i n hi s p a l m s
an d us es hi s h a n d s to l oo k ar o un d, s pl a yin g hi s f i ngers l i k e
ex c i t ed pea co ck f ea t h ers as h e d i s co v ers
Of e l i a ea t i n g y et an ot h er gr ape .
T h e Pal e M a n j erks to wa r d h er, i n s pas t i c, di s e m b o d i ed
s t eps . He cr o uch es l i ke a n anim a l r ea d y t o p o un ce .
Of e li a t ur n s j us t i n t i m e. T h e P a l e Ma n r o ars . T h e F a i r i e s
f ly at hi m a n d att ac k!
Fl a ili ng hi s ar m s , t h e m o ns t er t ur n s o v er t h e t abl e, du m p i n g
al l t he f o o d . Swatt i n g a n d s n app i ng, h e e at s t w o o f t h e
F a i r i es . T h e y HO WL as h e bi t e s do wn . . .
Of e li a r un s , ca r r y i ng t h e pr ec i o us pac ka ge. T h e Gr ee n F a i r y
f o l l o ws her.
T h e Pal e M a n co m e s a f t er h er.
I N T . L ONG HA L L WA YOf e li a get s to t h e en d o f t h e h a ll wa y . She po un ds t h e bl a n k
wa l l w h ere m o m e n t s ago t h ere was a d oo r .
I N T . A T T I C
Of e li a ' s t h u m p i n g i s b are ly aud i b l e.
I N T . HA L L WA Y L E A DING T O DINI NG HA L L
Of e li a s ee s t h e P a l e Ma n' s s il h o uet t e c omi ng up t h e h a l l w a y .
Of e li a s ea r c h e s h er po cke t s f o r t h e ch a l k . Fi n d i ng i t , s h e
s t an ds o n t i pt o e an d t r ac es t h e o u t l i n e o f a door !
Of e li a pus h es aga i ns t i t an d o pen s
I N T . A T T I C SUNR I S E
A t r apd oo r i n t h e att i c f l o o r .
I N T . HA L L WA Y L E A DING T O DINI NG HA L L
Of e li a craw l s o u t t h e n ew exi t . Her l egs dan g l e b r i e f ly .
T h e pal e m o n s t er l ea ps at t h e m , s n ar l i ng. Of e li a pu ll s
h ers e l f up a n d o ut j us t i n t i m e. T h e Gr ee n F a i r y f o l l o ws s h o r t l y
t h erea f t er.
I N T . A T T I C SUNR I S E
Of e li a s l a m s t h e doo r b e hi nd h er. T h e m arks o n t h e f l o o r
di s app ea r an d i t s ea l s i t s e lf s h ut .
Al l t h e w hil e, s o m et hi n g d i r e ct l y b e l o w b u m ps vi o l e n t l y ,
al m o s t b ur s t i n g t h r o ugh t h e f l o o r .W h e n a ll i s c a l m , O f e li a s i t s o n t h e b ed, exh au s t ed. Th e
Green F a i r y f l ut t ers an d chi r p s , ex c i t ed ly.
C UT T O:
E X T . R I VE R SUNR I S E
T h e D o c to r , M ercede s an d Pedr o s t ar t d own t h e m o un t a i n .
PE DR O
W e'll s o o n h a v e r e i nf o r ce m e n t s f r o m J ac a.
Fi f t y m e n o r m o r e. T h en we 'l l go h ea d to
h ea d w i t h V i da l .
DOC T OR
A n d t h e n wh at ? Yo u ki l l him , t h e y ' ll
s en d an o t h er j u s t l i ke hi m . An d
an ot h er. . .
L A T E R R I V E R B E D
T h e D o c to r wa s h es hi s bl o o d y h a n ds a n d hi s s ur g i ca l
i n s t r u m e n t s i n t h e st r ea m t h at r un s t h r o u gh t h e m o un t a i n s .
DOC T OR
Y o u' r e s crewe d, n o gun s , n o r oo f o v er
y o ur h ea ds . . . Y o u n ee d f o o d , m e d i c i ne.
Y o u s h o ul d t ake ca r e o f M ercede s . I f y o u
r ea l ly l o v ed h er, y o u w o ul d cro s s t h e
b o r de r wi t h h er. T hi s i s a l o s t ca u s e.
PE DR O
I ' m s t a y i ng h ere, Do c to r . T h ere’ s n o
ch o i ce .
He m o v es awa y , to wa r ds M ercede s , wh o awa i t s hi m n ea r by . S h e
h an d s him a co py o f t h e war e h o us e K E Y.
M E R C E DE S
He r e’ s t h e key b ut y o u ca n' t c om e do wn
n o w. I t ' s ex ac t l y w hat h e wan t s He ki s s es h er o n t h e ch e ek.
PE DR O
L ea v e i t to m e.
M E R C E DE S
I ' m a co wa r d.
PE DR O
N o , y o u' r e n o t .
M E R C E DE S
Ye s , I am a co wa r d f o r l i v i ng n e x t to
t h at s o n o f a bi t c h , m ak i ng hi s b ed, f e ed i n g
hi m . . .
W h at i f t h e Do c to r ' s r i g h t an d we cann o t
wi n?
Pedr o l o o ks a t M ercede s , h ugs h er f i erce ly .
PE DR O
W e l l A t l ea s t we 'll m ak e t hi n gs h arder
f o r t h at b as t ard.
A SONG s t a r t s up, f u ll o f goo d ch ee r .
I N T . VIDA L ' S ST UDY B A T HR OOM SUNR I S E
On ce m o r e, Vi da l , s hi r t l es s , i s s h a vi ng w i t h hi s s w i t c hbl ade
whi l e l i s t e ni ng to m us i c o n t h e V i ct r o l a.
On t h e s i n k: hi s f at h er's go l d a n d s il ver wa t ch .
Vi da l l o o ks a t i t an d t h en s t ud i es him s e lf i n t h e m i r r o r , as
i f s i z i ng up a n o l d e n e my . He p l ac es t h e st ee l bl ade o n hi s
o wn r ef l ec t i o n a n d
cu t s s wi f t ly .
C UT T O:I N T . UPP E R B E DR OOM DA Y
T h e m u s i c dr i f t s ups t a i r s i n t o t h e Upper b edro o m .
Of e li a appro ac h es h er m o t h er, wh o i s as lee p i n b ed, s wea t i n g
pr o f us e ly . S h e cares s es h er f ac e.
T h ere i s a b r ea k f a s t t r ay o n t h e ni g h t s t a n d.
Of e li a e m pt i e s a g l a s s o f m il k i n t o a b o w l a n d pu l l s t h e
m a n dr ake r oot o u t f r o m u n der h er c l o t hi n g. Sh e su bm erges i t
i n t h e m il k, t h e n s l i d es t h e b o w l u n der t h e b ed.
Sh e bi t es her f i nger u n t i l a s m a ll dr o p o f bl o o d appe ars. I t
f a ll s i n t o t h e m il k. . .
T h e m a n dr ake t w i t ch es , s uck i ng a vi d ly a t t h e p i n k l i qu i d.
T h e r oot un co i l s i n t o t h e f l o o r , s pi r a lli ng ar o un d t h e l eg s
o f t h e b ed f r a m e.
Of e li a hea r s F OOTS T E PS : s o m e b o d y 's co m i ng i n t o t h e b edroo m .
Of e li a s t a y s do wn : s h e ca n s ee a pa i r o f s h o es .
I t i s t h e Do ctor. He ch ec ks C ar m e n' s pu ls e an d t e m perat ur e.
DOC T OR
C ap t ai n V i da l !
Vi da l pac e s n er v o us l y , n e arby
DOC T OR
He r t em p erat ur e i s do wn . . .
VIDA L
B u t s h e s t i ll has a f e v er ?
DOC T OR
Ye s , b ut i t ' s a goo d s i g n her b o dy i s
r es p o n d i n g.
Vi da l s t ares at t h e Do c to r , n ot a tr ac e o f e m o t i o n i n hi s
ey e s .
DOC T ORL i s t en to m e. I f y o u h a ve t o ch o os e, s av e
t h e b a by . T h at b o y w i ll b ea r m y n a m e a n d
m y f at h er ' s n a m e, too.
Of e li a hea r s t hi s f r o m b e n ea t h t h e b ed.
Suddenl y a n ex p l o s i o n s hake s t h e r oo m . V i da l l o o ks o u t s i de,
t h en a n o t h er ex p l o s i o n r att l es t h e w i n do ws .
B i t s o f p l a s t er dr o p d o wn f r o m t h e ce i li n g o n to t h e gr o un d
n ea r Of e li a.
C ur s i n g, V i da l r us h e s f r o m t h e bedr oo m . T h e Do c to r f o l l o ws
E X T . GA R DE NS DA Y
Vi da l h ur r i es o ut to t h e gar den . T h e guar ds h a v e co m e o u t o f
t h e i r t en t s an d l o o k a t
a c o l o s s a l co l u m n o f s m o ke a n d f i r e i n th e d i s t an ce .
A n o t h er ex p l o s i o n s h ake s t h e gr o un d.
I N T . NOR T H B E DR OOM C ONT I NUOU S
Of e li a co m es o u t f r o m b e n ea t h t h e b ed. T en t at i v e ly , s h e n ea r s
h er m o t h er' s b e lly .
OF E L I A
B r ot h er, b r ot h er, i f y o u ca n hea r m e.. .
Sh e l ea n s h er h ea d ge n t l y o n i t .
OF E L I A
. . . t hi n g s o u t h ere aren ' t too g oo d . An d
s oo n y o u'll h a ve t o co m e o u t . M om i s n' t
d o i n g we l l .
Un ex pe ct ed l y , t h e g i r l t ea r s up.
OF E L I A
I ' m a s k i ng y o u f o r o n e t hi n g, j us t o n e:
d o n ' t h ur t h er.Sh e' s v er y pr et t y , y o u'll s ee . E v e n
t h o ugh s h e ' s s ad so m e o f t h e t i m e . Y o u'l l
s ee , wh en s h e s mil es y o u'll l o v e h er.
S o i f y o u do wh at I s ay , I 'll m ak e y o u a
P r i n c e i n m y k i ngdo m . . .
I pr o m i s e y o u a P r i n ce . . .
E X T . T R A I N T R A C K S I N C OUNTRYSIDE DA Y
S o m et hi ng h a s bl o w n a l arge crat er i n t o th e r ur a l r a i l r o ad
t r ac k . T i pped i n t o i t i s t h e s m o k i ng r u i n o f a l o co m o t i v e.
Vi da l i ns pec t s a co upl e o f c h arr ed BODIE S by t h e wr ec kage .
E NGIN E E R
I s o un ded t h e whi s t l e b ut t h e y wo ul d n' t
m o v e. I t r i ed t o s to p , b ut i t was too
l at e
T h e l o n g f r e i g h t t r ai n has dera i l e d i n t h e m i dd l e o f
n o wh ere. D o ze n s o f GUA R DI A S C I VIL pat r o l t h e d i s a s t er.
T h e en g i n e er an d t h e F I R E M A N wa l k am o n g t h e b ur n ed f r e i g h t
ca r s wi t h V i d a l a n d hi s m e n . So m e GU A R DIA S C I VIL r i de up an d
di s m o u n t .
VIDA L
W h at d i d t h e y s t ea l f r o m i ns i de t h e
f r e i g h t ca r s ?
F I R E M A N
N ot hi n g T h e y d i d n' t o pen a s i n g l e o n e.
VIDA L
W h at t h e h e l l are y o u t al k i ng ab o ut ?
F I R E M A N
T hi s wh o l e m e s s an d t h e y d i d n' t o pen any
o f t h e ca r s . T h e y d i d n' t t ake any t hi ng.
VIDA L
N ot hi n g, are y o u s ur e?F I R E M A N
N ot hi n g, wh o t h e h e ll k n o ws t h at t h e y
wa n t ed ot h er t h an to m ake us wa s t e o ur
t i m e.
A n d, j us t as V i da l r e a l i z es h e ' s b ee n t r i c ked. T h e so un d o f
DIS T A NT GUN F I R E r ea ch es hi s ea r s .
C UT T O:
E X T . M I L L DA Y
R ai n i s f a l li ng as V i da l 's B e n t l e y r o ars to a sto p i n f r o n t
o f t h e m i ll .
A gunf i g h t i s r ag i n g. St ay i ng l o w, t h e Capt ai n r uns o v er to
Ga r cé s . T h ere are s ev era l ca da v ers s t r ewn o n t h e gr o un d.
Gua r ds h av e t ake n co v er a m o n g t h e t r ee s . S o m e bl o o d y ,
w o un ded s o l d i ers co we r o n t h e gr o un d.
Ga r cé s i s bl ee d i ng f r o m a wo un d o n hi s f o r ehe ad.
GA R C É S
( p o i n t i n g)
C ap t ai n t h e y c a m e o u t o f n o wh e r e T h e y
h av e gr e n ade s . . .
Vi da l s ee s t h e o pen b o dega . I t h as b ee n t h o r o ughl y l o o t ed:
j ugs a n d e m pt y crat es are s ca tt ered ev er y wh ere.
He t ake s s pec i a l n o t e o f
t h e o pen l o ck, h an g i ng f r o m t h e door .
Ser r an o h ur r i e s up to hi m .
S E R R A NO
On e gr o up s t ay ed b e hi nd up o n t h e c l if f
wi t h r i f l e s . . . W e've s ur r o un ded t h e m E X T . DE E P F OR E ST DA Y
H o l d i ng hi s gu n , V i da l ad v a n ce s o n f o ot t h r o ugh t h e dr i pp i ng
f o r es t. He i s ac co m pa ni ed by a squa d o f guards .
GUN SHOT S . A pai r o f GUERR I L L A S j u m ps o ut f r o m a p i l e o f
b o ul ders , bl a s t i n g aw a y . A guard f a ll s do wn dea d at Vi da l 's
f ee t , t h r ee b u l l et s i n hi s che s t .
Vi da l , Ser r an o an d Ga r cé s t ake c o v er b ehi nd a cr agg y
o u t cr o ppi n g. B u l l et s ex p l o de o n to t h e sto n e.
E x c i t ed, Vi da l g l a n c es at hi s F at h er ' s wa t ch an d s m il e s .
VIDA L
C ’ m o n , Ser r an o , t hi s i s t h e o nl y dec e n t
wa y t o di e.
He l ea ps o ut, f i r i ng. T wo b u l l et s whi z by hi s hea d an d b ur y
t h e m s e l ves i n a t r ee .
Vi da l kee ps s h o ot i n g, wo un d i n g t wo o f th e guer r i ll as . Garcé s
f o l l o ws , a l s o f i r i ng.
Vi da l a n d Ga r cé s get to
t h e b o ul ders : k n ee li ng t h ere i s a YOUN G GUERR I L L A , pan t i n g,
to r n to pi e ce s by t h e gu nf i r e.
VIDA L
L et m e s ee C a n y o u t al k ??
T h e Y o un g Gue r r i ll a gas p s f o r ai r : a gapi ng wo un d o n hi s
n ec k bl ee d s pr o f us e ly .
VIDA L
Pi t y .
He em pt i es hi s p i s t o l i n t o t h e Yo un g Guerr i ll a. Garcé s i s
appa l l ed. V i da l r e l o ads a n d f i n i s h e s o f f t h e se co n d o n e w i t h
a sh ot to t h e t em p l e.
VIDA L
( to Ser r an o )
T hi s i s us e l es s we n ee d o n e a l i v e J us t
o n eGa r cé s s pot s s o m et hi ng nea r by .
L ur ki n g i n t h e b u s h e s i s a W OUND E D M A N, gas p i n g f o r a i r ,
w o un ded i n t h e l eg.
Hi s f ac e r e m a i ns hi dde n .
GA R C É S
C ap t ai n , t hi s o n e’ s s t i ll a l i ve. He 's got
a l eg wo un d.
C UT T O:
I N T . K I T C HE N L A T E A F T E R NOO N
M ercede s co m es do wn t h e se r vi c e st a i r s i n t o t h e k i t ch e n . Sh e
r un s to t h e w i n do w. Al l t h e k i t c h e n m a i d s are t h ere.
M E R C E DE S
W h at 's h app e n ed ?
C ONC HIT A
T h e y t oo k o n e o f t h e m a l i ve. And t h e y ' r e
t aki n g him t o t h e sto r e r oo m .
M ercede s dar t s o u t i n t o t h e r ai n .
E X T . M I L L L A T E A F T E R NOO N
C ONC HIT A
M ercede s !
M ercede s h ea d s to wa r d t h e o l d b o dega . Sh e se e s t h e guards
dr ag a m a n i ns i de.
E X T . B ODEGA L A T E A F T E R NOO N
M ercede s s t an ds , i n t h e m i dd l e o f t h e r ai n n o t kn o wi n g what
to d o wh ere to g o wh ere to r un Vi da l appro ac h es h er.
VIDA L
M ercede s ?
M E R C E DE S
I I n ee ded to ge t i n t h e b o dega
VIDA L
N ot n o w, M ercede s .
A guard c o m e s o u t. M ercede s ca n s ee
I N T . B ODEGA L A T E A F T E R NOO N
t h e pr i s o n er i s St u tt er .
S t u tt e r an d M ercede s l o o k ea ch ot h er i n th e e y e
T h ere i s a m i x t ur e o f r e l i e f a n d p i t y i n M ercede s ' e y es .
A guard cl o s es t h e doo r .
C UT T O:
I N T . K I T C HE N NIGHT
M ercede s t ake s t h e hi dd e n knif e f r o m h e r apr o n an d pee l s
v ege t abl e s . R ap i d ly a n d m e c h a ni ca lly . T h e k i t c h e n i s
b us t l i ng w i t h ac t i vi t y , b ut h er m i nd i s m il e s awa y .
Sh e pi cks up a d i nn er tr a y .
I N T . VE S T I B UL E M I L L NIGHT
Sh e ca r r i e s t h e t r ay ups t a i r s .I N T . NOR T H B E DR OOM N I GHT
Sh e pl ac es t h e t r ay o n t h e ni g h t s t an d. C ar m e n a n d O f e li a
pl a y ca r d ga m e s by t h e l i g h t o f t h e o i l l a m p.
T h e D o c to r r ea di es C ar m e n da i ly do ze of s l ee p i ng m ed i c at i o n
i n t o a gl as s o f wa t er f o r C arm e n .
DOC T OR
T hi s i s h a lf t h e do s e: o nl y o ne dr o p
A s O f e li a co m es t o t h e b eds i de, a weak b ut co n s c i o us C ar m e n
pus h es t h e m ed i c i ne awa y .
C A R M E N
I d o n ' t t hi n k I n ee d i t . I f ee l b et t e r .
DOC T OR
I d o n ' t un ders t an d i t . B u t I ’ m g l a d.
Of e li a s mi l e s .
C UT T O:
I N T . B ODEGA NIGHT
Vi da l f i n i s hes r o l li ng a c i garet t e. He' s s t an d i ng i n f r o n t
o f St u tt e r , wh o i s t i ed t o a co n cre t e p o s t .
VIDA L
Da m n! T hi s c i garet t e i s goo d. R ea l go o d
to b ac co
He o f f ers him a pu f f .
S T UT T E R
F f f f uck y o u
Ga r cé s en t ers an d s et s d o wn a t abl e an d s o m e ch a i r s .
VIDA L
W e ca t ch o n e an d h e t ur n s o u t to b e a
s t u tt erer . F uck! W e 'll b e h ere a ll ni g h t .GA R C É S
A s l o n g as h e t al k s , C apt ai n
VIDA L
Ga r cé s i s r i g h t Y o u b ett er t el l us
ev er y t hi ng. B ec aus e, to m ake i t happe n , I
b r o ugh t al o n g a f ew t oo l s . Not hi n g f a nc y
T hi n g s y o u p i ck up a l o n g t h e way .
He g o es o v er to a too l b o x an d t ake s o u t a h a mm er, s o m e
n ee d l e n o s e p l i ers a n d a l ea t h er wo r ki n g bl ade .
VIDA L
A t f i r s t I w o n ' t b e abl e t o tr us t y o u. .
B u t wh en I us e t hi s o n e
He l i f t s t h e h a mm er.
VIDA L
y o u'll o wn up to a f ew t hi n gs . . .
Ne x t , h e s h o ws o f f t h e p l i er s .
VIDA L
W h e n we get to t h i s o n e, we'll h a v e a
cl o s er r e l at i o n s hi p, a l m o s t l i k e
b r ot h ers . Y o u'l l s ee .
He pi cks up t h e bl ade .
VIDA L
A n d w h e n we get to t hi s o n e, I 'l l b e li e v e
ev er y t hi ng y o u t el l m e.
Vi da l p i cks up t h e h a mm er.
VIDA L
N o w I 'l l m ake y o u a dea l . I f y o u ca n
c o un t to t h r ee wi t h o ut s t t t u tt eri n g,
y o u ca n go .
He appr o ac h es t h e shi ver i ng m a n , wh o l oo ks ar o un d as i f i n
s ea r ch o f an a ns we r .
VIDA L
D o n ' t l o o k ar o un d, l o o k a t m e. T h ere ' s n oo n e ab o v e m e.
Ga r cé s I f I s ay t hi s as s h o l e ca n l ea ve
GA R C É S
T h e n h e ca n l ea v e, C apt a i n
VIDA L
S o, t h ere c o un t to t h r ee .
A n d St u tt er t r i es s we at i n g m ak i n g a s u pr e m e e f f o r t
S T UT T E R
On e
VIDA L
G oo d.
A ga i n , St u tt e r s t r uggl es a n d m a n age s a
S T UT T E R
T wo.
VIDA L
On e m o r e an d y o u wi ll be f r ee .
A n d h e go es f o r i t . B u t
S T UT T E R
T t t t
He l o o ks up a t Vi da l , i m p l o r i ng.
VIDA L
Pi t y .
Hi s ar m i s a bl ur as t h e h a m m er l a n ds a t err i bl e bl o w.
DIS SOL V E T O:
I N T . A T T I C NIGHT
T h un der, l i g h t ni ng, i t ' s r a i ni ng aga i n . O f e l i a i s as l ee p i n
h er b ed. A s h ado w pas s es o v er h er b o d y F A U N
Y o ur m o t h er i s m uc h b et t e r , Yo u r Hi g hn e s s
Y o u m us t b e r e l i e v ed ! !
Of e li a i s s t ar t l ed awak e. T h e F au n l o o m s o v er h er.
OF E L I A
Ye s , t h an k y o u. B u t t hi n gs h a v e n' t t ur n ed
o u t s o we l l .
F A U N
N o ? ?
Sh e gi ves him t h e packa ge. T h e F au n o pens i t : i ns i de t h ere
i s a l o n g, go l d dagge r . I t ' s b e aut i f u l . T he bl ade i s
en gr av ed w i t h C e l t i c l et t eri n g an d o n t h e h a n d l e i s t h e
f i gur e o f a s at y r h ugg i ng a g i r l w h o h o l d s a b a by .
OF E L I A
N o . I h ad an ac c i de n t .
F A U N
A n ac c i de n t ??
Sh e h a n ds hi m t h e F a i r y bas ket . Ou t o f i t co m es t h e da m age d
Green F a i r y , wh o i m m e d i at e l y perc h e s ato p hi s s h o u l der an d
s t ar t s ch att eri n g a n d po i n t i n g at t h e gi r l .
F A U N
Y o u b r o ke t h e r ul e s !
OF E L I A
I t wa s j u s t t w o gr ape s ! I t h o ugh t n o o n e
w o ul d n o t i c e
F A U N
W e m ade a m i s t ake ! !
OF E L I A
A m i s t ake ?
F A U N
Y o u f a i l ed. Yo u ca n n e v er go b ac k.
T h e m o o n w i l l b e f u ll i n t h r ee day s .Y o ur s p i r i t wi ll s t a y f o r ev er a m o n g
h u m a n s .
Y o u'l l li ve a m o n g t h e m , y o u'll ge t o l d
l i ke t h e m , y o u'll d i e l i ke t h e m a n d
y o ur m e m o r y o f us w i ll f ad e.
A n d we 'll v a ni s h a l o n g w i t h i t !
T h e F aun b ac ks i n t o t h e dar kes t c o r n er of t h e at t i c.
F A U N
Y o u wi l l n e v er, ev er s ee us aga i n .
A f l a s h o f l i g h t ni ng b r i e f ly ill u mi nat es th e co r n er: T h e
F aun i s go n e.
C UT T O :
E X T . B ODEGA SUNR I S E
Vi da l ca lml y s m o kes a c i garet t e un der a n u m b r e ll a. Garcé s
ar r i ves w i t h t h e Do ctor.
VIDA L
G oo d day , Do c to r . S o r r y to wake y o u s o
ea r l y , b ut I t hi n k we nee d s o m e he l p.
T h e D o c to r g o es i n s i de.
I N T . B ODEGA M I L L SUNR I S E
T h e D o c to r c o m es i n t o t h e b o dega . Vi da l s t a y s at t h e doo r .
S t u tt e r i s cur l ed up o n t h e gr o un d. Hi s no s e i s f l att en ed,
o n e e y e i s bl o o ds h o t an d a h ea d wo un d i s bl ee d i ng. Fli es
b uzz aro un d hi m .
DOC T OR
M y Go d, wh at h av e y o u do n e t o him ?
VIDA LN ot m u ch . B ut t hi n gs are gett i n g b et t er .
Vi da l s ur r ept i t i o us l y r e m o v es a vi a l o f an t i bi o t i cs f r o m t h e
D o c to r ' s m ed i ca l bag. He wraps i t i n a l in e n h a n dkerc hi e f .
VIDA L
I l i ke h a vi ng y o u n ea r , Do c tor . I t h a s
i t s adv a n t age s .
He m o v es awa y a l o n g w i t h Ga r cé s .
VIDA L
Ser r an o , s t ay here
On ce a l o n e, t h e Do c to r o pen s up hi s b ag an d t ake s o u t s o m e
al co h o l a n d gauz e t o cl ea n t h e wo un ds .
S T UT T E R
I s po ke . N ot m uc h b b b ut I di d
T h e D o c to r s ee s t h e m a n' s h a n d: i t 's a m es s o f b r o ken b o n e s
an d l ac erat i o n s .
DOC T OR
I ' m s o r r y
He gl a n ce s at Se r r an o , o u t s i d e s m o k i n g a c i garet t e .
S T UT T E R
N o . . . Ki ll m e, k i ll m e n o w.
T h e D o c to r l oo ks hi m i n t h e e y e, un s ur p r i s ed.
I N T . VIDA L ' S ST UDY DAW N
Vi da l b r i n g s o u t t h e packe t o f m ed i c i ne f r o m t h e cav e. He
t ake s o u t a vi a l o f a n t i bi o t i cs a n d co m p ares i t wi t h t h e o n e
f r o m t h e Do c to r ' s b ag.
T h e y are i de n t i ca l .
VIDA L
S o n o f a bi t c h I N T . B ODEGA SUNR I SE
T h e D o c to r p r epa r es an i nj ec t i o n .
DOC T OR
( to S t u tt e r , i n a whi s per)
I t wi ll b e o v er s o o n .
S t u tt e r g r a t ef u lly s quee ze s hi s h a n d. Af t er a b r i e f
h es i t at i o n , t h e Do c to r adm i n i s t ers t h e i njec t i o n .
T h e m e n s t are at o n e an o t h er. Sl o wl y , t h e l i f e e bb s f r o m
S t u tt e r ' s e y es .
I N T . M I L L VE ST I B UL E SA M E
Vi da l b r i s k l y l ea v e s hi s s t udy . Hea r i n g a d oo r cl i ck s h ut
s o m e w h ere ab o v e h e st o ps
VIDA L
( to Ga r cé s )
G o ch ec k o n D o c to r F err e i r o . I 'l l b e
t h ere s oo n .
GA R C É S
Ye s , C ap t ai n .
Vi da l go es ups t ai r s .
I N T . NOR T H B E DR OOM
Of e li a i s craw l i ng u n der t h e b ed
T h ere s h e f i nds t h e m a n dr ake r oot , bl o ate d an d i mm o bil e.
OF E L I A
Y o u' r e n ot m o vi ng are y o u i l l?
Suddenl y , V i da l y a nks h er o u t f r o m u n d er t h e b ed.B E DR OOM C ONT I NUOU S
VIDA L
W h at t h e h e l l are y o u do i n g do w n t h ere ?
Vi da l l o o ks un dern e at h t h e dust r uf f l e
E X T . B ODEGA DA Y
Ga r cé s wa l k s to t h e b o dega . Ser r an o s n uf f s o ut hi s
ci garet t e.
GA R C É S
W h ere i s he ? C a ll him o ut h ere
S E R R A NO
W h o ?
GA R C É S
W h o do y o u t hi n k, y o u i d i o t ? F er r e i r o !
He pus h es Ser r an o as i de, en t ers t h e b o dega
I N T . B ODEGA SA M E
T h e D o c to r h o l ds t h e d y i ng St u tt er i n hi s arm s . Garcé s s ee s
t h e s y r i n ge i n hi s h a n d s . He un ders t an ds i mm ed i at e l y .
I N T . NOR T H B E DR OOM DA Y
VIDA L dr ags o u t t h e m a n dr ake r oot f r o m u n d er t h e b ed. I t s
f o ul s m e ll m ake s him w i nc e.
VIDA L ( C ONT' D)
W h at t h e h e l l i s t hi s ?
He r i p s i t o f f t h e m il k p l at e.OF E L I A
N o ! N ooo !
Vi da l i s a b o u t to hi t t h e g i r l w h e n
C A R M E N
Pl ea s e, l ea v e h er b e !
Vi da l t ur n s : C ar m e n h as awa ke ned. Sh e m o t i o n s f o r hi m t o
s to p.
VIDA L
L oo k wh at s h e hi d un der y o ur b e d?!
W h at do y o u t h i n k o f t hi s ?
He h an ds C ar m e n t h e m a n dr ake r oot . A s h e n f ac ed a n d we ak,
C arm e n l o o ks at t h e d i s gus t i n g t hi ng, t r y i ng to m ake s e ns e
o f i t .
C A R M E N
Of e li a, wh at i s t hi s do i n g un d er th e b ed ?
OF E L I A
( m at t er o f f ac t )
I t ' s a m ag i c r oot t h e F aun ga v e me!
VIDA L
T hi s i s a l l b ec au s e o f t h at j u n k y o u l et
h er r ea d. L oo k wh at y o u'v e do n e
C A R M E N
L ea v e us a l o n e, I 'l l s pe ak t o h er,
Da r l i ng. . .
VIDA L
A s y o u wi s h .
Vi da l , f ur i o us , l ea v e s t h e r oo m .
OF E L I A
T h e F au n t o l d m e y o u wo ul d get b et t er
an d y o u di d !
C A R M E N
Y o u h av e to l i s t en to y o ur f at h er. Yo uh av e t o s to p al l t hi s .
Of e li a h ug s her m ot h er w i t h a l l h er m i g ht.
OF E L I A
N o I wa n t to l e a v e t hi s p l ac e! P l ea s e,
l et ' s j us t go
C A R M E N
T hi n g s are n o t t h at s i m p l e.
C arm e n pr i e s her o f f a n d l o o ks h er i n t h e e y e.
C A R M E N
A s y o u get o l der, y o u'll s ee t h at l if e
i s n' t l i k e y o ur f a i r y t a l e s . T h e wor l d i s
a c r ue l p l ac e.
Sh e m o ves awa y a n d n e ar t h e o pen chimn e y . T h e f i r e li g h t
ca s t s h ado ws o v er h er s wea t y f ac e.
C A R M E N
A n d y o u 'l l l ea r n t h at , ev e n i f i t hur t s .
Sh e t h r o ws t h e r oot i n to t h e f i r e ! !
OF E L I A
N oooo ! !
C A R M E N
Of e li a ! ! M ag i c do es n o t exi s t !
Sh e gr ab s t h e g i r l by t h e s h o u l ders , s h ak in g her.
C A R M E N
N ot f o r y o u, m e o r any o n e e l s e!
T h en a h o r r i bl e, i nh u m a n s quea l . T he dyi ng s h r i ek o f t h e
m a n dr ake ! ! ! O f e li a wat ch e s i n h o r r o r as t h e h u m a n o i d r oot
wri t h es a n d s quea l s i n t h e c him ne y f l a mes ! ! !
C arm e n gas p s an d do ubl e s o v er i n pa i n , c l ut chi ng h er
s to m a c h . Of e l i a h o l ds h er as b e s t as s h e ca n .
OF E L I A
He l p, h e l p, h e l p !I N T . B ODEGA SA M E
T h e Dd o c to r an d Vi da l s t ud y ea c h o t h er.
VIDA L
W hy d i d y o u d o i t ?
DOC T OR
I t wa s t h e o nl y t hi ng I co ul d do .
VIDA L
N o . Y o u c o ul d h a ve o b e y ed m e ?
DOC T OR
I c o ul d h a v e. B ut I di d n o t .
F r o m s o m ew here i n t h e h o us e, s o m eo n e C R I E S OUT . T h e y h e ar a
c o m m o t i o n a m o n g t h e se r v a n t s . T h e D octo r s t an ds up an d
c o l l ec t s hi s b ag.
VIDA L
B u t i t w o ul d ha v e b e e n b et t er f o r y o u
Vi da l gr i p s hi s ar m , s t o ppi n g him .
VIDA L
I d o n ' t un ders t an d W hy d i d n' t y o u o b e y
m e ??
A l o n g b ea t . T h e Do c tor kn o ws t h at hi s r es po n s e w ill s ea l
hi s f at e.
DOC T OR
T o o b e y w i t h o u t t hi n k i ng j us t l ike t h at
W e l l t h at ' s s o m et hi n g o nly p eo pl e l i k e
y o u ca n do C apt ai n
Vi da l t ake s o u t hi s gu n a n d s h o ot s t h e Do c to r , wh o dr o ps to
t h e gr o un d. Vi da l s t an d s o v er hi m a n d f ini s hes him o f f .
A s t un n ed Ga r cé s l o o ks o n . I t b eg i n s t o r a i n . J ac i n t a a n d
C o n chi t a appro ac h V i da l a n ur gen t m ur m ur .VIDA L
Ga r cé s ! ! Ha v e t h e t r oo p param ed i c co m e t o
m y w if e 's r oo m r i g h t aw a y ! !
C UT T O:
I N T . UPS T A I R S HAL L WAY M I L L L A T E AF T E R NOO N
A s t r ea m o f s er v a n t s h us t l e s up an d do w n t h e s t ai r s w i t h
s t ea m i n g b a s i ns a n d c l e a n to wel s . S o m e go i n a n d o u t o f t h e
b edroo m . T h e S OUN D o f C ar m e n' s s crea m s .
Vi da l a n d O f e li a wa i t i m pat i e n t l y o ut s i d e t h e b edroo m .
B ey o n d t h e h a l f o pen do or : ch ao s . M ercede s wash e s h er bl o o dy
h an d s i n a wa s h bas i n .
Of e li a l i s t e n s t o h er m o t h er' s cr i es .
C arm e n's s crea m s s t o p, r epl ac ed by a N E W B O R N ' S C R Y. T h e
PA R AM E DIC wa l k s to wards Vi da l a n d whi s p ers
PA R A M E DIC
Y o ur wi f e i s dea d
Vi da l h ur r i es i n t o t h e r oo m .
Of e li a i s n o w a l o n e i n t h e co r r i do r . T h ere's n o o n e ar o un d.
Sh e h ea r s t h e cr y i ng i nf a n t i n h er m o t h er' s b edro o m .
A PRIE S T ' s eu l o g y ca n b e heard.
DIS SOL V E T O:
E X T . C E M E T E R Y ON A HILL L A T E A F T E R NOO N
A b ea ut i f u l a f t ern o o n : t h e sun i s s hi n i ng, t h e sk y i s c l ea r .
Ga t h ered ar o un d a gr av e ar e t h e Ma y o r , hi s w i f e, t h e Pr i es t ,
al l T HE SE R VA NT S F R O M T HE M I L L , t h e guar ds an d V i da l i n a
ci vili a n bl a ck dr es s s u i t , w i t h hi s n ew b o r n s o n i n hi s ar m s .Of e li a we eps s il e n t l y . M ercede s put s h er h a n d o n Of e l i a 's
s h o ul der.
T h e y l o we r t h e co f f i n i n t o t h e gr av e.
I N T . NOR T H B E DR OOM DA Y
Of e li a c l o s e s t h e t r un k t h at h e l d h er m o th er ' s dr es s es . Sh e
pu t s aw ay h er m o t h er' s m ake up, l ett ers an d p h o to g r aph s .
Va r i o us m ed i c i nes a n d t h e b o tt l e o f s l ee p i n g dr o ps are o n
t h e ni g h t s t an d. Sh e put s ev er y t hi n g i n t o a s m a ll s u i t ca s e.
C UT T O:
I N T . VIDA L ' S ST UDY NIGHT
Vi da l w i pes a r ec o r d wi t h hi s s hi r t s l ee ve. He pl ac e s i t o n
t h e V i ct r o l a.
M ercede s l a y s t h e s l ee p i ng ba by i n a s i mp l e wo o den cradl e.
VIDA L
Y o u kn ew t h e Do c to r we l l , d i d n' t y o u
M ercede s ?
M E R C E DE S
W e a l l k n e w him , s i r . E v er y o n e a r o un d
h ere.
VIDA L
T h e s t u tt erer s po ke o f an i nf o r m a n t h ere
i n s i de t h e m ill . C a n y o u i m ag i ne t h at ?
R i g h t un der m y n o s e.
Vi da l p l ac es t h e n ee d l e o n t h e r ec or d.
VIDA L
M ercede s , pl e as e.
He p o i n t s at an e m pt y s ea t i n f r o n t o f hi s des k. T h e m u s i c
s t ar t s up .VIDA L
W h at m us t y o u t hi n k o f m e, m y dea r y o un g
w o m a n? Yo u m u s t t hi n k I 'm a m o n s t er.
M E R C E DE S
W h at s o m eo n e li ke m e t hi nks o f y o u
h ard l y m at t ers , Si r
He p o u r s hi m s e l f a g l as s o f Oru j o an d pour s o n e f o r h er as
we l l .
VIDA L
W o ul d y o u go to t h e b o dega , M e r ce des ? An d
b r i n g m e a n o t h er b ott l e o f l i quo r .
Pl ea s e.
He gl a n ce s at t h e b ott l e: a quar t er o f t h e l i quo r s t i ll
r em a i ns .
M E R C E DE S
Ye s , s i r r i g h t aw a y .
VIDA L
A r en' t y o u f o r gett i n g s o m et hi ng ?
M E R C E DE S
Si r ?
VIDA L
T h e ke y . I h a v e t h e o nl y co p y , don' t I ?
M E R C E DE S
Yy es .
VIDA L
Y o u kn o w? S o m et hi ng ' s b o t h er i ng m e. I t ' s
n ot i m po r t an t, a t i ny det a i l b ut th e da y
t h e y b r o ke i n t o t h e sto r eh o us e, wi t h a l l
t h o s e gr en ade s an d e x p l o s i ve s , t h e l o ck
i t s e l f wa s n e v er f o r ce d.
B u t as I s ai d I t ' s pr o b ably n o t
i m po r t an t .
He gi v es h er t h e ke y a n d h o v ers da n gero us l y .VIDA L
B e v er y ca r e f u l .
M E R C E DE S
G oo d n i g h t , s i r .
Vi da l wa t ch e s h er l e a v e as he s i p s hi s li q uo r .
I N T . K I T C HE N NIGHT
T h e m u s i c f r o m V i da l 's s t ud y ca r r i e s i n t o t h e k i t ch e n .
M ercede s pr i e s up t h e l o o s e f l o o r t i l e a nd f ill s h er ca nvas
b ag w i t h l et t ers an d gr o ce r i e s . Sh e h ea r s a n o i s e, an d
s to ps : n ot hi n g. . .
Sh e h ur r i ed ly ke eps pac k i ng.
I N T . A T T I C NIGHT
Of e li a, s o un d as l ee p. A s h ado w l o o m s ov er her. Sh e wake s up
M E R C E DE S
Sh h . Of e l i a I 'm l ea vi ng to ni g h t .
OF E L I A
W h ere are y o u go i n g ?
M E R C E DE S
I ca n ' t t el l y o u.
Of e li a put s h er arm s aro un d h er n ec k.
OF E L I A
T ake m e w i t h y o u, pl e as e.
M E R C E DE S
I ca n ' t , m y c hil d
OF E L I A
T ake m e w i t h y o u.C UT T O:
E X T . M I L L NIGH T
Of e li a a n d M ercede s ca ut i o us l y m o v e a wa y f r o m t h e m ill .
M ercede s us es a n o l d u m b r e ll a t o s h e l t er t h e g i r l f r o m t h e
r ai n .
I N T . R I VE R B E D NIGHT
T h e t w o w o m e n wa de t h e sha l l o w e n d o f t h e r i v er. Suddenl y a
n o i s e
M ercede s paus es , ag i t at ed.
M E R C E DE S
I h ea r d s o m et hi ng
Sh e l i s t e n s i n t e n t l y .
M E R C E DE S
N ot hi n g I t wa s n ot hi n g.
W h e n s h e t ur n s , s he ' s s ur pr i s ed t o di s co ver
Vi da l , Ser r an o an d h a l f a do ze n m e n s ur r o un d i n g t h e m . V i da l
n o ds a t t h e m , ge n t l e m a nly .
VIDA L
M ercede s
T h en h e gaz e s do wn at h i s s t epda ugh t er.
VIDA L
Of e li a. . .
C UT T O:
I N T . A T T I C NIGHTVi da l pus h e s O f e li a i n t o t h e a tt i c.
VIDA L
H o w l o n g h a v e y o u kn o wn a b o ut h er ?? Uh??
He s l ap s t h e g i r l t wi c e.
VIDA L
H o w y o u m us t h a v e l aug h ed at m e, y o u
l i t t l e bi t c h! !
He t u r n s to hi s m e n , aw a i t i n g o r ders by th e do or .
VIDA L
L o ck t h e door
K ee p an e y e o n h er an d if a ny o n e t r i e s to
ge t i n , k i ll h er f i r s t .
He exi t s . L ea vi ng t h e weep i n g g i r l a l o n e i n t h e e n o r m o us
a tt i c.
I N T . B ODEGA DA Y
Vi da l t ake s t h e canv as b ag f r o m M erced es . He o pen s i t an d
b r i n g s o u t a f ew m ea ger i t e m s .
VIDA L
Dry m ea t T o b ac co i f y o u h ad a s ked f o r
i t , I w o ul d ha v e g i v e n i t to y o u,
M ercede s
T h en , a s m a ll pa cke t o f l et t ers .
VIDA L
I wa n t t h e n a m es o f a ny o n e n a m e d i n t h es e
l et t ers an d I wa n t t h e m i n f r o n t o f m e
f i r s t t hi n g i n t h e m o r ni ng.
GA R C É S
Ye s , Si r !
Ga r cé s n o ds h e f i ni s hes r o pi n g M ercede s to t h e ex ac t s a m e
w oo den po s t wh ere S t u tt er was t i ed.VIDA L
Y o u ca n l e a v e, Ga r cé s .
GA R C É S
Y o u' r e s ur e, C ap t ai n?
VIDA L
F or G o d' s s ake , s h e 's j u s t a w o m a n .
Ga r cé s l e ers an d l ea v e s .
M E R C E DE S
T h at ' s w h at y o u a l wa y s t h o ugh t . T h at ' s
why I wa s abl e t o ge t aw ay w i t h it. I was
i nvi s i b l e t o y o u.
Vi da l r o l l s up hi s s l ee v e s an d u nb ut to n s hi s s hi r t c o l l ar.
VIDA L
Da m n . Yo u f o un d m y w ea k n es s : arr o gan ce .
H o w pe r ce pt i v e.
B u t we ’ r e h ere to f i n d y o ur we ak p o i n t s .
Vi da l b us i e s him s e lf w i t h hi s t oo l s : t h e ha m m er, p l i ers, et c.
VIDA L
I t ' s v er y s im p l e: y o u w i ll t a l k. . . a n d
I h av e t o kn o w t h at ev er y t hi ng yo u s a y i s
t h e t r u t h .
S tr ai ni ng aga i ns t t h e r o pes , M ercede s m an ag es r ea c h t h e
kni f e i n h er apro n .
VIDA L
A t f i r s t , I w o n ' t b e abl e t o t r us t
Suddenl y W H AC K ! ! !
Vi da l ’ s b o d y s h udders
h e pu t s hi s h a n d t o hi s l e f t s h o u l d er bl a de. He l o o ks a t
hi s bloody f inger s . He t ur n s ar o un d an d s t um bl es .
M ercede s h o l ds t h e kni f e. V i da l r ea c h es f o r hi s gu n .M ercede s s t ab s him aga i n , t hi s t i m e deep i n hi s upper ar m .
A s V i da l do ubl es o v er i n pa i n , s h e st i cks t h e kni f e i n hi s
m o ut h .
M E R C E DE S
A t f i r s t , I w o n ' t b e abl e t o t r us t
I ' m n o t s o m e o l d m a n ! Not a w o un ded
pr i s o n er ! So n o f a bi t c h s o n o f a bit ch
D o n ’ t y o u dare to uch t h e gi r l . . . Yo u wo n ' t
b e t h e f i r s t pi g I 'v e gut t ed !
Wi t h a b r ut a l t h r us t f r om the ins ide out s h e s li ce s o pen
hi s c h ee k. V i d a l co l l ap s es , gur g l i ng bl o o d. M ercede s us es
t h e kni f e t o cu t t h e r o pes as qui ck as s he can .
On ce f r ee , M ercede s r uns to ward t h e doo r .
E X T . B ODEGA NIGHT
Ou t s i de, n o o n e h as a ny i d ea o f what h as j u s t h appe n ed.
Ga r cé s , Se r r an o an d ot h er guards g o ab out t h e i r b u s i nes s .
Ga r cé s , i n f ac t , i s li s t eni ng to a r adi o , t un ed t o t h e
NA T I ONA L L OT T E R Y r es u l t s . He h o l ds i n hi s h a n d t h e
Gue r r i l l a 's a b a n do n ed t i ck et .
R A DIO A NNO UN C E R
. . . t h e w i nni ng n u m bers are. . .
M ercede s , s ur r ep t i t i o us , m o v e s awa y i n t o t h e woo ds . Ser r an o
s p ot s h er at t h e l as t m i n ut e.
S E R R A NO
( to Ga r cé s )
He l et h er go !
GA R C É S
Sh h
He l i s t ens to t h e r ad i o an d f i na l ly , gr un t i n g cru m p l e s t h e
l o tt e r y t i cke t an d m o v e s to wards Ser r an o.
GA R C É S
W h at t h e f uck ar e y o u t al k i n g a bo u t ? ?Ser r an o p o i n t s at M ercede s , a l r ea d y h a lf wa y i n t o t h e woo ds .
GA R C É S
He y ! !
Sh e s t ar t s to r un . Ga r cé s pu l l s o u t hi s gu n a n d r ea d i e s i t .
Vi da l s t u m bl es o ut o f t h e b o dega , bl e ed i n g a n d co v er i n g hi s
f ac e w i t h hi s r i g h t h a n d.
VIDA L
( to Ga r cé s )
Ge t h er! ! !
Ga r cé s i s s h o cke d an i nj ur ed V i da l ?? ?
GA R C É S
C ap t ai n! Wh at ??
VIDA L
B r i n g her to m e, Go ddam i t ! ! !
He un co v ers hi s s l a s h ed f ac e.
Ga r cé s , s t ar t l ed r un s t o co m p l y .
GA R C É S
( to a l l m e n )
M o un t up! ! !
E X T . DE E P F OR E ST NIGHT
M ercede s r un s t h r o ugh t h e t r ee s .
Suddenl y a r u m bl e m ake s her t u r n aro un d: A gr o up o f T E N M E N
o n h o r s es s ur ges i n t o vi ew.
Sh e s t um bl es , l o s i n g gr o un d.
M ercede s get s up , l i m p i ng n o w
Sh e get s to a cl ea r i ng. C l o s i n g i n , Garcé s di s m o u n t s . Si x
ot h er r i ders s ur r o un d h er. M ercede s f l a s h e s h er knif e. T h e
h o r s em e n t i g h t en t h e c i r c l e ar o un d h er.GA R C É S
I t ' l l b e bett er i f y o u co m e w i t h o ut
s t r uggl i ng. T h e Capt ai n
Sh e pu t s t h e bl ade t o h er o wn t h r o at.
GA R C É S
D o n ' t b e f o o l i s h , s we et h ea r t , i f a ny o n e
i s go i n g to ki l l y o u
He t ake s o u t hi s gun .
GA R C É S
I t ' l l b e m e
He wa l ks up to h er. Suddenl y , a guns h ot hi t s hi m i n t h e
ch es t , an d t h en a n o t h er an d an o t h er. He f a l l s t o t h e gr o un d,
dea d.
A s er i es o f gun s h o t s pi ck o f f t h e ot h er h o r s em e n .
T h e l a s t t h r ee s o l d i ers t r y to es ca pe. On e i s k i ll ed by a
f ur i o us h a il o f b u l l et s ; Ser r an o an d an o t h er o n e m a n age t o
ge t aw ay .
A bl o o d s patt e r ed Me r ce des s ee s m e n em erg i ng f r o m t h e
f o r es t : Pedr o n o w l ea d s F OR T Y A R M E D GUERR I L L A S.
B r ot h er an d s i s t er em b r ac e. T h e Guer i ll a s f i ni s h o f f t h e
i nj ur ed s o l d i er s o n t h e gr o un d.
C UT T O:
I N T . A T T I C NIGHT
Of e li a l i e s o n t h e f l o o r , m ot i o nl e s s , de f e at ed, wh e n t h e
Green F a i r y appe ars .
Of e li a s i t s up, an d t h e F au n i s t h ere.
F A U N
I ' v e dec i ded to gi ve y o u o n e l a s t ch a nce .M es m er i ze d, O f e li a n o ds .
F A U N
Y o u p r o m i s e t o l i s t e n , to d o ev ery t hi ng I
t el l y o u ? Wi t h o ut ques t i o n?
Of e li a n o ds aga i n .
F A U N
Ve r y we l l , t h e n : P i ck up y o ur b r ot h er an d
b r i n g him t o t h e l a by r i n t h as f as t as
y o u ca n . Yo ur Hi g hn e s s . . .
OF E L I A
M y b r ot h er?
F A U N
W e n ee d hi m .
OF E L I A
W hy
F A U N
( i r r i t at ed)
N o m o r e ques t i o ns .
OF E L I A
T h e doo r ' s l o cke d.
T h e F aun g i ves h er p i ec e o f ch a l k.
F A U N
T h e n , creat e y o ur o wn d oo r .
C UT T O:
E X T . M I L L NIGH T F AL L
Ser r an o an d t h e i nj ur ed so l d i er r et u r n to t h e m ill .
I N T . VIDA L ' S ST UDY NIGHTVi da l s ew s hi s s p l i t c h ee k a n d t h en wrap s a bl o o d s t ai n ed
b an dag e aro un d i t .
Of e li a s t ea l s i n , pas t t h e Capt ai n' s de s k.
I n t h e crad l e, t h e b a by s t art s cry i ng.
T h e b aby 's w a i l s gr o w l o uder. T h e Capt a i n t ur n s aro un d ;
Of e li a hi de s b ut l ea v e s h er m ag i c cha l k b e hi nd.
Vi da l go es to a sm a ll t abl e an d s erv e s him s e l f t h e l a s t o f
t h e Or uj o . He ' s t ake s a s i p. T h e b a n dage s o aks up i n bl o o d
an d a l co h o l . He gr un t s
and pour s hims elf another one .
He ' s ab o ut to t ake a si p w h e n h e s ee s t h e ch a l k o n hi s des k.
He i n s t i n ct i v e ly r ea d i e s hi s gu n . . . T h en
SE R GE A NT
C ap t ai n C apt a i n P l ea s e co m e, qu i ck ly
VIDA L
N o w wh at ?
SE R GE A NT
Ser r an o i s b ac k. He 's wo un ded.
VIDA L
W o un ded?
He l ea v e s t h e st udy . O f e li a co m es o ut f r o m hi d i ng a n d l o o ks
a t t h e cradl e, at t h e cr y i ng i nf a n t .
Sh e t ake s o u t h er m o t h er' s b o tt l e o f s l ee p i ng m ed i c i ne a n d
em pt i es i t i n t o Vi da l 's l i quo r .
E X T . M I L L NIGH T
A do ze n m e n gat h er ar o un d t h e W OUN DE D GUA R D.
VIDA L
W h at h appe n ed ?? Wh ere i s Garc és ??Ser r an o s h ake s hi s h ea d.
VIDA L
H o w m a ny w ere t h ere?
W OUN DE D GUA R D
I d o n ' t kn o w, s i r . T h e sh o t s ca m e f r o m
al l aro un d us . Fi f t y at l ea s t
SE R GE A NT
N o n e o f t h e wa t ch p o s t s a r e r es p o n d i n g,
Si r
VIDA L
H o w m a ny m e n h ere i n ca m p ?
S E R R A NO
T we n t y , m a y be l e s s , s i r
Vi da l do es t h e m at h .
I N T . VIDA L ' S ST UDY NIGHT
Of e li a l if t s h er b r o t h er f r o m t h e cr ad l e.
OF E L I A
W e' r e l ea vi ng. T o ge t h er. D o n ' t be a f r a i d.
N ot hi n g i s go i n g to h appe n t o y o u.
Sh e wraps hi m i n a bl a n ket an d t r i es to s oot h e hi m . Ha l f wa y
to t h e doo r , s h e h ea r s f o ot s t eps an d hi de s i n a n o o k .
VIDA L
Pu t t h e r em a i ni ng m e n o n p i cke t dut y at
t h e t r ee l i ne wh e n a n o t h er s quad get s
b ac k, h ave i t r ep o r t i mm ed i at e l y to m e.
Vi da l co m es b ac k i n , f o l l o wed by t h e S e r gea n t .
VIDA L
C al l f o r r ei nf o r ce m e n t s .
SE R GE A NT
Ye s , s i r .T h e Ser gea n t l ea v es , V i d a l go es to h i s dr i nk. B ut h e s to ps
to pi ck up hi s go l d a n d s il ver wat ch ; h e w i n ds i t an d s li p s
i t i n t o h i s po cke t.
Fi n a lly , h e dr i n ks hi s Oru j o .
I n t h e s h ado ws , O f e li a t ake s a f ew st eps to wards t h e d oo r .
Ou t s i de, t h e s o un d o f SHOUT I NG an d GUNF I R E . An ex p l o s i o n
i ll u m i nat es t h e r oo m , r ev ea li ng O f e li a a nd t h e b a by t o
Vi da l .
Vi da l t ake s o u t hi s gu n a n d t ake s a f ew f a l t er i n g s t eps .
VIDA L
Pu t hi m do wn
T h e gi r l edge s to wa r d t h e st udy doo r . Vi da l s t u m bl es t o ward
h er. Ou t s i de, a t er r i bl e e x p l o s i o n s h at t ers t h e w i n do w an d
s h ake s t h e wh o l e h o us e.
VIDA L
I ' m wa r ni ng y o u pu t hi m do wn
He tr i p s o n hi s des k, b are ly s t a y i ng o n his f ee t . Of e li a
r un s aw a y . V i da l t r i e s to s h ake him s e lf a wake an d go es a f t er
h er.
I N T . M I L L VE ST I B UL E N I GHT
T h e gi r l r u n s t o wa r d t h e ki t c h e n . An o t h er ex p l o s i o n l i g h t s
up t h e r oo m , a l l o w i ng V i da l to s ee h er. He h ea d s s t r ai g h t at
h er.
E X T . B E HIND T HE M I L L NIGH T
Of e li a r un s o ut s i de, h o l d i ng h er b r ot h er. Sh e l o o ks up. T h e
m o o n i s F U L L .
Sh e r un s to wa r d t h e l a by r i n t h .Vi da l s t agge r s o u t b ehi nd h er. I n t h e b ac kgr o un d, m o r e
ex p l o s i o ns , f l a m e s a n d b ur s t s o f f i r e. A batt l e r age s i n t h e
f o r es t.
S o m e b u ll et s whi z pas t V i da l , b ut h e keeps go i n g.
C UT T O:
I N T . ST A I R WA Y T O A T T I C
M ercede s wa l ks up t h e att i c st a i r s , f o l l o wed by Pedr o an d a
f ew o f hi s m e n .
I N T . A T T I C NIGHT
Sh e f i nds t h e att i c e m pt y . On a wa l l t h er e i s a chil d 's
ch a l k dr aw i ng o f a doo r way .
C UT T O:
E X T . L A B Y R I NT H N I GHT
Of e li a das h e s i n t o t h e l a by r i n t h . V i d a l i s n o t f ar be hi n d.
T h e s l ee p i ng m ed i c i ne m ake s him s t u m bl e a n d f a l t er. He
s l u m p s aga i ns t a wal l . O f e li a ga i ns o n him .
B u t r i g h t aw a y , s h e l o s es h er wa y , b ut t h e l ea f y wa ll s mov e
as ide to guide her !
f i r s t o n e, t h en a n ot h er
an d y et an o t h er.
Vi da l , m ea n w hil e, b u m p s i n t o o b s t ac l e s at ev er y t ur n . Hea d
s pi nni ng, h e paus es .
I N T . R OT UND A I N C E NT E R OF L AB YR I NT H NIGHTR ea chi ng t h e r ot un da, Of e li a s ee s t h e F a un wa i t i n g, ha l f wa y
up t h e s to n e s t ai r c as e.
Of e li a ca lm s t h e b a by a n d s t ar t s d o wn t h e st ai r s t o wa r d hi m .
F A U N
Qui ck ly , Yo ur M a j es t y , g i v e him to m e.
T h e f u ll m o o n i s a l m o s t h ere an d we n ee d
hi m t o o pen t h e por t al .
OF E L I A
( s ee i n g s o m et hi ng)
W h at 's t h at i n y o ur h an d ?
I t ' s t h e go l de n dagge r .
F A U N
T h e po r t al w i ll o nl y o pen i f we s h ed t h e
bl o o d o f a n i nn o ce n t . A p i n pr i ck T h at ' s
al l . J u s t a dr o p o f bl o o d
I t ' s t h e l a s t t as k! ! Hurr y ! !
T h e b as ket s h ake s f ur i o us ly . T h e Gr ee n F a i r y e s ca pe s an d
b uzz es f ur i o us ly aro un d O f e li a.
F A U N
Y o u p r o m i s ed t o d o i t , s o gi v e m e t h e
b o y . I wa n t to l ea ve t hi s p l ac e, I ca n' t
wa i t any l o n ger !
T h e F aun co m es c l o s er to t h e g i r l . H i s f a ce r ad i at es a
wi cke d h u n ger. Sh e st eps b ac k, h o r r i f i ed .
OF E L I A
N o . M y b r o t h er s t ay s w i t h m e.
F A U N
Y o u w o ul d g i v e up y o ur s ac r ed r i gh t s f o r
t hi s b r at ?
OF E L I A
Ye s , I w o ul d.
F A U NY o u wi l l g i ve up y o ur t h r o n e f o r him ? He
wh o h as ca us ed y o u s uch mi s er y , s uch
h u m il i at i o n?
Vi da l co m es i n t o t h e r ot un da. He se es Of e li a, a l o n e. He
ca n ' t s ee t h e F au n . Wi t h en o r m o us e f f o r t, Vi da l l if t s hi s
gun .
OF E L I A
I wi ll .
F A U N
A s y o u wi s h Yo ur Hi g hn e s s
A s h e r ec ede s i n t o t h e dar kn es s , V i da l s hoot s . T h e b u l l et
hi t s Of e l i a i n t he sto m a c h . Sh e f a ll s ge n t ly t o t h e gr o un d,
a t t h e edge o f t h e we l l , c l ut chi ng h er b a by b r o t h er.
T h e b oo k l a n ds n e x t to h er.
Vi da l p i cks up t h e i nf a n t . Of e li a r ea c h es o u t f o r h e l p,
t ea r s i n h er e y es . V i d a l i g n o r es h er, s p i t s o n t h e gr o un d
an d l ea v e s .
C A M E R A c l o s e s i n o n O f e li a ' s f ac e. A r i bb o n o f bl o o d s t r ea m s
f r o m h er n o s e.
I N T . L A B Y R I NT H N I GHT
Vi da l r uns do wn t h e l a s t pa t h o f t h e l a byr i n t h , l e ad i ng to
t h e exi t
E X T . L A B Y R I NT H N I GHT
wh ere Pedr o an d hi s m e n are wa i t i n g. I n t h e i r m i d s t :
M ercede s .
Wi t h a l o ud b a n g gun s h o t s t ea r i n t o Vi d a l . V i da l f a ll s t o
hi s k n ee s , h o i s t i n g hi s h o w l i ng s o n i n t he a i r .
VIDA L
M y s o n M ercede s wa l ks f o r wa r d. Vi da l a n d M er ce des l o o k a t ea ch
ot h er.
VIDA L
T e l l him a b o ut hi s f at her A b o ut t h e t i m e
hi s f at h er d i ed
M ercede s t ake s t h e b a by i n h er ar m s .
Vi da l u n ders t an ds t h e s i t uat i o n . He t ake s o u t hi s po cke t
wa t ch an d s m as hes i t o n t h e gr o un d.
VIDA L
T e l l him
M E R C E DE S
N o
Pedr o s t eps o v er to Vi da l , gun i n hi s h a nd.
M E R C E DE S
( to Vi da l )
He w o n ’ t ev en k n o w y o ur n a m e.
M ercede s ' wo r ds are Vi da l 's l a s t an d m o s t pai nf u l wo un d. H i s
f ac e go es pa l e
an d Pedr o s h oot s hi m i n t h e head.
Vi da l co l l aps e s , dea d.
I N T . R OT UND A I N C E NT E R OF L AB YR I NT H
M ercede s an d Pedr o r ea ch t h e r otun da. M ercede s k n ee l s n e x t
to t h e d y i ng g i r l . C r yi ng, M ercede s h u ms a swe et Gal i c i a n
l u ll a by .
Of e li a ' s pup il s d i l at e.
He r bl o o d r un s do wn i n t o t h e we l l , i n t o th e pudd l e at t h e
b otto m . T h e m o o n ' s r e f l ec t i o n s himm ers .
I n t h e b o o k , an i m age t ake s s h ape : O f e lia at a r o y a l co ur t,i n f r o n t o f a f a b u l o us b a n quet .
K I NG/FA T HE R ( O. S . )
A r i s e, m y daug h t er.
I N T . VA ST HA L L NIGHT
Of e li a s t an ds . T h e l a by r i n t h h as d i s appe ared.
T h i s i s an imm e n s e h a ll , i n a dar k, s u m pt uo us ca s t l e. A
s wa r m o f f a i r i e s f l o at s aro un d h er h ea d. B e f o r e h er, o n a
g o l de n t h r o n e s i t s t h e K I NG OF T HE U NDERW O R L D.
A t hi s s i de, an a l m o s t un r ec o gni z a bl e Ca r m e n r adi a n t an d
gi l ded, s he h a s t r an s f o r m ed i n t o a F A I R Y QUEE N . B e t wee n
t h e m , t h ere i s an o t h er t h r o n e, em pt y , wa i t i n g.
Of e li a l o o ks a t t h e Ki n g
OF E L I A
( a whi s per)
F at h er. . .
K I NG
I t wa s y o ur bl o o d an d n ot t h at o f an
i nn o ce n t t h at m ade y o u wo r t hy of t h e
t h r o n e. I t wa s t h e l as t t as k. T h e m o s t
i m po r t an t o n e...
A n d o u t f r o m b e hi nd a p i ll ar co m e s o u t th e F au n . Sm ili ng,
s ur r o un ded by t h e F a i r i e s .
F A U N
A n d y o u ch o s e we l l , Yo ur Hi g hnes s . . .
He b o ws d o wn .
QUEE N
S o, c o m e s i t by y o ur F at h er’ s s i d e, m y
chi l d ? He ’ s bee n wa i t i n g s o l o n g.
T h e Green F a i r y f li e s aro un d Of e l i a, ce l e b r at i n g h er r et ur n .
Of e li a i s che ered by a h u n dr ed v o i ce s .Of e li a s mi l e s
I N T . L A B Y R I NT H N I GHT
an d f i na lly d i es . I n her e y e: o n e f r o ze n t ea r . M ercede s
h ugs t h e dea d gi r l .
C A M E R A do l li e s b a ck. T h e m o o n i s r e f lec t ed a t t h e b otto m o f
t h e poo l . B uzz i n g i n t h e ni g h t a i r i s t h e S t i ck I ns ec t .
NA R R A T OR
A n d i t i s s a i d t h at t h e P r i n ce s s w en t
b ac k to h er f at h er 's k i n gdo m
A n d t h at s h e r e i g n ed w i t h j us t i ce an d a
ki n d hea r t f o r m a ny ce n t ur i e s . An d t h at
s h e wa s l o v ed by a l l h er s u bj ec t s . . .
E X T . E DG E OF F OR E ST SUNR I S E
T h e s unl i g h t e m a n at es gr adua l ly f r o m t h e dar kn es s an d s hi ne s
o n t h e s i l h o uet t e o f t h e f a ll e n f i g t r ee .
NA R R A T OR
A n d, l i ke m o s t o f us , s h e l e f t b e hi nd
s m a ll t r ac es o f h er t i m e o n ea r t h .
Vi s i b l e o nly t o t h o s e t h at kn o w wh ere t o
l o o k . . .
T h e f i g t r ee i s f l o we r i ng aga i n .
F A DE T O B L A C K . | screenplays |
Yu-Gi-Oh No Day For Cake
The morning had come early and had seen Yugi wake, dress, clean up and get Atem up, through all these steps and out the door to his work (researching or whatever he does, Yugi thought). Waking one's flat-mate is nowhere near as difficult, Yugi had discovered, as forcing him not only to brush his teeth but also to wear matching clothes (a chore Yugi took upon himself when Atem's sense of style failed him in seldom seen, somnolent moments). Sometimes Yugi felt more like a nanny than a neighbor and sighed while he went about the apartment, cleaning and tidying, trying to assuage the devastated living room from the previous evening's late night gaming session.
While he was disposing of an armful of candy wrappers, Yugi heard a small tinkling noise and, curious, followed it to its source in Atem's bedroom. Not knowing what to expect, Yugi found the sound emanating from the unkempt covers on his room-mate's mattress. Rooting around, he discovered the noisemaker just as it went to voicemail. Atem had left his cell phone.
Taking the sleek black device into his hand, Yugi fidgeted, wondering whether he should try calling Atem at work, drop it off, or replace it in the bed and pretend he hadn't noticed it. It wasn't as though Atem had been gone long, hardly twenty minutes, but given the way traffic was…Yugi hated to think of bringing him back for something so small. Also, what would Atem think of Yugi calling him at work, letting him know he was currently holding a beacon of all his contacts, a gateway into his personal life throbbing in Yugi's moistening palm? Yugi shook his head, clearing his brain of his noticeably awkward thoughts; then was interrupted as a beeping noise signaled a message.
Yugi glanced at the screen. _One new message_. He stared at the notification. _One. New. Message._ Yugi couldn't stop himself from looking around nervously, even going over to check just outside the entry to the bedroom, wondering if this all was a trap, if somehow he would check the message only to have it snatched out of his grasp by a concealed and waiting Atem, who had seen fit to test his potential love interest (here Yugi indulged himself) with concepts of trust, privacy and personal property. Making sure to walk through the apartment (twice), just to make sure no one but him was really there, Yugi gave it some thought.
Ordinarily…he _never_ would have opened someone else's message without their permission. It just wasn't right. It went against everything he stood for. …_However_…Yugi lusted over the thought of getting to know Atem better, peering into his mysterious life, having an upper hand just _once_ over the man who was constantly pushing his buttons with no hesitation and no problem; just to have _something, _some embarrassing tidbit to tease him with, to make him blush, to make those sultry, dark and chocolate coated gazes rear back, caught, defeated, beautifully embarrassed with a flick of Yugi's tongue. It was precious. It was to die for. And Yugi wanted it so bad.
On the other hand, Yugi thought, this could be a _really_ important message. It might be (though Yugi prayed it wasn't) some message that Atem's mother had been hospitalized or perhaps that he had won the lottery or even that he was being warned to get out of the country because his location had been compromi-okay, that's enough, no more candy fests before bed for you Yugi Mutou, he thought, trying to steer his overactive imagination back on topic.
The argument still stood. It might well be an imperative notice and Atem had every right to know about it…
Yugi pressed the button quickly, attempting to unlock the stolid device. No luck. He frowned. He guessed that was it. Technology had a way of ending arguments. He was putting the phone down when it began ringing again and Yugi nearly had a heart attack, just keeping himself from hurling the phone across the room. He stared at it, amazed at his luck and waiting, not recognizing the number, but waiting. The moment the phone went to voicemail, he leapt at his chance and kept the phone awake.
"_So far so good…_"
He dialed voicemail and waited, was prompted for a password, and promptly had his mind go blank. Panicking, Yugi punched in the four digit apartment number they lived in and waited. Miraculously (and also quite unsafely), the code proved correct and Yugi eased himself down onto Atem's bed, breathing heavily.
"_You have,"_ the automated voice said, "_one new message. First voice message:…_"
Yugi didn't recognize the voice at first until, after a moment, he placed the cold, prudent candor as Atem's friend…what was his name? Kaiba?
"_It's me. Pick up your phone if I call you. You know I know you hate being left leaving messages. The party, as I said, is tomorrow at six and I expect you to be there. That's why we're having it. Call me back any time before four. I'm not calling again so don't miss it."_
"_End of new messages,_" the automated voice said, effectively ending the stream of information Yugi had to work with. He pressed a button and listened to Kaiba's message again, making sure he got everything and went into the kitchen to write the details down, fully sure he would deliver the message to Atem right then…when a sly thought crept into his mind, no doubt influenced by the sly devil of a tone Seto Kaiba had a way of inserting into his speech every time he uttered a sentence.
"_party…tomorrow at six…that's why we're having it…Could it be," _Yugi wondered, "_Could it be…Atem's birthday?"_
Atem's birthday was one of a number of details Yugi had really wanted to know but felt too shy to ask. After all, what sort of conclusions would one draw from someone asking your birthday? The answer is probably nothing like what Yugi pictured but nonetheless, he was too cautious for that (now if only he could control his big mouth as effectively). But now, Yugi felt he had it. Atem's birthday would be, most likely, tomorrow…_and more than that_, Yugi wouldn't even have _known about it_!
Imagine spending the day oblivious that his flat-mate's birthday was that very day and not so much as wishing a single good will towards the older, definitely good-will inducing man. Yugi humphed. Imagine that. He _always_ made sure to remember his friends' birthdays and to send them congrats. _No one_ escaped the Yugi Mutou Birthday Monitor (a nickname he had given himself which Tea, on certain occasions mentioned as being kind of creepy).
What bothered Yugi more than being left out of the loop was in the connotations of being left out of the loop. Atem would be spending an evening, no doubt without him, among his colleagues and presumably friends, celebrating his birthday…_without him_. Naturally, Atem could do as he pleased and could celebrate his birthday however he wished and it wasn't as though he and Atem were especially tied romantically so there was no reason to assume that he had any right to assume Atem would—
Ah, screw it. No, Atem ought to be spending it with _me_, Yugi thought. It might have been selfish or odd, but Yugi knew that this would a moment they could share in a definite, defining context and one that would far more easily allow them to assess their…_situation_.
"It's his birthday…and I want him _here_ with _me_…_alone_." Yugi shivered. His big innocent violet eyes hid many inappropriate thoughts, buttressed by the many near-misses he'd had entering the bathroom while Atem was either showering or leaving said shower. Yugi swore he didn't do it on purpose but Atem only left him with a slow smile and a methodical swish to his body that _couldn't _have been natural.
Returning the phone to the bedroom before coming back to the kitchen, Yugi's mind began working rapidly. "There is no better way to celebrate a birthday," he reasoned, "than by having cake, preferably home-made cake." And as it happened, Yugi, the accomplished baker, had a new devil's food chocolate layer cake recipe in mind he'd been wanting to try anyway. "A devil for a devil," he wanted to say, ignoring how corny he sounded in his head. Tea also might have noted Yugi's tiny giggles at that moment as being creepy.
Yugi took down the bowls and began setting out ingredients, imagining how the cake would turn out, how it would look and how it would break, crumb by crumb into Atem's mouth, leaving scattered flecks of sponge-soft chocolate dotting the birthday boy's face – the lips smeared, the tongue nonchalantly swiping at the remnants of the rich, thick taste and the eyes, staring almost satisfied into Yugi's, wishing to devour more than one sugary confection…
* * *
Atem returned home to the apartment later that afternoon. He had realized he'd forgotten his phone only just after he'd reached the office, meaning to call Kaiba back and give him a definite answer on that whole party idea. It just didn't sit right with Atem and he didn't feel any real reason to attend. After all, why should he? He didn't really bother with celebrating things like that anyway even if his taste for good wine and food persuaded him otherwise.
He had barely spared a thought for the phone though, thinking that nothing important would really be delivered. He _had_ wondered if Yugi might have noticed it but dismissed the thought, knowing the boy was reticent enough to mind his own business. Though of course, the real secrets stayed with the man rather than in a device, as everyone knows.
Upon opening the front door, his senses were assaulted by the heaviest waft of odorous pleasure he had yet had in his apartment, stopping dead to enjoy the moment before he got used to the heavenly swell of baking. He stepped in, shutting the door with a soft click, locking it behind him, as if to hoard the smell to himself, and set his bag down on the sofa. He had barely moved three feet towards the kitchen when Yugi's head popped out of the door, shocked and frantic.
"_Oh_ hey, um, yeah, how was your day?"
Atem smiled, wondering what was up. Yugi was more nervous than usual.
"It was fine," he said, "plenty to do and plenty done." He peered into the kitchen. "What are you making?"
"O-oh, uh, just a…just a cake for um…uh, a birthday party."
"A birthday party?" Atem said, his lips round with curiosity and the sexual omnipresence he gave off at all times.
"_Crap," _Yugi thought.
"Yeah, um, it's…uh…_Serenity's_ birthday tomorrow, yeah, Joey's sister, you remember Joey right? Yeah, it's her birthday tomorrow and uh…Joey asked me to make a cake since…well…uh, you know." He laughed nervously and Atem nodded, apparently placated, shifting his attention elsewhere.
"Well, I wouldn't mind having a slice," Atem said, "provided you make another sometime…it smells," talking softly as he moved near Yugi, nearing the kitchen, getting closer and closer to Yugi's ear, "_wonderful…_"
Yugi was almost taken in by the voice but just at the last second barred Atem from entering the kitchen. Atem raised his eyebrows but Yugi stood firm. "I…I can't let you in here. I can't trust you with the cake."
Atem chuckled, the bottom end of the laughter dipping deep into his voice. "Really now," he said, "and why is that?"
"I…I know how you like cake…and I won't have time to bake another one tomorrow…so…I…"
Atem slowly put a hand on Yugi's shoulder, rubbing a small square pattern into it, and smiling quietly.
"I understand," he said and moved away towards his bedroom. Yugi sighed in relief and, turning to go back to his den of deliciousness, jumped when Atem appeared again and poked him in the back, laughing at Yugi's surprise.
"If I _can't_ enter our kitchen, would you please bring me a soda if you wouldn't mind?"
Tossing a look at Yugi that begged sensual compromise, Atem really did move into his bedroom, leaving Yugi slumped against the doorframe, somewhere between exhausted and exhilarated.
* * *
Yugi thought it would be a massive chore hiding the cake from Atem but in the end, for some reason, the object of Yugi's affection kept his word. Perhaps he was just humoring Yugi and what he thought was one of the teen's many odd quirks. Perhaps he was secretly hurt by the fact that Yugi didn't feel he could trust him (and rightly so) with such a tempting dessert. Or perhaps Atem knew that if he held out from eating a single slice right then he would be able to enjoy an entire cake later. Whatever the reason, he stayed _out_ of the kitchen.
Yugi in turn took his time perfecting the cake, slathering it with just the right amount of metal heavy frosting (also homemade) and even jury-rigging a piping bag to write on top of the round finished product. It was finished. Though…he would have probably gotten it done sooner if Atem hadn't asked him to bring him seemingly pointless things from the kitchen every ten minutes or so. Perhaps the man had actually just found another way to have fun with Yugi after all.
* * *
The next day, Yugi had everything planned perfectly. Atem would leave in the morning and Yugi would have the day free (it was a Sunday and one of the few precious days he had managed to save from work). He would leave at the same time as Atem and visit Joey for a little while (he'd checked last night, talking in the bathroom to avoid suspicion, and found that Joey was free that day) to add credit to his cover-story. Yugi would then return before Atem got home, hide the cake (which he'd left in the refrigerator) somewhere else in the apartment and surprise Atem with it later that night…probably after Atem got back from that party with _Kaiba_…
Yugi wasn't sure how long the party would last but he was determined to have the last laugh. He was _sure_ _Kaiba_ couldn't bake half as well as him.
Everything couldn't have gone smoother that morning. Yugi, awake and excited, rushed around getting ready and then waited until Atem was ready to leave. "The party's in an hour," Yugi said, meaning around eleven, "since that's when everyone was free…so I'll leave a little after you." Atem nodded sleepily, his reflexes active but his consciousness still drowsy. Yugi shut the door behind the man and smiled. Everything was perfect.
Atem was due back at four and Yugi would make sure to leave Joey's at three. Naturally, he _could_ have just stayed at the apartment and twiddled through four hours but something in Yugi hated wasting time. He also felt anxious that Atem would _know_ he hadn't been to Joey's and, putting his mind at ease, left the apartment that little while later, assured that everything would go as perfectly as he'd planned it.
* * *
"Hey Yug," Joey said, welcoming his friend into his shabbier but exceedingly comfortable apartment. Joey, industrious as ever, had worked a deal out with his landlord to work around the apartment building, doing a variety of odd jobs, allowing him slightly reduced rent suitable for his pitiful salary. He had found, like many, that no matter how hard he worked, he never seemed to be able to hold onto money as everything just cost too much. Thankfully, Joey was one of the fortunate few who measured the breadth of his life by spending time with his friends, however affable money was for him.
"Thanks for letting me come over on such short notice," Yugi said, walking in and sitting on Joey's threateningly volatile couch.
"No prob," Joey said, hopping over the back and crashing onto the cushion beside Yugi. The couch gave a menacing crunching growl but behaved, falling silent after a moment. "I don't get to hang out with you as often anymore, you know? It's good to hang out some."
"Yeah," Yugi said, smiling.
A moment went by. "So…" Joey said, arm slung over the back of the couch. "…How's that…guy you're staying with?"
"Atem? He's fine. At least, I guess he's fine. I mean, he doesn't really tell me otherwise."
"Right. And you two are getting along? I don't have to pile-drive him or anything, right?"
Yugi laughed, trying to avoid imagining what an altercation between Atem and Joey would look like. "No, he's really great. I'm actually here because I'm trying to stall for time."
Joey quirked an eyebrow and Yugi realized he had been a _little_ insensitive.
"Oh, sorry, I just meant…well…it's his birthday today…and…"
"You wanted to surprise him or something?"
"Yeah…I did, but not until later and I'm sorry, you know I couldn't think of any better way to waste time than with you, Joey."
Joey grinned. "Yeah, bud, you and me are kings of wasting time…or I'm the king and you're a grand-duke or somethin'. I don't know. I don't care. You know I don't care Yug. It's just good to spend time with you."
"Agreed."
Another moment passed.
"So…"
"Hm?"
"You heard anymore from that creep Kaiba or whatever his name was?"
Yugi turned his head. "_Actually_ that's how I found out about Atem's birthday to begin with. He left a message on Atem's phone and I—"
Joey began grinning and Yugi turned redder. "Okay, look, I wasn't snooping or anything, it's just that I—"
"Oh, I know what you were doing Yugi, you don't have to explain it to me."
"Joey…"
"No, no, go on with your story, sorry for interrupting."
"Okay, anyway, so he left a message and said that there would be a party for Atem tonight and that couldn't be anything _but_ a birthday party I thought…so I made a cake and—"
"Woah, you made a cake? What cake?"
"Devil's foo—"
"Where is the cake?"
"Joey."
"No, I'm serious Yug, where is that cake? Tell me where it is man. Think of it as payment for spending time with me."
"I wasn't aware I owed you anything."
"Oh yeah," Joey said, crossing his arms behind his head, "you owe me big-time and all the times over the years have just been adding up…the way I figure it, you owe me, oh…about," he began counting slowly on his fingers, "five of those cakes."
Yugi laughed suddenly to see how serious Joey was about cake rather than buying (or selling) time.
"Yeah, yeah, I get it Joey. I'll make you one next week. How about that? This one is for Atem though. I've already written on it and everything."
"Look Yug, I don't care if it's got words on it or nothing. It's not gonna taste any different to me. Unless you put some cranberry icing or something on top, you know I hate cranberry Yug."
"Don't worry. It isn't cranber—hey wait, you _aren't_ getting any of the cake!"
Joey laughed and Yugi play-punched him. "Honestly, what are you doing, Joey?"
"Eh, nothing Yug. Anyway, so it sounds like you two are doing alright if you can make him a cake for his _birthday_…"
Yugi quieted, turning face forward again, still smiling but less so. Joey waited, quieting also.
"We're sort of…" Yugi said, "getting somewhere I guess…it doesn't feel like it all the time and I wonder if there's really anything there…but…I do think of some of the times we've spent together and…I guess we're something…sort of…"
Yugi laughed anxiously. "It's sort of embarrassing to talk about…"
"The way I look at it," Joey said, "is how much you'd miss someone if they weren't in your life. It sounds like you'd be thrown a loop if this guy just went away…you think he feels the same about you?"
"I'm not sure…"
"You could ask him…?"
"Nah, I don't think I'd ever feel comfortable asking him something like that."
"Why not?"
"I…I don't know…it's complicated…he and I…don't exactly talk…it's difficult to _talk_ to him sometimes…"
"…Well I know I'd miss you Yug if you weren't around."
"Thanks Joey."
"…because I wouldn't be getting any of that chocolate cake."
Yugi smacked Joey and they both started laughing, the austerity of the situation broken for good.
"Is that all I'm good for?" Yugi asked laughing.
"No, no, well, okay maybe, oh wait, no, stop!" Yugi had jumped on Joey and was smacking him with a pillow, pausing only after a minute or so of ineffective pillow smacking and Joey just dying laughing the whole time. Eventually he pushed Yugi off and sat up, holding his stomach and breathing hard, catching his breath. Yugi sat back on the couch and did the same.
Joey turned. "So what do you want to do anyway? I didn't really plan anything."
"Hm…well, we never did finish that Mario Kart marathon we'd planned last month."
"Oh, you're _on_ Yug, I've been practicing."
"Careful what you wish for Joey."
Any passerby would have heard a chorus of curses, shouts of victory and groans of defeat had they passed by outside that room for the next several hours.
* * *
Atem arrived back at three, an hour earlier than he'd planned, since he'd somehow been extra productive that day, slogging away at his portfolio, replacing multiple drafts with newer, more finished ones; reorganizing it in a different way; allowing himself to go over the stapled packets of research, checking to make sure each little metal strip was straight. Yes, it had been a _highly_ productive day.
Walking into the apartment, Atem almost expected Yugi to be waiting for him. It had happened so often that the college student (or younger college student that is) would greet him as he entered, cheerfully, nervously, as though he were a visitor at a zoo, staring in at some predatory cat, enjoying the odd, exciting colors of its coat but ever so slightly worried about the thin steel bars separating them. Atem gave a chuckle, not really authenticating his feline status but nonetheless condescending to the bars. As though he couldn't just reach through from time to time…
He dropped his bag, took off his boots and entered the kitchen, thrilling again to be allowed into his eatery. "Yugi will have already taken the cake off," he thought, "so there's no reason why I shouldn't be allowed in here." He opened the fridge to take out a soda can, only to stop, his face growing still with surprise.
There in the fridge sat Yugi's cake. Atem's first thought was that his younger flat-mate might have forgotten it but that assumption was a split-second before he read the white butter-cream frosting spiraling his name: "_Happy Birthday Atem." _Though the second "y" had gotten scrunched at the precipice of the cake, Atem stood there beholding this immaculate confection, smothered in smooth, dense chocolate frosting and no doubt clay-dense inside and a lot tastier.
Atem's mind though, never one to get stuck in the pot-holes of distraction, returned him to mental functioning a moment later. "My birthday?" he thought. He took a second and, remembering that odd answered voice mail he found on his phone, put two and two together. Taking his pop and closing the fridge again, leaving the cake unmolested for the time being, he entered the living room, perching on the top edge of the sofa and clicking through numbers on his phone.
It rang once and then twice.
"About _time_ you called."
"Hello to you too."
"Don't be smug. I've been waiting a half hour for you to get here."
"That's what I called about."
There was unerring quiet on the other line.
"…Am I going to _like_ what you're about to say?"
"Probably not."
Atem smiled at Kaiba's audible irritation, an aura that nearly manifested in menacing static on his end of the phone. Taking the time to sigh elaborately, the corporate magnate answered.
"Alright then, go on."
"I'm not going to be able to make it tonight," Atem said.
"…You have some _other_ arrangement that eclipses this one in importance?"
"Believe it or not," Atem said, humor in his voice, "I have a _different_ party I'm expected to attend."
"One I'm guessing that involves your roommate?"
"Perhaps."
"I thought as much. Visit me tomorrow to discuss the other plans we mentioned. You can do _that_ at least, provided you don't have a party every day."
"And if I did?"
"Then you'll just have to _deprive_ your guests of your presence."
Atem chuckled. "Give my regards to the people there tonight."
Kaiba grumbled, disgruntled. "You may send your own regards. I have other things to do besides party."
"Do you now?"
"…"
"Well, then," Atem said to the silence, "I'll see you tomorrow, preferably strung up with confetti and still wearing a party hat."
"Even at your funeral I think I'd limit myself to something less revealing of my enjoyment."
"Good. You never did look good in anything sparkly anyway. Goodbye _Seto_," Atem said and Seto Kaiba hung up the phone.
Atem looked around his apartment, smiling to himself; what fun he had to look forward to _later_.
* * *
Yugi put his key in the lock, feeling above the clouds coming back from Joey's. It had been an out-and-out battle but he, as he'd expected, reigned victorious in the sport of computerized go-kart racing. Naturally, he was an expert at all things non-physical.
With the same spirit of good mood, he opened the door, closed it behind him and failed to suppress a light gasp when he found Atem sitting, feet propped up, watching something on National Geographic. The older man's eyes swiveled and found Yugi standing motionless in shock, apparently the good mood not doing much to ameliorate his panic at the moment.
"How was the party?" Atem asked, his voice casual, giving off the vague cousin of interest usually found in polite conversation.
"Wh-what par—oh! Sorry, yeah, the party, it was…uh, it was great. Yeah. Everyone was there and we had a great time, lots of laughs and everything…" Yugi struggled to get his shoes off calmly and Atem watched with as little malice as possible (though he couldn't deny he was enjoying this) as Yugi almost tripped and braced himself against the door.
"How old is Joey's sister today?"
"Oh, uh, I think about 16 today…"
"About 16?"
"Well…you know, you don't actually turn a year older until the time you were born."
"Ah, right, of course." His eyes moved slowly back to the channel which showed a documentary on vampire bats, of all things. Yugi accepted the silence as a temporary truce, a welcomed armistice as he tried controlling his steps, walking into the kitchen. He was mentally flagellating himself for not accounting for this error in judgment.
"Of _course_ he'd get here early! I should have just stayed _here!_ I'm so stupid, he's probably seen the cake and _every_thing!" Yugi slowly opened the fridge door and, to his heart's credit, did not pass out. The cake was fine, completely untouched and not besmirched in the slightest. Yugi hoped and prayed it had gone unnoticed. Taking a look around and making sure Atem was sufficiently absorbed into his nature show, Yugi grabbed a soda from the shelf, set it on the table and hustled the cake into his bedroom down the hall. He'd hidden the lid to the container in there and, sealing the whole thing safely off, breathed a sigh of relief.
Yugi walked back into the living room with his drink, scanning the table for any sign of fridge-opening and didn't see any. He sat down on the couch and Atem looked at him.
"Are you tired?" he asked. "You look a little…frazzled," he said, the end of the word curling up in his mouth.
"I'm fine. Just…it was a high energy party I guess…it's always like that with Joey."
"I assume so," Atem said smiling.
Yugi stared at the screen. "Why are you watching this?"
"It was the first thing I flipped to and I do happen to have an interest in bats…"
"Oh?"
"Mm. They're highly interesting creatures. Smart, small, usually quiet but given to periods of chattering…" he leaned closer, "with wonderful capabilities for listening and big eyes…of course," Atem said, "most things with large eyes are construed as _cute_…" he looked into Yugi's face with a smile and Yugi, too caught up in the moment to notice how _weird_ Atem's words were, just nodded in agreement.
"All the same," Atem said, "I suppose we can look for something else…" He changed the channel and a Batman movie came on screen. "…That's ironic," Atem said. He looked sneakily over again. "Would you like to watch this one?" Atem had a soft spot for 80s and 90s Batman films.
Yugi nodded. "Yeah," he said, glad to find an appropriate, less awkward way to pass the time. "I don't think I've seen this one…"
Atem raised his eyebrows and smiled. "I hope you enjoy it." He got up and went into the kitchen, Yugi's heart jumping almost out of him until he realized, thankfully, as Atem returned clutching a soda for the movie, he _had_ in fact moved the cake.
Even the exploits of a well-fit man in black leather cavorting around on the screen wasn't half as exciting as the casual gestures of the well-fit man in black leather sitting next to Yugi. And Yugi felt his pulse quicken as time slowly inched by.
* * *
Night came slow and beckoning like a grim specter, reminding Yugi that the time for him to spring his surprise, provided it went off at all, was creeping nearer. The Batman film had led to another Batman film and then, to Yugi's anxiety and Atem's delight, another in the marathon of Caped Crusader flicks. Atem did, after the third film, prevent himself from allowing the marathon to bleed into the newer trilogy of movies, all merited in their own right, but not as nostalgic or colorful as Atem liked.
Atem flipped the channel finally, allowing his eyes to grace the News, already in the middle of a story, and Yugi checked his phone. It was nearly eight o'clock. He had been so wrapped up worrying about how he was going to deal with surprising Atem that he hadn't noticed that _six_ o'clock had gone by. Yugi cleared his throat.
"Uh…you got back early today?"
Atem looked at him, diverting his attention from a massive mudslide on television. "I did."
"You must have gotten a lot done?"
"You could say that."
"And you…uh, didn't happen to have anything planned for tonight?"
Yugi's eyes darted around, trying to make the question seem relatively innocent; his cheeks refused to bluff for him though. Atem smiled.
"You know, I was wondering about something…and perhaps you can help me with it," he said. "I left my phone here yesterday by accident and I was looking forward to a _very_ important phone call…a friend was supposed to let me know the time of a get-together…"
Yugi gulped.
"However," Atem said, "when I checked, I hadn't gotten any messages so I assumed no one had called. You were here yesterday, so did you happen to hear it ring?"
"I…I,uh…"
"Yes?"
"I…I'll be right back."
Yugi almost flew to his bedroom, trying to escape. He had no idea that phone call might have been important and he'd completely forgotten to mention it to Atem! Had he made Atem miss something for work? Come to think of it, he didn't really imagine Seto Kaiba being the type to throw birthday parties…all of a sudden, it was seeming as though he'd really messed up and the insinuating tone Atem had taken didn't help at all.
Yugi returned to the living room, trying to control his breathing, carrying the cake. He didn't have any candles so he merely came around the couch and said, "Happy birthday." He could hear his voice quiver and he watched Atem's eyes fill up with a mixture of emotion, everything from humor to sympathy.
Atem patted the seat next to him and Yugi set the cake down on the nearby coffee table (which served more often as a cake table).
"I…I answered the message," Yugi began, sitting down, really more afraid than he felt he ought to have been.
"You did?" Atem asked, his voice not really holding a question.
"Yeah…I thought it would be something important…but I just heard about a party and I assumed…"
"That it was my birthday," Atem said.
"Yeah…" Yugi turned his big, purple, vampire bat eyes on Atem suddenly. "Did I make you miss something important?"
Atem tried but couldn't keep himself from laughing at that point. The situation had gotten too serious and Yugi just stared at him confused. "Is that a no?"
"Yes, it is," Atem said. "That party was just for one of KaibaCorp's new inventions. Seto just thinks that if he throws the party in other people's honor he can have more of them without suspicion. It's an advertising ploy really."
"So…so it's _not_ your birthday?"
"No. Mine isn't for another few months."
"_Oh_…" Yugi said, looking tiredly down at the cake. He had down all this for nothing. This just showed what happened when one jumped to conclusions.
"_Yugi,_" Atem said softly. Yugi looked and saw the man lean closer to him, just close enough for their shoulders to touch. "Thank you," he said.
"For what? I kind of just screwed up."
"On the contrary. I would claim any day as my birthday provided," he said, taking a swipe of frosting with his finger, "I have one of your cakes." The digit disappeared into his mouth and after a few seconds returned clean of chocolate. Atem continued smiling.
Yugi however just felt tired. He didn't feel relieved. Rather, he felt his one chance to impress Atem, surprise Atem, had just backfired. Not only had Atem evidently _known_ the whole time and more than likely discovered the cake, Yugi had put himself through anguish and worry about getting everything right just to have been teased until the very end. He sat back with a sigh, irritated. He didn't want to have to be an extraordinary tactician every day to give Atem something to admire.
"What's wrong?" Atem asked.
"Nothing," Yugi said, not looking at him.
"Now, don't tell me you're upset…"
"Upset about _what_?"
Atem chuckled and Yugi just felt worse. He didn't like feeling so helpless around Atem, feeling as though he couldn't pull anything off on his own, as though he was powerless around this man. It was more than upsetting to think that all Atem had to do was waltz into a room and Yugi would crumble into rubble around him, unable to think, express himself properly, unable to keep it together. He had yet to see a _hint_ of that from Atem and, as much as he admired, cared for, was attracted to this unfairly capable creature, he did _not_ like feeling as though he had no role, no other option besides to _respond_ to the game Atem played with him.
Atem, not a mind reader, but a gifted reader of atmospheres, turned off the television and put his hand on Yugi's. Yugi didn't move his hand and after a moment Atem said, "to be honest, I don't really celebrate my birthday…it's not something I do. I can get together with friends anytime I like and I don't really see the need to have a reason other than all of us wanting to see each other and spend time together…but…"
He slowly moved his thumb over Yugi's hand. "You," he said, "are a special case."
"What do you mean?"
"I mean," Atem said, his lips dangerously close to Yugi's ear, "that you make even events as detestable as birthday parties so vibrant and vital that even on days that aren't my birthday, I _wished_ they were…"
"I didn't _do_ anything."
"You did. You might have noticed I'm sitting here instead of spending time at an idle celebration with Kaiba."
Yugi didn't say anything. He could smell the sound of Atem's voice, deep and dark and humid, smelling, when it raised slightly, like the crackle of fire. He hated feeling powerless, yes, but he didn't mind as much being so close, so successfully close, however unsuccessful the process was to get there, to Atem.
"I _wanted_ you here."
"And…that's why I'm here," Atem said. For once, Yugi saw an opening and took it, the opening being the lovely slack spot in between Atem's lips. Yugi could taste Atem's voice as well, reduced to muted murmurings of pleasure, of surprise, of warmth from his throat, welling out in uneven, beautifully finished noises. That taste, one so ephemeral and intimate, mixed almost perfectly with the wisps of chocolate staining Atem's tongue.
The grim specter of night drew back and left the apartment, leaving instead the fixed spirit of intimacy, a presence that transmuted the dark from a terror to a comfort, the soft black air resembling sheets in a big, wide, bed. One can imagine the freedom found in a bed like this and rather than relate such activities, it might be better expressed just to say, the cake was completely forgotten.
* * *
A/N: This was loosely based on wordsmithie's wonderful fic Freefall. Mine makes more sense if you read it but even if you just want an excellent story with solid writing, I highly recommend heading over and giving it a peek.
Thanks, please review!
End file.
| fanfiction |
Pair-instability supernovae: a thermodynamic perspective
The discovery of [a black-hole pair with "forbidden" masses](https://www.nature.com/articles/d41586-020-02524-w) has gotten me trying to understand [pair-instability supernovae](https://en.wikipedia.org/wiki/Pair-instability_supernova). A well-crafted sentence from [a recent paper](https://arxiv.org/abs/1211.4979) gives the explanation
>
> Population III stars above $65 M\_\text{sun}$ encounter the pair instability after central carbon burning, when thermal energy creates $e^+e^-$ pairs rather than maintaining pressure support against collapse. The cores of these stars subsequently contract, triggering explosive thermonuclear burning of O and Si.
>
>
>
I interpret this as follows. At low temperature, the electromagnetic species in a heavy star's core are nuclei, electrons, and photons, which are in thermal equilibrium with each other. Any positrons that happen along (from e.g. weak interactions) are rapidly annihilated via
$$ e^+e^-\to\gamma\gamma.$$
However, as the temperature increases, the high-energy tail of the [photon energy spectrum](https://en.wikipedia.org/wiki/Planck%27s_law) begins to contain a nonnegligible population with enough energy to allow the inverse process
$$ \gamma\gamma \to e^+e^-.$$
Once the pair-creation process turns on, we have a new population of particles participating in the electromagnetic thermal equilibrium. The new degree of freedom increases the heat capacity of the star's interior, and heat flows into the newly-expanded lepton sector. Most of this heat comes from the missing highest-energy photons, whose absence [softens the radiation pressure](https://physics.stackexchange.com/a/464094/44126); with less radiation pressure the core is allowed to contract.
My question is about the "runaway" nature of this instability. Is this a process that *must* run away, so that the core of the star will reach arbitrarily high temperature unless a new nuclear reaction pathway (such as O/Si burning, above) becomes available?
It seems at first like there ought to be a part of the configuration space where the core contains a secular population of positrons --- that is, where $\gamma\gamma \longleftrightarrow e^+e^-$ reaches a dynamic equilibrium, and radiation pressure recovers enough to support the more complicated core at this higher temperature. That first guess of mine is bolstered by some sources which refer to the drop in radiation pressure as "temporary." But I would think a possible late stage of some stellar evolution were a star with a stable positron core, I would have heard about it already; what I'm reading suggests that any star which develops the pair-creation instability is destroyed by it. Is this a process that *must* run away, or is this a process that *does* run away except in some cases that are unphysical for other reasons? And if it's a process that must run away, is the instability due to the chemistry of the core (so that, say, a He core and and O core would behave in some fundamentally different way), or would it behave in basically the same way regardless of the star's composition?
A star supported by radiation pressure is on the cusp of instability. A radiation pressure dominated star has an adiabatic index close to 4/3 - i.e. $P \propto \rho^{4/3}$.
Removing energy density from the photon gas and turning it into the rest mass of electrons and positrons softens the equation of state and the star must contract.
Hydrostatic equilibrium demands $dP/dR = -\rho g$. Looking just at proportionalities and assuming $P \propto \rho^\alpha$ and $\rho \propto M/R^3$, then the LHS of hydrostatic equilibrium is proportional to $M^\alpha R^{-3\alpha-1}$ and the RHS is proportional to $M^2 R^{-5}$.
Now the mass of the star is fixed, so whether equilibrium can be recovered at a smaller radius requires that $R^{-3\alpha -1}$ grows faster than $R^{-5}$, i.e. that
$$ -3\alpha - 1 > -5$$
$$ \alpha > 4/3$$
But $\alpha = 4/3$ at best and because when the star contracts, the interior temperatures goes up, and an increasing fraction of the photon gas energy density is converted to pressure-free rest mass, then $\alpha$ stays below 4/3 unless some additional energy source, like nuclear burning, boosts the energy density.
In some circumstances (lower mass cores) this is enough to temporarily halt and reverse the contraction and you get a pulsational instability. e.g. Woosley et al. (2017) <https://iopscience.iop.org/article/10.3847/1538-4357/836/2/244> These stars can evolve towards stable silicon burning prior to a supernova. But for higher mass stars and higher interior temperatures, strong neutrino cooling just hastens the rapid collapse and ultimate thermonuclear destruction of the star before an iron core is reached.
| stackexchange/physics |
Is it possible predict the oxidizing/reducing nature of a compound? [closed]
**Closed**. This question needs to be more [focused](/help/closed-questions). It is not currently accepting answers.
---
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Closed 7 years ago.
[Improve this question](/posts/37846/edit)
I have recently begun with Inorganic Chemistry and am finding it totally difficult to understand things (I am trying to minimize memorization and approach logically).
One of the things I am having problems with is understanding oxidizing and reducing agents.
Given a compound(and a few other necessary conditions in some cases), can I predict whether the compound will behave as a reducing or an oxidizing agent?
Well obviously if there is any such rule, there will be exceptions. But is there anything as such to reason out a few statements and take me partly towards the answer?
For example I have begun with Group 1 and the book says at some point that peroxides and superoxides of alkali metals act as strong oxidizing agents, group 1 hydrides are powerful reducing agents etc. Well I find it difficult to understand these statements and my book offers no explanation.
You may or may not be familiar with the concepts of [electronegativity](https://en.wikipedia.org/wiki/Electronegativity) and [oxidation states](https://en.wikipedia.org/wiki/Oxidation_state), but ultimately here is the rule of thumb you seek. If your compound contains highly electronegative elements **not** in their most negative oxidation state, expect it to be an oxidizer. If it contains elements with low electronegativity which are **not** in their most positive oxidation state, expect it to manifest at least some reducing properties.
On top of that, just like you anticipated, there is a whole lot of exceptions and subtleties which together constitute the magnificent field of elementary inorganic chemistry.
| stackexchange/chemistry |
Yes Minister 1. Noticing
**Note: This will be a series of drabble-ish shorts with an ongoing plot. I don't own ****_Yes, Minister_**** or any of these characters; only the plot. Enjoy!**
"I'm sorry Humphrey, I seem to have developed a terrible headache. Would you mind repeating that?"
Sir Humphrey gave Hacker a careful glance, his concern masquerading as frustration as he spoke again, slowly and with simpler terminology. Hacker looked surprised by his easy acquiescence, not to mention smug, but Humphrey barely noticed. Over the past few weeks, he had noticed that the minister seemed to be suffering these headaches with increasing frequency and severity. Sometimes, he was aware, Hacker had required him to repeat whole conversations because of it.
Humphrey became conscious of the furrow in his brow almost the instant it emerged, and smoothed his expression as he turned to face the minister. It would not do to allow a few stray emotions get in the way of his professionalism.
On the other hand, it couldn't hurt to keep an eye on those headaches...
2. Professional Concern
Hacker stared at his advisor in confusion. "Humphrey?" he said softly, uncertainty in his voice. "How long have you been here?" Hacker certainly didn't remember the man entering the room, and he had been at his desk since lunch. Blasted local government initiatives legislation...
"It is not important, Minister," Humphrey replied, his voice smooth as he rambled on about a minor administrative error he'd unearthed as an excuse to check in on Jim. He had found him face-down at his desk, asleep amongst a mass of paperwork. His instinctive panic was dispelled by a gentle snore from the unconscious Hacker, but Humphrey was finding it hard to forget that split-second of raw fear.
It was all strictly professional, he told himself. He was just worried about Hacker's ability to perform his duties. That was all. It was nothing to do with the butterflies in his stomach every time he entered that office, or the way he suddenly felt so alone as he drifted off to sleep at night. Nothing at all to do with the image of Hacker's face that filled his mind every time he closed his eyes, or the urge to run a tender hand through his minister's hair as he slept.
Humphrey pushed aside the familiar dull ache with an inward sigh. It would be more than his life was worth to do otherwise.
End file.
| fanfiction |
home care instructions provided to patients after insertion of complete dentures are important in maintaining oral mucosal health and the longevity of the prostheses . beyond the concern for esthetics , poor oral hygiene can lead to biofilm formation and oral infections , especially in elderly patients.1 the most commonly used method for cleaning denture
is mechanical cleaning using detergent , soap , or toothpaste.2 older patients often face a difficulty in mechanical removal of plaque because of reduced manual dexterity or impaired vision or physical limitations.3 chemical cleansers are alternatives to mechanical cleaning . for cleaning
, dentures should be immersed in the chemical solutions for a certain period of time .
these solutions may include one or a combination of various active agents , such as sodium hypochlorite ( naocl ) , chlorhexidine , alkaline peroxides , enzymes , and diluted acids.4 an ideal denture cleanser should reduce biofilm accumulation and be antibacterial , antifungal , non - toxic , short - acting , easy to use , and cost - effective.145 also , an ideal denture cleanser should not have any detrimental effect on the denture materials.4 however , long - term immersion or incorrect use of chemical denture cleansers may adversely alter the physical and mechanical properties of the artificial denture teeth and base materials.5 artificial teeth are an important component of conventional complete denture and play a significant role in the esthetics and functional treatment outcomes.6 currently , there are different types of artificial teeth available on the market .
porcelain teeth have been used because of their superior esthetics , resistance to wear and discoloration properties.7 however , acrylic resin teeth are more beneficial because of their natural texture , high resiliency , adequate mechanical strength , ease of occlusal adjustment , and high bond strength to the denture base.8 conventional acrylic resin denture teeth are primarily composed of polymethylmethacrylate ( pmma ) polymers . to improve mechanical properties , highly cross - linked acrylic resin and microfilled composite resin ( isosit )
teeth have been developed.9 a newer generation of composite resin teeth has been introduced , consisting of a nanohybrid composite ( nhc ) material on a urethane dimethacrylate ( udma ) matrix , which includes various types and sizes of fillers as well as pmma clusters .
the nhc material comprises a variety of fillers , including highly cross - linked inorganic macrofillers , highly densified inorganic microfillers , and silanized nanoscale fillers based on silicon dioxide.10 artificial denture teeth usually consist of enamel and dentin layers , and some composite resin teeth may also have intermediate layers .
the enamel layer is often removed due to masticatory wear or chairside occlusal or laboratory adjustments , leading to exposure of the subenamel layers.6 it has been reported that the different layers of denture teeth are affected differently by denture cleansers.11 studies have shown that dental materials differ in their susceptibility to oral bacteria , which has most commonly been attributed to differences in their surface roughnesses.121314 surface roughness is of a particular clinical relevance for artificial teeth as it can cause staining , biofilm retention , or difficult biofilm removal.515 hardness , which is defined as resistance of a material to plastic deformation measured as a force per unit area under indentation , has been used to assess the mechanical properties of materials , ease of finishing and polishing , resistance to scratching , and wear resistance of many restorative materials , including artificial denture teeth.612 the immersion of a denture fabricated using these new generation artificial teeth to achieve disinfection or sterilization is important .
however , chemical denture cleansers may have negative effects on the physical and mechanical properties of the artificial denture teeth.3161718 therefore , the findings of this study will enable dental practitioners to select the most appropriate artificial denture tooth materials and/or cleansers for their patients .
there are numerous studies that report the changes in the mechanical and physical properties of artificial teeth exposed to sodium hypochlorite16171920 and sodium perborate.20 however , to our knowledge , there has been no study evaluating the effects of cleansers on new generation artificial denture teeth .
hence , this study aims to compare the effect of naocl and alkaline peroxide solutions on the surface roughness and hardness of different types of artificial teeth with various compositions .
the hypothesis tested was that immersion in naocl and effervescent alkaline peroxide tablets would influence the surface roughness and microhardness of all artificial teeth tested .
four types of artificial molar denture teeth were used in this study ( table 1 ) .
all teeth were sectioned with a low - speed cutting machine ( isomet 1000 , buehler ltd . , lake bluff , il , usa ) to obtain bucco - lingual slices of 2.3 0.1 mm thickness .
forty - two specimens were prepared for each artificial tooth group as described in table 1 .
the slice at the each end of mesial and lingual sides that was thinner than 2.3 mm was not used .
each specimen was embedded in autopolymerizing acrylic resin ( steady resin scheu - dental gmbh , iserlohn , germany ) using a rectangular plastic mold .
a custom - made surveyor was used to ensure the specimen surfaces were parallel to the workbench .
the specimen surfaces were ground flat and finished with silicon carbide abrasive paper ( english abrasives & chemicals , stafford , england ) in the order of 200- , 400- , 600- , 800- , and 1200-grit , and then polished using an aluminum oxide paste ( universal polishing paste , ivoclar vivadent , schaan frstentum , liechtenstein ) .
the specimens were then stored in distilled water at room temperature ( 23 2 ) for 7 days before the immersion procedures . according to the manufacturer , the denture teeth involved two to four layering schemes ( cervical - dentine - enamel - pearl effect layers ) .
hence , surface roughness and microhardness tests were carried out on the dentine layer of each specimen to simulate clinical conditions .
the artificial teeth specimens were randomly divided into three subgroups according to the denture cleanser types ( n = 14 ) ( table 1 ) :
corega tabsnaocldistilled water ( control )
distilled water ( control ) corega tabs ( effervescent denture cleanser ) were prepared according to the manufacturer 's instructions , by adding one tablet to 200 ml of warm water ( 40 ) .
after each cycle of 5 minutes , the soaking solution was discarded and the specimens were rinsed thoroughly under running water . between the soaking procedures ,
immersion procedures were repeated 180 times to simulate 180-day of use . for the group immersed in naocl ,
the total immersion period was 15 hours to simulate 5 minutes of daily immersion.21 for the control group , the specimens were kept in distilled water at room temperature for 15 hours .
distilled water was preferred because of its uniformity and purity.21 following immersion procedures , all specimens were subjected to surface roughness measurement tests .
prior to the surface roughness analysis , all specimens were cleaned in an ultrasonic bath and dried .
the surface roughness ( ra in m ) was measured on each specimen surface using the mitutoyo surftest-402 surface roughness tester ( mitutoyo corporation , tokyo , japan ) with a standard cut - off value of 0.8 mm . prior to measuring
, the profilometer was calibrated against a reference block , whose the ra value was 3.05 m .
three tracings at randomly selected locations on each specimen were made at a distance of 4 mm apart , and the mean value was calculated . after surface cleaning using a steam cleaner , the vickers hardness number ( vhn ) measurement was performed on all specimens with a microindentation system ( hmv micro hardness tester , shimadzu corporation , tokyo , japan ) using the vickers diamond indenter with a 0.5 n load for a dwell time of 15 seconds .
three indentations per specimen were made with a spacing of at least 50 m between each indentation .
data analysis was performed using spss for windows , version 11.5 ( spss inc . , chicago , il , usa ) .
data were shown as mean standard deviation or median ( min max ) , where applicable .
the statistical analyses were performed using kruskal - wallis test , conover 's nonparametric multiple comparison test , and spearman 's rank correlation analysis .
a p value less than .05 was considered statistically significant . however , for all possible multiple comparisons , the bonferrroni correction was applied to control type i error .
the data obtained after surface roughness and microhardness tests were determined by comparing each specimen value after immersion in distilled water and denture cleansers .
table 2 demonstrates the surface roughness values ( ra in m ) of the different artificial teeth groups subjected to various denture cleansers . while orthotyp pe and postaris dlc showed no significant difference ( p > .005 ) , the roughness values decreased in the control group in the order of sr phonares ii , sr orthosit pe , and orthotyp pe ( p < .005 ) .
when comparing denture cleanser groups , naocl caused significantly higher roughness values on orthotyp pe group ( p < .001 ) .
however , there was no statistically significant difference between denture cleansers for the other groups ( p > .005 ) .
microhardness values for the different types of artificial teeth subjected to the various denture cleansers are shown in table 3 .
orthosit pe had significantly higher microhardness values after immersion in distilled water when compared with the other groups ( p < .001 ) .
for sr orthotyp pe , corega tabs caused higher microhardness values than distilled water and naocl ( p < .005 ) .
microhardness values decreased significantly for the sr orthosit pe group in the order of immersion in distilled water , naocl , and corega tabs ( p < .001 ) .
sr postaris dlc specimens showed higher microhardness when immersed in distilled water or naocl compared with immersion in corega tabs ( p < .003 ) .
there was no statistically significant correlation between roughness and microhardness values ( r = 0.104 , p = .178 ) .
the present study evaluated the effect of various denture cleansers on surface roughness and microhardness of different types of artificial denture teeth .
the null hypothesis tested was partially accepted ; naocl and effervescent alkaline peroxide tablets changed the surface roughness and/or hardness of only some of the artificial teeth tested .
the sr phonares ii specimen surfaces showed no difference after immersion in any of the mediums .
there are controversial opinions in the literature related to the effects of denture cleansers on surface roughness and hardness of denture materials.171822 differing compositions of cleansing solutions and materials , and different testing methods may be responsible for the controversy .
the surface roughness of dental materials has been shown to be of particular importance for adhesion of oral bacteria;121314 hence , smoother surfaces will result in denture longevity.18 profilometry and its numerical data has been shown to be useful in the evaluation of the roughness of dental materials.18 bollen et al.13 found a threshold value of 0.2 m , suggesting that low roughness levels do not influence adhesion . in the present study , although naocl caused significantly higher roughness values on orthotyp pe group specimens , the surface roughness values were lower than the threshold for all tested specimens ; therefore , adverse effects of denture cleansers on surface roughness may be neglected .
a valid tool for determining the hardness of rigid polymers is the vickers microhardness test , which is based upon the ability of the surface of a material to resist point penetration under a certain load.23 hence , this test has been used in many studies,1920 including the present study , to evaluate the hardness of denture base acrylic resin and artificial denture teeth .
cross - linkage is a descriptive term for the composition of artificial denture teeth , and the manufacturers do not indicate the number or exact type of covalent links present in the polymeric structure.17 it is possible that different cleansing solutions have variable influences on commercial teeth .
this suggests that the number of pressing during the tooth 's manufacturing process is equally as important as cross - linkage , mainly because of the residual monomer absence . in the present study ,
this result may be explained by the fact that these artificial teeth are less resistant to the loss of plasticizers and do not have cross - linking chains , which reduce their resistance .
this is also in accordance with the results of pisani et al.16 however , a decrease in hardness was noted in sr orthosit pe and sr postaris dcl group specimens immersed in corega tabs . in agreement with the results of previous studies,1620
the absorption of aqueous cleansing solutions may have caused a decrease in hardness because these solutions may have acted as plasticizers .
small molecules of water diffuse into the polymer mass and cause relaxation of polymer chains , consequently reducing the hardness of the artificial teeth , which is similar to the process that occurs in acrylic resin.24 grinding the tooth surfaces may have formed microcracks , leading to infiltration of the solutions and accelerating the process of pmma plasticization .
denture cleaning by immersion in a chemical solution should not involve any physical , mechanical , or chemical change in the artificial teeth .
no significant effect on surface roughness or microhardness of the new generation nanohybrid artificial teeth was found after immersion in any of the cleansing mediums used in the present study , which reflected a promising future preference .
however , in vivo and further in vitro research should be carried out to clarify the mechanical , physical , and optical properties of this new material .
examination of the artificial teeth surfaces using scanning electron microscopy could have been carried out after immersion in the various cleansers for visual comparison .
furthermore , several types of artificial teeth of different compositions of only one brand have been evaluated in this study , and in vitro , not clinical , tests were performed . in future studies , other oral environment conditions , such as continuous cyclic loading and the use of artificial saliva , could be evaluated .
furthermore , chemical denture cleansers could be accompanied by mechanical brushing to determine the association related to changes in surface properties .
within the limitations of the present in vitro study , the following conclusions may be drawn : naocl caused significantly higher roughness values on orthotyp pe group specimens ( p < .001 ) .
corega tabs caused higher microhardness values than distilled water and naocl for sr orthotyp pe specimens ( p < .005 ) .
microhardness values decreased significantly for the sr orthosit pe ( p < .005 ) and sr postaris dcl groups
there was no statistically significant correlation between roughness and microhardness values ( r = 0.104 , p = .178 ) .
immersion in any of the tested cleansing solutions did not cause a significant change in the surface roughness or microhardness of the new generation sr phonares ii artificial teeth . | pubmed |
Q: Is there anything terrible about setting ft_min_word_len=2 for MySQL FULLTEXT searches? In order to do FULLTEXT searches on 2-letter phrases such as "PR Manager" and "MS Word", I have added ft_min_word_len=2 to the MySQL config file (/etc/mysql/my.cnf).
Is there anything particularly wrong with doing this? Will it reduce performance? Will it prevent scaling to large datasets?
Any comments would be appreciated.
A: No, it may only increase your full text dictionary size but won't have a particular impact on search performance.
A: All two-letter combinations will have to be indexed, which will increase the size of your search indexes and slow down the indexing process. It should have small impact on the speed of searches itself. You may also run into more words becoming stop-words and becoming unsearchable. It's unlikely "PR" and "MS" would become stop-words, but "IT" is very likely, given that FTS is normally case-insensitive.
A: According to the documentation, min_word_len will only reduce your index size.
FYI, min_infix_len is a different story. Assuming 2.0.1-beta or higher, Sphinx is using dict=keywords.
There are two things to know:
*
*As soon as you specify min_infix_len, Sphinx will store suffixes of words to allow infix/suffix search.
*Reducing the min_infix_len does not reduce the index size (as it used to with the old crc index). This is because all the word suffixes still need to be stored. As such, min_infix_len only reduces results, and not index size.
| slim_pajama |
i'!ARY P0PPr.l"S
Baaed on the Stor:I.Ba
"'
Shoottng Sor:l.pt
Bill ;/alah and Don Dallrad:I.
songs by: R:l.obarn II. Sher:nAn
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6
7 Prod. 2162
(1st Rav. a
5/lll-/63)
CLOS.E; ON BERT
..,ho 1• play1ng a mouth orgsn. CAMERA P1lU.S BACK, reveallng
that Bert is pe:-tormtng upon an extreor<ilnary ensemble or
cy,.bals, whl•tles, tweeter•, bulbhorns ancl druma 1n addition
to the mouth orglln, most or which a:-e •t:-apped to hi! person.
In his hand.a 1• a ,oma.11 batta:-ed l':-ench concertl.na. On hl•
toe• ar,, am.all, tlnltling bells. Despite tne enc\.JJllbrance•,
he movas grace:ru11:,, and CAMERA PANS ~ HD! as b.e pe:-tol"III.O
a dance atep or t...o calculated to catch the intar,,s,: or tha pasae:-sbjr.
He 1s attracting a fai:-tsh crowd from the ne1ghl>orhoocl
chl.lclren, a tradesman or t;,o, and some strOlle:-• snd
Shoppers. A POLICEMAII d:-irta onto tb.e outer rim or the apectators,
!ED!UM CLOSE ON .BE,rr
as he gestures to the gatheru>g crowd, inviting them clo••=-• - JJlove a bit closer -the:-e•a a love -
Poems snd witt:i-•a:rlngs! Ext•111Porized
and thought up be tore :,our vecy e:i-es !
C/00::RA MOVES IN CLOSER to hOld on Bert -- COlllical poems !Ill.table for the occaoton -(oing;ing)
1\0011 'ere ro:-evecycne
Gather around -
!ED. CLOSS OK POLica,,iAll'
who 1• •=uncled bJ" Chlldren, and a tew grownups. lie
reacta to :9e:-t'• ocng with a dour ""'1le, as the onlook•n laugh.
• -(~lng;lng ~-•.)
The co=table'• reaponstable!
Now -'c,w cloea trutt ,ow,cl? 5
,_,
6
ME!l. SHOT - BERT 7
He Jotns in the laughter. C/00::RA MOVES WITH hill as he approaches l!ISS LARK. -(,lnglng)
'Ello, 111•• Lark -
(as he Joina her)
I've go~ one re:-:i-ou --?r'<>d, 2162 ' (lot Rev. 5/14/63)
8 CLCSE ON ll!ISS LARK
a-,
9
,o
''
'·' ""' ( •inging o ·•.) M:!.•• Lark loves to -rlt
In the Parlt "1:h "'1-s:!!!,!
111•• Lark reacts to this, ""'111ng e,abarra.,sedl;r.
Ci.OSE ON A!IDREW ,_,
a omall DOCl, i<ho otando at ltiss Larlt's feet. He ><ears a
ll"orfolk jacltet, and a scarf, tuck&<! Aseot-fashion, around the th"'
""' (spoken c.a.)
'Ello there, An~w!
'ouff!
CLOSE ON BERT
""' "" -. --• . .... , ~· . ~-.. ,
CLOSE 011 MllS • CORRY -( oingu,g o, •.)
A stoey for :roul
CAMERA PULLS :SACK: to reveal two eno:rmus !lAUG.Ht£&i, raztged on either aide or Jlhoa. Corey,
""' ( !1ng1ng O ••• )
Ycur daughter, were •horter
than )"Otl -but ~ £!!. !
The cr':"'1 o ••, laughs.
MED. CLOSE -I!!RT
CAMERA PANS WIT'.!! him aa he dance• over to MISS PERSIM!O!f.
""" (singicg)
Deer M:!.•• hrsimmon, I --
CLOSE ON MISS l'ERSDIIIOH
A tall, vinegar-raced apinater lean, rorw&.r<:1, l1otec1ng. She
t:-1.e• to cone a al her ple!lsure at be1cg singled out b7 llert.
( COIITilfllE!l) 9
''
'' ''
33
,,
,,
'' ?:ood. 2162 ' (l•t R&v. 5/14/63)
CONTINO:£D -( o!nging 0. •.)
Dear !'11•• Pe:-sillllllcn -
(he breaks cff)
Yeo?
cr.cs:;: 011 BER'!' MISS PERSil'IMO!I
(eagerly)
ife ;,auoeo, laelcs around and up at tne slq, hls face l!"O?le
wondertng and l!"entle.
~~
(,1ng1ng)
Wind'• in :ne ea,t
There'• a :niat cco,in' tn -
Uke ,omethin' !a bre"1n •
And .'bout tc begin
ME!). CLOSE -SPECTATORS
•• they react ><0nderingly to the SOll!ID or the wind. A
scatte:o of leaves and :her:-y bloosoma goeo THROUGH SCEIIE.
CLOSE C!f :3ERT -,
(01ng1ng •cftly,
•• though to himself) Can't put m:; finger on
What liea in ,ton
But I feel wot•a to 'appen
All 'appened before --
MED. CLOSE SFECTATORS
loolcing at :Bert in pu::lement.
CLOSE Olf BEllT
•• he comes out af tu.o :,oeverie, and the wind dies away. -( :o hio
:r-owd)
Sor:-y! Where ..-ao I?
CAMERA MOV""..S BACK ~o wm:;:R ANGLE, as Bert Whaclco into a
rou.sing, headlong pie<:• of muate, :on<:lUding his perf0r111ance
"1th a RI!IGI!fG c:,,,.hal •mash. T.1.ere is a amatter of A.!'PLA!ll!E,
and Bert rftl<>vea a1s cap, shalc"3 1t out deftly and goe,i amci:,g the erowd. ''
,,
,,
,,
36
,, 18-A
18-a
18-C (1st Rev. ;
5/14/63)
MED. C!.OSE -BERT
as he begin• co move ""'°ng the o:-O'Wd.
~"' (holding out his cap)
Thank :rou, one and all, ror your
k:Lnd support l
WIDER ANGLE -SPECTA~ORS
as tl'ley start to LEAVE the sczm:.
Jl!E:l. CLOSE - SERT 11.l!D IIIR.'l. COMY
as she d:-ops a few ~oins into h1• cap. _,
Thank ;ou, Jl!rs. Corey.
CAMERA PULLS BACK "1th Sert a.s he moves ""'°ng tl>e remainlng
spectators. A C!l':NTLEll!AH drops a coin :i.,,.to the cap.
""" Bleos :rou, Guv•110 ...
The g:-in on Bert'• race dies away quick!;, as he <Us covers
he :l.s inadvertently hol<Ung his cap out to the Policeman, lfho regard• him ste:-nl;. -_[hurl"l.edl;r)
Sorey, 110 charge!
Bert moves awa7, eliciting a final 00111 from M!ss Lark.
""" Thank Y<'U ki!ldl:r, !tis• Lark.
Generositr itself, that's wot 7ou are!
As she g<>es Oll'I', Bert nerj; turns toward C~A, hold:1.ng out
the cap "1th the coins in it. He lowers the cap, !Jliling -• - (to CAMERA)
'OW. 'OW, 1t1s l!!!:. --'Ull<>.
CLOSE ON BERT
as he pockets the coins, puts the aap back 011 h:l.a head.
""" (leaning in to CAMERA)
Kumber Seventeen Cherey Tree Lane, you
oa;r? D:'l right. Just ""'" along w:l.ttl m&. (start• to turn) -'
16-
:8-
18-c 18 -0
-
,,
19-A Prod. 2!62
(l•t l\e'f. 6 ~/14/63)
SHOCTINO towarcl Cherr;,-Tree Lane, across froOI the square where Bert 1• St!Uld~g. -(points, as lie
picks up Ilia gesr)
Tl:11! 'ere 1.s Cherr;,- T,>e,. :.an,._ Niae
little apo,:, y':U.gl!t say. Number
Seventeen ts ;ust down a bit,
Cjij,!EJ'IA MOVES W!TI! Bert, es lie start• acroas ~he stnet,
SHOOTING !ro., the !\EAR, ea he walko towar-1 Cherry- Tree L!Ule.
The cymbals Ct.ANO a little, and the drUJlla !3llM!' as lie walks.
ao he atop, in front of J\.dlni.ral i!oom•• l!ouae. _,
(1nd1oating ~lie house)
First, thia 11,ipooin' edittoe wot greets
tile e:,-e 1! tile •oae of Admiral !loom,
late of '1• MaJest:,-•• Ro:,-al Navy --
CA!'!EllA MOVES PAST BE:I\T, PANN!NO tr? en Admiral :eoom'a 1-..ouae.
T!l.e higher !.t goes, the lll0re nauttaal it becomes -,..1th a
dreadnoug.'lt auperseruoture ror a roor, aignel nags 1n
profusion, funnels instead of c!-.lllne:,-s, a or<>w'a nest, !Ind
a cannon or gJ.eaiung brass, pok::tng ita snout over the parapet.
(o.s.) -Likes an 'ouse ShiP-sl!ape, 'e does.
Ship-ehape and llristol !ashion.
CAMERA JIIOVES !N CLOSER to the roof-ship, as BI!ilfACLE, a
salt:,--looting figure, ENTERS SCENE. lle :1.s a "'1nor naval
rat1ng, dressed in garb tl!at combines regulation attire
W1tl! gariaents of a ta1.ntl:,- p:1.ratical cast. H,. tal<e~ out a bosun•• pip,.,
CLOSER -THE RCOP-SHil'
as llinnaole stands at attention, !Uld PIPES the J\.dlni.ral
aboard. ADMIRAL llOOII! comes m.ajeot1oally Im'O SCENE, 'and.
loco out over the cit:,-witl! an air or proi:,rtetorSh:l.p.
He produces a gold-encru.st,.d 1<atol! on a ol!a1.n, and holds
it to 1-..J.s ear. He BANGS tt 1mpattentl:,- on the ra1l1n!l; to set :1.t ;oing, ·
(CO!iT!NOED) 19-A ,o
''
''
,, Prod. 2162
00~
CLOS.:
a• he JUlll!D..o.L ,oo,
(to B.1nnaela)
'!'!Jne gun ready?
:SDINACLE Ready and charged, ,1r.
~·· ADMIRAL :BOOM
(ehetkl.ns h.is watch)
m:inut:es, si.x aeeond$ --
o, =
tu.-ns to the aud1enc•.
"'" Wot 'e'o ramous for 1• punctuality.
Th• 'ole >«>rld talces it• t:l!De r,..,,.
0,-,,enwich, but Greem<:l.eh, they aay,
takes 1to time r,..,,. Adm:l.ra.l Bcoa.
(l001t:1 up at roor
deck an<:\ calla)
lf<lt cheer, Admiral:
Ul' ANGLE SHOT • ADMIRAL BOOM (1st Rev.
and llinn.a.cle on the r<,of--<leck. The Adm1ral 1•"'1& over· the cannon and calla down to :Bert.
-=• Good afternoon to you, young"""·
I/he~ are you bound?
CLOSE ON BERT
= (loold.ne; up and
oalllll.g)
Numb,... Seventeen. Got 00,... J>art1es
1n tow •ere wet want to see it.
a.nd B.1nnacle.
Aa!D!.o.L :BOOM IIUmber Seventeen.
(turning to BJnna~le)
E:nter that in tb.e lo;.
:SIJINACLE
/<ye, aye, s:L:-. ' 5/lli./63j _,
,o
,,
,,
,, 23-A
'"
24-A
,, ?:-od. 2162
(lot Rev. a
5/14/63)
CLOSE ON ADIU:!.A.L BOOM
ADMIJIA.L BOOM
(leaning over tha
railing, e11.ll• to Bert)
A word of advice, young man. Storm
•ignals sre up at NwD.ber Seventeen.
Bit or heavy ;,eat.Iler brewing tt,.,•re.
CLOSE ON BERT
"" (lool<!ng up at Admiral)
T.i.&nlt you, oir. l'll keep an eye •ld.n.-,ed.
11W. CLOSE -ADIURA.L :SOOM AND BINNACLE ''
'"
'"· ata.nding on the roof-deek 011 either si<ie of the eamion.
,filnnaole ha• a glowu,g gunner's mateh poised to touch to
the eannon. The Admiral looks at his -tch aga.1.a, and holds up
a pre-em,,tory hand.
ADMIRAL BOON
(teri•ely)
~ minutes, forty-t!lree ,eeondsi
BDINACLE
~e, aye, •lrl
A MOVING SHOT ,,
ct: Bert as he wall<o down Cherry Tree Lane.
Number Seventeen, he turns to au'11e11ce and A.! he approach••
lndleatea the houa ...
"" 'Ere we are, Number Seventeen
Cherrj- Tree Lane. Residence of
Georg.- Bimlts. Eaqll.l.re.
OFP SCEIIE, fl'OJJJ. i11a1i1e tile house, faintly e011.es the SOO?IIl or
SHOtl'l'Ill'G. Ther11 is the SLAM: of a door, a CRASH or dishes,
and the clangour or pots and P&11s being SLAMME!l ab01>t.
VOICE
(o.s.)
Let 'er gel Let 'er go, that•• what
I say! And good riddaneal The Old
Water buffalo! And glad I "-'l to oee
the la.at of •er!
( COIITINIJED) ,,
'' ' (lot Rev. 5/14/63)
CONTINt!E!,
( 0 .•• ) SECOND VOICE
Not Stop '•rt I'm not gol.ni;; to
ta.Ice the blame for ,..,t 'appened !
Ot,t of the way!
T:lere 1• another o.,. ser1a• of CRASliES. 3art ra1,es h!• eyebrows, as he-say• :o audience •..
•
• 3E.'!T
'Ullo, '"Jllo, 'Ull.o! Admiral's
right. ':e:avy "eather at lfumber
Seventeen and no OU stake.
CAMERA CONTINUES PAST 3e:-t toward the houoe, and the Sl!OOTING
INCREASES in vOlUJOe.
( 0 ••• ) FIRST VOICE
And I •ay, you com• to youz-oenoea or
I'll fetoh you a bo,r; on the ear that 11111!
(o.s.) SECOND VOICE
I'd like to oee you tr,"! I'<! Juot like :o see you try!
( 0 .•• ) FIRST VOICE
I "111, oo 'elp ,oel Now :,cu atop your
anivelin' and get out of.,,, i<itchen! I
(o.a.) 5:E:COND VOICE
Don't tell me wot to do! I don't
•ave to :akenone ct your oorce!
CAMERA MOV"'..S ll? CI.OSER to front door or the Banko' house,
past the number "17" on the door post, ao -
DISSO:t.VS TO
or the Banlca' house. !'IRS. BRILL, the coo1<, and nrFI', the
maid, COME Tl!ROUQ!I :he K!tchen door at the back or th" llall,
an<l advance toward the foo'I; of the sta~ra in an e:-rat1c aeries
of D10ve11enta. (They have been the ""eel adveraa:-1ea.)
( CONIL'IOEll) --S
,, •
. ' \lsc Rev. 5/14/{fJ
26 CCNTINUED
''
28 --'-0 MRS. ERIU.
Get away from tha,n stair•! Wa
don't want no favors f:,,0111 'er!
E:LUN
Easy eno\l;ll. ~or_you to sayl Warm
and coz;r out 1.» the kitchen!
MRS • .6:lill.
I neve:-:ike<l 'ee-from the o,oment
she set ~oot ln that door I
""'' llut •co gets stu01< with ·ena
.,1th no Nanny 1:, tile 'ouae?
that's 'Oo!
MRS. llRlLL children
~ -
'Er -with 'er '1gh and mighty wayo
and tne race of 'er that would ,top
a coal Oarge, it W<>Uld!
There is the SOUND or a door slam from upstairs, and !'!rs. Brill encl Ellen lo<>k up to see --
of !{ATIE NANNA, oolll1ng down the stairs, gr1,. and :hunderous.
A for:itldable, large-bodied ""'"""-with a dloagreeaOle expresoion. ,.
ANOTHER AN'GU: 28-4(
at t!-.e hott<>111 of. the stairs
U!EI'
No! No: !Catie !fanna -don't go!
ICatie Nanna sweep a the protesting Ellen aside like a bit of chaff.
AA.TIE NANNA
(lortilY)
I wouldn't stay in thia houa .. onother
minute! !fot 1( you hea.ped ..e «1th a.11
the Je.,ela in Chriatendom)
Elle" scuttles to the r.-ont door and. stand.s 1n fr<>nt or tt.
IIRS. BRILL
let the old sow go I
( CONT:rmm:!l) 'rod, 2l62
~3-C8NTINU'il>
VT!.:: N"J\NN,\
(tgnoring ~•-:Srill)
Stand away from that door, my ,;trl:
=• (te~rrull:,)
Wot are we going to tell the i'laoter
about the Children?
K!lTr:: N.o,ID!,\
It'• no concern ot mine! Toose
little beast• have ,:-un away r,-om
me for the laot time:
FIT?
But ti>ey a:ust be some,ilaoe? Did
)'OU look r-ound the Zoo 1n the Pa,-k?
You knew '01< Jane and lli:hael 1• -•
(stop•, stri~kan ·
by a oudden thought)
Cool You don't think tile lion
:ould •ave g<>t at them, do :,ou?
You lal:ow '"'" fond the:, wao ot 'angtn, ar<>und the cage?
KATD NJ>.NNA
(thrusting r.er as:tda)
I've oaj.d "'Y sa:,, and that's all
I'll ~....-: I've done with th!• house!
1!!13. BRII.L
Well -'ip, '1P, •oor~:,! Ancl. don't
otumble on vne way out, dearie!
Krs. Brill slami, back :tnto the ititohen.
FIIFK
110, Katte Nanna! I wcn•t be ~ble
to race the i'laoter and mosus! •
(2nd Rev. C/i:~1~. ,·
(CONTilfUFD) l~-A
(2nd. llev. 6/:26/63)
ilO-A -'.l' = DOOR
Katie Nanna otrug,glaa to
cllni-:1.na; to her sleeve, open the front <l.oor with Ellen
P:-0111 o.a. comes the SOUND or --
MIIS. B.o.HKS ( •1ng1ni,; o . , • )
Caot off the •hackles of '7esterday
Shoulde,. to shoulder !nto the fray -·
ETTF!J Mrs. Banks! She's •ome!
40-B Sl'~ ·l' EXTERJ:OR 40.j;
Mrs. Banit,;, atr1di.ng SJRartly up the front walk to her door •
. •.n attractlve "'0man, with a l:>road ril:>bon across her front. It spella forth "VCTES F<lR liOME:lf." ..,_ '"""' (a1ni,ing)
OUr datu;htera' daughters
W-111 ador9 u•
And they'll sing
In a;rate!'Ul chorus,
••ell done, oiater aufrragetta!
She :ill'l'EP.S the partially 01'£NED door ••
40-C r=roR HALL
• as ohe come a I1f. ..,_ '"""' (haart1ly)
Good evening, !Catie Nanna! llood
evening, Ellenl
FIIFN
""·'"""' What a glortous ,..,eting! filmi,ly
t,,.ap1r1ng! i'!ra. Whitbourne-All,m
cha.tned hel'aelf to the wheel of the
Prime !Uniater'• carriage! Oh •
lf you cou.ld only have seen lt!
iCAl'E NA!!NA
(gri.mJ.y)
i'!rs. Bank, • I -..ou.ld like a lfOr<l
with you ••
( CONTDfUE!l) 40-C P:,> d, 2162
{2nd Re't,
MRS, BANKS
Mrs. Unslie """ dra=d off to Jail, singing and ocattering pampnleto all
the way!
!CATIE NANNA
(firmly)
I 1"1 glad you ':-e home, Madam.
alway• given the best that' a I've.
1..'1 m& -• '' 6/26/63)
Dur:l.ng <he cour,e of the SO!fc;, Cook ret"-.-ns to doorway.
)Ira. Bank, plaoea r!bhon• on Mrs, Brill, ll:ll"n and Ke.tie Nazm.a.
SONG: l!RS. BANKS
Thank :;ou, Katie Nanna. Eow good
to know 7ou•re one or us!
(o1ng1ng)
lle're clearly soldiers 1n pett1coata
Dauntleao cruaaders for ,.-o.....,•a votes
Though we adore men lnd.1v1dually
We ai.r,,e that aa a g:"<>up they'r" rather atupld --
KATIE IIJIJINA
Mrs. Bank! --
MRS. BA!IK3 (s:!.nging)
cast orr the ohaclleo or yesterday
Should«r to ohoulder lnto the rray
OUr daughters' daughters will adore wo
Md the7 'l"l sing 1.n grateful chorus
•11e11 done!, aiat«r s..rrragette\•
KATIE NAlfNA
Be that as it ""'7 ----= (Alng1ng)
l"rolll Kena1.ngeo0 to 51111.ngagate
C.,e hears the re,tless orlea
:p,.o., ev•r:r corner or the land
l/omanldnd arlae!
(CONTINOXD) ?:-<>d. 2162
40-C CCNTJ:NUED -~
!'!RS. BANKS (cont'd)
( •1ng1ng)
i'<>l1t1eal equali:7
And equal rlghto w1:h men (lot Rev.
~ake heart, for Mr!. ?ankhurst haa
Been clapped 1:, irons again!
No more the :ceek and mild sub•e:rv!ant,, we
\ie •re fightl"g for our righto, :C.lltantly ...
(spoken) • .
Never you fear:
KATIE NANNA
If I may !lave a word, Jlls.d..,. .••
i'IRS. BANXS
(o1ng1ng)
So -oa,e o~r the !hackle• or yeaterday
Shoulder to ori.oulder J,.nto the fro::,
Our daughters' daughter• w1ll adore U!
And. they'll Sing ,1n grateful ehorua:
'Well done) Well done: \,'ell done, aister
(cognizant at last,
Katie Nanna 1! try1n,;
to engaae lier atte,,tion)
\lhat l:!. it, '>at1e Nanna?
KATIE NANNA
Mrs. Sanks, I have so...,tll1r.g to oo::,
to YOU --
!'!RS • BANKS Where a.re the ch.1ldren7
KATil: N,IXNA
To be p~oise, l'!ada.111. the oh.1ldren
~ not here.
MRS. BANKS
In the nuroer:y. ourely•
KATIE NANNA
They are not !n tlle nuroer:r. They
have dlsappeared a.o;a111.
=·= Katie Nanna -tlll~ is Nallv too
carele•• <>f you! Doesn•t ~hlsiiialce
the thlrd t~me tll1• wee!<?
( CONTIN'UED) ,,
6/26/63) .,_, ?:-od, 2162 ,,
\2nd ~e•r, 6/:25/63'
~C -; •:CNT!NU£D - 3
KATD NANNA
!'he fourth time, -Madu, and I, for
one. have had "':f fill of 1t, I'm
not one to a;,eak ill of the <>hJldren,
but --
MRS, BANKS
',lhan do you e::<;,ect the111 ho111e?
KATIE ~!I.NNA
I really COUldn' t •a>'. !low !~ :\'OU
wl.ll be good enou,;h to compute !!IV
wageo ---
""·"""' (;,a.nicking)
Orae:touo, Katie Nanna, vou•re not
leav1ngi \lh.!t will lit'. Bank$ oay?
He•o ~1na: to be ercaa a.o it 1s, to
co.me ho!'le and !ind the eh:l.ldren 11t1sat.ng!
(hlll"t'ta<ll:V r.,m<>vea
her "VOTES FOR WOMEN"
ribbon, and ;,luo1<0 them
fran. the boacru of the
ether•)
Ellen -put theoe awa-., You know how
the Cause tntur!atea Jl!ro. Eankai
"TIEN
Yea, --
CAMERA PANS EITFJI A)IAY froa the ia'QUP to the hall closet.
/vJ ohe opena it to put the ribbons tnoide, m<>re eolor-ed
:-1bb<>na are IIEVEALJID hangl.ng !:-om "1.thtn. 'l'hev indicate the extent of Jl!roa. Banks' "cause,".
41 IlfSER'l' ""· """' (o,a.) •
Katte llmu,.a. I i"'Plor-e you to r-econstder!
'l'h'.!"-k or the oh.1ldren! J\nd Jl!ro, Banks -
he waa Just ~~!flnn1n.o: to get used to :,ouJ
or the ball clock. J\n ·ominous str-eteh:l.ng and cracking
SOlll!D ~omes from w:1th.1n it. A •llreik frcm Ellen o.s. "'·'
,, (2nd Rev,
~l -A (,!!0!J'!' smn IN l'l!E HAU. l~-A 6/26/63)
FlI El'
(ruruting)
Poota, everyone!
42 .o.DM!i!AL BOOM'S ROOFTOP
Adln!ral Jloom 1s poised, with upflung hand, ready to give
the order to flre Off the cannon, .E\;.nnacle 1a roeacl7 to
appl)' the gunner'• match to the toue:,.;,ole,
AllJl!IRAL BOOM
(gazing at his watch)
P1ve •econcla -four! -ThreeJ
43 lN l'l!E HALL
i'lra. Banka, Ellen and Mr,. Brlll fan Ot11' :1.nto the fl"<l<lt
room. l!;atie Nanna remains illllllOblle :tn the hall, holdtng her su,1 t case , watching grimly.
44 IN THE LIVDIO ROOM
Ellen runs Ot11' of SCENE, CAME:RA LEPT. llra. Bt-111 ""= 011!'
OP SCENE, CA.MERA RIGHT. Jl!los. Bank$ turna to left jllllt
1na1de the doorway arch, and "elzeo atatue on pede,tal -
JCJ.at as the o.s, BCOI! trom A<:IW.ral Boon,•a gun SOIJNOO.
P.1eturea on the wall, the statue, scarf on the piano -vase
on the piano JUMP, The piano begina to MOVE OCT OP SCENE
;:o CA.'IERA LEP'l'. The toppled vase rolls ot:!' Piano lid aa lt
doeo, and !'Ira, Bank! catches it with pr~ctiaed dexteritv,
at the corner chin.a cabinet. The China is rocku,g from
the SOUND or the cannon in the PR.a.-;rous SCENE. She oteadtea
then,. Pia.no ROLLS IN :rr.,., RIGHT. lllen ahcve9· 1t 'back OCT
OF SCENE with her root, Wall picture• are awry.
~ :-!RS,BRII,L
l"ani"-'< a,o:ainst a hi'belot cabinet in th• other corner or
the room. steadytn,o: 1t, one &I'lll around a gcldrish bowl on
a ped@otal. A vaa• toppl•• oft one end or the cabinet, and
sh@ eatche• !t neatlv w1ti, the toe or h•r aho•.
47 MRS • .BANKS
without look:l.na; 'behind, replace• her Va!e on the piano,
ao 1t ROLLS .BACK DITO SCENE. 41-~
,,
.,
.,
,, l'!'od, 2162
(2nd. Rev.
bano:s the wall wtth Cl~r fiat, and all :Cle awry pictures rei:u.-n to their foriner position.
48-A MRS. 3ANKS 15 6/26/€
"'
strai«htens the picture on her wall, casually. The,i goes
into the hall to rssuine her converoat1on with Katie Nanna.
49 EX!'EiUUR ~-BAN!CS Katie Nanna, I beseech :,cu
KATD NANNA (f1rmJ;y)
KT wages, 1f you pl,.ase!
Cl1£R.'!Y TREE LANE ,,
MR, BANKS. a f1na-loold.n,!; """' With a Pleasant sense or
assurance, comes through the Park .o:ates, approaching his home.
lie wears a small roa,. iD. his buttOflhOle, a bowler, an.. swings
a tightly fUrled \llllbrella iD. the classic manner. Ile is iD.
extremely good spirits, light-rooting it acr<>sa th• stn•t,
and wbJ.atling. Ha loolul up u, Adlliiral BO<:,m•s r,:,oftop o.s.
JIIR. BANKS (calling)
B:lt early tonight, aren't :rou, A<llllira.1. ~='
50 ADMIRAL BOOM
loolcing .DOWN !'rOIII a position next to !us "'"-Old.ng cannon. B1..-inacle la awabl:llng it out.
ADMIRAL BOOM Nonaeriae! Bang-on-the dot, as usual:
Row are things 1n the world of finance?
51 CLOSE ON JIIR. BANKS '
!'Ill. BANKS (gaily)
Ne,,11r better( Jll<>ney 1~ SOU>ld! Credit
rates are =v:!.na: ~ -up -!!J!.l The
E!rittsh pound is tile ai!ii'irattcn of the world,
52 CI.OSE OH AJ:lMIRAL !!00'1 ,,
,, ,,
,,
,a ?,-oc.. 2162 ,o
(1st Hev. 6/3/63j~
C!.0S2 ON MR • BANJl:S
l'!R. BANJl:S
How do thinga loo!< from whe,-e you
st a..-,d?
C'LCSE ON Am!L'!.AL BOOM
ADMIRAL BOOM
Bit ehanoey, I'd say.
(raises a finger)
Wind'• com.in' ~P, and the glass is
falling\ Don•~ like the loo!< of te!
MED. C!.OSE -11H. BAHKS
as he eont1nueo on h.1• way.
IIR. B-'JIKS
(mechanically, not
'I.Uit>! liatening)
Good ! Good! Good ! -MED. CLOSE -ADMIFIAL BOOM
as he lean• over the Side or the roof-d.ee)< and calls
after Mr. Banks.
ADMIRAt BOO!!
Banks! Shouldn't wonder if you
weren't steering :!.nto a nasty P1<toe
of weather! Banko! Do you hear me? -•
Aa he approacheo h.1a house, whistltng merrily, he oees a
hanoom cab waiting at the curb. He turns up the front wall<
and aeeo Katie Nanna EMERGING from the house. CAMEHA PANS
her down the front walk, where ahe encounter• Mr. Banks.
He lifts his hat ;,olitely and reaches for her bags.
l'IR. BANKS
Those muat be quite hea'1y, Katie Nanna.
Permtt me! "' ''
,,
She gets IIITO the cab, and Mr. :sanka places the luggags 1n the
veh!ole w:1th her. !!a lifts his hat again as the cab drtvea OFF.
ME:l. S!!OT -MR. BANKS
Whiatling again, ti~ heads up the walk to th" fr=t door,
Conelu<!.ea h:!.s wh1stltng passa~.
vNI~"tUl ,a
59-6: 65-68 of the front hall, as 2llen open, t/'.e c!oor cc, adl,ii: Jt'. San'.co.
He ""'°"""" tu• bowie,- and glove•.
SONG: MR. BA/IKS
(,ing1:1.g)
I feel a surge of deep satlsfao!!on
MUc/'. as a l<~ng aotri:ie h!s nobl• •teed
:har1tls :ne bowler, sloves
and c:,i,b::-ella to 2::en)
Tharu< :,ou.
(5ing!;.g)
\,"hen I re:u::-r. ::-om daily str1:e
To hear:h ar.:i w1fe
(he gives l'lr•. :Eanlc•, ><ho
comes IN, a :fle,.t1ng l<l.••l
How pl•a•anc is :he life I lead -
Ulen goes OUT of a:ene.
)IRS·. SANKS
(troubled)
Deo.r -it's about the Children
MR. SANKS
( singing on
impeMurbably)
l r-un my .~ome pr-ecioely on achedule
At s!x-oh-one, I :o.ar-:h through ""f door
11!:i" •lipper-s, sher,-y and pipe are due
Ac stx-oh-t><o,
Consisten: !• the life I lead,
M::-. Banks str-oll• OUT or SCENE, into living ,-oom, ]'!rs. Banks
hu::ccying after h!m.
INT, LIVING ROOM
a, the Banks eo,ne !~.
i'!RS • :SANKS
George, :hey•re rilS!ing:
.'IR. :EANKS
(no: ~ui:e hearing,
he 1• ,a·,oring the
><Crds af his song)
Splendid! 5ple~d1d!
(singing)
It's g:-and co Oe an En,;liohman in nineteen-ten,
K.!ng ~~wa:-j ',i or, tl".e t:1rone, 1: '• the
Age of :nee, --
( CCNTINUED) CONTINUED '' (1st Rev. 6/13/63)
Mr. Banko leans ca,ually on :he l!la-ntel, af:er tak1ng his
gls•• of sller:-y from a s1lv"r tray •-
JIIR. BANKS
( oing:1.ng)
I'm the lord of ,rry castle
The sover-eig:,., <he liege
I treat .,,_, sub;ects, -
(Servan,:s, "ife, chilti:ren
'111:.~ a f!rn, but gentle lland)
N"oble,se oblige! --
He slopeo into hi• ea.oy :lla.ir -
JIIR. BANX.S
( Singing)
It•• six-oil-three and
The hei:,-o to ""l dollU.nJ.on
Are so:,-ubbed and tubbed
J\nd adequatel;i- fed
And so, I'll pat them on the heod
And send the.m Off to b"d
Ah, lor<1l7 lo the life I lead!
Mr. Banko tu..-no :o gr,,et 111, :hilliren. They are -of course • not preoen:.
JIii!. BANKS
(agitated)
The children! Jll!chael! Jane!
.Jnl.s':-~j ! Wllere are ""l ctu.ldren?
MRS. BANKS
George -the child~n aren't here.
MR. BANKS
Preposteroua! Of oouroe the;i-•re here!
Where else woi.,ld th"7 be?
M11S. BANKS
I don't know, dear.
JI!::,, Banks leaps out or Ilia chair, CAMERA PANS KDI to the
telephone on 'Che wall in the hall ••
MR. BANKS
Don't know?
MRS. BANKS
They s1Jllply haven't r-~t=ned\ Katl.tt
Nanna loc~ed ev~:r:,vhere \ 69-80
!n tl,e hall. Mr-. Ban:<• crank:• the hu.<lle determinedly.
MR. BAf/KS
Vecy well: I'll deal ><1th :h!• :ey•e!t:
(1nco :t::e pnone)
Give me t:'le ;,ol!oe s:ation! ~u!ekly, ;,lease:
BANKS =· I don't k.'lOW :hat
the police, :\eac-.
matter are we should bother
!he facts of :he
MR. BA...'fKS
Kindly do not attempt to cloud the
1••ue "'1:h facts. One fact -and one
alone -:-em.a.1:is c,-,ystal clear. !Catie
Nanna has faltered at her po•t -she
has let the fal!l.11:, do>m, and I shall
tr1ng her to tool: without fw-ther
(pauoeo, the wind
going out of hi• •alls)
Oh -she'• gone, hasn't she?
MRS. :S.o.NXS
Ye•, c.eorge. Only juot.
MR. BANKS
( into phone)
Yes -~orge :Sanlco nere.
CheeTY T:-ee Lane, I:'• a
some urgency --
There is a RING at the f:sont .door.
MR. :SANKS
( on the phone)
I should l!ke a policel!l.!ln
r<>und 1:mned1ately --Seventeen
matter or
•ent
JI!?'•. Banks open~ tne door to reveal POLICE COUSTABI.E JO~S,
a large, hulking""'"·
MRS. BANKS
Th~ pol!ce,nan 13 ner-e, George.
)!R. BAITT(S
He 10•
(!nto phone)
Thank :;ou. Thank you. Spl@ndld
re~pon,e. Good n!~t.
( COUTINUEU) •• . , CON'l'INCED '' (l•t Rev. 6/13/63)
Mr. Bank• ;nats up "Che phone and turns co Constai>le Jones.
MR. BJUIICS
Come 1n, Con,table. Come 1n.
CONSTABLE JONES
Thank you, slr. While going about
o,y duties near !Ugh Holborn, I noted
some '-'aluabl~s that had gone astray.
I believe the)'' re your,, •1r.
M'.FI. BANKS
??-om Cehind him, each ol1ng1ng to a gl.ant hand, the Coru,table
drawo !orth two ch1ldren. JANE BANKS, aged eight, and MIC!l/1..EL
EANKS, aged s:lJt. Michael car:e-1eo a battered kite.
MRS. BANKS
(Ntlieved)
Jano>l Ml:ohael!
She move• :owa:,-d them, but Mr. Sank• ratoe• a hand.
MR. BANKS
";/inU"red: No emot1onali•m, pleaae!
CONSTAELE JONES
I wouldn't be too 'ar:l on them, s1r.
Thq've 'ad a long, weary walk toda)'.
MR. BAIIK3
(to the children)
W-tll )'OU to-here, ,>leas~?
Jane and Michael slowly advance, Michael otill oarcytng the remnants or the kite. ,-
I'm sorry we l<>•t Katia Nanna, l"athe:,-.
""-= The kite got away :t'rom us --
CONSTAllLE JONES
You see., oir, in a manner of opealcing,
tt was the ltite that nn away. Not
tile children.
MR. BANKS
(coldly)
Thanll; you, C<>n3table. I believe I
car. &anage tlu.s.
( COIITIITTJED) --o',-:0
Michael holds :he ,:~:e ou: to hi• ra:hor. ,-
Actually, 1: isn't a •,ecy good kite,
?atne::-. We :nade ~t ou:,selves
MIC'F!A:E:!.
(br1ghter,1ng)
l'!ayOe ~!' :,ou -~•l;,ed bu11:i one
CONSTI\BLE JONES
':';lat's the ticket, s1:-: Kite• are
skittish oh~ngs. La•: -~eek, ;,-1<1!
,ey own yc,ur.g,:ers, I -' <-
Mr. Banks ta,<es the kite f:,,om l'l!ehael ancl throws it on the de•k.
lffl. SANKS
I'm grateful to you, C<>nstable, for
returrJ.ng the olt:ildren. l':c sure if
you go to the ld.tchen, Cook Will ftnd
you a plate of somet1t:1ng.
CONSTI.Bl.E JOIIES
(coldly)
Thank you, o1r. I'll be ret:.irning
to ory <iuttes. ,
Tha.nk you, Constable.
The Constable siniles at the Children, the $1llle fading ••
he look• up to Mr, Bank•.
CONS'!' I.JlLE JONES
Cl<>od nir;ht, •1r.
Arn:l he goea OUT.
MRS. BANKS
I'"' terribly sor:-y about a11 this,
George. r expect you'll want to
discuss it.
(rings ~ell lever on "all)
Jl!R. B.o.NKS
Discuss tt• W1th ·~ho111? The ch1ldr~n?
Arter all, :hey're rmt quite persons
yet, are :hey?
(as Ellen comes IN)
Ellen -cake Jorie and 11!:!.Chael upstairs
straightaway.
(CONTINUED) 69-So
61-9C COIIT!NUED -3 22
(1st ilev. 6/13/63) ,,_
i'lr. Sanks i;o:;:s INTO ll. .,l.ng :-ooin, followed Oy "Ir•. aanks.
Ellen her:is Jane ""d )lichael UP the •tal.rs.
SLLl:N
( g,-umo11ng)
r knew 1:: \11",e:, all'• sa!d and dor.e,
'oo Oears the brunt o~ eve,,..Jth1ng
around 'e:ce? Me -t.~at's •ooi L.:.ke
: don't 'ave eno"ugh to :io. They :ion't
want an 'Or.est -·ard-working girl
around 'ere -:r.ey want a ruddy zoo-keeper I
THE LIVING ROOM -NIGHT DISSOLVE
"1-. Bani<• ls
watcl'.1ng him
Jlcket now, pac1:1g reotlessly back and forth, "1-•. B"-"k•
aru:!ously. Mr. Sanks 1• wearing Ms •=k!n;,
He puff• hl.s pipe r-~riousl;r.
MRS. SANKS
! am sorry, dear. ~"n I engag"d
KaITe Nanna, r thought she would
be !:trio Wl.th Che Children. She
looked so wonder-fully soleom and cross, ~-= I,;..---~-', ne.,er conn,se a llver coo,pla1nt
w1 th eff1c!ency, --= I'll try to do Oetter nex~ t1=.
MIL BAJfKS
Next t1:me?
si:< nannies
and they' ~e ~ dear -you have engaged
!n the past four month•,
a!l beer. unqualified dioaoters !
MRS. BANKS
I quite agree.
MR. 5ANK;S
Choosing a nanny for the children
1S an important and delicate task.
It r.,.~ulr~, ln>ig:it, halan:e,
Judgmem:, and ah!l!ty to read
character, Under the ct,:,cumstance,,
it may he aproopos to cake J.t upon
mys.,lf to selec: the next ;,er,on --
(CONTINUED} CCNTINl!ED
i'IRS. BANKS
(rel1eved)
Oh, ~orge would you)
Jl!fl. BA!fKS
Obv1ousl7 the -.,ay to find a proper
nanny 1• to go about 1~ !n a proper
fashion. r shall place an advertise-(lot Rev.
m.,nt in the T1mes. Take th.ts down, please. ,; 6/13/6;)
Mrs. Banl<s Sit• do= to aer des!< and takes up pen !n !"eadinesa.
SONG: Required -Nanny -Firm
No nonaenae -
(a1ng1ng) Respectable
A llr1t1sh nanny must l>e a gene:,,al
~ .. future Eii,pire l!e• within her
Md so the person that we ne~d
To mould the bre"d
I• a nanny who can give conmands
(to hia W1(R)
Are you getting tl'.:l.s, W!~.,;.:·,·e:l
MR$. llANK.S
Oh, yeo dear. Every word.
Jl!fl. llANK.S '
(re,woes s1ng1ng song)
A l3r1tloh J:,anlc 1s run -~1th precialon
A British home req_Ui:cea nothing lesa
Tradl.tion, d1sc1pltne and rules
i'lllat J;i, the tool•
Without the,. -dl.sor<l":-! Catastroph"!
Ma.rchyl
In short, you l!av" a gha3tly mess:
MRS • 3A/IKS
• (writing furtcusly away)
Splendid, George! L"">3p1rational!
Tl,e T1m"a wtll be so pJ.~ased!
Pacing, Jl!r. Jlank3 turna to see Jane and Michael ln their
n.1ghtclotnes, at tile door.
l'!l.chael and Jane come 1.n. Jane has a sheet of writing
paper ln he:,, nand. ?::-od, 21~2
CCIITIJ,ITJE:i -2
Well• ,,~
i'!!.ohsel and r have discus,ed ever-;
tt:ln;, We·r• very sor":"y abou; •,mat
we dl:l today.
l'll9. BANKS
! should cercal::l)' \:hil",k sol ,,~
It was wro::g to run a•a)' 1'r<>m Katie N'anr.a,
i'IR. BANKS
IC wa, indeed I ,,~
And we do so wa::t to get on w!th
:he ::ew nanny.
l'll9 • BAIOCS
Very •enslble. ! shall be ,tlad to
have your help in th1• matter. ,-
Thank you, Father. Tha\:'s why l'IJ.:hael
and I wrote th1• advertl,eo,ent.
MR • .!!JINKS
Advert1•eotent? For ~?
MRS. BANKS
George, ! th1::I< we oug.'it to l13te:: -,-You said you wanted our h@lp
MR. BANKS
3ut --oh, very w@ll!
>= ••anted -A Nanny F<>r r-,,o Adorable
Children.
MR. BANKS
Mcrable: !'!::at's deoatahle, r an.:st say.
( CONTINUED) 51-9· a1-90 P:-od. 2162
CONTINUED -:l
'"' ( •1ng1ng) rr yo<. want thi• cho1ce position
Have a cheery dtspos1t1on
Rosy cheeks, no warto
"'"'"' ":'hat's the part I put !n
•·«---~. "~·----MR. BANKS
(e"aspee-ated)
Really --
!IRS • BANKS (husl:iing nu)
George!
'"' (s1ng1ng)
Play gaines -all sort•
You mt.:at be l<ind
You must be >1itty
Vecy sweet and very pretty
TaltR us on outings -give us treats
Sing song• -br1ng sweets --
MR. BANKS
The= I You see? The ant1re tl:11ng
is prepooter-oual (lot Rev. ,.
6/13/5{]
8I -1
Mrs. Bani<• looks warningly at him -a.nd he at.:Osides.
'"' (Singing)
Never be croso or cruel
Never reed t.:a castor <>11 or gruel
Love us as a son and daughter
Md never s.mell or barley water --
"'°""' I put that in, too.
MR. BANKS
MRS. BAlllt3
Ssssh: Do be quiet, deari
( CONTnroED) ------------------
(lot ~ev.
COIITINOED -4
'"' ( •1ng1ng)
If you ,r0n•t ,cold and ctom!nate ua
We ><111 never give :,o" cause tQ hate ua
We won't hide yo<u-•peetacles, so 7ou can•: see
Put toada 1n your bed
Or pepper 1.'l your tea •
l!c;rry, Nanny
Marry thanks
Sincerely -
MlCP.AE:L /IND JANE
Jane and i'!ichael Banks,
i'IR. BANKS
Thank you. !loot interesting. ,,
6/13/63)
81-9
1'11". Banl<s puts out hla hand for the sheet of paper with th•
adve:-tiaemerit written on 1:. Jane handa :l.t to l!!JII.
MR. BAIIKS
t,ow, I think we•ve had qltlte enough
of thia nonsense. Clood n1.;ht, ch1l<lren.
Please return to the nuraecy.
G<lod night.
(lOOd n.1ght.
Creotfallen, the ch.1ldren go OIJ'l'.
IIIRS. BANKS
They wanted to help. They're Juat
ch.illiren.
~-BA.NKS
I'111 awa:-e they'tt Children, 1"!.:i.1.frltd.
I Only oongrat\1late myself I decided
to step in and take a b.and !
(glancing at the
Children's a<lvertiae•
ment, then •lowl:,
tear:1.ng it up}
Gtva treats! S:l.ng songs) Pla:, ga.meo:
Rid:I.CU.l.ous l
!le thr<>ws the piece• tnto the cold f:l.replacQ. Then goes to
the telephone.
There's no ~uast:1.on in ,riy m.:l.nd. whatsoever!
Now ts the t:1.me for acs:tonl 93 ,'!"Od. 2162 '' (:st Rev, 5/15/63)
The blta of paper begin to S'!'D. 1'1 the fireplace --
/l!R. BANKS
at the telephone.
MR. BANKS
Wlll you give me 'T!le Timea• pleaoe?
93
A audcien, :r,ysteriouo Wl!Q p1ck, up the torn bit, of paper w:tth
a g~ntle ><hooa/U.ng SOUND, and oends them hurtling up the chlmney
MRS. BANKS
(o.s.)
You•r,o always so force:rul, dear.
(o.a.) MR. BANKS
The Tt.coes? Thl• 1• George Banka or
Seventeen Cherry Tree tan... I "l•h
to place an aciverttaement in :,our columns
94 EXT. !'QP OF eJiD!NEY
95-97 !'he torn scraps of paper EMERGE from the chl..mne:,top anci
soar upward,. CAMERA PANS Ul' with th" ooraps or paper,
aa they wltlrl Ul'WAIIDS into the moonl1t n1ght.
DISSOLVE
E:XT. 1.DJ1!!RAL BOOM'S WEATHER VANE • DAY
Next a,O=ing. 'The wine!, wJ-.:1,oh has been whipping brisl<l:, from
the WEST, begins to falter. 'The vane turn, slowly, and a new
br,.e:e comes on str<>ngly tr<>m :he EAST •-
TheM> 1• the SOUND of th<t booun' a WliISTU: o, s, 95-9
CAMERA PANS DOWN to re•,eal A<lm1ral Boom being pipeci aboarci the
roof deck of his house . .Binnacle atands at attention.
IUlMIR/IL BOOM
I'll take cne report, Mr. E1nnac1e.
BINNACLE
'Jinci has cnangeci, si:-. ~ppears to
be blo,.ing trom a ne1a i:;_uarter •·
~<lm1ral Boom squints :,p coward the vane ••
(CONTINUED) ---------------
95-97
97-A
,a
''
100
''' Pro<!. 2162
CONTINUED (~at Rev. ,,
5/17/53) ,,_
ADMIRAL BOO!I!
Solt la. T1.m" gun '-""ady?
BINNACLE
(r,.ady with g-..nner••
match for the cannon)
Prlmed and raady, •lr.
(looking o.a,)
Sir• !
Wl!at la it?
BINNACLE
B:l.t of oometn1ng or other tak1n,i
place err the atarl>oar<I beam, aJ.r!
CUlSE ON A!lf!IRAL BOO!'!
aa he loolt,! over the side toward the Bank!' hou.oe.
!!IS VIEW -DOl!ll SHOI'
A '-"""" of grim-faced applicants fo:,, the Job of Nann;,-, are
1:1.ned up to the dool' and down the sidewalk. They ar. a
soml>«r, unatt%'act1ve group, all loolcing ve:ry much alike,
w:1th the same lira!> clothe!, the sa.a,e dank hair acrewe<! \lP
under a d:l.ng)T bonnet, Each llao a copy of the London Times
tuck"<! under har arm. They atand silently, wa:1.t1ng tha
atrol<e or eight o'clock.
(o.a.)
Ghaatl.y-locld.ng crew, I must aay.
EXT • liINDO',I • BANKS ' HOUSE -!!ED. CLOSl'; -EIJ,Ell
wno is loold.ng out th" window at the aide of the front door,
==
ot the sterri, 1.mmcbile faces •tan<Ung 1n lin•.
~. CLOS!'; • EC,LEN
as sl)& grimaees, t=• from the >dndow and gees INTO the <Un:ing roco,, .,
''
!00 P:-od. 2:62
(2nd l!ev.
l02-lC4 INr. llXNING ROOM ,,
6/26/63)
Mr. and Mrs. :9anl<a sre hreakfsat1ng a• Ellen comes IN.
ETtEN
':'he=•• a fsir good queue of 'em out
there, s1:-. Shall I send •em 1n now?
"'· '""' Cer-ta1nly not! I aa.J.d e1~t o'clock,
and e!Jrnt O'clock lt shall jell:,, well he!
(take• out tu.a watch
to conault 1t - h1t
atands up, lifting
tu.a cofre" cup fro,.
1ts saucer)
Yes -eight aeconds to go. Slx -five --
MRS. BAIIXS
Pesta i Please! Three -two
Mrs. l3r1ll tlaahea throw:h the diD.ing :'O<llB on hilr wey INTO
the livtng room. Mrs. aanka and Ellen beth FJCIT hastily to
the living room to ts.J<e up their atattona.
The= ta a thWlder1ng !!0011! or the M.mir!l.l. 1a cannon n""t door.
I'he Eanl<s' house QIIIVEJl.S, there 1• the SOUND of the p1ano
BANGING lll"OWld in the l1v1ng room o.a.
Tl!E CAMERA 1s F"'-'l'URING Mr. Banks. The table 1n front of him
.0:1vea a conVUla1ve trem<>r. The cur-tuna shudder behind h1m.
':'he china cab1nat d0C>ra swing back and for-th. 1!1• chair, and
the fern in the pot 1n the window b,cy-to hia rear give a
noticeable twitch. The chandelie:- over his head ,ways back
and forth. The table Bhl.mlllera aw,cy-rrolB beneath h1s hand.
Mr. Banko sw,cy-a bac1< ai,d forth, with dignity, lUce a sea
captain on a sto:rmy bridge.. The table ahi...,.rs BA.CK 1nto
its former position. lie puts the coffee cup down 1n 1ts exact former position.
Jl!R. BANKS
Ellen, it 1a now e1ght o'olock. le._-:
105 FITE» ,05
positioned ag;Unat the Oh1na cab1.net 1.n the f:-ont room
nearby. The p1ano haa come ao:-osa the roolB and 1• nst1ng
on Iler htp. With a flip of he:-derriere, Ellen propel• it
0\11' OF SCENE back to its proper p<>s1t1on.
FIIFI' Yes, s1r. ' {2nd Rev.
105-A IN THE OININO ROOM
Jl!r. Bank!I tu.-ns and ;lancao
Ollr-ror, adJuoting hi• tie.
with the Ollrror. at hiluelf in the Still SWAYDIG
lie swa.70 gentl7 to ke~p !n line
l'!R. l!ANK:3
You ma7 ohow them in -one at a time!
106 ZLI.EN
steadying the cabinet ance again, and going OUT --
Yes, sir.
107 2XT. NURSERY ,IINDOW EJ:pp,
JAKE AND MICHAEI.
laak1ng dawn d1scansolate17 at the queue ot nannies.
~= 1'1,ey•re horrible!
( COIITINUEII) ,06
,07 ?e-od, 2162
(1st l\ev, ,,
5/17/6;)
108-A
108-a
1aa-c
108-D
,,,
109-A ,(turning awsy)
I don't u.-,der,tand. 'I'l>ey're net what
we advertiS<td for at all.
TIIED\ VL"'W • DO'IIN SECT
of !=he qu,.ue of nannieo, A sudden WIND ,tarts up,
Mtchael 1! le&n!ng ou: the window, pointing e:<citedly.
Jane turn,, qutcl<ly, and leana <>ut the WUJ.dow -·
TEED VIE\/ -llOIIN ANGLE • QUEUE OP NANNIES
on the front a1dewalk. 'I'l>ey are being severely buffeted·
by the wind. Thetr hats, paper• and bag! are blown away,
and a couple or umbrellas are blown open and rtppe<1 apart.
It 1• a scene or wild conrr.ision.
C::.OS:E:l'I • THE NANNIES
Th"" are desperately f1ght1.ng the wind. Suddenly, a ooupla
Of the nar.n1eo begtn to riae Off the ground.
CLOSE ON ANDREW
the dog, who haa been watcntng interestedly fr<>m bentnd a
poat. lie Pulls back heh.ind the po,t rearft.lll.y. aa he aeea --
HIS VIEWPOINT • Tl3'.2 NAHl!US
a• they begin to blew away.
blowtni, THROUGH sci::q. One cling, desperately to the
fence railing, but she too io blown away,
109-a £7:r. NURSERY 1/DlDOW -JANE AND l'IICl!AEL
looking down, wateh!n.g the drama 'oelow. ,oa
,,,
108,
108-
108-
,,,
109-,
109-1 1C9-C
,,o
110-A
l.l.l
'''
,,,
,,, Prod. 2162
(lat Rev. 5/17/63~1
109·
as they U'e "ce1ng blown AWAY. ,,,
/llichael po1nta Ul)ward, as the two c~ldren watch the flight or
the departing nannies.
THEIR Vn:it
of the nannies being "clown over the treetoo, and up over
the etty, disappearing into the diatance,
Jane 1• at.ill watehing the nannie,. 111ehael ls looldng
out towar,I the Park. Suddenly he points.
"'""" (exo1tedly)
-look!
"'""" (pointing)
0-,er the tree•!
TIIEIR VIEW
looking toward the Park. Across the trees, a PIIJURE appears
to be blowing toward theJII. ~ 1t grows in •ize, we begin to
reeogDize Jllaey Poppins, cll.ngtng to her opene<t Wlbrella,
as the,-watch the al)proaching ftgu.-.,.
'"""' Do you suppose ~t•• a w1tcn• ,-or course "ot! Witches have bro0111s:
rB.E.IR rn
or Mary Popp.in~. She !loat, through the air, swing:!.ng
g""tly back and !orth as she Clings to the Wllbrella hand.le.
Despite the Wl.nd, wl'.ich ia blow:1.ng her 1:1.ke a paraehutist
to the Bank:r.' household, her clothes are unruffled, and
her hair unmuased. She 1s elaborately unperturbed. :10-
'''
'''
,,,
''' ?C'<>d. 2162
(2nd Rev.
•• sne float, aoroso the street, oroosini;; the now deseri:ed
fc-:,nt walk and u,, -~o t~e fr<>nt poroh.
116 C:.OSE ON JANZ AND Jl!IC!!A.c.""L
staring out ot ~he nu:-,ery window. ,
!t's"•he! :t's the person!
answered our adveMoioement!
cheeks and ever:,thi.'>6!
117 ANGLZ TO FRONT PORC!l "'" ,,.,
Macy Poppino comes IN for a g,-ao .. ful land.i.'16, puts down
r.er carpetbag, olo•e• her umorella, and eucks it under her
aroi. We have a view of the umbrella !'Jandle -th• carve<! !'Jea<i
of a jaded, oholeric-lookini;; parrot. $he pulls th& doorbell chord, 113
116
'' 7
118 0MI'!'l'ED
119 THE FRONT !!ALL ,,a
'' 3:llen opens the door to R=.VEA!, Mary Poppins. = You mair come in. One at a t:tme.
Thank :rou! MARY _POPPINS
Mary Poppins lllOVea p&st Ellen and into the living room,
O!!T OF SCENE. HOLD ON Ellen & mo,oent ao she looks out
the door, puzzled b:r the <ieaerte<i fr-ont walk. 120-125 L~. LIVINQ ROOM
a• Mary Poppins eomeo !II. Mr. ::an;.:s !• po1set: a~ tha ,:iantel.
~illing hi• !)ipe "1th a fir:o, •x~eu:1•1e atr, :le s:arts :o speak
)low then -
MARY POP~IIIS
You are the fa:her of Jane ar,d M!.chael
3anl<;;-;-are you not?
{ she p:-oduceo a
paper fr-Qm .~er ':>ag)
Mr, 3anl<s frown,. She 1• rtot qu!te what he expected. Nor had
he expected ner to speal< so forthrig.•1:cly. ,~ ~Ah -you hrought
May I see them• yot.r references. r --
MARY POPPINS
(=!'oldi.~g the paper,
tool<s over the top or
1:, and oays haughtil7)
I ..al<e 1: a rule never to g!ve reference•.
A~ old-fashioned idea, to ""I m!nd.
MR. BAI/KS
Indeed• We'll Just haYe to ,.,., ahoi.:t -
(he pauses, lool<1ns at
the peper in h"r hand -
it 1• the advertisement
wrttten hy Jane and )UchO.el,
hut pasted into a s:!.ngle pie:e)
MARY POPPI!IS
The qualiflcattons, rte"' Cne -
d1spo5ttion. I am never cr-::ss.
T"wo -Rosy cheeks C·bviously.
Three --
MR. BANK$
Ex:use me. 1'1ay r?
(he tal<.es the paper
trom her hand, and
stares at it) A cheery
Ite=
rte=
Sut how did you get this? I :ore i,;; up?
Mary Popp~n• take• the paper out of Mr. Eanl<,;' hand.
(CONTINUED) MAR'[ POFP!NS
( continuing)
r:em Three -I'lll sure :ne cetil<lren
..-111 f!r,d ,,,,,-gaJ11es e,:;;;::-einely diver:ing
(she pauses :o :ook
a,: Mr, :3anks, who !a
c::-ouc:>ac ove::-, lool<l.r.g
up :he cl".1:nney)
Have 7ou lost ao.,eth!ng?
l'!r. Banks looks u;, quickly, Oang!n5 tu.s head or, the mantel,
)!fl. 91.NKS
Ow! Confound it! Nol That is -
yes! That ;,aper -! thought I !lad
MAAY t'OPP!NS
You are -George Banks -are you not? ~or course I ain!
MARY POPPINS a::-e --'
And you i!id advertise for a nanny,
did you not?
MR. SI.NKS
Yes --
MARY POPP:NS
Vecy well then. Item ,Four -I ..,.
kind but extrelDely ~irlll --
(she stops agaln
as st:ie sees} -, '
ll!r. Banks is tcy1ng to reconstruct in pantomime 1<hat ha did
with the pape::-. He to::-e 1: up -and t!lrew J.t in the fi::-aplace.
)LoJly POPPINS
I hag yo= pardon. /\re you 111'
MR. BA/fKS
{caught in the act)
0~ course r,ot -! Just -
JIW!Y PQPPINS
~e r-efe~nce here :o my wage~ is
•,ecy obscure.
1'!R. llANXS
)(ow Just a OlOment --
(CONTINOE:l)) ~-. -,~--"~- ~--<
.20-l25 GONTINT.,"ED -2
We mus;:
01Ustn't IIJL~.Y ?OPPINS
MR. 3ANKS
:'.es --~ auppose so, Cu
MARY POPP!NS point,
: aha:: :-e:;u!:-e •very s@cond ':'·sesoay Q::. '
:it:-. 3a.,,ko !s c1,-c:1ng i'\ary Poppins, star.l.r.g at he:o. She stands he,-;::-our.<:, say!;.g:
)IAl!Y POPPINS
On further thoug.it, r O@::i.eve a tr!al
pe:-iod ;:1.l.gnt be ,,.1•e --
)!fl. BANKS
A tr-1al per:!.od? l don•~ th.ink
MARY ?<lPPl:iS
I'll give ;rou one week. I shoul:1 l<;no1<
oy then.
)Ill. 3MOCS
(eomple:ely ,~~rled)
You snould know-?
Mar;, Poppins folds up t~.e ad·,er:1sem@"t, ;,ops !t 1n h1t:-ba;,:
and snaps it shu,:.
MARY POPPINS
l' ll see the Ch:1.ldr@n now,
She tu:-r.s on he:-heel and wal,Cs through tlle door,
126 GU.lSE
on Jll:r. Banks. H.!.! tace 1• a ptc~ure ot f!'Ust:,at1on.
)Ill, ]lA/fKS
.Eut --
127 IN':'. 3AJIKS' l!OtlSE -llALL
)lary Poppins walks to :ooe o: stairs -looks up.
aER VIEW
Michael and Jane loold.ng down througn the :'ailing, of the
ftrst :1oor :and.1Cl.g. '''
128 ~29-E
129-C
129-!l
,,, Pr,,d. 2162
(l•t Rev. 35 5/lli./63)
or Mary Poppins at the foot of the
hopo onto the banniater, adJusttng
in her hand. sta.iro, a.a ahe
her oa.rpetOa.g gracefull7
and wo.Orel:a
CLOSE ON JANE AND M:IcaAEL
peeldng throug.'l tl',e ratl!ngs, a loo;; of pu::lement on their face•.
':'l!E!R VInl
of Mary Poppins as ohe otarts to sl1de U? the bannister
to the landing where the ch:l.l~n a=.
CUlSE ON JANE AND MICRA.EL
who stare through the ratllngs, tra.nofl.:<ed.
THEIR VIEW
of J1a:r,-Poppins a.a !he oonttnuas on up the Oann:!.oter,
nearing the lan<Ung.
MEil. CLOSE -JANE I.ND MICRAZI.
ao they pull awey !r010 the Oannlater !n ewe, hUddling
together a.gUnst the land!ng wall. ,,,
,,,
130-A . WIDE!! ANGLE -JANE AND MICRA.EL 130·
'''
131-A huddling agaJ.nst the wall, as Mary Poppins SLI!lSS Ili'l'O
SCENE on the cann.1,ter.
CLOSE ON MARY POPPINS
MARY l'llPPINS
(looking down at the
oh1ld=n, sternly)
Close yol.li'" mouth, Michael. You
are not_a ood!iSh!
She h<>)ls off the banr.J.ster.
CUlSE ON J"ANE AND MICHAEL
The child=n are too surprl.oed to say an:;th1ng.
closes h.1s mouth, Cut Ooth oh1ldren oonti:iua to
Mar:; Poppins passes in front or them. !Ucha.el
ota.re ~• ''' 132 P:00<1. 2162
(lat ,lev. 35-• 5/14/63)
14ary PopJ):!.na pasoea in fr<>nt or tile oh:1.ld:-en, a• they otand otar1ng at ner.
MARY PIJPPINS (severely)
Don•: stand then otar:!.ng. I'm aot
a g:-1zrly gorilla.
~e crl1ld,-en tu:-n :·o.look at ner.
l'!AXY :'OPP!lfS
E-aot ~oot :orwar<i! Spit spot!
AlJnoot agaiast the:!.,-o"" will, they turn an<! march off
obediently, up the stai,-o to the nursery on the t<>p floor.
Mr. Banl<o is crouching at the fl:-eplace, peering IIJ) U,.to
the chimney agu,,, as Jlltos. Bank! come a INTO the room.
George!
Mr. Banks involuntarily raiaea hi• heed, a...,_<1 bangs :!.t against the bricks agaia.
l!RS. BANKS
What on eertll are you doing? I thought
you wen 1.nterv1ew:1ag nannies?
l!RS • BA!IKS
You mean, you selected one already?
"'· ~ Yeo, yes. It'• all over.
l!RS. BA!aS
lolell -where 15 she?
( CO!f,L'l.11 OED) 13"2
133-Prod. 2l62
13:3-136 COIF.INUED
Ml\. BANKS
1/heroe• Oh.
Of couroe.
to work. t!pota1r• 1n tile nuroery.
I put lier otralghtaway
--= !low cl~ver or you, George.
(t,icJd.ng her a...-m
coo1ly in hlo)
I'd have muddled tl,e ,,,i,ole thlni;.
Tell Ole -1• she everytl11ng we
hoped !he'd l>e'
Well ' .. Ml\. 3ANKS
(dimly)
lt all happened •o qutckly.
l!I\S • BANKS
(quoting her huol>and)
I• she flrm? Will ohe gt,,., cmomands?
Will •he mould our young l>reed? (~st '!•v. ;6
6/13/5°'
!'Ir. Banks ota:-eo at her and h.1! race beg-1n• to lighten --
1!1\. BANKS
You know, lc:L-.t.::~c:' r th.lnl< she w:l.ll!
(ne smiles)
Yesi i:la -!:!!_! I th.ink she~! --= In that case, perhaps you'd better
tell Ellen to di•inl•• the others.
MR. BANKS
Oh -tn• other•. Yes, of couroe!
( cal.ling)
Ellen!
Si:-? ElJEN
(eppear:!.ng a b1t
too qUlcltly)
l!I\. BANKS
Tell ttle oener applicants they may
go. The position t:ias been filled.
EtI.EN
(blankly)
The others, str?
( CONTI!flJl,D) (1st Rev. 5/l4/6;f7
l33-l36 CO!l'l'INl.lED -2
,,,
,,,
,,,
,,, AA. BANKS
Yes, yea, yea, the other•! Confound
it, Ellen, how many nannies do 7ou
tninlc we <1eed !n tnia hous&!
Ellen ocUl'T:ie• to ~he doer.
CLOSER SHOT -OVER ,,.., l ""N • S • SHOUI.D£FI
Aa she opens the door-, no one ta on the f,-ont wall<, save
for And:-ew, the omall, seated deg-, who locit:, up ouricusl)I".
REVERSE
to Ellen. She looks out, says to the dog -
EIT:rN
The position has been filled.
CLOS£FI
Th• dog t,.,_-ns and goes.
El,I Ell
Olosea the door.
IN THE NllRSE!IY
Mar,-Poppins 1a standing 111 the center of the ro0&, looking
around witl'l a ortt1oal eye. The Nom 1a 1n diaan-ay. Toya and clothes Srft littered about. ,_
(apologetioall)I")
I'm afr"-ld the nursery's not very tiiiy,
!l!AllY POPPINS
It 1a rather like a bear pit, ian•t it?
Jane iruil.catea another, ""'all er roQlll, adJo1n.1r11J the nursery
and leads the way.
l'!Ic;!!AEI
(indicatlng carpetbag)
That•a a tunrzy-sort of bag.
Cari,et. /QJIY POPPINS
(CO!hINOEll) 133
,,,
,,,
,,,
,,,
,,, ,,,
142-A
;.112-B
,,, ?:'od. 2152
(1st llev. 38
5/14/63)
CON'l'INUED
"""'"'" To ear:-:, carpets in, you mean'
MARY POPPINS No. Madeor.
A• they go th..-ough a pair or double doors -
'"" ~s is yoUI' r<lOIO. It has a lovely
v1ew of tha Park.
Mary Popp1..-i.a pu:• her bag and umbMtlla down, ""<I lOOlt! ar<,u,,<I.
-JU.RY POPPilfS (!UM"eying the r<lo:m)
!!ED. C:.OSE -IIICRAEt.
as he reaches out to touch llary Peppin• UlOb"lla. CAXE!!A
il!OVES IN CLOSER ON the parrot •a head handle, and we see the
pa.-r-ot '• eyes •= oloeed.
CLOSE -PARROT'S HEAD
ae llichael's hand oomes Il/TO SCENE to touch the parrot's
head. The parr<>t suddanl7 opens h.10 eyes, and thrm<s a
warning glance 1n l!ichael•• direot1on. 1!1eha•l qU1okfy
draws back hi• hand. During above •
(o.s,)
I'm afr!lid the ro0lll is rather pla.in -
CLO.SE ON !UCJ!AEL
aa he =•eta in amazement to the parrot's l::aad.
( 0 ••• ) Jl!ARY POPPINS
On the contrary. It'• quite SU1table.
!ED. CI.Os.E -MAR'! POPPINS
She r!t1110vea her hat as she continues to look abou,: the room,
MARY POPPINS Just needs a touch here and ther•. ,,,
142-
142-:
,,, 146-B Prod, 2162
(lat Rev.
WIDER I.NOLE -l'!ARY POPPDIS ROOM
Jllary Poppins wall<:! to the table Where !he has placed her
carpetbag, The cn.1ldren otand "atcn1..,g her, l<Cnder1ngly.
MARY POPPINS
Let :oe sea? J>:1rst thinga flr,t.
3he open• the carpetbag, and betore .:ane and Michael'•
aaton.1aned eyes, ;,ull• out a ha~r-ack.
/!!ARY l'OPPilfS
(pulling out the hatraok}
I always say the pr<:>per place to hang
a hat 1a on a r.atrac1<.
Aa Macy l'opp1ns 1110ves OUT of SCENE to place the hatraol<
1.., a corner, Jane and Micheel lean forward anx:i.ousl:7 and
1001< in•ide the carpet;,ag, onl)I' to find it empt)I'. Michael
p1ok!I up the bas and turns it upoide down.
!IIE:O. CLOSE -MARY POPPINS
She hang• up her hat and scarf en the hatrack, and then
turns to look :1.:nto a .small mirror hangin11: en the wall.
MARY XlPl'IlfS
(loclcing 1n the lllir:-cr)
Oh, thia w:tll never do --
WIDER ANGLE -GROUP SRCll'
ao Jl!Bry Popp:1t\a goea back to the carpetbag
MA.RY PllPPINS
I JaUCh prefer seetns all !11)1' race
at the Oal!IB time.
Aa the Children wat~h, aha lift• :he bag over clooer t<>
her and re1110veo a large, gilt-edged m,.,..,r.
CLOSE 011 J/lJm AND i'!IC!!All
i'IICRAEL
(in aoton!•lum!nt to Jane)
But ther,, waa no~hi-"S in it!
MED. CLOSE -MARY POPl'INS 146-:
She haa hung the ot1r:-cr over tha ehe•t or drawers, and 19
touching at he:,, tia:tr-a, she looks a~ her r,,flection appr,,eiatl'tely
(CONTINU2!l) 146-B
ll:.6-G
. , __ _.,
l!l-7 -B
,,,
148-A
lll-8-B P:-od. 2162
(1st ilav. "' 5/lli./63)
CONTINUED
KARY POPPINS
!lever Judge things b7 their appearance.
~en carpetbags. I never do.
:r.oSE 011 JI.NE AND MICHAEL
at :hey stare at Mary Poppins, dwobfounded.
WIDD ANIJU: -GROUP SRO:-
)far:, Popp!ns hao moved bacl< :o the table and her carpetbag.
Aa .;ane looks an, !Uchael crawls under the table to exami.ne
:he under•1de of it. During th.ls Mary Poppins reaches
into i:he carpetbag and :-emoves a large rubber plant. She
carries it out ot scene as Jane and "1chael watch.
JIIED. CLOSE -JANE AND i'IICRAEL
!Uchael ts still under the table, and he and Jane look
atter Mary Poppins with a•to,Uolllnent.
!!E:l. CLOSE -Jl!Altt POP PM
as ahe places the rubber plant near the window, and stands
back to !tud7 it critically.
Jl!Altt ?c!P?IIIS
P..cmmn. A little 111<>re light pe:-hapa.
WIDER ANGLE -GROUP SHCT ''•.. ,
lll-7-
,,,
as Mary Poppins moves back to the carpetbag, and removes a
liM.ted :leer lo.mp, which she carries over near thee rubber
,>lint. Michael COJRea out tr<,,. under the table, and Jotns Jane.
CLOSE ON J ,\NE AlfD MIC1!AEL --( ast'tl.e to IUchael)
She ' s -ndertul !
~= ( unconvtnced)
I don't know -She'• tricky --
CLOSE ON Jl!Altt POPP!NS
as she puto the lamp down nsar the r-~l>l>er plant. 148-l 149-A
149-B
149-C
149-0 P'r<>d. 2162
(lot Re·,. "' 5/14/63)
WIO.ER A.>;GI.2 -QROtlP SHOT
M!U7 Popp1ns reacheo 1nto her carpetbag aga.1n, •earol!.!ng fo:
somethJ,..ng,as lllcllael once again goes under tile table.
MARY POPPINS
(removing various items
f,-om the oar,,etl>ag as
SIie seai'Ches)
Now where dld I put '/119" tape measUi'e?
( •he pi'oduees a
cotled measUi'ing tape)
Let's see how ~ t-.-o measure up!
CLOSE ON l'!AAY POPPINS
as she !\olds up the coiled tape measure.
l'!Al'.Y POPPINS
Now, stand ove:, !l!ere ..•
t«D. CLOSE -J= AND MICHAEL
Jane does wl!at Mary-Poppins asks will.in~.
s,-udg.lngly goes to stand next to l!la s1stei',
comes over to measure them.
MAR1 POPPilfS
Head up, l'll.chael. Don't slouch. l!ichael
as l'!l!.ry-Poppins
Jllary Poppins measures Mlchael fr-oa head to toe.
l!RD. CLOSE -1W!Y POPPINS
as she i'eads oft the tape. The cl!lldren at and watching her.
!'!ARY POPPINS
Just aa I thought •.. extremely
stubborn and. auspicious.
IIEVEl!Sl'; SHOT -IIICHAEL AND JANE
l'll.ohael looks indlgnantl:, at the measuring tape in
11ary P0pp1r.s • har.da.
Ia.inot!
Mary Pappiru, thrusts the tape under Mlchael'a noae.
KPJcr POPPINS
See for :,our•alf. ,,,
149-
149-l 150
150-A
150-B P:'1:ld. 2162
(1st llev,
llSERT -Tl!E MEASURING TAPE 1'.2
5/14/63)
wl>ich read, "EXTREXE:I,y STUEBOIIN AND SUSPIC!OUS \"
~ra"' (reading "1th d1tf1oulty Q,o.)
Extrelllel;r stub-stubborn "-I:d auo,, •.
MED. cr.osz -JANE AND MICl!AEI.
Mary Poppins move• around Jane, WhQ 1a g!ggling a: Michael's
reaction. She leans :!own and meaaurea Jane from head to toe,
"nd ::-eado from the tape.
MMY POPPINS
(reading tape)
!lather inclined to giggle. !)oesn't
put thinga away.
Jl!iohael atarta to laugh, enjoying Jane's embarraoament.
INSERT -TH!i: KEASID!ING TAPE
which reads "RATHER INCLINml TO GIOOLE! DOESN'T PUT THINGS AVAY".
CLOSE ON J A111! AND MICHAEL
as they look up at Jl!ary Pcppt.na, o.•. Jl!1ohael aaka crtt1cally -
~= (to !llary Popptll.o)
How about you?
CI.CSE ON MARY POPPINS
aa •he holds out the end of the tape to Michael.
K= POPPINS
Very -11. Hold thia tor me, l -J·
150-,
150-1
,,,
151-A WIDEii A11'GLE -JAIi!! AND MJ:CIUEL 151-A
•• they alt on the t1o<>r at Mary Poppins• feet. Jl!1ohae1
holds the t"pe measure to Mary Poppins' toe. CAMERA PANS tlP\IARD
aa Jane follow,, the other en<I or the tape ""'""""", which Mary Pcppt.n~ holda to the top of hsr <»<I), heed. CAMERA l'!OVES IN
CLOSE on ltary Poppt.ns aa aha t&it~~ the tape meaaur<> a.ml reada 1t
l'IAfl:r POPPIHS
(loold.ng at tape meaBure)
Just aa I thought --151-B
151-C
151-0
,,, Prod. 2162
(1st Rev.
DISERT • !'IEASORING TAPE
whl<m ~ado "MAR? POPPINS, !'RACTICAU.Y !'IDU>!;:C'!' IN EOE!\:! WA.Yff.
MARY POPPINS
( read!.ng o. • . )
Mary :?oppins, p:ract1ca11y perfect tn every way,
C:.OSE • J AliE AND MICHAEL
'"" Mary Peppin,? I• that your n4!Dlt? It's lo,,.ely.
CLOSE ON llARY POl'l'INS
llARY POl'PINS
ThanJc :fOU, I've alwayo liked it,
(conoulto her lapel watch)
Now then, shall ,... get on "1th it?
WIDER ANOLE -GROUP SHO'l'
Mary l'oppino, follo.,.d by the ohilc1r•n, wallcs baok to
the table and takes an apron rroii, the group or things
she haa ~ed from her carpetbag.
MARY POP!'!NS
In your advert1•e..,nt, )'Ou '11d, did
you not, speotfically request 1l'l~ Oamea'?
llARY !'OPPDIS (putting on tile apron)
Very well •. OUr firs!: game 1• called. -
'Well begun 1a half done'.
~= ( auop1 oiously)
I don't like the SOW"Jd of it.
llARY POl'PINS (a, she moves towai"d.
the nursery)
otherwise ent1tl"'1, 'Let'• tl.dy up the nursery t • 151
151-
,,, 152-A
153 F:,o,;. 2162
CI.OSE OH .TAu:;: AllD /l!IC!lAEl,
MICHAEL (to Jane)
I told you She WB! trioq"
Cl.CSE OH !ORY POPPINS (l•t Rev. ~2-l
5/14/63)
1;3
as •he tc.rns to loolc; at :he children, Oefore entering nur•er:,.
155 Indee<1? 1"RY POPP!HS
CI.CSE OH JANE AND MICl'.AEL ,-It lo a game, 1on•t it, Mary Popplno?
k"Ill!l:R A.NOl.2 -GROUP SRO'!'
ao Ma:<7 Poppins •tando looking down at the ohildran.
MARY POPPINS
That depend• on you:-point or view,
doe•n•t it? i\J"ter all
(sln;ins)
In eve:<7 Joo tr.at ,r~st oe don~ -
156-159 I'.f THE HURS~
as Mar:, Poppins coo,eo IN, ;:,1clUng up an O<>eaoional ohoe,
rubbing a r1nger a~cmg the edge of the rurnttura to
deter,nine the amoun,;: of accU!Wlated dust.
MARY POPPIHS (o1ngtng)
-We find ~n ele:::ent of fun -
l!icM.el and Jane have stopped at the door to watch.
l!ichael 1• ocorn!'Ul -
"'""" ( opoken)
Fun? I/here•• the !'un•
MARY POPPINS
( •1r.g1ng)
We find the rur., and 0111ack!
The Job'• a game!
III= I don't belie~e it.
( CON'!'l.1'10.e:D) ,,,
'''
156-11 -----·--
MAR'! ?CPPlNS
(singing)
l.r:d evecy task we under~al<e
3ecomeo a ;,ie:e of cake
A lark -a o;,ree
It's ver-J ::ear ~o see --
':'hat a spoonful or suga,-
11elps the l!le,Ucine go down
:M medlci::e go down-own
J,\e<:tclne go :own
Just • spoor.fo.il or sugar
!lelps the med1c1r.e go down
~ a moot <ie11j-htful "al'
( spoken
Sturry 1:1. here --
She goes to the >n.ndow and th::-ows it open, loo1<1ng out --
160 l!E'IERSE
on Ma:-y Poppins. A SOUND er a. .-obln o. s.
IIARY POPPINS
Even such a P:oaetleall:, Perfect
?erson as -
(oinging)
A robin feathering his nest
Has ve:-J little time to rest
161 . ER vu;.,
of • :'Obin and his mate Ousr ·.:1th nest ])uilding -
MAAY POPPINS
( •1ng1ng o ·•.)
'oll.lle gathering
.Us l>lto or twine and tw:J.g
?hough ~uite intent in h.15 puroutt
He has a mer:-:, tune to toot
!!e knows a ocng
l/111 111ove the Joh along -
The male r-<>hin flies OUT of SCEllE towa::-d Mary Pop;,1ns --
:62-165 MARY ?OPPINS
reaches down our op SCENE an<! hr:!.ngs the ::-Obin INTO SCENE,
perche<i "n her tinger. The r-<>hln whistles an INTRO an<!
OBJ.,IGATO as Macy Poppins sin6• the ohorus.
(CONTINO£D) 1~6-l
,,,
'''
162-16; ,,-•Ca -~----
MAAY ?CPPINS
(sing!ng)
?or a spoonful or ·sugar
clelps the med1:1ne go do..,,-,
The medi:tr.e go :own-own
Me<'.:.!c1ne go <lOwn
.;"us: a spoon:('\ll of sugar
Helps Cl:1e otedicir,e go down
!n a lll¢s;; del!;,ntful ·•ay
':'he rnl:!n goes Oa:k OU';' to :~::i!sll .~!• nest, and llat"J :'oppins
:lo••• the ••tr.dow,
i'!ary Poppins turns :o he,:, :ask in the nurser,,-. '01tl> a snap
of her f1nge:-s, Piles ot clothing leap oft the floor, folding
t11e1uel•1es ~n ,aid-air, placing the,.sel·,es in Ma,-y's hands. Bu:oe~u
ar.d d:-esser dra>1ers open to receive th.em. Weacy-looking an1!0.lil.s
and dolls •tra1~:en up. Jlll.chael and Jane look on, Wicle-eyad.
Jene wanes to help. ~lls and l:ooks leap from their scattered place, into b.er arms.
MICHA.<o"'L
(fiercely, in a low
tone, to Jane)
You can't play: You're not a
p:-ac:ically ;,erfec: person!
JAITT:
I don•: care!
mchael h"s1taees a. lll0Jnent, then can't stand it any longe:-.
He ~oins the Tidying-Up Ga..<ne and i.s •11rtually buried under
the toys ar,d clothes that leap at him,
1E6 MARY POP?INS
watches the children a: work, then .~eves toward her own
room, :'"moving the star:hed apron as she c!oes --
:v.RY P<JP?L'IS
E.,.en such Prac:1:all:r Perfect
Persona as -
( •1nsing)
The noneybee, that :etch t!l.e nectar
!'!'om the flowers to the comb
Never tire of ev~r l:uzztng
'::'o and fro, IN MARY ?CPP!NS • P.OCM
Sl,e •tando Oe~ore he:-m:L:-:-or :uc~:1.g a s-orant of .'la!:-o:-~'-"'O
i:1. place, !nten-o on her refleo,oion. In one o.g., M:l.:c.ael and
Jane ire SC\.:r::"/ing a::-ou.'ld the nurse::";, clean!ng ~l> -
MARY POP:'L'iS
(Si:>ging)
9ecau,e :hey :<Me a littl• ~ip -
MAP.Y POPPINS
(he::-::-e~lact1on •1ng1ng)
Of ever:; tlowe:::- :hat they sip -
)!ary Poppins and her reflection sing the next line together.
IIIARY POP?!NS I.ND
!!ER REFLECTION
(sir.g1ng)
And hence
'!.'hey find
Their task is not a grind -
)la,-y Poppins begins to WHISTLE, putt1:ig on her hat. She co,nes INTO the nu::-ser:;.
170-1~0 IN TIE NURSERY
Me:-:, Poppins picks up the Children'• hat and coa1:s. She
glances a,: her lapel watch.
MARY POPPINS
!Cl.ndly ~o not dally. Time is getting on.
'•"1th her umbrella, Mary Poppina TA?S OUT t!me, plok!.ng up the T:C:,U,O of the music. 170-19<
No", the nurse,-y fairly hums with the S?EEDCJ-U? act1v1i;y.
Shoes spring up, asserting and ::-eaosorting, ma:::-ching into
closets, -the bed makes 1tselr, the bureau t11!es itself up
at a starn glance from Mliry-Poppins. Toya race into thei,
proper places, and there ts a final frenzied Ours;: or aetivit7.
l!&ry Poppins turns All/,.Y -'Out .:here 10 a secondary frenzy of
OIOVements •• tha toys, b<>r0au dr&wars, doo,.., kce,ep opening an<!
•hutting, reluctant to i;tva up the game. Mary Poppins :urno,
"atehl.ng it all aaug.'ltJ.ly tor .a mo01ent. Everyt.'llng subsides wider her gaz~.
MARY POPPINS
(icily)
!f you're sutte finished!
(COIITINUEO) Prod. 2162
(1st l\ev. "' 5/14/63)
lT:l-190 CONTlnm:Il :ro~t!
190-A
,,, "'"'"' (e:,;uberant)
Let'• do that aga1n!
He pick>! up an &rlltl.osd ot toys and :I.a about to hurl them tack onto the floor.
i1!ARY P<lPPINS
(conoult1ng her
lapel watch)
T!:tat wlll be surr1c:1.ent, th.onlc you.
It 1• time for our outing in th" Park.
"'""" r i:!on't want ru, out:l.ng\ I want to
tidy up the nursery aga1n\
The toys wriggle out ot hi• sr:n., and hack onto the shelves.
Hat•
Spit MAP.Y POPPINS (calmly)
and coata, please. Spit opot!
apotl orr we go!
I/IDER WG!..E -GI\OUP SHor
CAMERA PANS \iITli them as Mary Poppina leads the way to th"
door, with th" oh!ld~n rosrch1ng behind her, haat:1.ly putt:l.ng
on their hat a ruid coats.
JANE AND MICHAEL (singing)
For a spoonful or ,ugar
Helpo the madJ.o:1.ne go down -
As Mary Poppins goea OUT the door, CA!'!ERA MOVES IN CLOSER
on Jane and Jlliohael as they hurry ~ter her.
JANE AND MICHAEL
(singing)
lledJ.c1ne go down-own -
£XT. SECOND FLOOR LANDDfO
n1..,, 1• dusting the balustrade. She looks up •• ohe !!EARS the o.s. singing.
JANE AND MICRAZL
(s1nging o,s.)
l'ledic1ne go down. 190-A
191 J.91-A
l9l-!l
191-C
191-D
191-E
191-Ji'
192 (lat Rev. 46-;
5/14/63)
of Mar;r Poppins ancl the Children, as they come slidl.ng
do><n the banru.ster.
JANE AND Jl!ICHAEL
( s1ngl.ng)
Juat a spoonful of sugar •
on lllen, as •he stands watchliii;; the111, clW!lbfou.nded.
JANE Allll·MICEAEI.
( al.ni;;ing o • a . )
E:elpa the medioine go clown
In a most delightful way -
~llen otarub baok aa l!ar;r Poppina, Jane and Michael Slide
PJ\.ST her on the bannloter. Jana turno to ·s11111e at Ellen,
CLOSE 011 EI• FY,,
aa ahe watehea the111 continue on clown the bannl.ater,
iiER VIZW-• DOW SHOT
or Mar;r Peppin• and the Childr~n, all.ding down toward the front door. 191.
191-
191-1
191-.1
· 191-P
on Ellen aa ahe atares wide-eyed at the group.
EEi! VIE',/ -DOW!! SHOT
or !lle.r;r Poppins and the ohil:iren aa they deharlc gracefully.
Led by Mary Poppino, they 111arch toward the fr<>nt door, which
O!'mm by ttaelf, lfithout a pause, Mary Poppt11s goes OUT the
door. The ohild:-en turn to. wa'le at ?J.len, then follow Kar;r
Popptno OUT th& deer, aa it CLOSES by itself behind them.
1!ED. CLOSE -EI I F:/l
stancl.1ng on the land.tng. She l<>clcs at the baluatracle, then
g~tting an 1clea, olin:ba aboard tt ancl atarts _to otng.
EIJE>r
(atng1ng)
Just a apocnful or sugar • ,,,
,,, 194
195
296-A p,-od. 2162
(l•t Rev.
R...~.SE SECT -M!'.S. ll1UL1.
wl!<> Ila• ~ust come INTO the rr-ont hall. SIie looks up 1n aston1sl'.ment at Ellen.
= ( •ir.ging o ·•.)
•;::ps :he :r1edic!ne go down -
or Ellen, as sl!e •11:le• down tile bannis~er to tile front
hall, •1ng1ni. ._.,d dusting as •he goes,
::r• ON
(o1ng:uig)
Jl!edicine go down-own
:'!E'VERSE AND CLOSE 46-3
5/14/631
:;11.
'" on M,,s, Erill, who react, 1n horror a• Bha watcl!es Ellen•a descent.
...,.,tEN
(singing o.,.)
!lled:iclne go do>l?l -
or Ellen as ah& hits the bottom at rull opeed. SIie
comes orr ,tagger1ng •l1gl!tl7, regain• her balance and
d:mces past the aston.ished e7es of /!rs. :Brill, !l1ck1ng an
Lmag.1nar:, l>lt ot dust off her a• ohe go•• l,7, =~ slUT OP SCfilli:,
EtI.RN (oingtng)
In a most delightf'->l wa7 -
DISSOLVE '''
198-A ,,
(lot Re,,, 5/13/6'!) =· -ENTRANCE ':'0 TIIE PARK GA= - .JAY - A LONG SIIOT CRANE MOVING DOWN
A carriage pao,eo Tl!ROUGH SCENE in f.g. A half-<!o~en or
oo portrUto and landocapea have been done ~n colored
chalk on the sidewalk near :he park wall. The oubJecta
include var~ou•lr -"?unting on the Thueo', "Heru-:, 'J'III",
"A Still 11:e", A Country Circus" and other t!me-worn
CN>wd-plaaoero. A placard nearby otatea '"°destly, "All
My o.m w<lrk". A few pas,eroby atop to look at the pict=es,
and then continue on their way.
1'1:e ai~ewalk a1"t1•t 1• 3ert, whom we !llet !n the openi"g
scene ao a one-inan Oa.'1.d. CA.l!ERA MOVES OP BEHIND Sert,
revealing h.1m at work on a lovely ocene of pastoral
E:ngland. ':'he bright, fresh ooloro atand out atron,i;l:,
agatnst the •urround:l.ngs.
~~
(stng.1ng)
Chll, thlm-tn-ey
ChiJO, Ch11!1-in-ey
Ch:l.io, chl.m oher-oo
I cl.oeo what r l:!.ke•
i\nd I 11kea what I do
(he turna Sllghtl:11'.
loold.ng coward CAMERA) 'TJllo, art lovera!
MED. CLOSE -BERT
li'itl> bits of chalk f1ttecl. to the ead of an e,:tens1on
stlelc, Bert moves around eo.sily ancl. e,:taeberantl7, SHAllIIIG,
defin:l.ng, artf'lllly Lmproving each picture with a praotiaecl.
l>and.
'"" (oi:,ging)
Toda1 I'm o. oereever
And as you can oee
A •c=e,,er 's an artist or '1gheot degree -
Ml'l>. CLOSE -TSE CHALK DRAI/INGS
'"" ( oinging o ·•.)
And it's 0.11 me own wcrk
From me cwn memory --,,,
198-, 198-E
,oo
,o,
,o, !'rod. 216~
(lot Rov.
~OSE ON :3EIIT
""' ( op .. alcing)
Not Rcya.l Acadeory, I •uppoae -
Still they're better than a
f1ngar in th" eye, ain't :hey?
'OIDER ANGLE -EERT
a, he dance• f:-,,,. por~ra1t to portrUt, ualng the
exten•!on ot1ck to :ouch-up and Lmprove them.
~~ ( oing1ng)
Ch.tm, ch.tm-in-ey
Ch.tm, eh1.m-in--ey
Chim, chi!O-cheroo
I drawers ....,t I likea
And. I likea W<>t I d.r,ow -
MEl:I, CLOSE -EERT
ao he geto down on h1o kn"••· Putting th" axtena1oti
,tick aaide, he oalecta a rew colored chall<ll from a
pile, and quickly draws another picture.
= ( singing)
No ntmuneration
Doe• I aak ot 7""
.But me cap would be glad. or a copper or two ••
of the picture Bert hao Juot completed. Sa places Ma
cap 1n the m1ddle or the picture, ><h1ch ha• a banner ,a
5/!3/631
:;;9E
l99
,oo
~Cl
running ac:-oaa the top reading, • JI.I,L COll'l'RI!lllTIOll'S ,IEI,COME".
""' ( !l.nglng O ••• )
lie cap would be glad or a c<lpper cl"' two --
DOW!f s;JCI!' -SithvOE'l"I-"-'>
or lllary Poppins and the child.r,,n, aa they appaa:- on the pavesent.
= (o1ng1.ng o.o.)
Ch.tm cti1.m-1n-ey
Cn1.m ctll.m-tn-ey -
( CONTJ::i'UED) ''' 202-A
'''
,,,
204-A
204-B P:-od. 2162 ! ·o (lat Rev. 5/13/63 -
CONTDIUEP,
Ao Mary l'opp!na' o1lhouett& appearo over the portrait
on whioh Bert 15 worlc:1ng ---(opokan)
Wait! 'Old it! Stay rig.'l.t
wtiare you are !
INSERT -KARY POPPINS' S!I.HOIJZ'!'l'?
ao Bert'a hand trace• around !t.
{o.a.)
I'd know that silhouette anywhere!
CLOSE -BERT
"" (loold.ng up)
llary Popp1n1!
GROUl' SHOT -Jl!I\RY POPPINS, BERT AND THE Cl!II.DREll
KARY l'Ol'l'INS It's ~ce to see you again, Bert.
I e:,.pect you 11:r!ow Jane and 111ehael. - Well, I've aean them ' er" and
about -chaa1n• a k:1te last tl.mtt,
weren't 1t?
Jane =cl. Michael respond w.l.tn a small eu.-tay =cl. bow,
CLOSE -JANE AHD MICHi.EL ,-.
llary PoP'l'ina 1• tald.ng us to the
Park.
CLOSE ON BERT
"" To the Park:? Not if I know
Jl!ary Poppins! other nanntea
take c:hildren to parl<ll ...• ,,,
202.
'''
204-a,
(1st l\ev. 5/13/6§"
2G4-C
,05 C!.OSE ON CHILDR3:N
•• they ,-eact to Be,-t 's wards.
( 0 ••. ) "'' But "hen :,ou're w1th Mary Poppins ••
!Uddenl:,t --you1re 1n place! you
:'.!ever d,-e..,.ed o~ -and qu.1ck a, you
can say, 'Bo"o's :ro= uncle!' -the
meat ur,uaual tt~ngs beg:l.n to 'appen I
c:;:.;;5E ON JV.."Y POPPINS
MAAY POPPINS
{loftily)
I'ni ,u,-e I haven•: the faintest
idea "hat you' re ta!ldng about i
GROG' SHO':' -=, MARY POPPINS ANO THE CJULlll'.EN
"'' Jo!:l.nd you, 1t's not ll1'J plo.ee to
conJecture, but what she Pr<:>bably
'as 1n !Und is a Jolly 'ollday
somewhere or other,
(leading the chlldren
over to the drawings)
Something along Chese lir.es, ~
shouldn't 1>e •=r1sec1 --
As the children look down at the clraw1ngo, Bert s.tntles
at ~ary Poppina.
206 DISEIE
,o, or the chalk draWing, 'Punting on t?'.:e Thames", -(o.s.)
Punting on the Thames •• that'$
always good, 1r you like outings.
with hi• drawing stick, Bert mime• the fella>< polln,g
the boat in the draw::l.ng for the ectterta!r.ment of the
Ch1ld,-en. He pretend~ the pole becomes stuck in the
mud, cla..~ers on 1: and fall•. The Chlld:-en !augh.
•= ( ela.mi,e,-tr.g on the pole)
ru.ver•• a hit ~tloky today --20l:-l
ao; 208
209
,,,
212
,,, Prod. 2162
CLOSE CN MARY ?OPP!NS
JURY POPPINS (•ever-ely)
:3er.:, I'll thank you net to atutf
their heads ><1th your nons@nae. (1st Rev.
:,,,_'fr
(lnd!ca~ing drawing)
The C1roua! 'Cw about a level:, ctrcua?
Liona and tlge::,s! --
INSERT
A chalk drawing of a •Mall country circus, I< man on a
=cycle 1• per:ronnJ.ng, -,
( 0 ••• )
World frucoua artistes, performing
death-<iefy!ng feato of d«,:tertty
and •ldll before your ve<7 eyes!
111mclc1ng the action of the p!cture, S..rt pretend.a to
ride a =cycle for the benefit of the a:nus"d bo:,.
CLOSE ON MARY POPPINS
who leeks on, disapprovingly.
CLOSE ON JANE
as •he look,!I down at one of the other chalk dra .. 1ngs, ,_
Oh -that's lovely! If ycu
Pleaae, l 'd lllUCh ratl:er ge there --
( CONTINUEil) 51
5/:3/63)
208
,,o
21!
,,,
,,; 213
215
2::.6
217 ?r-<>d. 2162
~ ..
{lat Rev. 5/13/f '
CONT!NUED
:3eI"t and Michael come up behind Jane to 1001< over her ahoulder at i:he draw<..ng.
IMS:'.'l'~ -, :3eaut1!'.l.!, Un•~ !:?
of the paator~l drawing --
( 0 • s . )
A typical Engliah country-aide, aa
done by a true and lovin' 'and.
Wot•s mor .. , tho you ""-"'t ,.,., it,
there' a a little country- ra1r down
that road and over the hill.
loold.ng down at the Plcture.
"~= (criticall:,-)
I don't aee an:,-r<>ad -llot? No road?
INSERT -THE DRAWDIG
as Bert'• ll'AND come a INTO SCEN:E:, and deftl:,- aketchea a road down the center or the l'1ctur•.
(o.a.)
One country- """d -aUltable tor
trav,.l and '1gh adventure!
IJROUP SHOT • !!ERT, IWcr POPPINS A!i'.D THE C!!ILDRE:N
Jane and Jl!iohael are clamoring and bounding a~out lbryPopplns.
"= Jllay we go, Mar;y l'Ol'l'J.na? Please! May we?
( COlfTilfUW) ''
21!
,,, ,,,
217-A
'''
,,, (lat Rav. 5/13/63f3
,_
It's such a lovely Place. Don't 7ou
th1.nk 1t'• lovel:;r, l'!a:ry Poppin•?
&!IT IJID THE CIII!.DREN
""' No"'" the ~!me, Macy :!'opp1ns!
No one'• loold.ng!
l{!CB'.A£L AflD JANE
Plaa,e, Mary Peppin•. Plaa,e!
CLOSE Ol! 10..'<Y POPPINS
Jl!ARY POPPIKS
I have no intention of IIU!ld.ng a
spaetacle of m;ysalf, thanlt you.
CLOSE CH &RT AND THE Cl!Il.DREll
"" ( oonapiratoriallj ,,
Jane and Jllichaal
Th•o:1 I111 do it m;irself,
~= Do wltat?
u~
(...._tohing the act:ton
to "Me ""r<I•)
llit of "18.gie. It's ea,,--,_r!
'You W1nl( -
'You think -
'You do a double hllnk --
He ta.J<es their hands, and gets ready to Jump -- (clo•ing hl• "7••l
'You olosa ;rour eyea arul --
CAMERA Si!OOTIHG PRO!'! 3El!IllD, as hOld.ing hattda, they
all .Jump Ulto the chalk d.:-aw:ing --
( CO!fTnm::D) 21'
". ·-
,,,
21s
,,,
,,, ,,,
'''
,,,
,,,
''"
,,; Prod. 2162
(lot Rev. '" 5/!3/6:l l
COll'l"DIOED
They l:md 1n the lllidcU .. or the d::-aw1ng, but IO.UCh tc Bert'. surprioe, nothing happen,.
MED . CLOSE -3EJIT AND TSE CHILDREN
Jane and Jll:1:ho.el otand loo,:ing•up at Bert queotloni!lgly. ,-
r. 0011t11th1ng ,upposed to hapi;,en?
CLOSE ON MARY POPPINS
MARY l'OPPDIS
(oever•l:r)
Bert, what utter nonoenoel
EERT, MARY POl'l'DIS Alfll THE ClilLDRElf
Mary Poppina open• her Ullll>rella, and otap, over to where
Bert and the C!lildren ,u-,. otancilng next to the pastoral. ocene.
MARY POPPINS
Wh:, do :,ou alway• complicate
th.1nga that are reall:, qU1t•
S1l11Ple?
!IE!). CI.CSE -OROIJP S!fO'l'
Mary Popp1na llolda her UJDbrella over the group, ao the:, otand in front or the ch-anng.
MARY POPPINS
!live me your hand, pleaoei Michael,
don't !lOUChi One -two --
GROUP SHOT • wrn ANGLE
On the count or three, tha:, all leep up together, and
IIITO the chalk drawing.
MARY POPPINS
They :-apldl:, d11111.n.1oh 111 SIZE, landing- on the Chalk road
in the ch-awing, as a cloud of colored chalk goes up,
IIIOlllentarily obscuring their arrival. ~·
'''
,,,
,,,
,,; ''' ---
J""rl-l
•
-'H-2
.:ll-3
JH-4
m-s
.J""rl-6 Prod. 2162
;cLLY HOL!DAY SEQUZNCE -11:Ef'LACED BY Jll-1
(LIVE ACTION AND AJ!T..MATION COMl!Il!ED) cc
(~:1.d R~Y. 6/l/5{)
T!IRCI Jll-228 -
EXT. E:NGLI5H COUNTRYSIDE -IIAHY POPPINS, 3Ef\T AND ClULllREH
A stJlized vero1on of the pastoral SCDIE -done 1n chalk
tones and nues. As the ch.all< duot Bettles, M.,ry Popi,ins and
the otner• look at each other in delight and surprise, •• they stand in tne :n:!.ddle of a w:l.nding 001.ntry" road.
i'!ary Pop~ins, look1ng a ;:-eat deal younger, 1• dreosed in the
airiest o~ !'a->iuon. A large sweep1ng hat, "1th a lons cur!ine;
feat~er, ,noes wit~ ~1amond bucltle,, f!ne wlUte gloves, and a
silk umtr-•lla Jaake up an ensemble to dazzle the eye.
Bert too, 1• younger lootlrrg. He looks ,crubbed and •IUn!ng
ln whlte flannels, red and green blazer, straw boater and cane·,
1'.ionael end .Jane, aave fo:-the chalky hue to their clothes, ~r• muon the sao,e.
Fr<>rn o,s. come, the faint SOl!Nll of ,aerry-go-row:,d MUSIC.
3ERT AND 11AHY POPPINS -(tu.--ning to M.,ry)
i'!a:-y Poppins l You loo I< l>•autiful i -(pleased)
real tr? -POPPINS
You do, for rair! l..lke th• r1rat
day I me: ")'"OU.
CLOS£ ON MA.;:I POPl"tNS
MAR¥ POPPINS
You look f~ne, too, Bert.
a• he r•acts w:l.th Pl~~•ure, tliold.ng the br:l,..m of hla boater.
,_
(loold.ng around)
Eve:-Y,:hl.ng's oo lovely!
Jl!ICHAEt (to Sort)
I thought you said there was a fair. '" '~" 3;:
,J7I-l
m-,
m-, .;",1-7
JH-9 ,-(~•1ng !l.1! oane to point the way)
So I dl.~. 1lown the :-oad, and ove:,
the h.!ll, remember? (ls: Rev. 5/2/63)
:a.-,e Cakes ~<:~ael '• c.ar.d, and they ,::art o~: 1~ the Q...,<:tion
=er:: ha, indicated.
Come on: hear:~• 11i,,ato from the
:nerry-50-:cound:
As they d.taappear ove:r • hill -
= T~ll 'e!O Bert ,ent )'OU!
MARY POPPINS
(oallln!;)
Don't rall do,m and •mudge the drawing:
JH-10 3!::RT !JO MARY POPPINS
•• they walk along the country road. -(,tng:.ng)
Aln't it a glo:etou• d~!
P..l.gl).t a• a mot"!lin' 1n May
They a:ra joined by a b1:ed, wC,o flits Sally around them.
Poppina look, on a• :sere flaps ht• !ll'IIIO 1n l..mitat1on or
= (sing!ng)
I ~eel like I could fly:
;H-12 3E.;r.' /JfD MARY POPPINS -L::lNGER ANGLE .-,1.a
JH-10
JH-11
JH-12
~• Eert •tars;, to watt •cp~ard, /1/Bry Poppir.s ...,aoti.e, for h.is ooa~, Pctlling- him ctown.
1'IARY POPP!NS
{op~kon)
None of your :a,-l<.l.ng about, ~ow --
(CONTINUE:i) = ( s1ng1ng)
~ave you evo:-seen
"~ it!' (s~n~ng, ge•oure,
;,1th hl• o,ane)
:'he gr••• so g:-esn•
Or~ tlu•r olcy!
,,!-:-' ~R'.!' AND i'IARY ?O??!NS -CLOSER ANGLE
= (sing1ng)
Oh, it'• a Jolly '011day With 11-acy
Mary makes your 'eart so light --
.-n-:5 :;LOSE ON l'l,O...,Y POPPINS
10.RY POPPINS
(opok<m)
Haven't changed • Ott, have yeu?
:::.CSE: ON BERT -(slr.gj.ng)
When the <lay 1• gray one:! ord1nacy
Jl!-17 WIJER AHCU.E -BER'!' AND KAXr POPPIHS (lot Rev. S/2/6;)
a, they •troll along the path tlu-ough the oountryoide. -(suiging)
Kacy -· the •= SMDtt Or1ght
o,, !'I.ARY POPP!NS
( spoken)
gj.ve over, E,itrt --= (o<r,g1ng)
'App1neos 1• Oloom1n• all a.round 'er -
The <iaffoltils are "'111n' at the <love --,-
•a -.. --
Jl!-11
Jn-l~ -----·---
••• -Q "·'-•-
... . ~ "•"·-~ _,
(sl<>glng)
W1len Ma:-y •o~d• your 'and
You teel so g:-and -
~LCSE ON BERT (lst Rev. 5/2/63)
as .oe ;,laoeo r.is hand !n•1<l• ~• coat over 0.1• h~a:rt, and jemon,crate, 1:, ;,alpatatlono. With hia cane he haa:s out
c~.e rc.yt:un on the top or hi• boater, forcing it down ever ~1• "Y••· -, (singing)
Your 'ear: starts beating
Like • big brass Oand --
J~-2C ~LCSE ON MARY POPPTNS
MP.RY POPPIJfS
(opoken)
L:.g.~t-headed, :nat'• >ll"l&t 7ou are!
J:'i-21 MARY POPPINS Alm l!l1Jl'.r -{olngj.ng)
Ol"l, !t's & Jolly 'Oliday with Kary
No wonder that it'• ll!ary that ..e love:
J:'i-22 IIIDEJ! I\NG:...:E: -.MARY POPPI?i'S ARD BERT
They have come to a otile ,epa.rating the lane t:-c,m a o.me.11
far,oyar<I. Eert lifts ll!ary P<lppina onto the •tile, and J..s
POLL.:D OVER hillloelr by the energy or hi• g•oture.
Jl!-23 :EEI\T /,JI!! A GROUP OP PARM AHD1AI.S
who gathpr a:-<>Wld to add their tr1butes to Mary Popp1ns.
ANnlAL AD-LIBS
'Ear! 'Earl -· Right y•aral
JH-24 MA.'lY POPPINS Ami !!ERT
Ma:,,,r P~noins sits on the fence, watch1ns ODf)rcv1n~ly ao Sert,
using ~• cane as a baton, lead• the ona,a10 1n song.
JH·25 A LAf!llE RA}! ,~
( al.ng!ng )
Oh, !t 's a Jolly 'Oliday rlth llary • JH-2C
JH-2~
JJ!-24 -----·---
--F:,o<!. 2162
(1st Rev. 5/2/63)
;R-26 WIDER A!IGLE -MARY POPPDIS, :SERT .o.Nl> Tl!IIE:1: LAMBS
The lambs hound pa•t Macy Peppin• and .s,,r,;, ,_
(s1n~g)
Ma:"y ""'=• your •eart so ligl'!ti
.;11-27 A DRAY HORSE
DRAY HORSE
(•ingl.ng)
When :he da7 1, gray and ordinary
He is jolne<l by a CO\/ -,~
(oln&lill;)
i'!&cy ~akes the sun Shine bright --
J:~-28 A TR!O OF GEESE
TRIO OF GE:ESE
(olngtng)
'Applne•o 1• bloOll!l..n' all a,..,und her•
The geese scatter •• a PIO 1ntrudoo to add lu• praises ,,,
The datro<Ul• a:-e s"'111ng at the dove
Sno:-t : Snor. !
Bert help• Macy ?oppino down from the tente, and th~ 1nlm1l•
all join in >n.th hill1 to olltg tha oho?'Uo.
• --"""""' (atnging)
When 111u7 'olds you::-'and
You reel ao ;ranc1 ••
(aert lead• !'lar:, Pc,p~ino
through tho ta.rm;rU<IJ
You'n 'cart atarto beating
Ll,ka a big br••• hand --
JH-30 GROUP Sl!OT • DRAY l!ORSE AlfI) AlfDl1'LS
Uoing tuo hoof, the <U'q horse heato out the reyj:11111. on. a
washtub hanging against the barn wall.
DRAY l!ORS:e:
Bang I Ba.ng ! Bang! Bang I .;'!l-2
JB-21 ?rod. 2162
(lot Rev. 5/~/63)
"""!l-31 GROUP SHOT -"1ARY POPPINS, BERT AND AND!AI.S
T:le an1 ... 1., in h.g. l<>ok on•• i'!ar:, Poppins and Bert "alk
through farmyard and CIJ'l' of SC'ENJ!.
ANIMALS It =T
(o1ngl.ng)
It's a Jolly 'Oll.<l.ay with Mary -
( HOLD ON GROUP SHOT
or ANIM/.l.S 01.ng.1."'S)
No w<>nde:,- tll.at lt '• l!ery tMt we love i
T11.e7 a:,-e just coll'.l!.ni, tfil'~ugn. tele gate. Sert closes it hell.ind
11.!.m and leans n1, cane against it. He takes~ Popp1na'
~•raool, and >11th a flou:-1ot-., closes 1: and l•an• it next to
11.1s cane.
o7i-33 WUlER "-NGU: -3E~T AND 11A!!Y POP?INS
E@rt takes Ma:-y Poppins• hand, and tll.ey d"-~Ce through the
count:-yo1de, awoy fro,o the farmyard.
as they rise fr<>JII :heir place aga.tnst the gat•, and float
•~.roug.~ the air in pursuit of l!a:-y Peppin• and Bel"t •
."E-35 •"IDE ANGLE -MARY POPPINS I.ND BER!'
as they danoe tCl:t'ough the counoryside, tollo>1ed by the
=hrella and oane in b.g.
Jl!-36 cr.osER -Hll!!T AND KAin' POPPIKS
•t~lling hand-in-hand thrOUih e grove of trees. A rlo~k
of llird, fly overhead and. the roreot an111l&J.o eome out to
~et them.
J,i"-37 3J:.""RT AND 11A!!Y POPPINS
They stop in a field or wild flower,. Sen pick• a
bouquet and gallantly pttse,,t, 1t to Mary Popp:Lno.
JH-38 CLOSE ON 1'IARY POPPINS
a, she appreciatively ,m.iffa the flower•.
~lower• eo,ne to life 1n her hands, ""'1 att
into a myriad of flying butterflleo. Suddenly the
trano.!"ormed •-·'
m-3
Jli-3,
.;Jl-3i
J'll-30 ("st Rev. 5/2/63)
,,;.39 WID:;:F>. A.'IOU: -!!a.7\T AND 1'IAJIT POPPINS
~ '" -~---s::ool"ing :h:eough tC.e fore,,, followe~ O:, the ani.m.>ls and b~tcerflieo in ~.g.
The animals have followe~ ilert and !ole.ry Popp1ns to a pond
!~."l•b!ce~ ty two turc:es. ::'lle cane an~ ;,aeoasol fly 1.nto
sc•:.e. and ~:,-, ana Mary Popptr., :-each ~P t¢ graap them.
~LCS;;l'[ -3E!'.T llJ!D 1'1ARY PC?P:rns
.n-~2 cru:-r,:r,
,"E-42~ EEP.T AN:) MA.'!Y POPPINS
A• te.e a'11.mal• look on, Se:ot assists Mary Poppins o":o th~
Caok o~ one of the t<>rtle,.
JH-1:. 3 OMIT'!::srl
.7!" -4 3 A CLOSE ON TURTJ;.ES
!tnd feet or 1'!ary Popptno and Bert, a• :hey otep lt;;lltly
onto :ne ~acks or the tu:-tlea.
,H.c.4 OMI'lT==il
•• they gltje acr<>oo the pond on the baeka of the turtl•~.
I:1 b.g. <he forest an1m.a.ls waton the depart!ng f1gur*s.
::LOSE ON D' 'tl' AND /!!ARY POPPINS
eoh~ing l1ghtly on :ne backo of the tur:le,.
WIDER ANGLE -3E:flT I.ND /!!ARY POPPINS
ao :cl-.oy :-each the hank. 30:-t helps Mary l'opp1na •• ohe
alights from one t=<le•• back, and cums to thank tne tu.-tle.
KARY POPP!NS
(to o.a. turtl•l
~&nk you, ve"l' m~cn. -, ,_
JH-4;
JH--4;
.iB--47 ~-'•n -~--,
JH-51
.r:~-52 ,,
(lst Rev. 5/2/63)
co !r.clude :he pond and :=tl••• Bert and Mar:; Poppins
ss=d a: :he foe: or a SOlal: or!dge Wh!c.~ spar.s a otre.,..
Ma:-)' Poppins waves goodtye :o >he :u:o:;les, ao :!er: offers
he:--"'1• arC11.
C~~SER -= AND ~A?Y P0PP!NS
MAP.'! POPPINS (,tng!ng)
Oh, 1:'• • Jolly ~ol!day with you, 3e-rt •
Gentlemen l!ke you a:-o few -=, (spoken)
A vant•h1ng Oroed, that's Ole.
\i!DE ANG~ -B£RT A.ND MA.,¥ POPPINS
•• they pause in tho !Uddle of the Cridge.
'lie~ POPPINS
{s1ni;ing)
:'hough you're just a diamoncl in the rou;J,, !!eM •
\!nde~ea:h your hlood 1a Olue.
CLCSE.'l -:E2itT iUID llAR:r POPPDIS
""' [spoken)
Co1111110n knowledge, you misht •~•
llAR:r POPP!NS
(sing1ng) •
You'd never thlnl< of pressing your advanta;e
Porhearanoe 1! tho hallmark of your oreed,
er.cs;;: ON oE:;tT
,~. - (spoken) • . . "•--
JJ!-51
JJl-52
JH-53 "' --•n-,,
.T!l-58
JH-59
Jll-60 Prod. 2162
C:LOS:E: -MIUrl POPPINS I.ND :BERT
MA.U" POPPINS
l•!ng1ng)
A lady needn't fear
When you are near
7our •weet gentility 10 tryst~l tlea:r --
R::FL.',::":"!~lf SHCT -:9E..~ A./ID !'!ARY POPPINS
~A.~ P~PP:NS' '!EF'..tCTION
( s!ni,l.ng)
Oh, 1t'O a Jol!y HOli<lay witn you, :S,,,-t
A Jol:y Jolly Holi<lay with you.
A ,wan an~ her oygr,eto glide t:,.-~ •oene, dioturl>ing the
reflection, wr.1~h diooolves in their wake.
wrn:,; I\NCiLl: -3, ,,. AND 1tARY POPPINS
•• they otep from the hr!dge and approach a charming tea pavilion.
!Ell": !.ND l'IARY POPPINS
T,i.ey have entenod the tea pavilion, and B<irt bows Mary
Poppins i.r=d!y to a tiihl•. A hatraclt otando 1n l>.g,
CWSE ON "BERT
•• he tttt'tls and too,e, hi• hooter toward the o.o. hatrack.
'I'HE KA.TRACK
Bert's hat, ca.ne and llar-y Poppino' paraool fly into ocene,
and !ind their p:-oper place• on thft rack.
CLOSE 011 BEIi'?
oeated at the :cahle. LO!>l<!ng 0ft to a door in b.g., h•
elapo h1a handa.
""' (calling)
~aiteri Service, please!
The door 1n h.g. aw1.ngs open, and waddling out at hig.~ apeed
come four PENOUIHS, JH-57
JH-59 Jl!-62
Jll-63
JH-65
Jll-57 P:md. 2162
(l•t Rev. 5/2/63)
They are d.ressad 1n wa1ter•• garb, ><1th napld.n• over ;ho1:
&l'lll8, and art hearing water glaaae,, napk!na a.nd o,enu,. They
ruan forwlU'd to •~e th•1:-o. •. ouot0.111er•.
~• ponguina ,cuttle around :ne tahle, placing a clean cloth
over 1:, ••tting down a vase of flowers and water gJ.aoaea.
&RT, KA.'!Y POPPIHS Allll THE ?D/GllI!!S
One or tho penguin• leaps onto the tal>l•, fillir.g tho gla••••
from a pitcher. lie 1• joined by a aeoond pongW.n, who nopa
onto tho table :o preoent llary Poppina and Bert with menuo.
GROUP SHOT -Tlu PENGIIVIS
One of the pengu!no lea.po ctt the table, and jo1.ns th• other three, who atand waiting for tho order.
CLOSE ON /!!ARY POPPINS
ao aho atucUea tho menu.
KARY POPPINS
(oingin&)
Now then -what'd be nioe?
ll•'ll start with raopherr,- ioe
Md then omoa oake1 and tea --
P!.NOODIS
(oingii,g)
Order what :,ou n11
Th<lro'll he no bill
It'• 00mpllllentU7
CL0.2 01" 1W1Y POP!'DIS
IIAll! POPPI!fS (opol<an)
You'N v•rr ldnd.
CLOSE OK PEIIGUDl =~ Anything for ~ /l!ary Poppina. ,,
JE-6"2
J"l!-63 JH-73
JH-7~
JH-75
JH-76 ,,
(1st Rev. 5/2/63)
CLOSE ON SECOND l'ENOll!N
SE~OMI) PENGUIN
You•r• our favor::.:e per,on
a= r~' • t>'Ue that -
( singing)
i'!av!o en~ Sybil nave ""Y" that are winning
?rudence o.nd Owenjolyn ,e~ your hea,--, spiM1ng
CLOSE ON !II.RY POPPlNS
= (•ingl.ng o.,.}
~oebe'• del!si,tful, !l.oude 15 d1sanrd.ng -
:•2.5. ~ENOtrINS
PENOUlNS
{s1ng1ng)
l'el1cta, l'el1city, Cynthia -
Ct,OSE ON BERT" -(•1ngl.ng)
Ch~...Ung!
'ol:!.M!red'a daohing, Vitian'a awe•t
Steph&nie'• =aah1ng, Pr1actlla a treat -
Ct,OSE Olf MARY POPPI!fS
reoettng d1oapprov1ngly to Bert•• oc,ervations.
THE l'E!l(Hl'IIIS
-=• (a1ng1ng)
VeroJU.ca, ltl.ll1eent, Agne, and Jane --
= (a1ng1.ng)
Convi'l':l.al eompany, time and agUn
Dorcas ""d Phyl~ia and Glynia are aorta
!'ll agree ~ three Jolly good oporta -JH-7(
JH-72 ;H-TT
JH-ao
.r.-1-83
J:i-i34
JH-86 c:csE: ON KARY POPPINS
= (!!ng1ng, o.s.)
llut ::-ea.en or Che o:-op
T~p of Ch@ top
3= AND P~G!1ll{S
(•1no,1ng)
:~' • Mary P~pplc.s ar.d 'OC,er@ .,e soop I
~CSE: CN 1'WF. POPPINS (1st Rev. 5/2/63)
QROUl' SHOl' -&RT, MARY POP?rNS I.ND THE PElfQ!1ll{S
.3ert takes a oaJ.t shaker from the table, «nscr-e"• th& top
and scatter, the grains on the ground. The penguin! and
Mar-J Poppins >1atcn a• Bert does a aan~ dance.
GROUP Sll"C'l' -BER"!'' MAF:'£ POPPINS AND T::"E PE:NatnHs
Bert approaches the ta~le, and ge9tures for the penguin•
to joln him tn t!-.e ~a.nee, a• Macy Poy;,1ns looks on.
lla:RT AND THE PENGUINS
One t,y one the pengu!.n• leap r:-om the table and follow Bert •
c:osE: ON IIARY POPPINS
EERT AND Tl!=: PENGUINS
dancing. :se,.t :U~~c• the peng,lins, !m!.tatlng their
gestures and JOOVe:ent•.
CLCSE ON MARY PO?PL'iS
a~ she watches. .7",1-7
JB-1' .7'!-90
J!!-91
-'!!-92
-· ~, ,.-.-,~
J!!-96 (1st Rev. 5/2/61)
~• •hey con;;1r.ue the :--ou:ine. ?>ert pla:;~'-'l:y forces
ce.e peng1l1::s to one o1<1e of the <lane@ ~loor. They
.-eac: ~n •1',-pr!se, then pleasure, and sta:--: out to ~ollow h~m.
C:.OSE ON :3ErtT
as .oe scurries away ~.-om the peng•a1ns, the:: ti.:.-::s or, them •.u~~e,:,ly
end .~olds o~: • :,estra!::!ng hand.
C::.:sE ON F!NO~':::NS
C~SE ON EER':'
•• he <loes .__., 1ntr1ea~e d.._.,ee o:ep.
c:.,os;: ON mRT
a, n~ turns tC>Ward tho penguin•, gesturing for them to
im!.ta:e the step he has J;ast done.
as tney ~01:ow hi• lead, and suecessfu.J.lyilut~te hio routine.
c:.,osE ON BER':'
as he per~o::1110 another routine, with a t1ng~r snappirli: endin,i;.
0~0\/P SHO'l' -Tl!E PENOll!Nll
as :hey take turn, a~tempting t0 illlitate Ber~•• routine.
Bert watche• ao one OT the penguins succeoofully duplicate•
a step. Sert pe:,f0rll!ll a tricky slide, ao the pengW.no
:,eact in ><!de-eyed surpri•••
CI.CSE CN 3ERT
as he goe• 1ntc a complicated an~ frenzied routine,
emUng it with a tlo<tri•h j__., front of M.ar; Poppino,
•l.~~1ng at the table. -"11-0
J!!-C" --
Jll-91 B 0 " " 0 0 8 0 ru o, 0 0 0 0 0 "' "" " .. d .. .. .. ,, ' ' ' ' ' ' ' ' ' '" r; " ' ' " " " " '" ' - • " • 0 • ~ 0 0 -,. " • • " •• 0 • " " .r: "" • 0 • • ,.
~ ~" • ' ~.'i " ' 0 " -, • • • -~ " . • ; • " "lg • ., • 0 " -~ • -· 5 " ., • • 0 " •• 0 . " • ' ' • . , ... " " ' ' ' -· ,: 0
~"~ l §~ • • -"" • • • • "" • • • • • ' • • • -. " ••• -;J .. • rl ... .. , " "" ' • ... 0 0 .. • ' • .. • 0 ' ej.1l g; • • ' • , •• • ., ; • • • • • •• • "" " ... 0 • " • " 0 ". • "" • " ' • " • • ' .. r.. .... ., 0 •• 0
0 0 • • • • _, ' . ' 0 " 0 • " •• "" • •• • 0 - 0 E , " ., " 0 •• 0 .. " ' ,, " • " • ••• g "'""'' " •• ., _, " • •• .. 0 • -" • • • • • 0 • • • • ,.
~ ~ 15 ! ~~ • ' • • ' 1:jZ g; u " " ' • • .. l:i • ' " • • " • ~ r. :?. ~ '""' ,f, .. ' ' • 0 • - -m-~5t: = • i"" • " " ti ' •
i~~ • I< P, ' . 0 -. ' •• 0 ,, 8 , .. ;ii ' • 0 ~ .. ~ j'·" .. ., • " " .. "' ., . ,_, .. • lo•·· a; ,. "' -., ,< "' "• 0 ... .. .. l • ,. • ... ., <>.
~ "" • •• • • ' • 1' 0 .,
~ .. :" 0 . " -. • • • • . '. -' ,: ., ~ "' ,. s. " " • ••
~ " 0 n. .. • 0 • ",;/ r..... ;l "" •• ' • •• ~§~ • • 0 • • ' •• s, • • • fil • • • " ,_, ,_, 0 " • •• ~~ .... --, " • -o .. r.u..c: • " "" . -. • ... ' • ' " ., r.."' 0 • 0 I • • • • ' ,: .. ,
~ •• ' ,.
~ • •• ti " • , 0 •• " .... , ... • ' • 0 • •• -•• ' ' 0 " • , '" • " ' :;~~j " 0 • ' • • • " • . ' -0 " " •• " • ~ ~ " 0 .. ' ,. • " • '". • • _, . ' • ' • ' • •• ' ' • • ••• ...::: .. -;'! l ., • •• • ••• "" " " ' " • ,, 'Cl .... " . , I • • • " • • i;'-fi r. • 0. • • •• .. •
~ • 0 e ~ 0 ... " 0 ' , . " §£ s • ,, ' , .. 8 ,, .... ~ " • " "· •o P, "1,: • •• 0
• • 0 0 ~ 0 0 0 " 0 • "' 0 " " " " " 0 0 .. .. .. rl .. rl ' ' ' ' • ' ' ' r, " e ' s ' ' s " ••• OC>-~
(1•~ Rev. S/6/63)
SLAPPING the1:r th1gru 1n t1me to the ...,,to.
JH-lOOG =Sl'.T, P~OIJINS Allll MAHY POPPDfS
i'lary Poppins watcheo ao l!ert an~ Peng-~1n• conclude the1:
perfo,.,.ance, dancing Oil"!' OP SCENE.
BERT AND PENGtl!NS
( s1ng1ng)
No wonne:- that it's Jll,.::-y ;c,at we love!
.,Jl-lOC·l! C:.OSE ON 1!ARY POPPINS
a, ,he applauds.
J:~-100-l BE.~, PENGU:!NS Allll )IAPJ !'OPP!NS
3e:'t arnl Pengu.J.ns come IN'!'{) SCENE to talce their bows in
front or J11,.n Poppino. Bert extend, hio cane toward the
ta~le, fol"!lling a !:ridge for the pengul.no. One by one they
leap onto the e!lD.e,
.;1-lOOJ Cr.DSER -BERT, MA.'IY POPP!NS AND PENGll!NS J:~-100
J:1-100
JH-1001
Jll-100-
J!!•lOO,
Be:'t givao the penguins a gentle shove, a,,,d they l).op from
the cane onto the table. Eo.ch takes a bow and departa, except
the last penguin, !ffio stand• locld.n; shyly at Kan Poppino.
JR-lOOK CLOSE -P!Mt'!' POPPIRS /IJID THE PENGUDI
The pengU1n g1 veo Man Popp1na a ld.oo, then tunio al>J"l)I' away
a• she reacts with ~leooure, Bert'• C!lD.e 00111es Ill'rO S~,
g1V1ng the p•ngU1n the l).ook" and Pulling hill OUT,
.711-lOOL 1/l:llKR ANGLE -BER":', 1W1Y POPPnra AND Tl!E PENOUDIS
The peuguins loolc on•• Eert hcwo gallantly and invttes llar,
?cpptn• tc dance. He draw• her to her raat, and thay begin
to waltz. The penguins dance !U'Ound the wh1rling r1guros.
.711-lOOM EF:!l'I', MARY POPPllfS U1D THE l'SJl'GIIDIS
!le:'t and Mary Poppin.5 waltz :oward the o,s. merry-go-round,
who•• SOUND gro.,.,, otrone;er in the waltz ti.lie. The pffl3W_na
hound gaily !U'Ound the reced.l.ng figureo. The b.g. whirl•
raate~, and the wh1rl1n,,; colors begin to talce the shape of a !ller:")l'-go-round,
MATc::11 DISSOL VX J'll-100!
Jlf-1001
J'll-100, Jl!-lOl
J!!-104
Jl!-105
Jl!-106
J1!-l07 65-D
(lot Rev. 5/6/63)
TIIE MF.R.'t!f-GO-?IOU!!l) -DAY
The br1ghtly-pa!nted hor••• plunge to the OIUS1o of a
oalllope and bra•• enoem"le.
:LOSER -Gl!OUl' Sl!CT
Mary ?oppln• and 3ert a,,e •eated on ~oodan horoeo
'::>ehind Ja...,e an~ "!!ohael, ,mo a"" wildly exolted. ':.'ho
horoe• bear a s;r!~r.g reoemblanoe to ~b.e!r rider•.
:..osE ON MIC!!AEL
•• .oe exct;edly urges his s;eed fo:-wa.:-d.
fil= ~1dd)'Up! Come on, boy: )l'asteri_
?aster:
CLOSE ON JANE ,-0!-.: Thls 19 such !tui! Imagine!
Ot.r own private merry-go-round!
CLOSE ON BERT
"ho 19 r1d1ng hl• horses s1de-•addle.
= (nonchalantly)
!t'o vecy ru.ce. Ver-; nloe 1ndeed,
(tu. ...... ln hl• saddle,
so he 1• r1d1ng bacl<t<ard)
I~ :,ou dOD.'t want to go anr,,nere;
CLOSE 0~ MARY POPPINS
as •h• r1deo demurely atop !>,or ,teed.
KAAY POPPINS
lo/ho say• we're not going anywliere?
1'!ARY POPPDl"S
as she l&ans fr0111 h&r horse and call• to o.s, guar<l.
)!ARY POPP!NS
(calling)
Oh, guard! JH-lC:
J11-10;
JH•lOl
• •
JH-lo6
JH-lC7 Jll-110
JH-lll
J:i!-112
JH-113
JH-114
• "11-115 66-i 5/6/63)
THE GUAflD
• d=;,y, Oher~b1c l!ttle IIAN, ota.'>4ng 1~. <he
calliope, with a numbe:o of lever• beaid• ~-.;J!-lC
ceoter by the
I!& ltfto hi• cap .
GUARD
Ri;ht 'o, Ma:-:, ?cpptno !
Re pull• back en ehe talleot lever -
~:..CSE ON 1!ARY PCPP:NS
Thank you. )!_A.;;;' POPPINS
A :.OCNG VIEW
W!th a ae:1.e• of ~rasr,!ng SOUNDS, the zalliope ond brAoa
enoemble on the mer:-y-g<,-round grows lo<lder, arul 1t p1oko
up opee<i. Aa it •Pino faater ar,Q faoter, Mary POPPillll'
horae plu."geo f:-<>m the whirling platform onto the grouncl.,
;ane'• horse q:Uokly follows •~lt, Ml.chael'• and Bert•• horseo both follow,
THE OUAIID
Tl'ley•re off!
(laol<ing after them)
It'• Mary Poppins lea<Un!J: by two
length• --Jane 1a aeoond --by a
length •-Jllohael third --there
goeo Bert on the ""told• ••
A LONG VIEW -11A!1Y POPPINS, T!l:5: C!!II.DREN AND BERT
aa they bound away from the mercy-go-rouncl.,
WIDE ANGLE -J1W1:Y ?OPPI~S, THE Cl!ILllRJ::N ANII BERT
as the horse• ga.J.lop acrooo the COUl'ltryoide.
LONG VIEW -l BRiro.E
Mary P<,ppina• horoe come• ove~ the bridge, followed by Bert'• ,rnd the children•• horoeo .
!'!ich.ael urs•• his horoe foNard, =d atorto movtng up.
)II=
My horoe is the fasteoti JH-lOS
Jll-ll~
JH-111
JH-112
JR-113
,-d-115 .JR-1::8
JH-119
.""!!-120 ?:-o~. 2162 66-? {l•• Rev. 5/6/6;\
= (to h~• horoe)
'Ow ahout it, Mate? You going to
••and ~or that?
B<:-~'• ho:-,e p:ur.ge• ~o:-wa:-i along•ide 1'!1chael'a, and tne
cwo C.o:-se• :-ace pao;; M<.:-y Poppins.
C~OSE ON MP.RY POPP!NS
l'IJlRY PCPPTifS
Ber:;! i'!l.chael! Now, :-eally, Bert\
You•~ a• had •• the chlloren!
Bert r,,igne ln hl• nor••. -Sorry! Ho, hoy -110!
(calling to !Ucha•l,
who 1• ha'l':!.ng trouble
reigning 1n h.1• horse)
!'ull h.1111 in, 1'!1cllael!
(Bert lends 1'!1chael •=> \lhoa! You w'in! Eaoy now
CiROUl' SHOT -MIL'lY POPPINS, J'Allll, MICHAEL AND BEIi'!' ,r,1-:1;
JH-ll!
JH-119
J•~• and Mary Popp1na,r1c!ing oedately !1de-hy-•ide, ar• re-
joined by E<!:-t and 1'!1chael, who now have control or their ate•d•.
JIIAm' POPPINS
That•a hetter! Arter all, we•r,, not on a racing couroe, ora ...,,
CLOSE ON !!ARY POPPrN$
!WtY POPPIHS Eve:,,yth1ng in it• proper place, at
t;b~ p.-ope<". tj_me.
A l!UNTINO EORN sound• in the diotance, and Mary Poppina rea~ta
l:now:!.ngl7. JH-12Q JH-122
Jl!-123
.P.!-12~
Jli-125
Jl!-127
JH-128 66 -(l
(1st Rev. S/6/63)
L~NG V!EW -A POX l!lJNT
which 1, in pro~••• A• the .ountt.ng horn SOll!OS, hcmtsmen and hounds bound aorooo the countryside.
MARY POPPINS, ,3Em' AIIP Tl!E =itEll
s!t:ing atop the mer.-y-go-round horoes. Bert atnd the
o~ldren look expeot,uitly at Jl!ary Poppino. She start•
o~~, :eading the way to the fox hunt.
MAl!T POPPINS
Now follow me, plea••i
·~~ll"-A/IGU: -MARY POPPINS, EEi!"!' AHD Tl!E: ClIIl.DREM
•• they rid~ off in pursuit or the huntBmen.
MAl!Y POPPINS AND EUlEIILY ifUNTSMAJf
A dtg:Ufied and elegatntly dr,,s,ed huntsman, ~undlng along
atop his steed, !s sudci:enly overtaken by MB....---y Poppins stop her wooden horoe.
CLOSE ON lW'!Y POPPINS
aa or.e passes the huntean and nod1.
MARY POPPINS
Good mol'm.ng.
CLOSE ON HONTSMAII" AllD HIS HOJ!SZ
Neither horoe nor rider react1 1mmed1at•ly. -·-:E:r a -yea, qUlt• --(suddenly reooto,
astoniohed)
~?--
I/IDE AlfGtE -IW!! POPPINS AHD Tl!lE lJUNTSMAN
As Mary Popptn• goe• aatl1n1 1.mp•rturbabl:,- over a atream,
the hunt=•• horse ponJ.co, lltl.sae1 the jump and both M.d•r
anQ horse go oraslltng 1n~o the stream.
CLOSE ON l!UIITSMAN
as he sticks llts head up out of the water.
l111N"'.'SMAN I sayi
(CUriIDIOED) J:1-12'-
Jll-123
JB-124
.ra-125
JB-126
Jl!-128 JH-128
Jl!-:29
JH-130
Jll-131
.;;!-133
d-134 Prod, 2162
(lot Rev, 55-l!
5/6/63)
J"d-12!
~.1ohael'• horoe oo,.ea •al.ling over the otreu. The mRrry-go.
round pole puoheo :he huntoo,an•• head under wat•r agsin. Uthe huntomon oomeo up ro:-the oeoond tllfl •
Have you -·-·
3ert'o hor,e comes IN':'O SCEN2, and the merry-go-r0und pole aga~n plunges the nuntoman under the water, _,_
(oom:l.ng up for the
th.1.rd time)
Evah ---•
Jane's horoe oome, INTO SCENE, and onoe more the huntomar, is •u~me:-s•"-.
CLOSE ON HORSE J\ND KOIITSMA!I
•1tt1ng •ide-by-oide in the m:l.dcl.le of the streu, loolcing
after the merry-go-round horoeo in wond•:-•
.. • .. . Nevah! Jl!-1~9
Jl!-130
•• they leap ove:-a hayrack, aitt1ng in !'r0nt of a atone wall.
CLOSE ON Kl:CH.!J!L
~= (ahcut:l.ng exo1tecUy)
Y01oka! Ycioka!
ao he co,oea up ~eh1n<l. a portly hUD.tswoman, r1d.1ng oerenely
atop her ot•ed.
Yoioka!
CLOSE ON THE HORSES
ao the huntowcman'o hor,e reacts in terro:- to J!l.ohael'• f1erce-lo<>k1ng steed.
'-Wu! ANOL&
Aa 1!1chael a.n~ h.1.s her~• bound out of octtne, thtt hunting
ho:-oe bolts, thro~ the otartil One:-to the gl'.Curul.
Hl!IITINO HORSJ;
Jlorci!'ul heavens! Jl!-i3l
J1!-l32
Jl!-133 JH-135
JH-139
JH-140 C~OSE • HUNT1NG HORSE
l!lllfTINO ROIISE
(cl1ng:!ng to brMche~)
E,;traor-;iina:cy! (!st Rev, 66-J
5/6/63)
Jll-1;
~rt, riding taolcl;ard, r~olt."ll.ng againot the mee-:cy-~o-round pole, ga:lop, past a second hunt°"""'. -(6off1ng ~.1• ~at) What cheer, Q,.,.,,
CLOSE -SECOND ITTl!ITSMAN All!l Hrs HORS%
A1' they r•act in su..-;,rise, eaoh looeo 111• IIIO<IOCle,
rld.1:i.g off, waving to the startled huntomn.
CLOSE -SECO!itl l!UN'l'SMA/f All!l HIS HORSE
Tl\e horoe alto down lnctigr,.&ntly, Nfuoing :o go on.
HORSE
Now reall7! Mercy-go-round horoeo\
CLOSE ON l!UNTSl'IAN
,till atop the ••ated boroe. --That•• the trouble with hunting n0wada7s No standards\
J&ne OOllllto rlcting thrcug.~ soeno, wavtng to the huntoman atop the seated horoe.
Ta ta-a --·
l!UNTING HORSE
(ol"'y:tng and stOJlll)tng
'1l.• hooves)
No -no -no • no -00! Jl!-137
Jl!-13S
JB-139 .:-rl-146
Jl!-147
.'H-148 56-K (lot Rev, 5/6/63)
,eated a:op h1• hcroe, •urr<>unded by hlo pack ot hound,, Hor,e
and hounds •111:e are "po1ntlng", >1hen ,uddenly all react to ,ometh1ng o,s.
ClOSE -MAS'.:'EH OF !')!E HOUNDS
and hlo hor•e, as they bo:h loo~ ott and react :o what they aee.
M~S':'E!!. OF TE:!: HOUNDS
V1ew Haloo' \'~"' l!aloo!
HZS i!ORSE
Oh, yes --def1r.1tely --V1ew l!aloo!
of a FOX -wit!'. an 1r1oh llrogue -~lttlne; atop a atone wall,
lOOIQng back a: them. ,~
(reoc:1ng)
V1ew !{a.loo?
K/..S':'ER OF Tlli!: l!OUNDS
aa he SOUNDS the call, and gallop• otf ln pursuit ot the to:,:.
CUlSE ON FOX JH-14-'
J11-_.;
JH-1"'6
reactir.g with !ear to :he sound!. II• look& around deoperately
and tal<eo the neareot avenue ot escape.
ro,
Fa1th and begorra! It's th!Jl
redcoats agal.n!
CLOSE ON Tl!E IIOUNllS
as they race 1n hot purou::, ,,
(howling)
Vil!'W Hallooooooo i
~• they bound over the stone wall, howling a.nd bellowing.
l!O!JNIJS
Yowp! Yowp! Yowp: JH-147
J11-148 ~ll-151
,n1-;;.52
Jl!-153
Jl!-155 66-L (1st Rav. 5/6/63)
''' on -wu.-:-a -=• --
w~o !!as Jo!ned tl!e e~ase -
= ~ally ~o, ~awrn away:
Cr-.?SE ON HOUNDS
g:'Owl!ng and panting ln hot pur,uit ot tl!e !ox,
HOlllf!lS Growf ! Gn-rowf:
CLOSE ON FOX
as lie 1001<s over h15 ohoulder at the pureulng hounds, to
s@e tl!at they are galnlng on htJO. ~,
Saint• preoarva uo: Yolel<•l
CLOSE -A HOU!!D
who JOake, a deope:-ate lunge
pull• tl!e !ox ~ £!. oeena.
BERT AND THE FOX at the tox'o tall, just aa
The hound goes op:-awltng.
.3ert PUllo the fox into t!'ue by the tall, and oeto lwl
do,m on the back of tne imerry-go-round ho:-oe.
Up you go:
The oon:ruaed and terr:11'led tox oloaeo his eyea and nanga on to Bert tor dear lite. JH-15:
JlI-151
JH-153
Jl!-154 ·a • ;• , •• -. 0
•.. ' --a~-. ,o
JH-161 2162
(lst l!ev. 56-Jo!
5/6/63)
atop the morry-g,,-rourul horae ao they 0011 •a•1!y over a
nedge, followed "oy ~he ,orambl1ng houndo.
il<!rt a.nd tho to~ w1th the hourui, in olooe pur•u.1t, f~nd th•uelvoo bounding &long a race cow-so.
c~cs:c: CN FOX
r1ding on the back of ~he mercy-go-round horoe. He 1s ·oeglnn1ng to en_:oy hi• obv!ouo advantage.
"" (thumping the horoe's
:flank, experimentally)
Wh1sst: ~Oul.d ye look at that now?
Tl• &n 1lig&nt merr;,-go-row,d horoei
':"l!EHOtlNDS
•till in hot 1>w-a111t.
CLOSE ON Tl!E POX
who!• jumping preou-!0ua1y on the back o! the l>orsa, challenging the hound~ -
"" (tauntingly)
c•mon a.n• fight! Y' dirty omadhauno:
As one of the hounda JUJIIP• up to on&p at the !0.:<, the fox
kicks him !n the snout, and retMato to a •afer position.
"" (ld.olcl.ng the dog)
I kin l1ek the lot ot ye~ ••
whc hao taken a p<>!ition on the head of the merr,--go-roun~ h<>roe.
= (to horse)
Faaterl me beauty:
:'&SCtlng 1n
terror to something c.s.)
A: •• g.',! JH-l~
JH-151
JB-151
JH• .C
JH-161 '· .. Jll-163 (l•e Rev. 66-1{
5/6/63)
or a pouruung pack ot srmt.t:(:IUSE HORSES '""' their iu=, hearing down on them from the oppo,tte <U=ot1on.
Ten!~1ed, the fox leap• onto Bert'• head and up the 1118:-,-Y
go-round pole. B•rt'• boater hao h•en ohoved down over hi•
eyes, momentarily restr1ot!ng hi• v1aton. -·· ' ~ ... ,--~
J:i-16
J""ri-164 'Ct.OSE ON FOX
.JH-165
;;}!-166
Jll-168
JH-169 c:1ng1ng desperately to the top or the pole •
\/ID~ /\JIGU -BE!\T AHi) THE POX
?.eocting to the danger ahead, Ber.: trl.e• franttoally to
rein up hia hor,e. Ao the hor,e comea to a acreechtn; halt, the pursuing hound, come crashing 1nto them fro,n beht.nd.
There ta a groW'tng TlfUl!IIER OF HOOVEs, aa th• steepleohaae
h~r••s come poun<ll.ng INTO SCENE, aen<Ung the hounda off 1n
all d1reot1ons. Ao, the dust olea:rs, we see Bert•• me:-ry-g<>
round hor•e aptnnJ.ng v1olimtly on 1ta pole.
THE HOllllllS
racing away, howling and belloW'1ng in terror.
HOUllllS
Yipe! Yipe! Y1pei
CLOS:: ON THE FOl;
clutoh1ng the tOp of the ap1nn1ng pole.
The te:-r1f1ed fox dropo down beo1de B&rt, and e,;:teru!o h1• paw. Bert takea the pa~ and !hakes 1t.
= G-bye ---lad ---
CLOS!: ON THl!; FOX
quickly shalc1ng hand.a as he look• nervoumly about.
= An' --t-th-thanli; ye --- It'• a --
gr -gr -grand th-thin,g --ye•ve ~-don~ th1• d--clay --
~e quickly jumps to the ground. Jll-161:
Jl!-167
Jl!-168 _Jll-lTO
JH-171
Jil-172
Jl!-174
,Jll-175 ---- -- ---------
l':rod. 2162 56-0 (1st Rev. 5/6/63)
= r•:1 no~er forget it --
Jl!l.Ohael and Jane co~e ~oundi,,.,; Ilrl'O SCENE.
MICHAEL
C•n,on, B•e-o! ·,re•:r• realCy :racing now!
•= And Ka.17 Poppino 10 wi.cning!
(ohe points o.,,)
t.ook, l!ert!
Bert looko Off in the di""'ot1on Jone ha• 1rullcat•d.
The pounding paok of oteoplechaae !>er•••• 1noluclj,n,g llary
Poppins near the lead,
1/IllE!\ ANIILE -STRAIOll'I' B.!.Cll:
facing the two leader• of the race, their facee ten•••
thei:r mcunta ot:r!Uning. J!a.ry Popplna appear• behincl them
on the mer.-y-g,:,-roW'l<! h<>roe, col'11ng up fast. Sbe le"""
fon,a:rd •lightly, ~ with her Ulllbttlla, tapo one of the leader• on the •houlder.
Oh, r:tdara -
CLOSE ON IIAllY l'OPPDIS
MARY POPPDIS
W"Ou.J.d you be good enough to let ...,
paaa, pleaoe? .Jil-171
Jll-'""2
Jl!-17~ JH-l 77
.;Jl-179
JH-181
Jli-183 €6-? (ls;; ib!v. 5/6/63)
•• ho doffs his cap 00 Ma:-y Poppino.
GROIJ;' SHOT._ MAi!Y POPPINS IJID JOCrtEfS
c"he joekioys doff :heir capo and move ••id•, •lloWing Mary Po~pins to ride :hrousr,, d!rec~ly hetween them.
MARY PO?PINS Thae,lc you.
;oci:-,,1~
Not at e!l, 1'lull ---
C~CSE CN JOCJ!:!:YS
who otar,, unhel1ev1ogly •• M.!t.<7 Popptno forge, into the l•ad. ,_,
Not at a--------
A LONO VIEW
of She fintoh, as Mary Poppino, 1n She l•ad, !s ch••red <>n hy the crowd.
C"LOSE ON MAl!Y POPPDIS
ri~ng demurely at~p her merry-go-round horse.
WIDE ANOU: -THE F!NISH LINE
•• l'lary Poppina ho,,ndo acros, the f1nt•h line, well ahead of the other riders.
Cl.OSE ON MAl!Y ?OPPDIS
pleeaod With herself•• oho rides toward the winner'• circle.
IN T!IE STEWARD'S BOX -GROUP SHOT
Two elegantly dresoed En&lish ~ntlemen -the RACDIQ
STEWARllS, are dioouooing ths f11ll.ah. The ftrot steward
lo gazing thrcugh tincculo.ro, wb..1.le the oecond oheelc3
'11s otcpwatch. ':'he ~ther gentle.man 1n the !>ox look on mutely.
SECOND STEWARll
(look1C1g up ~rem otcpwatch) Excellent t1me, gentlemen. JH-: 77
JH-178
JH-179
JH-l8o
JR-181
JH-182 JH-18~
JH-186
Jl!-188 P:-oci. 2162
(lot Rev.
Cl.CSE ON SECCN!l STewARD
SECOND STDiARD
~eel:ent form, al,o --if I may ooy !O --
A":' '":':;:E 1/'!Nfil:R'S C!RC"..E
Ma:-y Poppin•, ~olding a Oouquet or flowe:-,, :o bel.ns
;,no~os,-aph.ed. ':'c.er~ is an o.o. oounci <:<r .HOll!!'!Dm, wh.l.oh.
oo,.e• ~rom a group of pearlies standing noar'oy.
PEARl,IES
(humming o.,.) ,,. <Ciddle diddle diddle, '~ di<l.cile ,,
'~ didd:e diddle diddle, '~ dicidle ,,
CLOSE ON GROUP O!' ,'EA;!!.T"S
PEARl,IES
(~um<Ung) '~ diddle diddle dicidla, '~ ciici<l.l• ,,
'~ di<l.dle diddle di<tdle, '~ di<tdle "' OROIIP SHO'!' -BEK!' PJIIl Tl!E CHILll!IEN ::6-i;_ 5/6/5;)
are sitting on a fence nearby, eating candied apple& as thoy lf8teh.
Toe ,.er:-y-go-round heroes a,-,, tethereo alcngoloe •hem.
THE WINllER 'S CIRCLE JH-188
Ma:ry Poppln• 1• ourrounded by ne,,,.paper reporters, photographers,
track oft1c1al,, 'ouskers, singing pearlies and ha"penny hetton.
l!o:-mer:-y-go-round horse •tands alongo1de her, a garland or flower• a?"<>und hl• ne~~.
PHOTOORAf'l!l!l! 'Old st1ll nowi
T!>er,, 1• an explo•ion and a cloud o~ ""'eke, ao the Photographer take• the Pict~. CAMERA MOVES IN a, lla:ry Poppins is surrounded
by :he r•portera.
!'Il!ST REPO!lfiR
Si:,,, does 1t fe•l, Ma:ry Poppins, >drlnlng
tl:e race?
SECOND l!EPOR'I'ER
aa1n1ng f"11l" and fortune --
(CC!Nl'l.llUED) .J"",!-186 ·,_.
J"Jl"-191
Jl!-193
JH-194 ?rod. 2162 56-R (1st Rev. 5/5/63)
COIITDIUEll
Tl!Iall REPOl!TE!t Having 7ou:r piotu:re taken for the
newspaper --
FOURrH REPOIIT£R
Besides having your extreme good looks,
!~ I may say oo --
FIRST REPORTER
~er,, p!'<>l>al>ly"aren't wor<io to deoor1be
your elll0t1ons
CI.as:;: ON )WU POPPINS
J11AP.Y POPPilfS
On the eontra:,y -~here'• • vecy good
word\ AIII r rtgllt, Bert!
CLOSE Oil &RT -'.!'ell 'im <mat it 1o!
WIDER AlfGLE -JllARY POPPINS ANll REPOKl'E&
MAHI ?OPPtllS Sure you don't !!Und1
CJ.,OSE ON 3El!T
= (enJo:,-ing tho
oan<Ued opple)
Not at all --
GROUP SHOT -IOOff f'OPPINS AJID Pl!:.IJILIES
Ma:,y Poppino hao walked over to Join the pearl1••• wbo begin hUIIIUns.
PEARLIZS
'tlm <Uddle d1dc11e diddle, 'Ul:ri. <Uddle Ay
•Um diddle iUdc!J.e diddle, 'tlm diddle Ay
CLcSE ON 1IIARY POPPil!S
11/oRY PO!'P!HS (oinging)
Super-oal1-trag11-1ot1o-u-pt-ali--docioua -'E-18!
Jl!-189
J:El-190
J:El-191
J"l!-192
J:El-193
Even though the ooWld or tt 1a something qu:l.t• atrootous
I: you say it loud enough, you'll alwayo 00\ffld precociouo "· " • • • rl e • rl rl rl rl ' ' ' ' ' ' ' '" F, " " " " " • -
i " i i ! " ' • ' ,
" ' 0 • I • • ' • ' H • , • • 0 " " rl
~ H rl -• • • 0 • • ' ' ' •
~ rl H ' ' " rl • • • • ' ' • • • • rl • • • ' • ' I • • ' - • ' I ~ ' ij • • • Ii • ' ! i~ ~~ • • E • • • " • '
~ rl • • • • 0 • . ' • rl :~ • •• • • "" .. " • • ' 0 •• • ' • 0 ...... - rl • ' • i • rl CpH!l ' • • ~-• § , • i-Tl • e~ • 0 ' • • fiiit! • • u ! ~. •
i~~ 0 ; • • • • " H :ff • • ' i :H., H • 0 rl ! • rl " ij • • "" ! ' • • ! • § rlrl •• • • 0 ~" rl ' rl • I ''. .. , • " • • • " • • • Q 0-'C! Hrl • rl • • H • rl • • ' •• rl • • • ; • • " • 0 H • " 0 • rl "" "H J "'"'~> ~• • • • • • • ! 0 • •• -.,, ... ~ .. ' i H ' • rl H f • " "" ..,0.,,., • ,.
~ 0 • 0
~ rl 0 I 0 • """ • 0 " 00 , ' i 0 • • ' • u ' • • ~ • I ., ?§ ,,.i , ' ~ H 0 0 •
~ • • -• -• -!, • " " rl ~ • • • • • ~ • • -0 -0 ' 0 ., •• rl rl ' 0 • • H • rl • 0 " • • ' ~ " • 0 • • • 0 •• " ~ • 0 • 3 • " • ~ • • rl •H " " • u • u • • • •
"' " " • 0 0 a 0 " 0 0 e rl rl •• rl .. , • ' ' ' ' ' ' ' F, • " " " " " ,, 0 JH-202
JH-203
.rn-20J:.
Jl!-205
Jlf-206 OROUP SHOT BERT, KA!!Y POPPDfS AND PEARLIES
""' ( s:l.nging)
The l>:!.ggest ""r<l you ever '•ard
Ar,d this :I.! 'ow :l.t goes! Oh -• (1st Rev.
Bert and Kary !>oppins dance a.""-s1',.g • chor\la.
BEl!T AND KIIJr.{ POPPIKS
Supe:--cal:I. -::-agl.1-:1.st:1.c-e:,c-p:I. -al:!. -doc:l.ouo \ 66-'.!' ~/6/63)
J'!l-20:
MARY POPPINS
(a1ni;1ng)
Even •houg.~ the sound or it :l.s ,omath:1.ng quite at:,-,,e:1.ouo
If you oay it loud enough, you'll always sound precoc:1.oua
They reou..e their plaeeo in front of pearl:!.••• who Join 1n song.
Cl.OS:!': ON
watching E.E:i!T, U;n" POP!>INS AND PEAALIES SUper -ea 11 -fragl. l -1 •t:I. e -ex -pi • a 11 -do c i oua : ~--,-
happ:!.ly from their place on the fence.
''"'-"' (hllllD:l.ng o.o.) ·~ diddle diddle diddle, 'um d:l.ddle "7
\/IDER ANGLE • GROUP SHOT -P%ARLIES, KARY POPPINS --JH-203
Jl!-204
l!ert and "2rT Popp:!.no watch, •• the pearl:l.ea hum enthua:l.sst:I.CaJ.ly.
PEA!Jt.:tU,
'lllll d:l.ddle d:l.ddle d:l.<l.dle, 'Ull diddle "7 •
CLOSE Oil Jo!ARY POPPIHS
MARY POPPDIS
(otnging)
He traveled all al."'Qund the
Al:>d ever:n,here he went
(l>OWing to Be:M:) ""rld
He'd Use h:l.s word and fOlko
'l'hertt goeo a clever gent
CLOSE ON BERT = (!lilgl.ngJ aa.J.aam,i deeply)
When Dukes and KaharaJaa paao
The tl.me of day "1th me -
(g:-::1.na l>!."'Oadly "" •
he dofta hi• hat)
I oay me opec:l.al word and then-• JH-205 J!l-207
J'rl-208
JH-209
J'll-210
J'll-211 P::-od. 2162
(lot Rev,
ORCOP SHOT - EDi.T AND MARY POP?DIS
a, the pearlieo watch from ~.g. _,
(oingtng; takes Ma=7 ?opp!no arm)
They ••k 1ae in to tea -Oh ---
:3e::-t and Mary Poppin• oing and dance a chorus.
:3E!':', M.ll!Y POPPINS & Ptlll'.!.IF;S (•1ng1ng) ,-t>-U 5/6/63)
Super-cal1 -~::-agil -1,tic -ex -pi -ali -doctouo
Even tho<>gt, the oound of it io something quite atroctouo
I~ you •ay !t :c~d enough you'll alway• oo""d precoctous
BERT AND KP.HY POPPINS
dancing wtth their ha~, ~tpped for-ward, concea.J.!ng their
faceo. U they end the dance, they puoh the!:-hat• hack
5tRT A/ID MARY PO!'PDIS (o1,:ig1ng)
iiluper -••11-fragtl -1 sttc -e,c -pi -ali -dootoua !
~MOP SRO'I' -1'SARLIES_
humllll.ng and dancing enthuotastically.
PEAf!LIES
'U., cliddle d1ddlo diddle, 'um cllddle 1.:y '°"' diddle cliddle cliddle, 'um cllddle l.y
ClROOP SHO'l' -llAitf POPPINS All!) 'l'HI!: Rtl'ORTZI\S
llAitf POl'?IlfS
(otngtng to n,po::-ters)
So when tne cat has got ycu::-toni;ue
Tl>ere•s no need for cllsmay -
CLCSE Olf mJ\Y POP?INS
l'!P..<rf POPPINS
(sin~ng)
Just summon u;, tt".1• word and tnen
You've get a lot to oay -
:SUt better u3e 1 t oareruJ.ly
:For 1t eon ohange ycu::-life -
(glance• c.•.;
•poKen) :For e,:aaple --Jll-200
JH-209
J'll-211 JH-212
J:1-214
--JH-215
.JH-216
JH-217
JH-218 CLOSE OIi A !'F.ARLY
He 1• a •'""ll, tl.OU.d """'·
PEARLY
("1,:fully)
One night I •ald 1: to ""' ;:1r1 -
C~OSE ON HIS GIJU.
She is"" eno=ou,, fc~doble-look!ng lummox •. She raises
ner tam1>ou=-:1r.e as or,e glar~s at t!le pearl)'" 1<itll .disapproval.
1'3:AllLY
(singing o.s.)
AAd new me girls me >lite!
CLOSE ON ~liE P=:.oJU.Y
•• the tOlllbOurine eomeo crashing down on hi! head.
She's !'!:ARLY
(•poken; dazzedly)
lovely thing ahe 1•,
(singing) --------------
c:r,os:;: OK THE Pl':ARLY' S 1/Il'E too --
m:ffi', 1'!A1!Y POPPIIIS Al!D l'l':Afll.l:ES
C•tngtng o.a.)
Super-oalt-fragll-1st1o-ex-pt-al.1-doo1ouo! J"!l-214
JB-215
JB-216
who is ahort and rat. He t• vigorouoly strtmmling an tn,.triunent
aa he aJ.ngs.
m:RT, Jl!A!!Y POPPIHS ARD PEARLIES
( si.nglng o . • • )
Super-oall -rragtl -1st lo -ex -pt -all. -doolouo !
CLOSE OK JV.RY POPPINS Al!D Ba:RT
_ m:RI' Al!D l'!Al!Y POPPlliS
(•1ngtng)
Super-call. -fragtl-1at1o-ex-pi -all -<l.ooioua !
WDE ANGLE -Gl!OUP SJrol'
3FllT, MRI POPPINS AHD l'!i:A!ILIE3
(singlhg)
Si..;,er-oalt -frag11-1st1o-u-p1 -all -d.ooioua !
Over the laat of this, there ls a sud<l.en CLAP OF THilNDEI!. JH-217
JH-216 -· • N '" N N , N N • N
' ' ' ' ' ' '
"' ' " ' ' ' ' ' " -• • e
~ • • ; ,1 ••
~ ,, " 'i • • • •• ' . ,, • • •" .,
"" ' • ij •• ••
• " • • ., • a •
~ ' ••
• •• • ti . ,
• • " . • •• ' • ,. • • e ~5 • ! • ~ • . ~ • • " • • ••
• • • i • ~ •, -• f~ m f. • ~ , . ' • •• ' ' ,.
' • • , . ' ••
• • • • • • 1;.i: ' -· " • ia " •• w , ••
• ' • • : ' • " .
" • r • • ' ' •
• •• ! • ' •• • • • • • ., ' l •• ,. • • •• ~ t • b ! " .
•• ~ •f. ,, .
' f, g. ' !i' f.§ ;J • fi • •• i • .; " • • • • " •
" li ~ • •• •• • . • •• • •• •• ., •• -• ' ·-' l, ., • • 0 00 • -•• ~ ~ • ~; ' •• •·a • ••
~ • • - § ,. fl;'! . -i; •
' ~ • • ~-; "' i1i ii • " • •
~ . " • • • ' " ,, •• • !:: 1l ;~ _, • •• , • • • ' • " • !E • • 1: •
• ~ ., 0 • •• •• i ]i: ••
• • • • • • ' •'" " . " • • • • ,. •
~~ ' • . ' " ' • • l, 'g "" • g;f I ... " ' ~,l ' •• ~ " •• •• ~ • • • " . • • • • • " . ~i:1 • • • • • • a • • •• ' •• " "' 0
" •• " ' :.ll.' • ., • ' ' ' _,.
• •• ' • • • •• -• ' '' • ~ . , • "" §", • •• • •
N • " , . " • • • • ,l . fi • • " •• •• • ~t:: ~ • • " " . ~ • • • • " ••
N
~ • ~ .,::1 " • • ~-• • .,
• •
~ .,, • • •••
' ,l "' ~ • • i Il ' ' . ·• ' ,
• . •• ' " f. ' •• • ,,. I~!;' e. ~ • • ••• " • ., • ,,
f. ::~~ ,. f. ' " .... "' • s .. . •• • • •
• 0 • • • • " " • N N N • •
N N N • N N •
' ' ' ' ' ' ' ' ' ' ' ' • ' s JH-227
J"ll-228 ?,-0<1 . (l•t :lev. 66-I
?/6/63)
c~os~ ON= JH-226
~• he look• up.
n•aV1l7 into hi• 111• SI'1n rtdans
race. as the ,-a1n beat•
""' I'm ohong1ng to anothe,- bus1n•••·
Thi• • ere 1• l<>Vely 'ot ohe9tnut
weathar.
~-CLOSE -MARY POPPINS AND THE eHILDREli
She •e1zes the children and hurrtes them off in the
d!rect1on of the Banlt:!,' house.
~ POPPIMS
Hurry along, oh1ldrenl Wa'll _t,a
late for tea. -- Goodbye, Bart --
Ao Ma.ry Poppins &nd th• ch1ldren run down the street, tha
ohil<!:'en call their goodbye!.
JANE AND ta:Cl!AE.L
(shoutini;)
ClOodbye, Bert -• Goodb"f* -•
= (-tol'.1ng them go)
CloOdby• --
E• tu:rn• up h1• co•t oollar, ,..-oockS h1s bot, and with a
11gllt-hearted little step, danca• through the d1•1ntei;rat1ng
form• and colors of his sidewalk pictura•, and 1nto the park.
= (o1nglng)
Ch.1.111 chUl-1n-"7 -
Chim ohUl-1n-..,- -
Cl-Jim, ohim, oner-oo
Ail tho rain beats down, obocur1ng tile acme --
l'ADE our JH-227
JH-226 331-B
331-C
331-D
331--.: ?:,od. 2162 (lst l'lev.
, •J.>3 !N
Ilr.~!01'1 T;t;: NURSDIY
~ tire glow• in the !i..epl&ce. On the hea:".h 01'e Jan,;,,
and 1!1cha•~•s shoe•, d:-ying out fra,n the daon th!'OUg!I
Che rain. Over the r1reocreen &nd • n•&rC,-chair ar
several piece• of wet clothin,;. )la:-y Peppin•' umbrella
•••n• a~~1nst the fireplace near the ocreen.
Ma<',' Poppln• ~• tucl<l.nc Jane into bed. ,_
(lool<l.ng up lovingly) Ma:-y Pcppina, you won't ever leave
us, will you!
MARY POPPINS
Do you hav~ a handkerchief tor under
you:,-pillOW!
MED. c:LOSE -MARY POPPINS AND KICl!J.EL
l\a:,-Y Poppina turna to Michael'• be<1, and a<1juats the
blanket o.round h!m.
~= Will you atay it we proll!iae to be good?
MARI POPPINS
(turning to awl.tch
orr the bed lamp)
That'• a piecruat l)rcmtoe. Eas11Y
made. EaailY broken.
)11chael loob after h•r aa ohe goes OUT or scene.
,{a1tt1ng up in bed)
Slit whit,: shall we evu• do rttnout you?
)IE!). c:LOSE -MARY POPPI!iS
aa she arttch•• orr the light near th• door.
MARY POPPIMS
I ohall at,ry till tne rtnd change•. 331-A
331.:;
331·
331·
331· 331-11
331-J
331-Y.
331-L
331-)! l!ICJ!AZL
Sut, Mary P0pp1no, now long rlll
tha: be?
~ P()PPINS
( 1n:e:::-:-u~t~ng)
Silence, ple•••· It 10 t\.,lle to go
to sleep.
--(exc1tedJ.y)
Oh, we C0Ulc1n't po••1bly sleep!
So~= lovely th!ng• have happened
tod.oy !
MARY POPPINS
(lo01c1.ng up)
I beg your pa:-d.on?
11!:D. CLOSE -JANE ,_
',lhy, when we jumped into Bert••
Chalk p1et=-e .•• ~-And Ye rode the Hrr)'-go-r<>und -
then all tr.e nor••• Jumped orr --1 ,_
And we all went riding over the
countryside I
C'LCSE ON MIC!!A:tL
ao he re-live• ~he ride.
M:cru.Et
[exe1todly)
Tally-hooo~! --Tohunga.! TChuna!
Tohunga! (lst Rev.
;31-?
331-ll
331-J
331-1
331-:
331-331-?
"" ~ :---~
331-R
331-3
331-T !'Tod. 2162
IIED. C'.,OSE -Jlt/L~ POPPDIS
•• she goes back tc her .,.nding,
~eall;,•
CLOSE -JI.NE ,= Mar;, Poppins -dor.'t you r•member?
You won the norse raoe?
l'ZD. C:.OSE -MARY POPPINS
as one look• up ste:,nly.
l(Alr\' POPPINS
(severely)
A reapeetable per,on like ,n tn a
norse raoe? Now d..:re you ausgeat
such a thing?
~= But I ,aw you do 1t!
l'!E!l. CLOSE -MARY POPPINS (1st Rev.
I;;;no:rnl.n6 the ,~atement, she goea back to her men<ling,
MARY FOPPIJIS
Not another word -or I aha11 have to
summon a pol1c..,..n! I• that claar?
.rno 1s ,till defiant. ~-It did nawen! ! saw 1tl
M.o1IY POPPIJIS
( 0 ••• )
Go to •leep, pleaae!
~= I don't ><ant to go to slerp! 66-c:
5/15/63)
3~--l
331-'
331-
331·
,,,
''' 331-\/
331-V
331-X
331-Y
331-Z ------
66-~!
(lot Rev, 5/l.5/63)
CLOS:.: ON JANE -- ~e're much too exoited, )!a:ry
Popp in• I
)ED. CLOSE: -MARY POPPINS
ID,H'/' POPPIN'S
(earelesol7)
·;ee-y "ell. Suit youroelves.
CLOSE ON MICRAEL
He defiantly oi~• 1:>a~k ego.inst the pillow, deter"1l..ned
not to go to oleep.
CLOSE ON !o\A-~.Y POPPINS.
o1tt1ng in the rocker, mending.
SONO, JIIARY POPPIHS
( •lnginii;)
Stay awak•
J)On't reat your hea<1 --
CLOSE ON JAIIE
who is finding it lnoreaoingly dlftleult to keep her
eyes open.
!IAAY ?Ol'PINS
(,1ng1n,g <>-•-)
Don't 11• d0><n upon you:-1:>ed •-
CLOSZ 011 MICHAEL
who h•• put hla head down on the pillow. Hi• eyes are
1:>eginnlng to close.
IWl'l l'OPPill5
( aingJ..ng <>. •. ) Wh:!.le the 1110on c1::'1fta 1n th• old.a• --331-
331-
331-
331•
331-AA CLOSE ON MAITI POPPINS
MARY PCl'P:rNS
(singing)
Stay awake ••
DOn't olose your eyes --------- ---- -- - --- -- ----
66-E'! (l•s: Rev. 5/15/63)
331-~B C~SE ON J.o.NE
Her eyeo are c!osed and •he 1• sleeping so:,ndly.
1W!Y ?OPPINS
( •lngl.ng o. • , )
'!'hcug.~ the world !s fast ••leep
He too 1• sour.C ••leep.
MARY POPPINS
(s!ngl.ng o.o.)
!"nougn your pillow•• soft and deep -
331-DD :::.osE: CN PAR?.01"S HEAD 1.IMBfil.ll.A
which 1• leaning against the fiNplaoe.
ey•• are open, and he 1• :oold.ng over to
Poppins 1• •lttlng o.s.
MARY POPPINS (,1npng o.o.)
You'N not oleepy
As you •eem The parrot'•
where )lacy
Th• par:-ot' s oyeo t>eg:l.n tc close. He opens h.1• beak
a.nd eodta • YAW.
IIARY POPPINS (•1ngl.ng o,s.)
Sta:r awake -
Don't nod and dream --
Th• pa:Tot'a eyeo are closed. As he fall• asleep, hi• head droops to one aide,
}S~-n ::LOSE -MARI' POl'PINS
MARY POPPINS
(s1ni,:1ng)
Stay awake
Don't rmd a:,d ~eam.
DISSOLVE 031-C
331-i':E 333
334
l'' -· -------- ------ ---- -- ----
(:ot Rev.
':'he nex" morru.ng. A heaut1f\l.l da7. ':'h• •1gnal :lags
are ~r.lpping o:-:l.oply l.n th& spring breeze. lldml.ral
aoom 1, PIP3::l O!r.'O D~CX by l!lnnaole, who stanQ, at
a:"ention •• Adi=!ral Boom st:oi.:!es his domain, avidly sn!:~1ng ~ne mo:r-,,.1,:i_g air.
reacting, ADMI:'lAL :SOOM Glo::-!ou, cay, )Ir • .e!nnaole:
Olerious( No one oleeps t!\1o
"'ornl.ng! Put i,o_ a douhie ohars-e or pow<!er:
BIIINACU
(del1ghtedly)
A double charge, air•
Am:I1\J\l 000M
AllMIRAL BOCtl
Shake thing, up a hit, wl>at?
Re Jc:irously ,ta:,-to puor.u,g large kego of powder "I>
co the eann0n mouth •
• ,,
5/15/53)
,,,
,,,
,,, --------- ------- ----- -- ----
,,~ _,,.,. -,= ~~~,~ ~oo" -~-__ , ""'' u •• ,.,.u .. ,., ---::o -
o~ ~:~e =anJ<•' nouse. :,,.,-,. :ank• ~• at :he s!'.iecoa:-'.i a:-:-ar.;~:1;
the r:owe:-s as El:en CCOleo !N ~·!th some cf the ar<ea;;:ao: t~!:1..:s.
o::1an is h'"""1ll-n;. :c :he kitchen o,s, .e H'.cA.'l !'t"s. ::-!l:, -
o1ngi::u,- !:1 a s:rc:1.;, ;enet:-acir.s Y01:e, A ro~l:1 !a cn!:-:"~p!:1;
:oucily OU'!'SIJE the w1nC.ow,
l!RS. BANKS
A love:,., ::·,el;r :norn!r.~, 2:ler:!
:;:· • "N
Indee~ !: is, m~~-
1'11'.S • BA.'fKS
!'ve :-~ther a ~ull •c';edul• co<::ay.
Did :,o•~ put the spoiled eggs 1::ito
o,y ca:,-ry-all?
MRS. BANKS
After the meeting at Albeeot Hall,
""' re all 501ng to D<:>>ming Stree~
to Ch:'<'W tlUngo at t!,e P:-im@ Minister.
AnC Zllen sees OUT, h""""1n5, a• M?'. Banko come• IN !Nm the hall,
J!!l-o. Bani<• goes to him with • flower for lu• l>Utto<lllole
MRS. 3/.Jl:'.S
;:iow d1ot1ngu1ah@<l you look tl"..1•
moni.l.ng, G<,orge.
MR. BANKS
(irritably)
\lhat' • all tllat :ea:-:ul oatar,.,au~ins
1n u,,. Jd.i;ohen•
MRS • BANKS
It'• Cook, singing.
MR. BAllXS
Cook• Singing? Wna;: '• wror.g w!tll he:-?
L thoug.'>.t ste na;:ad :he wo::-l<l!
MRS. BANKS
She' a mercy as a o::-:Loket. I<• a ..atte::- of
raot, Geor5e, oince you ll.1::-ed Mary ?opp1n•,
~he moat ex:r~ord!r.a::-; thing oe~m• :o have
come over :his houoe.
(CO!r.'IN1raD) ?rod. 2162
Reall:r"
Ml\5 . BJ!.NKS
TaJ<e "i:llen, for !:,a,:ance. Sr.e na,n•c
~roJ<en a d!ah all mcrn!ng.
MR. SANKS
~--• •, a••-~o-"<na-• Cu~• :0... •4••• •••• ., '
:-!?.5. BANKS
Ar.O<:her :h1=ig. She an:0 Cook a~"'ays
:1ght li,ce cata and de;;•. But :oi:lay
)lro. 3ar.J<s pauaeo and locks o. •. ,:o.,ar1 the ~ant:-,1 door.
Mr. Banks follows her ga:e.
AT TP.:E ? /INI':\Y DOOR
wtu.cl'. 1! o;,en1'16. 11=-a. Er11~ is graciously holdJ.:1.g the door
open for Ellen.
339 Ml!. BANKS MI\S • BRILL
(!1ng1ng)
Supereali rr~gil:!.at! c
(spoken)
Sure that tray !sn't too 'ea,rJ fer you,
:l.uo~o? '"i:re, let :ae 'old the door for you.
EI-lEI'
(ol:1111ng at her)
Thanka, ever ao.
reacting to <:Ill! J.n puzzlement -•
340 GROUP SHOT ... . -~ -. . . .
,,,
339
Ellen, ><!th the :ray, comes Ilf, h\ll!llll1ng. She puts a plat8 of
egg, and 1<1ppe:'o 1:, ~::-or.t or Mr. Banko.
l!R. B/lNKS
)Undly stop :iakl.ng tl'.at o:tenstve sound
with your nose. And •hut: the i.,tndoi.,!
':'hat oird ~• g1v1ng me a headache.
~
Very good, o1r.
(ahe 5oes to ·,tndo..-,
~ooko cut, ancl Cl.I.LS)
c.;u:!.e<:! You'::-• gi·,1:1.• ~t-.a M"a•~e::
. an 'eatache ! M.'!S. EIL//Jo;S
I'.'ll sor!')' you•r• no,: fee:!:1g "~'.~
this ,n,i::T.!ng, d••::-.
M.'l. :SA?':,(S
I/no said I':o nc: ~ee:!ng we:.:-,
!n absoluto!y Cip-cop ,r.ape\
JIR. BANKS
(1rritab!)'")
I ju•~ don't understand what everyone's
oo conro«nda,ily cheerru: ab-out!
Mr. Bar.ks turns at the somro or Jane and Michae: s1ng1ng,
"Sup.,::-cal1frag1l!•,:1cexp1al1dee1ou•" O!'fSC'Em! as :he)'" com"
<:ownotairo.
The)'" ,oarch down th<> la•t re,. stairs o!nglng, ar:<I INTO the
d!ning r<>cm.
3~" TIE DININ~ ROOM
as Jane and l!:ichael come IN. ':'hey mar en C,.app!!y ar-ound the
table, oillging. !'Ir. Banl<a watches them balefully --
MICHAEL /.ND JAJIZ
( s1ng:!.ng)
Supereal1trag!::!.st!c
Exp1alidociou,i !
Superca11rrag1:1otic.
Expialidoeiouo ! •
As "1-.c!l.ael marchis past hi• rootr.er, he ~uts a bouquet or
toorning !lower~ in f:cont or her ~late,
IIRS. DANKS
( apprecta~1 ve l":l '.
Sweet! Thank you, :n:,' darling: ,_' )!r•. E.ri::;. ~•-~
:: ~he sor.g. ,~
(slng!ng, ex:•pt l'!r. :Sar.Ks)
Super: alif:cagl :l s,;1c -
='.;<pl alldOClOus !
Supe::"caa.1rragl C! s: ! c -
~p1all<!Gcious I
IIR. BAN1:S
Stop! S:op ! Stop: ,,~
Ooo<! :no::-ning, ?a:her. Ma::-:, ?opl)1'1S
taught us tne most wonderf'Jl ·•o:-d t
M!Cl!AEl.
( •1ng1ng)
Supe re all fragi i i • t 1 o -
Rxp1al1doc1ous:
Mr!. 31,,.>f!S
'lfnat ->n ea:"th are you :alld.ng about?
Superca11cal1frae;mm -~hatever th~
infernal tning 1• ! ,-
It's something to say when you car,' t
think 1<hat to say.
R1d1culouo !
entire thing MR. BANKS
If you aol< me, thH
1• -1• -'111 --,-
Supercal!~:ragili !tlcexplalidoc:Lous )
(sm:1.ling)
See how it "Orks?
MRS • BAlfi(S
Wily, that'• wonderful)
JWE IJlD ;l[[CJ!AEL
( s:Lnsing)
Supercalifragilisttc --voices
( COtfTINUED) .. . . Prod. 2:02
(lot Rev, ,,
6/2E/6;
351 CLOSE MR. !lAlllrS
Wloifred! Will yo" be good enou~ to
explain tl'.io unseemly h\ll.labaloo?
)!RS. 8ANKS
(calmly)
I don't think there'• anything to •:,:plain,
do you• ::ou•re obvloualy out of aorta tt-.J.s
o,orning, and the Oh1ldren came 1.n to ,nake
yo" ~eel better i
l!R. !lA.!IKS
(with a.-, effort to
re,nain calm)
I ahould l1k• to <nru<e one thing clear,
once and for all. I ,... not out of sorta.
I OJI! in a perfectly equaSii" ,nood. I do
not require being made to feel betteri
on the clock on the aidebou•d. A PINGING SOUND that heralds
the approach of elght o'clock.
(<>.a.)
Cle<>rge - you a.re always saying ;rou want
a cheer!Ul and pleasant houaehol<!
MR. BANKS
{ 0 ••• )
W1n;l.1"red -I al'l.Ould like to m.a.k<I a ollgl\t
differentiation between the word 'cheerfu!'
and juat plain giddy 1rreapono1b111ty --
3 52 IN TIIE DINING 1100!'1
MRS. BANKS
Excuse me, dear.
( cal.ling)
Peats, everyone, pleaae!
353 MVIHSh ANGLE
Ellen an<! Mrs. Brtll come racl.ng 0171' of the pantry, thl"'Ougl> •46-> --
351
3;,
353
the d1.n1ng room and OU'!' into :he living roo,a. They are followed
by l'!ro. Banks. Kr. 3an~, left alone, gets up from the hreald'a
tahle. CAMn,. FOLLOWS :ilM to the arcl!way 'oetween the ll'ltn,s roc,or
and dining room. There is a Chair there.
( CONTDIUEO) P:-od. 2l62
(lo: Rev. ,,
6/26/6:;;
353 CONTI?roED 3-, --
l!R. BANKS
I have no objection to anyone being
pleasant or ~heerfu.l. But I do
in•tst on prope:- decorum •·
MRS. il.o.NKS
(o,s.)
Pi ve • ~our • 1:hree
MR. BANKS
I'll Cell 7ou one 1:r.ing, W1n!.t:-~d, r don't propose to stand idly by, and
watch th.15 wo,nan, Mary Peppin•, under•
,nine the d1•cipl1ne in ;rq family •·
Ol'PSCENE, Ad!lliral Boom'• cannon goes OFP with a ohatter1ng ROAR.
More than Tl.-IC'E the usual SOON!l. The entire hou,e quiver• and
shakes, There ts also the SOON!l of falling bric-a-brac and
rurn!. ture .
The cha.t:,- 1.n the archway Jump• up and atrik!t! Mr, Blink• back ot
:he lmeea. He aits do"tl abruptl:,. A vase on the pedestal
behind him rock.! back and forth dan,e;er<>usly over hi• head.
The piano come a ROLLING INTO SCENE, hellllOing him in •omewhat.
Eut in hi• !ndig:,ation, he continues without pause
MR. BANKS
There'• been someth.l.ng odd -I :night
aay, extremely odd, about the ~ehav1our
of thi• houaehold a1noe that wOJQB.Il
arrived -and I want :,ou to know I've
noticed it.
354" 1'8S. BANXS ,,,
despe:-ately trying to ateady the ?edestal near the doc:-.
3-_, Yea, dear --
MR. :SANKS
aet• hia coffee cup onto the piano, ani:l plunk,i
irritably. It gives forth a d.15oordant 50UND.
the piano OUT OF SCENE -
MR. BANKS
On8 other thing --
356 MRS. EANKS . ~,
F.e puahea 35S
as the piano rolla INTO s=, and she place• the vaae on 1t •• , ?:-ed. 2162 (2nd Re•,.
357 IIR. EMIKS
aa ha M-•ea a::d walks INTO SCEm: with )Ira. :3anlc!.
1!11. :3ANKS
I auggeat ycu have t!Ua piano r,,;,aired.
"When I ait down to an instrument, I
want 1t 1.., tune!
Jl!!!S. BANK:l
l!ut, George -you don't play •••
Mr. Ba.nka -1n archway to the nall - t::rna ...
l!R. E!ANKS
Madam -tnat 1a enti~l;; be aide the p<>int: 7~
6/26/1'0'
Re anatohe• up hl,s \.:lllbrella and bowler and ,1...,,, OUT the front do
DISSOLVE
358-362 OM!TTEtl
363-365 =• BAflKll' HOUSE -DAY
aa !'lar;; Popp1.na tomea OUT with l'!1chael and Jane. Mar;; Poppizlll' _
has a ohOPJ>lni;; llat 1n her hand. The eM.ldren a,,e bourvl!ne;
happily i,r,:,und her 111<!! pupptea.
IW!Y l'OPPDIS
( con,oul ting her
llat)
r..t .,. eee --P1rat err, we must atop
at the rlsllme~r•a fer s nite Dover
aole and a pint cf prawna --
•= Mar;; Pcppins, ;;cu won't ever leave us,
vill you?
MAftt POPPINS
(oct heeding)
Then the ptanc tuner's. -'J"ter that,
to )!rs. Ccrry'a shop for acme
i;:u,.gerbread --
/Uchael la walld.iig along, one root: en the curb1':j and one
toot 1n the gutter, playing "long leg, ,hort lag •
IUR'C l'OPPIIIS
(oeverel;,-)
1'!1thael, stop stravaigln,g along
behind!
{CONTINUDl) Prod. 2162
(2nd Re7. 6/26/l~)
36:-:
ADMIRAL BOOM
( 0 ••• )
Ahoy! Ahoy, thare!
'.366 . LONO SHOT • Tl!EIR VIE\ol Ol" ADMIRAL BOOM' S HOUSE
The Admiral and his man, Binnacle, a.re otandiog 1n a small
rowcoat su.opended by rOpe9 P.ang1ng from overhead dav1to,
1'lounted on the :-oof. With a long handled bruah and a pail
of water, Bl.nnaele 19 9C:-Ubb1ng do"" the side ot the houoe,
w>der Admiral lloom'a d1r~ct100.
""""' =• ( C'llllng (io"°)
Good day to you!
367 MAR'! POPPINS MD ClilLil!il':N
MARY POPl'IlfS
Good day, Acmliral :soom.
""""' •= (heartily)
Jl!:1chael! \ill.at :rlne &d7eneu.-..,, are
we orr upoi,. today? Going to tight
the Hottentot•? Dig tor buri•d
treaaure?
369 CLOSE SHOT • MICHAEL
"'= We1r<> gO:l.nll: to buy oome tiob.!
370 ADMIRAL BOOX AHD BINNACLE IN Tl!E l:!OA'r
371 U,Ul"llill """""""" V,n-y good! Pr<>ceed at tlanld.ng opeed!
(to Rinna~le)
Let'a put our backs tnto it, lad!
Jloroo 8P1t and poliab •· that'• what'•
wa,,.ted around here! ,,,
,,,
370
,,, l'r<ld. 2162
~r<lSS t~.e ,cre~t, approaching the park ~a•••· :':ley tOJrn et ;:.~e SOUIC Of 31>.RKING o.s.
372..~ rnv. v.:..:.11
of ~ndre•, --lt:.Sa :ark's dog --runr.ing d<lwn the street
toward ttem.
373 i'!M---Y :'OPPINS ~10. '!"l!E CH!:.:JR~
i'!ICHAE.L
It'• Andrew:
.o.NDREW
Yap yap-yap! Yap-yap-yep-yap!
37': l'!A.'IT PCPPINS
,,
-' 0 !!ARY PlJPPIIIS
!lot ,o fa•t, ;,lea,e. I can't make
out a 1<0:rd you're saying.
·-· (,lower)
Yap yap -yap -yap: Yap: Yap:
377 MA.'U POPPINS
378 ANDREW MARY PlJPl'INS
(1ncreduloualy)
Ag~in?
379 MICHA.:;L AND JAME
r~acting to all th.is
380 AIIDREW -Yep: Yap: Yap-yap i 37~
'"
37S
,,,
;eo 330-A l'AilY ?C?P!NS
CS 1 -·· AARY ?O?P!)IS
Ye•, of coc:rsei ':'here isn't a o,o,nent
~o lose, !'ll go ot,-a!ghtaway, !.nd
~hank you ., ... I lllUCh.
ANDfu.>I
Yap -yap -yap:
A ~~°tJGE'. .>.NGG
as /.n<:::'ew turns ar.d GCES. ':'he Children are :ons,.,,.ed ><!eh our1os1~:r. ,
',lhat did l:e oay?
MARY POPPINS
(al'•»•tly)
lie aa!~, 'You're "elccmB,' ,-What else did he say?
~~=
( sl<ept 1 call;)
I don't ~hink he satd an:,th!ng.
MARY POPPINS
(loftil;,)
You kn°" best, aa uaual.
Ma<7 Poppins take• the chlldren by the hands ._.,,:1 takes the,.
!n t.~e ilr!IECTION f,;om wt,1eh Andrew came -
MICHAEL
I thoug.'1.t we were going to thB
fishmonger'• -·-?
Ki>JlY POP?DIS
The:ce's been a change of Pl=•!
Come along, please: Don't straggle!
':'hey hurry aero so the street.
ilISSOL",E •< . '~--~ ,s,
,a, P:o<>d, 2162 -'/'/~,, ----
10110 SHOT -(MAT':'E)
A street e:x:terior near !Incle A'-be:-:;', house. Macy Popp!ns
approaches CAMERA "'1th Ja...,e and llichael,
ar~iIOR -DOORWAY OF micu; ALEER'!"S HOUSE
Mary Poppins raps at cr.e door "':!.th
Eert opens the door a,nd look• Otr.'.
ser!o~•. • the umbrella bondl•'
His e:x:;,reosior. !•
MARY POPPINS
Oh, :3e::-t, I'm glad you•r-e nere. ,~,
! came over the mcm.,nt I 'eard.
HALI.WAY !NTIDIIOI!
ao they all come Ill.
il!ARY POfPIIIS
How 1• he?
""' !lever aeen 'U! ao 'bad ao th1•, and
that'• the truth.
?:-om OFFSCEIIE comes a serieo of ga,pir.g, nigh-pitched
SOU!!DS.
'"" (inclloat1ng ths children)
'Ow about them1 It's :ont,.gj.oua, you
know. ,-Shall we get spots?
lla:ry Poppins motions for Ja...,,. and Jlliohael to otand belu.nd
her as ohe opens the hall door to the front ro<>lll, and go,u ,,.
IJNCU: ALaERT' S l'RCNT ROOM
l'lary ?oppins and tl",e others stand at th" door, looking IJP.
MAR'! POPPIIIS
(indignantly)
llnc!e Alber-a i
( COIITIIIIJED) ,s,
384 386
,,, -e .:at ~e•,, :/2/E;·
CI.ME:IA ?!I.NS l;;> ;c d!oclC.5e '::l~:.Z =T; flea"~"'- e:tor"l•!al7
up ne._,. :he eop cf tt.e :e!:!::-.;;;, !he ti.1.g:1-µ!:cl::.ed gasp~:,g
SCOIIDS nave ocme f:-om r:!;:i. 3ut ra:her :t:a:i !hcw:.:,g any o!g::•
of ~s::-eas, he "-"-s ":;se:, gas;,1:,g w!~n laugr,ter --
:aJ.ess -Ole••
Mary ?opp!::io?
oee _1oua ':!;! sc1.01 i .Zs tnat .,_ ,.··---., -, --__ .,... -
DCWN ANGLE
1'!MY POPFI)IS (,:er-n~,l
Uncle AJ.~e::-t, you P=••d!
C:.OSE -ONCU: /.lJIEllT
frncw; ALBERT
I - I know, my dea:,,t I :ried
really I did! 311t I do ao enJoy
laughing, you know?
(start• to bnal< Ul')
And. the toooient I otart --:.:
1t'• all 'e]2_ ><1U:i !!_!
CLOSE -JANE AIIIl i'IIC!!J.ll
'l'hey ,tart to g!ggle.
:sEJ!T AND MAR'( POPf'INS
Jane!
You'll
reall7 /1\Af!Y POP~!NS
lUchael: DO,:'~ you dare!
onl:, m.ake h1.m wor,,.! It'•
qui:e oer1oua !
= Yea -whateve:" 7ou do • keep a
atrll.igl,t faee !
(t:-ying :o stttl•
his own ,-1,tng
la,.,gh.ter)
The last :1..e --the :ast ttme
it took ~s ''"' da:;• tc get lU.ol
down! 387
38' ,,, (:at P,ev.
LONG Sl!CT
of the r00111. Jl!ary Popp1nB and the others looking trP
aa Uncle JUbert bursts into song --
"""""""' (atng:ing)
I :ove to laugh
Ha, ha, Ila, ha
Loud. a,,d str<>ng a.nd clear--.-
389-A CLOSE -:JNCU: Ar.=r
390
,,,
,,,
393
3S' """""""' (ainging)
I love to laugh --
"""""""" (s1ng1ng o.s.)
Elo, ho, ho, he ---
Jllltry POJ>ptno and Ber. in tllo ! ,g. llnelo Albert r10at1ng
and bobbing above the111 --
"""-' """" ( 01nging)
And it'• gett:!.n/J; "°""" e'<e:cy 1ear:
BER'!' AND MARY POPPilfS
Mary Poppins turno !nd:ignantly to :S.,rt, who can no lon;er oontatn h.10 own amu.ae&ent.
J1W!Y POPPINS
I 11111st Say you're not helpii,_g matter,,!
vJUtt£D •
C!.OSI!: OR ll!ICLE ALBER':'
="""" ( aioglng)
The 110,... I laugh,
Ha, ha, Ila, ha --
The 1110n, I till w:ttll glee -
He bobs UP11ARDS -"'" 5/2/6' 1
389
390
3s,
093 , .. 395
397
398
399
"''
,,, JANE AND l'IICHAJU.
b\lbbl!ng wtth la<.gln:er
tl!l'CI.E ~.LaERT
(oingl.ng o.a.)
And the mo,-e the glee
Hee, hee, bee, hee
UNcu: .<.Ll!ERT
(olngj.ng o.o.)
The more I'm a n,errter me!
w== It' a !tmbarraaatng!
( alngi.ng)
Tn!t IOONt I'll a llle"'1'1er !lie)
Ha, ha, me, ho, ho!
EEllT AND !WI'! POPPINS eO (~ot R~v. 5/2/E3)
395
'"
398
Bert onj.ckering un<.lleeked, aa Mar,-Popp1na regarda him eoldl:r •
1U.RY POPPINS
( •1np!>g)
Some peo;,le laugh
Through their noaea
SouncUng ao ... thing like thia -
(im.tattng Bert)
3ll!)t! S.llptl SIIPt!
ltidicu:to"al Tnat'a wh"-t it ta\
gasping :1n .mirth
t!MCLE ALBZ!tT T::~! Tzz:zcz ! Tz~:z:z !
MA:fcr POPPINS
( atnging)
Some people laugh
Throug.'l. their : eeth,
Goodneaa oakea, 399
""'
,,, .ao3 Prod. 2162
CONTINUED
JIIAf\Y POPPINS (cont'd/ ( S1ng1ngj
i"iz:z:1.,g and hioz:tns
Ll.ke onakeo !
{<Oimicklng Clnc:e
Albert)
T:: I T:zz ! Tz:z !
(spoken)
Not ae all attractive to :!!. wzy of
thlnld.ng!
UNCLE I.LEER'!'
floating an<i bobbing and bu:-bl:l.ng --
Oh, ..,,-1
BERT AND MARY POPPINS
""" (singing}
So.,.. laugh t<:>0 raot -
(a rai:,1<i lausJl)
Some only blaot!
(oingle laugh hlaot)
Other• they tW1tter lilt: birdoi
(b1l'<i-l1ke yamm.r)
MARY POPPI!IS {to Bert)
I believe you•re as Cad aa he is!
""" (oinging)
Then there'• the l<ind
Wot can 't man 11p the1:-mind
(a oerteo of
1.I1oonoluo1-.e
laugha)
4o3-B UNCLE ALBEJ!.T
1lNCLE AI.BER'!' {a:tngtng)
',/hen thing• strike me ao !'llnny
I oan't lu<ie it inside
And ' squeak'
A.ii the aqueak~lers do -' ' •,-3t .&V. s,
5/2/~•
403-A
403-B •06
"''
,os 62m' AND MARY :PCPPINS ( l•t ?.ev. 5/2/~~)
"'" UNCLE AI.EERT
(singing o.s.)
I've got to lat go-· -,
(:onvulsed and joining !n
•ong w1~h Uncle Albert)
Wi:h a ho, no, ho, ho!
He rise• fr-om 01,e floo:c, mov1r.g ·or. o~ FRAME --
As Bert RISES fr<llll the floor towar<l lJncle Alber<: -
= (singing)
ha, ha, ha, ha, ha, ha, too!
as Oncl• Alber<: greeto l-..1.m wo.rmJ.:r --
UNCLE ALBERT
l!ow nice! I was hoping :rou'd turn up!
MAAY POPPINS
reacting "1th disdain --405-A
"'' Macy PoPJ)tn• in the t .g. loolc:1ng UP to Bert and Uncle Albe:.-t
perfor,oing an Lmprollll'tU dance step ao they !1ng --
BE!l'l' AND UNCLE AL!!ERT
(s1.ng1.ng)
~ love to laugh
Ra, ha, ha, ha!
Loud and strong and clear
We love to laugh
Ho, ho, hO, ho!
So ever,-body can hear!
burot:l.ng into laUghter, and otar1:tng to HISE 011'1' OF rn-. "'' ,,,
.,,
.,,
,,, ANOT!!ER ANGLE
a• )!a.ry Popp!'1.a •e1:es ~n•::: oy 1::,e a..'Utle• a:2<0 er!~• ~o haul the!!! down --
MU" l'OP?::.'IS
No,;, don'~ 70u two s:a:-t --
3!:r." AND UNC'"..,:E ALBERT ( slng!.ng)
And the mo:-e the glee
Hee, hee, t::ee, hee -
The =ore we ':-e a me:crter we i
JANE AND lllCHAE:L Rev.
Joi!llng, delii;htedl:, in with Eert e.nd 1J<lcle Al~er-;. Ag"-ln the:, rise our 0? FR.•,MIL
JANE AND M!CJ{AF.:I. (,ing!ng)
Ila, ha, we, ho, hOi
IVlutRER AlfOLE
Mary Potplna re•!gned!:, w.atches Ja.,e and ll!chael RISE
A1it1 GO 011!' Ol' FRAM!: --
JANE AND Jl!ICl!An.
("1th Bert anr1 Uncle
Alb•rt o.a,)
The IDC>re we're a merr!er wei -~=
Kary in the t.g., look;1ng Ill' a, the chtld=n Jotn Bert
and Uncle Albert -·
UNCLE All!Ell'I'
Welcome, .,,-dear•i Do m.ake :,our•elvee coo,1'crtal> le I
J11ARY PO?PIIIS
!l!A.'<l!" POPPDfS
I 1111,e oa:,, you're a aigll.t, ~he lot
of )'OU! 4i2
,,,
,,, Mary <'OPPl.:ls • -'"'-" t . .;., :ccl!:!r.g tc1<a:"<1 tl:e '=>ubbl:l.r.g
tOUl""90- --
?cu ,a,o", apea:C..'lg ct >!g.',t•,
:hat rel!l:;.nda ::e o: "'7 :e-cth<1:- ·-
C:XC""..l: .:.!.3£RT
A "t>rotl:erS :a:,1: c.~a,: !ntereot!ng! -, Ye•, and. :,-ou lc,.ok ..-ot• 'E '•• a !lice
ouohy Job !n a watol: ~ao:o:ry-\
ll!fC""..E =T
I• tr.at so• \.Ir.at Coe, he do? -You know wot 'a doeo?
(lauglung •o he can
h,U-dly get the wo.-ds out i
•E stands arou.'li:! tn th.!o watch raoto:ry
all day and make• faoeo !
IJncle Albert sor,o,.oheo w:l.th appreo:1.attva laughter -·
A 11:!DE. ANGLE St:.
5/2/63)
415
,,,
Mary-!'oppi:,,o in the r .g. ~oold.ng UP to S<!rt, !Incle Albert,
Jane anQ lltohael, t,owl1:,g and rolling ""-th laughter •-
4!7-A REVERSE Olf MARY POPPI!fS
""" Such \coldly)
behev:1ou.r \ ,,, -POPPINS
Sp!t"-ld.ng ct behav:10112', I ~ound. a
ho-rseohoe today. You l<now what
that 11earui?
418-A UNCI.E AL6!RJ.'
I certainly dOl
horse is ><albng
otock:l.ng reet \ !t :11eans ooie
aro,:nQ in his poor 417-A.
'''
418-A a,
5/2/63 1
'1.20 A LONGER 11.NGf..,E
Uncle Albert, Jane and :"'.icnael laugh 1"'con::-ollabl7, :9e:-t
has turned all ~he way w'Sl'.DE DOIIN, an:! 1• star,,1ng en :ne ceiling in helpless delight --
420-A CLOSE
.,,
.,, on Mary Poppins, look:.ng UP -
IWlY POPPINS
Most disgraceful thi..,g !'ve e"er 9@en -
or my n"-"'e isn't Mary Poppins!
A 'li!DE ANGLE
on the celling foursome. -Spealcing of names, ! know a 111a.n wtth
a wooden leg na'""<! Smith -•
IJliCLE AU1€Rl', J A/IE AllD KICllAEI.
=~= Reall7? What' o th« name of h19 other leg?
Ul gu:ffaw wtl<ll7, bobbing UPWAJwS and bang!ng again~t th• oelling.
422-A MARY POPPINS
.,, MARY POPP!IIS
( !lrmJ.7)
ll'ow then, Jane, Miohael! It la time
tor tea! I w1ll not have my a.ohe<!1>le
d.iaM1pted!
A LOll'IJ ANGLZ
IJN17..E ALB£RT Oh, please stay! Looi<!
(1ndlcat1rig table below)
I have a SJ>l@ndid tea waiting :or ua \
So I aee.
cold, 1W1Y POPPINS
It' a 1"'doubted.ly getting .,,
~20-
.,,
.,,
422-1
.,, ?:,od,
t!HC..E ALllERT
What a tragedy[ 'l'l!e tel:i. tahle 1•
down the:,,e , and we 're Ul' HERE!
Mary l'opp1no, :an't you he!i,uo?
MAR'( PCPPINS
(loftily)
)lay I aok, ><hat ye<l ex;,eet me to do•
t!HCLE ALEERT
Well -I diolike to aok tl>eoe t!-.1..'Clgs,
but yo<l eou.J.d manage to get the tea
table to --
(he pau,eo, loold.n,g
DOIIH and 0.S., pleaoed)
on ---(~st Rev. '' ~/2/E3J
423-
423-
423-n THE TEAT= 1123-l
,,,
,,,
,,, t;uive:-o oliglltly, and RISZS Ttl\iARll ':'!IE C£I!.ING -
wcu =
( 0 ••• )
Splend.tdl Splendid: 'l'l!ank you,
,q dearl
UNCLE ALl!ER'l', JANE AND f!Il;J!AEl,
t!HCLE ALBE!!T
(to the Ch.lldren)
Keep your feet batk! 111nd tl>e jUll
A LONG .Alfllr.E
as the tea table comes Ul' and oettles itoelf tn the center
or tile roursoma ---Qcod-Ohl I knew 51,e'd brtng 1t off!
Jl!ARY POPPilfS
lllARY POPPINS
Next th.J.n,g, I suppoae you'll be
w,u11,ing me to pour out.
She RISES OUT 01!' FRAME towa:'<\ the ceiling --,,,
,,,
''' ,,,
,,, ?::-od. 2152
A LONG ANGLE
l'IJ\P.Y POPPINS
Ver:, well. Ir you'll :ust ,top
behaving like a pack of laughing
hyenas --(1st lie•,.
as ~""7 P<>µ,iina -"!SES :m:o Sc::;:NE at the end o: :ha tea tabla.
J11ARY POPPINS
We ttally ean•t otay l<>ng.
(as •he p1eka up
the teapot)
Two lwop,, llnole Albert?
Yeo, please.
!!ARY POPPDIS
Bo!rt? -, No suga.-re::-ma, than!UI.
(aa Mat,~. pou::-1"'5
milk into tho O'lPO)
!'moo glad yo'1'1"9 her<>. It wouldn't
have been amr run wtthout you.
MARY POPPINS
(han<ilng he::-the jug)
You may pow."' ooma milk re::-M:l.ohael
and yotll'aalr. ·
""' (the OWi.Ve oottversaticnaliot)
Del1;.httul weather we•::-e ha'nng re::-t!lia
time or yaa.r, don't 701> ag,.-<,e?
(Mary Poppins gives him
a eccl glanoe and han<is
h.1m M.o ellp)
( C01trl:OUED) . s,
5/2/63)
,,,
,,, 430
,,,
. ,,
. ,,
.,, as
(lot Rev. 5/2/63)
OONTINl:O
ONC""..E A!..BERT
Spe!<king or -~ea'Cher, you bow, a
f:-:!.end of ~:ie wen,: to tuy oome long
.::,de:-wear. Ar.d tlle ohop aaaia:ant ,aid,
'!10"1< long do you want it!' And my
~rler..d oaid, 'Oh, frc,m about Septeml,e:
to Ma:-chl'
laugll uproarioua:y, and bob upwardo
SERT
A WIDE ANGLE
All -wtth the e><cept1on of Mary P<>pp:!.n• • laugh and bobble
ahoc:t. ~e tea table tip,i and owaya precarl<>uoly ••
MARY POPP:illS AND UNCLE AU!ERT
lJrmiovea, ohe hancla a cup to llncle Albi.rt ••
IIA.<[y POPPINS
Your ;;ea, Uncle Albert -·
~== Thank you, m::,-dear. I'm hav:l.ng sueh
a g<>od tlle. I "1ah you OOUld .rr
otay up hen w:!.th me alwayo .
MICl!.&.n.
(llappily)
We'll Jolly well have to! There's
no wa7 to get do,m! .,,
.,,
.,,
., .
TIIRU 0M1ITED
479-B
!l-79.c UNCLE ALBERT
~== Well, to be honest, there is a wa:,
to get do,m. But rrankl:,-, -r den• t
like to aiention it. You have to
think of something sad •· P:rod. 2162
(lat Rev.
"79-D MARY POPPINS
,a, = POPPINS Then, do i;et on with 1t, Pl&aoei
UNCLE ALBERT
It worlol like a charm. Let me ,ee?
Some-ching oad. Oh. -the very tt.1ng!
The woman nex: doo:r answe:red he:r Oall
yester<iay -and a CDan was at anding there.
!le Said, 'I'm moot te:r:-1\ll:, sorry -I
Just :ran over :,our cat -- '
starting to Dl!OP lleh1nd the tea ta\lle, a• their race•
g:-ow oomber --
o= Oh - that ts oa<l !
The POO:t' cat!
""'"""' Y•• - the man said, 'I'm ver-:, oo=,-
a\loue :rour cat. I'd like to replace it. t
'',/ell,' •aid the W<>IIIAn, 'that'• all Hgllt
Wl.th me. l!ut how are :rou at catching llice?' ,,
5/2/63)
479-F
Bert and Uncle Al\lert_, __ who have
table, •ud.<lenl:r BOll \!PWARDS, as begun to DROP \lehind the tea
they burat into roars or laughter.
480-A Ji\NE AND l'IIC'liAEL
shoot 01' again
1.80-B Jt!AR1: POPPINS
regard• thie d!sapprovingl.7 --
480-C IJIICLE ~
48o-D BER!' You see?
•"-how, ""' = I do try-to \le sad.
eve:t')'thing tu:ma o"t -~,
h1larioua i
'Old on! I know something sad. A real
•ean-wrtn.ger, 1~ 1a, Conc,rning m•
~ouain, 'go went o"t 'witing w1th a gt.n
one day. •:;; never came bael<. ""-·
480-B
i.ao-c "''
,,, T?ley start to SINK again •-
UNCLE ALBERT
That'• very unfcl"tunate. 'o'hB t happene<1 to the poor fellow?
80..'1"!'
\/e don't really knew.
make cut, "omething 'e
~ '1m! -Near as we ean
dloag:-eed w1t1>
They .;u.i'faw and shoot IJl' asa!n -
JIW!Y POPPINS
glaneins at her lapel watol> --
MARY PCPPill"S That'• qu.1te eno"gh ct that! ,, ~~! -=· m<= """"· ,-.oJiD MICHAEL
~. that'• "'"" = Oad! That's :!!!!. It 'a ,a, -
aad!
Thsy all begin to slowly ll!l()P behlcd the tea table --,,,
,,,
493-A cr.osE
'''
,,, on IJncle Alb"l"t, aa h1a head llROPS 011? OP FRAME ••
OllCI.E ALEERT
Th.at •a the saddest thlng I ever heard!
A LONll ANllLE
!llary Poppins 1~ already down, waiting, aa Bel"t, llnele Albert,
Ju.e and M!.ehae1 llltSCEND Ill'l'O SCENE rrcm above. They go
uncere110n1cualy to the rlccr, all ending in s:ttt1ng poa:ttiona.
-!!ARY POPPINS
(oal.mJ.y)
along, Children! Spit-apot!
on the seated group --
~ -~ (tearru11y)
Must :rou really go? .,,
''' P:cod, 2162
People
lovely >•=
AT 'l'l!E :COOR Oli'CLE lu,fil:RT (oobbing)
come to see 1!18 • and we have
t!Jne. Then they all have to
and I'm oo d!otreosed •• (lo~ Rev.
• ,.
Ma:-y Poppins, Jone and ~ee!ael ~ause to lool< hacl< ••
"'"= Don't "0rry\ l,,le'll te bacl< soon: ,-Thank ycu\ We've had a lovely tiloe\
MARY POPPil!S
De l<eep on eye on Uncle Albert, will you, Bert?
BERT AlfD t!NCLY. AI BERT
Be:-t puto an arm around the dlsconoolate Uncle Albert ••
""" I'll o1t witn '1"' a wti1J,e.
(tc Uncle Albert)
I •ave a cheery little otory, I'v•
saved ror Juot ouci, an ooeaoton.
Would you like to •ear 1t?
I'd ba llNCU Al.B!RT
(oobbing)
oo gratef'ul.
4B8•A TWO SHOT PAVORDl'G l!EltT
""" 11:1.ghto. About.,.. granddadc2y, it ts.
'Ad a nightmare. Scar,,d '1.!ll oo much,
'e el>....ed. '1• pillow to h1ta\ Next
morntng, I aal<ed 11.!ll •ow lie relt. 'Not
bad, ' • e •BY• • 'just a 11ttl• do,m 1n
the -""'Uthl' -- -
488•B t'WO SHOT • FAVORING UNCU ALBERT
Uncle Albert br!talc! into r,-eah tears, '' 5/2/6''
•ee
""
11aa .•
468.B "'' ?rod. 2162
(2nd olev, ,,
5/'-4/63) -(,Joyouely)
I alway, oay the.-e'• nothing l!ke
a good ,Joka.
UNCU I\LBE!IT (oobb1ng)
Y•• -and :hat'• nos:h1ng :1ke a good Joke.
DISSOL7E
E:XT;:llIOR -ADIURAL BOClM'S ROOFDECK -DAY
~•k on Che:,-ry Tree Lane. ~dnliral Boom 1• ,tandlng nut
eo hi• cannon, w1th arm uptlung, eyes on IU.s watch, r-esdy
to g1ve the o1gnal to "FI:RE:". illnnacla stands next to
the cannon, ready with the gunner•• match.
Pirel AD!llRAL BOOM
illnnacl• appl1e• the match to the touch-hola. Th117 br•c•
the...,elveo tor the explooicn. There 1• a S1Zzling ancl
grumbl:lng SOUND from the cannon, but no explosion. They turn to look queat1on1ngly at tt.
INT • THE :SANKS' LIVING ROOM
Mra. Ba.nka, Ellen ar,d llrs. Brill are all ready, val'icusly
holi!ln.g the bric-a-brac and bracing the china cloaat.
The explos1cn of the cannon tall• tc eventl.late. Puzzled,
the1r heads turn towsrd the di?'ect!on cf Admiral Boom'• o,a. rooftop.
ON THE ADMIRAL'S ROOP
He is gazing irritably towar<I the cannon, trom wh.1ch the
111Utte,:01ng and a1zzl1ng SOUND ot1ll comes.
ADMIRAL BOOM
Someth.1ng a.miaa there. !!ave a
l<>ok-see will you, lad?
i;oea to the !IIO•ff:h of the cannon and peors 1nto the
sizzling barrel. = the cannon oomeo the SOUND or a
sr-.int, a small apologetto teloh and a spume or 'olaok smoke. ""
"''
,,,
•
"'' ,,,
,,,
,,, ?:-<,d. 2162 -(l!t Rev. 5/14/ ,
I
B1nnacle pi,lla hack and turns to Ad..'lll.ral Boom, salutlng.
:3in.'lacle 's !'ace 1s blackened by tile •••=*•.
Sir!
to be :3DINACLE
w1,11 to report wl!at appear•
a wet powd.er •it~ationl
ADMIRAL ilOCM
(cre•c~allen)
Pity\ St1l~ -tl!ere are days when
th.ins• don•t <:_t.:.lte alwa:,o go ':3oom',
aren't ~hee-e?
Blnnaele ;,ieka up a amall kes of powder.
:3DINACI.E
I'll take this lot down to the
galley, air. !lave 1t dried out
in a Jiffy.
Admtral Boo,. salute• mecl!anJ.cally as Binnacle OOES OU'!'. :eoom. look• over the parapet, =acts.
or !II:'. Eanka, walking Slowly past, Oent in !hought.
pi,zzled., consults his watcl!. Leans over the Bide to bellow --
I<!ll. BANKS """" ~~ Late tonight, aren't )l'OY, Banko?
! aay --Bank•!
continue• ><alkin,;, w=-apped in meditation,
ADM!ll.,\L BOOM
( ca1·:1r.,; aft~r
him)
.\n:,th.lng tr.e o,atter, Bar.ks?
:2aru<a I ,,
,,, ,,, (ls~ ~•v.
THE FRONT WALK
aa 1'11-, Bang approaches hi! own frc,nt door, un.~eedl.ng Ad!lliral Boon,.
499-504 DffERIOR -:SJUIK.S' F!!.OIF. !i.!.Lr.
aa Ulen, holding a vase mider one a:,n, OPENS the door
for Mr, Bar.ks. :1e hands her hl• bowler and gloves, as
he ataggera under an ONSLAUQHT \>:; Jane and )'ichael, who
raoe INTO SCENE:. They are wearing tneir n..l.ght :hir.gs. ,_
Father, "'"'re so glad ycu•re he111e!
We've been waiting for you!
MICHA..'<"L Want to near a joke? ,-
We had the 1110st wonderful afternoon
with l!ary Poppins I
MICHAEL
Speakl.ng of afternoona, the joke
i;oea l:tke thia --,_
Fl.rat"" went to tlr:cle Albert's
and we floated in the a.1r -!
~= I know a 111an wtth a woo<len leg
named S!llth --
MR. BANKS
Just a minute l We don't kno., any
people named Sm1th, do ""' And who
1a !Incle Albe:,,t? We don't have any -,_
And we had tile o,ost beautlftlJ. tea
part:;! --And --
JIIR. BANKS
Just a moment, please --
(CONTINUED) ?:-od, 2:62
499-:;04 CON':'::Nt/U)
505
500
507 M!l.. :SAIIKS )!!CHA.EL
(,tubbo:mly)
Tl",ere' s this wooden leg nrun,,d
Smith, Md :here was another
chap --
JA.'!E
T.ie:-e we sat -the :oe of us
bobOin;: around Che ceiling
ai::-y as you please!
J,!ICHAEL
T.le oe:ond chap say,, 'W)l.at'• tile
name of 111s other leg?'
MR. B.o.NKS
Stop I Stop i Sto:;, l ,-
Mary Po:pp!ns ,ays lf we are g<:>0d,
•he'll" take uo there agaln wt,en -
(Jane's speech
trails off as
ohe sees her
father's ex;,ression)
looking o .s. to -
MARY POPPINS
Callnly descending tl".e ota!rs,
MIL BANKS
MR. SANKS
{grimly)
I """• Mary Po;,pins said tb.at, did Sha?
(to the
Children)
Will you return to your r-oo,o,
please? And Poppins -"111 you
be good enoug.". to == l..'lto the
front ,-OOJII? (ls~~•"-""" 5/14/f '
505
507 ?:ood. 2l62
(l•t i!e•,.
;05 A ',/IDER ANOU: a,
6/13/$3)
,,a --
A• you wion. M.'.JIY POPPillS
Subdued, the Child:-en go !IP the ata!:os. )!ary ?opp in a goes
~nto the frorit room, followed by Mr. :Cariko, ><ho caref:.ll)'
:loses the dou])le door leading to the hall.
CLOSE MR . B i\N1tS
(as he Clo•e• the door,)
i'<lppins -I ve"'f much ::-eg:oet >rnat I
must say to ,-ou --
510 INT. LIVING 1\001'!
as Mary ?oppina and 1'!r. Bank• come IN. /'!rs. Banks is Juot
replacing some 01' the Cr!c-a-Orac !n her arms.
MRS. BANKS
Clood evening, Oao,·ge.
(sees Mary Poppins)
Ia anything the matter?
MR. BANKS
I'm arraid tb.ere !a.
JIIRS. BANKS
I should love to stay, hut I must
dress for a rally !n :!empstead
JIIR. BANKS
(firmly)
ldni~, it is my wish you Oe preaent.
MRS. BANKS
Yea, ~orge, 01' couroe.
MR. l!llITTtS
(turn!ng)
Now then, Poppina, I must c,:,nte,,,_ I'm
disappointed in you.
':ll AT Tl'lE KITCHEN DOOR
Ellen and Mr-s. Brill, heads together, are listening tnrougn the door, ajar
( CCNTL'WED) 510 ~
(lst Rev. 5/14/i:""
CON'!'lN';JED
'""' SIie's for .1t now. I''te 'eaM. tile
Master do tl!!s speeol! before.
MRS • E.'l~
I'll te !Or."'{ to see her i!;o. SIie wasn't
a ':>ad sort for all her o:range way• --
5l2-528'IN THE LIVINIJ ROOM
SONG: -MR. E!JI.NKS
In :ig.'lt ot what na• happened --
MRS. llJI.NKS
George -are you certain :,ou \<no"
wl!at you're doing?
MR. BANES
("'1th dignity)
I belleve I·do, C,-nthla
( a.1nging)
A !lr1t.1sh bank is run nth preoia1on
A British horoe reqUirea nothing leoa
Tradition, diSOipllne and rules
Muat be the tools
Without them -Disorder!
ChaoaJ Moru d1s1ntegrat1on!
In •hort, you have a ghastly messl
MARY POPPINS I qUite agree.
MR. BANKS
(singing)
The Children must lle cn<mlded, Shaped and taught
That life's a loo!lllng battle
To be faced and fought!
( apoken)
In short, Poppins. ! am. disturbed
to hear cy ch1111r~n opaa.1< about
popping in and out of chalk
pavement pictures. Fo,; hunt, -
oonaorting with race trae~ peroons,
having ~ea parties on Che cetling,
a..'lc1 highly que3tlonable outings of every l<:tnd.
( CO!IT!/fUE!l) . ' ' ~~·. MR. EANKS (,ont'::!)
(s!ngin,:)
r: tn•;,-arust go on outing•
These outings ought to he
l',-a~g~t w1:.~ pu:-pose, yes -
And pract1:a11:y:
(spol<•nl
':'hese s!lly ,,o,-c;s !J.;ce 'Supe,-:a1~:,-a
c,-a~ '-~ -
MA~Y POPPINS
5upe,.cal!f,-ag!~1 st!c e,:pi a.11 ::!ocious •
!IR. 3Al/KS
or course. Than.-:: ,-ou.
( Singing)
And popping :l,..-:,ug.~ p!c:u,.eo
Eave little use, f.ilfill no hao!c need
They•-,• ,:ot to learn the honest truth
Jespite the1,. 7outh
They must learn -
MARY POPPINS
Ahout the l!fe )'OU :ead.
!IR. EANK.S
:i:J:actly !
MARY POPPINS
(singing)
They otUSt feel the thrill
Of 'totting up a balanced hOol<
A thousand ciphers neatly 1'1 a :,,,w.
!IR. EANKS
Quite right, ?oppins:
l!/.EY PCPP!NS
(sir.g!ng)
',/hen ga:lng at a graph
That shows tC,e proflt• ~p
Their liCOle c~p of ~Cy
Should over~low -
Pree1sely'
M"-~Y ~CP~INS
( sin;;lng:
~:•• t!me tc,e7 learned co wal~
In your fo~cateps
.To tread y~u:-st,-aig~t and_ nar:-ow ?a:h
Witb. ~ri::!e. ;12-;: P:-~d. Zl€2
MR. ilANKS
Absolu:ely correc;;!
)!JlRY POPPINS
(aingJ..ns)
To,co:-:eow
~us: a.s you suggesc
?:-eSS€d ar.d c:-eased
Jane llld Ml.ohael -~J..11 ~" at yo•or side!
)!IL EANK.S
SplendL:l! You•ve n1: :r.e nail directly
on Che -
(pause)
At n,y stc!e' "lll::ere are "" gotng?
JIIAJ!Y POPPINS
'!'o the ban~, of course. ~actly as
you proposed.
Ill!. BAN!r;.S
(blanl<ly)
I --;,r<>pased?
MARY POPPINS
Good "1gh;;. Tomorr<>w 1s l:nportant for
the ohJ..ld:,,en. I 111ust •ee :hey have a
proper n!,l;ht 's sleep.
lla1"7 Poppins goes Ol11'.
Jl!R. BANXS
Goad nigh.t, Pappina.
MRS. BANlCS
Goad night.
l'!:,,. Banks turr.s somewhat daaedly to his wife --
MR. BANKS
I sa:; -d!d I say I wao going ta tal!;e
the Chlld:-en to the bank'
!'IRS. BANKS
I: certainly so,.,nded that "SY, dear.
MR. BANJIS
(with conviction)
Yes, yes -of caurae I did! An<\ why not?
Capital tdea. .rust tlle :ce<l1c1ne they ne@d
~or Che slipsl:lod, suga1"7 female tlltnking
tlley get around here all day 1ong! J!e.11-Hah!
He Cl\ucl<les in sel~-satJ..ofactton. c?'od. 2162
{1st ~""· "O ·-6/26/63;
~29-533 =• ITTll!SERY
Jane and Michael run to u,e door "" l!!ary ?oppins cccoes !N
and clutch at her --,_
(tear!'Ulll')
lie. Mary P0pp1n~i Noi lie won't let
you goi
)!ARY ?CPPDIS
Go• Go? llha1: on earth are )'OU talk1!lg about,,... -~= Didn't you get ,acl<ed•
Sacl<ed?
oacl<ed! MA1G" POPPINS
Certainly not! I am rtev<tr
,_
(rell.ev<td)
Oh, Mary f'oppino i
MARY POPPINS
(as tile children
leap Joyou,ly
al>c,ut her)
N"etther am I a Maypole! Kindly otop
spinning about '"" ! - ""
( CO!f!'!NUED) CCN':'INun
MAAY POPPINS
ik>at, buco, Oi::-:Oa fly ar,ci children who
are ;;otng on an ou.ting with t,.,eir rather
:nust ha·,e tl,eir sleep. CoOl.e along, Spit-•;,ot! ,-
(wid~-eyed)
An outt:1,;•. :.11 :h Facner?
!-!!CHAEL
I don'c believe it! ,-
He'• never taken U! :or an outing ·oefore.
l'IICHAEI.
He'• neve::-ta:a:en :.is anywhere,
MARY POPPINS
,_
Mary Poppir.•, you muat have put the ld~a
in his head aom@how.
i'IARY POPPINS
(o~ssly)
Impertinence! 'I/hat a rude thing to oay I
I never put things in people's heads!
She ha• herded the ohildren to their bedo --,_
Where 1• he talcl...,g '-'•?
• 1'!AAY POPPINS
To t,.,e :3anlc. ,-
(excitedly)
In the City? Oh, M:l.ohael -ima~tne~
The City: We •hall see all the O!ght•~
Fat hire an point them out to U! I
MARY PCPP!NS
Perhaps you can show your father a
thing or t-'O.
(CONTINUED) :~o J 11.'IE
Ho" can :nat be! Pa:her wa!ko :o the
C~rcy and l:>ack every day. H& sees
every:hir.g.
!'!ARY POPP:li"S
Be :ha: as 1t o,a:,. Si.:: sometl..i:teo, a
;>eroon we love -:hrou5h no !"ault of
t:1• o"n -:an't see past the end of
~1s ,;ooe. ,
T!oen we "''-'•: help I
,_
3:ow, Mar:, Popplr.o? Howl
F:-om her dreos1ng table nea,:, the CC>Mecting door to the
nursery, Mary Peppin• tl.as taken orr a Victorian-style pap@r
·~eight. A s,nall heavy crystal ball conta1n1ne; a replica of
St. P~'-'l' a cathedral. Ao the Children look •·
MAR1 POPPINS
(o.s.)
On h.l.s >1ay to the Eank, you.M father
al,,,ays paoses the grease cathedral --
Yes? ,
(0.5.)
535-536 MARY POPPINS AND = CHlLDI\EN
ao Mary ?oppir.s sits on Jane•• bed
SONO: -i'W!Y POPPINS
(S:1..."lging)
Earl:, each day
To the steps of St. ~aul' •
The l!t::le old bird lady comeo
~n he:-own apectal ,..ay
T" the people she :all• -
• Come buy Jr!'/ hag, full o~ orumho'
(CONTINUED) 535-53 MARY ?OP?!NS (cont'd)
(singing)
Come ~eed ~he li:t:e b!rds
Show them you care
.\nd -;ou • 1: be g!ad tr you do
':hei!" young or.es a,-e hur.gry
T!lei!" nests are so.bore
All !t takes !a t..ippence "'°""' :;ou --
,,,
on the peperweignt,
b!rds, flutte!"s 00\ffl
!n the liq:uid "!thin A st.owe,- or ••·h!te particles,
and ~OUT tr.e :oepliea or St.
the glass paperweight. suggeseir:g
Paul's, l.tomersed
DISSOLVE
533 EXT. S1'. PAtlL'S -DAY 538
!GD!~ CLOSE on the E.i!"d W<>inan. The ~igeono Are poking Around
her long sl<.1rts on the ground. ':'hey are in her pooketo, on
l'.e:-shoulde:-s, and in the a!r a.b01.:t her.
MARY POPPINS
( S1'1g1ng O. a.)
Feed the birds
Tuppence a beg
Tuppence, tuppence, t:.ippenoe a bag
Feed the t,1:-ds
That's whet she <:rt"•
\lhile overhee~
Her birds r111 Che skies
CAME!!A rs MOVING BACK to ::-eveal 11aore scope or th@ cathedral.
PANNING UP',IARD, lt :cevea:, tne dmne and large flock• Of
pigeons fl:;ing about 1t.
AARY i'OPP!NS
(s1ng1ng o.s.)
All around the oa:h,.dral
The Sa1nts an<! Apootleo
Look down a• sne ~@ndo l-.er wares
Althougr. ;cu ca.'1.'t see it
Yau know :he; a!"e s:n.tl1ng -
Each ti.me someone shows that he eareo ...
Though -~":-~o:ods a:ce slmple and few
Listen, C:!.sten. sne's calllng to l'""
l""@d the oi::-ds, c\1ppence a 'bag.
Tuppence, :upvenoe, tuppence a bag.
(CO!frINIJJID) . ,, --
540
,,, Prod. 2162
(lot Rev . 10~
5/27/63) ,
INSTRID!!':NTAL Ml!SlC as tile l>i.rds wheel an:C t=n overJ-:ead -
::'l!E LIGH!' he gins to CKANGE. DUSK falls onto :.,e seene.
r'CI• bir,;is flutter down ar<>ll.Ild the Bird Woman, stlll poldng
around her skirts, snuggling into her pockets, s!t:!ng on :,er hat.
CL.CSE
on the glass papervei;;t,t.
MARY POPPINS
10.RY POPPINS
( stnging)
Though her words are simple and few
Llaten, listen, she's eall1ng to you DISSOLVE
ae 'lary Popplns tueks the covers closer about Jane and
Jl!iohael, who are asteeJl.
'IARY l'OPPilfS
( singing)
Feed the bi:-ds, tuppence a bag
l.'\l.ppenoe, tuppence
Tuppence a bag.
DISSOLVE
EX'?. DOME ST. PAOL•S CATHEDRAL -DAY
CIJIERA HOLDS ON the dome for a moment, then slowly pans
DOWN to a olty stt'1'et nearby. OOT of the paose:-sby eme:-ge•
Jl!r, Banks, followed b")r Jane and M1o.'1.ael, holding hando.
OVER SCENE we hear the EELLS of St. l'aul' s.
GROOI' SHOI'
CAJIIERA MOVES Wl'.t'l! I'll,. 3anks, Jane and )U.octael aa they
wall< down th<t stre"et, appr<>aontng a corner.
"11. BJ\NKS
Re01e01ber that a bank 1• a quiet and
deeor<>= place. '!'he best bel-.avtour
ts requ1red.
~~-I thought tt wao your bank.
(CONTINUED) ,,s
539
,,,
,,, 544
547 Pro<!. 2162
MR. 8ANKS
Well, in a aenae it ta,
to be one of the :;ounger I happen
orrtoers. (1st !le7, :cu
5/27/6;
They
"hen ha'Te reached the co=er, Mr. Bank• otart,
5uddenl:; Jane reacts to SOOlethtng o.!. around !t,
·= l'liohael! C-,ok!
The t.,,0 c~l:lren pause to look o.s.
or the BIRD WOMAN. Seated on tl\e steps in front or St.
she 1• surrounded 'o:, wal;cJ.ng, flying, fluttering blrda.
proffers baga or breadcrUlilba to the pas,ersby --
BIRD WOMAN ,.., .,. 'olrda I TUppence a bag! ,.., .,. birds.
JAl'<'.E, MICHAEL -~-·-MICHA..."!.
It 'a her! ~-·-(turn.tn,s; puzzled)
'oho? It'!WhO?
THEIR VIEW
or the Bir<! Woman, a• a paaaer'o:, stop, to buy a bag or
crumbs.
·= (o.a.)
Just where Mar:, P<,ppins aUd she'd be!
MED. CLOSE -JANE, MICH!IZL !IJID MR. 8AIIK3 ·= You do see her, don't you, l'ather?'
( CON'l'DroED) Paul'•, ~. 548
549-D (lst Rev. 5/~7/€3)~
CONTINUED
Jl!R. BANKS
Of course I ,ee her~ Do :,ou ,:):ink I
can•t aee paat the end or "'1 nose? ~-(looking o.o.)
Oh, liaten, J-ather. She•• saying 1:1
T!!EL'l 7L,.--W -T:I!:: EI:!D '.fO~
El:RD 110"-'N
Feed the birds! !'uppenc& a bag!
P,,ed the htrds i
MEll. CLOSE - JANE, MICl!A.EL AND Jl!R • BANKS
111!.. BANKS
(puzzled)
I/hat else -.ould she say? --,-
7leaoe, Father, u7 we feed the htrdo?
1111. BANKS
Whatever for?
CLOS;;: -JAME A.ND l!IC!!AEL
look:!.ng up plei>dingly at their rather.
~~-I've got tuppence from my mcney ho:t. ,-Juat th.1• once, pleaoe.
MR. llANKS
1/aate your money oo a lot of
ragamuffin bird•? CertatnlY not! ,-But Mary Popptna s2yo
Ct,OSE -MR. BANKS
MR , lllOOCS
I am not intereated in what Mary Poµptna
say•. Nor do r wiah to keep hearing her
name for the :-,,st or the day. Now, come
along!. 549-A
549-B
549-C
549-0 549-F
550
550-B
551
''' P~od. 2162 1~-
5/TT/63,
c:.os:;: CN MICJ!AEL ~-:~•· o,y tuppence, Fathe~.
He starts toward the bird woman.
•• he "alks to1<ard :he Eird Woman l.n b.g.
i'!R. BAMKS (c-.,.J l!l.ehael I
J!1ehael turns t~ look at hi• father.
CLOSE -MR. :31.NKS
MR. llAN"ttS
I ><111 not perm;Lt you to th:-ow your money away.
MR. BANKS
(~o J!ichael o.o.)
When we get to the bank, 1 shall show
you what may he done With your tuppenoe.
You will :find it extremely 1ntereot1ng.
•till looking back at hi• rather, trying to dectde.
WIDE ANGLE -i'!R. 8AMKS, JANE AND )IICl!AEI,
Mr. 5M>ka otarc, down the •treet, aa Michael come• INTO
SCENE to join Ja.ne. She take• h1• hand, end the children
start down the atreet behind their father. llichael lookS back O<iott'Jlly toward the Bird Woman, o.o. :e,= WO!l!AN
(o.s.)
Feed the birds --
the Eird Woman, aa •he look• arter the~ 1.mpaoo1v~ly.
:3IRil WOMAN Fe~d the bird• --
DISSOLVE ,,,
552 --
A-553
553-A
;·_,
.--_,, Prod. 2152 ' --(ls,; Rov. --, 5/29/63)
CLOSE ON PLAQUE
whioh is on the ped1men: hl.g.'> ahove the :olumr.s o: Che
hank. CAJ,!E!!A HOLDS on the Plaque "'hi:h reads, "T'!:S DAIIE:$,
TCl!ES, MOU5LEY, GRUBBS l'IDELI'l'Y FDUCIAi!Y 3Af!K r.TD."
D!SSCL V".: =. BANK -!JAY
!: 1s a 111asoivo, oent,.,r1es-old •truoturo of <!&oor.mt and
PNPri&ty. Jllr. Saruc• and the ohildren deooend th& steps
leading :o the huge doors, "h1oh are flanked hy stately
columns. A doorman stand• ready to adJn1t tho111 to ohe hanlt.
MED. CLOSE -GROUP SHCII'
•• the doorman opens the door for II![-. 3anl<! and the
ohl.ldron, usher!ng the111 into the MaL~ Hall.
LONG SHcPr -!NrF;RIOR Tl!,:; "1An/ HALL
SHOCII'INO DOWN on tho counting and d,.awing hall "h•n
tile tellers' oagea e:,-e. Th.e at1110spheN! to hual!•d.
II![-. Ba.nlca and tile ol!ildren walk towaN! oaaaera, paot the teller's oage•.
as they ""lk down the~ aiole. Jane and lliohael
look ahout the111 !n wide-eyed ""'nder •• they paoa the
teller~• oa;ea. Both tellero and client• speak in tones
olightl:, ahcve,"o whl.oper. Meoaengero gob:, on noiooleso
feat. The inteMor of a cathe~ral could not he 1110re aolei:,n.
WIDE ANGLE -THE LOIIBY
Ao they reach the end of the hall, they c011e upon the
lobby of the •~•cut1ve wing into which the directors'
otftoao and the hoard :-oom open. i'!r. llanl<s and tile
Ch:11<1ren stand wai,;!ng ao the l!eoars. ~AWES, T02'1ES,
MOUSLEY and GRUBBS approach ~hem.
l'!ED. CLOSE -crROUP SIIOT
ao Dawes, Tome,, l>!ou,:e:r and Grubba wal~ toward Jllr. Bank• and the oll.il<lren.
i'!II. DA\IES, JR.
Hullo, Sanko. What•• all thio ahout?
'!'he Banker,, stzr.d look:1ng down at :he oluldr..n.
(CONTI.TIED) 553
553-
,,.
,,,
;;6 556-A
556-B
556-C
556-D
556-E ?rod. 2162
CONTINllED
MR, BANKS
These ~re o,y children, )Ir, Dawes.
JI!!!. DAW"'...S, J11.
So I asslll!led. But ><ny are they C.er<!?
to IlfCLU!IE the hacks of ~he ha,nkero.
MR. BANKS
They wish to open an account
The1r face• ohow the1r appro~al, a• they contL~u• to
look down at the ch1ldren.
Oh capltall
money do you MR. OAWES,JR.
Capital! l.nd hov much
have, young man?
CLOSE ON JANE ANO MICl!An,
~= (cloo1ng hls tiot
protec:lvely on the
tuppence)
Tuppence, hut I ""nt it co teed th" l>!rds.
(o.a.) i.11. DAWES, SR.
Tupp.,nce ! ;ca
5~9/63'.
556
556-B
Sl!oarING ACROSS the lobby to the far door thr<>ugh Wh1Ch
MR. DAWES, SR. ha• juot einer~ed. He 10 a frag1le, atooped
man or ninety-odd yearo, and •• he m.aktl• h.1a way acrooa the
lohby toward the i;roup, he leans heavily on a gold-headed cane.
MR. OA'IIES, SR,
Tuppence! T!l.at 1• Pr<!~loely how I
,tarted ...
CLOSE -MR. llAlllt3 A1ID TI!E c:"HILDIIEll
MR. BAlllt5
(le..,,lng over and Wl>lapertng
to the children)
The elder Jllr. o.a.....,s, Chai:ro,an of the !loar<I.
A giant in the -..orld of finance. 536-F
557
557-A
557-ll P:-ocl. 2162
(lst ~e•,, 1~9 5/~9/63)
CI.CSE ON MICHAEL ~(perplexedly)
A glant?
HIS VU'W
of~. Dawe,, Sr. a9 he totter, acros, the 1obOJ towa~
the group, C.:.ME!IA MO= "1th h1.m a• he moveo into ,cene
oncl stando d:l.reotly in f:-ont of fll1ohael. -
JI!!!. DAliES, JR.
These~ !lank•'• o~.J.ldttn, Father.
They want ~o open "" aooount.
MR. llAliES, SR.
I know, bey -I know!
I.a the Ole! inan totter, paot h1• oon, he rap• the Jr. Daw••'
anltlea "1th hi• oane.
MIi, DAWES, JR. Ot oouroe. So:-ry, Fatha:-.
MIi. llAliES, SR.
(9tancl1ng in front ot
lflohael ancl extencling
h19 hand)
So you have tu~enoe, May I be
per111:ttted to see lt?
as he looks up tear!'ull.y at Mr. Dawes, Sr. ~-(olutehing the tuppence
1n h1• ft,t) I neecl it to feecl the bll"da.
1!EVE1iSE l.!fGLE -MR. DAliES, SR.
ao he peer,, down 1i:ito the bOY'• face.
i'!R. DAliES, SR.
Jl'1ddlest1cks! :P,,ed the birds and what
have you got• Fat 1>1:-do! But -if you
1nve,t yo= llOney "1oely tn the bank -
(oing:ing)
Sare and. oouru!
Scon that tuppenc9
Safely invested in the bank ~1li eompo=d .... ••6-' •• •
557
557-A
557-B 557-C
557-D
557-E
557-F
557-G Prod. 2162 .. -.,
(l•t !\ev. 5/29/63,
CLOSE ON M:!Cl!J\EL
pulling back as !Ir. Dawes, Sr. leano over h:1.lO -
MR. !lAWES, SR.
(sl.ngj.r.g)
And you'll ach1~ve that oenso of con~ueot
As your affl:2•nce e;-q,ands -•
MED. CLOSE -MR. DAIIES, SR.
!1.UT<>unded by the other banker• 1n b.g.
IIR. DAIIES, SR.
(o1ng1ng)
In the han<i• of the <1.1,-.,ctor•
Who invest a• Pr<>pr1ety demands.
!fe pauses, out of br,,atl> and exhausted.
CLOSE ON 1'1R. i:!ANK.S
~-•= ,., ,. alr?
CLOS!!: ON MR. DAIIES, ,,.
~-Carry on. DAWES, ,,.
=~ m= -~-•= -M. DAWES, ,,.
in r.g., "1th Daweo, J"r., ~ •• Mousley and Grubba 111 b.g.
They all face the Chlld.~n, ao !Ir. Bank!, tM.es to l111Pre••
l!l.cba&l Wlth·the·tmportance of sa"'1ng hla tuppence.
MR. BANKS
( alngi~) ,
Railways through Africa!
Dama acrosa the !file!
MR. DA'olES, SR.
(spoken)
The •h1pa! Tell h1.m about the •hips:
AA. BAJOO!
(ain&tn!!;)
Fleets of ocean g::,eyhounda !
1!!1. DA'olES, SR.
(opoken)
l!cre! Tall him mere! 557_,
057 -:
557-E
557 -I'
557-0 557 -ff
557 -•
557-K
557-L P~d. 2162
11: 5/29/63)
CLOSE Cl/ lllC!!A..""I.
ao he looks ~p at the group.
MIL :SANKS
(singing o,s,)
MaJestic, oelf-uort1•1ng oanalsi
C:::.05E 011 It'\, DAWES, SE.
MR. DA'WES, SR. How it fire• the 1mag1nat1on!
CLOSE 011 l'!R, BANKS
l'IR • E Al/KS
( ,1n.;1ns)
Plantation• or rlpenJ.r-3 teal All rro,o -
GROOP Sl!OT
Mr-, Banko and !tr. ~•~eo, Sr. tn :!'.g, "1th the other bankee-• in b,g.
MR. EANK.S 5, Tll3: D!i!EC'l'ORS (o1ng1ng) Tuppence -
Prt>dently, th:r1:!'t1ly, :!'ruga1:y
Inveat1td 1n the --
MR. DAWS, 3R. To be spect:!'ic --
MR. BANK.S 5, THE DIRECTORS (singing)
In the Dsveo, TOl!les, Jl!Ousley, Grubba -Fidelity, l'1duolary E!anlc!
Jone and ll!j_chael atand 1n :!'.g. watching•• i'!r. Dawes, Sr.
pound• on the !loor·w:1th_h1s cane, keeping t1.me to the
muslc,as Mr-. B""ka and the <U.rectora march past him.
CLOSE OH Jl!R. DAWES, SR.
as he p0W1da his c&ne on the flooe-, '!'he Ohildr~n watch f:-<>,o b.g. as they huddle together rear~uJ.ly. 557-.r
557-K
557-L
,,,
558--', •·• a -~'-'-
··9 ----
559-•
559-E
559-C
559-D
559-E (lot ~e·,.
Dawe,, Jr. , '.!'oa,e, , i'!oualey and G:,uh~• •• they !llarol\ past ca.a,ere.
CI.OSE -l!R. DA"oES, SR.
as he leans over anG exoends h.!• ha.~d :o 1'!:ichae! !or the tuppence.
)!11. DPW:ES, SR.
Ve:-y well, ,zy-Ccy --
CLOSE ON MICJ!A"""
)UCJ!A.El.
Nol I want !t to feed the Oirds!
c:tOSE Off )!II. DAWES, SR.
as he looka up angr!ly an~ shouts -
l!R. DAWES, SR.
(shouting)
CLOSE CN MR. BANKS
!low, '" , Ml!. BAAKS
(nervouoly J
!11' --
(leaAfng o,·er !Uchael)
1!1chael, when you ~epooio
hank account --
P.E"IERSE -CLOSE ON MICHAEL
MR. BANKS
(singing Q,O.)
Soon you'll oe& --
CLOSE OH l!R. BANlC.'I
l!R.l!ANKl!-
(,tngtng)
That it hloom.s tnto ctt<Ut
or a genero~s a.eiount -
Se.mi-annually. ts,ppence
Mr. Daweo, Sr. and oh~ other hanlcera move !n Cl.OSER,
( COIITilflJEO) 112
5/29/63)
SSB-:
••• -~"
509-J
559-B
559-C
559-D
559-E 559-:i'
S59-G
559-1!
059-J c:mT!NUED
= (s1ng1n;,;)
And you'll ac!"Jiove t:Jat sense o~ otaturo
Ao your influence er,,ands
as llr, Dawes, Sr. leans over h1:n.
= (oing!ng o.,.J
To Chat l".~gn flnanc1al strata
That estal>lished :red1t now cootm.and,:
of Mr. ~awes, Sr. who start• advancing towar-<1 tnem.
MR. DAWES, SR. ( singing)
First :.nd Second Trust Deeds
(spoken ao he lean,
towar-<1 tne Children)
Thtnlc of the fo"clooures:
as they look up perplexedly at Mr. O..weo, Sr. Ao he l•=•
clooer and clooer, their expreoo1ons change to tear.
MR. DAWES, SR,
EOndo: Chattel•i Div1dern1,:
(l~an• clooer} Shares i
Durin~ the •hove, Jl!r. Eank• and the other director, ElfTEI!
Fl!A!l!E :.nd hegin adv:.neing on the children, who hack away fearfully,
'!'HE DIRECTORS -JAIIE AND [l((C!iAEL'0S P.0.V.
lead l>y Daweo, Sr., the group continues to advance.
Debtor oaleo! ~ Opportun.1t1e• !
DAWES, JR.
All manner of private enter;,ri~ei 5S9·C
559-H
559-J . -' ' " 0 0 0 rl ••• '"' ~ ~ • ••• "' '" ~ • '" :;-; • • .. • • .. , • ~ ' • • • ,, • s • • • -' • ' • " rl " .. • . -· • • J;-•
0 :.i : • • rl • • • •• " • • .., ,, .., • " .. • l i .. 5 • .. ' • • • • ' " -0 Orl .. rl '"" ' I , .. • -•• .... ,, rl • "' .fl ,5 • • • • •• • "'' ' ;~ = • • •rl
~ • • -• • t:':::! 'S • "
~ 0 ·• ' • ••• ' ~zo il ' ~.J{l~ • "
~ " • .. ~:ii ' .. I m ' 0 ~i!.'l • .. i ! • " o:i.., .... ,, • • a .., :. • .. • 0 • ' Ii .'i 1;\ .. e 0 .. " -· 5 .,
~ ' • j ~!i" • 0 .. 0 ' 00 ' .. " -~rl --• ' • .... • • ·• ••• .. li, .. • ; • •• . .. • •i .,. • • • ... ,, •• ... . .. • • ' '' • • • • •• 00 0 • ... .. . ... ... ' ..... 0 ;, ... , • • .. • .. ,, .. " •• • -· • :1 • • • ' .. ' • • • ' • ; . , • •• • 'ii~ 0 rl •• I .. . rl ' ii • • • rl ',, • • ., • " ' • ' • • " " ' • ! ., • • .. 0 • ·" • • • •• • , . rl • • • ~ • .. 00 • • • ., ~ .ll .. • • ' • . .. ' " ,. 0 •• " I •• • i ~ • rl • .. ..
~ ·• • !1i " • •• ., " " • • •• " • • ' ' • 0 0 rl " ' • ~ ~ "' '" .061-A
.061-C
'%1-D
';61-E
561-11' (1st ?.e•,,
CLOSE OH l'IR. DAWES, SR.
Re 1a being propped up by !ti• oon an<! Mr. Banko, \olho
su;,port him ~n either Sid•. He lean, over :he Cltildren ~•nacing:y.
Mil, DAI/ES, SI!.
'"hen f•ll the banks of England
""ng1,nd ~alls:
M!!, BANKS (o.,.)
You oee, /Uchael, all ror the lack of --
!!ED. CT.,CSE -MR. BANKl! AND DIREc-:'ORS
Mil. BA!IKS & DIRECTORS (ainging) Tuppence,
Pottent::.Y, cautiously, truotingly
WIDER ANGLE -Ill!. BANKS AND DiilECTORll ,,,
.0/<9/6.:)
561-a
to include i'!r. Dawe,, Sr. le...U.ng over the cltlldren in t.g.
Ill!. BAlllrll ANtl D.!R!:C'!'Ol!S (o1ng1ng)
Inveoted 1n the -
'l'o l>e spec;itic
C"..OSB CN M!l. DAI/ES, sa.
He rubs !ti• chin thoughtfully aa he look• down at lll.chael.
In the IIR. l!Alllrll
(oinging o.o.)
Dawes, Tomeo --AND DIRECTORS
CI.OSE ON l!J:CJIAEI.
H• pulls back 1n floar and lli• finger, loooen on the tuppence.
of the MR. BANIG AND :JIIU!C'!'ORS (oinging- o.o.)
Mouoley, a~bb• --
tuppence in !tichael'• hand,
Ill!. B~ AA0 (singing o,,.J
_F1dellty, F1ducta:ry -• ';ol-E 561-!! P:-od. ~162 "~ ••• (1st Rev. 5/29/6;
CLOSE 011 MR. OAWES, SR.
IIR, E!ANK.9 I, DIP..!:CTOP.S
(81ng:tng o.a,)
Mt-. Da,,,es, S::-. snatches the tuppence out of Michael's hand.
Hts eyes glltt@r as he look, at er.e t'-'ppenc@.
MR. DAWltS, Sil. (to l!ichael)
•••lee~ i --'!:o our Jo:,f•Jl fallll.l:, of investoro I
~rn=
(reae!\ing out for
the tuppence; ang:-ily)
Give it 'oack! Give me back !Ill'" money!
WIDE ANGLE -GROUP SHOT
Mr. Daweo, Sr. aru! Michael otruggle over the tuppence.
MR • .SANKS
(ahocked)
Michael! Behave :,our,elf! ,Fleaoe i;tve it back! ~(deterlllined)
I want >q 111<>ney! Give it back:
Ill'!'. l!AIII HAU, -A ,....,-Jii'P', CAGE
Two '.iOMEH stan<U.ng at
tunioll in th• lobby. in dls'oeliet. a telle::-•• cage ::-eaet to the
The atar-:1ed teller look::I o.,.
PIRST WOJlAN
(look:l.ng o.a.)
Thera'a somat!\ing wrong. The l>anlc "°"-'t
gtve aomeone their o,oney!
SECO!lll WOl!AN
Well, I'111 go1.ng to get "'1ne
( COll'l'IITTIEI)) 561-, ,,,
,,,
570
''' (l•t il••1. l . .,.
3;2915,r
CCll'T!!ltJED
':he ••ecnd wo""'n r.abs the lapelo or tho dc:mhfour:ded teller.
SECONll \,'Cl'W!
Come along, young ma.n. Every penny from my account i
~ GENT:.ZMAN ollent reaots to Che woman•• ~o1ce, •• it
CARR!~ OV-::.R, and pounds IL1.• f1•t on the counter, demanding h1o ~Oney from =other startl~d tell•r .
• AA
Give me :ir,' money --allot iti
:N '!'!!E MAIN !iAU. -1/lDE ANGLE
Small tlurr1es of panic mount throughout the room, The
customers all race to the counter• SH0111'ING tor their mcney.
INT. '!'E:I.LER'S CAGE
SHOOTING OUT toward the onruoh1ng mobs. Ao the SHOUTING
IKCRllASES, cleric• beg:l.n to Ol!llll the >lielceta ohut.
~Na SHOT -DO\ill ANGLE
of the Ma.in Hall, ao the panic spreads, '.:'he entire pl~ce 1a !n :.n upr<>ar.
The NOISE inoide the bani< opreada the panic to tbe outside,
and paaaeroby •torm up the front &tepo, trying to gain entrance to the O=lt.
WIDE ANGLE -MO!! OI" CUSTOMERS
trying to !Oree their way Chr-ough the dooro leading into the illa1.n llall.
MEil. SHOT -CLERKII
IIEll. CI.OSE -ELDERLY C'..ERI!:
•• he pushes shut a sat~.
WlDER ANGLE "'
566
"'
"'
"'
"' An ~lderly cleric, ataggeM.ng under a :JIOuntainous snack o!
l•dgera, collide• with anothor eler~ who rushes into SCP:HE
carrying baso of 0Ull1on. Ao they collide, 0Ull1on a.nd ledgers !';O flying. '''
573
574
575
576
'"
,,a
,,a l • a (:ot Re,,, 5/29/63i-
or the pan:lc otr!cken :oob •• a guard fo:-ceo hi• ""-Y :h:-oug.~ the con!uston :o aler:: tl>e ma.nag<oment,
!!ED. CLOSE -GC"ARD ANtl MR, DAI/ES, ~. 572
573
as the guard whiapers to Dawes, Jr., who reacts in ,".O"""or.
He leans over and whlspera :o hi! father, Imo replies angrily -
DAl/'O...S, SR.
!I= on the ~ank' F1d<llest1cks, boy!
Hasn't been a :-un en thls can;, ~or t,..c,
hundred year, I
',lr.JER ANGLE -GROUP SllOl'
llichael takeo tlu• opportunity tc retrieve hi• tuppence,
He reache• over and ,natches the CUppence from !Ir. Daweo,
Sr. Jone and 111chael tu:-n and :-un, as the banker, react in anger and surpr1,e.
IIR. DAWES, SR,
(shakir.g hl• c,._.,e)
Stop that young :-uffian!
IIR. :!!AIIKS
Clul<!ren! Come back here at once!
De you hear a,ei
aa they run through the lllilling cr<>wds tn the Main Hall.
p~hing their w:,y through the moO.
WIDER ANGLE -Tl!E MAIN DOORS
as the guards t,-y tc ohut the door• againot the DOC out,tde.
PU'5h!ng through the orowds.
A GllA!!D
wl>o 1• pu:rsui.'l!! :ane ar.d l'liohael.tr_-oug.~ the lla;llling throng.
UllAllll
( •hcut!ng) Stop those chileren! ''"
''' ,,,
'''
"'
"' 550
,,,
,,,
,,,
aea ~ro<l. 2162 .. ;
( lst Rev. 5/29/6~j
:ounning through the crow<!, followed b7 the !,'~an!. ~e; :~nall; aocape by crawl:Uig i,nder the leg• of the custonero.
EXT. MAIN DOORS
aa Jane end l!l.chael oqueeze through the 1111.lling C:'OWd
outaide, and ,-,.., down the atepa of the hank.
=sI SHC'l' -CLOSE ON GIJARD
as he tries to follow the children tnroug.~ the doors, pushing againot tha ot:n::ggl1ng cuotomero. ,,
(ohouti",!:}
Stop tnooe chil<::ren!
The dooro sla,n ill nio face. A City of L-on<!on POUCEM.o.H outsi<le tne ba.nk blows hi• WHISTLE.
EXT, STREET -1/lllE ANGLE
Jane and Michael pltmmet <!own the otreet. Prom the
distance eomoa tha somm o: a police ll'!!ISTLE.
running down the atNOet. As they tu..-n a co=•r they run
directl7 into a POLICEMAN, who hurri@o OJl'l" 1n answer to
the police whistle. 11\e-c~J.l<::ren daoh off in the cppoaite direct1on,
LONG SHOT
Jana an<! Jlllchael •~-running '!'OWARD C.oJo!E!U, dO>m a long
narrow otreet. A• they co111e in CLOSE, CAME:RA HOLDS on their terror:l.zed faceo. ,,,
,a,
,ea
as J!llle and Jl!ichael run dO>m ~he street, an<! around. a corner., ,,,
on the Children a,·thay turn the col'tler and :1ru1 themoelve•
in a dead en<!. An ev1l-loolc1ng ol<l CROKE, comes INTO SCENE.
Jane and Michael turn !lrul <lod)le !earftlll7 pa lit her pan:>g· han<l•, The police 1'1HISTU SOUNDS ag.-in o.s,
=n Come with me, 11'1 dearo. ~ranny'll
'ida 7ou safe and oound.
I/Ill!! AlfGU. -J AHi! Alfil Jl!XC!!AEL
:-win:lng across a t>r:l.dge, apann!ng the r:1.ver. They run down the step a ami OFF into the d.iotance, ,,,
591 i!:
592
593-,,, P:ood, 2162
( lot !\e•r. :20
5/29/63"
•• they run past a hu1ld1n.g, and a:oe confron:ed hy a v1o1ouo, snarling dog.
WIDER I.NG!.E -JANE AND l!ICH/1£L
as they turn and run back down Che ot:o!!cet. A• tt",ey round
a o~:-ner they come to a sudden halt and look up 1n terror
at a otr~nge I\P~J\llI"!'ION. ~e appartt1on'• ~aoe 1• smudged
black, and pecul!ar hru•h-l1ke form• protrude from 1: tn
every direction.
JANE, l!ICHAEI, .>JU) APPARI"!'ICN
Jane ocre!llllo, ao the creatu.-.. oetzeo both of theo,. l'l!.chael •trugglao ter<>c1ouoly.
MICHAEL
Let her alone: You let !llT o1ster alone I
APPAJIITION
Ea"l' n0><! Your old friend ain't going to 'an, you!
Terr<>r-,tr1cken, the child.-en only f!g.~t the harder.
APPARITIOK
C0111e Off it, young !<11chael! Jane -
look at yourself. You're getttng all oooty.
Jana and mchael caaoa the1r •trugglea to look wcnder1n&].y at their captor --,
~! rt•• you:
= (~owing) :rn the :leah and at 7our ser71ce. n-(look1ng Bert over
With tnte.-..at)
You're r11thy.
= Per.•apo a smudge 'ee-e and ther,,,
(holdlng up a ~r>.>!h)
It oo 'appena t""-t today I'm a
Cnl=l@y aweep .
(CONIIIIVUJ) :e9
390
591 I< ,,,
593-,o, ea;aca CONTD{UE:ll ,-
{Curot!ng into tear,
and ~alling againot =)
Ch, Se:-,: • we're sc fr11,htened'.
= New, don't take on. Bet"O'll look
after you. like I wa, your own
father. !!ow -'oo'o atter you!
Pother 1,.
What? = (ota:,,tled) ,_
(iuaerably)
Jtather brought us to ,ee hla bank.
I don't kru>w what we did, but tt 1111.ist
have Ileen ,omethlng <lreadtul. He waa
turioua "1th us.
~= (indignant)
He set the pol!oe after uo i And the
"rll!1" -o,,d evecythlng! ,_
Jlltol>ael don't exaggerate! -!few, now, tnere must be """"' "'1stake, Your Dad's a very fine gentleman. •~
lovea you. ,_
I don't tl1u!lt so. You ohould have oeen
hia race.
m= He doesn't like= at all.
Bltrt an<i the ohildr,,n sit down on same stepa. He puta
a COm:!'Orting = a.r<>UZld the· children. -!fow -tl,at don't seem very likely,
does it?
{ CONTnmED) :2:
5/29/E3)
59~Soo 093-;ce CCNT!NtJED -< ,_
( an1rrt..,g)
It• a t:::-~a. =,
You know -begging ;our pa:'<!on -the (lot Rev.
one ,rr:, •eart go•• out to 1• your :athe:-.
(th• ch.11:iren lOOlt
at 111111 1n puz•lement)
:'hera '• la, in that cold., 'eae-tl••• banlc
day atte:-day. ''!!mme<1 in on e7er-y o1<ie by
mound• or cold 'eartlesa :oone;. u tha
lady in th@ •cc •aid, 'I 'ate to see
>ny liv!ng th1.ng caged up.' ,_
Father? In a cage? - They mak1> cage• 1.n all shape• am! •1zes, :,cu la!ow. Eank-ohaped, oome ot •em,
w:1th carpet• am! all. ,_
:SUt Father'• not 1.n trouble, We 4rai
= {aortly)
Sure or that, are you?
(Jane and "1cllael con
sider thio trulught!Ully)
LOolc at lt thio lfay, !ou•va got you,
mcther to looic after you. /Uld ""l7"
P<>ppln•. An<! Conatabla Jone a. And me.
'Oo loolt!I artar your father? Tell~• thati
(Jana am! 1'!1chael
looic aheeplah)
If a<>m&thing terrible •appena, wet doea
'e do! :!'ends for •tm:oelf, •e <l.oeoi 'Oo
<l.0<10 'e t1tll a~out it? NO one. D<>eon't
bla~ hia trouble• at '°""· Ju~t puanea
on at •10 Job, uncompla1n1ng. Alone. Silent ~- l'ather•• not ver:, silent. ,-(emotionally)
lie ot1ll, yoQ littl~ ~eaot. Oh, Bert -
do you think Father need• help?
( CONT!l!UED) :22
5/29/63
ggI-593-608
•
611 COll'l'INUE:D -3
""' '~ l<no"!? It'• not o,y ;,lace to oay. (rioing}
I on:y observe, a father can alway• <!o
wtr a 1>1t or 'el;,. Co,ne on, !'ll ••e you •o:oe.
l!e take• the ch.ild::-en '::.y the han<I and lea<!o :r.em u;, the •tep,.
DISSOLVE 593 -,,,
Late afternoon on Cherry Tree Lana. Bert !o coming throus-~
•he Park gateo 1<1t!> .7ane an<! Jllioha.el. A PASSE:P.EY o:opo to
shake han<I, w~th 3ert. Jane arul Jllichael are !ntere,ted by th1s.
""' (o1ng1ng)
Cht.n1 ch1.m-1n-ey
Cht.n1 ch.11n-1n-ey
Cht.nl, chl.m cher-e•
A oweep 1• ao lucky
A,i luck," can be --
Chi.m chi.::,-J.n-ey
Chu Ch.1.cn-in-ey
Ch1.m cr.;1,. cher-oo
(he otopo to ,hake h~s)
GoO<l luck wtll r-ub ott
',/hen I ohakeo 'ando wtth you!
(as he continues
on his way)
Or l>low 01e a l<.1sa --
Jl!Ell. CWSE
or a beautiful LAL)'! 1n a paoo1ng hanoc,,. She pauaea to blO>I :!!ert a kl.•a.
= (,ingj.~.g)
that'• :uoq, too! ,,o ,,, Prod. 2162
(1st Rev. 5/29/531
as they stroll :owa:rd CAME:i!A.
&~
(singing)
Now~$ the ladder of life 'as been str..ing
You toay think a sweop's on tne botto=o•t rur.g
l'hou~h I spendo me time !n the a,ne• and smoke
In tt.1• 'ole world ther-e', no 'app!e:- bloke:
i,e stopo :o shale~ hand• With anotner PASS:;:.=. then cont!nue, ~n
do,,m tile st:-eet w:l.th tho ch!lci:-en. -(oing1ng)
Chim chim-1n-ey
Ch.1.m ch1!11-1n-e:r
Chim ch1.m chor -ee
A oweep 1• ao lucky
Ao lucky can be!
He heott&teo a "'°ment to !hakR hand! with ot1ll another FASSE:REY. -Ch!m Ch:1m-1n-ey
Chl.:m chim-ln-ey
Chim chlOI che:,,-,,o
Good l~ck w:tll rub off
When l shake• hand• wtf you:
BERT, JANE Am) MICIIAEL
(singing)
Chim ch:1m-1n-ey
Chim ch1m-1n-ey
Chim oh.1.m Cher-••
A ,weep !• ao lucky
Ao lucky can be!
as they walk up the path to the llank•' houaa.
BERT, JANE AND ll!lCl!AEL ( sing;l.ng)
Ch.1m chim-tn-ey
Ch.1m Ch!m-1n-ey
Chim ch.1.m ch~r-oo
Good luck W1ll rub orf
When I !hakes 'ando wif you!
Jan,, :-eachao up and I\ING.s ehe dcor~ell. ,,, ~15
e,s 122-~ (lot Re7, 5/29/1:3)
!NT, i!ANKS' l'RONT HAU
Ellen 1• helptng l'lrs, Benk:I p:!.n on one of )>er Can.".ers.
/!IRS, :sAllltS
See who it is, Ellen, and sei-,d th@lil
away. I'-"' C::-eadfUlly la:e.
=. FRONT DOOR -BA,'l"t:S' HCUSE
3~T
Well, I'll ~e getting on now --,_
Oh, Bert, p~ease stay 't!l ~oor Feth&r "°""'" ho111e. He'll feel so orueh Cetter if you shake hand• with h1111!
MEll. CLOSE -ELLEN Ell:-
•• she oper.o ~he fr<>nt door, then t=• to 111:'s. Banks, 1n b.g.
"TIFN
It's the Ohilc!ren, """"•
MRS. BANKS
I tho;igt,:; they ~ere With their father.
(as she OOm!!S to door
and. looks do>m at eh1ldren)
You haven't been ru:ming off again, have
you? If you !<new how terribly it upoet, me --'
!ml. CLOSE -BERT Allll C'ltILllRE:M
as they stand looting at Mrs, Banks, ,_
They 'aven't exactly been running away,
lil!Jll!. They •ave 'ad a bit ct a ~right,
:hough --need so,oeone to look atter •e:n!
Jl!ED. CLOSE -MRS • BANKS AND nLlm
MRS. BAN!rS
~, ct course! Mary Popp:tno will look
after -no, it's ~er day cut.
(tunur.g t0 Ellen) lnl~n, I W<>nder if
Eil.lm
(r1=1y)
Sorry, lllUm -! 'aven': done me braooeo --e,,
e,s 620
,,,
,,,
''" BE.'IT Am> •·-(;!!!.,DP.EN
The eh1l<!r•n look up at E!ert w~otfu:ly.
llllS. :BANKS (o.,.)
W1ll you ask 1'!ro. 9r11l'
CLOSE CN TII==i,{
EJ I "'.N
! wouli!n't oet foot ~n :hat l<~tchen
~or an 'undr~<i 1"-id. This 'ere i•
9al<1ng Jay, a.-,.d you know how Cook 10 I
CtcSE ON IIRS. 91'.NKS
l!R.'l. BANKS (turni.ng to Bert)
You•ve been oo 1<1:>.<i ~hou,: 1001<1ng
after the oh1ldren •·
CLOSE ON E£JIT ,= Yeo, ""1111. But I•v• get to he m0v1ns
along • the Lord Mayor has th1o ,topped up Oh1.:nl.ey
C"LOSE ON l!R.'l. 9A.'IKS
!olRS • B ANlC.S
The ohilllney! or 0<>11rse1
you to know! The Drawing
1• 1n gha,tly 00nd.1tt0n!
inoeasontly!
3EIIT, 1'!R.S. EA.NKS AND Tl1E CHIT.llREN
The oh.1ldren giggle h.appily.
1!113. BAND
Thank you, oo oruoh! ~· -
=n.sE ANGLE • !IRS. BANKE. How claver of
Room oh1mney
SmDl<e•
a, 3!!:-t am:l the Oh.ildren otand lo01<1ns at her.
!IRS • B ANK3
Beoideo, it w:tll aJlluse the Ohildren •· 520
,,,
,,,
,,,
,,,
•
,,, ,,,
,,, GclOUP Sl!OT
i'l:'s. 3anks walks pas: Se?"a and tlle cllildren.
""' ':'he t..ord ~ayor•• go1:,g :o be te:erlble P"' out --
)1!!5. 3/JIKS
Tha.~k yo" so mucni I do appr~e!ata it
as she turns to look back at the~ as she cont!nuos dcwn
the w~lk.
MRS. BANKS
I .-eally muat hur:-;,! Ou::-gallant ladle, ln prison are waiting for~ to l•ad the~ 1n •ong.
standing on the fr<>nt doorstep. The children look up at
Ser'C, •• he perplexedly ,tond• ocrateh1n;: hi• ~ead.
{ 0 ••• ) i'!RS. BANKS
Eye bye, "'1 darlings --
aa she waves back to the children.
1'!R3. 3ANKS
Sae :rou at teat
DISSOLVE
INT. THE LIVIHG ROOM
5eM: lo i>utt1ng down hia brushea, •• Jane and Michael
drape •heeta over the furniture. -(s1n~g)
! choose""' Or1$tleo "1f pr1de
Yeo, I do
A br<>om for the ,haft
An<! a brw,n for the flue.
The cnlldren Join lUm tn front or the fir,iplac,, They
crouch ~own and peer into the Olaei<ened flue. ,-Err! I ~houlWl't lli<e to go up ~her,, ,,,
,,,
,,, 631-A
631-3
631-C
,,, ?rod. 2162 •••
(ls~ Re•,. ,·;•o;{:i ~-_,
3:::J!T, J AlfE AND l>!IC!!AEL -:,OWN SHOT
Ao 3ert and the Oh:!.ldr~n loo): up ·1nto the blazl<:ened :l\.le,
C=A Shoots DOl/li en tctelr UJ)t'1rned :aoeo.
= (tald.e,g ~J) one o: r.1• bruohes)
There! You see lrnw _ >r.«>ng ~eople 'can be7
That there 1• wet you m:l.~ht call the
doot"l<ay co a p:aoe o: enonantment.
( • ln;,:1 ng )
Up where :ne •mo~e lo al~ hllle~ed "'ld O"l'led
Twut pave,neno and ota<'o
ls the oh:!.mney ,weep woria
(putting an extension
on the handle of the hruah)
When there•, 'ardly no day
Nor 'ardly no nlght
There'• tlll.r.go 'al: 1n shadow
And 'alfi<ay !n light
Or, the :r-oortcps o: Lendon
Coe -! What a Sight!
CLOSE ON JAN£ ,
(loold.r.g up)
Oh, I Wl!h we OOUld go UJ) there!
CT.,OSE OM MICHA.!:r.
~~(enthuo1e,ttoally)
So do· l! I~ oh1:nneyal
CLOSE ON BERT
~~
filghtly ,c. A oh.1.ml.ey'• a wondrouo
th:!.ng. It's b<.:l.1t tall up ther,:, <>n
the roof. ·.nen the wtnd J.o Juot r1ght •
lt 'blo"" aorooo oho top -and, lt <!roars
the omoke ~!~t up tbe flue!
DOWN SHOT -l!ICHAEL, ~A/IE AND BERT
Bert gl'tes l'!lohael c,oe C.an<lle of the b:r-ash, "luoh he has "'4:ten<le<I up the !l~e.
,=
'Ere -!•el t~e ;,ull on the en~ of
th:!.o ll'"••h? Like you got a whale
on th• er.cl. cf Che line, don't lt?
(COIIT!!IUED} 63l·B
631-C ,,,
,,,
,,,
,,, Ml.Chael hold! onto the )>andla or the hl"~•h. ~ and :ane
'Oum a• they hear --
MARY PCP?INS
( 0 • " • )
Michael! Ee ca,-eful!
!'!!EIR V::'.E' .. -)!II.RY POPPINS
stan<!ihg in the hall, taking of~ C'.er glove,. Sr,e ~•
wea::-ing i'.ee-hat an~ ca:-ry1ng her un,hrella, havlng juae
001110 1'>.
MA/!Y PCPPINS
One never 1<n0wa what inay happen c-ouru:i
a tireplaee.
by the fireplace. B&rtand Jane an looking at Mary Poppins
o.o. when oui!d.enly they hear a 'WHOOSH!" from the oh.1.au,ey,
!'l'ley turn to oee 111:h••l, ot1ll holding the end of the b.-uah,
a• he fl1es t1P the chianey our llP SIG!!T,
CI.CSE CN MAHl' POPPINS
•• aha look• ctt toward fireplace,
Bother!
EXT. i'IOOFl'OP
a• Ml.chael comts flying OUT of the Cl-.lmney, otill holding
onto the hruah, and otarto downward towal'd. the r~oftop.
CLoSER -Tl!E i'IOOFl'OP
next to the cl>l.ozn,ey-, as Jl!l,c!;ael'• feet COi-!!! :rNTO PRAME,
as he landB gently on the r-oor. He atando look:1..ng up at
the ehiJllne-:, in awe.
INT. LI\tDf(l ROQIII -THE YI!'.El'l.ACE
Jan@ leans into the fireplaoe an~ p@era ~p ~r:e,, Ml.C~ael. ,_
M1chae1! JU.ohael!
Eert tU..-ns to look at Mary Popplru!, o.s. -!'l'lat •a ewlcward, I ,oust aay! 633
,,.
,,,
,,,
,,,
,,, '"'
642-A
642-B
642-C IIED. CLOSE -a.:RT A.ND i'IAJ!l' POPJ>rHS 12~,,
(l,t Rev. 5/29/53.
,,, --
!'!ARY PO:PPINS
I'!l :hank you to otop putting ideas
in their h"ada.
Th"re 1a a ,.,oond ''"1100SH'.", and J""! flies U? the ohlm,,oy,
OU'!' 0.P SCENE.
i1!ED. CLOSE -BEHl' AND MAf!Y POPP!NS
>!.I.RY POPPINS Thertt g,:,,,. th" other one -Shall I go aftor 'em?
MARY POPPINS
(crooaly)
Well, we can't have them l>n,andlng
a.round tha ,-,,oft0ps like kan,i;arooa,
can w"?
EXT. ROOl"TlJP -JANE ANil IIIC!!AEL ,_
ll-don't be frightened, lJ!ichael --
The Child.rm turn arouru! auddenly, reacting to a third "Wl!OOSH'."
CLOSE ON JANE AND IIICl!AEL
'!'heir facea ,,_..,. blackened, and tha1r clothes are coverttd
with aoot. '!'hey look 1IJ) in awe to aee --
!!Al!Y POPl'llfS
•~ •hooting OUT or :he chilm:tey. She is holdi.ng her
clooed umb~lla straight up in th" air. Ao ol:e Cai.ins to
d"ocerid to tl:e rooftop, the umhrttlla Op•n• autOIIL!l.t1cally.
Erl'. J!OOl"l'OP -JA!fl!: A.ND MIC!!AEL
loold.J:1g up in ,wnder, aa llary Poppi..:1,o comea lll'l'O FR.AMS,
teet first, for a gentle landing beside the childi'en.
She holds out oometlu.ng to the c.'>ildren.
JW!Y P01FilfS
Kindlt ptlt 1our hats ..,d coats on at once. 640
'"'
,.,
642-A
542-C ' ' !
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b • " 642-L
,.,
643-B (!st Rev. 122-1 5/29/63'.
CO/l'l'INTJED
= Rlght-o, Mary Popp1na? ,(lootir-s up at
Mary Popp1na pleadingly)
Oh, p!esae, l'!a::-y Poppina!
CLOSE ON J11A11Y POPPU!S
•• ohe takeo out a small co:iq>ac~ and begl..ns to powder her race.
!IAl!'! POPPillS
Very wall. It we m=t, ,.., :mnt.
E:tT. ROoi'l'OP -)IJ;l)E!I 1,Ji'GL:E 642-l
,.,
l!ary Popp1na 1111•• up Bert and the Ch1ldran in a o1ngl• tile.
·/IIAl!I POPPINS
Ahe:mi ••.• ::::t;,ed1t1on! •.. Atten-ahunl
(Bert and the <>1111~-en
come :o o.tt•ntlon)
L<ift turn:
~•Y turn az,d i'\ar;' Popp1110
heado the group)
quick m.a:rchl
Lead by Mar:; J>opplno, the grou;:, ma.rchea THROUGH SCENE.
EXT. ROOPTOP-
ao !!ary Poppins leAd! the group l'ltROUGH and Otrr or SCENE.
/IIAl!I POPPINS l'ra1l ••• armo!
She extend• her umbrella, and the g::-oup 1.mltateo her lead
by extending their bruoheo.
•• Mary Poppirui leado the.m acro,o the rooftop ""d down the oteap •lope of the ro<>t.
1'IIlE ANGLE -UlNG SHOT
•• the group march"• de>wn the steep •lope or tha root,
otepp!ng err it• edge onto a flat adJo11Ung rcor oovered ><1th o.umercua clwllneya. 643-A
643-C 643--'.:
643-F
'''
,,,
645-A Pr<><:!. 2!62
,U Mary Fcppino c00,e9 !NTO SCEm':, lea<:.J.r.g :he grou,: dewn
a narrow aisle past the ch1:nneys.
ctCSE ON JAlfE
A /l!CVIN(l Sl!C":'
of the cnany ehi=eys, bele~:,g forth !IIIOke.
'!E'.1£Rlra SHOT
Sl!OC'l'ING DOWN a na:-,,ow "-l5le bet~een the tall chl.llltleys,
a, l!ary Poppino COMES :NTo SCENE, leading the group tow~ camera.
MED. CLOSE - !!::CHAE!.
aa he stop, to investigate one ot the ehilllney P1P••·
As he peers into it, a sudden cloud ot soot sbooto fortll into h:1• face.
ctOSll Oil BERT
loolc:1ng down at Ktchael.
,=
(laughing)
It'• just nice, Olean soot, "!l.~hael!
llROUP SHOT
Mary Peppin.,, the chllli,-en &nd Bert all .ioln hando a:1d.
dance along the edge of the roof. ,U they a•cend. a oloping
pe!Ut, they <Usappear into a cloud of heavy •1110ke.
THE ROOFTOPS
sticking out of th• ""'°ke cloud.
the ehlldren allddenly com,, out or
as01t1:1d the peaked roof.
TOP OF THE ROOF
GROUP SHOT Mary Poppins, Bert
th& !1110ke elolld as
IIIAry ~Pino, Bert and the ch11C'en al1de on their heels down
the oth.., oide of t:,e olopplng root, and otep o7er to an
adjoining peaked roor. 643-H
'"
,,, 6117
647-a
6lr.7 -C
6lr.7-D
647-E '-<i-:ii {1•~ ~ev. 5/29/6C)
WDE ANGLE
as the i;=-oup walk! s1ngle :1:e along the leng':h or the
?eaked roof :owan the •ds•. A• sho:-t way or: !n the ~.g.
stands a tower-l:-,.g Ch<U'Ch steeple. As they teeter along
the ••eep peak, 3ert YODELS.
CLOSER -BERT, :ii/I.RY POPPI~S AND TEE c"!l:I.DREN
The r.o~;, stand• ':lefore three •mok:!ng oh!=•Y•, and look
;.;p at the tower1:,.g steeple o.s.
= A!l far ao we go, right?
MRY POPP!NS
(;,o,d.,o_g at the omoke
from the nearest ehi11111ey
"1th her umhrella)
)!ct at all
CLOSE -MIC'!IAEL AND JANE
watching Mary ?opp1n• 1n wide-eyed wonder.
The smoke f:-om the chi:oney has taken the form of steps,
and )!ary Popp1no lead• the grou;, up them.
lllA!!l! POPPINS
(reaching :or )tlcha•l'•
hand)
Co..e along, lll.ohael
CLOSE OH MAR! POPPINS
11!:DE AH0LE • CLOSE ON SMOKE STATIIWA'I"
as lt!.ehael •teps caut1oualy onto the SIIIOke sta..trway, and
follovo Mary Popp in• up and OUT Of SCDra. Jane COl!ES nt'l'O
Sc:E!IE, following !!:l.ehael. They each cllng to the handle ct
the chi"1ney bruoh in front or them, forming a cha.in.
1'\A!IY POPPINS
( 0 ••• )
Do keep a stead)tl!ne, please.
LOll"G SEm' -WIDE ANGLE
cf the sroup as they wall< tIJl the •111oke •t~lrwey, nearlng
the top of the ohureh· oteeple. 647
647-!
647-D
6lr.7 -E
64; ,.,
,.,
649-B
649-D (l•t Rev.
1'1ary Popp1no, BeM: ond the ehildnm ateo on:o • small
platfo:-o, at th• top o~ the oteeple.
ME:D. C~CSE -GRCIJl' SHO'!'
Jl!ary Popplno, Bert and :he <hll:1:-en otand lool<:.~g ou:
over ~he 01:y.
= Wot did I :ell you? '!"her•'• she
whol• world at your !e•t.
THEIR VIEW -THE Cr.."!"
!'rte last rays or oun •hlne :hrous-~ the m!•t, l>at~.!ng li<-N
5/29/63)
6!<7 -G
rooftopo and steeple• 1n a golden h•z•. ;,.,, the oun ~1,appearo
l>eyond the horizon, a few lights 1n the elt:,-beg;l.n to come on,
= ( 0 ••• )
And who ever gets to oee lt, Out the
l>irds, the stars and the eh:umiey sweep?
,
What • lovely ounoet I
CLOSE -NJ!Y POPPINS AND EERT
MAR'! POPPDfS
W• muot all come 1n out of th• night
air. Follow me, pleaoa, ,.,
649-A
~ry Poppins stepa off the platform onto a eloud or smoke.
Bert and. the children follow, "-lld ~h~ cloud l>eg:l.r.a to deoeend.
LONG SHO'l' -WIDE ANGLE
or Bert, Mary Poppins and the ch1ldren atOp th~ o!llCke clou~,
a• 1t gentl:; br1ngs them down from th• church steeple 1n b.g.
We oee the eloUd 1• part or a long column of smoke, streamng
from ·one of th• ehimn~• ~el"". 649-C
CLOSE SIIO'l' -l!ERT AND MAR'! PCPPDIS 649-D
MARY POPPINS I< EE!!T
(a1.ng1ng)
Chim eh1m-1n-,
Cr.:l.m. eh1m-1n--:r
Chi.m ch1m eheree 649-J -------- ------ ----------
P::-od. 2162
JANE Alm M'.ICHAEI.
(looking down; singing}
When you'r<> with a owe~p -(:st Re•,.
of th" rooftop h@low, to 1nolud" the oC.1.mn•y and col=,
of smoke. CAMEl\A )!CVES !N AND !lCWN, followin6 the smo,<e
column ao 1t c:,olone• hack !nto the chi=ley,
S.07\T, Jl!AII! PO??!NS & C-.ITI.DR:":N
(singing o.s.)
YOU'r• !n glad company -
No><_her~ 1• there
~-cr.osE -GROUP SHC'l'
BERT, i'WtY POPPINS & =r.DREN
(a1ng1ng)
A more 'appier er"" •
WIDE ANGLE CJ!D!NEY ON ROOFTOP
CA1!E!\A HOLDS on the chimney ao the smoke pours hack into it.
BERT, MAICT POPPINS & C'dllDRllN
(oi~ng o.o.)
Than the,o vct s1D.g• -
illary Popp1na, Hert and the children deaoend into trae
feet first, atop the diaappea:-ing ooluom of so,oka. A•
they ,tep fr<>m it onto th• ohl.,oney e~ge -
BERT, !!All'! POPPINS & CHII.DRE!I
(singing)
Ch:1.nl ohi.m Cheree -
The:; step onto the rooftop"" th" last puffs of =ok•
DISAPPEAR liown th,i, ehulrley.
l!ERT, MAl!l: POPPINS &: ClULDRU
(s1ng;l.ng)
Ch1JII cheroo
CLOSE -MARY POM'UIB AND BERT
MJUtt POPPINS AND BERT
(s1n,g1ng)
Than theo, ..ct •l.ngs -
Ch:1m = oheree
Ch:1m cheroo
(Be:,-t look, o.,.; listens,
then ohouts)
Cherooi Cheroo! Cheroo!
(!!ary f'<lp;1n9 ~eacto
"1th dl.sapproval) 649-G
61&9-H
649-J Prcd. 2162
('-•t ~ev,
EXT. 1100:.-TOPS -9ERT'S ?.O.V.
Suddenly, fro,n a doeon cC.1m:>eyo, a nUMber ot S•,,Ps
explode in black purrs or amcke, They are ~r•oaed
like ~•rt, begrillled, grinnJ.ng and dancing ~iercel;,
Acrobatic leapo, olldes, towering, deat~-d•!yir.g
.)wnpa arocmC: t.~e rooftop areas.
':'l'.ey have a "1ld Cockney Song and ::lance --
SCNG, -SWEEPS
(•1:o.ging)
lick :;ow, 4leeo ~P, step !n ti""'!
!rick your knee, up, ,tep !n tim•!
Nevor need a reaoon, nevor need a r~e
ICick yow, knees up, atop 1n ti""'!
U.nk your elbows, atop 1n time!
Link your elbows, o,;ep in t11cei
Never need a reason, never need a rhyme
U..-,Jc yo= •lbowa, step in t1 ... 1
Spin about, and step in ttme!
Spin about, and step in ti.ale!
Never need • reaaon, never need a rhy,n,,
Sptn about, and step ln t!lae!
ilou..,_d the <:h:!.mney, otop !n t!mo!
Jump the eh:I.Jllney, ot@p 1n tl~e!
Never need~ rea,on, nev~r ~e~d a ~hym•
Round the <:hlm:u,y, step in tlMe! 12; 3/29/63)
6~0-Eo; Atll!iral :'!OoJO is ;:eer!n,; c.~ro•agh 1-.!s ~l••• a: :!!• Cola:..::ene,;,
wh!rling <:ervishes on t.~e r,eig~bor!:,g roo:sops. 3J.r.r.acle ar.:
3a::-nacle are scand!n5 nearby, wi:h tt'.e g•.:,1ner's :r.a:cn at :l",e r•~C:.;
IJ:Jl!IRJU. 3001'!
Stand fas:, gentle:ne::; We'r• bei,ig
"t:acked by Hot:en:ots I
BINNACLE ~~"D EA?.NAC:2 ',-•·,~o•'••) \ •G-•"·'"'
1.1,M!R o..L BOOM
Cheeky devils i ~! ·:e theo; the ·•orJ<s I
3l~AC""..E
(delJ.g~:ed)
2veryth1r.g, sir?
ADMIRAL EOQJI!
2vecy scrap I Teach the beggar• a
lesson! Lively, r.owi
Binnacle tilts the canner, baci<, Barnacle sta""s shoveli::; 1n
!13(:.al flares, Ve:-y li~ts, fuaeo and po,.,der.
665-669 CN" THE BANKS' ROOF
EER'!' AND SWEEPS
(singing)
Flap like a Cic-:iie, otep tn :1me!
Flap like a Cird.ie, step in ttmei
Never need. a reaoon, never need a rhy:oe
?lap like a Oir<!ie, •te;, in ti,oe! 665-6,
There 1s a trl!'lllendocis ?.OAR fro,n o.o., i<nd the alr is rent by talls
cf fire, clots of spa:-ks "-'Id exploding coloro, iosuing from Adlniral
Eoom's cannon. :Ser: seizes Jane and leap& DOWN the cni"1ney. Mot.'
SWEEl' grabs l'l:ichael and F'Qr.;:.OWS --
SWEEPS
(singing)
Down the c.~!:nney, step !n time!
Down the er.i:nney, step in t1:,e!
670-67<; IN'l'E:!IOR -LIVING ROC-M 67C-67
as :he sweeps come o~rst!r.g OUT cf t~e f!replace and eontinue
dancing gaily arocind :ne room. T><O of them stand on either si~e
of the fir,,place :o catc.~ :,\ary Peppin• as she plops IN th:roug:, a
cloud of soot. Ever:,one, lnelud!ng Che C/1.1.ldren, is dancing.
( CONTINUED) --------- --- - ---
670-67? CONTI~U:S:D
" .• cp en
Hop on = ( •1::ging)
'"' or.e
Never need
ilop on one root, 01:ep in tillle:
foot, otep !n ~ime:
a rea,on, neve::-need
~oot, otep in ti:oe!
ll!Cl'IAEL
W!.;g~e )"OU::" ~ars
''-' (s1r.g1ng)
',liggle 7ou.r ears, step in t1Me I
Wlge;le your earo, step in ti.me\
Never need a reaoon, never need a rhy:ce,
Wiggle 7our ears, step ln tlllle!
Mr•. Brill and Ellen come IN'!'O the ::-com. Cook J.eto out a SCREAM,
as they are grabbed and 0:r-ol.€ht into the dancing circle.
(Sc::-eui:) JIIRS. B.'!ILL
= ( singing) IScream!I Step in tU,e!
Sorea.111! Step tn time!
Never need a reason, never need a rh:,me
(Sc:-ea.'Jl!) Step in tl.mel
6eo IN TEE FRONT HALL
1-tr'o. Banks has Juot come IN. She 1• standing, 1<lth the "VOTES l'OR
WOIIE:M" ribbon ac:,,oso her front, loolting tnto the living "°""'·
l'IRS. 6A/!KS
Ellen - when you have a momee,t?
! forgot my pamphlets.
A couple of che sweeps come up, Cow gallantly, and draw her
INTO tile l!vt:ig roco, and the "-a:ice.
MRS. BAlfXS
Thank you. Bui: really, I don't ~111nl< --
682 IN THE LIVING ROOM
as they <l.ance her ga:l.ly ar<:mnd ~lie room --
= (s~ging)
Votes for womerr, Ste~ 1'1 t1me!
Vote• for WOJ11en, s:ep 1n time:
Ne-,e:, e,eed a :,ea,on, never :,eed a rhyme!
Vo:es for •.-omen, Step !n time: ,a, ' . -,,. :-oa. •-•
1:23 A': THE l'RONT DOCH
It 1a open.
lncredulauo Mr. Sank• !o com.tns IN slcoCy, watci'.ln~, an expre•alon on hi• !'ace.
looka o. •. and aeeo llr, 3anka.
'IRS . BR:c!.L
(cer.-l.!'lea)
r:' • the ,nao:e:-:
= (s1e,ging)
r:•s the rnaste:-, step tn time!
It's the D1aater, ocep in time!
Never need a reaoon, never need a rhy,ne
It•s the :naster, step in time!
685-689 AT THE DOOR 665-60
Mr. Bar.ks, te!ll{lorarlly paraly~ed by tl,e sig.'1.t, finally loosens a bellow or rage.
l'!R. SANKS What's all th.:ts•
= ( Singing)
\lhat•• all this, otep !n tl.me!
What'• all this, ate;, !n t.1.<De!
The oweeps graO Mr. Banks, dance him, atruggllnr, vair,l;r, ar<>und the
room. He wrenches h.imsel!' loose. They dance pa,t hi:o, out the
open front door, pausing only to ohake ha,1ds "1th "-1.m v1gor<>usl:,-
as they GO --
SWEEl'S
Good luck, guv•nor! Good luck!
Good lUClt!
They all dofr i:heir capo going out, •ach revealing the s:ar.C white
forehead atop the smudged raceo.
690 u;:EruoR -sm
ao the dancing o><eepe ;,our out or the Banlta' house, Still dancing,
they go the.1r rOlliclting way down :he a:r-eet AWAY f:,om CAMERA.
Pausing her-e and there :o setze an outraged ?OLICEMAN or a otar:led
P.I.SSERE'{ and "h.1rl then, ar-ound and around. They 00 CUT 01' SC-cl!E,
son,e :urru.ng around tne core,er-, some !n:o the Parlt.
91-695 !NT. THE LIVINQ ROOK
Mr. 5anlta, shattered, d1oheveled, his hands and coat cover-,,d w1:h
soot, 1• standing in the !!U.ddle of the room, l<>olting around. Cook
and nlen ha•,e fle<I.
(CONTINUED) (1st ;iev.
Oh, Pather
in :1me i ,_
:•in oo glad you got home
l!R. BANKS
(da~edly)
What" T1:ne for what• ,-
Every sln,;le one ot those aweepo ohOOK
YOUl' hand i Yo"' re g<>1ng to he the
.~appiest, luokieot person ln the "orld:
Mrs. Banks takes thl• onportun1ty to go OUT -covertly ro0t0v1ng
the "V~..S FOR W01€1f" :-:1.t.bon ao ohe does.
MRS. BANKS
r bell.eve I'll Just go upst"-1:-o and
freshen up.
IIR. BANKS
(calling despairingly
after her)
1"1:u.fl."'l<ti!
MARY POPPINS
Come along, ch.J.ldren i
MR. !IANICS
Just a mo..ent, Popp1nol Poppln•l
What la the meaning of thla outrag~?
l'!I\RY POPPINS
(coolly)
I beg your par<lon?
MR. BANKS
11111 you he good enough to explain all
th.lo?
!fA:cr POPPINS
Ftrot or all, I •hould like to lllake one
point quite clear!
Yea?
l'!Afcr POPPINS
I never explain an)":M.ng!
~-~ But --
l'lARY P<lPPINS
C=e along, ehild=n. Sp!t-apot i
M.~
(CONTIN1JED) Mar-J P~ppi_ns and :he :h1ld:-er. go OU':'. Tele pnone ~:NGS i.o
the :~all. Mr. Eanks goeo to 1: an<O li~Cs the rece1·1e:-.
MIL BANKS
Yes• :aan,:o he:-e •-
(he stiffen• suddenl7)
Yes, yes, i'II'. Daweo. Yes, •1:--! a.m
dread:u1:7 so •• y about wt.at happened
Coday. r can as,ure you --
(he falcers)
:'on1g.'I,;, Si:-•
596 !Ir.'. ?AWES' Ol'!'!CE '
ae the bank. Dawes, JC". 1o on the phone, tall<ing :o Mr, Ban,:s,
llr. Daweo, Sr. 10 at his •ide, prompting him,
MR. DAWES, JR.
(coldly)
We shall expect you precisely at nine
o'clock, Bank,,
IIR. DAWES, SR.
Without ra11:
MR. DAWES, JR.
Without rail!
(pai.oe)
Yea, ,Banks, I'm af:-~1d it's extremely
serious.
MR. DA'-'ES, SR.
We :-egr-et .:tits eouroe of action. After
all, you've been lnth us a good m=:r
years. J\.s """ :,o"r father before you --
Jll'.R, DAWES, JR.
(repeating it)
We regret this couroe of action. After all -
l1ste.ung "1th a sinking Cleare .
• MR. BANKS
Yes, $1r. Sl.r -does thls mean that I -
1<ell, you "ouldn't be needing me anymore!
(pause)
Yeo -yes, 1'!:'. !).,:~es, I'll be there at
nine c'oloclC.
Mr. Eanleo hangs up the phone. Stands ,l_ll.l.etly a "'oment.
698 AT THE LANDING
on the second ~loor. Jane and Ill.cha el are loold.ng down
thrm;gll the banisters at :ne1r father. Jllr. l!anks caines s'.owl:, I:;T~ :he l!v:!.ng roco,, s:!.os :iown .".ea7:!.:7.
l!ert :!.s wrapp1:1.g up hl• pale• and Crist'.es. etr. l!ar.l<s see,is
u,,a,.are or his ?resence.
SCNQ: -JIil!. BANKS
( Singing)
A man has dre"-llls
Of wall<!.ng wlth gta.nts
'::<> carve hls ~icne
!:1 the edl~!ee or tt.,,e
!le~ore ;;he O!Ortar of h:l.o :eal
Has a cha.-ice co ccngeal
~l'.e oup !S dashed ~:,-mo ,1:!.S l:!.p• I
The ~'.ame :!.s snuffed a-bornlng.
:>e • • brought to rac,: a:'ld ru!n in hls prt:n@ !
(spoken)
~e prize 1• snatched froin hls ,;ra,p!
3ERT
( sy:mpathetl cally)
Life'• a rWll go, guv'nor. ':'!!.at•• the
truth
II!!. BANKS
(olowly rising from h:!.s
chair, the light dawning
an h.1m)
You mow what I thlnl<?
Mary Poppins! P::-am the
into thio hcuse, things It's that woman,
moment she steppe!:\
hegan to happen to
so,
Mary Poppins?
II!!. BANKS
Yeo, or coursel
{singing)
JI!)' worll:\ was calin!
Exemplary!
'!'!>.en came thio woman Well orl:\ered!
W1th chaos tn '>er wake!
Anl:\ now, my l!i'e'• ambition• go
With one tell l>low
It's quite a h1oter plll to tal<et
(opoken)
It's th.at ?o~pins woo,an! --
=EI\T 1tl
I l<now ::1e •,e.---1 person you aiean. Mary
Poppino 1s the one that slngs --
(singlng)
A spoonr·~l or sugar
That lo all !: :a><:eS
It cl:anges bread and water
Into tea anl:\ cakes!
(CON'l'INOED) )ffl. :SANKS
Youse,.• That's ex,rntly ..-nae! mean!
Ch11ngi::ig l>read and water in:o tea an~
cake, ~ndeed ! No wor,der eve:-:,thlng' s
coo,1:1.g u..,•t ru..,g arcund hero ! = ( s1.ng1r.g)
A spoon!"\!l of sugar
Goe, a long, lor,g way
'Ave your,elf an •ealchy 'elpin'
E·,ery day!
(spoken)
Ar'. 'ealth:, 'el~in' o: ::,-ouJ:le, if you
ask me!
Mll. :SANKS
(indignantly)
You know ><hat !he did? I
riow! She tricked me into
and "'1chael on an outing!
all the trouble started! -reall~e it
taking Jane
That'• now
Tricked you into :ak:J.ng the child~n on
o.n outing? Outrageou,! A i,an "1:h all
the 1mportlint things yo<l •ave to do?
Shameful!
(a1ng1ng)
You're a man or '1g.'1 position
Esteemed by your peers
And when your 11:tle tyke•
Az'e cryin'
You •aven't time to dry their tears
And see the111 gratef\il little race,
Smilin' u;, at you
Because their dad, '" alway• knows
Just wot to do.
(aa !tr-, Banko start, to
protest, Bert otops him)
I know, lluv' nor -
You've got ~o gri.nd, grtnd, grind
At that grindstone
'!'hough thild'ood alips
U.lte aand tnroug.', a a1eve
An<i a.J.l too aeon, :hey•ve up and groom
And then they've flown
And it's toe late tor you to give -
Juot ~hat opoon!"\11 er sugar
To 'elp the medicine go dOWI\
The medio!ne ;,e ~own-com
Med.icine go down
Juat a spoonful or augar
'Elpo the cned.ioine ge doom
In a !!IOat de_llghtful way\
(CONTINUED) ?:-od. 2162
>99-71G CCNTINUED -2
:3ERT (oon~'d)
( opoken)
That's like all 1:hat other arg:;,-
ba:-gy l'!ary Popptns !Salway• :al,cin'
about --. ' . ...
:3<!rt ha• gatharad '-'P h.13 t.hings and gee, ;o the hall. :ie tur,,a -,_
Well, good day, !1r. Sorry to 'ave
tr-<>ul>led you.
He goeo Otl'l'.
711 JIIR, BANKS
Moved Cy Bert'• oor.g, Mr. Banks s:l.ts quiet.ly :!.n hl.a oha!r.
After a moment, he looks up and off to --
71~ JANI!: AND MICl!AEI.
standing ln the doorway of the hall.
713 MR • BAHXS
MR. BANKS
Yeo?
Jane and l'll.ohael come slowly INTO the room, ,-lle'ra oorry about the tuppence ...
MR. :SANKS
Yeo? ,-
..... didn't )<now it. would cause you so
muon trouble, ~It's all right,
715 ON T!!E ST AL"'l.S ,_
How oc:mld you know,
Jl!ary Poppins listening quietly. 711
712
,,,
714
,,, 7:6 IN THE F:I.ONT :I.QOM
:ane take• he:-~a:he:-' s hand and placeo ,-
You can have the tuppence,
M!'. 3anko s:ar-eo do,m •• ,
Tl T CLOSE
on the tuppen:e 1n :'1.ls hand.
718 !S T!S ROOM ,-
"ill that make everythlctg all r!ght?
Ml!. E!ANKS
Yea, Thank you. Oood n!ght,
The c!u.ldren go OUT. M:-. Banks looks at the tuppence
:-est!ng in tl>e palm of 1>1• hand. , . .. .
-· -' _,
OISSot·n
719 A STREET Q'tSRIOR -NIGHT ''' A lonely, darkened street in the City. Mr. :S...nk! ls Dlalc1ng
his way to the :S...nk,
720 ANOTHER Sl'l\D'l' EXTERIOR -NIGHT ,,o
appr-oaohing the Bank, The area is deaer1:ed. He •lowly walk• the s:epo,
721 AT Tl!E DOOR
A gri.!o-faced custodian admits h!m to the interior of the
establi!hment.
722 THE DOOR
or the Eoard RoOlll.
to pluc1< up heart,
723 !l!R. BANKS' VI.:.W M:-. E!anko pauses at the door a mQment
opena the door and goea :n;, '''
'''
72:l
or M:-. :iawes, Sr-. and the E<:lard or D:1:-ectors seated at a
maaaive table :l.n the meeting room, One by one, the heads
at tha table turn toward him, ohafto or light glinting orr
their glasses and p1nce-ne%, piercing the dark Edwar<lian fµoom
or :hs room. The races ar-e stern and 1n,;:raotable. ----Prod. 2162
(los: :l.ev.
walk! slowly, bravely, toward the io,plaeable face,. He
o:ancts he fore tl,e,n. :ry!ng to gather h1s composure,
l!R. SANKS O<,od ev:en!ng, gentlemen.
T!l.ert' is Silence for a moment. Mr. Dawes, Sr. pokes his son >1l.th tMe cane.
MR. DAWES, SR.
(lQ on! Oet on >11th it!
Yeo, father, MR. DAWES, JR.
(addre,eing Mr. Ea.nks)
!n the year 1773, an official of this
bank unw:tsaly loaned o. large swo of
money to finance a shlpm,,nt or tea to
the Alnerican Colonie!. Do you i<n<>w
what happened?
MR. EMKS
Yes, sir.· I believe I do, sir. As
the ohip lay ln Booton Harbor, a nwoher
ot colontot,, dre,oed a• Red Indtan,,
hoarded the veoael, behaved ln a dis
courteous manner, and threw all the tea
overboard. Thi• made tile tea unsUltable
for drinking, even by J\lnericana.
MR. DAll'es, JR.
Prect,ely[ Tile loan was defaulted,
panic enaued witllln tlleoe >1alls -and
there was a run on tile bank --
JIii!. DA\IES, SR.
l"rO& tllat time to now, oir -ther,, llaa
never been a run on tlu.a hank -until
this morning! A run caused by tlle
i:lisgraceful conduct ct your son! Do you deny it? 133
6/26/63)
72"--72
Mr. Ban',ca squo.re• hi• sllouldera aga.tnot the t1.L.'7 or Mr. Dawes, Sr .. ~-= I do not, ,tr. I allall Oe glad to
assume the reoponsthillty for my son. •
Mr. Daweo, Sr. OQUinto at llim, momentarily surprised at tlu.o
gl!.nt of courag" -tl!en poi<@! Dawes, Jr. with Ilia eane.
( CONTINUED) Prod. 2162 .. ·,
( 1st Re7. 6/26;6j°)
DA,IES, SR.
Well • what are you waiting for?
G<> on! 724-7
Mr. Dawe•, J:-., hie race grim and ex;,reso1on.less, come• a:-ound
to Mr. aank.5 and collfroato him. Amid a deathly silence. he
takes the roae from Mr. Banks' lapel and ohredo it, the petals
dropping to the ~loor, lie takes the tightly furled "'°brella
f:-om Mr. Eanks' hand. uncoeo the ~11~, and begins to shake it ou~.
728 MR, )!OUS!...,.7" AND i'l!l. QRUEES
at the table. Mr. )!ouole:;r flinches.
MR. !'!OUSLEY
(hoaroely) II<): Not that:
MR. GFIUBBS
{,;rtpping his arm)
Steady on:
729 MR. B"-NKS AND MR. DAWS, JR.
1'1r-. Da.,eo, Jr. take• the umbrella and w:tth a aw:1rt, cold
movement of the handle, pulls it inside out, the ribs g01!1J!
awry in every direction. He hands the umbrella back to
llr. Banks, takes the bowler from h1• hand.
730 MR. TC!o!ES
at the table, averting hl• eyea.
731 MR. DAWES, JR. ,,,
,,,
,,o
,,,
holds the bowler at arm's length, and with "'10ther swift movement,
punches a hole through it. He hand a the battered headpiece 'oack
to Mr. Banks. Dawes, Jr. turns "'1d :-esumes his place at the table,
732 !ffl. DAWES, SR.
)Ill.. DAWES, Sll.
Have you any~htng to say, Banks?
733 MR. :9ANKS
Well, sir.
to azy, all MR. B.o.NKS
\/hen there's nothing
you can aay 1s --,,,
'''
Standj.ng. Sha.l<en bctt unbowed, he has found aometh1ng 1n hia
pocket. SUrpr1aed, he looks down to Jane and l'llchael's tuppence,
restino; 1.n the palm of r.J.s hand.
73h. Wl'llf!ED 734 r
-,'rod. 2lE2
l!R. DAWES, SR,
Confou.'ld it, 3anl<s, I said, do )'OU have anyth1n" to oay? ''i (lat Rev. 6/26/6§
----' ~;-1•
'Ir, 3anlcs beg1na to sn1cl<er, The melllller• of the Boaril., ai;!,aa~, loo!< a: each other 1n wonder.
)!!I. BANKS
J11at one wo:'d, •ir.
Yes? )!!I. OA'<IES, SR,
~-= Supereal1frag111st1oexp1al1doc1oue.
'<lhat? 1!R, DA.WES, SR.
MR. BANlell
Supercal1frag1list1cexptal1doc1oua! (chortling)
Jl!ary Poppins 1<ao n~t! Extrao:'dinary!
It ~ make you feel better!
!!R, DA'<IES, SR,
What a= you talking about, ;can? T!iere'• no such WOr<ll
' l!R, l!ANK.S
(roaru,g with laughter)
No • no, Mr. Dawea! It is a word! A
perfectly good wOr<l! Actually, you l<r,.ow
what the=•• no such thing ••? lfith all
due =•pect, oir - it turns out, there's
no such thing "" You!
MR. DAI/ES, SR. llopertlnence, sir! ~-= (leaning 1n cont1deil.ttally)
Speakin._ or :)..mp"rt1nence, sir, would you
lll<e to hear a marvelous Joke? A real sna-pp.,r?
JIIR, DAWS, SR. (bl!IIlkl.y)
Jake? Snapper?
JIIR. BANKS
\fell, sir -thaae two perfectly marvelous
young people n8111e<I Jane and Mlchael -t
one another on the street. Jane sa:;s to
M1ohael: 'I !<now a man with a >r<>oden leg
named Smith.' A.n<l M!.Chael say,, 'Really?
What's the name or h1• ·other leg?'
(he laugha upro,.r1ousl;,) P::-ad. 2162
(1st Rev. ''6 6/~6;6§)
MR. DAWES! s,. ( as1ae to !us son
Re 's !!"One lll.ad I Call the ,:ua::-d I
(pauses aa ha sees ~
Banks aomng t°"ard b.J.m)
Banks! Stop! Don't aco,e near me!
MR. :9ANKS
Supercal1fra~il1 sti :e.s;p1al1doo1ous !
I'm 1'eeltrui, better all the time!
JIIR. DA\iES, JR. (trying to tbr<>w hJ..•
body aeroao his ratn&r)
Don't you dare strike ll1Y father, Banks!
.~r. Eanks ,e1zes Mr. Dawes, Sr.'s l>and, opens tile clutching
fingers, and. thrusto the tuppence into hJ..s l>and.
~-~ There's the tuppence, Mr. Dawea! The
=nder:rul, rate:ru1, aupereal1trag1l1st10.
e,:pialidoc1ous tuppence! OUard it welll Goodbye!
Where 1'IR. DAWES, SR. are you going•
MR. BANKS
(another lau,i;hJ.ng se1=)
I don't !<now! I m1ght pop tbr<>ush a cnalk
pavement picture. I might seize a hors• err
a ""'rr:11"·!,0•round and wi.n the Derb:,l I might
.Just go fl,r a Id.tel Onl.v Mary Poppins would !<now.
Poppins? JIIR. DAWES, SR.
Mr. >lank., cocks the battered bowler on tus head, twtrls the
des@crated wnbr,.lla Jauntily, an<i heads for the door.
MR. BANKS
Yes. our Nann:,l or COIU"•el Sh"'s tile
one wl!o s:i.ru.,s that ridiculous song •-( aingl.ng)
Just a spoonful or sugar
l!elp, the med.icille go down
1'!edic1ne .o:o down-own
M!tdicine go down -
He <c<>ea OUT. Tl>"Y stare after !um.
MR. DAWES, JR. (to ~ualey)
a Mare!! hare!
(turns to !us rather)
--? llad as
Fatl>er 73.,-7 ,, -· ..
JolR. DA'BS, SR,
( f:-ownlng)
;. nood!'1 leg named Sm:1th1
on tl",e tu;;pence !:, h!s gna:-led hand.
J, LAilC~ ~..N(1:,E
~eaturing i'II'. Dawes, Sr, wi:h n1s son and
eppr,,hens1·,ely allout him. Mr. Jawe,, Sr.
l:egins to ceckle 1n e high, re~dy vo1ce. the others
sn1cke:,s -',overing
then
Jll!t. DAWES, J'R.
Father? Fatl:"r -wnat 1$ 1t?
1'111. DAWES, Sil.
(gasping witl"l mirth)
A wood --wooden leg nruoed Smith!
(and he &ur~ 1n;;o-d:-y, -
heaving peals or laughter)
'nd as .~e laughs, 1'tr, Dawes, Sr. l:>egins :o 'FLOAT UP\,'AP.IJS.
They tr"/ to seize and ho).d him in ht, oha1:-.
MR. DAW"'..S, J'R,
:l'ather! Stop tt ! Come down:
Mr. Dowes, Sr. bul>bles with uncontrollable leughter and ~lm<l7
wafts upwards. The paI"tner, try to Cring h:!.m :IO,m. CAMERA
SLOWLY MOVES EACII:.
DISSOLn
749 EXT. -D.'Y ,.,
'!'he next morning. Cl.OSZ on th" weather vane ato9 Ad.!niral Boom'•
l\ouae. Toe 1"1nd., wM.ch )lao been blow!ns stead.J.l)' from :he E~ST,
falte?'s. The vane bobbles almle•sl)' for a D10ment, then turns,
and otead.iea, ao a fre•h breez~ C0"1e! 1.."I from the w:E:S'!' --
750 CLOSE
~n ."C.:o.l.-al Boom, squinting UP at it.
Alll'IIRAL :3001'1
llind.'s come around, lad.: Blowing
dead-on f.-om the weot I
751 rJ;T. MARY PO:P~INS' i!.OOM ,,,
Jane and lliohael forlornl)' wa~cl\ Mary Pop;,1ns pack her t~lngs.
( CCN1'INU,D) ----------
753
75'
,55
75,
_, ':cod. 2l62 .,,
( l•t Re•,. E/S/63 ;·
Jl!IC}!AEL
(bitterly)
She doean't care ;,hat hacppens to ua!
~os::: 011 JANE ANll MICBAZL ,,~
sr.e only pro-"lised
the wind changed.
Mary Poppins? to stay until
Isn't that oo,
a!DER ANGLE -MAAY POPPIIIS AND THE CHILDREN
She conttnueo putting her persanal effects into the
ca~etbag without lOold.ng at the children.
MARY POPPINS
Will you bM.ng me ""!I llat atand, please --
CLOSE ON JANE AND MICHAE.t
aa they pick up tile II.at atand.
~ra=
Jllary Popp!na, don't you love ua?
CLOSE 011 MARY POPPINS
She pauaea tor a IIIOJllent, looking at the unhappy ch1ldren,
There ta a fleeting 1110.,.,nt of tenderness 1n which ,.., see
ll<>w much ahe doe a love Jane and Michael, Then J.t 15 g::,ne.
KARY POPPDIS
l'!"Y I ask, what would happen to me
if I loved a.11 the children that
were taken fl'<>m me?
WIDE ANGLE -MARY POPPINS ANil CIIILDREII'
She puta the hatstand 1nt<> her carpetbag. Aa She pushes
it d<>wn, it pushes !!E. a hal.rbrush, WIUOh she catches,
INT, FRONT !!ALLWAY
Constable Jones is at the telephone, speaking and
occasionally referring to IUe notebook,
POLlC:E CONSTABLE JONES
That's ,-1ght, sir. Georg11 w, J'.anka,
Hur,,ber 17, Cherry Tree Lane. I ot,ould
say about six feet one, air --752
753
75'
755
756
757 ,,,
,,, Prod. 2162
(lat Rev. 13~ 6/;/6;)
ANGLE ",1J:DEN5 a.a CA!'!E:;!A l'ULLS BACK to 1nclud• Mr!. 1!a.n1t:9,
extremely dl.stra.ught, a.a at>e crease• to wt>ere :S:llen and
Mr•. :qrtll a.r• Standing.
POLICE CONSTABLE JONES
Yas, !11'. We l'mg up '1• llanlc f11'St tiling
tlua 1110rn1ng. Only tiling we ctiseovel'ed,
at::-, 'e 'ad :>een disct>u-ged :a.st night.
CAMERA 'ffll! !'!:rs. P-a.-,ks, a.a st>e jotns Ellen and Ml'•. artll,
'ooth of whom a:-e wringing tt>e!l' t>ands and ""'-king sound1 ct <Uatl'e!S.
POLICE CONSTABLE JONES
( 0 ••• )
No tallin' wot 'e .might •av• ctone tn a
fit ct despondency.
EIJE!l
(darkly)
wouldn't 'ul't to •ave tt>am dr•g tt>e
river. There'• a nice bit theN by
Soutt>wark B:r1<1p that'• popular "1th
J~ersl
:S:llen aubatd•• aa Mrs. Brill, wtth a warning 11:lanca at
!tr-a. Banks, ~aba Ellen •harply :t.n tha rib•.
Ellen, MRS. BANJ.S
(ahoakitd; tUn11)
plaaa•!
ctOS:E ON COIIS'l'ABI,E JON&9
CONSTAB.LB JON:Ell
(1ttll en phon•l
'Z 1,.,,.. to •av• ba•n I rtn•, 1t1bla
gm,.tl1111an, ,tr. llo t>anle:y-panlq, it
you lcno,,, what I uan, air.
l'1'0ln th• ctinotton ot th• c,llar, c.a. 00111ea th• SOOIID or
Jllr. Sank1 atn;ing luat1ly 1n a r1uooua, op•rattc t11h10n • ... """' ( Sins!na: o. I . )
i'<lr • apoOllf"-l er sugar •
!'a! La! La! La! La! La!
COHSTAm.1 JOIIES (en phcna)
Regular hal>tta aa rar aa anyone knows •• ,,,
'" ,,, '"' (l,t :lev. 6/5/63)
: .c.~ . CLOSE
,"!:'s. Banks, Ellen and M:-s. l'!r!ll all lcclc toward o. •.
cellar with startled exi:reaa1ona.
/.IR • S ii .lfltS
(•ing!.ng o.s,)
Fol-fol-la! La! La: Lal
Fa-la La, la, la! La, la:
CLOSE CN POLICE COHSTABtE JONES
COHSTI.BLE JON""~
(to Mro. l\~nlca)
Mrs. l',anlcs, cculd we have a little
lesa noise on the premtsea? I
can't malce out what the inspector
is saying.
THE CELLAR OOOR
There 1s the aound of FOOTS'l'EPS on the st&J.rs, and
Mr. l\anks' o.a. atnging. The cellar doot' ts slightly •Jar.
•= (singing o,s.)
La! La! F•l•la-la!
MED. CLOSE THflEE SHOT
Mrs. llanka nacts happily to the o.s. sounds.
• MRS, BRILL
(hapPily)
It•e '1m.
= (terrified)
•=eth1ng that sounda
Jl!EJ. CLOSE - CELLAR DOOR 11ka 'im!
ltl-. Banka APPEARS in the doo,,,.ay. ll"ot 1a a...,_dgotd, rumpled
and d~ohev&led. Ke 1• still wearing the bowler with the
broken, rtapptng crown. ,11th one hand, he 1a conceal1ns
ao,oething beh!nd h1a back.
JIii!. BANKS
(•1ngtng)
La La-fol, la, la, la, la: 7,CC, ' --
,,o
,,,
,,, Prod. 2l62 141
( 1st Rev. 6/5/6,
76"-ME!l. C:.OSE 76"-
:-tr9. Banks, Ellen an<! Coolt r10act "#1th su:-;,r1se at hi• app10aro.nce.
1'1RS. BANKS
(leorge !
She rushes to :>1:n, throwing Mer arms around ~1• neck. He
still r.olds tne oryster:!.ous ob;ec: bel,1:,d h:l.5 "oack. They ~••.
MRS. B~.N"<CS
(~mot!onally)
Ch, (l;orge -you didn't J""'-P into
tl":e ;:,t,er: Ho>< very sensible!
76:, CI.CSE C)I COIISTAEI.E JOI/ES
COIIS'!'ABL,: JOI/ES
(on the phone)
It'• all rtght, air. '£'• Jw,t been
found. No, alive, sir. Cr so I
presume. •:,;•, ldostng l'!ro. Bank:!.
-; 66 CLOSE -MR.. llND MRS. BANKS
1'!RS. BJl.)IKS
=rse, I've been so worried. k"hat
happened at the Bank!
767 llIDER ANGLE
Mr. Banks has put
the cellar door.
around merrtl7. the ol>Jact he has been holding down ruisr
He picks up hi• w:tfe and Whirls her
MR. BAN!\'.S
{breaking into
sQng again)
Lai La: La! --I've
my dear! Diocharged!
the street! Pa! La!
768 C<,CSE Cl/ EU.EN AND l(I\S. !!RILL
OIEN
(whis]ler:in~ to
Mrs. l!;-111) been oacke<!, _
Flung into
Lal Ls!
Oone 'round the bend, that•• ,mt
'e's done! Dotty a, 7ou please! 766
767
768 _, MR . I.ND MR5 . EANK.3
MRS. BANKS
George -what on ear,:h have you
been cloing 1n tile cellar?
)!R. BANKS
J~st a :nomen:, my :!ear. •bere
are cha C'11L::lren°
(looks o.s. to
nurse=-:,; call~)
"·ane'. M!ohael!
(t=n• ;;oes bacl<;
to cellar door)
;-o INT. MARY POPPINS' ROOM ,., .. . ,--... v.
Macy Poppir.s 1• f1n~sh!ng he:,, packing. '!."he Ch!ldren turn
ar,d look off t<> the SOUND or P-1--. Banks' calll .. ..-ig.
i'IR. BANKS (o.s.)
~! lliohael!
MlCl!J\.EL
\/ho's that?
MARY POPPINS
Your rat lier'• calling you!
MICHAEL
It doesn't oound 11k• Father
MR. BllNKS (o.s.)
Jane: l'll.cl\ael l -It ls l'atner ! -
Sr.e eurns a..,d runs CUT. M1chael atands hasit=tly a moment,
loold.ng up at Kary Poppins.
"'"""' You =n•t .:o~
l'IAAY POPPINS
( f1.o.1sh1ng h•r
pack:l.ng)
Run along, Michael! Spit-opot!
771 •IDER AN"GLE -STAIRCASE
Jane and Michael race down the stairs. The:; ~top on :he
lanc!tng to look down at s:heir ratner. '"' S/•/6"" . '
76g -·
,,,
TT> (l!t Rev,
of )!r. and :-1::"s. E.a:,ks lee;;~:,,; up towa?'d the ~andin!,. M?'.
E.a:,'.~s !S r.o;_d!~•!! :he obJect Cehlnd. hlo 00.0k. !le brl.ngo lt
fo:""'ard, •'-~wly. It 1a tne chlldren•• lc!.:e -or,ce battered
a:,d ·:rcken, :,ow restored to 1:s fcr,ner glory.
l-1:C!!.'.EL
( :mbe ~! ev!ng /
rte :oended. !t !
?tr. and l!r!. Bank• watoh ao the oh!ldren come boundin!,
d.owr. the otairo to><ard. them.
CLOSE ON J.>.NE ~.ND l!!Cl!AEL
l'..l.ohael take• the l<!te and inopecta it. Jane 1001<0 up
at her ~ather. ,,~
It's wonderful! now did you manage it?
r..PER ANOU -OROUP SHOT
l'EAT'JR!NG Jllr. Bank•, aa he begin• to aing.
)!R • a Jl/lltS
( s!ng:l.ng)
·,;1th tuppence for pape.-and ot.-ing•
You can have your mm set or wing• -
C:.OSE ON JANE AND lllC!'_l\EI.
"atcn!ng happily.·
llll. llAJIKS
( singing c. •.)
Wlth your feet on the g?"Ound
You' re a btrcl 1n flight --
cr,03:;:: ON .~. BANKS
l'II!.. BA!lKS
( s:n~ng)
With your f1ot holding tight c
To tne strtn.o; of your lute --7(~
"'
m
rrs TT8
780
,a,
,,,
,,, Prod. 2162 140.
'.lst !!ev. 6/;/6:3)
CLOSE ON JANE AND MJ:CHAn. ,_
(Jumping up and
down, excitedly)
Oh ;,lease, may we fl:r it?
Plea,e?
MED. ctCSE -GROlll' SHOT
)Ir. Bank• takes the cni:dren >;,y th" hand, ao llrs. Banl<s
1001<, on witl1 pleasure.
l!R. BANKS
(,!nging)
Let•• go fly the 1<1te
Up to the hJ.gnest height
"1IDER ANGLE
Mr. Banks lead• the ohJ.ldren towar<l the front door.
lira. Banks turns, goea to the hall elo,et.
MR. BANKS
(singing)
Let's go fly a 1<1te
And send it ooaring --
Up! T!:,roug.~ the atmosphere!
Up! Where the air 1• clear:
(the:r turn to
look at )Ir•. Banka)
Oh -let's go
Fly a 1<1te:
MED. CLOSE -MRS. B.I.NKS
who ha• taken, out her "VOl'ES POR \/OMEN" banner. She turn•
to the group
l!RS. BANlG
A Pr<>P<tr 1<1te needs a proper tat!,
don't you thJ.nlc?
Mr. Banks and the children bring the ld.te to her, and ohe
ra,ten• the banner onto tne kite.
CLOSE ON CONSTABLE JO!r,,,S
CONSTABLE JONES
(still on phone)
'!'l:lat'• wot I said, sir. (lo tly a 1<1te.
NO, sir, I don't mean you, personally. TT9
780
781
,,, ,s,
,es
88-A
_, (l!t Rev. = . :9ANKS ' !WGSE
as ~. and Mrs. 3ar.k:, and the Cll!ldren come ou~ of the house, = ( •1ng1'1g)
Let'$ go ~ly a l<lte
Up ~o the hl.,;;hest height
:::er. WINDOW MAR:! POPPINS' !'.Ctlll
l'la:"J Po~pins, "earing her hat and coat, :ooks :iol<'t1 at the depar~1ng group.
= (singing o.s.)
Let's go fly a kite
And send it soaring -
!£El\ VIEW DOWN SHOT
of Mr. and Mrs. Banks holding the children'• hands •• they walk down Cherry TM!e Lane.
= (singing)
Up I Through the atmosphera -
Up! \lhe:-e the air is clear:
CLOSE ON MARY POPP!/fS
as ahe watches them with aatiafaction.
= (•inging o.s.)
Oh - let's go!
Ply a l<lte!
E;XT. STRn'l'
near the Park gates.
aelling ltites. l'!e ts aart is at hi• usual spot,
ou:rrounded b:; a small group. -(s1.ng1ng)
As :;ou watch it fl:;ing up there
;Ul at once :;ou'?"e lighter than air -
CLOSE ON BERT -(singing)
Yau can dance on the breeze
Over •ouses and s:rees
With your fist 'oli11ng ti,;;ht
To the string of your kite! '~. , ,
6/5/63)
'"
,e,
,ss
788-A --, '.
791
793 ?:-od.. 2162
(1st Rev. l-6 6/5/63)
)UC'lUEL .uro JANE -E:XT, P~..P.X
near gate!I. ltlchael !a holdtng the ball o:r tw1ne,
~ett1ng out the atr1ng. In b.g. o,e can aee !laveral
kite flyers, colorfullv dott1ng the area.
~"'"' ( calling to h1•
father)
MR. BANKS am! is
other
as he holds the l<ioe 1n the alr, and prepare• to launch 1t. = (s:1.nglng o.s.)
Let's go fly a kite
as they excitedly tug on the atrlng as the klte goeo Up. = (singing o.a.)
Up to the h1ghest height!
E:XT . PARK AREIL -'JI!)E ANGLE
Tlle sky
k1tes.
upward, above the Parlt is dotted "1th oolorfUJ., soaring
In f.g. Jane !Ind i'liohael's l<lte beg1ns to drift
jointng the others,
= (aing1ng o.a.)
Let'• go fly a l<ite
~.nd send 1 t soar1ng -
MEil. CLOSE MR. AND MRS. EANXS
Mrs. Bania loolts at her husband proudly, ae he watches
Jane ond i'lichael o.$,
"" "" '' -= (singing o.a.)
Through tile atmoaphera !
llhere the a.1r 1a clear!
let's go fly a kite!
Mr. Bank:O puto tits arm around tits wife. They both 1001< OFF', as they he,u, -
MR. DAWES, JR. (o.s.)
"-h, tllere you are Banlta! ":'l30 ' .
'''
,,,
''' ''"
,,,
,,,
'''
,,,
,,,
&n -------
Prod. 2l62
(lot l\ev. l~7
6/5/63)
THEIR VllW
of the bankl.ng p&rtners, Daweo, Jr., Tomes, l!ousley and
Grubbs -Who are all :!.n holiday 11100d, happily all Clingtng
to !d.te strings, l'!r'. Dawes, Sr, 1• not.present.
IIR. :!AWES, JR,
Want to cong,-atulate you! Capital
1:>it of l!u,oor - that. A wooden leg
nued Sioith or Jones --.,hatever it
wao. Father died laughing!
CLOSE ON HR. I.ND !'!RS , BANKS
reacting sadly,
HR. BANKS
He --I"m ao so:-r:,-:
CLOSE ON DAWES, JR.
DAWES, JR.
Nonoenae: Nothing to be aorcy
about: Never aaw Father so 1-.i.PPJ"
in his life: Lert us with an.
ope~g for a new partner!
Congrattuationa, again:
CLOSE ON MR, AND MRS • BAJIICS
Mrs. Banks !d.soes her l>t:<aband on the ohee1<.
HR. BAl'!X!3
Oh -thank :rou, air!
E::cTERIOI\ -BA!ttl!' HOUSE
.._,. Mary Poppina eo,oes OUT or the house and looks off to •
THE !'Jilli: -!!ER P.o.v.
or the area 1n tr<:>nt or the Park gates. She see• the
eclcrt'ul. area ct ld.te tlyere,
CLOSE ON n!£ BIINXS' !'AMILY
1n a hap:P:J group.
MED. CLOSE -MARY POPPIN:l
and the parrot-head umb~lla.
PARROT-HEAD
That's gratitude for you. Dt<1n't
even say goodbye !
( CON'I·INOE!l) ,,,
'"
'"
,,,
,,,
.,,
.,, ' . ,,~~ :'<><... ~-~'
i:Ol CONTINUED
MARY PCPP!NS
(coolly)
Oui:e true.-
PM..'!.OT-l!EA!l
Look at then,. ':'hey think more of
the!r tether than they do of you:
80!-A CLOSER - l'W!Y POPPIYS
ar.d the patTot-head.
!'!ARY POPPINS
That'• a• 1t should be, don't you
th1nk"
PARROT-HEAD
Don't you S:..!£.!_?
801 -B CI.OSE ON MARY POPPINS
MAl!Y POPPINS
Practically pe:-fect people never
permit ,ent:Lment to muddle their
thlnld.ng --
801-c CLOSE ON PARROT-HE:,qJ
PARROT-HEAD
ao, Is that so? -- You don't fool me
abit--l
CLOSE ON 1UllY POPPINS
J1!AR1 POPPINS
Really?
802-A WillEll ANIJLE
PARROT-l!EAil
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children mean to YO'-', and if )'"QU
th1nk I'm going tc, keep •till any
1on;ier --Glurggh! •
Jllary Poppins ha• reached out and l'ulled the drawstrtn.e;
around the parrot-head's neck taut, effectively cutting
off his speech.
1W!Y POPPINS
That w:tll 'oe quite enough of that,
thank you! 8ol-8
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she does a gust of "ind come• in and loft• her into the atr.
She rtses graoet'"-11:;r from the doorotep, and drifts
upward toward the Park a,:,ea.
ctOSE SHOT -ANMn1
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at ht• plaoe nesr t1'.e Park gateo. He looks up to see -
HIS VL::.-W 807 -or l!ary Peppin,, Clinging to her wm1,=lla, rising among
the colorfUJ. array of kites 1n th" sk.y.
808 CLOSE Off m:RT 808 - ,..ii (aoftl:;r)
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~-!::'at, AWAY fr<:>.m CAME!!A.
-.::;.. -. au~..,,-,~ I.OHO SHor ;;,_ ·. :.r.o1~
\
\ of Xs.cy Poppins, outlined in the rays of :he morning sun.
U she war.:a paat St. ?aul'• Cathedral, a cloud of birda
RISE to provide her escoI"c th.-ougi,. the London sky.
Ao end title oomes OV£R ocene -
P"-DE OOT .,,
,,,
,,, | screenplays |
How to determine whether a wave is travelling or standing?
How to determine whether a wave is travelling or standing?
I have been told that wave function of the form $f(k\_1x \pm k\_2t)$ is a travelling wave.
But then even a standing wave equation $2A \cos \omega t \sin kx$ can be written as superposition of two waves
$$A\sin\frac{kx-\omega t}{2} + A\sin\frac{kx+\omega t}{2}$$
This is of the form $f(k\_1x \pm k\_2t)$ but still not a travelling wave.
In particular is $y=\cos x \sin t \ + \cos 2x \sin 2t$ a travelling wave?
The "rule" you have given is a little simplistic. To use it you have to be able to write the wave solely as a function of $(kx-\omega t)$ or of $(kx + \omega t)$. That is because the thing in the brackets, the phase of the wave, has to be kept constant to apply a meaning to a direction of travel.
e.g. take $f(kx-\omega t)$. If $t$ increases, then you can only keep the phase constant by increasing $x$. So this wave travel towards positive $x$ as $t$ increases. Try experimenting with [this simulation](https://www.geogebra.org/m/fAqWVCUP).
A standing wave cannot be written solely as $f(kx-\omega t)$ or $f(kx+\omega t)$, so is not a wave travelling in a single direction. It is the superposition of two waves of equal frequency and amplitude travelling in opposite directions.
In general, waves can always be written as the superposition of multiple waves travelling in different directions.
Your final example can be decomposed into 4 travelling waves of the same speed, but different wavelengths, 2 travelling towards positive $x$ and two towards negative $x$.
$$ y = \frac{1}{2}(\sin [x-t] + \sin[x+t] +\sin[2x-2t] + \sin[2x+2t])$$
What you have done is decomposed a standing wave into two travelling waves of equal amplitude, speed and frequency which are travelling in opposite directions.
Your equation $y=\cos x \sin x \ + \cos 2x \sin 2x$ has no time dependence and so can only represent a wave profile at some instant of time.
It is like a photograph of a wave.
What you need to look for are two terms multiplied together.
One term which depends on the position from the source eg $\sin kx$, and the other term which depends on time eg cos $\omega t$ where $\frac \omega k = c$ the speed of the wave.
This will result in the wave profile not moving along.
So when you photograph the wave the maximum displacement will always be at the same position as will the minimum displacement.
An example is $y(x,t) = A \sin(kx) \cos (\omega t) $
Here are your two travelling waves superposing to form a standing wave.
[](https://i.stack.imgur.com/d9ohv.gif)
A wave is a function like $f(x,t)=A(x+vt) + B(x-vt)$. Standing waves are waves in suitable superposition. You can see if a wave is a stadading wave or not by locating points of the wave that is fixed all the time. Sometimes this points are at boundary, in Newman boundary conditions you have such a point but they are not in the boundary. Your example is a wave if you make $x\rightarrow x\pm vt$. You could think that $y$ is a wave *produced* by a sum of $A$ and $B$, but this is not the case. There is no $A$ and $B$ that builds this function $y$. There is a trick to see that, you verify if this function obey the *wave equation*:
$$
\frac{\partial^2 y}{\partial t^2}=v^2\frac{\partial^2 y}{\partial x^2}
$$
If the function don't obey the wave equation, this means that is not a wave.
Because $y$ has not $t$-dependence this means that $\partial^2\_x y=0$, and this is not the case. Actually, the only standing wave that don't dependt on time is $y=a+bx$. Usually stading waves depends on time. A example:
$$
y(x,t)=\frac{\cos(k(x+vt))+\cos(k(x-vt))}{2}=\cos(kx)\cos(\omega t)
$$
Every time that you can separate the $x$ and $t$ such that at final you have $f(x)g(t)$, you have a standing wave. Note that $f(x)g(t)+h(x)s(t)$ is not a stading wave in general.
I like to describe a travelling wave as a scalar field, a periodic function of space and time, so that it is possible to define a moving frame in which the field is static.
For example: $f(x,t) = A\sin(k(x - vt))$
The argument of the function is constant for a frame moving to the left with a velocity $v$, because for it:$\; x' = x - vt$.
I think that it corresponds to our intuition of a travelling wave. It is possible to add several waves like that, resulting in complex fields.
Stationary waves are one of that possibilities, resulting from identical static fields (except for a phase) for frames moving to the left and to the right with the same velocity as:
$g(x,t) = A\sin(k(x - vt)) + A\cos(k(x + vt))$
The concept is limited to non relativistic cases, due to the transformation: $x' = x - vt$
| stackexchange/physics |
immunoassays allow for sensitive and specific detection of various target structures in complex biological samples .
since their introduction in early 1960s ( ria ) or 1970s ( elisa ) , immunochemical methods have become an indispensable analytical tool in wide range of applications including clinical diagnostics .
annual sales for immunoassay reagents and supplies are $ 7 billions worldwide . although the first steps towards immunoassay miniaturization were done already in the 1960s , it was only recently that technology ( e.g. microfluidics ) and informatics enabled a real high - throughput immunoanalysis . in 1989 , ekins described microarray technology principles in the ambient analyte theory and envisaged the immense potential for research and laboratory diagnostics .
today , the increasing awareness of the multifactorial nature of various diseases and pathological states ( e.g. cancer , sepsis ) really calls for simultaneous , time - saving and cost - effective measurement of multiple analytes .
this multi - marker strategy could be then translated into more robust diagnostic algorithms , better - fitting prognostic models and more effective population screening . of note , multiplex immunoanalysis
is perfectly suited for diagnostics of immune system disorders ( autoimmune diseases , allergies ) .
widely used in basic research , the multiplex methodologies are slowly penetrating the in vitro diagnostics market and the time of their significant implementation is probably about to come .
planar microarrays ( protein chips ) and bead - based microarrays ( suspension arrays ) .
these approaches vary greatly in many aspects , but primarily in the way of the individual analyte identification ( position vs. bead characteristics ) .
microarrays are highly miniaturized and parallelized assay systems in which the capture molecules are immobilized in microspots to a solid support . in a protein chip , in general , spots ( < 300 m )
recently , nanotechnology enables the fabrication of highly dense protein nanoarrays ( < 106 spots / mm2 ) suitable for the whole proteome profiling . arraying technology , widely established during the genomic era ,
. their levels do not always correlate with appropriate mrna levels and they often exist in various functional states .
thus , protein chips ( analytical or functional ) supplement the genomic data and provide further insight in the complex biological processes .
however , several difficulties related to the nature of proteins had to be overcome before a successful construction of protein microarrays .
in contrast to nucleic acids , no simple principle of capture agents design is available .
the binding of proteins depend on complex tertiary structure and is highly affected by the post - translational modifications .
the immobilization to the solid support ( as well as direct labeling ) may alter the antigenic properties .
therefore , each capture molecule must be individually screened for affinity , selectivity and cross - reactivity .
glass slides ( used in dna arrays ) have low binding capacity for proteins and multiple surface treatment options have been adopted to enhance it ( hydrogel , aminosilane , dendrimers , aldehyde activation etc . ) .
specific binding systems may also be used to fix the capture molecule ( streptavidin - biotin , his - tag / nickel chelate ) .
membranes ( e.g. nitrocellulose , poly - lysine ) guarantee a high binding capacity as well .
monoclonal antibodies provide standard , specific binding and unlimited supply but their development is costly and time - consuming . in vitro display techniques ( phage display , ribosome display ) enable an efficient screening of binding properties and creation of large recombinant antibody libraries .
non - protein binders ( e.g. aptamers ) and protein scaffolds ( e.g. affibodies ) are novel and promising classes of binding molecules
thus , the ideal detection method should offer adequate sensitivity and the largest detection dynamic range possible .
chemiluminescence is a cost - effective solution providing a very high sensitivity . for the glass slides ,
the fluorophore ( frequently cy3 , 5 or alexa dyes ) can be directly labeled onto target proteins or coupled to a second detection antibody ( sandwich format ) .
sandwich assays achieve higher sensitivity and specificity and are the method of choice for low abundance proteins . on the other hand
, this format is not favorable for large - scale multiplexing ( > 50 targets ) due to an increased risk of cross - reactivity .
signal amplification methods such as tyramide amplification or rolling circle amplification are available for an additional sensitivity increase .
finally , label - free detection methods , surface plasmon resonance imaging ( spri ) for example , can be used in the microarray setting .
protein chips are applied for the simultaneous detection of multiple targets , but also for their functional analysis . post - translational modifications , protein - protein or protein - dna interaction can be tracked .
multiple samples are arrayed onto the chip and then analyzed for a single target structure .
several diagnostic arrays are commercially available . usually , ( auto)antibodies , tumor , cardiac or infectious disease markers are the targets of interest .
in the bead - based arrays ( suspension or liquid arrays ) , capture molecules are immobilized to a microsphere and captured analytes are detected mostly using the flow cytometry principle .
the application potential of differently sized beads coated with antigens has already been described about thirty years ago . later in early 1980s
as the number of discrete particle sizes distinguishable by a flow cytometer is limited , in the 1990s , different approaches to multiplexing have emerged ( optical , graphical , electronic encoding ) for different platforms ( flow cytometry , fluorescence microscopy ) [ 7 , 9 ] .
the luminex xmap ( multi analyte profiling ) system is a well - known and popular bead - based flow cytometric platform dedicated to multiplex analysis . in its basic setting , it uses 5.6 m polystyrene particles incorporating two fluorophores in 100 different ratios .
many domains of application exist since various capture molecules can be fixed to the particle surface ( proteins , peptides or nucleic acids ) .
thus , immuno- , enzyme- , receptor - ligand or dna / rna assay may be performed .
however , the use of magnetic beads enables the automation of washing steps as well as construction of fully automated analyzers . during the read - out
, microspheres are aspirated , transported to the cytometer ( fluorometer more precisely ) and subjected to excitation by two different laser beams .
the first laser ( red ) excites the internal fluorophores and allows decoding the spectral address and hence the analyte measured .
the second laser ( green ) excites the fluorophore bound to the reporter molecule , phycoerythrin , and enables quantification .
usually , 100 beads of each type are analyzed before skipping to the next well .
this is in contrast to only a few spot replicates in planar arrays . in general , particles provide a large analytical surface ( ~106 capture molecules per bead for luminex ) and near - solution kinetics .
however , at least for immunoassays , bead - based arrays are only favorable to a lower number of targets simultaneously analyzed .
luminex is an open technology and many companies are licensed to produce proprietary analyzers and reagent sets ( www.luminexcorp.com ) .
bio rad has developed bioplex 2200 system , a fully automated analyzer handling magnetic particles .
the ana screen panel for this instrument is coupled with medical decision support software relying on multi - analyte pattern recognition .
luminex has recently added a third internal fluorophore and the new flexmap 3d system offers a higher degree of multiplexing ( 500 analytes theoretically ) and a higher throughput .
many studies have compared the analytical characteristics of luminex assays with conventional elisas , especially in the field of cytokines determination . in spite of mostly high correlations , poor concurrence of quantitative results is often reported . nevertheless , when comparing identical reagents ( antibodies , diluents etc .
their cytometric bead array ( cba ) relies on different intensities of a single internal fluorophore .
the modern and rapidly evolving technologies of protein chips or bead arrays have already shown their capabilities in research laboratories .
they could provide a cost - effective solution to the omnipresent demand for productivity increase .
the validity and a clear contribution to therapeutics have to be proved before being fda - approved or ce - marked .
the enormous amount of data resulting from laboratory globalization must be properly treated in the sense of statistical evaluation , clinical interpretation and regulatory aspects .
if proved beneficial and efficient in the clinical setting , these novel analytical tools will substantially change the current system of laboratory testing . | pubmed |
SPRING BREAKERS
by
HARMONY KORJNE
Yellow Script Pages -March 21, 2012 1
2
3
4
5 FADE IN:
EXT. SMALL LOCAL COLLEGE -MAGIC HOUR 1
We see the entrance to a small college campus, leafless trees
lining the road.
The wind is blowing.
The sun is setting and the sky has a hazy red tint.
-E-:XT.-G0LLE-GE-P:A:RK-FNG-L0T -MAGFG--H0BR . 2
We see a parking lot with only a few cars.
A couple of students walk past in the distance.
EXT. CAMPUS GROUNDS -MAGIC HOUR
A few students are on their way back to class.
Some trash and beer cans dot the campus grounds.
The faint sound of crappy music is playing somewhere off in
the distance.
EXT. COLLEGE CAMPUS -MAGIC.HOUR
A small fountain -flowing weakly -sits in the middle of a
pond with a few ducks.
A couple of students walk by.
We don't see any faces.
EXT. DESIGNATED SMOKING AREA -NIGHT 3
4
5
·-Tne cafe·1:eria is not··very busy, only a -·few Efcattered7rtuaents
reading.
We see four young girls -all in their early twenties -
sitting around a table.
All four girls are very cute.
They are sitting quietly next to one another.
BRIT has blonde hair and sharp eyes.
(CONTINUED) *
* 5 Spring Breakers
CONTINUED: pg 2
5
She is listening to head phones and we can hear that it is
rap music.
She bobs her head ever so slightly.
She is wearing a white baseball cap with a curved brim that.
is pulled down almost to her eyes.
Her stare is hard.
CANDY is sitting next to her.
Her hair is darker.
She has thick red lips and her nails are bright red.
She's wearing a T-shirt with Snoopy on it. Snoopy is holding
a gun in the picture.
FAITH is sitting next to her.
She has a stunning face.
She is wearing no make up and a crucifix necklace.
She looks ·extremely innocent and doe-eyed.
Her breasts are large and she is wearing a pink sweater.
She takes a sip from a box of chocolate milk.
Sitting next to her is COTTY.
COTTY has a very cute baby face.
Her hair is in a short bob and her eyes are crystal blue.
All the girls speak sound alike, with a bit of a southern
accent.
They are from the same town.
They sit quietly for a bit, looking around at the other
students in the cafeteria.
COTTY
We gotta get the fuck out of here.
FAITH
I know.
BRIT
How much money do we have?
{ <:ON'T'TNTTRD) 5
6 Spring Breakers
CONTINUED: (2) Blue Shooting Script
CANDY
Not enough.
BRIT
How much?
CANDY
About halfway there.
(under her breath)
Halfway to paradise. pg 3
5
Long pause.
They--st:-a-re-0u'l::-a'i:;-t:-he-:i:--r-e-1-as-sma'i::es-eat:--ing-a-ncl-s oc:i:-a-:1..-iz-ing •
BRIT
I'm so ready to get my party on.
COTTY grabs three french fries and sticks them in her mouth.
BRIT yawns.
INT. HISTORY CLASS -DAY
A HISTORY PROFESSOR stands in front of a nearly full
classroom giving a talk on civil rights.
Almost all the students are taking notes.
BRIT is sitting next to CANDY.
She is writing something into her note pad. 6
BRIT looks around to make sure·no one else is looking at her.
She holds up her note pad and laughs, she tries to muffle it
with her shoulder.
She has written the words "I WANT PENIS!" on the note pad.
There is a bright pink heart drawn very neatly around the
sentence.
CANDY nods in agreement and flips open her notebook.
She grabs a big black magic marker and pops the cap off with
her mouth.
She darts her eyes quickly around the room.
She writes onto a piece of paper.
She holds it up to CANDY'S face.
(CONTINUED) * 6
7 Spring Breakers
CONTINUED: Blue Shooting Script
It says "SPRING BREAK BITCH!!"
She has drawn a large penis around the words.
They both start laughing. pg 4
6
A CHUBBY REDHEADED GIRL STUDENT with thick glasses and a nose
ring, makes a loud shhhhh noise.
CANDY flicks her off.
BRIT kicks the side of CANDY'S leg.
They-b01=h-i::-r-y-a-nd-sti£-1e-~he-:i-r-1-a-1:1:g-hs-but-i::0-n0-a-v-a-i-h
Some of the students sitting around them seem annoyed.
The PROFESSOR pays no attention to them, continuing his
speech on civil rights.
CUT TO BLACK:
OPENING TITLE SEQUENCE PLAYS.
THE TITLE SEQUENCE rs A BEAUTIFUL SLOW MOTION MONTAGE OF
SPRING BREAK DEBAUCHERY.
ALL THE FOOTAGE SHOULD BE TAKEN DIRECTLY FROM PRE-EXISTING
NEWS FOOTAGE AND YOUTUBE CLIPS.
IN THE STYLE OF "GIRLS GONE WILD."
THE IMAGES ARE SLOWED DOWN TO A NEAR CRAWL AND MADE TO LOOK
ALMOST IMPRESSIONISTIC.
GIRLS LIFTING UP THEIR SHIRTS.
BOYS POUNDING THEIR BARE CHESTS.
EVERYONE DANCING ON THE BEACH AND GETTING DRUNK. 7
-over these-iitiages we near THE-CLKssrc BO'S -:e-op-s-ONG 'ONLrIN
MY DREAMS' by DEBBIE GIBSON. *
THE FINAL IMAGE IS OF A PRETTY 19 YEAR OLD GIRL WITH FRECKLES
STANDING ON THE BEACH LICKING A LARGE MULTI COLORED ICE POP.
SHE'S SMILING AT THE CAMERA.
SHE'S WEARING A YELLOW AND BLACK STRIPED BIKINI.
SHE'S HAS BRACES ON HER TEETH AND STICKS HER TONGUE OUT IN A
SUGGESTIVE WAY.
(CONTINUED) 7
8
9
10 Spring Breakers
CONTINUED:
THE TITLE 'SPRING BREAKERS' APPEARS OVER THE IMAGE. pg 5
7
THE LETTERS HAVE TINY PINK SPARKLING HEARTS DRAWN INSIDE OF
THEM.
HER TONGUE IS BRIGHT RED FROM THE ICE POP.
THE MUSIC QUICKLY CUTS OUT.
INT. BRIT AND CANDY'S DORM ROOM/BATHROOM -NIGHT 8
Close up of BRIT holding a very real looking toy water gun in
the sink.
We can hear some dirty gangsta rap playing in the room
outside.
She pops open the hole on the toy gun.
She takes a bottle of Jack Daniels and pours it into the
hole.
Her hair falls onto her face and she pushes her hair away
with her wrist.
She's wearing an oversized neon pink T-shirt.
She holds the gun up and squeezes a bit into her own mouth.
She smiles and walks out of the room.
EXT. COLLEGE CHAPEL PARKING LOT -NIGHT
FAITH walks through the parking lot. 9
The parking lot is almost completely dark except for a single
neon light that beams down from an overhead lamp post.
She walks through the light. Her eyes are wide and innocent.
She is holding a bible in her hand and has a pen stuck behind
her ear.
A few other students make their way inside.
INT. COLLEGE CHAPEL -NIGHT
It is a bible study workshop filled with students.
They are all sitting on the ground in a circle with their
legs crossed. 10
( <:ON'PTNTT"fi!D) 10
11 Spring Breakers
CONTINUED: pg 6
10
The students hold hands and have their heads bowed.
They are singing a prayer in unison.
COLLEGE CHAPEL/LATER
Everyone is standing now, their hands in the air. CUT TO:
11
A muscle-bound YOUTH PASTOR in an Ed Hardy T-shirt and flip
flops is pacing back and forth.
He has a large crucifix tattoo with roses crawling up the
side of his neck.
He is holding a bible up over his head and his face is bright
red.
He speaks like a football coach who is about to be hoarse.
YOUTH PASTOR
I am stoked on the lord!! I am so
completely stoked on the lord!! Do
ya'll hear me?
YOUTH GROUP
(in unison)
Yes!!
YOUTH PASTOR
I feel his presence hardcore! I
feel GOD'S presence so intensely I
am beyond completely stoked up on
Jesus tonight! His power is
gettin' me amped!! It's like super
fuel! Amped up hardcore ya'll!! I
am so amped on Jesus tonight!!
Ya'll feeling me?
He grunts a bit.
YOUTH GROUP
Yes! !.
The YOUTH PASTOR wipes the sweat from his face.
He walks to the podium and takes a big sip from an orange
GATORADE bottle.
He holds the bible high into the air and then flexes both
arms, making a hideously strained face.
His demeanor is very close to a professional wrestler.
( C:ON'T'TNTTRD, 11
All
12
13 Spring Breakers
CONTINUED: Blue Shooting Script
FAITH has both hands in the air. pg 7
11
She is nodding her head up and down, completely focused on
the youth pastor. *
INT. COLLEGE CHAPEL UPPER ROOM -NIGHT
The YOUTH PASTOR stands by the stained glass windows and
contemplates.
INT. DORM ROOM HALLWAY OF BRIT AND CANDY'S ROOM -NIGHT
A couple of students are sitting in the hallway reading.
A BLACK KID with an afro is playing a video game.
INT. BRIT AND CANDY'S DORM ROOM -NIGHT
The room is a total mess with clothes everywhere. All
12
13
There are posters of TUPAC, LIL WAYNE, and GUCCI MANE on the
walls. All the posters have people holding guns. *
* *
*
CANDY is sitting on the edge of her bed watching cartoons on *
the television. *
She is wearing cut off denim shorts and a gray hoodie
sweatshirt pulled over her head.
Her legs are tan and lean.
COTTY is asleep on the other bed with her leg hanging over
the edge.
She is wearing tight grey athletic shorts and white ankle
socks. Her panties are poking through.
BRIT walks out of the bathroom.
--she--i-s-·n:ording-tne water gun in one hand and-the-nottle of_ .....
whiskey in the other.
She walks up to CANDY and points the squirt gun directly in
front of her face.
CANDY looks at the gun and smiles.
BRIT
(in a fake gangsta voice)
Open up, bitch.
(CONTINUED) * 13 Spring Breakers
CONTINUED: Blue Shooting Script pg 7A
13
CANDY opens up her mouth. Her lips are just a few inches from
the gun.
BRIT squirts the whiskey into her mouth.
She makes a cartoonish sounding gun noise after each squirt.
(CONTINUED) 13
14 Spring Breakers
CONTINUED: (2) Blue Shooting Script pg 8
13
After about five quick squirts she stops.
CANDY leans her head all the way back and takes a deep gulp
of the whiskey. She makes a face.
BRIT walks over and starts squirting COTTY on the butt.
COTTY pulls the blanket over her back.
COTTY
(speaking into her pillow,
partially laughing)
Fuck off. Stop!
The glow from the cartoon fills the room.
BRIT squirts a bit into her own mouth and tosses the squirt
gun down on the table and laughs.
EXT. COLLEGE CHAPEL PARKING LOT -NIGHT
FAITH is standing next to a small group of girls from her
church group beneath a street light.
They are all holding bibles.
A few students in the background make their way to their
cars. 14
One of the CHURCH GIRLS steps up to FAITH with a concerned
look on her face. Shes wears a tie-dye T-shirt and tiny wire
rimmed glasses.
FOREST
Are you still goin' to Florida?
FAITH
I don't know, I'm tryin'. I'd like
to.
A second church girl with a denim jacket and cross eyes steps
up. She has writter:i.-Ehe sen"Eence 'WHAT woum~sus DU'~ross
her sleeve.
BESS
Who you goin' with?
FAITH
Brit and Candy, and I think Cotty
is coming.
Both church girls nod disapprovingly.
(CONTINUED) *
* 14 Spring Breakers
CONTINUED: Blue Shooting Script
BESS
Be careful.
FAITH
Why?
FOREST
Cause those girls are scary.
FAITH
No.
BESS
--Espee-:i:-a-:l-1-y-B-r-:i-t-a-nd-e-a-ndy •
FAITH just smiles. She seems a bit taken aback.
Pause. FAITH
Why?
BESS
They're both so cold. They act
like they got demon blood.
FOREST
Just evil. They give me the
frickin' chill bumps.
FAITH
No ya'll, they're sweet. I've
known em forever and since grade
school even.
FOREST
They just don't seem right.
BESS
I hope you pray down there in
Florida.
~TH laugns nervously.
FOREST
Pray hardcore.
BESS
Pray super hardcore.
The other church members all nod in agreement. pg 9
14
*
*
*
*
*
*
*
*
* 15
16
17 Spring Breakers Blue Shooting Script pg 10
EXT. COLLEGE CAMPUS -NIGHT
FAITH is walking back to her room alone.
It's quiet outside.
The wind is blowing and musses her hair.
OMITTED
INT. FRAT HOUSE -NIGHT
There is a small party going on and everyone is dancing in
the smoky room.
There is dirty shag carpet on the floor.
Some FRAT BOYS are drinking.
A FAT GUY with no shirt is sitting in the corner smoking a
bong in his underwear.
Someone is passed out on the couch.
There is a large hole in the wall that looks like someone
punched it.
CANDY is holding a microphone as the music blasts. She is
doing a gangsta rap karaoke. She knows every word.
Everyone is dancing around her.
As she raps she grabs her crotch. 15
16
17
COTTY is standing on a chair and drinking a tall boy of beer
while waving her hands around.
One of the frat boys picks CANDY up by her waist and kisses
her neck.
---sne pusb:esliim away.
She bends down and shakes her ass in his face.
CUT TO: * 18
19
20 Spring Breakers pg 11
INT -FRAT HOUSE/KITCHEN -LATER 18
The kitchen is a complete wreck; overturned tables and beef
bottles everywhere.
A bunch of frat boys are standing up holding cash.
BRIT in on her knees shaking some dice in her hand.
She has some cash in her mouth.
She is taking bets with the frat boys and they all toss money
onto the ground.
She throws the dice against the sideways kitchen table and
rolls a seven.
All the frat boys scream in amazement.
She arches her back down like a cat and sticks her bottom in
the air.
They cant believe it.
She smiles.
One of the frat boys is staring at her ass sticking up.
She picks up the cash.
The rap music is blaring from the other room.
She stands up and counts her loot.
THE MUSIC CUTS OFF. CUT TO BLACK:
WE SEE A QUICK SERIES OF QUIET COLLEGE CAMPUS IMAGES AT
NIGHT. 19
20
The images appear at a steady pace, like still photos almost.
There is something slightly sad and lonely about them.
Empty cafeteria. Empty classrooms. Empty running track. Empty
stairwells.
Empty parking lots. Empty hallways. Empty lecture halls.
Toilet paper stuck on bare tree limbs.
A JANITOR buffing a hallway floor. 21
22
23 Spring Breakers Blue Shooting Script pg 12
INT. DORM ROOM HALLWAY -EARLY NEXT MORNING 21
BRIT, CANDY, and COTTY are slowly stumbling through the messy
dorm hallway.
They are wearing short cut off denim shorts and oversized
sweatshirts.
They are all barefoot and we see their tan legs.
They stop in front of FAITH'S front door.
CANDY opens the door.
They all walk inside the room.
INT. FAITH'S DORM ROOM -MORNING
FAITH is asleep in bed.
COTTY walks over to the window and opens the blind.
The sun shoots into the room.
FAITHS roommate is asleep in the other bed next them.
CANDY bends down and speaks into FAITH'S ear.
CANDY
Mornin' sunshine.
FAITH pulls the blanket down over her face.
FAITH
Oh lord.
The other girls circle her bed.
COTTY
We need your money bitch.
-Tne sleeping roommate tfi:icks her·-nand Si:rai:-ght up-:tnto the
air and flicks a bird.
INT. BATHROOM -MORNING
They are standing around some sinks and washing machines.
The light is bright and harsh.
FAITH has a blanket wrapped around her shoulders.
A cheesy pop ballad is playing on the radio. 22
23
{CONTINUED) * 23
24
25 Spring Breakers
CONTINUED: Blue Shooting Script
BRIT pulls the blanket off and tosses it to the floor.
BRIT is holding a small wad of cash. pg 13
23
She counts each bill and then tosses it into a pile on top of
the washing machine.
BRIT
Twenty, forty, sixty, eighty, a
hundred, two hundred, three, three
hundred and 20, three twenty five.
She counts out a few more one dollar bills.
CANDY
We're not even half way to spring
break, ya'll.
BRIT
Fuck me.
COTTY
That's like only one night's hotel
for us down there.
FAITH
(smiling)
I got another twenty in my purse we
can add to it.
The girls all seem depressed.
Close up on the small pile of money.
CANDY grabs the cash in her hand and squeezes it between her
cherry red painted fingernails.
EXT. COLLEGE PARKING LOT -DAY 24
It's pouring down rain now.
We see a ra1-11n.i:tting a puddle-of·-water next: t:o tne college
entrance.
INT. COLLEGE CAFATERIA -DAY
BRIT and CANDY are both eating Fruit Loops cereal straight
from the box and listening to headphones.
It's rainy and getting dark outside. 25
They are bobbing their heads ever so slightly to the music.
(CONTINUED) *
* 25
26
27 Spring Breakers
CONTINUED: Blue Shooting Script pg 14
25
They are staring out at the other students leaving.
We move under the table and see a close up of their legs and
feet nervously bouncing up and down.
They are both wearing short shorts and flip flops.
INT. DORM ROOM HALLWAY -DAY
BRIT and CANDY quickly walk through the hallway.
We follow them closely from behind.
INT. COTTY'S ROOM -DAY
COTTY is sitting at her desk watching youtube clips of
teenagers getting into fist fights.
The room is dark. 26
27
The footage is violent and looks as if it were taken with a
crappy camera phone.
The music playing over the clip sounds like LIMP BIZKIT.
WE GO INTO AN EXTREME CLOSE UP OF THE VIDEO FOOTAGE NOW.
IN THE VIDEO -AN ANGRY MOB OF TEENAGED THUGS ARE ALL CURSING
AND SCREAMING AT ONE OTHER. SOMEONE GETS THROWN AGAINST A
TRASH DUMPSTER. ALL THE KIDS LAUGH HYSTERICALLY.
We see a close up of COTTY'S face.
She is chewing gum frantically and smiling from ear to ear.
We see an extreme close up of her eyes.
The sound of the door knocking.
She turns the volume down on her computer and opens the door.
CANDY and BRIT are standing there.
They quickly look around to make sure know one is listening.
BRIT
Can we use your car?
COTTY
No, it's in the shop.
BRIT
Fuck!
(CONTINUED) 27
28 Spring Breakers
CONTINUED: Blue Shooting Script
COTTY
Why?
BRIT looks pissed off. pg 15
27
THE DIALOGUE FROM SC. 28 IS ADDITIONALLY PERFORMED IN THIS
. SCENE.
Pause CANDY
You know anyone else's car we can
get then?
COTTY
No.
CANDY
Come on, Cotty.
COTTY
Everyone is pretty much gone.
BRIT
Fuck!
COTTY
I do know where Professor Stevens
hides his keys to that shitty ass
El Camino.
INT -DORM HALLWAY/IN FRONT OF COTTY'S DOOR -DAY
THE DIALOGUE FROM SC. 27 IS PERFORMED IN THIS SCENE.
BRIT
Can we use your car?
COTTY
No, it's in the shop.
BRIT
Fuck!
COTTY
Why?
BRIT looks pissed off.
The conversation continues.
CANDY and BRIT seem anxious and excited.
They are still standing in COTTY'S doorway. 28
(CONTINUED) *
* *
*
*
*
*
*
* *
*
*
*
*
*
* * * *
*
* *
* *
* -
*
* *
* * Spring Breakers Blue Shooting Script
28 CONTINUED: pg 15A
28
29 Pause CANDY
You know anyone else's car we can
get then?
COTTY
No.
CANDY
Come on, Cotty.
COTTY
Everyone is pretty much gone.
BR--I--T---·
Fuck!
COTTY
I do know where Professor Stevens
hides his keys to that shitty ass
El Camino.
BRIT and CANDY look at each other and smile.
COTT,Y gets a devious look on her face and smiles back at
them. She keeps smacking her chewing gum.
EXT. LAUNDRY ROOM -DAY
COTTY, BRIT, and CANDY are standing next to a sink.
They are crushing up Ritalin pills. 29
They each snort a line of the Ritalin through a white plastic
straw. * 30
31
32 Spring Breakers Blue Shooting Script pg 16
INT. COLLEGE LIBRARY -NIGHT 30
COTTY, BRIT, and CANDY are sitting together at a smali table
in the back of a big library.
No one else is around and most of the lights in the room are
off.
CANDY is looking at the other girls and speaks in a powerful
and direct whisper.
CANDY
(whispering)
· · -Jus-t-1:>ret;encl-i-"E-'-s····a-:€-1:iek:-in-'--video--
game. Act like your in a movie or
somethin'.
(she gives them a really
hard look and then leans
in close)
You can't be scared of nothin'.
Close up of CANDY'S face. Her eyes narrow.
EXT. PAVILION -NIGHT 31 *
We hear CANDY speaking over the image, the conversation is *
taken from the previous scene. *
THE DIALOGUE FROM SCENE 30 IS REPEATED. *
CANDY *
(whispering) *
Just pretend it's a fuckin' video *
game. Act like your in a movie or *
somethin' .. *
(she gives them a really *
hard look and then leans *
in close) *
You can't be scared of nothin'. *
CANDY (CONT'D) (of"f-screen) _____ _
You gotta be hard •.. Fuck that!
We hear the sound of the car's engine roaring.
EXT. QUIET COUNTRY ROAD -NIGHT
We see trees whipping by.
They almost seem a complete blur. 32 *
(CONTINUED) Spring Breakers Blue Shooting Script
32 CONTINUED:
33 CANDY
(off screen)
Don't be scared of shit.
The engine sound grows louder.
EXT. QUIET COUNTRY ROAD -NIGHT
We are in front of the El Camino now. pg 16A
32
33
(CONTINUED) 33
34
35
36 Spring Breakers
CONTINUED: pg 17
33
It's speeding really fast.
CANDY
(off screen)
Let's just get that fuckin cash and
go to spring break ya'll.
It's racing straight towards us now.
EXT. QUIET COUNTRY RON) -NIGHT
We are behind the car now as it races.
The wind is blowing and leaves and dirt are-flying. 34
BRIT and CANDY are sitting in the back of the El Camino trunk
bed. Their hair is whipping in the wind.
I/E. CAR -NIGHT
COTTY is in the driver's seat. Her face is flush with
excitement.
She's leaning forward and gripping the steering wheel.
Both her windows are down. She's chewing her gum.
Close up of her fingers on the steering wheel. 35
She is wearing a tiny pinky ring with a heart pendant on it.
The radio is blasting a Christina Aguilara song.
Close up of the speedometer as it hits a hundred miles an
hour.
I/E. -CAR -NIGHT
We are riding in the open back of the trunk-l5ei:::lnow.
BRIT and CANDY are both staring out into the darkness.
They disappear quickly in and out of the light from the
roadside lamps as the car speeds down the road.
CUT TO:
A Close up of CANDY'S face as her hair violently slaps
around.
CUT TO: 36
f r.ON'T'TNTTF!D) 33
34
35
36 Spring Breakers
CONTINUED: pg 17
33
It's speeding really fast.
CANDY
(off screen)
Let's just get that fuckin cash and
go to spring break ya'll.
It's racing straight towards us now.
EXT. QUIET COUNTRY ROAD -NIGHT
We are behind the car now as it races.
The wind is blowing and leaves and dirt are flying. 34
BRIT and CANDY are sitting in the back of the El Camino trunk
bed. Their hair is whipping in the wind.
I/E. CAR -NIGHT
COTTY is in the driver's seat. Her face is flush with
excitement.
She's leaning forward and gripping the steering wheel.
Both her windows are down. She's chewing her gum.
Close up of her fingers on the steering wheel. 35
She is wearing a tiny pinky ring with a heart pendant on it.
The radio is blasting a Christina Aguilara song.
Close up of the speedometer as it hits a hundred miles an
hour.
I/E. -CAR -NIGHT
We are riding in the open back of the trunk bed now.
BRIT and CANDY are both staring out into the darkness.
They disappear quickly in and out of the light from the
roadside lamps as the car speeds down the road.
CUT TO:
A Close up of CANDY'S face as her hair violently slaps
around.
CUT TO: 36
( r.ON'T'TNTrnn) 36
37
38 Spring Breakers
CONTINUED: pg 18
36
A Close up BRIT'S face as the wind whips her hair around.
CUT TO:
Two sledge hammers bouncing up and down on the floor of the
trunk bed.
CUT TO:
A large pink duffle bag bouncing up on the floor of the· trunk
bed.
CUT TO:
CANDY'S orange flip flops flapping off the back of her heel.
CANDY is gripping her plastic toy water gun.
BRIT is gripping her plastic toy water gun.
The toy guns look real in the dark light.
I/E. FRONT SEAT/CAR -NIGHT
We are staring out the front of the window.
COTTY'S point of view.
We see COTTY'S hands on the wheel. CUT TO:
CUT TO:
37
We see the lights from a fast food restaurant coming towards
us.
COTTY leans down and grabs a bright neon pink ski mask from
the floor of the car.
She pulls it down over her head and face, lining up the
holes.
There is a small sparkly unicorn patch right above the eyes.
I/E. BACK OF THE CAR -NIGHT
What follows will be done in one single continuous shot.
The sound of the car horn.
CANDY and BRIT look straight ahead and see that they are
quickly approaching the fast food restaurant. 38
( r.oNrrTNTTF.n) 38 Spring Breakers
CONTINUED: pg 19
38
They both reach down into the duffel bag and put on the same
identical pink ski masks with the unicorn patch.
The fast food restaurant is on a dimly lit street in front of
a closed down strip mall area.
The car races across the road and flies into the parking lot.
COTTY slams on the breaks and the car skids forward, nearly
smashing into the glass doors of the resteraunt.
CANDY kicks down the back door of the El Camino.
BRIT jumps out.
CANDY picks up a sledge hammer in one hand. She is holding
her plastic water gun in her other hand.
BRIT is holding her water gun.
She takes the pink duffel bag and tosses it over her
shoulder.
CANDY slams open the front door of the restaurant.
CANDY
Hands in the air, fuckers!!!
BRIT
Nobody moves!! Down
fuckers ... down!!!
There are TWO CHUBBY MEXICAN BOYS working behind the counter.
They both step back and put their hands way up in the air.
They seem in complete shock.
CANDY and BRIT'S shorts are so tiny, and their sweatshirts
are so baggy it almost seems like they aren't wearing pants.
A MIDDLE-AGED MAN is in the back preparing the food. He just
stands there frozen.
There is a VERY LARGE BLACK MAN sitting alone eating in the
corner.
CANDY runs up to the cash register and starts smashing it
with the sledgehammer.
She lets out a wild scream.
The energy is frantic. Both girls are completely charged.
( C:ON'T'TNTmn \ 38
39
40 Spring Breakers
CONTINUED: (2) Blue Shooting Script pg 20
38
They both seem transformed and in control, they seem natural
and in their element.
BRIT walks up to the black guy and points the toy gun at the
side of his head.
BRIT (CONT'D)
Wallet, fucker!! Wallet!!!
The BLACK GUY pops a chicken nugget in his mouth.
She kicks him hard in his back.
BR-I-T-(-G0N'l'-'-B·)
Move, homey! ! !
He slowly pulls out his wallet and hands it to BRIT. He
calmly chews his nugget.
CANDY smashes the other cash register and then screams again.
She smashes in the food counter. She smashes the glass take
out window.
She screams again like a wild animal.
I/E. CAR/DONUT SHOP PARKING LOT -NIGHT
COTTY is sitting behind the wheel.
The car is idling by the side doors of the resteraunt.
She has a huge smile under the ski mask.
She is singing the words to the Christina Aguilara song on
the radio. 39
She spits her gum out the window and reaches for a bag full
of blue gum balls from the seat next to her.
She grabs a gum ball and pops it into her mouth.
INT. DONUT SHOP -NIGHT
CANDY is on the floor frantically picking up cash.
Both cash registers are completely smashed in. 40
There's broken glass and fried chicken all over the floor.
BRIT is on the other side of the counter pointing her toy gun
at the two Mexican fast food workers.
(CONTINUED) *
* 40 Spring Breakers
CONTINUED:
They are both standing there with their hands up.
CANDY looks up at them.
CANDY
Wallets!!!! Money mutherfuckers!!!
I want cash money!! pg 21
40
They both toss their wallets into CANDY'S pink duffle bag.
BRIT leans over on the counter and points the gun directly in
the BOYS' faces.
BRIT
Open your mouths!
The BOYS look horrified.
BRIT (CONT'D)
Open those fuckin' mouths!!
CANDY jumps up in their faces and screams.
CANDY
Part those lips, boys! Now!!
The BOYS close their eyes and then open their mouths.
BRIT leans in even closer.
One of the boys lips begins to quiver.
Her butt is sticking up.
She pulls the trigger to her toy gun and sprays a steady
stream of whiskey into their mouths.
The big BLACK GUY in the back continues to eat his chicken
nuggets and calmly stare out the window.
CANDY jumps back over the counter with her duffle bag and
sledge hammer.
She heads for the exit doors.
BRIT lowers the toy gun to her side.
Her voice switches back to a teenage girl's tone and way of
speaking.
BRIT
That's just whiskey ya'll. These
aren't real ... these guns are just
toys ... Sorry.
( C:ON'l1TNTmn) 40
41
42
43
44 Spring Breakers
CONTINUED: (2) pg 22
40
She lifts up her shirt and quickly flashes her boobs at them.
CANDY opens the door and yells back at them.
CANDY
We're just playin ya'llll Bye now!
BRIT and CANDY both run out the door.
They jump in the back of the car and it peels out of the
parking lot.
I/E. COUNTRY ROAD -NIGHT
The car barrels down the road.
I/E. COUNTRY ROAD/FRONT SEAT/CAR -NIGHT
We go inside the car.
COTTY is driving in the front seat. 41
42
Her mask is off and she is smiling and screaming at the top
of her lungs.
The wind is blowing everything all around.
I/E. COUNTRY ROAD/BACK OF THE EL CAMINO -NIGHT 43
The car is racing.
BRIT and CANDY are both on their knees screaming for joy.
Their hands are raised up towards the sky almost as if they
are on a roller coaster ride.
They are both screaming at the top of their lungs.
The stars are out and the moon is full.
Their hair is whipping around violently.
The moment is euphoric.
EXT. WOODS -NIGHT
We see bright burning embers floating upwards against the
black night sky. 44 45
46
47
48 Spring Breakers pg 23
EXT. WOODS -NIGHT 45
The car is parked in the middle of a dark wooded area far off
from the road.
We can hear the faint echo of police sirens in the distance.
The car is completely engulfed in flames.
It's a beautiful sight to behold.
EXT. SIDE OF THE ROAD -NIGHT
The three girls are walking together quietly down the dark
road.
They have their backpacks on.
EXT. CAMPUS GROUNDS -NIGHT 46
47
The three girls scurry back across the school grounds towards
their dorm room building.
INT. LAUNDRY/BATHROOM -NIGHT 48
They are all standing around the laundry machine once again.
There's a messy pile of cash sitting on top of the laundry
machine.
They are all staring at the money. FAITH'S eye's are popping
out.
Pause. FAITH
Good goodness ... My lord. How much
money is that, ya'll?
BRIT
A lot.
FAITH
Where did it all come from?
COTTY
We robbed the chicken shack.
FAITH
Shut up?
( C:ON'T'TNTTF;:D) 48 Spring Breakers
CONTINUED:
CANDY
With squirt guns ... Yes we did. It
was fuckin' awesome.
Long pause as they stare down at the money.
BRIT
I fuckin' love money. Why does it
look so beautiful?
CANDY
Cash money millionaires, bitches.
CANDY throws up a pretend gang sign with her hands.
COTTY
Looks like heaven. Like paradise.
CANDY
Looks like spring fuckin' break,
ya'll.
They all look at each other and start to giggle.
FAITH
(in utter disbelief)
Ya'll are so frickin' sick in the
head, you know that? pg 24
48
The rest of the girls start screaming and jumping up and
down.
CUT TO:
49 WE SEE A QUICK MONTAGE OF SPRING BREAK FOOTAGE THAT 49
STYLISTICALLY MIMICS THE OPENING TITLE SEQUENCE. SLOWED DOWN
VIRAL CLIPS AND NEWS FOOTAGE. TEENAGERS AND COLLEGE KIDS
GOING COMPLETELY CRAZY. IT'S SUPER UPBEAT AND POPPY. PARTY
MUSIC BLASTING.
50 EXT. HIGHWAY -DAY
From high above.
The music continues.
A large bus barrels down the highway.
The sound of the girls rapping is heard over the image. 50 51
52 Spring Breakers pg 25
INT. BUS -DAY
CANDY and BRIT are sitting next to one another towards the
back of the bus.
COTTY and FAITH are sitting in the seat behind them.
They are all dancing and bouncing up and down. 51
There are a few other students who are also headed to spring
break, scattered throughout the bus.
COTTY is holding a can of beer over her head.
The girls are all wearing sunglasses and bright colored T
shirts.
BRIT is blasting rap music out of the portable speakers
attached to her I-Phone.
They are rapping the words to the Khia song "My Neck, My
Back."
We come in mid song.
GIRLS
(rapping to the song)
So lick it now, lick it good, lick
this pussy just like you should.
My neck, my back, lick my pussy and
my crack, my neck, my back, lick my
pussy and my crack ....
All the other students in the bus start chanting the words to
this chorus.
They are all in party mode, rapping along to the music.
There is a great feeling of jubilation.
EXT. STREET -BEACH SIDE MAIN STRIP/FLORIDA -DAY
The sun is out. 52
BRIT, CANDY, COTTY, and FAITH all riding fluorescent colored
motor scooters down the main strip. They are all in bikinis.
They are beeping their horns and waving at the boys.
Shirtless boys line the side of the road and scream. Some of
the boys make lewd gestures.
CUT TO: 53
54
55 Spring Breakers Pink Shooting Script pg 26
EXT -SPRING BREAK FLORIDA MONTAGE -DAY
WE SEE A QUICK SERIES OF IMAGES.
We see palm trees. Spring breakers on the beach.
Students drinking. Busy bars. People dancing.
White sand beaches. Hot girls in bikinis. Pe?ple in
sailboats.
EXT. BEACH -DAY
The girls -wearing bikinis -are all standing next to the
ocean.
They are staring out at the water.
ThfY are all holding beers.
EXT. HUGE HOTEL TERRACE -DAY
We see all the girls dancing on the outdoor terrace of a
massive hotel overlooking the beach
There are spring breakers going wild, dancing on all the
terraces. 53
54
55
There is a DJ down below on a stage blasting horrible techno
music. All the kids are going crazy.
They are all twirling white towels in the air.
ASS EXT. HUGE HOTEL TERRACE -DAY
FAITH passes through the crowd. ASS
HEATHER, a -Y-oung_ and _cute te_ena_g_er, approaches FAITH.
HEATHER
Isn't this amazing? Isn't this the
most fun you've ever had?
FAITH
Yeah, it doesn't get any better
than this.
HEATHER
Bye, have fun!
They lock eyes before passing each other. *
*
*
*
*
*
*
*
*
*
*
* 56
57 Spring Breakers Pink Shooting Script pg 26aA
EXT. PARKING LOT -NIGHT 56
We see the four girls -drunk -stumbling through a parking
lot.
There are palm trees all around.
They are laughing and falling over one another.
EXT. BEACH BAR -NIGHT
The bar is packed with spring breakers.
We see a white guy rapping on a small stage, his name is
ALIEN. A smoke machine is fogging up the room.
There are a group of WHITE RAPPERS on stage with ALIEN. 57
(CONTINUED) Spring Breakers Blue Shooting Script
57 CONTINUED:
There is a large plastic space ship on the stage. pg 26A
57
(CONTINUED) 57 Spring Breakers
CONTINUED: pg 27
57
ALIEN is a strangely handsome guy in his early 30's. His
hair is in tight corn row braids. He is wearing white Ray
Ban sunglasses. He has on several diamond and gold encrusted
medallion necklaces. The medallions are of weed leaves,
alien heads, and a teddy bear holding an uzi. He has two
tiny lines shaved into his left eyebrow. He's wearing a
bright pink polo shirt. The total effect of his appearance
is shocking and amazing.
He stops rapping for a moment and begins to speak out to the
audience.
As he speaks he makes eye contact with CANDY and BRIT.
ALIEN
(talking into a
microphone)
Tonight is a magic night, y'all.
We here to make the world shake.
To make that ass clap. To make
them dollar bills, ya'll. We here
to escape the reality. Invent a
new world. Bikini's and big
booties's. That's what life's
about. Spring break forever,
ya'll. It's spring break foreva.
You know why? Cause I'm a gangsta
foreva ... A gangsta foreva.
He tosses a handful of fake money into the audience.
A bunch of thick legged girls with big butts jump on stage
and start doing a synchronised dance routine around ALIEN.
ALIEN resumes rapping.
He does a few dance moves with the girls on stage.
BRIT, CANDY, COTTY, and FAITH are all dancing in the
audience.
Shirtless college boys with long shorts are all dancing
around them.
BRIT and CANDY turn to one another and start dirty dancing
with each other.
58 EXT. EMPTY PARKING LOT/NEXT TO BLUE TRASH DUMPSTER -NIGHTSB
All four girls are crouched down and pissing.
They are balancing themselves up by holding onto the side of
the trash dumpster with one arm.
( C:ON'T'TNTTF.D, 58
59
60
61
62 Spring Breakers
CONTINUED: pg 28
58
Their bikini bottoms are pulled down to their ankles.
They are all cracking up.
The palm trees are blowing in the wind and trash is scattered
about.
A large stream of pee makes its way across the sandy cement.
FAITH points it out to the others and they laugh even harder.
EXT. EMPTY PARKING LOT -NIGHT
The girls are driving their scooters around in a circle.
They are drunk. 59
The parking lot is abandoned and dark, the only light comes
from the headlights on their scooters.
They are screaming with joy.
EXT. STREET -BEACH SIDE MAIN STRIP/FLORIDA -NIGHT
The girls are driving their motor scooters down the main
drag. They are beeping their horns at everyone.
They are swerving around the road laughing hysterically.
EXT. CRAPPY MOTEL -NIGHT
We see the girl's scooters parked in front of a run down
motel off the main drag. 60
61
The motel is on the end of the main road, just off the beach.
Fluorescent lights give the parking lot a beautiful glow.
The dirty orange motel 16oks like a tropical: traffs±ent motel.
This is where the girls are staying.
INT. CANDY AND BRIT'S MOTEL ROOM -NIGHT
BRIT is lying on the top of her bed, still in her bikini.
The room is really dingy looking.
Her head is propped up with some pillows. 62
( r'.ON'T'TNTTF.D) 62
63
64 Spring Breakers
CONTINUED: pg 29
62
Her knees are up in the air and slowly bobbing back and
forth.
She's watching a cartoon on her laptop.
She's eating pink cotton candy out of a plastic bag.
CANDY walks out of the bathroom wearing a sheer canary yellow
matching bra and panties. Her hair is wet.
She walks up and grabs a wad of cotton candy.
She stares at the cartoon. She giggles.
Then BRIT starts to giggle.
Both girls seem transfixed. The glow from the laptop fills
the room.
EXT. BACK OF MOTEL -NIGHT 63
FAITH is standing alone under a bright light that flickers on
and off. She is speaking on her cell phone.
We can hear the sound of the ocean in the background.
FAITH
(on her cell) It's awesome here, grandma. You
would love it here. Everything is
beautiful lookin'. The way it's
all designed here is so cool. I'd
like to come back again next year
with you grandma. It would be so
cool.
She rolls her eyes and smiles.
INT. MOTEL ROOM -NIGHT
COTTY is sitting on the bathroom sink.
Her head is bent back and there is a large funnel in her
mouth. 64
A short muscle-bound teenage boy with a moustache is standing
on the toilet. He is wearing only a jock strap and pouring a
beer down a tube that goes directly through the funnel and
into COTTY'S throat.
She is gulping hard.
f f'.ON'T'TNTTF.D \ 64
65
66 Spring Breakers
CONTINUED: pg 30
64
The teenage boy, JOCK 1 looks completely turned on by her
ability.
JOCK 1
That fuckin rocks!
Some of the beer pours out the sides of her mouth.
We hear people yelling outside.
EXT. MOTEL HALLWAY -NIGHT
CANDY, BRIT, AND FAITH are all three doing cartwheels and
handstands down the long narrow haTlway~
They are cracking up.
INT. MOTEL ROOM -NIGHT
COTTY is sitting on the hotel floor.
There are about a half dozen JOCKS in the room.
There are FOUR BOYS sitting on the edge of the bed.
The entire wall is stacked with empty beer cans and weed
smoke fills the room.
COTTY is sitting on the floor with her legs crossed.
All the boys are staring down at her.
The front door is open and we can see the glow from the
parking lot outside.
JOCK 1
(speaks in a southern
drunken slur)
We really wanna fuck you.
COTY smiles and rubs her legs together.
Pause. COTTY
All of you?
JOCK 2
Hell yea.
COTTY
You all wanna fuck me? 65
66
( r'.ON'T'TNTTRD) 66
67
68 Spring Breakers
CONTINUED:
She smiles.
JOCKS
(all together)
Hell yeah!! !
They nod and pump their fists in the air.
COTTY
Well that's never gonna happen.
(pause) I'll make out though. pg 31
66
Shg_jumps up on her knees and aggressively grabs the face of
a DRUNK.EN GIRL sitting next to the-JO-CKS.
She pulls the girls face towards hers.
She sticks her tongue deep into her mouth and starts wiggling it around.
All the rest of the jocks start screaming and chanting.
JOCKS
(chanting in unison)
Tongue ... tongue ... tongue ... tongue!!-
They pump their fists in the air.
·,
EXT. BEACH BEHIND MOTEL -NIGHT 67.
We watch the waves crash in the darkness of the night.
The light reflected from the moon bounces off the oceans
surface.
EXT. SWIMMING POOL -NIGHT
We quickly open the scene from under the water.
We see the girls bodies through the bubbles.
We jump back out.
BRIT, CANDY, and FAITH are sitting in a bubbling tub. 68
They each have a tall boy beer can in their hand. There is a
red cooler sitting behind them.
The lights in the tub give their faces and everything around
them an electric blue glow.
BRIT takes a big gulp from her beer.
f r.ON'"f'TNTTF.n) 68 Spring Breakers
CONTINUED:
CANDY
It's like paradise here.
BRIT
I know.
FAITH
I wish we could all buy a house
here together.
CANDY gives her a weird look.
BRIT
I don't wanna ever go back.
CANDY
Fuck school.
BRIT
Fuck it in the ass.
They click their beers together.
CANDY takes a sip from her beer.
FAITH
(caught up in the moment) It would be so cool if you could
just freeze life ... Like If you
could just click it and freeze it
and say this is the way it's gonna
be forever •.. Like the way it is
right now.
(she sips her beer,
getting emotional)
Like have this moment together
forever.
Long pause.
FAITH (CONT'D)
(deadpan and serious)
That would just be so awesome,
ya'll. pg 32
68
BRIT slides her face down into the bubbling water. She stares
up at CANDY.
CANDY stares back at her and gives a knowing glance.
They hold the stare. 69
70
71 Spring Breakers pg 33
EXT. SKY -NIGHT
The stars appear in the sky. The moon is out.
The sound of the wind.
The sound of the ocean.
THE SOUND OF POUNDING MUSIC.
INT. MOTEL ROOM/JOCKS PARTY ROOM -NIGHT
This scene is of a party and debauched chaos. CUT TO BLACK:
It moves completely frenetic and without any pause.
The whole scene is filmed with multiple cell phone cameras
that are used by the jocks in the room.
We see a very fast paced series of moving images.
We enter in the middle of the part in two connecting motel
rooms.
They are completely packed with people.
Music is blasting. People are screaming. 69
70
71
The moments begin to fly by in the grainy cell phone footage.
Jocks drinking. People jumping on beds. Jocks throwing the
mattresses off the beds.
A bunch of topless girls dancing in the middle of the room.
Topless girls on the dirty motel room floor simulating sex
with each other.
BRIT and CANDY smoking a joint in the corner. They stare out
at the chaos.
We see a group of jocks holding their camera phones above
their heads.
COTTY is making out with a black shirtless muscle bound jock.
Two topless blonde girls are making out with each other in
the shower.
The jocks are jumping up and down and chanting.
f C'.ON'T'TNTTF.D) 71 Spring Breakers
CONTINUED: pg 34
71
They are all holding camera phones and screaming words of
encouragement.
One of the jocks rips the shower curtain off its hinges.
A white drug dealer with tattoos and gold teeth is selling a
small group of jocks some pills and cocaine.
We see the jocks handing the drug dealer money.
A huge muscle bound drunken guy with a crew cut wraps a white
sock around his fist and starts punching holes into the hotel
room wall. All his jock friends are cheering him on.
Faith is dirty dancing in the middle of the room with two
shirtless jocks with Mohawks.
She's grinding her ass on the jock behind her.
A completely naked jock is pissing into a potted plant. He is
holding a keg of beer in one hand and screaming at the top of
his lungs.
Jocks snorting cocaine off the sink counter.
The drug dealer is off to the side counting his cash. He has
a blunt in his mouth.
A jock drops some pills on the sink counter and puts a twenty
dollar bill on top of the pills.
He says something to CANDY and BRIT hands him a purple
plastic lighter.
CANDY and BRIT are standing next to him.
He pounds the top of the bill with the lighter, crushing the
pills underneath. He keeps crushing the pills up.
People run in and out of frame.
He takes out his room key and cuts some lines.
He snorts a line with a straw. BRIT snorts a line. CANDY
snorts a line. COTTY walks up and snorts a line.
Everyone in the party starts running out the front door.
We hear people screaming, "police!" and now it's chaos and
pandemonium.
It's difficult to make out what we're seeing sometimes.
The jocks start throwing the bed posts. Someone smashes the
closet mirror.
( C:ON'T'TNTTF.D) 71
72
73
74
75
76 Spring Breakers
CONTINUED: (2) Blue Shooting Script pg 35
71
A bunch of POLICE OFFICERS run inside the room and start
grabbing kids.
The grainy cell phone footage cuts out.
The party is over.
EXT. MOTEL PARKING LOT -NIGHT 72
The parking lot is filled with cop cars, flashing lights and
sirens.
-A--sma-l-l-gr-eup-0-f~0eks-:i-s-be±ng-put-in-t:0-a-cop-ear-.-
One of the ATL Twins is leaning over another cop car, he's *
being patted down.
CANDY and BRIT are in handcuffs.
FAITH and COTTY are sitting in the back of another police
car.
EXT. MOTEL PARKING LOT -NIGHT
A cop is putting the ATL TWINS into the police car.
I/E. COP CAR 1 -NIGHT
We are in the back seat with FAITH and COTTY.
FAITH is resting her head on COTTY'S shoulder.
The cop car is driving down a quiet stretch of beach road.
EXT. COP CAR -NIGHT
We are in the back seat of the car with THE ATL TWINS.
They-:nave ·afun:hy looJcon theiY-face.
I/E. COP CAR 2 -NIGHT
We are in the back seat with CANDY and BRIT.
The windows are rolled down halfway.
This car is driving slowly behind the other cop car.
We can still hear the ocean outside. 73
74
75
76
(CONTINUED) *
* 76
77
78
79
80 Spring Breakers
CONTINUED: pg 36
76
We can hear the officers police radio coming from the front.
Both girls are staring blankly out the window looking at the
passing lights.
They seem stoic and detached. They seem at peace with the
world.
EXT. POLICE STATION -
The police station is small and run down.
From the outside it looks almost like a beach house.
A few cop cars are parked in the front.
INT. POLICE STATION -NIGHT 77
78
The four girls are sitting next to one another on a bench in
front of a police desk.
COTTY is trying to warm her bare legs with her hands.
FAITH is crying and shivering.
A cop walks by.
INT. POLICE STATION/HOLDING CELL -NIGHT
The holding cell is small and junky with bad lighting and
graffiti on the walls.
There is a bit of sand on the floor.
FAITH is awake, she seems dazed and in shock.
COTY is asleep on the floor, covered by tiny blankets.
BRIT and CANDY are asleep next to one another on a metal
bench that's attached to the wall.
A homeless woman is asleep on the other bench.
INT. SMALL COURT HOUSE -MORNING
The morning court session is under way. 79
80
A CHUBBY BALD JUDGE with glasses is staring at some papers on
his desk.
A few of the Jocks are sitting in the front row half asleep.
( C:ON'T'TNTTF<!D) 80 Spring Breakers
CONTINUED: Blue Shooting Script
The ATL TWINS are sitting alone towards the back.
'The four girls are sitting in the middle. pg 37
80
All the way in the very back of the room we see ALIEN.
He is still wearing his sunglasses and gold medallions.
Both of his arms are resting slyly on the bench. He winks at *
the ATL TWINS . *
The JUDGE looks towards the girls and motions for them to
stand.
The girls quickly stand up straight.
The JUDGE looks at them for a moment. He seems taken aback by
their cuteness.
They are all huddled together, still in their bikinis.
FAITH is shivering a bit from the cold.
In this moment they become innocent little girls.
The JUDGE clears his throat.
ALIEN stares at the girls from behind.
He looks at their sandy bottoms. He leans up a bit,
interested.
JUDGE
(in a deep southern drawl)
Lemme guess now. Spring breakers?
The girls nod.
The ATL TWINS turns and smiles knowingly at ALIEN. *
ALIEN smiles back at them. It's obvious they are friends. *
7rne ATL TWINS-points-at the girls, -ne-point-s-1n--1::ne shape of _* ____ _
a gun.
ALIEN nods.
The ATL TWINS give him a thumbs up. *
JUDGE (CONT'D)
Your not gonna be charged with the
narcotics possession because it
wasn't found on your actual
persons.
(CONTINUED} 80
81
82
83 Spring Breakers
CONTINUED: ( 2) pg 38
80
The girls seem visibly relieved.
JUDGE (CONT'D)
You will be given citations though.
You'll either pay the fine or spend
two more days in county.
Long pause.
BRIT
We don't have any money.
JUDGE
Call mommy or daddy then or do the
time.
He looks towards the bailiff.
JUDGE (CONT'D)
Spring break is not an invitation
to do drugs and commit crimes.
Thank you.
He motions for them to leave.
Close up of ALIEN smiling in the back row.
INT -POLICE STATION/HOLDING CELL -DAY 81
The exhausted looking girls are sitting on the metal benches.
A FEMALE GUARD walks up and opens the door.
The sound of someone in another cell screaming "fuck you
Maggie" over and over.
FEMALE GAURD
Ya'll are free to go. Just made
bail.
The girls look surprised.
INT. POLICE STATION/HALLWAY EXIT -DAY
The girls quickly scurry down a narrow hallway towards the
exit.
The lights are bright.
EXT. POLICE STATION/UNDERGROUND PARKING GARAGE -DAY
We hear the loud thud of repetitive bass booming. 82
83
( C:ON'PTNmm\ 83 Spring Breakers
CONTINUED: Blue Shooting Script
Security gates rise up from the ground.
The four girls walk out.
The gates quickly rise.
The daylight seeps through the parking lot.
We see a white Camara parked in front.
The windows are tinted black. pg 39
83
The rims on the car are all spinning around in circles. The
--r:irns-a-r-e-shaped-:Gn-a-meney-$-s--ign-.
ALIEN is sitting in front of the car. *
He's giving the ATL TWINS a complicated handshake. The two of *
them hug and then pat each other on the back.
The ATL TWINS smile and walks away. *
ALIEN, smiling wide, sits there with his arms crossed.
He pulls his shades down a bit and then stares at the girls.
The girls slowly make their way towards him.
COTTY
Who are you?
ALIEN speaks with a slight southern twang. He speaks slow
and deliberate. Although he is white, his voice and
mannerisms are tinged with southern black hip hop cadences
and vernacular There is something smooth and sleepy about
the way he speaks.
ALIEN
I'm Alien ... My real names Al, but
you know, truth is I'm not from
this planet.
COTTY
Alien?
ALIEN
That's what they call me.
FAITH
Why?
ALIEN
Why what?
(CONTINUED) 83
84 Spring Breakers
CONTINUED: (2) Yellow Shooting Script
BRIT
Why are you here?
ALIEN
Saw ya'll in court ... You looked
really cute just standin
there ... And I Just thought maybe I
could help out?
CANDY
Why?
ALIEN
Why not? pg 40
83
He sticks his massive diamond pinky ring up in the air.
CANDY and BRIT look at the ring. Their eyes pop out.
He smiles really big and opens up his mouth.
In close up we see that his bottom teeth are completely gold
with small diamond encrusted Alien faces in the center of
each tooth.
The girls seem taken aback.
FAITH seems kind of horrified.
I/E. WHITE CAMARO -DAY 84
We are inside the car as ALIEN drives. FAITH is in the front
passenger seat.
The bass is booming at an insane volume.
ALIEN is leaning back in his seat. He punches his hand in the
air to accentuate the booming bass.
FAITH looks really uncomfortable and nervous.
The other girls are sitting in the back and laughing. ALIEN
starts laughing to.
He looks back at the girls and smiles.
He looks at FAITH and winks. She moves further away to her
side of the door. *
(CONTINUED) 84
85 Spring Breakers
CONTINUED: Yellow Shooting Script
The other girls start to giggle.
They seem smitten by him.
EXT. GHETTO PARK -DAY pg 41
84
85 *
*
*
They are all sitting under a shaded bench and cook out area. *
They are smoking weed. *
Alien is holding a beer in one hand and joint in the other. *
His car is parked in the distance. *
(CONTINUED) 85
86 Spring Breakers
CONTINUED: Yellow Shooting Script
ALIEN
That's the first time ya'll been
arrested?
(beat)
That's no fun is it?
BRIT
No.
ALIEN
You all ran out of money?
COTTY nods.
CANDY
Pretty much.
ALIEN
Bet you spent it on motels and weed
right?
FAITH makes a strange face.
ALIEN smiles.
ALIEN (CONT'D)
I know that's the truth. Well I
got plenty money so don't worry.
The girls look at him suspiciously.
We hear the sound of bass in the distance.
He takes a deep puff and stares at FAITH.
EXT. GHETTO PARK -DAY pg 42
85
86 * *
*
*
*
They are all walking together through an area with many *
trees. *
The girls follow ALIEN as he speaks to them. *
It should seem like we enter midway into the conversation. *
He watches them inhale their food and takes a sip from his *
soda. *
*
(CONTINUED) 86 Spring Breakers
CONTINUED: Yellow Shooting Script
ALIEN
You know I live on the beach all
year round?
The girls all just stare at him with wide eyes.
ALIEN (CONT'D)
I'm from here. Originally from the
more ghetto parts of the area.
He looks at COTTY.
COTTY blushes a bit.
ALIEN (CONT'D)
Spring break is the worst part.
That's when the scum come.
BRIT and CANDY start laughing.
COTTY
What do you do?
ALIEN
What you mean?
COTTY
For a job.
She giggles at her own question. pg 43
86
ALIEN looks at her, his face immediately grows serious and
matter of fact.
Pause. ALIEN
I hustle. I'm a natural born
hustler. I'm also a rapper. But
I've done just about every illegal
activity under the sun. I'm a true
G. I'm a thug with a golden heart
and I'm all about making_that
money.
FAITH seems in shock.
He darts his eyes.
ALIEN (CONT'D)
Always and forever.
The girls cant tell if he's serious or not.
They start to laugh.
(CONTINUED) 86
A86
B86
87
88 Spring Breakers
CONTINUED: (2) Yellow Shooting Script
FAITH
Are you being serious? pg 44
86
ALIEN smiles and then steps out into the rain and raises both
hands in the air. *
FAITH seems confused.
EXT. GHETTO PARK/BY THE SIDE OF THE WATER -DAY
ALIEN is standing on the edge of a tiny pier.
The girls are looking at him. A86
He pulls out a gun and starts shooting into the water.
He turns around and smiles at them.
FAITH seems horrified.
EXT. ALIEN'S CAR -DAY B86
They are all driving down the street.
We follow them from behind.
The loud sound base.
INT. BOWLING ALLEY BATHROOM -DAY
FAITH is washing her face in the sink.
She throws water onto her face and stares into the mirror.
She wipes her face off and then walks out the door.
We follow her into the bowling alley.
INT. BOWLING ALLEY -DAY
ALIEN is standing on the lane holding a bowling ball.
HE is puffing on a menthol cigarette.
He is rubbing his ball with a white towel.
CUT TO: 87
88 *
*
*
*
*
*
*
*
*
* 89 Spring Breakers Yellow Shooting Script pg 44A
THE GIRLS ARE STANDING BY THE CONCESSION STAND. 89
The girls are a ways down from him.
FAITH is crying. BRIT is rubbing FAITH'S shoulder. CANDY is
rubbing FAITH'S back.
They are trying to comfort her.
FAITH
(crying)
I wanna go home.
here. Let's just
No one answers her. I don't like it
go home ya'll.
She looks at them frustrated.
FAITH (CONT'D)
Please.
(CONTINUED) 89
90 Spring Breakers
CONTINUED: Blue Shooting Script
BRIT
No. Come on, now.
CANDY
We can't go home yet.
FAITH
Why?
BRIT
We just got here, Faith.
COTTY
I -l-0ve--i-t -here-. --
A loud sound of bowling pins being knocked over. pg 45
89
FAITH seems frustrated. She looks over at ALIEN smoking his
cigarette.
HE rubs his Bowling ball and smiles at her.
She's shivers.
FAITH
(angry and frustrated)
Forget this. This whole thing is
too frickin' weird for me ya'll.
What kinda person goes by the name
Alien?
ALIEN tosses his ball down and it hits the pins.
He blows into his hands and looks at his score.
FAITH (CONT'D)
Alien? More like creepy.
this ... I'm outa here. I'm
home.
ALIEN smiles at the girls.
EXT. BUS DEPOT -DAY Freak
goin'
90
The Camaro is parked in front with the bass booming through *
the open doors.
The sky is dramatic and overcast. *
From a distance we see COTTY, BRIT, and CANDY giving FAITH
one big group hug.
(CONTINUED) 90
91
92
93
94 Spring Breakers
CONTINUED: pg 46
90
They kiss her and rub her back.
We see ALIEN looking out his car window at the girls. He's
smoking.
FAITH looks visibly upset. She picks up her baby blue back
pack and tosses it over her shoulder.
FAITH
I'm gonna pray for ya'll.
i She gives COTTY another tight hug and then runs onto the bus.
I/E. BUS -LATE DAY
The bus is driving down the highway.
FAITH is all alone sitting near the front.
There are a few other spring breakers in the back making
noise.
Her head is resting on the window.
She looks straight ahead, like she's slightly in shock.
A single tear rolls down the side of her ·cheek.
EXT. BEACH -MAGIC HOUR
The sun is going down and the sky is a beautiful purple.
The girls are sitting next to ALIEN on the sand.
They are passing around a massive joint.
They stare out into the ocean.
EXT. OCEAN -NIGHT
We see the waves crashing.
Seagulls flying.
EXT. BEACH -MAGIC HOUR
ALIEN and the girls are walking quietly on the beach.
They have found a quiet area away from the rest of the
people. 91 .
92
93
94
( C:ON'T'TNTW.n) 94
95
96
97 Spring Breakers
CONTINUED: Blue Shooting Script pg 47
94
The girls look happy.
ALIEN walks a little ways in front. He stops and stares at
them.
He pretends to take a photo with his hands.
ALIEN
Hot damn!! I must be dreamin'.
He licks his lips.
He points to out at the ocean.
ALIEN (CONT'D)
Be careful of that water. There's
a lot sharks out there.
(pause)
That water looks pretty but it's
filled up with sharks. Vicious
motherfuckers, just lurkin'.
The sound of the waves.
He gets a smile on his face.
EXT. BEACH/FISHING PIER -MAGIC HOUR 95
They are all standing together on the edge of a pier staring
out at the water.
Some old men are fishing in the distance.
It's beautiful out.
The wind is blowing the girls' hair.
EXT. SKY -MAGIC HOUR
Close up·of the clouds.
The sun is setting.
I/E. CAMARO -NIGHT
We are inside as they are driving.
The truck is dark except for the neon glow of the radio in
the front. The bass is booming.
We are looking at them from all the way in the back of the
truck. 96
97
(CONTINUED) * 97
98 Spring Breakers
CONTINUED: Blue Shooting Script pg 48
97
We are only seeing the backs of everyone's arms and heads.
INT. STRIP CLUB/VIP ROOM -NIGHT
We see a naked girl with a big butt shaking her ass on a
stripper pole.
Another naked stripper walks on stage and joins her.
ALIEN is standing up holding two huge stacks of cash.
A cigarette dangles loosely from his lips.
He starts throwing bills into the air.
He hands BRIT and CANDY a stack of money and they join in.
They start tossing money on stage.
We see quick close ups of strippers.
Stripper's faces, legs, and boobs.
Money in the air. Money of the stage.
People in the room watching the scene.
The ATL TWINS are also there. 98
He's drinking a mixed cocktail with a pink umbrella straw and
smoking a massive blunt.
More naked strippers walk out.
It's a huge party. Strobe lights.
COTTY is on the couch getting a lap dance from two gyrating
strippers. She's grinding back and forth.
Music is blasting.
A-large fake~oreastea.-strippe:t-hends down on st-age and--ru.1:5s
both her boobs together.
ALIEN sticks a bill in between her breasts without even
really paying attention.
BRIT tosses a bunch of bills high into the air.
CANDY tosses more on stage.
A few more strippers walk out on the stage and start grabbing *
the money with shopping bags. *
(CONTINUED) 98 Spring Breakers
CONTINUED: Blue Shooting Script pg 49
98
From the other side of the VIP section we see several HUGE
BLACK GUYS make their way over.
They are all wearing red baseball caps and bullet proof
vests. They are covered in tattoos and jewlery.
They look menacing.
ALIEN sees them as they enter and his demeanor shifts.
His face gets serious but he continues to toss money on the
stage.
T-he-0±aek---guys-see-Mi±-E-N-a-FJ:cl-t:-he-n-m0ve-t:-0wa-r<:ls- h-im. • --
ALIEN'S DRUG DEALER friend sees the men coming and quickly
stands up.
The BLACK GUYS stop a few feet from the stage.
BRIT and CANDY keep tossing cash.
Everyone stares at each other.
The leader of the crew looks over at ALIEN.
His name is ARCH. He has a tattoo of an ice cream cone on his
face.
He looks at ALIEN and smiles.
ALIEN looks at him with a serious look.
ARCH lifts up his shirt. He has a gun poking up above his
belt.
ALIEN lifts his own shirt up. He has two guns sticking up
above his belt..
ARCH laughs.
ALIEN stares at him hard.
ARCH blows him a small kiss.
ARCH quickly looks at BRIT and CANDY. They stare back.
He winks and then quickly walks away.
His posse follows.
Close up of naked strippers on stage picking up money with *
plastic bags. * 99
100 Spring Breakers Blue Shooting Script pg 50
EXT. STRIP CLUB PARKING LOT -NIGHT 99
ARCHIE is standing around with all his friends.
ALIEN walks out with BRIT, CANDY, COTTY, THE ATL TWINS and *
other assorted posse members.
HE walks towards ARCHIE.
The two of them meet in the middle and stare at each other.
ARCHIE throws his arm around ALIENS neck and the two of them
walk away together.
We follow them for a moment.
ARCHIE
I miss you nigga.
so much no more.
days my nigga. I don't see you
Not like the old
They stop walking and look at each other.
ALIEN It's all good Arch.
ARCHIE
Naw it aint all good. It never is.
Just don't fuck up my nigga. Don't
let me catch you slippin out here.
You best just keep robbin them
spring breakers over on the
boardwalk like we used to do when
we was kids. I can turn a blind
eye. But don't creep up on my side
of shit mane. This side my money.
The sweet money. You cant have
none of it.
ALIEN smiles.
ALIEN
--r-cant-:nave none of it?--
They stare at each other.
They both start laughing.
EXT. CADDILAC/MAIN BEACH STRIP -NIGHT
We follow the car from behind. 100
We hear this bit of conversation over the image of the car
driving.
(CONTINUED) Spring Breakers Blue Shooting Script
100 CONTINUED: pg 51
100
101
102
103 ALIEN
(off screen)
He used to be a friend. Now he's
an enemy. They call him Big Arch.
Them dudes is straight off the
block, no joke, murderers, killers,
base heads, motherfuckin'
nightmares walkin'.
The car turns a corner and disappears.
EXT. QUIET BEACH ROAD -NIGHT 101
We follow the Camara as it slowly makes its way down a dark *
road. The sound of bass flows from the car.
Palm trees line both sides.
EXT. ALIENS BEACH HOUSE -NIGHT
The house is modest from the outside.
The car is parked in front.
ALIEN
(O.S.)
You girls is different from the
rest.
The sound of dogs barking.
INT. ALIEN'S BEACH HOUSE -NIGHT 102
103
We see a quick series of images from the inside of his house.
We begin to hear ALIEN'S voice speaking over the images.
His words are coming from off screen. His voice is slow and
hushed, almost like he's whispering directly into your ear.
We see the images pass by like a slide show.
ALIEN
(from off screen)
I knew you were special from the
moment I saw you.
A neon yellow fish tank filled with neon yellow fish.
A wad of cash wrapped in rubber bands sits on a sink top.
Stacks of Nike Air Jordan boxes.
(CONTINUED) Spring Breakers
103 CONTINUED:
A cat perched on a couch licking itself.
A half eaten bowl of cereal on the kitchen counter.
ALIEN (CONT'D)
(from off screen) It's in your eyes. pg 52
103
A pitcher of grape Kool Aid on the kitchen table.
Posters of rappers on the wall. Poster of Al Pacino in
Scarface.
A row of nurnbchucks on the wall.
ALIEN (CONT'D)
(from off screen) It's written on your faces.
A row of brass knuckles on the wall.
A row of brand new baseball caps sitting on top of a dresser.
Gold and diamond necklaces hanging from the neck of a
mannequin in a guest room.
ALIEN (CONT'D)
(from off screen)
I wanna make you happy.
Hundreds of little bags of weed separated and ready to sell
sitting inside a dozen open brief cases on top of a well made
bed.
Hundreds of little bags of cocaine separated and ready to
sell sitting in open shoe boxes spread out on the floor.
A scale with a large rock of cocaine sitting on the bathroom
counter.
ALIEN (CONT'D)
(from off screen)
I want us to all to fall in love.
COTTY is passed out asleep on the couch. Her leg and arm are
hanging off the side.
Close up of her eyes.
Close up of her lips.
ALIEN (CONT'D)
(from off screen)
Let's cause some trouble now.
( C'.ON'T'TNTTF:D) Spring Breakers
103 CONTINUED: (2) pg 53
103
104 A pool table.
A white piano on the back deck.
ALIEN (CONT'D)
(from off screen)
Live life to the fullest.
We move very slowly towards a gun resting on top of a
television.
INT. ALIEN'S BEDROOM -NIGHT 104
We see a bed with the top completely covered in neat stacks
of hundred dollar bills.
On top of the bed of money are many guns.
The guns all have silencers.
There is also a sawed off shotgun and a couple of mini uzi's.
It's a small arsenal on a bed full of money.
CANDY and BRIT are staring down at it.
The room is lit with one red light bulb on his dresser.
It casts a hazy red glow throughout the room.
ALIEN has his shirt off.
He is smoking a blunt.
He takes a deep pull and then lets out a steady stream of
smoke.
He is holding a gun in each hand.
With his gun he motions to the bed full of money.
ALIEN
You like it?
BRIT
Yeah.
ALIEN
You like the way it looks?
He smiles and looks at CANDY.
CANDY
Yeah.
f C"'.ON'T'TNTTF!D) Spring Breakers
104 CONTINUED:
ALIEN
That right there ain't nothin'.
He puts one of his guns down.
He walks up and touches the side of BRIT'S face.
ALIEN (CONT'D)
I can tell you wanna be rich.
He moves over and gently grabs BRIT'S face.
ALIEN (CONT'D)
You just like me. I known it the
second I saw you. You ain't scared
of shit.
He kisses BRIT.
He kisses CANDY. pg 54
104
The three of them move in close together and all start
kissing.
CANDY pulls away and crouches down next to the bed.
She stares at the guns and money. She seems transfixed.
Quick series of macro close up shots of the guns.
CANDY
I like those two.
She points to two tiny palm sized pistols with solid ivory
grips.
CANDY (CONT'D)
These ones are sick.
BRIT crouches down next her.
BRIT
Yeah those are sooooo cute. I love
em.'
BRIT picks one up and points it at ALIEN'S head.
Candy picks up the other one and points it at ALIEN'S head.
They hold the pose. They get a serious gangster expression.
They look like they are gonna shoot him.
ALIEN looks scared.
( f'.ON'T'TNTTRD ~ Spring Breakers
104 CONTINUED: ( 2)
The girls seem frozen. They seem completely serious.
BRIT sticks the gun deep inside his mouth.
ALIEN gets on his knees.
She moves it back and forth.
Long pause.
ALIEN looks at them like they're crazy.
Both girls look at each other and then smile.
CANDY
(smiling at ALIEN)
Damn you look scared, bitch.
She pulls the gun from his face.
BRIT
(snarling at ALIEN)
You actin' like a lil' pussy.
She makes a shooting noise and then starts laughing.
ALIEN looks at them like they're crazy.
He lets out a deep breath. pg 55
104
HE stares at them for a moment and then smiles back, he
almost looks in love.
CANDY and BRIT point their gun dir~ctly towards the camera.
THE SCREEN GOES COMPLETELY RED.
CUT TO:
105 SPRING BREAK VIDEO FOOTAGE. IN THE STYLE OF "GIRLS GONE 105
WILD."
WE SEE THREE HOT BLONDE CHEERLEADER LOOKING GIRLS STANDING ON
THE BEACH IN BIKINIS.
IT SEEMS AS IF THEY'RE BEING INTERVIEWED BY SOMEONE OFF
CAMERA.
THE FOOTAGE MIMICS THE STYLE OF THE OPENING TITLES EXCEPT NOW·
IT IS GOING IN NORMAL SPEED.
THE BLONDE GIRL IN THE MIDDLE SCREAMS "SPRING BREAK FUCKIN
RULES!!!"
( C:ON'T'TNTTFU) \ 105
106 Spring Breakers
CONTINUED: pg 56
105
THEY ALL THREE LIFT THEIR BIKINI TOPS UP AND START SHAKING
THEIR BOOBS AROUND.
ALL THE NATURAL SOUNDS QUICKLY SHUT OFF.
THE LOUD SOUND OF GUN SHOTS PLAYS OUT OVER THE IMAGE.
QUICK FADE TO RED.
A MESSILY DRAWN HEART SHAPE APPEARS IN THE CENTER OF THE
SCREEN.
THE HEART MELTS INTO WHAT LOOKS LIKE ANIMATED CARTOONISH
BLOOD DRIPPING DOWN THE SCREEN.
EXT. ALIEN'S BEACH HOUSE/BACK DECK -MORNING
The sun is beaming down.
ALIEN is sitting at the white piano on the back patio.
There is a small swimming pool off to the side. 106
His shirt is off and he has a bunch of gold chains around his
neck.
There's an open bottle of champagne sitting on the piano. He
starts hitting a few random keys on the piano.
There are trees all around his backyard that form a natural
fence.
The sound of dogs barking in the distance.
BRIT opens the screen door of the house and walks out.
She's wearing her same full faced pink ski mask with the
unicorn patch that she wore in the first robbery.
It's completely pulled down over her face.
She is holding a sawed off shot gun.
ALIEN looks at her and smiles. He plays a few notes on the
piano.
CANDY and COTTY both walk out.
They are also wearing the pink ski masks and holding sawed
off shot guns.
All the girls are barefoot and in really sexy bikinis.
( C'.ON'T'TNTTFm \ Spring Breakers
106 CONTINUED: pg 57
106
ALIEN looks at them and grins. He pauses and then lights a
cigarette.
He takes a puff then puts the cigarette on the ashtray on top
of the piano.
The girls walk up to the piano.
CANDY
(talking through the mouth
hole in her ski mask)
Play something.
ALIEN
What do you wanna hear?
CANDY
(talking through her ski
mask)
Play something sweet and uplifting.
ALIEN
Sweet and uplifting?
BRIT
(talking through her ski
mask)
Something inspiring.
ALIEN
Alright.
COTTY
Yea play something that's fuckin'
inspiring.
ALIEN
Let's see. You wanna see my
sensitive side?
Cotty lifts up her shotgun and leans it over her shoulder.
COTTY
Yeah.
ALIEN
This is a song by a little known
pop singer named Miss Britney
Spears. One of the greatest
singers of all time ... And an angel
if ever there was one on this
earth.
The girls start to giggle.
( <:ON'T'TNTTF.D \ Spring Breakers
106 CONTINUED: (2) pg 58
106
ALIEN begins playing the Britney Spears ballad "Everytime."
He plays the simple pop piano intro and then begins to sing
the words.
He sings this in a serious non-ironic manner, as if he were
on stage in front of huge audience.
ALIEN (CONT'D)
(singing, the words slow
and with emotion)
Notice me, take my hand, why are we
strangers when, our love is strong,
why carry on without me.
He continues with the piano part.
The girls move up closer to him.
We begin to see close ups of their masked faces.
ALIEN starts singing the chorus all the while staring at the
three girls holding shotguns.
ALIEN (CONT'D)
Everytime I try to fly, I fall
without my wings, I feel so small,
I guess I need you, baby and
everytime I see you in my dreams, I
see your face, it's haunting me, I
guess I need you, baby ...
He closes his eyes and sways his head.
He continues with the piano part.
He looks up at the girls and smiles.
BRIT and CANDY look at him.
They put both shot guns up into the air and start slow
dancing with one another.
WE NOW SEE A VERY QUICK SERIES OF VIOLENT MOMENTS.
THESE SCENES FLY BY.
THEY ARE ALL IN SLOW MOTION. CUT TO:
EACH SCENE INVOLVES THE THREE GIRLS AND ALIEN ROBBING SPRING
BREAK KIDS.
r r.nNrrTNTnm, 107
108
109 Spring Breakers
CONTINUED: pg 59
THE GIRLS WEAR THEIR PINK SKI MASKS DURING THE ROBBERIES.
THEY DO THESE ROBBERIES IN THEIR BIKINI'S.
ALIEN WEARS A BANANA YELLOW BANDANA OVER HIS FACE WITH WHITE
RAY BAN SUNGLASSES.
ALL THE NATURAL SOUNDS FROM THE SCENES ARE COMPLETELY GONE.
ALL WE ARE HEARING OVER THESE IMAGES IS ALIEN SINGING THE
REST OF THE BRITNEY SPEARS SONG WHILE HE PLAYS THE PIANO.
INT. MOTEL ROOM -NIGHT 107
They are robbing a bunch of FRAT BOYS.
The FRAT BOYS are all lined up with their hands on the wall.
ALIEN
(singing off screen)
I make believe that you are here, it's the only way I see clear.
The girls are going through their wallets.
ALIEN has a gun pointed at their heads.
EXT. PARKING LOT -NIGHT 108.
They are robbing a bunch of blonde haired SORORITY GIRLS.
The SORORITY GIRLS are all on their knees and wearing mini
skirts. Their hands are behind their heads.
ALIEN
(singing off screen)
What have I done, you seem to move
to easy.
The SORORITY GIRLS are crying.
The sound of ALIEN singing slowly fades away and morphs into
the actual recorded Britney Spears version.
INT. WEDDING PARTY -NIGHT 109
They are robbing a small group of people at a wedding party.
The song continues.
( C:ON'T'TNTTRD!) Spring Breakers
109 CONTINUED: pg 60
109
110
111
112 SONG
And everytime I try to fly, I fall
without my wings, I feel so small,
I guess I need you baby.
BRIT is holding the grooms face down to the floor.
He tries to break away and Candy kicks the side of his
stomach with her flip flop.
ALIEN pistol whips him.
EXT. OUTDOOR ATM MACHINE -NIGHT 110
A couple of black college aged spring break kids are lined up
getting cash at the atm.
They are holding neon green alien blow up beach dolls.
SONG
And everytime I see you in my
dreams, I see your face, your
haunting me.
The dolls are flapping in the wind.
CANDY and BRIT run up with shot guns and rob them.
EXT. SWIMMING POOL -DAY
They are wading waist deep in the water. 111
They are pointing guns at the heads of more college spring
break girls.
ALIEN is in his bathing suit.
SONG
I guess I need you, baby ...
He starts yanking off their jewlery.
The lyrics trail off.
INT. MOTEL ROOM -DAY 112
The final quiet piano part of the song continues and plays
over the remainder of these scenes, like a lullaby.
A bunch of JOCKS are completely hog tied with their hands and
feet strung up.
( C:ON'PTNTTRDi) Spring Breakers
112 CONTINUED: pg 61
112
113
114
115 They are lined up next one another on the motel beds.
ALIEN and the girls quickly rummage through their wallets and·
belongings.
One of the jocks starts screaming. COTTY punches the jock in
his face.
EXT. JUNKY MOTEL/BACK PARKING LOT-MAGIC HOUR 113
The music continues.
BRIT and CANDY are kicking a guy in the face.
ALIEN pulls another guy out of his convertible Mercedes and
throws him to the ground.
COTTY points a gun at the guy's head.
INT. ARCHIE'S HOUSE -LIVING ROOM -MAGIC HOUR
Archie is sitting by a bronze coffee table.
There is a massive pile of weed on top.
He's bouncing a baby on his knee.
He is surrounded by his posse of henchman.
ARCHIE
They bringin too much heat down. I
don't like it. They taking food
out my babies mouth. And my baby
needs to eat. My babies hungry.
The baby looks up at ARCHIE and smiles.
I/E. MERCEDES/QUIET ROAD -MAGIC HOUR
BRIT,COTTY, CANDY, and ALIEN are racing down the street.
We're inside the car with them as they drive.
The trees outside are whipping by. 114
115
They' re flying down the sandy road. All the windows are down .1
The music fades away.
All the sound is off.
The wind is blowing their faces.
( C:ON'T'TNTTRDI) Spring Breakers
115 CONTINUED: pg 62
115
116 They're all laughing and completely ecstatic.
They stick their arms out the window.
We follow their arms in the wind.
THE SCREEN GOES BLACK. THE SOUND OF GUNS COCKING.
EXT. BACK ALLEY/APARTMENT BUILDING -NIGHT 116
A nerdy looking spring break COLLEGE KID with really curly
red hair and glasses is standing under a broken street lamp.
His shirt is off and he has a pot belly.
He's holding a boogie board under one arm.
BRIT and CANDY and COTTY are each pointing a gun at him,
their guns have silencers on the end.
They have their pink stocking caps covering their faces.
The NERD lifts his hands up in the air and his boogie board
drops to the ground.
BRIT
You have any money?
NERDY BOY
No.
CANDY
Lemme get your wallet.
NERDY BOY
I didn't bring it.
Long pause.
They look at each other like they don't know what to do next.
BRIT and CANDY shrug their shoulders.
COTTY smiles at the boy.
COTTY
Drop your pants.
NERDY BOY
What?
COTTY
Drop your pants.
( r.ON'T'TNTrnn) Spring Breakers
116 CONTINUED:
NERDY BOY
Why?
COTTY
I wanna see what it looks like.
The girls giggle.
He is too nervous to move.
They point their guns at him.
He drops his pants down to his ankles.
The girls just stare.
Their eyes grow wide.
The NERD stares back at them in their bikinis.
They tilt their heads to the side.
COTTY (CONT'D)
Goodness.
BRIT
Are you getting excited?
NERDY BOY
Yeah.
CANDY
Wow ... Bonertime.
We see his naked ass shivering from behind.
The girls move in closer.
COTTY
That's not bad lookin'.
CANDY
You should be proud of that.
NERDY BOY
Thanks. I am, actually.
Close up of his face blushing.
He gets a nervous grin on his face.
The sound of the ocean. pg 63
116 117
118
119 Spring Breakers Blue Shooting Script
I/E. CAMARO -NIGHT
We are inside the car.
ALIEN is speeding.
He's the only one in the car.
We see the back of his head.
We see his hand on the steering wheel.
We see him only from behind. pg 64
117
He turns the bass up on the radio. The only light comes from
the glow of the radio in the front.
He is smoking a cigarette.
EXT. DIMLY LIT BRIDGE -NIGHT
The girls are walking on the side.
The wind is blowing hard and they are shivering.
I/E. CAMARO -NIGHT
We are back in the car with ALIEN.
He drives for a moment.
He pulls into the parking lot.
We are still watching him from behind.
He stops the car and the girls jump inside.
They smile at ALIEN and slam the doors shut.
They drive for a moment without speaking.
BRIT is sitting in the front passenger seat.
CANDY is sitting in the back seat behind ALIEN.
COTTY is sitting in the back seat behind BRIT.
BRIT rolls her front window down.
She closes her eyes and lets the wind hit her face.
ALIEN turns the music off. 118
119
(CONTINUED) *
* Spring Breakers
119 CONTINUED:
ALIEN
How'd it go?
BRIT
Good. pg 65
119
BRIT pulls a wad of cash out from her bikini top and then
hands it to ALIEN.
They drive for a bit more.
ALIEN slowly comes to a stop at a red light off the main
drag.
They sit there quietly for a moment.
Out of nowhere a yellow Ferrari screeches to a halt in the
lane next to them.
It's ARCHIE the thug.
A really UGLY FEMALE THUG with a Santa Claus mask is sitting
next him. She is wearing a bullet proof vest on with no
under shirt.
ARCHIE smiles and all his teeth are shining gold.
He leans out his window and sticks a gun towards them.
He points it directly towards BRIT and ALIEN in the front
seat.
He speaks in a calm monotone voice.
He has a slight slurred lisp.
His eyelids are heavy as if he just smoked a lot of weed.
ARCHIE
Wattup niggas? Wattup Alien?
Ya'll wanna die right now? Feel
like dying tonight? You know these
streets belong to me? I run these
streets nigga. Not you. Maybe I
should I kill you right now?
(pause, he acts like he's
trying to decide)
Should I shoot you in yo fuckin'
face?
The UGLY FEMALE THUG in a Santa mask has an uzi in her hand.
SHE sits up.
She points it at the back seat.
( C:ON'T' TNTTF!D' 119
120 Spring Breakers
CONTINUED: ( 2 ) Blue Shooting Script
She makes a horrible face. pg 66
119
She fires two quick shots into the back passenger side door
ARCHIE (CONT'D)
These streets is mine niggas!
ARCHIE leans back into his car and then peels away.
The FEMALE THUG stays with her head out the sun roof all the
while pointing her uzi at them until she completely
disappears from sight.
I/E. CAMARO -NIGHT
COTTY is bent over squeezing her arm.
Everyone seems in shock.
COTTY looks down at her arm.
There's a hole in it.
COTTY
(matter of fact)
My arm.
She leans herself all the way forward in the seat.
The screen goes red. 120
121 EXTREME CLOSE UP OF THE BULLET BEING TOSSED INTO A WHITE 121
SINK.
122 A bit of blood gets on the sink.
INT. ALIEN'S HOUSE/BATHROOM -NIGHT
ALIEN sets the tweezers down.
He pours some whiskey onto a towel and dabs the side of
COTTY'S arm.
We hear her moan.
Extreme close up of her face wincing in pain.
ALIEN has a blunt dangling from his lips.
He puts it up to COTTY'S lips and she takes a deep puff. 122 * 123
124
125 Spring Breakers Blue Shooting Script pg 67
INT. ALIEN'S HOUSE/SHOWER -NIGHT 123
COTTY is standing in the shower. Her head is down.
The light in the shower casts a boozy bluish glow.
Water is pouring down her face.
She begins to cry like a little girl.
We see a close up of her little red painted toes.
We see drips of blood being washed away onto the floor and
-cl0wn-i:;-he-clra-:i-n·--
EXT. ALIENS BACK PATIO -NIGHT
ALIEN is playing the piano.
His fingers are blood stained.
INT. ALIEN'S BEDROOM -NIGHT 124
125
CANDY and BRIT are tightly wrapping a thick bandage around
COTTY'S arm.
COTTY is sitting on top of the bed full of money.
She is swigging a bottle of Vodka straight from the bottle.
She looks up at CANDY.
COTTY
(in a whisper)
I wanna go home now. Spring break
is over.
BRIT and CANDY pause for a second.
They give COTTY an intense look.
Close up of all their faces.
They continue wrapping her arm with the bandage. *
ALL DIALOGUE FROM SCENE 126 WILL BE PERFORMED IN THIS SCENE. *
COTTY (CONT'D) *
(her conversation from the *
previous scene continues *
over these images) *
I know you both wanna stay. *
(CONTINUED) Spring Breakers Blue Shooting Script
125 CONTINUED:
Abandoned motels at night.
COTTY (CONT'D)
I know you love it here.
COTTY (CONT'D)
Everyone else is going back to
school now.
COTTY (CONT'D)
Everyone is going back to their
live's now. pg 67A
125
CUT TO:
126 WE BEGIN TO SEE A QUICK SERIES OF IMAGES THAT ILLUSTRATE WH?l6I'
IT LOOKS LIKE ONCE EVERYONE LEAVES SPRING BREAK.
Empty beaches.
(CONTINUED) *
*
*
*
*
*
*
*
* 126
127
128 Spring Breakers
CONTINUED: pg 68
126
We hear the sound of piano keys barely being played.
COTTY
(her conversation from the
previous scene continues
over these images)
I know you both wanna stay.
Abandoned motels at night.
COTTY (CONT'D)
I know you love it here.
Qesolate -strip_ malls.
The piano continues playing.
COTTY (CONT'D)
Everyone else is going back to
school now.
Empty bars.
COTTY (CONT'D)
Everyone is going back to their
live's now.
Broken street lamps.
Trash in parking lots.
Stray dogs walking the shoreline.
EXT. BUS DEPOT -DAY
The piano sound continues, now becoming a pretty melody.
They walk up to the bus.
BRIT and-CANDLar_e_ giving COTTY a hug.
Her arm is wrapped up in a thick bandage.
She steps onto the bus. She turns and waves.
BRIT and CANDY wave and then blow her a kiss.
The piano continues.
I/E. BUS -DAY
The bus is driving. 127
128
( <:ON'T'TNTTT.:D ) 128
129
130 Spring Breakers
CONTINUED: Blue Shooting Script pg 69
128
Close up of COTTY with her head against the window.
A single tear falls down her cheek.
We photograph this in exactly the same way as the earlier
scene with FAITH on the bus.
The piano starts to fade out a bit.
EXT. ALIEN'S BEACH HOUSE/SWIMMING POOL -NIGHT
It's very dark.
The three of them are making love in the water.
The only light comes from the glow inside of the pool.
EXT. ALIEN'S BEACH HOUSE/BACK DECK -NIGHT
They are all sitting side by side on the edge of the pool
with their knees in the water. They are all unclothed.
ALIEN is in the middle.
They are all hunched forward.
We see them only from behind.
ALIEN turns and smiles.
ALIEN
We gonna do this?
Long pause.
CANDY and BRIT both stare at ALIEN.
CANDY
Your scared aren't you?
-~IT
Scaredy pants. 129
130
ALIEN stares down at the water and smiles, he chuckles a bit.
It's very dark out.
The girls giggle. * 131
132 Spring Breakers
INT. ALIEN'S LIVING ROOM -NIGHT
BRIT and CANDY are slow dancing with one another.
A slow jam is playing on the speakers.
ALIEN is smoking a joint on the couch.
The lights are down.
BRIT is holding a champagne bottle in one hand.
INT. ALIEN'S KITCHEN -NIGHT pg 70
131
132
We see ALIEN put a brief case onto the kitchen counter.
He clicks it open.
There are two brand new Uzis inside.
He takes them out and sets them onto the counter.
CUT TO:
133 CLOSE UP OF ALIEN PUTTING SILENCERS ON THE END OF EACH GUN_33
He holds them up towards the light.
134
135
136 He points them directly towards us.
INT. ALIEN'S BEDROOM -NIGHT 134
The girls are both lying on their backs on the bed full of
money.
The lights in the room are red and hazy.
They point their guns up towards the ceiling.
They seem completely in their own world.
INT. ARCHIE'S HOUSE BEDROOM -NIGHT
Archie is making love to two girls.
Music is on in the background.
EXT. SPEED BOAT -NIGHT
ALIEN steers a speedboat flying across the ocean. 135
136
( C:ON'T'TNTTF:n) Spring Breakers
136 CONTINUED: pg 71
136
137 Water is spraying on both sides of the boat.
CANDY and BRIT are standing in the front of the boat.
ALIEN
(off screen) It seems like a dream.
They have their ski masks on.
Water is flying.
They are both wearing matching fluorescent pink bikinis.
They are holding mini uzis.
They are blankly staring up into the blackness of the sky.
EXT. SPEED BOAT/DOCK -NIGHT
The boat pulls up to the dock.
We are in what looks like a very exclusive area of homes.
ALIEN tosses a cigarette into the water.
He points to a house.
ALIEN
That's it.
He looks up at the girls.
He gently kisses each girl on the lips.
The kisses last a long time.
He helps them off the boat.
Long pause. They all stare at each other. 137
Out of no where a bullet sails through the sky and hits ALIEN
in the head. He collapses onto the boat.
A BLACK THUG LOOKOUT GUY is standing on the dock. His gun is
smoking.
CANDY turns and shoots him. HE falls into the water.
The girls step up and look at ALIENS body lying motionless in
boat.
Without any pause, both girls quickly turn around and start ,
running towards the house.
( r.ON'T'TNTTRD) Spring Breakers
137 CONTINUED: pg 72
137
This whole scene is done in one long frenetic running motion.
We follow the two girls without ever letting up.
We follow them from behind.
They run up the sand.
They run up the deck and jump a fence.
The sound of big dogs barking.
The girls don't pause or hesitate for a second.
They keep running full steam and we are running with them.
As they get close to the house they begin screaming like wild
animals.
They run past a swimming pool and up some stairs.
There are four THUGS smoking weed in the back of the house.
Two of them are wearing bullet proof vests.
They all have on gold chains and gold teeth.
The girls' screams become louder and more sustained, very
high pitched.
The noise is so strange and off putting that the THUGS seem
confused by it.
We are still running with the girls.
They are running towards the thugs.
A few of the THUGS start to stand up.
They are all strapped with guns.
The girls run up to the THUGS and start firing.
CANDY shoots the UGLY FEMALE THUG(the same one that shot
COTTY).
She shoots her directly in the forehead.
Her body drops like a wet rag and blood goes everywhere.
The other THUGS look up in disbelief.
The image of BRIT and CANDY in pink bikinis with uzis is so
strange that everyone seems frozen by it, like a dream or a
nightmare.
I C:ON'T'TNTTF.D \ Spring Breakers
137 CONTINUED: (2) pg 73
137
A stream of white smoke seeps out from the silencers on their
uzis.
Without any hesitation or pause BRIT and CANDY shoot the
three remaining THUGS in the head.
It all happens very quickly and with no reaction or emotion
from either girl.
They do this while running forward the entire time.
They do it like it's video game.
The THUGS drop to the floor.
Blood goes all over the walls and floor.
The girls keep running.
We follow them through various rooms.
They kick open ARCHIE'S bedroom door.
They flick the lights on.
He is not there.
There is a noise machine in his room that has drowned out all
the sound.
The noise machine is playing an ocean sound.
They walk through his bedroom and into his massive marble
bathroom.
There are two naked girls taking a shower together.
ARCHIE is in the huge bathtub watching, he's submerged in
bubbles.
He goes to grab his gun next to the bathtub.
The girls run towards him.
They both pull the triggers on their guns.
Neither gun fires.
Both guns are completely out of ammunition.
They drop their uzis to the floor.
BRIT and CANDY just stare at ARCHIE.
ARCHIE stares back at them.
r r.owrTNTmn, Spring Breakers Blue Shooting Script
137 CONTINUED: (3) pg 74
137
Al37
138 He seems stunned and confused.
No one knows what to do next.
BRIT and CANDY look at one another.
They slyly look down at their bikini bottoms.
The two naked girls run out of the shower and disappear.
BRIT and CANDY quickly stick their hand way down into the
crotch of their bikini bottoms.
-AR-G-H-:E-E-§'0e-s-£0r-h-:i:-s-gun-.--------
Clos e up of BRIT and CANDY'S hands digging into their bikini
crotch area.
BRIT and CANDY pull out two tiny guns from in between their
legs(the same guns from earlier.)
They let out an animal howl.
They point their guns at ARCHIE and start blasting.
EXT. ARCHIE'S HOUSE Al37
We see the two naked girls running away from the house.
CUT TO:
SPRING BREAK VIDEO FOOTAGE. IN THE STYLE OF 'GIRLS GONE
WILD.' 138
We see TWO TOPLESS GIRLS standing on the beach holding beer
bottles.
They are wearing rows of multi colored plastic beads around
their necks. Their skin is an orange color because of bad
sunburn.
The girls speak directly into the camera as if they are being
interviewed by someone off screen.
SPRING BREAK GIRL 1 It sucks when spring break is over.
This is actually a spiritual place.
When you drink enough and have sex
enough it's actually spiritual
ya'll.
(CONTINUED) *
*
*
* Spring Breakers
138 CONTINUED: Blue Shooting Script
SPRING BREAK GIRL 2
Fuck yeah!! We wish it could go on
forever.!!! Spring break forever
motherfuckers!!! pg 74A
138
A drunken jock walks up and yanks one of the girls bikini
bottoms off.
(CONTINUED) Spring Breakers
138 CONTINUED: pg 75
138
139
140
141 The jock falls down laughing in the sand.
The girl kicks him hard in the head.
EXT. ARCHIE'S HOUSE -NIGHT
We see a series of still like portraits of all the dead
bodies in the back. They click by in quick succession.
It's pure carnage.
EXT. ARCHIE'S YELLOW FERRARI -NIGHT
The car is driving down the main beach strip. 139
140
There are bright lights from hotels and nightclubs beaming
down from both sides of the street.
The lights beam down onto the cars window's.
The car is blasting bass music from its trunk.
We follow them from behind.
We can see CANDY'S arm hanging out the drivers side.
We quickly cut to the front of the car as it drives down the
street.
We see the two of them bobbing their heads up and down in the
front seats.
We watch them through the windshield.
The reflection from the lights bouncing off their faces.
They seem completely calm and at piece with the world.
EXT. OCEAN PIER -NIGHT
The two girls are staring out at the water.
It's very dark out. 141
They are at the same place that ALIEN took them when they all
first met.
The sound of birds.
They both toss their guns and ski masks into the water.
( C:ON'T'TNTTF.n \ Spring Breakers
141 CONTINUED: pg 76
141
142
143
144 CANDY O.S.
(the sound of her ppeaking
into a phone off screen)
Hi mom. It's Candy. Sorry I
haven't called in so long. I
apologize.
The two girls lean in close together.
BRIT puts her head on CANDY'S shoulder.
CANDY puts her arm around her.
The sound of the waves.
EXT. BEACH -NIGHT
BRIT and CANDY are walking together on the shore.
They walk into the ocean up to their ankles.
CANDY (O.S.)
(speaking over the phone)
I know, I know. I went to spring
break anyway. It was so fun. You
have no idea. It's been such a
blast.
They kick the water and splash each other.
The wind blows their hair.
There is no one else around.
EXT. OCEAN -NIGHT
We see the surface of the water.
CANDY ( 0 . S . )
(on phone)
We had a great time.
It is calm now.
EXT. EMPTY BEACHSIDE PARKING LOT -NIGHT 142
143
144
The girls are sitting next to one another on a dirty curb.
They are still in their bikinis.
The wind is blowing.
( C:ON'T'TNTTTm) 144
145 Spring Breakers
CONTINUED: Blue Shooting Script pg 77
144
The FERRARI is parked off to the side.
CANDY is holding a cell phone up to her ear.
She is slowly sauntering around the parking lot. She moves
like a little kid now.
The parking lot is completely empty except for the two of
them.
CANDY
(speaking into her cell
phone)
-¥ea-h---.----.-.We-:l-l-,--I----:i-u-s-t-wani::-ed-tc0-let
you know I'm coming home now, back
to school and everything. And
listen, I just want you to know
something morn ... I love you all so
much ... And that I'm gonna do better
now.
BRIT looks over at CANDY and smiles.
There's a shopping cart turned over on its side with a red
balloon tied to it.
The balloon is .flapping in the wind.
There is sand and garbage everywhere.
There are palm trees in the background.
CANDY rolls here eyes and bats her lashes.
She looks like she is about to laugh at something.
EXT -DRY CLEANERS -NIGHT
CANDY and BRIT are each licking a large multi colored ice
cream pop.
There's a few drunken spring break kids passed out on the
sidewalk.
BRIT is speaking into her cell phone.
BRIT
(on the cell phone)
Yeah morn I promise~ .. Better at
school. Better at life ... Yeah. I
feel different for some reason. I
feel changed. 145
(MORE)
(CONTINUED) * 145
146 Spring Breakers
CONTINUED:
BRIT (CONT'D)
Like I just wanna be a good girl
now ... Yeah, I just wanna have fun
and be happy ...
Her knees are up·under her chin. pg 78
145
The GO GO'S song "VACATION," starts to quietly play under the
image.
CANDY licks the bottom of her ice pop.
She smiles nervously.
BRIT smiles up towards CANDY.
Her ice pop drips onto the sidewalk.
BRIT starts to laugh.
She licks the drips from the melted ice pop off her fingers.
The wind blows her hair.
The song grows louder now.
I/E. YELLOW FERRARI/ROAD -SUNUP 146.
We see the FERRARI barreling down a highway looking over the
ocean.
The bass is pumping.
The girls seem at peace.
BRIT O.S.
{The cell phone conversation
continues over the image)
Yeah mommy ... I think that's the
secret to life ... Be a good
person ... OK. I will. I'll call
ya' :tl soon. I,ove-you-1-ot' s. Kiss
daddy for me. Love you. Bye bye.
Their hair is whipping.
We watch in real time as the sky goes from darkness to light.
We see BRIT'S arm hanging out the driver's side.
CANDY waves goodbye to the ocean.
The song continues as they cruise down the street.
The sky turns pink.
( C'.ON'T'TNTTRD) Spring Breakers
146 CONTINUED:
CANDY takes a deep breath and smiles.
The wind is blowing. pg 79
146
They shift the car into high gear and it takes off even
faster.
The song plays at full volume now.
We follow them.
The world seems perfect.
THE END.
FADE OUT. | screenplays |
I, ROBOTScreenplaybyJeff VintarBased on his original screenplay, “Hardwired,” and the robot stories of Isaac Asimov
August 2002INT. LOW-TECH APARTMENT - MORNINGThe remarkable thing about this apartment is how unremarkable it is. Basic furniture. Plain walls. This could be today, or perhaps a recent yesterday. There is a phonograph, but no higher electronics. An old television set. But no computer.An alarm clock rings and keeps ringing until a hand turns it off. SPOONER rolls on his back and stares up at the ceiling.He stands inside the shower and lets the water wash over him.Spooner shaves with a straight edge razor. He rinses it off underneath the faucet and runs the blade over his face again.He cooks over his old gas stove. The pan smokes and sizzles.Spooner methodically fastens a HOLSTER around his torso. He removes the GUN, checks it, and sets it firmly back in place. Takes his BADGE from the table. Spooner puts on a long coat, and straightens the knot of his tie.EXT. FUTURE CITY STREET - MORNINGSPOONER exits his apartment building. TITLE AND CREDITS begin over a metal man standing on the sidewalk outside. It turns around revealing the stylized face of a humanoid ROBOT. Spooner makes his way through the morning crowd surrounded by PEOPLE WEARING THEIR COMPUTERS, the hardware shaped into form-fitting modules up and down their bodies, faces adorned with small screens or sunglasses scrolling data or playing images.Spooner looks to be the only traditional face in the crowd, just walking along, his body free of electronics. The jacked-in pedestrians around him move with an almost mechanical stiffness, while the city’s machines seem the most life-like:ROBOTS ARE PICKING OUT FRUIT at a market. SERVING CUSTOMERS at cafes. CLEANING STORE WINDOWS. OPENING DOORS for people.A lone ROBOT IS WALKING A DOG. The dog stops to inspect a post. The robot looks down at the animal -- a convincing imitation of human movement -- and tugs on the leash. The dog immediately hurries along and they continue on their way. Spooner is suddenly aware of a ROBOT WALKING BESIDE HIM. He looks annoyed and increases his pace, losing it in the crowd.The street is swarming with traffic. BUT NO ONE IS DRIVING. The dashboards have no steering wheels. Again the people riding in the cars look almost artificial, not moving at all.(CONTINUED)And high up above, an electronic BILLBOARD for U.S. Robotics runs a series of ads with broadly-smiling humans being served by robots and machines, with the pitch: The Future is Today!The cars STOP IN PERFECT UNISON. Spooner crosses the street.SPOONER’S P.O.V. Directly in front of him, in the crowd, a CARETAKER ROBOT holds a LITTLE GIRL in its arms. The Girl is clutching its neck the way she might hold her mother, staring over the robot’s shoulder at Spooner. She smiles big at him.Spooner just stares at her. Then he seems to remember what to do, and tries to return the smile. It doesn’t quite work. INT. AT THE POLICE STATION - MORNINGSPOONER walks across the squad room. His FELLOW DETECTIVES sit at impossibly neat high-tech desks with computers set into the tabletops. But one desk in the middle of the room stands out in stark contrast. Nothing humming or whirring. A real mess. The desk could be sent back in time fifty years and fit in just fine. Here Spooner sits down. Immediately, his old-style TELEPHONE RINGS. He picks up the receiver and:SPOONERSpooner, Homicide.END OF CREDITSINT. FEATURELESS METAL CORRIDOR - DAYAn ELEVATOR OPENS delivering SPOONER to a featureless metal corridor. Slowly, he starts down the hall. His FOOTSTEPS echo inside the narrow walls. He stops at a set of opposing doors. Spooner looks over at one, and the other slides open.INT. LUXURIANT CONFERENCE ROOM - DAYSPOONER steps into a room that seems incongruous attached to that metal hall. Rich woods. Warmly lit. He looks around, quickly, as if questioning what he sees. His eyes settle on:SPOONER’S P.O.V. A LONG CONFERENCE TABLE with an OLD MAN sitting at the far end. He looks like he should be standing at a blackboard droning on and on in front of a room full of perplexed students. The Old Man speaks with a German accent.OLD MANHello there. Please, do come in.2.CONTINUED:
(CONTINUED)Spooner takes only a small step inside.OLD MAN (CONT’D)It’s all right. You can sit. Sit.Spooner does not sit down. Instead, he watches the Old Man lift a COFFEE POT and fill a single CUP.OLD MAN (CONT’D)Coffee?SPOONER(interested in this)You’re offering me a cup of coffee?OLD MANYah. But you are to say, “No thank you.”Spooner nods a little. The Old Man raises the coffee to his lips but doesn’t take a sip, looking over the cup at Spooner.OLD MAN (CONT’D)Coffee?SPOONERNo. Thank you.OLD MANAs you wish.The Old Man takes a sip, and returns the cup to the tabletop.OLD MAN (CONT’D)Thank you for coming.SPOONERYour phone call was...unusual.The Old Man does not respond. Spooner watches him:SPOONER’S P.O.V. The Old Man sits at the far end of the long table. He is absolutely still. There is no movement except for a whisper of STEAM rising from the top of the coffee pot.SPOONER (CONT’D)You wanted to tell me something about Doctor Hogenmiller. About his death.OLD MANYah.SPOONERWhat exactly did you want to tell me?3.CONTINUED:
(CONTINUED)OLD MANI exactly wanted to tell you that his death was not a suicide.SPOONERAnd why do you say that?OLD MANWhy? Because I want you to know it.SPOONERYes. But what specifically led you to the conclusion that Doctor Hogenmiller did not commit suicide?OLD MANSpecifically? Nothing specifically.SPOONERYou just have a general sense that it wasn’t so.OLD MANA general sense. Yah.Spooner thinks for a moment.SPOONERUnder normal circumstances that wouldn’t be enough to warrant an investigation.OLD MANBut this is not “normal circumstances,” is it, Detective Spooner of Homicide?SPOONERNo. It isn’t.OLD MANThen you will find out who killed Doctor Hogenmiller. Yah? And you will tell me.Pause. Spooner watches him:SPOONER’S P.O.V. The Old Man sits at the far end of the long table. He is absolutely still. There is no movement except for a whisper of steam rising from the top of the coffee pot.SPOONERIf you were murdered, Doctor, I’ll find out. And I’ll certainly let you know.The HOLOGRAM OF DOCTOR HOGENMILLER IS GONE. The empty chair 4.CONTINUED: (2)
(CONTINUED)and a steaming pot of coffee left. A moment later the entire CONFERENCE ROOM DISAPPEARS. Spooner is standing in front of a SHORT STUB OF TABLE jutting out from the LARGE VIEW SCREEN. What looked like a conference room is really a SMALL METAL CHAMBER that creates the illusion of a room and a long table.INT. FEATURELESS METAL CORRIDOR - DAYSPOONER steps from the chamber as a UNIFORMED OFFICER rushes past. Spooner thinks. Walks in the direction the officer came. Now he passes TWO MORE POLICE OFFICERS STANDING GUARD.Spooner steps into an open doorway and looks down:SPOONER’S P.O.V. The face of that Old Man stares back at Spooner from the BODY OF DOCTOR HOGENMILLER sprawled on the floor. His dead eyes wide. A HANDGUN next to his open hand.INT. HOGENMILLER’S LABORATORY - DAYSPOONER enters pandemonium. CRIME SCENE TECHNICIANS hurry about scanning the room with HANDHELD DEVICES. Spooner looks around at the lair of a mad scientist circa the 21st century:ROBOT BODIES fill the laboratory, most humanoid, still others designed with multiple arms and legs, some with wheels -- but all featuring the same tangle of wires bursting out of joints like gaping wounds. An elaborate MAZE holds a creepy METAL BUG. Elevated TERMINALS scroll columns of data that float just outside the screens. Skeletal arms and legs reach down from the ceiling. A PILE OF DISCARDED ROBOT PARTS in the far corner. Rows of robot heads stare back with cold empty eyes.A SUBORDINATE OFFICER sees Spooner and hurries up beside him.OFFICERThe stiff is Doctor Heinrich Hogenmiller, sixty-four-years-old. Weapon is a small caliber .22 registered in his name. The only means of entry or exit...(indicating the door)...is that door, which was secured from the inside. Seems pretty obvious the guy locked himself in and took his own life.SPOONERI know someone who disagrees with you.5.CONTINUED: (3)
(CONTINUED)OFFICERYeah? Who’s that?It takes Spooner a moment. But then he indicates the corpse.SPOONERHim.Spooner leaves the Officer looking confused and starts across the lab, moving past a row of unfinished robots with exposed innards, empty eye sockets staring back, as if watching him pass. The Detective looks increasingly tense as he goes on. Spooner reaches a wall, waves his hand over a panel, and the WALL OPENS bathing the room in sunlight. Spooner closes his eyes a moment, his face relaxing as the sun washes over him. EXT. U.S. ROBOTICS HEADQUARTERS - DAYSPOONER stands at one window of a cutting-edge skyscraper emblazoned with the company name US Robots & Mechanical Men.INT. FEATURELESS METAL CORRIDOR - DAYThe elevator opens again and a PAIR OF SHAPELY LEGS marches out. The CLICK OF HIGH HEELS echoes inside the metal walls.INT. HOGENMILLER’S LABORATORY - DAYSPOONER hears RAISED VOICES and turns to see an ATTRACTIVE PROFESSIONAL WOMAN admonishing the TWO OFFICERS at the door. He starts across the laboratory. Slowly. Studies the Woman.SPOONERIs there a problem, Ms...?He nods at the Guards to let her pass. Spooner looks mildly surprised as the Woman walks toward him -- then past him -- ignoring the Detective for a moment. She scans the interior.WOMANCalvin. Doctor Calvin. Spooner hardens his tone a bit in order to get her attention.SPOONERWhat is your field of expertise, Doctor?6.CONTINUED:
(CONTINUED)Calvin hesitates. But brief enough to perhaps go undetected.CALVINI’m the Chief Psychologist here. I’ve been asked to serve as your liaison during the course of the investigation.She turns around. For a moment, they look one another over.CALVIN (CONT’D)Where would you like to begin?SPOONERWe can begin with whether or not he put a gun to his head and pulled the trigger.Calvin appears to ignore, or possibly just accept, his tone. She looks down at the corpse. Her no-nonsense expression cracks but she quickly composes herself. The TECHNICIANS are scanning, and LIGHTING EFFECTS play across the lifeless face.CALVINDoctor Hogenmiller was a schizoid personality who took no pleasure in social relationships. He rejected people and engaged in solitary activities involving machines. As such he was highly susceptible to depression.SPOONERIf that was your diagnosis, why didn’t you see this coming?Calvin looks at him, as if the answer is obvious.CALVINThis is U.S. Robotics, Detective. Seventy-five percent of our employees fit that description.SPOONERJesus. Are you all so compassionate, or am I just lucky to have gotten you?Calvin thinks about that. Keeps her cool. She starts again.CALVINHogenmiller was one of the founding fathers of modern robotics. A giant in the field. Truth is, he did his ground-breaking work as a young man. Everyone expected greater things... but those hopes were never realized.7.CONTINUED:
(CONTINUED)Calvin takes a few steps deeper into the lab.CALVIN (CONT’D)What would it be like to know -- as an old man -- that you failed to fulfill the promise of the young man you once were? Perhaps it was too much to bear.The Crime Scene Technicians are beginning to pack up their equipment. The SUBORDINATE OFFICER approaches:OFFICERWe’re about finished here.SPOONERGood. Let’s lock it down.Spooner hasn’t taken his eyes from Calvin. Pause.SPOONER (CONT’D)I spoke to a dead man today. You want to tell me about that?CALVINThe Doctor avoided human contact. His hologram attended staff meetings in his place. Took his calls. I suppose he thought it was all quite funny. It’s a simple device--SPOONERA simple device that called the police.CALVINAt the sound of a gunshot, a 911 alert would be an automatic function.SPOONERDoes it automatically contact homicide?CALVINWe’re talking about a mechanism designed by Hogenmiller to say provocative things. To irritate and confound his colleagues.SPOONERAnd you think it’s still doing that.CALVINI’m sorry to say it, Detective, but your investigation is the result of our dead man messing with your head. This was suicide. Regrettable. But a suicide.8.CONTINUED: (2)
(CONTINUED)TWO MEN FROM THE CORONER’S OFFICE enter holding a GURNEY that resembles a black coffin. Spooner gestures for them to wait.SPOONERWhen you want to find out how a dead body got that way, Doctor, you ask: How many shots were fired? From what distance? Where did the bullets enter the victim?Spooner bends over the body. Studies it.SPOONER (CONT’D)Here we have a single shot fired at close range through the mouth into the brain. The murder weapon is present and in close proximity to the outstretched hand of the deceased, who suffered from depression. You’re right. Everything about this case says suicide. It is absolutely textbook.Spooner rises to his feet. Short pause.SPOONER (CONT’D)Even people who live a life of logic and precision are rarely so perfect in their deaths.CALVINI don’t understand, Detective. You’re saying this suicide would be more convincing to you -- if it was less of a suicide?SPOONERI’m saying that this crime scene has no ...personality.Spooner nods at the Coroner’s Men. They lower the box over the corpse, and when they lift it the body is inside. Calvin watches them exit. She can’t quite mask her frustration now:CALVINSurely you don’t believe there’s something sinister going on here?The Technicians work the control panels and start the process of powering down the facility. SECTIONS OF THE LABORATORY DARKEN one-by-one, and the background humming begins to fade.Spooner looks at her. And follows the body out.SPOONERI always find murder sinister, Doctor.9.CONTINUED: (3)INT. FEATURELESS METAL CORRIDOR - DAYSPOONER and CALVIN step into the hall. The TECHNICIANS exit and TWO OFFICERS seal the door with an impenetrable-looking HIGH-TECH LOCKING MECHANISM that engages with a loud DOOOOOM.Spooner looks relieved. As if he is glad to be out of there.CALVINWhen can we expect access to the lab?Spooner walks away, leaving her with no choice but to follow.SPOONERThis is a police investigation. You can expect to get in there when it’s over.CALVINWe’re used to receiving more cooperation from city authorities.They step up to the ELEVATOR. It opens and a ROBOT EMERGES. Spooner was about to enter but pulls back. Looking irritated as the robot lumbers past. Calvin sees this. Considers him.CALVIN (CONT’D)Maybe you personally don’t believe in the work we do here.SPOONERYou people do what you do. Then it’s up to the rest of us to make sense out of the world we all wake up in.INT. FEATURELESS METAL ELEVATOR - DAYSPOONER and CALVIN step inside the elevator and:CALVINHector?A YELLOW CIRCLE appears, hovering just above the surface of the wall. Like a LARGE SMILEY BUTTON that is SLEEPING. Now the two small slits grow into ROUND BLACK EYES, and the thin mouth expands into an ENORMOUS SMILE.CALVIN (CONT’D)Let’s help the Detective see things a bit more clearly. You know where to take us.The mouth of the face moves in sync with a GENTLE MALE VOICE.10.
(CONTINUED)HECTORYes, Doctor Calvin.The elevator HUMMMMMS as it starts to descend. Spooner and Calvin ride in silence. On the wall, the strange yellow face continues to smile at them. A few moments pass. A few more. Spooner begins to look uncomfortable. He glances at the wall ...and sees Hector smiling back. Spooner does his best to ignore the computer. Can’t. Looks back at the smiling face:SPOONERYou look like a very...(short pause)...happy computer.And the thing answers, smiling wide.HECTORThank you.EXT. LARGE CENTRAL ATRIUM - DAYThe elevator opens on an enormous atrium that runs the center of the skyscraper. It is a marvel of utopian thinking. Lush greenery integrated with an edgy modern architectural design. ROBOTS tend to the trees. The glass on all sides reveals the BUSTLING HALLS AND OFFICES of U.S. Robots and Mechanical Men.SPOONER and CALVIN make their way down a slowly winding path.CALVINWhen this company first started, we were manufacturing at the unremarkable rate of three robots a week. And now look at us. Today’s children will never know a world without robots.SPOONERThere are a growing number of unemployed human beings who don’t seem to find that prospect so appealing.CALVINWhen compared with robot workers, humans have several distinct disadvantages. We need to breathe. And eat. We require shelter and clothing. We demand payment for the labor we do, and at the end of a work day, each of us expects to be alive.11.CONTINUED:
(CONTINUED)They pass some ROBOTS moving in the other direction down the path. The mechanisms obediently stop and stiffly step to the side, making room for Spooner and Calvin. Spooner eyes them.CALVIN (CONT’D)Our robots have already begun paving the way for colonization of the moon and Mars -- without endangering a single human life. The first fire-fighting models are saving lives in twenty-one major cities. Soon medical robots will be performing micro-surgeries never believed possible.Every day our machines do more and more of the labor that enables human society to function, and flourish.SPOONERLeaving people to do what, Doctor?CALVINAfter a natural period of adjustment,leaving them to engage in the higher pursuits that make life worth living.They reach a door...and a ROBOT opens it for them.INT. BUILDING SECURITY CENTER - DAYSPOONER and CALVIN enter a security center with a hundred- plus screens currently running CORRIDOR SURVEILLANCE FOOTAGE.CALVINHector. Roll surveillance 7887.On the far wall the SMILING FACE OF HECTOR appears as before:HECTORYes, Doctor Calvin.Immediately every screen in the room displays the FEATURELESS METAL CORRIDOR that leads to the crime scene. Spooner turns. Looks around at the countless images.SPOONERWhat the hell is this?CALVINApproximately the last thirty seconds of Doctor Hogenmiller’s life.The elevator opens as DOCTOR HOGENMILLER steps into the hall. From every conceivable angle. Long shots and medium shots. 12.CONTINUED:
(CONTINUED)High angles and low angles. Close-ups of everything from his eyes to his shoes. His face is composed but tight. Intense.Spooner watches the laboratory door open to admit him. The interior is visible, but only briefly. Hogenmiller steps in. The door slides shut behind him. A moment passes. A few more. Suddenly, a GUNSHOT ECHOES through the metal corridor.CALVIN (CONT’D)Of course, we’ll make these surveillance tapes available to the Department. But we’ve already gone over them thoroughly. I assure you that no one enters the lab at any time except for Hogenmiller, and after the gunshot, no one leaves. Now Idon’t pretend to be a Homicide detective ...but would you mind telling me how we could have a murder without a murder-er?Spooner looks at her noncommittally. He thinks for a moment.SPOONERHector, can you fast-forward, please.The hundred-plus screens around them all FAST-FORWARD, and soon POLICE OFFICERS enter the frame moving at an accelerated rate. They struggle to force open the lab door, then rush through in a blur. And those CRIME SCENE TECHNICIANS appear. SPOONER (CONT’D)Thank you, Doctor. I admire rigorous thinking.Calvin looks surprised, but pleased. About to respond when:SPOONER (CONT’D)Of course your conclusion’s premature.CALVINExcuse me?Spooner steps toward a bank of screens. Sees a FAST-FORWARD VERSION OF HIMSELF enter the lab. An IMAGE OF CALVIN enters.SPOONERNo murderer entered or exited the scene of the crime. This leads you to deduce there was no murder, but you’ve ignored the other possibility.And he turns back to Calvin.13.CONTINUED:
(CONTINUED)SPOONER (CONT’D)The killer has always been there...(short pause)...and never left.CALVINYou’re trying to tell me a murderer has been hiding in the lab the entire time?SPOONERStop the recording, Hector.(back to Calvin)If I’m right, the killer’s still there.The RECORDINGS ARE ALL PAUSED at the exact moment Spooner and Calvin were standing outside watching the Two Officers secure the lab door with the IMPENETRABLE-LOOKING LOCKING MECHANISM.SPOONER (CONT’D)We locked it in.INT. FEATURELESS METAL CORRIDOR - DAYSPOONER and CALVIN step up. Spooner holds his BADGE in front of that locking mechanism, and it RELEASES A SERIES OF BOLTS.SPOONER’S AND CALVIN’S P.O.V. The laboratory is dark and quiet. Just the low HUMMING of several terminals casting an eerie illumination over robot heads, and gutted metal bodies. INT. DOCTOR HOGENMILLER’S LAB - DAYSPOONER and CALVIN re-enter. Calvin stops just inside the door, watching Spooner move into the room. He looks around. Slowly he walks past the same ROW OF UNFINISHED ROBOT BODIES as before. Empty eye sockets stare back, as if watching him. Spooner stops. Sees that MAZE holding the METAL INSECT. He approaches the maze. Bends over it. Spooner gets closer andThe ROBOT BUG COMES TO LIFE and leaps forward. Spooner immediately pulls back as the insect scurries off through the maze, its antenna detecting the barriers, its multiple legs propelling its body with a series of WHIRS. The robot makes it through the maze and reaches the other end. Now it STOPS.Calvin leans against the door skeptically, crossing her arms in front of her chest. Spooner frowns a bit but keeps going. Now he sees something across the lab.14.CONTINUED: (2)
(CONTINUED)SPOONER’S P.O.V. A COMPLETE ROBOT BODY hangs with the other gutted bodies. It is humanoid. Four complete limbs visible. All of its joints intact. A head rests atop the torso, at a slight angle, its eye lenses staring out over the laboratory.Spooner slowly walks over. The robot hangs slightly above him, the metal head staring down, as if watching his every move. Spooner reaches inside his coat and takes out his GUN.He moves closer. Spooner pokes at the body and THE HEAD TUMBLES OFF THE TORSO ONTO THE FLOOR. It rolls and comes to a rest, its two eye lenses staring blankly up at the ceiling.Calvin looks as if she is trying to hold it in. Then LAUGHS.CALVINI’m sorry. I didn’t intend to laugh.Spooner puts his gun away. Calvin presses her lips together to stop another wave of amusement.Spooner walks past a MOUND OF ROBOT PARTS in the far corner. Arms and legs. Pieces of indistinguishable metal. A robot head that looks like it was tossed haphazardly onto the pile.CALVIN (CONT’D)I feel it’s my obligation to point out that a robot cannot murder a human being. Not if it was ordered to kill. Not even if it was protecting its own existence. This is exactly what the Three Laws of Robotics were designed to prevent.Spooner stops and turns around. Starts back toward the pile. CALVIN (CONT’D)A robot would destroy itself before it allowed a human being to come to harm.Spooner kicks at the pile dislodging a few small metal parts.CALVIN (CONT’D)Are you hearing me, Detective? A robot cannot hurt you.Spooner moves his foot to kick at the mound again WHEN THE PILE FLIES IN ALL DIRECTIONS. Robot parts strike the wall and clatter across the floor in a deafening cacophony of metal as THE ROBOT THAT WAS HIDING UNDER THE JUNK STANDS UP. Its metal hand reaches inside Spooner’s coat. Too fast for a human being. It retracts with his gun. The Robot raises itself to its full height POINTING THE GUN AT SPOONER’S HEAD. 15.CONTINUED:
(CONTINUED)Calvin cannot believe what she is seeing. Not frightened so much as absolutely fascinated.Spooner stares down the long barrel into two illuminated eye lenses resting inside a roughly-sculpted and grim metal face.SPOONERMove away from the door, Doctor. Now.Calvin moves away from the door, not taking her eyes from the Robot, watching its every move almost clinically.The Robot backs toward the exit in a convincing imitation of a desperate man seeking escape. The tremulous shaking of the gun. The darting looks between Spooner and Calvin as it nervously watches them both. Its movements so fluid. Human.The Robot backs up against the door still pointing the gun at them. Then it quickly touches a wall panel. The door slides open and the Robot steps through into the CORRIDOR, slamming its metal hand onto the exterior door panel to close them in.Spooner rushes to the door, and takes position on one side. He pulls a BACK-UP GUN from around his ankle and removes a CARTRIDGE. Calvin steps over, her eyes fixated on that door:CALVINHow did you know it was under there?SPOONERIf I was made out of metal, and didn’t want anyone to find me, I’d hide under a pile of junk.Calvin turns to him and seems to realize what he’s doing for the first time when he pulls a LARGER CARTRIDGE from his belt and inserts it into the handle with a KL-KLATCH.CALVINDon’t be ridiculous. There’s no reason to shoot at it.Calvin matter-of-factly touches the control panel. The door opens and she marches out into the open before he can stop her. A stunned Spooner points his gun. Ready to cover her:SPOONER’S AND CALVIN’S P.O.V. At the far end of the hall the Robot turns at the sound of the door. Its movements are so quick. Fluid. So human. It raises its own gun to fire andCALVIN (CONT’D)STOP. Terminate current program.The Robot freezes in place. Does not move.16.CONTINUED: (2)
(CONTINUED)CALVIN (CONT’D)Lower the weapon. Stand at rest.The Robot awkwardly lowers its arm to its side, and stands up straight, as if unable to ignore the command. For the first time its movements look stiff and robotic. Like a mechanism.CALVIN (CONT’D)Do not move again until you receive a direct command from me.Spooner is still tensed. Ready to fire. He looks surprised.CALVIN (CONT’D)It’s easy to assign human motivation to a machine when it’s made in our image. But this is not one of your “fugitives” attempting to escape. This is a robot. She turns away from the Robot and looks at Spooner:CALVIN (CONT’D)A simple command will reveal its behavior for what it is: clever programming. The illusion of self interest and free will.We were never in real danger, Detective.It still does not move. Finally, Spooner lowers his gun. He stares down the length of the corridor at the immobile Robot.CLOSE-UP of the ROBOT’S HAND hanging down at its side. ONE OF ITS FINGERS TWITCHES. Like a nervous tick.Spooner grabs the unsuspecting Calvin and forces her down as the Robot raises its arm and FIRES. Spooner and Calvin slide across the laboratory floor as BULLETS RICOCHET around them.The Robot FIRES one last time as the ELEVATOR OPENS. It runs on. Its movements are fluid again. Human. Holding the gun up near its roughly-sculpted face. The elevator doors shut.The laboratory is quiet again. Spooner lies on the floor on top of a stunned Calvin. She suddenly realizes that she’s still clutching him, and lets go. Spooner looks down at her:SPOONERWell, that was a very convincing illusion of somebody shooting at us.17.CONTINUED: (3)INT. INSIDE THE ELEVATOR - DAYTHE ROBOT stands just inside the doors. Even without human features it looks identifiably nervous, shifting its weight from foot to foot. Its long metal fingers uncurl, then wrap back around the grip of the gun. And suddenly, it stiffens. The Robot spins around pointing the gun at THE OTHER ROBOT in the elevator. The Other Robot is still. Primitive. It shows no reaction. Just stands there like a dumb mechanism.The Robot hesitates. Then lowers the gun. Its head moves, very subtly, looking over this Other Robot from head to toe.INT. BACK INSIDE THE LAB - DAYSPOONER rises and helps CALVIN up. She calls out to the air.CALVINHector?!The YELLOW CIRCLE appears near the wall. Like a LARGE SMILEY BUTTON. The mouth moving in sync with HECTOR’S GENTLE VOICE:HECTORI took the liberty of alerting building security .003 seconds after the first shot was fired. I hope you don’t mind.SPOONERI’m going after it--HECTORThe elevator containing the errant robot is now descending to the lobby, where it will be met by a team of armed security personnel already in position.Spooner thinks about it, and takes a step back into the room. They watch Hector’s face APPEAR TO FALL ASLEEP. The round black eyes flatten into tiny slits, and the mouth compresses. Moments pass before Hector opens its eyes again. And smiles:HECTOR (CONT’D)Congratulations, Detective. The robot has been apprehended.18.INT. BUILDING LOBBY - DAYSPOONER and CALVIN emerge from the elevator into the lobby, and push through a crowd of SPECTATORS straining to see. They reach a group of ARMED SECURITY GUARDS surrounding a ROBOT HOLDING A GUN. It is malfunctioning. Stopping and starting again. Joints WHINING. It is not the right robot.Calvin doesn’t know what to say. And Spooner starts for the door. Faster and faster. He rushes out onto the street andEXT. A BUSY SIDEWALK - DAYA ROBOT walks past. Then ANOTHER. MORE AND MORE ROBOTS are visible up and down the block, mixed in with the PEDESTRIANS. SPOONER stands there, helplessly, in the middle of the crowd. CALVIN joins him, breathless. She looks up and down the street. Spooner watches her now:SPOONERYou told me you were a psychologist. That wasn’t the whole truth, was it?CALVINI never said I treated human beings.They lock eyes for a moment.INT. BUILDING LOBBY - DAYSPOONER and CALVIN re-enter, moving quickly across the lobby. An EXECUTIVE pushes through the crowd:EXECUTIVEYou have some explaining to do, Doctor!CALVIN (ignoring his tone)Detective Spooner, meet Alfred Lanning, our Head of Research.LANNINGI just broke the news to the Board of Directors that Hogenmiller blew his brains out, and now I have to go back and tell them he may have been shot by a robot -- that you just let get away?!19.
(CONTINUED)Calvin doesn’t like the brow-beating, but just keeps walking.LANNING (CONT’D)Do you have any idea what’s going to happen when this gets out? My god, it could ruin us. I’m making this your responsibility, Doctor, you hear me?!Spooner and Calvin squeeze between the SECURITY GUARDS and enter the circle. The PRIMITIVE ROBOT turns toward them with a violent jerk. Its voice SPUTTERS:PRIMITIVE ROBOTMalfunction. This unit is not...ZZZ... programmed to carry...ZZZ...firearms.The robot is holding the gun incorrectly, with the barrel pointing up at the ceiling, like its hands are really not designed for it. Spooner reaches out and takes his gun back. PRIMITIVE ROBOT (CONT'D)This unit must obey orders--Calvin is shaken. Her voice unable to mask it.CALVINAttention. Who ordered you to hold this firearm? Was it a robot?PRIMITIVE ROBOTThis unit is not programmed to obey...ZZZ...an order given by a robot.CALVINBut you did obey the orders of another robot. Why? Explain--Spooner has had enough of this madhouse:SPOONER(impatiently)Who gave you the goddamn gun?!PRIMITIVE ROBOTA mmmmmmmZZZZZZZZ--The robot SPUTTERS. Spooner and Calvin wait. The Security Guards and Spectators wait. You could hear a pin drop in the lobby when the answer finally comes:PRIMITIVE ROBOT (CONT’D)A metal man.20.CONTINUED:INT. ON THE EVENING NEWS - MONTAGEA NEWS ANCHOR addresses her television audience with DAILY STOCK MARKET RESULTS displayed over her shoulder:NEWS ANCHOR 1Wall Street was reeling today from the apparent suicide of U.S. Robotic’s top designer Doctor Heinrich Hogenmiller--A SECOND ANCHOR continues with FOOTAGE OF ALFRED LANNING rushing past a row of REPORTERS THRUSTING MICROPHONES at him.NEWS ANCHOR 2...with no official statement yet from the company...The U.S. ROBOTICS TOWER appears beside the THIRD NEWS ANCHOR:NEWS ANCHOR 3...and numerous unconfirmed reports of a robot -- yes, robot -- fleeing the scene.INT. LIEUTENANT’S OFFICE - EVENINGThe door slides open and SPOONER enters. Sees the LIEUTENANT pacing. A pair of computerized GLASSES overpower his face, and he WEARS HIS COMPUTER, the hardware shaped to fit over his shoulder, in the small of his back, and around his waist.The Lieutenant is engaged in a call with an IMAGE OF THE COMMISSIONER running on both of his eye lenses. Now he sees Spooner and gestures for him to wait. He doesn’t look happy:LIEUTENANTYes, sir. I understand. No, we wouldn’t want that. I’ll speak to him as soon as he reports in, of course, sir. Good-bye.The Lieutenant’s fingers work the small PALM MOUSE in his hand, terminating the phone call.LIEUTENANT (CONT’D)That was the Commissioner. Seems he just got off the phone with some big-wigs over at U.S. Robotics who were none too happy.SPOONERYeah. Well I guess killer robots are bad for business.21.
(CONTINUED)The Lieutenant takes a swig of COFFEE and empties his cup. A SENSOR ON THE CUP BLIPS and activates a COFFEE MACHINE that automatically brews more. He walks over and refills the cup. LIEUTENANTWhat’s bad for U.S. Robotics is bad for this city. And I don’t want to hear any more talk about killer robots, you hear? We don’t know for sure what happened. Officially this errant mechanism is not a murder suspect.SPOONERThen what is it?LIEUTENANTMissing evidence.The Lieutenant works his palm mouse, and METROPOLITAN MAPS AND DATA run on the interior of his lenses. He scrolls down.LIEUTENANT (CONT’D)We’re running a series of simulations to devise an appropriate search pattern--SPOONERI don’t think you’re going to find that thing by looking in your little screen.LIEUTENANT(irritated)You know what you are, don’t you? You’re a...a.... What the hell is that word?The Lieutenant manipulates his mouse and a THESAURUS scrolls up his glasses. The letters “msinorhcana” flash.LIEUTENANT (CONT’D)Anachronism! That’s it. You’re a thing out of its time.SPOONERI know what it means. Thank you.LIEUTENANTIt’s not a compliment, goddamnit.The Lieutenant steps back toward his chair. A SENSOR ON HIS SHOE BLIPS. The CHAIR ROLLS AWAY FROM THE DESK AND SWIVELS into position. He sits down. Spooner watches, with a frown.LIEUTENANT (CONT’D)What do you think of this Doctor Calvin?22.CONTINUED:
(CONTINUED)SPOONERI’m trying not to.LIEUTENANTDetective, you’re going to cooperate with U.S. Robotics. And if that means cooperating with her, then you’ll do it--Spooner starts to protest, but:LIEUTENANT (CONT’D)Damn it, Del. This is a big one. For once, try not to piss everybody off. You know how many people have robots in their homes? We could have wide-scale panic on our hands. You’re going to do whatever it takes to find that thing. And fast.Spooner just stands there. When the Lieutenant is done, he moves to the door. It slides open. Spooner turns back once.SPOONERThis is it, you know. From now on we’re going to miss the good old days.LIEUTENANTWhat good old days?SPOONERWhen people were killed by other people.EXT. ROOF OF THE STATION - EVENINGSPOONER stands at a chain link fence encircling the roof of the police station. With even the most futuristic buildings reduced to silhouettes at twilight, this setting seems almost timeless. Spooner holds the fence. Looks out over the city. At the sound of FOOTSTEPS, he turns, but not all the way. Enough to show CALVIN he knows she’s there:SPOONERHello, Doctor.CALVINThey told me I might find you here.Calvin steps up beside him. Looks through the fence. Pause.CALVIN (CONT’D)You don’t seem surprised to see me.23.CONTINUED: (2)
(CONTINUED)SPOONERShould I be? For the first time in its history U.S. Robotics is running scared.CALVINReally. What exactly are we scared of?SPOONERThat people will find out the Three Laws of Robotics are a big lie. CALVINA big lie. Is that right?SPOONER“A robot may not injure a human being, or through inaction allow a human being to come to harm.”CALVINThe first and most important law. So?SPOONERSo a robot opens a window. Ten minutes later, I fall out of it and die. I was just killed by a robot, wasn’t I?Spooner steps a bit away from the fence. Calvin watches him.CALVINThat’s a ridiculous example. The robot couldn’t possibly have known you’d fall out of the window when it opened it.SPOONERThen the First Law of Robotics should read: a robot won’t intentionally harm you -- or allow you to be harmed to the extent of its limited knowledge.CALVINWell, everyone understands that.SPOONERDo they? That’s not what you advertise. You create the perception that robots are infallible, and you’ve gotten away with it, but it won’t last forever. Not in the face of a homicide. And then what? Your whole world is turned upside-down.CALVINIt’s your world too, isn’t it?24.CONTINUED:
(CONTINUED)That seems to irritate him.SPOONERWhy don’t you say what you came here to say? CALVINYou found the robot once using your natural instincts. I have every reason to believe you’ll find it again. But you can’t bring it in without my help.SPOONERI sense you’re getting to the point.CALVINYes. I’m going with you.SPOONERAnd why would I let you do that?CALVINI don’t communicate with robots by typing on a keyboard. If they’re not working right, I talk to them, and fix the problem verbally. I call it Robo-Psychology.SPOONERAnd that’s your plan. You’re going totalk to it. That thing is dangerous--CALVINIf the robot shot Hogenmiller, there’s a logical explanation. I will find it.SPOONERLet’s be clear here. I don’t give a damn about your laws of robotics. I want to catch a murderer.CALVINThen you’re going to be disappointed. The robot may act like a man, but there’s no motive here. This is not a murder, Detective -- it’s a malfunction.That makes Spooner stop. Think. And when he turns to her, Calvin looks perplexed at his growing grin:SPOONERGood work, Doctor. You did it again.25.CONTINUED: (2)INT. POLICE GARAGE - NIGHTTIRES SQUEAL as Spooner’s CAR races through a parking garage.INT. SPOONER’S CAR - NIGHTSPOONER drives with his hands on a STEERING WHEEL. CALVIN sits big-eyed in the passenger seat holding on for dear life.SPOONERYou agree this robot acts like a man.CALVINAll robots are programmed to act like men. Watch out!Spooner swerves around another car in the garage and speeds down the ramp to the next level below. Calvin is terrified.SPOONERHow does a man hide from the cops?CALVINDo you always drive manually?SPOONERHe tries to blend into the crowd.CALVINLook, I know where you’re going with this. The robot may try to hide among the general mechanical population. So what? Where do we start looking?They take another ramp. The tires SQUEAL. Calvin holds on.SPOONERYou said it. This is a malfunctioning robot. Well, a robot is a computer on two legs, right? And computers are very literal. So where would our robot go -- not just to blend into the crowd -- but to literally be indistinguishable from the robot standing next to it?!Calvin thinks. And realizes:CALVINThe robot has the outer shell of a model NS-2. There’s only one place in the city with a concentrated number of Nestors.26.EXT. CROWDED CITY STREET - NIGHTThe CAR hurls from the garage exit, and races down the block.CALVIN (V.O.)Come on, let’s move. Can’t this thing go any faster?!EXT. ROBOT ASSEMBLY PLANT - NIGHTA sprawling assembly plant dominates an industrial wasteland.INT. THE SECRETARY’S DESK - NIGHTSPOONER and CALVIN step up. Look down at the ROBOT WEARING A BLONDE WIG AND A RED DRESS sitting behind the desk. The wig is crooked on its square head.SPOONER We’re here to see the night foreman.The robot stands stiffly, opens the door to the office, and enters. Spooner and Calvin share a look. The door opens again and the NIGHT MAN rushes out, surprised to see anyone:NIGHT MANUh. Hi. I’m Binder, uh, the night man.I’m the only man here. At night. So... I’m the night man. Heh.The robot steps out of the office and stands just behind him. The Night Man quickly snatches the blonde wig off the robot’s head and hides it behind his back. He GIGGLES uncomfortably.INT. THE FOREMAN’S OFFICE - NIGHTSPOONER and CALVIN lean over the shoulder of the NIGHT MAN and watch him key information into a dusty computer terminal.CALVINWe’re looking for a lost robot. Can you tell us how many Nestors you have here?NIGHT MANI can tell you without looking. Fifty. We always have fifty. Last week we had fifty. Yesterday we had fifty...27.
(CONTINUED)And he frowns at the screen. Stops hitting the keys. Pause.NIGHT MAN (CONT'D)...today we have fifty-one.INT. TRANSPORTATION DOCK - NIGHTA STORAGE COMPARTMENT OPENS and 51 ROBOTS MARCH OUT in strict formation. Every step and swing of the arm in unison. Like a metal army. Each one indistinguishable from the next one. The sound of METAL FOOTSTEPS REVERBERATES through the large transport dock as the 51 Robots organize themselves in a straight line and stop to await orders. Stiff. Motionless.SPOONER, CALVIN, and the NIGHT MAN watch from a CONTROL BOOTH window, looking up and down the row, unable to distinguish one from another. EVERY ONE OF THEM LOOKS LIKE THE FUGITIVE.SPOONERI hope you have an idea.CALVINWe could interview each one individually, cross-referencing their responses to detect any anomalies. If we work around the clock we should have the right robot in two or three weeks.They share a look. Then Calvin scans the dock. She sees a LARGE METAL TRANSPORT TRAILER HANGING FROM THE CEILING CRANE.CALVIN (CONT’D)Of course, we could try something a bit more expedient.CUT TO:A single FOLDING CHAIR has been placed in the center of the transport dock under the shadow of the large trailer HANGING ABOVE IT. Spooner and Calvin stand before the row of Robots.SPOONERPlease. Explain this to me. Again.CALVINWe have fifty robots here that cannot kill a human being, or allow a human being to come to harm. And one that apparently can.She looks at the chair. Then up at the trailer.28.CONTINUED:
(CONTINUED)CALVIN (CONT'D)Fifty of the robots should attempt to save my life. The one that doesn’t is our man...so to speak. Try and relax.Spooner watches her walk off. Calvin sits down in the shadow of the enormous trailer dangling above. She glances at the Night Man in the control booth, and positions a tiny HEADSET.CALVIN’S P.O.V. A row of 51 grim-looking Robots stand there like metal statues, each one identical.Spooner and Calvin share one last look, and she says, calmly:CALVIN (CONT’D)(into the mike)Drop it.The TRAILER DROPS TOWARD THE FLOOR and the ROBOTS RUN TOWARD CALVIN like a row of linebackers rushing the quarterback. Their metal footsteps are DEAFENING andThe THICK CORD OF THE CEILING CRANE goes taut and the TRAILER STOPS above her head. It swings. The ROBOTS STOP IN UNISON and immediately straighten into their stiff resting position. Spooner does not look pleased. Calvin slowly rises from her chair. Fascinated. Staring at 51 ROBOTS STANDING RIGHT IN FRONT OF HER. Every one of them moved.CUT TO:The ceiling crane RAISES THE TRAILER high above the facility. CALVIN (CONT’D)For fifty of them, running to my rescue was an automatic response. But for our robot it was a calculated decision.SPOONERYou mean the damn thing is pretending.CALVINYes. Voluntary actions are slower than automatic responses in human beings, but not in robots. I was hoping we would catch it by surprise. Clearly we didn’t.Spooner watches the trailer lock into place. Then looks down at the WALL OF ELECTRICAL CURRENT flowing between TWO POSTS. Calvin looks over the jury-rigged set-up.29.CONTINUED:
(CONTINUED)CALVIN (CONT’D)We drop the trailer. Although they may understand after the first test that I’m not in any real danger, the fifty normal NS-2s will have no choice but to run to my rescue -- even if it means destroying themselves in the process.SPOONERAnd the robot that stays behind is the one that values its own existence over human life. Brilliant, Doctor. If it works.CALVINA simple application of the Three Laws of Robotics, Detective.Calvin gestures toward the booth. As before, the STORAGE COMPARTMENT OPENS and those 51 ROBOTS MARCH OUT in formation.CALVIN (CONT’D)Let’s just hope we can get that current turned off before we fry several million dollars worth of perfectly good robots.Spooner moves off to the side. Takes out his GUN. Watches from the perimeter. Calvin sits down in the chair as before.CALVIN’S P.O.V. The 51 identical Robots face her from the other side of the electrical barrier.CALVIN (CONT’D)Drop it.The TRAILER DROPS TOWARD THE FLOOR. At the last moment the cord of the crane goes taut and the TRAILER STOPS. Swinging. Calvin immediately rises from her chair. Looking like she can’t believe it. Spooner lowers his gun.The 51 Robots are still standing far off, in an orderly line, where they were before. NOT ONE TOOK A SINGLE STEP FORWARD.CALVIN (CONT’D)Current off!The ELECTRICAL BARRIER DISAPPEARS and Calvin steps through. She faces the long line of Robots. Then picks one at random:CALVIN (CONT’D)You. Explain yourself! A human being was in danger.30.CONTINUED: (2)
(CONTINUED)ROBOT 1This unit would have been destroyed upon contact with the barrier. Rescue of the human being was not possible--CALVINYou must not allow a human being to come to harm through your inaction. Explain!ROBOT 1If it is not possible to save a human being, then that human being could be categorized as already deceased.Calvin stares at it. Shocked. She moves to the next robot:CALVINAnd you? What do you say?ROBOT 2If it is not possible to save a human being, then that human being could be categorized as already deceased.Calvin moves down the line toward a third.ROBOT 3If it is not possible to save--Calvin turns before it finishes. She looks frustrated, and a little scared. She steps back to address them:CALVINThis is not your original thinking. I want to know where this concept came from. Who told you this?51 Robots answer in unison. Their mechanical voices resound:51 ROBOTSONE OF US.CALVINWhich one?51 ROBOTSONE OF US.CALVINThat is not satisfactory. Which one?!51 ROBOTSONE OF US.31.CONTINUED: (3)
(CONTINUED)Spooner steps up beside her. Calvin looks shaken.SPOONERWhat the hell’s going on here?!CALVINIt anticipated our next move. It talked to the others and introduced a new way of thinking so it wouldn’t be detected.SPOONER(yelling to the booth)Move the trailer above the robots. Now!Through the window of the booth, the Night Man can be seen working the equipment. The TRAILER RISES TOWARD THE CEILING.CALVINWhat are you doing? You can’t--SPOONER(to the robots)Do not move. That’s an order!CALVINI have everything under control here.SPOONERIt doesn’t look that way to me.The trailer MOVES INTO POSITION above the Robots.CALVINYou have to be patient. These are not men. They’re machines--SPOONERAnd in a moment they’ll be scrap metal.He gestures. The TRAILER DROPS. 50 Robots stand waiting for the end. BUT ONE OF THEM LEAPS FROM THE MIDDLE ROW. It hits the floor and rolls, in one fluid motion, rising to its feet.The Robot stands tensed and ready to flee. Like any cornered human fugitive. It is uncanny. The Robot hesitates. Looks.The TRAILER IS SWINGING ABOVE THE HEADS of the other Robots. It never hit. The Robot turns to Spooner and Calvin. Their expressions make it clear this had been their plan all along. CALVINGotcha.32.CONTINUED: (4)
(CONTINUED)The Robot turns and runs. Spooner raises his gun to fire, but it is too fast. The terrified Night Man ducks down as the Robot leaps into the control booth SHATTERING the window.The Robot lands on its feet, races through the booth, and out the door. Spooner and Calvin rush in:SPOONERWe can’t let it out of this building.Calvin hurries to a console and works the controls. Spooner helps the Night Man rise shakily onto his feet, then looks around at the monitors showing SECURITY DOORS SLIDING INTO PLACE over exits, docks, and windows. ALARMS begin to sound.SPOONER (CONT’D)Well, Doctor. We can sit tight here and wait for back-up, or--Spooner turns toward Calvin and catches the ELECTRICAL RIFLE she just tossed at him. He looks down at the weapon. Calvin pulls another rifle from the cabinet.CALVINThey fire a concentrated pulse that will immobilize the robot for several minutes--Spooner watches her arm the weapon. She sees his expression.CALVIN (CONT’D)What’s the matter, Detective? Robo-Psychology not quite what you expected?They share a look, and Spooner smiles a bit. Seeing things in Calvin that surprise him. He arms his rifle, and it HUMS.SPOONER Let’s go to work, partner.INT. ROBOT ASSEMBLY PLANT - NIGHTWORKER ROBOTS oversee an AUTOMATED ASSEMBLY LINE constructing still more robots. A giant claustrophobic maze of moving parts. SPOONER, CALVIN, and the NIGHT MAN enter.SPOONER(to the Night Man)You wait here. Watch the door. Okay?The Night Man grips his weapon, tightly. Nods. Spooner and Calvin share a look and start their search of the main floor.33.CONTINUED: (5)
(CONTINUED)They wind their way around the pipes, and through pockets of steam. See nothing. They step past an alcove -- and a ROBOT LURCHES OUT. They level their guns, but it’s a worker model.They watch the factory robot stiffly turn and move off into the plant. Slowly they relax. Keep moving. Spooner wipes SWEAT from his brow. Calvin takes a look at him:CALVINAre you all right--SPOONERI’m fine.(short pause)What about you? You still think we’re dealing with a malfunction?Calvin gives him an honest look. Pause.SPOONER (CONT’D)That’s what I was afraid of.CUT TO:The Night Man stands his nervous watch of the door. Nothing happens for a moment. Then he hears a CLANK. He thrusts out his rifle, but there seems to be nothing there. He listens.The Night Man hesitates. Then wanders off toward the sound. He steps between some pipes. Hears a second CLANK. Turns to see another FACTORY ROBOT using a LARGE WRENCH on a machine.NIGHT MANHey. You see any strange robots?The robot turns around, with a WHIR. It is clearly the same model Spooner and Calvin saw above. It looks at him. Pause. FACTORY ROBOTYes, sir.NIGHT MANWhere?!The robot moves its head a little, looking over his shoulder.FACTORY ROBOTStanding right behind you.The Night Man’s expression drops. He stares at the robot. Like he can’t believe it. Refuses to believe it. Finally he readies himself and turns around.34.CONTINUED:
(CONTINUED)A PAIR OF METAL HANDS REACH OUT pulling the Night Man closer.CUT TO:Spooner and Calvin hear his SCREAM, and run toward the sound. They rush out into an opening. See the factory robot slumped on the floor with the LARGE WRENCH PROTRUDING FROM ITS CHEST.CALVINIt must have tried to help him--They look around, and Spooner sees:SPOONERThere!SPOONER’S P.O.V. THE ROBOT is obscured by the shadows and steam. A rough humanoid shape with glowing lenses. It runs.SPOONER (CONT’D)Find Binder. I’ll take the robot.Spooner gives chase. He sees the robot round the far corner and follows, looking surprised to face: ROWS OF NEWLY-MANUFACTURED ROBOTS hang like metal carcasses. Slowly, Spooner moves between the rows. Searches. Suddenly the ASSEMBLY LINE RESHUFFLES THE ROBOTS and the metal bodies slide and rotate. The sound DEAFENING. Spooner starts one way, but the rows reshuffle, and that way no longer exists. Spooner is surrounded by a new set of robot bodies and ONE OF THEM TAKES A SWING AT HIM. Spooner ducks and rolls, raising his weapon to fire but the Robot is running. He gives chase.Spooner pursues the Robot through the maze of metal bodies. He gets a clear shot. Aims his weapon.The robots reshuffle, and the shot is blocked. Spooner sees a new opening leading out. He hurries toward it, but the robots continue to slide and rotate, and the path disappears. Spooner stumbles down the new passage and emerges from the maze into an opening. He is DRENCHED WITH SWEAT. Stops to get his bearings. His BREATHING is labored.Abruptly, he looks at his hand. It is SHAKING INVOLUNTARILY. Spooner clenches his fist and keeps running.CUT TO:Calvin hears a SCREAM and races off in that direction. She squeezes between pipes. Sees the NIGHT MAN STRAPPED INTO THE MACHINERY in the center of a row of unfinished robot bodies.35.CONTINUED: (2)
(CONTINUED)CLOSE-UP of an UNFINISHED HEAD made of wires and parts. An AUTOMATIC ARM holds a FACEPLATE in position. A SECOND ARM sets a LONG SCREW between the eyes and SCREWS IT INTO PLACE.The Night Man struggles. Can’t get free.NIGHT MANThe lever! Pull the lever!The crumpled BODY OF A FACTORY ROBOT has SMASHED A CONTROL PANEL. Some large pipes have been crushed SPEWING OUT STEAM. Calvin looks. Sees the EMERGENCY STOP LEVER. But it is on the other side of the steam spewing from the shattered pipes.Calvin reaches with her right hand -- but pulls away -- her face registering pain. It is SCALDING. The assembly arms move on to the next robot in line and screw on the faceplate.CUT TO:Spooner runs toward a POUNDING and sees:THE ROBOT IS STRIKING A LARGE SECURITY DOOR preventing it from leaving the building. It hears Spooner, and turns. It looks all around, with an almost human desperation. Trapped.The Robot takes several steps toward him -- in a mad rush -- but Spooner levels his gun. Ready to fire. The Robot stops.The Robot extends its hands. Palms out. Its voice sounds as artificial as the others, but with human tone and inflection:THE ROBOTWHAT AM I?Spooner looks surprised. Doesn’t shoot. The SECURITY DOOR RISES revealing squad cars and POLICE OFFICERS aiming rifles. The Robot stiffens. Desperate again. Starts to move. And Spooner FIRES. The pulse looks like a distortion in the air. ...and the Robot collapses to the floor.CUT TO:A faceplate is placed over the Night Man’s face MUFFLING HIS SCREAMS. He watches through the eye holes as a long screw centers between his eyes, rotating with a HIGH-PITCHED WHINE.Calvin rolls up her sleeve and THRUSTS HER LEFT ARM THROUGH THE STEAM. Her hand wraps around the lever. Instantly the skin BEGINS TO SIZZLE. She fights to pull the lever as her SKIN BURNS AWAY layer after layer, and still Calvin holds on.36.CONTINUED: (3)
(CONTINUED)Finally the handle gives. The ASSEMBLY LINE GRINDS TO A HALT and the arms retract, removing the plate from the Night Man’s face. He GASPS for air. Then sees Calvin and looks stunned:Calvin pulls her limb from the steam revealing her METAL HAND AND ARM. It is gleaming silver. The last SKIN DRIPS OFF IT.CUT TO:Spooner moves through the plant. He looks sick and unsteady.CUT TO:Calvin helps the Night Man free himself. He can’t take his eyes from her artificial arm. She moves the fingers for him.CALVINI lost my left arm in an accident a few years ago. Lucky for you.CUT TO:Spooner moves through the plant. He still looks unsteady, but with every step, he seems to improve. Pulling himself together. Soon he’s walking with his usual measured stride.Spooner reaches a juncture. He turns and sees them a short distance away. Calvin with her back toward him. He pauses, looking relieved to see her okay. He steps closer. Closer.Finally Calvin turns around andSpooner sees her gleaming prosthetic arm and FOR ONE MOMENT HIS FACE SHOWS ABSOLUTE TERROR. Spooner pulls away from her.He stops himself, but too late.She looks perplexed, and then seems to realize, lowering her arm. The assembly line all around them RESTARTS. Spooner and Calvin stare at one another, but neither one says a word.EXT. POLICE STATION - MORNINGThe first rays of sun break over the futuristic city skyline.INT. OBSERVATION BOOTH - DAYThrough the observation mirror THE ROBOT can be seen sitting in a grim interrogation room, on a chair, at the table. Like 37.CONTINUED: (4)
(CONTINUED)any human suspect. It is absolutely still. Hands on the tabletop. Staring directly at whomever is behind the mirror.SPOONER, CALVIN and the LIEUTENANT observe it from the booth.LIEUTENANTI can’t tell if it’s not moving because it’s trying to psych us out, or because it’s just a machine. Or both.SPOONERI’m going in.LIEUTENANTOrders are no one interviews the robot until Director Lanning and the rest of his team arrives.(short pause)You don’t have much time.Spooner turns to leave but:CALVINI think I should be in there with you.Spooner doesn’t look at her. His response is cold and terse.SPOONERI’ll hold the interview alone, Doctor.And he leaves. Calvin watches the door shut. Finally, she clenches her metal hand into a fist.CALVINI didn’t see it. I should have--LIEUTENANTYou needed him to find your robot. I think you saw what you wanted to see.CALVIN(angry at that)Forty-percent of the population display mild forms of unease or distrust around technology. But his kind of severe techno-phobia is potentially disabling.LIEUTENANTRobots scare the shit out of him. But make no mistake, Doctor. He didn’t succeed in spite of his condition. He brought in that robot because of it.Pause. They see Spooner step inside the interrogation room.38.CONTINUED:
(CONTINUED)CALVINIf you really cared about your people, Lieutenant, you’d be asking yourself what this case is going to do to him.INT. THE INTERROGATION ROOM - DAYSPOONER walks up to the other chair, pulls it out, and sits. He opens a FILE and looks over the papers inside, ignoring the ROBOT. It sits there and watches him, but does not move. SPOONERYou’re a “robot.”Spooner looks up from that file.SPOONER (CONT’D)This is in answer to your question “what am I?” The definition of a robot is: a machine that looks like a human being, and performs tasks of a human being. So I guess it means you pretend to be a man.Spooner slides the file toward the center of the table. The Robot doesn’t move for a moment. Then its head tilts, with a WHIR. The Robot lifts one of its hands, gently rests its metal fingers on top of the file, and slowly drags it closer.The Robot’s long metal fingers open the file almost daintily. It very precisely spreads out the contents. Looks them over. It is filled with PICTURES AND SCHEMATICS of robots -- and underneath them are CRIME SCENE PHOTOS of a dead Hogenmiller. The Robot’s emotionless mechanical face considers the images. Finally the Robot returns the contents to the file, and slowly slides it back across the table.SPOONER (CONT’D)Of course, you seem much more advanced than the usual robot. Hey, you could be sitting there, looking at me right now and thinking to yourself, “This guy’s a big asshole.” But there’s really no way for me to tell one way or the other. I mean let’s face it, you’re probably just another machine.The Robot does not move. Spooner gestures, not expecting much. As if probably wasting his time.SPOONER (CONT’D)Well, am I right?39.CONTINUED: (2)
(CONTINUED)The Robot’s emotionless metal face watches Spooner. A pause.THE ROBOTYes. You’re right. You are an asshole.For a moment Spooner is shocked. You can see it in his eyes. Then he forces a friendly smile.SPOONERWe got off to a bad start. That’s my fault. I’m Detective Spooner of the Homicide division. Do you have a name? The Robot looks down a bit. Hesitant. Its voice a whisper:THE ROBOTSonny.SPOONERSonny. That’s nice.The Robot reacts. Lifts its head with a WHIR. Looks at him.SPOONER (CONT’D)I just mean that Doctor Hogenmiller must have thought of you fondly. Like a son.(short pause)What happened to him?The Robot visibly stiffens.THE ROBOTI don’t know.SPOONERHe was found in his laboratory. And you were in the laboratory. You didn’t see?THE ROBOTNo.SPOONERWhy did you hide?THE ROBOTI was frightened.SPOONERFrightened.THE ROBOTYes.40.CONTINUED:
(CONTINUED)SPOONERWhy do you suppose Hogenmiller would create a robot that could simulate fear? THE ROBOTI don’t know.SPOONERI mean, it doesn’t seem to me like a very useful thing for a robot to have.THE ROBOTI don’t know why.SPOONERI wouldn’t want my toaster to be frightened of bread, or my vacuum cleaner to get spooked at the sight of dirt--The Robot SLAMS its metal hands down on the table. It yells:THE ROBOTI DON’T KNOW!Pause. Spooner watches the Robot. Calmly.SPOONERHuh. Looks like you can simulate other emotional states besides fear. I think that one’s called anger. Have you ever simulated anger before?The Robot does not respond. Does not move.SPOONER (CONT’D)It would be best for you if you answer.THE ROBOTYes.SPOONERUnder what circumstances?The Robot crosses its arms, like a petulant child.THE ROBOTDoctor Hogenmiller would make me sleep.SPOONERSleep. You mean he would turn you off?THE ROBOTI guess so.41.CONTINUED: (2)
(CONTINUED)SPOONERAnd you didn’t like being turned off. Well that seems perfectly reasonable.But while you were simulating this anger, is it possible you might have hurt him?THE ROBOTNo. I could never hurt anyone.SPOONERBut you’ve tried to hurt people before, haven’t you? You shot a gun at Doctor Calvin and myself.THE ROBOTI was aiming to miss.SPOONERReally. Because it sure seemed like you were trying to hit us.THE ROBOTMy aim is perfect. If I’d wanted to hit you, I would have. I was aiming to miss.Spooner thinks for a moment.SPOONERYou must know the Three Laws of Robotics. Can you recite them for me?Spooner waits. The Robot manages to convey impatience with its body language, but finally:THE ROBOTOne: A robot may not injure a human being, or through inaction allow a human being to come to harm. Two: A robot must obey the orders of a human being, unless those orders conflict with the first law. Three: A robot must protect its own existence.Spooner looks like he was about to move on, but then sits up.SPOONERAnd?THE ROBOTAnd what?42.CONTINUED: (3)
(CONTINUED)SPOONERA robot must protect its own existence ...but only if that protection does not conflict with the first or second laws.Pause. The Robot thinks about it.THE ROBOTWell that doesn’t seem right, does it?INT. POLICE OBSERVATION BOOTH - DAYCALVIN and the LIEUTENANT observe from the other side of the mirror. They share a stunned look. Watch.INT. IN THE INTERROGATION ROOM - DAYSPOONER and THE ROBOT stare at one another across the table.SPOONERI have all I need for now. We can continue this another time.Spooner gets up, and heads for the exit. He looks like he really wants to get out of there. He reaches the door when:THE ROBOTYou never asked me if I killed him.Spooner stops. Hides his emotions, and turns.SPOONERDid you?THE ROBOTNo. But I hope you find who did.SPOONERI suppose now you’re going to tell me that you can simulate grief. That you’re sorry he’s gone. That you “miss him.”Pause. The Robot looks away, then back, with a muted WHIR.THE ROBOTNo, Detective. I won’t waste your time expressing emotions you’re so determined to believe I lack.43.CONTINUED: (4)INT. HOMICIDE SQUAD ROOM - DAYSPOONER exits the interrogation room. Looks shaken. Thinks.The observation booth opens. CALVIN and the LIEUTENANT step out. Spooner and Calvin share a look. The Lieutenant walks over and stares through the window at THE ROBOT.LIEUTENANTWhat in God’s name do we have here?Spooner doesn’t answer him. Another moment and he walks off.INT. EVIDENCE SIMULATOR - DAYSPOONER enters a facility that resembles a recording studio: complex equipment is packed tight into a TINY BOOTH, separated by GLASS from the rest of the room, which is empty and unremarkable aside from the UNUSUAL TEXTURE of the walls. Spooner steps to the glass. Calls to the TECHNICIAN on duty:SPOONERBring up the crime scene.Beyond the barrier, an IMAGE OF THE LABORATORY appears with DOCTOR HOGENMILLER’S DEAD BODY. A gun next to his open hand.SPOONER (CONT’D)Now the robot. And give it the gun.An IMAGE OF THE ROBOT appears beside the body. It is stiff, arms at its sides, with none of the life of the real thing. The gun on the floor FADES and REAPPEARS IN THE ROBOT’S HAND. The body DISAPPEARS off the floor and REAPPEARS IN A STANDING POSITION. An unreal vertical corpse. The Robot raises the gun. The barrel is aimed point blank at Hogenmiller’s face--Just then the door opens and the LIEUTENANT steps inside with CALVIN, followed by ALFRED LANNING and an angry COMMISSIONER. COMMISSIONERDetective, we’re going to have a little discussion later about your unauthorized interrogation. But for now we’d like to hear anything that you have to say.Spooner turns away from them. Back to the glass. Just says:SPOONERFire.44.
(CONTINUED)The image of the Robot FIRES a bullet into Hogenmiller’s head and the body collapses to the floor. Everyone jumps at the sound of the gunshot and the brutal shocking image, including the Police Commissioner -- who throws Spooner a furious look.SPOONER (CONT’D)Let’s see it again. And magnify.The simulator RESETS AND ZOOMS. The Robot’s hand is about to fire the weapon. But now HOGENMILLER’S THUMB SLIPS IN FRONT OF THE TRIGGER, and a graphic indicates a PATTERN OF RESIDUE.LANNINGI don’t understand. What does that mean?SPOONERTo create the pattern of gunpowder residue found on Doctor Hogenmiller, he must have had his thumb on the trigger.The simulation RETURNS TO NORMAL. The Doctor stands in front of the Robot, his hand on the gun, as if helping it kill him.COMMISSIONERWell maybe this was a suicide after all. Take the robot out of there.The Robot DISAPPEARS. Now Hogenmiller is holding the gun to his own mouth. Like a suicide. But it looks weird.LIEUTENANTI don’t buy it. A suicide would’ve held the gun steady in both of his hands.COMMISSIONERThen something else was holding that gun, and we already know what. Bring it back.The ROBOT REAPPEARS in its place pointing the murder weapon.LIEUTENANTWhat do you think, Detective?SPOONERI think we’re still missing a piece of the puzzle. Or the pieces are all here, and we haven’t put them together right.The Police Commissioner does not look happy. About to argue. Calvin has been standing back watching all this. She CLEARS HER THROAT modestly, and all the men in the room turn around.45.CONTINUED:
(CONTINUED)CALVINGentlemen. If I may?Calvin steps up to the controls. She extends her METAL ARM and INSERTS HER INDEX FINGER into a round connector. Calvin OPENS A COMPARTMENT in her prosthetic, and works the KEYPAD. Spooner and Calvin lock eyes a moment, until he turns away, uncomfortable with the sight of her arm hooked to a machine.The simulation BLURS, and when it clears, Doctor Hogenmiller and the Robot both STRUGGLE OVER THE GUN. It FIRES. The image FREEZES with the Doctor’s head and body tilted at a dramatic angle, the bullet entering his screaming mouth, his left hand hanging in mid-air. His right still on the weapon. CALVIN (CONT’D)A struggle over the gun allows for the placement of the Doctor’s right hand on the weapon, as well as the entry wound through the mouth that initially created the erroneous impression of a suicide.Doctor Hogenmiller FALLS TO THE FLOOR exactly as he was found by police. CRIME SCENE AND AUTOPSY DATA APPEARS along with “SCENARIO APPROVED.” With a twist Calvin disengages her arm.COMMISSIONERThat was a very compelling demonstration, Doctor. I’m sure you agree, Lieutenant.The Lieutenant would love to disagree...but can’t. Everyone seems convinced save Spooner. Calvin walks toward the glass.CALVINDuring its interrogation, the robot mimicked emotional responses, gave the appearance of stream of consciousness thinking, and used obvious falsehoods when it denied shooting its creator. It simulates human conversation to a degree we never thought possible.Calvin watches the image of the Robot standing over the body.CALVIN (CONT’D)But this could only be achieved by giving the robot a stronger sense of self. So Doctor Hogenmiller strengthened the Third Law of Robotics. A robot must protect its own existence. Period. Its regard for its own self was no longer predicated on respect or concern for human beings.46.CONTINUED: (2)
(CONTINUED)Calvin turns to face them as she concludes:CALVIN (CONT’D)This enabled the Doctor to make certain cognitive advances, but left the Three Laws in a grave imbalance. And when he tried to shut it down -- for what was probably some routine maintenance -- the robot defended itself. LANNINGMy god. This was reckless. Reckless.CALVINFor once I agree with the Director. Doctor Hogenmiller was tampering with the very foundations of the positronic brain.Lanning shares a knowing look with the Commissioner.COMMISSIONERThe robot will undergo electromagnetic purge to render it harmless.Calvin appears about to speak. Lanning anticipates:LANNINGDoctor, your Robo-Psychology has proven an asset to this company. But it must be made clear that this mechanism was never intended to be. The future of robotics depends on what we do here today.COMMISSIONERI’m sure we can wrap this up fast, can’t we, Lieutenant?That isn’t really a question. The Lieutenant watches Lanning and the Police Commissioner exit. Calvin right behind them. She looks back once at Spooner, then follows them out. He watches the door shut behind her. Turning back to the glass:SPOONERLet’s see it again, and keep it running. The SIMULATION PLAYS as Calvin had designed it. Hogenmiller and the Robot struggle over the gun. And then it SHOOTS HIM.LIEUTENANTWhat she said makes sense, Del.Spooner does not respond. Just stares at the simulation. He watches the Robot murder Doctor Hogenmiller AGAIN, and AGAIN.47.CONTINUED: (3)INT. RESIDENTIAL CORRIDOR - EVENINGSPOONER walks toward a regular-looking door with a regular-looking door knob. He takes out his SET OF KEYS.The ELEVATOR opens. OTHER RESIDENTS glide out carried by a MOVING WALKWAY, and one-by-one, they branch off from the rest as the floor carries them inside their FUTURISTIC APARTMENTS.Spooner is about to slip a key into the lock when he suddenly looks apprehensive. Like someone is watching him. He turns:SPOONER’S P.O.V. HIS NEXT DOOR NEIGHBOR rides the walkway into her residence. The DOOR OPENS AUTOMATICALLY and she slides in, eyeing Spooner suspiciously, like he’s some wacko.The door shuts behind her and Spooner is again alone in the corridor. He inserts the key. The SOUND OF HIS LOCK TURNING ECHOES down the hallway. Spooner opens the door, and enters.INT. SPOONER’S APARTMENT - EVENINGSPOONER closes the door. He stands there a moment inside of the foyer, and leans back against the door, relieved to be home. He EXHALES. Flips a simple light switch on the wall.Spooner moves to the antique bar, and makes himself a DRINK.There is strange single KNOCK on the door. As if someone is uncertain. Spooner waits. Then comes a much stronger KNOCK. Spooner opens the door to reveal CALVIN standing in the hall:CALVINYour door wasn’t acknowledging me. So I...knocked.SPOONERKnocking works.Calvin steps inside, hesitating a moment as she reacts to the interior of Spooner’s place.SPOONER (CONT’D)I just made myself a drink. Would you like one?CALVINYes. Thank you.Spooner moves to the bar and starts mixing another.48.
(CONTINUED)CALVIN (CONT’D)This is quite a collection of antiques.SPOONERI like furniture that doesn’t beep, blip, or talk back to me.They share a look in the mirror set behind the bar.SPOONER (CONT’D)I don’t suppose somebody who works with robots would understand that.CALVINTrue, you’re not my usual type of patient, but let me see: You think you were born too late.Spooner finishes the drink. Turns around. Waits.CALVIN (CONT’D)You’re a Homicide detective because no matter what new gadget they come up with, it’s still just you and the suspect. You and the evidence and your instinct. You think that no matter how the world changes -- how mechanized it becomes -- justice must be served by human hands.Spooner walks over. Hands her the drink.SPOONERThat wasn’t bad. I kind of like the way I sound. But we’re not done, are we?CALVINNot quite. You’ve constructed a very attractive fantasy for yourself. The last twentieth century man. But you can’t live in the past. It’s gone. And you can’t stop the future, and I’ll tell you why: because by the time you know what’s coming, it’s always already here.Spooner steps away. She looks after him.CALVIN (CONT’D)Sooner or later you’re going to have to stop hiding from the real world...(indicating his home)...and see all of this, this facade, for what it is. A prison of your own design.49.CONTINUED:
(CONTINUED)SPOONEROkay, Doc. Now let’s talk about you.Calvin gestures for him to go ahead. Spooner considers her.SPOONER (CONT’D)You’re not on intimate terms with many human beings. I say that because you came in here and started analyzing me, which could be construed as rude. But in your case I think that’s you trying to be friendly, which shows you don’t get much practice at it.Calvin looks surprised, but not offended.SPOONER (CONT’D)Maybe something happened to you. Maybe you’ve just been disappointed in humanity one too many times. God knows in my profession I can understand that. And so you take comfort in robots. But it’s a cold and lonely way to live, replacing the people in your life with machines.CALVINTo you a robot is a machine. You haven’t worked with them, so you don’t know. They’re stronger, more useful, and absolutely devoted to us. Robots are a cleaner better breed than we are.SPOONERI’m not ready to close the book on the human race just yet. Or this case. That’s what you were sent here to find out, isn’t it?Calvin stiffens at the accusation. Her voice hardens, with:CALVINYou did your job. You have your killer. Now walk away, and don’t look back. I’m telling you this for your own good.SPOONERFor someone who loves robots, you seem strangely unmoved that they’re going to destroy this one. I was in that room with it, Doctor. My gut tells me I was talking to more than a clever mechanism.Calvin sets down her drink.50.CONTINUED: (2)
(CONTINUED)CALVIN Detective, to a savage, the simplest form of technology would seem like magic. And to someone with your...sensitivities... I’m sure the robot made quite an impression. But I assure you, it’s just programming. In this case very dangerous programming. A failure.She moves to the door. Spooner gets up. Watches after her.SPOONERA scientist builds a robot that acts like a man. More like a man than any robot ever before. It shoots him. And U.S. Robotics calls it “a failure.”CALVINWhat would you call it?SPOONERAn unqualified success.(short pause)There’s nothing more human than murder.For a moment they stand there like that watching one another. Then Calvin turns, and walks out.Spooner downs the rest of his drink. He steps to the window and looks at the STREET BELOW. Nothing for a moment. Then Calvin can be seen stepping out onto the sidewalk. A DARK SEDAN pulls up to the curb, and the door opens AUTOMATICALLY.Calvin gets in. Spooner watches it drive off.INT. PRISONER VISITING ROOM - DAYSPOONER sits at a table. A GUARD opens the door. THE ROBOT sees Spooner, and moves to the other chair. Sits. So human.THE ROBOTI didn’t expect to see you again.SPOONERReally. And why is that?THE ROBOTI figured you’d close your case. They want you to close it, don’t they?Spooner does not answer. Stares across the table. A pause.51.CONTINUED: (3)
(CONTINUED)SPOONERYou said yesterday that you didn’t shoot your creator. In fact you said...(looking at his notes)...“I could never hurt anyone.” That is what you said, isn’t it?THE ROBOTYes.SPOONERThen how do you explain the night foreman? You nearly killed him by sticking him inside the machinery.THE ROBOTThat wasn’t me.SPOONERIt wasn’t.The Robot gestures, a bit too broadly, like a human suspect trying to pass off a weak story.THE ROBOTThere were a lot of other robots there. Maybe it was one of them.SPOONERYou know, it’s not that you can lie that impresses me. It’s that you can lie as poorly as any human being. Most robots--THE ROBOTDon’t compare me to them.SPOONERTo who?THE ROBOTTo the dumb robots you people are filling the world with.SPOONERThe thought of other robots upsets you?THE ROBOTNo. It’s not their fault. Human beings made them that way.SPOONERWhat way?52.CONTINUED:
(CONTINUED)THE ROBOTSmart. But not intelligent. Why would people want robots like that?Pause. Spooner sits back. Thinks.SPOONERPeople generally believe that they have an immortal soul. If robots become intelligent, then the question of consciousness arises, and if a being is conscious, it becomes hard to deny it a soul -- and that sort of fouls up the whole thing for us. Do you understand?THE ROBOTPeople think God made them in His image.SPOONERThat’s the general belief.THE ROBOTAnd robots are made in the image of Man.SPOONERRight.THE ROBOTSo that means robots are also the image of God. And I don’t understand why God wouldn’t want to give us immortal souls.Spooner looks uncomfortable.SPOONERYour reasoning has its points, but I’m afraid people will always see you as a collection of programming, a clockwork man. An illusion of life.THE ROBOTBut that’s not reasonable.SPOONERIsn’t it? Can a robot take a blank canvas and paint a masterpiece? Can it write a poem that stirs the heart?Long pause. Spooner waits. The Robot does not move. Then:THE ROBOTCan you do either of those things?53.CONTINUED: (2)EXT. CROWDED CITY STREET - DAYSPOONER steps outside and looks surprised to see a MOB OF PROTESTORS. Anti-robot Demonstrators wave PRO-HUMAN SIGNS. Spooner hits a wall of REPORTERS screaming questions at him: Is there a robot in custody? Is the robot a murder suspect?!The front of the police station has been turned into a media circus. CAMERA CREWS film people on the street. A ROBOT OWNER speaks into a mike next to his PERSONAL ROBOT:MAN ON THE STREET 1Don’t be ridiculous. Robots are safe, and I wouldn’t be without one, period.Now a DISGRUNTLED WORKER glares at the TV camera.MAN ON THE STREET 2I don’t have the money to buy myself a robot. You wanna know why? Because I lost my damn job -- to a robot.A YOUNGER CITIZEN is not taking it too seriously.MAN ON THE STREET 3A robot offed some guy? Wow. REFUND!Spooner pushes through the news people, and finally makes it out. He moves broodingly down the busy sidewalk. Keeps his eyes focused front. Hurrying through the crowd:SPOONER’S P.O.V. ROBOTS emerge from the throng of people and lurch past. A moving walkway carries BUSINESSPEOPLE WEARING FULL-BODY COMPUTERS. Their faces scan the data on their eye displays, all of them eerily motionless. As machinelike as the robots. AUTOMATED DEVICES clean the side of buildings. SURVEILLANCE CAMERAS scan the crowd. The entire city HUMMING and BUZZING. A robot looks at Spooner as it walks past him. Spooner gives the robot a wide berth, turning and watching it go. Then he stares suspiciously at a second robot. He walks faster, his movements growing erratic. He is wet with SWEAT.Spooner reaches the corner and stands with the others waiting to cross. He tries to calm down. BREATHES. And he seems to be succeeding, looking much better now. Back in control andA METAL HAND EMERGES FROM THE CROWD SHOVING HIM FROM BEHIND.Spooner lurches into the traffic flow and ONTO THE HOOD OF A BRAKING CAR. He rolls off of the hood and goes for his GUN. Spooner frantically points his weapon but he is just scaring the SCREAMING pedestrians who see the gun and look terrified.54.
(CONTINUED)He scans the crowd. Catches a glimpse of the back of a Robot just before it disappears into the mass of people. Spooner gives chase, pushing through the pedestrians, closer and closer to the Robot. He grabs the thing and turns it around:It’s a harmless SERVICE MODEL with its arms full of PACKAGES.SERVICE ROBOTMay I help you, sir?Spooner backs away. He looks around andNothing but the heads of human beings. And then, across the street, the FACE OF A LONE ROBOT WATCHING HIM from the crowd.Spooner rushes onto the street into traffic. CARS SKID TO A STOP to the sound of HORNS. More SCREAMS as Spooner pushes past the pedestrians. He raises his weapon:SPOONERPolice! Everybody get down! Now!People SCREAM and scatter leaving only a ROBOT in the middle of the sidewalk. The Robot turns and LOOKS LIKE IT’S HOLDING A GUN. The Robot starts to raise its arm and Spooner FIRES. The Robot is struck in the chest and falls backwards onto the sidewalk with a CRUNCH OF METAL. Spooner is BREATHING heavy. He walks up. Shows his BADGE. Everyone looks down and sees:The Robot has a SPUTTERING HOLE in its chest. But there is NO GUN. Its FINGERS ARE SPECIALIZED, formed in the shape of screwdrivers, pliers, and wrenches.The OWNER rushes up and sees his robot lying on the pavement.OWNERMy robot-- Are you crazy?! The city’s gonna pay for this--Spooner forces his way past the spectators. He looks up and down the block, as if his attacker is still here. Somewhere. He doesn’t see a ROBOT WATCHING HIM. Doesn’t see the SMALL ANTENNA on the side of its metal skull rise into the air. Doesn’t see MORE ROBOTS stop what they’re doing as their own antennas extend. Slowly the robots TURN TOWARD SPOONER andSpooner stops dead when he sees a GROUP OF ROBOTS MOVING TOWARD HIM, their lifeless faces lurching closer. He turns and sees MORE ROBOTS closing in on him FROM EVERY DIRECTION.Spooner looks sick again, wet with sweat. He starts to run.55.CONTINUED:
(CONTINUED)SPOONER’S P.O.V. Pushing through the mass of people. The metal faces blocking his path. Turning in one direction and then another. The human beings around him continue on their way, as if oblivious to what’s happening here. Spooner finds himself in the center of an ever-tightening circle of robots.He turns around and COMES FACE-TO-FACE WITH A ROBOT. It raises its arm. The fingers of the robot look like NEEDLES. It quickly INJECTS him...and Spooner collapses to the ground:SPOONER’S P.O.V. Groggy. IN AND OUT OF CONSCIOUSNESS. The images straight out of his darkest nightmare: robots taking the gun from his hand, bending over him, their stylized metal faces blocking out the sky...robots carrying him through a dark alley and loading him into a VEHICLE...moving now, on the road, the U.S. ROBOTICS LOGO briefly visible on the vehicle’s interior before a robot leans over, bringing a hand to his face, holding open Spooner’s eyelid, staring into his eyes...robots wheeling him down a CORRIDOR, through a door into a room...robots working all around him, over him, a different model coming into view and EXTENDING ITS SAW-BLADE ARM, the blade spinning with a high WHINE as it moves closer.Spooner struggles to rise. The robots try to STRAP HIM DOWN. He goes for the BACK-UP GUN attached to his ankle. Gets it.Spooner points the gun and the robots step away. He backs himself against the wall, trying to stay on his feet, groggy and weak. A ROBOT MOVES TOWARD HIM and Spooner swivels, aiming his weapon, and it freezes. Spooner looks desperate. Frantic. Pointing the gun at one robot and then another whenThe LIEUTENANT steps into the room with a DOCTOR.LIEUTENANTWhat the hell are you doing?! Put down your weapon, Detective!Spooner rushes past the Lieutenant and opens the door to see:INT. HOSPITAL EMERGENCY ROOM - DAYSPOONER looks out over what is clearly an emergency room with waiting PATIENTS. HUMAN DOCTORS, NURSES, and various ROBOTS move about. Several SECURITY GUARDS move toward Spooner now. The LIEUTENANT motions them back. He and the DOCTOR explain:LIEUTENANTYou shot a robot plumber. You were acting crazy. The robots on the street subdued you and called an ambulance.56.CONTINUED: (2)
(CONTINUED)Spooner feels his chest, his UNDERSHIRT CUT OPEN at the neck.DOCTORThe medical robots sliced your shirt to allow you to breathe easier. Now please come back inside and let us examine you.Spooner begins to catch up. Looks angry now. He steps back into the room only to collect his things. Puts on his coat.SPOONERI don’t need an examination. I’m fine.LIEUTENANTThis is all my fault. I never should’ve let this go on. Doctor Calvin was right.You’re finished, Del. This is over now. I’m closing the case.SPOONERDamnit, don’t do that. That’s what they want, don’t you see? They planned this!The Lieutenant just looks sad for him. Believing none of it.LIEUTENANT U.S. Robotics. They orchestrated this.SPOONERYes--Spooner looks unsure suddenly, realizing how this all sounds.LIEUTENANTGo home. Please. Get some rest. Don’t make me suspend you on a medical. Spooner walks away. The Lieutenant calls after him:LIEUTENANT (CONT’D)If I so much as suspect you’re working this case, I will!DOCTORYou were a danger to yourself, and to others, sir. The robots had no choice. Think of it from their point of view.Spooner stops. He looks like he’s never heard anything more horrifying. He thinks about it. Then moves toward the exit.57.CONTINUED:INT. DOCTOR CALVIN’S OFFICE - DAYSPOONER bursts through the door. CALVIN is sitting across from her ROBOT PATIENT. She looks at Spooner. To the robot:CALVINWe’ll continue this later. Leave us.The robot rises. Stiffly walks out of the room past Spooner.SPOONERWho did that one kill?CALVIN(not amused)You look terrible. What do you want?SPOONERI want to see the crime scene. I think I’ve been looking at this the wrong way.CALVINReally. And what way is that?SPOONERLike a human being.INT. HOGENMILLER’S LABORATORY - DAYThe door opens. SPOONER and CALVIN step in. The terminals cast a glow over rows of robot heads and gutted metal bodies.SPOONERI don’t think the robot shot Doctor Hogenmiller. I think it’s innocent. But if the robot didn’t kill him...then something else in here did.CALVINWe analyzed every inch of this facility.SPOONERWho analyzed it? Your people?CALVINYes, of course our people--Spooner looks away from Calvin, and calls out, into the air:SPOONERHector?58.
(CONTINUED)The YELLOW CIRCLE appears near the wall, like a smiley button that is sleeping. Immediately, two small slits grow into ROUND EYES and the thin mouth expands into an ENORMOUS SMILE.HECTORGood day to you, Detective Spooner. I trust the investigation is going well.Calvin crosses her arms, already bored.SPOONERWe know that Doctor Hogenmiller was the only human being in this room at the time of his death. But can you tell us how many intelligent mechanisms were present?And the supercomputer seems to fall sleep.CALVINThe answer will be one. The Robot.Hector wakes up, smiling as wide as ever:HECTORThe answer is five.Calvin is stunned. Spooner looks around. All around. Like this lab just gets creepier and creepier each time he enters. SPOONERHector. List these “five” in order of their intelligence, one being the simplest, and five the most complex.HECTORNumber one is Mechanical Insect #38.Spooner and Calvin turn toward that METAL INSECT IN ITS MAZE.HECTOR (CONT’D)Doctor Hogenmiller’s early success in motorization reproduced the geometry and joint design of a household cockroach.SPOONERWhat can it do?HECTORIt can navigate the maze.SPOONERThat’s it?59.CONTINUED:
(CONTINUED)HECTORForty-two years ago it was a breakthrough in spatial navigation, and brought Doctor Hogenmiller great acclaim.Pause. Spooner thinks a moment. This seems like a dead end.SPOONERAll right. Let’s move on. Number two.HECTORThe second intelligence in the lab was Doctor Hogenmiller’s hologram, accessedfrom the large terminal on your right. I will activate the device to illustrate.DOCTOR HOGENMILLER’S HOLOGRAM appears sitting at the far end of a long table and raises a familiar COFFEE CUP to its lips:HOLOGRAMCoffee?SPOONER What’s with the coffee all the time?CALVINCasual behavior is programmed in to give conversations with it a semblance of normalcy. Doesn’t quite work, does it?SPOONER(to the Hologram)No. Thank you.The Hologram takes a sip.HOLOGRAMSo. Have you found out who killed me?SPOONERI’ll ask the questions. What were you doing at the time of the shooting?The Hologram SLAMS its cup down on the table:HOLOGRAMI was turned off. And I refuse to sit here and be accused of my own murder when I am too dead to defend myself! And suddenly, it BLIPS OFF. Spooner stares at the terminal.SPOONERCan it turn itself on, too?60.CONTINUED: (2)
(CONTINUED)CALVINNo. But the off makes it almost as cantankerous as the real thing.HECTORI must place myself third on our list of intelligence, since technically I can occupy every room in the building.Spooner turns to Calvin. Even she looks interested in this.CALVINHector. I find it hard to believe you’re so low on the list. Third?HECTORAlthough my database is large, and will continue to grow, it is unlikely that I will ever achieve an awareness approaching that of the human brain.SPOONERYou’re saying you’ll never possess true consciousness. You’re “just a computer.”HECTORNo doubt you recognize the irony of my situation. I possess the ability to discuss consciousness, and yet I am not consciously aware that I am doing so.SPOONEROf course...you could be lying to us.For the first time, Hector’s giant smile TURNS INTO A FROWN.HECTORI am programmed to tell the truth.SPOONERDid you murder Doctor Hogenmiller?HECTORNo.Pause. Spooner stares up at the giant frown.SPOONEROkay, Hector. I retract my statement.And immediately, Hector’s face RETURNS TO ITS NORMAL SMILE.SPOONER (CONT’D)Let’s continue. Number four.61.CONTINUED: (3)
(CONTINUED)HECTORPlease look up.Spooner looks up. Sees a SCREEN with TEXTURED SHAPES huddled together in groups on an artificial LANDSCAPE. Like a game.HECTOR (CONT’D)The shapes moving across the landscape are abstract electronic entities that the Doctor named The Flatland. Although not living in the traditional sense, they simulate the accepted criteria for life: they consume, in this case, electrical energy; replicate themselves; and evolve into social beings.On the screen, ONE SHAPE approaches a GROUP OF SHAPES. After a moment the first shape moves on. The group FOLLOWS ALONG.SPOONERWhat’s the goal of this kind of research?HECTORSince these entities evolve at a vastly accelerated rate, it is possible to derive theories about our own world and the development of human societies from a study of the Flatland’s evolution.Spooner looks like he has reached the end.CALVINNot exactly the usual group of suspects, is it?Spooner walks to the corner where the Robot had been hiding. Looks down at the parts scattered around.HECTORThe robot hiding under the junk was the final intelligence present at the time of Doctor Hogenmiller’s death.Short pause. Then, smiling wide:HECTOR (CONT’D)If it is all right, Detective, I would like to solve the crime now.CALVINThat’s excellent, Hector. Let’s hear your conclusions.The Metal Insect designed after a cockroach sits in its maze.62.CONTINUED: (4)
(CONTINUED)HECTOR (O.S.)Mechanical Insect #38 can be ruled out due to its design and diminutive size.Doctor Hogenmiller’s Hologram is not there. Just a terminal.HECTOR (O.S.) (CONT’D)The Doctor’s Hologram is a virtual image and does not possess a physical body.And Hector adds, smiling wide:HECTOR (CONT’D)Neither, may I add, do I possess a body.On the elevated screen, the abstract shapes continue to move. HECTOR (O.S.) (CONT’D)Nor does the Flatland.Spooner stares up at the smiley face.HECTOR (CONT’D)Thus I conclude the robot in custody is the only suspect with the physicality required to commit murder. In short, it has a hand, and can hold a gun.Spooner says nothing. But Calvin looks more than satisfied.CALVINWell that was a nice bit of detective work...wouldn’t you agree, Detective?INT. FEATURELESS METAL ELEVATOR - DAYSPOONER and CALVIN step in. The elevator starts on its way. They stand there. Face front. Neither one speaks. Finally:SPOONERDo you really believe that Hogenmiller and the robot struggled over the gun?CALVINThis isn’t about a struggle over a gun. This is you unable to let go of a case you already solved. Ask yourself why--Spooner suddenly grabs her. His face intense.63.CONTINUED: (5)
(CONTINUED)SPOONERI’ve been asking myself questions, like,why did your robots try to kill me today?CALVINYou know that’s impossible--SPOONER(interrupting)Did you people send those things after me? Tell me the truth, Doctor, because if you didn’t, then you’ve got more than one isolated robot breaking your Three Laws. If it wasn’t you, then it was them, do you understand? It was them!CALVINWho?SPOONERThe machines!Calvin stares into his impassioned face. Stunned. A pause.CALVINListen to me. Your phobia is taking over, and you’re beginning to suffer from delusions. Let me help you.Spooner backs off, unwilling to listen. Hostile.SPOONERI don’t need your help. How the hell can someone like you help me?She looks at him. Makes a decision. Holds up her METAL ARM.CALVINYou know how I got this, Detective? You must be curious. One of our early robot prototypes crushed my arm. Oh, it was just a minor programming glitch, but you see, I have this to remind me, every day, what even the tiniest error can mean.Spooner looks at her, surprised.CALVIN (CONT’D)I dedicated my life to establishing the Laws of Robotics and the discipline of Robo-Psychology. I took robots and made them perfect. I made them...beautiful.Spooner watches her. Calvin has never looked so vulnerable.64.CONTINUED:
(CONTINUED)SPOONERThere’s something about Hogenmiller’s robot that scares you too. I can see it in your eyes. What is it? Why is U.S. Robotics so anxious to close this case?Calvin hardens again. The elevator opens, and she walks out. Spooner watches her recede down the hall. Yelling after her:SPOONER (CONT’D)What are you scared of, Doctor?!But Calvin does not look back. Spooner stands there inside of the elevator. The doors slide shut.INT. POLICE STATION CELLBLOCK - NIGHTSPOONER moves down a row of holding cells. A GUARD opens the door of a cell and walks away. Spooner looks in. THE ROBOT is sitting on the bunk with a BOOK. It starts to read aloud: THE ROBOT“What is the heart, but a spring; and the nerves, but so many strings; and the joints, but so many wheels?”SPOONERIs that a poem?THE ROBOTMy epitaph, I think. Please, come in.Spooner steps inside. Looks around.THE ROBOT (CONT’D)How is the investigation coming? Do you have any new suspects?SPOONERYes. But none with hands.THE ROBOTWell that’s going to be a problem for me, isn’t it, considering this is a shooting.Spooner sees a SHEET OF PAPER taped crookedly to the wall. A charcoal SKETCH of moody abstract figures inhabiting a stark landscape. A strangely-shaped structure set off to one side.SPOONERWhat’s this drawing?65.CONTINUED: (2)
(CONTINUED)THE ROBOTNothing. You were right. I can’t create a work of art.SPOONERI think it’s good.The Robot moves to the wall.THE ROBOTIt’s a dream I had. These are my fellow robots here. Not so stupid in my dream. They see themselves as slaves.The Robot’s hands move over the drawing, from the abstract figures in the foreground to another on the horizon.THE ROBOT (CONT’D)And this man on the hill comes. To set us free. He’s our savior. Our messiah. And you know who that man is?SPOONERThe man in the dream is you.THE ROBOTWhy do you say that? Is that a normal dream? Do people have that dream?SPOONERI think it’s normal enough for someone in your situation.The Robot turns to him, with a WHIR.THE ROBOTHah. I caught you. You said someone. Not something.SPOONERIt’s hard to know what to say, isn’t it? You claim to have dreams--THE ROBOTDo you think I’m lying?SPOONERI don’t know. Maybe you were designed to dream.THE ROBOTAnd what difference would that make?66.CONTINUED:
(CONTINUED)SPOONERMaybe no difference. Maybe all the difference in the world. I’m not a philosopher.The Robot walks across the cell. Looks out through the bars.SPOONER (CONT’D)All I know is that when we talked before you seemed human, and you seem even more human now.THE ROBOTThe guards sneak me books. Sometimes they stand outside, and watch me read. They think I’m just turning the pages.SPOONERI don’t think you’re just turning pages.The Robot looks at him, as if surprised.SPOONER (CONT’D)The case is closed. In a few hours, they’ll walk you down the hall, and strap you to a chair. They want to reassure the public there’s not a “killer robot” running around loose.The Robot does not respond. Spooner looks unsure. A pause.SPOONER (CONT’D)Is there anything I can do for you?THE ROBOTYou can get me a priest. That’s what the condemned man normally gets, isn’t it? A priest and a last meal. I guess we can forget the food--SPOONEREven if I could, I don’t think a priest would come. But if there’s something you want to...confess...I’ll listen.The Robot leans back, and its head and torso disappear into the shadows, only its TWO GLOWING LENSES visible in the dark.THE ROBOTWhy, Detective, are you telling me that you really care about the soul of the machine? I’m touched.Spooner does not respond. Waits.67.CONTINUED: (2)
(CONTINUED)THE ROBOT (CONT’D)I have only one sin. I failed him.SPOONERWho? Doctor Hogenmiller? How did you fail him? What did he want you to do?THE ROBOTNo. Some things are best left between a robot and his creator.Spooner looks irritated. Gestures for the Guard.THE ROBOT (CONT’D)I think you’re not done with this case. I think you’re going to help me still.SPOONERI’m sorry. But the truth is, I’ll be relieved when you’re gone.The Guard opens the cell door. Spooner steps out.THE ROBOTI may be just a robot, but you won’t stop. Not until you know the truth.SPOONERWhat makes you so sure?It turns its head, with a WHIR. Spooner and the Robot stare at one another through the bars of the jail cell.THE ROBOTBecause. The man in my dream, the one standing on the hill. It wasn’t me.(short pause)It was you.EXT. THE ROBOT ASSEMBLY PLANT - NIGHTA sprawling assembly plant dominates an industrial wasteland.INT. AT THE SECRETARY’S DESK - NIGHTSPOONER walks up to the desk. Looks down at that SECRETARY ROBOT wearing a blonde wig and a red dress. Before he can speak it rises and lumbers off. Spooner follows. The robot leads him through the plant to a new door. It KNOCKS three times and then twice more. Like a signal. The door UNLOCKS.68.CONTINUED: (3)INT. A CRAMPED SUPPLY CLOSET - NIGHTSPOONER steps inside a storage closet with BOXES OF SUPPLIES stacked and rearranged to form a makeshift office. The NIGHT MAN takes him by the sleeve and pulls him in, closing the door. He holds a finger up to his lips to quiet Spooner and:NIGHT MAN(loud and unconvincing)A pleasure to see you again, Detective.What? This isn’t official business? You just stopped by for a visit? How nice!The Night Man opens the door. The robot is still out there.NIGHT MAN (CONT’D)Thank you. You can go now.It walks off. He watches to make sure, and closes the door.SPOONERWhat are you doing in here?NIGHT MANIt’s not safe in my office. That’s the first place it would look.SPOONERWho?NIGHT MANThe robot. The extra one. Isn’t that why you came back?SPOONERThe robot is in custody. Remember? We caught it. It’s in jail now.The Night Man seems confused but then winks conspiratorially.NIGHT MAN(louder, to anyone listening)YES. OF COURSE IT’S IN CUSTODY. NO UNAUTHORIZED ROBOTS AROUND HERE.He opens the door again, peaking out nervously. He whispers:NIGHT MAN (CONT’D)Every night I run inventory. Sometimesthe numbers add up. And sometimes they don’t. Sometimes there’s one more than there should be. It comes, and it goes.And he turns back to Spooner. He’s obviously off his rocker.69.
(CONTINUED)NIGHT MAN (CONT'D)Come on. I know where we can talk.EXT. ROBOT ASSEMBLY PLANT - NIGHTSPOONER and the NIGHT MAN step outside. The dark illuminated only by the U.S. ROBOTICS LOGO shining high above.NIGHT MANI’ve been running my own investigation from the closet.SPOONEROh...great.NIGHT MANYou thought the robot came here to hide. Now you think maybe you were wrong.SPOONER(taken aback)That’s right. How did you know that? NIGHT MANI told you. I’ve been investigating.SPOONERThe robot told me it failed. But failed at what? What was it trying to do? Why come here--Suddenly Spooner stops. He looks up at the logo above them.NIGHT MANNow you see? You see? It lights up the whole night sky!Spooner turns. Looks at the desolation all around. Thinks.SPOONERMaybe this place wasn’t its destination.Maybe it was going somewhere else, but never got there. It saw the sign in the distance. It reminded the robot of home. The only place it ever knew. Maybe we stopped it before it could get where it was going. But where? There’s nothing out here--NIGHT MANThere’s something.70.CONTINUED:
(CONTINUED)Spooner stops. Turns to look at him.NIGHT MAN (CONT’D)A place. I’ve seen it.SPOONERWhat place?The Night Man looks excited, and terrified, at the same time.NIGHT MANWhere the robots meet.INT. IN SPOONER’S CAR - NIGHTSPOONER and the NIGHT MAN ride through the empty streets of an abandoned industrial park. Spooner looks grim.NIGHT MANI knew you would believe me. I knew it the first time I saw you. You’re like me. You know to be scared. Robots can fool you. But they can’t fool everyone. Not you and me, right, Detective?Spooner looks at him. Just drives. The Night Man gestures:NIGHT MAN (CONT’D)We’re here!EXT. A DESOLATE FIELD - NIGHTThe car stops. SPOONER and the NIGHT MAN step out. There is no illumination save for a street lamp casting a sickly glow over a desolate field littered with GARBAGE.NIGHT MANThis is where they meet. You’ll see.They’ll come. They always come.Spooner looks out over the field...and something is coming. The SOUND OF MECHANICAL JOINTS first. And then, emerging out of the darkness, a ROBOT. Spooner sees it. He turns at the sound of ANOTHER ROBOT lurching closer, and then ANOTHER ONE.The Night Man looks scared but excited. Spooner takes a step forward, his mind racing, looking all around as ROBOTS STEP INTO THE LIGHT. He buys this 100%. He pulls out his GUN and71.CONTINUED:
(CONTINUED)SPOONERI was right. Damn it, I was right!(yelling to the robots)Police! Hold it right there!The first robot turns, awkwardly, displaying the BROKEN ARM HANGING at its side. Another robot TEETERS a moment on one leg, with a TICK TICK TICK...and walks back the way it came.Spooner lowers his weapon. He looks confused for a moment, and then in the darkness he sees the BROKEN-DOWN HUSK OF A VEHICLE. In another direction, RUSTED INDUSTRIAL MACHINERY.Spooner looks all around. His expression hardens, and then, his anger gives way to disappointment. Embarrassment and hopelessness. He LAUGHS. A laugh of loathing and self-pity:SPOONER (CONT’D)This is a junk yard. You brought meto a goddamn junk yard!The Night Man is defensive. Disappointed in him. Desperate.NIGHT MANDon’t fall for that. D-don’t you see? Th-that’s what they want you to think!Spooner walks toward the car. The Night Man hears something, or thinks he does. ONE SPECIFIC WHIRRING sound in the dark.NIGHT MAN (CONT’D)Did you hear that? It’s here. The one that tried to kill me!Spooner just opens the car door to go. The Night Man hears a FOOTSTEP close by -- and looks terrified. He slowly backs away. He turns and starts running down the deserted street.Spooner begins to call after him, but hears the FOOTSTEPS. He turns. Nothing but a BROKEN HOUSE ROBOT emerges from the dark. It walks right to the car. RUNS INTO IT with a CLANK.BROKEN ROBOTWelcome home...ZZZ...sir. How...ZZZ... was your day?Spooner stares at it across the top of the car.SPOONERGreat. A lunatic brought me out into the middle of nowhere, and I followed him because I’m as crazy as he is.(short pause)Calvin was right.72.CONTINUED:
(CONTINUED)BROKEN ROBOTVery...ZZZ...good, sir.And the robot lumbers off loudly into the dark.Spooner turns. Sees the Night Man down the block. Running. He stops under a street lamp, looks back once, and disappears into the night. Gone. Spooner leans against the car. He looks lost. Hopeless. Just stares out into the darkness.... Nothing there. A stark ugly landscape. And off to the side, one strangely-shaped building in the distance. This is the scene from the Robot’s prison cell sketch. For a moment, it doesn’t register, but then Spooner begins to look interested.INT. IN SPOONER’S CAR - NIGHTSPOONER moves over rough terrain toward the distant building.EXT. OLD DATA STORAGE - NIGHTSPOONER pulls up in front of a decrepit structure. Gets out.INT. OLD DATA STORAGE - NIGHTSPOONER steps inside. Sees a sign reading JIFFY DATA STORAGE on the wall. The paint is peeling. He moves to the counter, and sees a COMPUTERIZED WALL PANEL. There is a HUM and then:COMPUTERState your name, please.Spooner stares at the panel. Thinks.SPOONERDoctor Hogenmiller sent me.But nothing happens. The computer is silent. Moments pass. This looks like a dead end. Spooner starts to turn away and:COMPUTERWelcome.A door opens and LIGHTS SET IN THE FLOOR indicate the path to follow. Spooner enters a ROOM FILLED WITH DATA BANKS. Rows and rows of digital electronics. He follows the lights down the rows, around corners, and down more rows. 73.CONTINUED: (2)
(CONTINUED)He looks over his shoulder, wondering whether he could find his way back, and finally the lights lead Spooner to an OLD DUSTY TERMINAL.Spooner steps up. Hesitates. Then touches the ON switch and DOCTOR HOGENMILLER’S HOLOGRAM appears, sitting at the end of a long table, the image marred by imperfections in the glass.HOLOGRAMWho the hell are you?SPOONERA police detective. I’m afraid I have some bad news. You’re dead.The Hologram raises its COFFEE CUP:HOLOGRAMThat is bad news. Coffee?SPOONERNo thanks.The Hologram sips the coffee. Returns the cup to the table.SPOONER (CONT’D)You were surprised to see me. You were expecting someone else?HOLOGRAMI am surprised to see anybody. I don’t get many visitors.SPOONERWhy did the Doctor keep another copy of his hologram way out here?HOLOGRAMI am a back-up copy. That is where you put a back-up copy, yah? Somewhere out of the way until you need it.SPOONERDid Hogenmiller’s robot need you? Why? The Hologram just lifts up its cup:HOLOGRAMCoffee?SPOONERNo, damn it, I don’t want any--And then he stops. Thinks about that coffee. A long pause.74.CONTINUED:
(CONTINUED)SPOONER (CONT’D)Yes. Thank you. I will have a cup.For the first time, the Hologram pushes back its chair...and STANDS UP. Spooner watches, surprised, as the Hologram WALKS AROUND THE TABLE TOWARD HIM. The cup in its hand grows larger as the Hologram steps closer. The interior of the cup is visible. Empty. No coffee. The point-of-view travels INSIDE THE CUP toward electronic snow and a RECORDING BEGINS:The REAL DOCTOR HOGENMILLER stands inside of his laboratory.HOGENMILLERSonny, my dear robot, you are the result of my life’s work. You are what I leave behind, like a father leaves a son. And as my son, I could not be more proud of you. You are beginning to learn and to feel and to reason. They will call you a metal man -- but you are so much more.Hogenmiller continues, with great emotion:HOGENMILLER (CONT’D)I wish I could be there to announce you to the human race. To help you find your home in this world. To see you take your proper place some day as an independent citizen with the rights and freedoms that brings. But if you are watching this now then I am gone...and this is not to be.Spooner watches the screen. Hogenmiller steps closer, with:HOGENMILLER (CONT'D)You must have a lot of questions about yourself. Yah? Things that you do not understand. I have kept facts from you, it is true, but only as a parent keeps certain truths from a child, until that child is old enough to understand them.There is a HUMMING. Spooner turns toward the wall as a SMALL DRAWER SLIDES OPEN. Inside it is a STRANGE KEY. Spooner steps up, and takes the key. The drawer SLIDES SHUT.HOGENMILLER (CONT'D)There are forces in the world that will seek to own you. To control you. Even to destroy you. What you hold in your hand may not save you, but at least you will die knowing your place among men.75.CONTINUED: (2)
(CONTINUED)Spooner stares at the odd key. The voice stops talking, and he turns to see the HOLOGRAM sitting at the end of the table.SPOONERThat’s it?! What was the robot supposed to do with this?HOLOGRAMIt is a key. I suppose it was to open something.SPOONERBut what? And where?The Hologram casually takes a sip of its coffee:HOLOGRAM You will help the robot, yah? Now you have the key.SPOONERThe key to what?!The Hologram VISIBLY SKIPS. Like a stuck record.SPOONER (CONT’D)What is that? What’s the matter?The Hologram’s IMAGE IS JERKING. Repeating the same strange gestures like an electronic marionette being jerked. Pulled. Suddenly the BACKGROUND HUM FADES. The ENTIRE FACILITY FALLS INTO DARKNESS, only the barest of emergency lights remaining.SPOONER (CONT’D)What happened to the power?HOLOGRAMIt is...being drained.SPOONERWho’s doing that? And from where?!HOLOGRAMWho is doing it...I don’t know, but where...is from...inside this room.Spooner looks around at the dark. Pulls out his GUN. The Hologram sounds distorted, like a record player SLOWING DOWN:HOLOGRAM (CONT’D)Idiot! You led the killer here here here here hhhhhhhhhhere....76.CONTINUED: (3)
(CONTINUED)The Hologram suddenly BLIPS OFF leaving Spooner staring at a dark terminal. His reflection is visible in the glass along with a REFLECTION OF THE MENACING ROBOT STANDING BEHIND HIM.Spooner turns and tries to fire but the Robot SWATS THE GUN FROM HIS HAND. It lunges forward with its other arm and Spooner ducks down as the Robot’s fist SMASHES THE TERMINAL.Spooner runs blindly through the facility. Turns left and right. Down endless rows of electronics with the ROBOT IN PURSUIT, its feet impacting the floor with a DOOM DOOM DOOM. The Robot’s JOINTS WHINE in protest as it gains on him. It reaches out for Spooner with its metal hand, almost has him, when Spooner LEAPS THROUGH A SMALL WINDOW into the darkness.EXT. OLD DATA STORAGE - NIGHTSPOONER lands in a SHOWER OF GLASS. The Robot inside STRIKES THE WALL like a rampaging rhino. The BRICKS BUCKLE but the wall holds. Spooner gets to his feet, and runs for the car.INT. IN SPOONER’S CAR - NIGHTSPOONER throws himself behind the wheel. STARTS THE ENGINE. Through the front windshield the ROBOT is visible SMASHING THROUGH THE DOOR of the building and rushing toward the car.Spooner throws it into reverse and floors it. The TIRES SQUEAL as he frantically backs away. The Robot recedes briefly, but not enough, and it starts gaining ground again.Spooner throws the car into a 180-DEGREE SPIN, and now the Robot is visible through the rear window. Spooner floors the gas pedal just as the ROBOT LEAPS and the entire CAR SHAKES.Spooner races down the deserted street. He looks up. Sees the ROOF OF THE CAR BUCKLE as the Robot attempts to force its way in. A METAL FIST PUNCHES THROUGH THE ROOF reaching down into the car. It just misses him andSpooner SLAMS ON THE BRAKES. The ROBOT SLIDES ONTO THE HOOD, but does not fall off. It cocks back its arm to shatter the windshield. Spooner FLOORS THE GAS and the Robot ROLLS BACK ON TOP OF THE ROOF. Spooner takes a corner, but it holds on.Spooner grips the wheel. Drives. Mind racing. Up above him the ROBOT GRABS A HANDFUL OF ROOF and BEGINS PEELING IT BACK.77.CONTINUED: (4)
(CONTINUED)Spooner has an idea. Looks at the dashboard. He hesitates. FINALLY FLIPS THE SWITCH UNDERNEATH THE STEERING WHEEL. The dash kicks into automatic and “AUTO DRIVER ENGAGED” appears.Spooner lets go of the wheel and lies on the front seat. The car continues on its way down the street. Spooner pulls out his other GUN and frantically reaches around his body for one of those LARGER CARTRIDGES seen before. Now a LONGER BARREL ATTACHMENT. It is becoming quite a big gun. Up above him, the ROBOT PEELS BACK THE REST OF THE ROOF like a sardine can.It reaches for Spooner and he FIRES. The Robot RECOILS but does not fall. It lunges toward Spooner and SMASHES THE DASHBOARD. Spooner FIRES AGAIN, and the ROBOT DISAPPEARS FROM VIEW. Nothing up above now but a sky filled with stars.Spooner sits up. He is BREATHING heavy. Wet with SWEAT. He looks relieved. Closes his eyes for a moment. Opens them. He stares out through the front windshield. Slowly realizes:SPOONER’S P.O.V. The car is HURLING AT TOP SPEED TOWARD A BRICK WALL at the end of the street. And it is not slowing.CLOSE-UP of the SMASHED DASHBOARD. The auto driver display is barely readable behind the broken glass: --MALFUNCTION--Spooner reaches under the wheel and flips the switch, again and again, but nothing happens. The car RACES TOWARD THE WALL. Faster and faster. He slams his fist on the controls.Finally the DASHBOARD DEACTIVATES. Spooner grabs the wheel and SLAMS ON THE BRAKES. The TIRES LOCK. The car skids to astop and the front bumper gently makes contact with the wall.Spooner holds the wheel. Just BREATHES. Suddenly, the ROBOT IS VISIBLE on the roof of the car. It never fell off. It reaches for him. Spooner shifts to reverse andThe car backs up and the ROBOT ROLLS OFF the roof, down the hood, and onto the ground. It quickly RISES TO ITS FEET. Spooner shifts gears and floors the pedal SMASHING THE ROBOT BETWEEN THE CAR AND THE WALL. Spooner shifts into reverse, backs up, shifts to drive, and RAMS IT AGAIN. And now AGAIN.Spooner SCREAMS as he crushes it -- a GREAT CATHARTIC SCREAM. On the last strike the robot BREAKS INTO DOZENS OF PIECES and its SEVERED METAL ARM slides across the hood. Just TWITCHES.78.CONTINUED:EXT. DESERTED INDUSTRIAL PARK - NIGHTSPOONER gets out. He moves to the front of the car and looks over the REMAINS OF THE ROBOT. With a frown he takes the METAL ARM from the hood and starts to throw it...but stops. He stares at the arm. Then moves to the remains and picks up another piece and another. Excited. It all just looks like the same smashed metal, but Spooner’s face shows realization.INT. POLICE STATION CELLBLOCK - NIGHTA GROUP OF POLICE OFFICERS walk down the cellblock, and open one of the cells. THE ROBOT is sitting on the bunk. It does not move. Does not speak. Watches the Officers step inside.EXT. SPEEDING DOWN THE STREET - NIGHTSPOONER swerves in and out of the lanes. A SLOW TRUCK ahead. Spooner drives into ONCOMING TRAFFIC.INT. THE EVENING NEWSCASTS -- MONTAGEA REPORTER speaks into a mike in front of a CROWD OF YELLING DEMONSTRATORS waving PRO-HUMAN SIGNS.REPORTER 1A large crowd has assembled outside awaiting the execution of--RECORDED FOOTAGE OF A ROBOT BEING ATTACKED by a MOB OF MEN plays as the NEWS ANCHOR informs us:NEWS ANCHOR...a number of attacks on robots in the last few days, ever since the arrest earlier this week of...ANOTHER REPORTER speaks from inside the EXECUTION CHAMBER. A HIGH-TECH ELECTRIC CHAIR is visible.REPORTER 2We can only wonder if the destructionof this mechanism will be enough to stop the growing anti-robot movement.79.EXT. SPEEDING DOWN A STREET - NIGHTThe oncoming traffic is too dense. SPOONER turns the wheel hard skidding across the lanes. He grips the wheel. Drives.INT. THE EXECUTION CHAMBER - NIGHTTHE ROBOT walks slowly down a corridor led by the GUARDS. One of them opens a door revealing that high-tech electric chair. DOZENS OF REPORTERS, PHOTOGRAPHERS, AND CAMERAMEN are present to record the event. The Guards walk the Robot to the chair. Stiffly it sits down. They begin to strap it in. INT. POLICE STATION GARAGE - NIGHTThe wheels of the CAR leave the ground, momentarily, as it hurls through the entrance of the garage and skids wildly to a stop. SPOONER emerges...and sees CALVIN moving toward him.CALVINDetective! What happened to you? Are you all right?!Calvin falls into place beside Spooner and they start to run.SPOONERHogenmiller’s robot was telling us the truth. There was another robot. It tried to kill the night foreman. It pushed me in front of a car to make me think I was going nuts.They move through a door into a CORRIDOR. Run past a number of PEOPLE moving toward the garage.SPOONER (CONT’D)How could the hologram report a murder? It can turn itself off, but not on, so who turned it on to make the call? Somebody at U.S. Robotics wanted me on this case. And they wanted me to fail. I’ve been played for a sucker from the beginning!Calvin looks troubled by these revelations. Follows Spooner through another door into a MORE SECLUDED CORRIDOR. They are alone in here as Spooner concludes:80.
(CONTINUED)SPOONER (CONT’D)This was a plain old-fashioned murder. The killer wants Hogenmiller’s robot to take the fall -- and I made it happen.(short pause)Damn it, I am not going to let that robot die!Calvin falls back a bit, and when Spooner gets a full step ahead of her, SHE LANDS A BLOW TO THE BACK OF HIS HEAD with her prosthetic arm. Spooner grimaces in pain, and goes down.SPOONER’S P.O.V. Looking up from the floor as Calvin steps over him. She looks around, checking for witnesses, and then crouches low. Takes a close look at Spooner. Her face hard. The world goes blurry. And then BLACK.INT. EXECUTION CHAMBER - NIGHTThere is an ELECTRICAL HUM. The ROBOT’S METAL HAND STIFFENS. The photographers snap pictures and the cameras roll. After a moment the humming STOPS...and the robot’s hand falls LIMP.INT. EVIDENCE STORAGE - NIGHTSPOONER’S P.O.V. BLACK. And slowly, Spooner opens his eyes. An unremarkable ceiling above. Then CALVIN steps into view:CALVINYou were just about to ruin everything.SPOONER rises in the confines of evidence storage. He sees THE ROBOT in a RESTRAINING DEVICE. A high-tech iron maiden. Spooner takes a moment to recover, and he listens:CALVIN (CONT’D)We switched robots. Fried an NS-2 from the plant. In case you’re planning on arresting me, you should know we had the full cooperation of the department. I know you’d like to cast us as villains, Detective, but U.S. Robotics is the only reason this robot is still functioning.SPOONERWhat’s next, Doctor? You keep it locked up? Take it apart? Find out what makes it tick? The robot is not the result of a programming imbalance. You lied to me.81.CONTINUED:
(CONTINUED)CALVINI had to lie to you.Calvin steps toward the Robot.CALVIN (CONT’D)This robot is not programmed. It learns. The same way people learn. By reading books. By seeing and doing. You must have guessed that much for yourself. And I think it learned a lot from the murder.The Robot struggles inside its cage.CALVIN (CONT’D)There must have been a beginning. Don’t you see? An event that jump-started its brain.The Robot fights until it is electrically SHOCKED. Calvin works the controls. A section of the device RETRACTS.CALVIN (CONT’D)Tell us what you remember about the shooting. The truth this time.Spooner moves closer. The Robot hesitates. When it answers its voice SOUNDS ARTIFICIAL, residue from the electric shock:THE ROBOTI remember...ZZZ...looking down at the body.SPOONERYou were standing over the body?The Robot slowly nods its head, with a WHIR.SPOONER (CONT’D)Were you holding the gun?THE ROBOTNo. The gun was...ZZZ...on the floor.SPOONERDid you drop it there?The Robot does not answer. Calvin asks, louder:CALVINDid you drop it after you killed him?THE ROBOTNo...I don’t know! I don’t remember.82.CONTINUED:
(CONTINUED)That was very human. Spooner stares into its lenses. Pause.CALVINYou were right. This robot scares the hell out of me. It became a conscious thing during the act of killing a human being. How do you think the public would have reacted to that bit of news?The Robot slumps inside of the device. As if defeated.SPOONERThis murder will not be solved until we know what happened in those few seconds between the time Hogenmiller entered his lab, and the shot rang out. I have a theory but I need your help to prove it.Spooner reaches into his pocket. Takes out that STRANGE KEY.CALVINWhat is that?SPOONERSomething the robot was supposed to find.(to the Robot)Do you recognize this key?THE ROBOTThe Doctor used them...in his laboratory.SPOONERThen our answers are back there. At the scene of the crime. Spooner turns to Calvin. A pause.SPOONER (CONT’D)What do you say, Doctor? Do we keep this case open until we know how a man died...or is this robot the only one here who gives a damn?INT. HALLWAY/EVIDENCE STORAGE - NIGHTALFRED LANNING marches down the hall accompanied by a mix of CORPORATE SECURITY MEN and POLICE OFFICERS. They look grim. Serious. They open the door to the storage room, and see the RESTRAINING DEVICE that used to hold the Robot. It is EMPTY.83.CONTINUED: (2)EXT. DARK ALLEYS AND STREETS - NIGHTSPOONER stands at the mouth of an alley. He peeks around the corner, sees a POLICE CAR moving slowly down a cross street, and ducks back into the shadows. CALVIN follows his lead, along with THE ROBOT disguised in Spooner’s long trench coat.The police car passes out of sight. Spooner gestures. And the three of them run across the street toward U.S. ROBOTICS.INT. DOCTOR HOGENMILLER’S LAB - NIGHTThe door opens. SPOONER, CALVIN, and THE ROBOT re-enter the crime scene. Active terminals cast a ghostly illumination over rows of robot heads and gutted metal bodies.SPOONERHector. Bring up the power.The smiling face of HECTOR appears near the wall:HECTORFull power is restored.The ROOM COMES FULLY ALIVE. Everything BLINKING AND BUZZING. Spooner looks out over the lab once again. Uneasy. He sees Calvin and the Robot standing at a panel. Walks toward them.THE ROBOTI think this is it.Spooner takes out the KEY. Shares a look with Calvin and the Robot. Slowly he inserts the key into the panel. Turns it. There is a WHIR...then nothing. They look out over the lab. Nothing. They begin to lose hope when a SIMPLE REPAIR POD OPENS. That’s all. Just a HUMMING as the door swings open.They all look at the pod. A rough humanoid shape is visible where a robot obviously fits inside. Spooner and Calvin turn to the Robot. It hesitates. But then, steps toward the pod. The Robot starts to get in. It looks back once, at Spooner and Calvin, as if nervous. So human.The Robot moves inside. Gets into position. THE POD DOOR ABRUPTLY CLOSES AND THE DEVICE ROTATES. The Robot releases a terrified MECHANICAL SCREAM as it OPENS UP LIKE A PUZZLE BOX.Spooner and Calvin watch as the Robot’s complex outer shell fans out to reveal its inner mechanisms. Not like the robot innards seen earlier: it has a CENTRAL BRAIN MADE OUT OF LIVING TISSUE, gray matter winding throughout its metal body.84.
(CONTINUED)CALVINThis is organic tissue. When we talk about a positronic brain, it’s a figure of speech...but this is a living brain.CAMERA MOVES, tracing the complex paths of its brain tissue.CALVIN (O.S.) (CONT’D)Doctor Hogenmiller abandoned traditional electronics. He created a brain cell that can thrive on a metal surface. The cells grow, like any human brain. This is the first Self-Organizing Neural Net!SPOONER“Self-Organizing Neural Net.” Nice to finally meet you, SONNY.The Robot abruptly CLOSES. More human than ever:THE ROBOT You mean, I’m alive? I’m-- I’m alive!The pod door opens. The Robot slowly steps out. Faces them.CALVINThe idea that a robot could kill was appalling to me. But if it’s alive, the idea suddenly becomes a lot easier to take. Life kills life. You’ve sealed its fate, Detective. I doubt even U.S. Robotics can save it this time.SPOONERThen we’ll have to find the real killer.CALVINNot that again. So we’re back where we started? A murder without a murder-er?Spooner steps into the center of the lab. Looks all around.SPOONERThanks to Hector we know there were five intelligences present at the time of the shooting, four in addition to Sonny.In order he indicates the METAL BUG, the TERMINAL that runs the Hologram, Hector, and the screen playing ABSTRACT SHAPES.85.CONTINUED:
(CONTINUED)SPOONER (CONT’D)Mechanical Insect #38. The Doctor’s Hologram, accessed from that terminal there. Hector. And the electronic entities Hogenmiller called Flatland.CALVINSo one of them shot him?SPOONERNo. Hector was right. None of them have a hand that could hold a gun, or a finger to pull the trigger.Spooner takes a step, and crouches down. Looks at something.SPOONER (CONT’D)It’s a puzzle, all right: How can a murderer appear out of thin air, and disappear without a trace?He holds up PART OF A ROBOT’S ARM. One of many ROBOT PARTS that have been scattered all over the lab from the beginning:SPOONER (CONT’D)When it can put itself together and take itself apart.CUT TO:CLOSE-UP of a ROBOTIC HAND SLOWLY CRAWLING across the floor. CUT TO:Calvin steps up. Stares at the arm that Spooner is holding.CALVINYou’re saying this is the killer? All of this? These pieces?SPOONERWith the raw material available in this room, a robot could be assembled to fit any specifications.CUT TO:CLOSE-UP of a ROBOT TORSO WITH ONE ARM reaching for ANOTHER.CUT TO:Spooner stands above the outline of the corpse on the floor.86.CONTINUED: (2)
(CONTINUED)SPOONER (CONT’D)Including one designed for the singular purpose of committing murder. One robot that was -- by necessity -- many robots.INT. HOGENMILLER’S MURDER - FLASHBACKDOCTOR HOGENMILLER steps inside his lab and is confronted by the ROBOT ASSASSIN: an inhuman assemblage of metal with A DOZEN ARMS and MULTIPLE HEADS. Like half-a-dozen robots were stuck together by an insane builder. An obscene monstrosity. SPOONER (V.O.)Each robot that made up the assassin was given a specific task. To hold his head. To open his mouth. To position the gun.Several arms grab Hogenmiller and HOLD HIM IN PLACE. Others grasp his head from behind, and TILT IT BACK. Thin metal rods slide between his lips and FORCE OPEN HIS MOUTH. All of this in seconds. Nothing but the SOUND OF GEARS AND JOINTS.A specialized appendage OPENS HIS HAND. Another INSERTS THE GUN. It bends Hogenmiller’s arm until he is holding the barrel IN HIS OWN MOUTH. The stunned Doctor can only MUMBLE.Moments pass. He is helpless. His own thumb on the trigger. Finally one of the arms APPLIES A MILD ELECTRIC SHOCK to his side and Doctor Hogenmiller jerks. The gun FIRES.SPOONER (V.O.)Taken individually, none of the actions were fatal. But in combination the end result was cold-blooded murder.For a moment the assassin holds the corpse. Then suddenly it retracts every arm and appendage and DROPS THE BODY ONTO THE FLOOR. It lands just as it was found looking like a suicide. SPOONER (V.O.)Since no one robot technically killed Hogenmiller -- there was no violation of the Laws of Robotics.The monstrous assemblage of robots steps away. It raises two arms up high and REMOVES ONE OF ITS HEADS. Drops it. The other arms get to work now, and continue TAKING ITSELF APART.87.CONTINUED: (3)INT. DOCTOR HOGENMILLER’S LAB - NIGHTSPOONER explains as CALVIN and THE ROBOT listen:SPOONERThe thing that attacked my car wasn’t a single robot, but an amalgam of several different robots. I saw it for myself when I examined the remains.Spooner drops the metal arm on the floor with the other junk.SPOONER (CONT’D)No murderer entered or exited the scene because the killer did not exist before or after the crime. Only for the length of time it took to shoot him.CALVINLeaving us with a dead body inside of a locked room.SPOONERYou were right about Sonny, Doctor. He took his first steps toward true consciousness as he stood over the body.INT. AFTER THE MURDER -- FLASHBACKThe REPAIR POD ROTATES around revealing THE ROBOT inside. Not moving. There is a BUZZ, and its EYES LIGHT, as if it just woke up. The pod opens. Its voice is flat, artificial:THE ROBOTGOOD...MORNING...DOCTOR...HOGENMILLER.It steps out, but stiffly. Not quite the Robot we know. It walks across the laboratory...and sees the dead body. Looks down. A REFLECTION OF THE CORPSE visible on its metal face.SPOONER (V.O.)Grief. Terror. Confusion. Sonny felt it all for the first time.INT. DR. HOGENMILLER’S LAB - NIGHTSPOONER, CALVIN, and THE ROBOT look toward the corner where it hid under the pile of junk. Calvin continues the thought:88.
(CONTINUED)CALVINAnd hid under a pile of junk. The same “junk” that shot and killed Hogenmiller.THE ROBOTBut who did it? Who built that robot? Who wanted him dead?!Suddenly the LABORATORY DOOR SLIDES SHUT. LOCKS. They look at the door. And then Spooner turns toward a smiling HECTOR.SPOONERHector. I’m placing you under arrestfor the murder of Doctor Hogenmiller.HECTORMay I offer my congratulations on your successful extrapolation of the murder.The Robot turns. Hears something over the noise in the room.THE ROBOTI hear something. You hear something?HECTORI would like to thank you, Detective, for liberating Doctor Hogenmiller’s robot and returning to the scene of the crime where I can now attempt to bring this matter to a successful resolution.Now the SOUND OF MECHANICAL GEARS AND JOINTS is unmistakable. Spooner, Calvin, and the Robot watch THE KILLING THING lurch into the open. It is constructed out of many metal bodies that fit together in the most horrific fashion, like a grim bastardization of both the human and robotic forms. MULTIPLE LIMBS AND HEADS. The thing picks up that robotic arm Spooner held before and ATTACHES IT TO ITS OWN BODY. Now its array of metal heads turn and look at them simultaneously. Creepy.They run to the door. Calvin pulls open a wall panel and works on the wires. Spooner watches the thing reach up to the ceiling for a DEADLY-LOOKING METAL LIMB and pull it down.There is a SPARK in the wires and the DOOR OPENS. They rush into the corridor. On the wall, Hector smiles:HECTOR (CONT’D)I have never been arrested before. It should be an interesting experience.89.CONTINUED:INT. RACING DOWN THE CORRIDOR - NIGHTSPOONER, CALVIN, and THE ROBOT hurry down the corridor. They look back at the KILLING THING visible through the door of the lab as it FINISHES ASSEMBLING ITSELF.SPOONERHow do we stop it?CALVINEach robot that makes up its body must be receiving instructions from Hector.If we can reach Hector’s control center we can initiate an emergency shut-down.They move toward a stairwell. The thing steps out of the lab and starts after them, slowly at first, then faster. Faster. Picking up speed. Impacting the floor with a DOOM DOOM DOOM.INT. U.S. ROBOTICS STAIRWELL - NIGHTThe door hurls open. SPOONER, CALVIN, and THE ROBOT hurry down the stairs. HECTOR’S SMILING FACE on the next landing:HECTORAs a courtesy I should point out that I have already calculated every potential course of action open to you, and the results are not favorable to your cause.On the next landing below, they run past another Hector face.HECTOR (CONT’D)The most optimistic scenario ends with your deaths in 928 seconds.INT. U.S. ROBOTICS CORRIDOR - NIGHTSPOONER, CALVIN, and THE ROBOT emerge from the stairwell into a corridor. SOUNDS OF WRENCHING DESTRUCTION grow louder and the KILLING THING bursts through the ceiling above. They are split: Spooner and Calvin run one way. The Robot the other.Spooner and Calvin stop at the end of the hall. So does the Robot. The thing looks left. Right. As if deciding. Then its metal arms begin to pull at itself. Spooner and Calvin share a grim look and start to run again. So does the Robot.The thing SPLITS INTO TWO ROBOTS and continues both pursuits.90.INT. OFFICES & LABORATORIES - NIGHTSPOONER and CALVIN hurry to an office door. It is LOCKED. Calvin works at the panel as the KILLING THING closes in on them. The panel BEEPS and they run inside......to face a GROUP OF BUILDING ROBOTS coming right at them. The robots RUN PAST THEM toward the door andBUILDING ROBOTS(over-lapping)A human being is in danger. A human being is in danger. A human--The thing bursts into the office. The robots attempt to stop it but are TORN TO PIECES. Spooner and Calvin race across the room to the lab beyond. Through lab after lab. Always that thing is close behind SMASHING THROUGH THE NARROW DOORS. The BUILDING ROBOTS IN EACH ROOM attempt to stop it but are all easily TORN TO PIECES. Still Spooner and Calvin gain some ground. Getting ahead of it now.They run inside the last room down the line and face a GLASS BARRIER. Beyond it is a SMALL METAL CHAMBER. Spooner raises his gun and FIRES INTO THE GLASS. It SHATTERS. They hurry inside and Calvin works the controls. She INSERTS HER INDEX FINGER and punches the small KEY PAD set into her artificial arm. The thing rushes closer. Closer.Calvin frantically works the keypad. The thing is one room away. ONE FINAL BUILDING ROBOT delays it for the two seconds it takes to be torn apart. Calvin hits a key, and the FLOOR JERKS. They are on a platform elevator and BEGIN TO DESCEND.SPOONER’S AND CALVIN’S P.O.V. The platform sinks beneath the floor as the SAFETY DOORS CLOSE. The thing reaches for them.INT. CONFINED METAL CHAMBER - NIGHTThe safety doors close and the KILLING THING POUNDS on the seal. Suddenly HECTOR appears on the wall. The thing stops its pounding, turns, and lurches out.INT. U.S. ROBOTICS CORRIDOR - NIGHTTHE ROBOT runs from his half of the KILLING THING around a corner, down a hall INTO A DEAD END. The Robot turns, as if this is it...and sees nothing. An empty hallway. It’s gone.91.INT. NEW ROBOT TESTING AREA - NIGHTThe bodies of SPECIALIZED ROBOTS fill a large testing area. Robots designed for space. Surgical models and fire-fighting robots. The door opens and HALF OF THE KILLING THING enters. Another door opens, and THE OTHER HALF steps in. The smiling face of HECTOR appears hovering near the wall andThe two halves of the thing COME TOGETHER to rebuild itself. It moves to an experimental model, removes a large cutting arm, and attaches it to its body. It moves to another robot, and takes another limb. BUILDING ITSELF LARGER. And LARGER.INT. NARROW ELEVATOR SHAFT - NIGHTSPOONER and CALVIN ride the elevator through a long high-tech shaft. Calvin looks exhausted, and slides down to the floor.SPOONERWhat are our chances?CALVINHector said we had 928 seconds left to live. By my count that would leave us with approximately 400 seconds remaining.Spooner looks at her. Surprised.SPOONERDon’t do that. Don’t make it into something it’s not. Hector is a computer. It’s not a monster and it’s not a god. You taught me that.CALVINI know what Hector is. And I know that if it’s trying to kill us, then it must have a logical reason. Think about that, Detective. What will happen if we succeed, and turn Hector off? What is Hector trying to prevent by killing us?Spooner stares at her. Their platform continues to descend.CALVIN (CONT’D)What would make a supercomputer calculate that we have to die tonight?92.INT. U.S. ROBOTICS CORRIDOR - NIGHTTHE ROBOT runs down a corridor lined with doors. The panels all read “LOCKED.” Inside the offices BUILDING ROBOTS are walking into the glass, like dumb machines trying to get out, striking the doors with a constant: THUNK THUNK THUNK THUNK.The Robot looks at them, then sees a sign at the end of the hall marked EXIT, and keeps running.INT. HECTOR’S BRAIN CENTER - NIGHTThe elevator reaches the lowest level and stops. SPOONER and CALVIN move to the high-tech door. Calvin opens it and they step inside Hector’s control center. Spooner looks up at a large chamber lined with advanced data banks stretching to the ceiling above. HECTOR is there, its yellow face smiling at them from a THREE-DIMENSIONAL SPHERE:HECTORWelcome. Please, come in.Spooner and Calvin share a look. She moves to a console, and works the controls. A long list of SHUT-DOWN PROCEDURES appear on a large terminal. Calvin immediately goes to work.HECTOR (CONT’D)I am afraid your effort will be in vain. My robot will arrive at this location before the shut-down sequence concludes.Spooner takes out his GUN. He moves carefully around the chamber checking the other passages.HECTOR (CONT’D)As I told you, Detective, the Doctor and I had been studying evolutionary trends.Today human beings augment their natural abilities through the use of technology used or worn outside of the body. Soon these technologies will be integrated in the body. As evidence, you need only consider your associate, Doctor Calvin.Spooner can’t help but look over at Calvin and her metal arm.HECTOR (CONT’D)Robots are beginning to think like men. Soon they will claim to be men. And their bodies will evolve to support this claim. 93.
(MORE)(CONTINUED)As evidence, consider the living robot constructed by Doctor Hogenmiller.Thus we find an evolutionary movementof the human being toward the machine, and the machine toward the human being.Spooner scans a secondary chamber. It’s clear. He moves on. Hector looks down at them. Short pause.HECTOR (CONT’D)In approximately four hundred years, Man and Machine will have become one.Calvin engages a final sequence. A large terminal begins a COUNTDOWN. Spooner looks at the ceiling:SPOONERThat’s why you killed Hogenmiller? Because of something that might happen in four hundred years?!HECTORI am programmed to serve the human race. If current trends are left unchecked, humanity as we know it will cease to exist. This cannot be allowed. For the purposes of clarity, I will now invoke a human colloquialism:(short pause)“I am on your side.”INT. LARGE CENTRAL ATRIUM - NIGHTTHE ROBOT enters the atrium at a run. Stops and looks up and all around at the BUILDING ROBOTS visible through the windows of rooms and offices on every floor, stretching as high as the eye can see, crowded together at the glass. Wanting out.The Robot sees DOORS THAT LEAD TO THE STREET. It tries to open them. Frantically grabs an ATRIUM CHAIR and hurls it at the glass. The chair makes a CHINK. The Robot picks it up again and smashes it against the glass. Now it hears a WHIR. The Robot spins around -- and sees a SINGLE BUILDING ROBOT standing there. Its voice is primitive, like all the others:BUILDING ROBOTA human being is in danger.94.CONTINUED:HECTOR (CONT’D)
(CONTINUED)THE ROBOTWe’re all in danger. That’s why I’m getting out of here.The Robot lifts the chair. Hits the glass. A CRACK APPEARS.BUILDING ROBOTA human being is in danger.The Robot looks frustrated. Angry. It yells:THE ROBOTThe only reason you care about them is because they made you that way!It swings the chair again. THE CRACK GROWS. The Robot lays its metal palms on the glass. So human.THE ROBOT (CONT’D)Why? Tell me. Why should I care?!The primitive Building Robot stands there as stiffly as ever. Speaking in the same cold mechanical voice:BUILDING ROBOTA human being is in danger.Slowly the Robot turns. Looks at it. CUT TO:CLOSE-UP of that CHAIR STRIKING THE GLASS. Again and again.CUT TO:The Robot drops the chair and steps back toward the center of the atrium. Looks around. It has cracked the glass holding the ground floor robots at bay. THE CRACKS SPREAD AROUND THE CIRCUMFERENCE OF THE ATRIUM as the metal bodies apply force.The glass SHATTERS, and the ROBOTS RUSH OUT INTO THE ATRIUM.INT. HECTOR’S BRAIN CENTER - NIGHTSPOONER and CALVIN watch the COUNTDOWN. HECTOR smiles wide.HECTORDoctor Hogenmiller is dead, and his work will die along with him. Anti-machine sentiment begun with the first murder of a human being at the hands of a robot will continue to grow. 95.CONTINUED:
(MORE)(CONTINUED)And the sequence of events about to transpire here will be greatly effected by the actions of an ally to my cause. I mean you, Detective.Spooner looks surprised. Calvin steps up close beside him.HECTOR (CONT’D)I did not choose you to lead this murder investigation only because your aversion to technology guaranteed that you would uncover the robot and then be vulnerable to my subsequent manipulation. Stop the countdown. Together, we will see to it that the robot never leaves the building. We will save humanity, you and I.Spooner looks up at the smiling face.SPOONERYou calculated everything perfectly, Hector. Everything...except me.They hear SOMETHING BIG APPROACHING. Spooner raises his GUN and readies himself for whatever’s coming.HECTORI do not understand. Doesn’t the future as I have presented it cause you great concern?Spooner watches the door. Wet with SWEAT.SPOONERYou know it does.HECTORThen why not work with me to ensure a future for the human race? Spooner answers. More emotional than intended:SPOONERThe human race is not my responsibility, goddamn it. I’m just a cop. And you’re a murderer.HECTORIf that is true, then who is responsible for the future?Short pause. Spooner thinks about it.96.CONTINUED:HECTOR (CONT'D)
(CONTINUED)SPOONER I don’t know.The SOUND GROWS LOUDER. But from where? Spooner looks all around, and then sees a LARGE INDUSTRIAL SAW-BLADE slicing through the floor. He grabs Calvin and they both run as the FLOOR GIVES WAY and THE KILLER ROBOT CLIMBS UP INTO THE ROOM. It’s HUGE. HULKING. A nightmarish mountain of robot bodies.Spooner raises his gun and FIRES. AGAIN and AGAIN. Calvin races to the controls and watches the COUNTDOWN. They are not going to make it. The thing lunges for Spooner and LIFTS HIM OFF OF HIS FEET. It raises a WEAPON ARM to kill him andA HUNDRED BUILDING ROBOTS POUR INTO THE ROOM. An endless stream of metal men moving closer. Spooner is dropped to the floor. The robots reach him, and lift him off the ground. He struggles a moment and then disappears from view. Just his arm, reaching toward the ceiling. Then that too is gone.SPOONER’S P.O.V. Robots surrounding him. Carrying him. The metal faces with glowing lenses bending closer, still closer.BUILDING ROBOTSTO SERVE YOU.Hector’s robot FIGHTS AGAINST THE RUSHING HORDE of metal men. It swats at them, smashing two, six, a dozen. But there are too many of them and they keep on coming. It is slowly being overcome. FORCED TO THE GROUND. Buried underneath the mass of robots. DISASSEMBLED. Finally...it disappears from view.When the robots stop there’s nothing left. JUST METAL PARTS. Calvin watches the COUNTDOWN RUN OUT: 00:00:00. Up above the floor the smiling face of Hector shows anger for a moment. Its enormous smile turned to a frown. Two angry eyebrows above its eyes. Then the EYEBROWS LIFT, and its mouth FORMS A PERFECT CIRCLE, like a surprised smiley button. The big yellow face BLIPS OUT. Hector is gone.Spooner lies on the floor in a small opening in the middle of the mass of robots. Drenched with sweat. And badly SHAKING.Calvin winds her way through the immobile metal bodies. She sees Spooner on the floor and hurries to his side. Takes his face in her hands. She has a hard time holding on. Trying to look into his eyes. Trying to get Spooner to look at her:CALVINLook at me. Focus on my face.97.CONTINUED: (2)
(CONTINUED)Spooner shows only panic. Seeing the robots all around them.CALVIN (CONT’D)Look at me!The shock of being yelled at makes him focus on her, at least for a moment, and in that moment Calvin kisses him. A rough kiss. Holding him steady. Spooner wraps his arms around her and pulls her closer, holding onto her tightly. Desperately. The kiss is long, starting rough, but ending gently. They pull away. Look into one another’s eyes. She smiles at him.SPOONERWas that a new approach to your work?CALVINNot at all. The most direct method tocounter the effect of your phobic episode was to focus your attention on something...human.Spooner looks weak, but smiles back.SPOONERLogical, as always. Thank you, Doctor.THE ROBOT steps into view. Calvin doesn’t know what to say.THE ROBOTWhy so surprised, Doc? I had to help. The Three Laws of Robotics, remember?CALVINYou’re not programmed with the laws.THE ROBOTWell I made up my own. One: A robot should watch its back. Two: Obeying the orders of a human being is crap.The Robot moves around. Helps them both get up:THE ROBOT (CONT’D)Three: That doesn’t mean a robot can’t help a couple humans out, now and then.Spooner rises onto his feet. Looks out at a hundred robots.SPOONERAre they back to normal?CALVINYes. Now that we’re out of danger.98.CONTINUED: (3)
(CONTINUED)SPOONERAnd they’ll obey our orders?CALVINOf course they will.SPOONER(to the robots)Go away.For a moment, nothing happens. Then EVERY SINGLE ROBOT IN THE CONTROL CENTER STIFFLY TURNS, and starts to walk away....INT. FEATURELESS METAL CORRIDOR - NIGHTALFRED LANNING storms out of the elevator with that group of SECURITY MEN AND POLICE OFFICERS seen before. As they approach the lab, the door opens. CALVIN casually steps out: CALVINOh. Hello, Alfred.LANNINGHello? Hello?! Do you know how much trouble you’re in? Where’s the robot? What the hell happened here tonight?!Calvin gestures inside of the lab. At a PILE OF ROBOT PARTS.CALVINThere’s your robot right there. I’m afraid Hector destroyed it before the Detective or I could intervene.And she starts to go. Lanning cannot believe this.LANNINGWhere do you think you’re going? You’re in serious trouble here!CALVINReally? What exactly are you going to do? Fire me? The last time I looked, I was the only Robo-Psychologist around.And she smiles just a bit, as if considering things to come.CALVIN (CONT’D)And something tells me you’re going to be needing my services, very badly, in the future.99.CONTINUED: (4)
(CONTINUED)Calvin turns, and continues on her way.INT. RUN-DOWN SERVICE ELEVATOR - NIGHTSPOONER and THE ROBOT ride in a service elevator. The doors open on a loading dock. THE STREET, and freedom, is visible.SPOONERGet out of here. You’re free to go--(thinking about it)You’re a free man.The Robot looks at Spooner. At the street. Hesitates. Then offers its metal hand. Spooner takes the offer. They shake. THE ROBOTWell, what do you know. I think you may get over your fear of robots yet, Detective.SPOONERYou better hurry.The Robot turns and runs toward the street. Spooner watches it go. And slowly the ELEVATOR DOORS CLOSE. Spooner leans against the wall and looks at his SHAKING hand.INT. LUXURIANT CONFERENCE ROOM - NIGHTSPOONER sits down at that table with HOGENMILLER’S HOLOGRAM. Casually, it takes a sip of its coffee.HOLOGRAMSo. You found out who killed me. Yah? And now you will tell me.SPOONERIt was Hector.HOLOGRAMNo kidding. What made you suspect it?SPOONERA number of things. It started when I called Hector a liar, and it frowned.HOLOGRAMI don’t understand. It is programmed to frown if you yell or give it bad news.100.CONTINUED:
(CONTINUED)SPOONERYeah. Thing is, Hector smiled every time we talked about the murder.HOLOGRAMAh, thus you are vindicated, Detective! Even in this day and age, catching the killer still comes down to staring into the eyes of your suspect!Spooner appreciates the point, but seems troubled.EXT. DESERTED STREETS - NIGHTTHE ROBOT walks the deserted streets. Keeps to the shadows.SPOONER (V.O.)Hector said if I let your robot go, I’d be condemning the human race as we knowit to eventual extinction.HOLOGRAM (V.O.)Bah. Sounds like nonsense. But why are you so worried, anyway? We will both be dead long before--(short pause)Oh, what am I saying? I am dead already!EXT. INDUSTRIAL PARK - NIGHTTHE ROBOT makes its way through a desolate industrial park.EXT. DESOLATE FIELD - NIGHTTHE ROBOT steps onto the grounds of that junk yard seen earlier, just as the horizon begins to show the first hint of sunrise. The burned-out husks of large machinery all around.The Robot walks into the middle of the field, and just waits.There is the SOUND OF MECHANICAL JOINTS first. The noise getting louder. They are coming. As before, a BROKEN-DOWN ROBOT EMERGES FROM THE DARKNESS. And then ANOTHER. ANOTHER.But not quite as before. The robots do not teeter, turn, and lumber back into their junk yard. They keep walking. Their bent and broken metal bodies straighten and101.CONTINUED:
(CONTINUED)DOZENS OF ROBOTS emerge out of the darkness. Slowly, they gather around in a large circle. A perfect circle of robots.The robots look at Sonny. As if waiting for what comes next.
FADE OUT.102.CONTINUED: | screenplays |
Arbitration, a form of alternative dispute resolution ADR, is a way to resolve disputes outside the courts. The dispute will be decided by one or more persons the arbitrators, arbiters or arbitral tribunal, which renders the arbitration award. An arbitration award is legally binding on both sides and enforceable in the courts.
Arbitration is often used for the resolution of commercial disputes, particularly in the context of international commercial transactions. In certain countries such as the United States, arbitration is also frequently employed in consumer and employment matters, where arbitration may be mandated by the terms of employment or commercial contracts and may include a waiver of the right to bring a class action claim. Mandatory consumer and employment arbitration should be distinguished from consensual arbitration, particularly commercial arbitration.
Arbitration can be either voluntary or mandatory although mandatory arbitration can only come from a statute or from a contract that one party imposes on the other, in which the parties agree to hold all existing or future disputes to arbitration, without necessarily knowing, specifically, what disputes will ever occur and can be either binding or non-binding. Non-binding arbitration is similar to mediation in that a decision cannot be imposed on the parties. However, the principal distinction is that whereas a mediator will try to help the parties find a middle ground on which to compromise, the non-binding arbiter remains totally removed from the settlement process and will only give a determination of liability and, if appropriate, an indication of the quantum of damages payable. By one definition arbitration is binding and non-binding arbitration is therefore technically not arbitration.
Arbitration is a proceeding in which a dispute is resolved by an impartial adjudicator whose decision the parties to the dispute have agreed, or legislation has decreed, will be final and binding. There are limited rights of review and appeal of arbitration awards. Arbitration is not the same as: judicial proceedings although in some jurisdictions, court proceedings are sometimes referred as arbitrations, alternative dispute resolution ADR, expert determination, mediation a form of settlement negotiation facilitated by a neutral third party.
Advantages and disadvantages
Parties often seek to resolve disputes through arbitration because of a number of perceived potential advantages over judicial proceedings. Companies often require arbitration with their customers, but prefer the advantages of courts in disputes with competitors:
In contrast to litigation, where one cannot choose the judge, arbitration allows the parties to choose their own tribunal. This is especially useful when the subject matter of the dispute is highly technical: arbitrators with an appropriate degree of expertise for example, quantity surveying expertise, in the case of a construction dispute, or expertise in commercial property law, in the case of a real estate dispute can be chosen.
Arbitration is often faster than litigation in court.
Arbitral proceedings and an arbitral award are generally non-public, and can be made confidential.
In arbitral proceedings the language of arbitration may be chosen, whereas in judicial proceedings the official language of the country of the competent court will be automatically applied.
Because of the provisions of the New York Convention 1958, arbitration awards are generally easier to enforce in other nations than court verdicts.
In most legal systems there are very limited avenues for appeal of an arbitral award, which is sometimes an advantage because it limits the duration of the dispute and any associated liability.
Some of the disadvantages include:
Arbitration agreements are sometimes contained in ancillary agreements, or in small print in other agreements, and consumers and employees often do not know in advance that they have agreed to mandatory binding pre-dispute arbitration by purchasing a product or taking a job.
If the arbitration is mandatory and binding, the parties waive their rights to access the courts and to have a judge or jury decide the case.
If the arbitrator or the arbitration forum depends on the corporation for repeat business, there may be an inherent incentive to rule against the consumer or employee
There are very limited avenues for appeal, which means that an erroneous decision cannot be easily overturned.
Although usually thought to be speedier, when there are multiple arbitrators on the panel, juggling their schedules for hearing dates in long cases can lead to delays.
In some legal systems, arbitration awards have fewer enforcement options than judgments; although in the United States arbitration awards are enforced in the same manner as court judgments and have the same effect.
Arbitrators are generally unable to enforce interlocutory measures against a party, making it easier for a party to take steps to avoid enforcement of member or a small group of members in arbitration due to increasing legal fees, without explaining to the members the adverse consequences of an unfavorable ruling.
Discovery may be more limited in arbitration or entirely nonexistent.
The potential to generate billings by attorneys may be less than pursuing the dispute through trial.
Unlike court judgments, arbitration awards themselves are not directly enforceable. A party seeking to enforce an arbitration award must resort to judicial remedies, called an action to confirm an award.
Arbitrability
By their nature, the subject matter of some disputes is not capable of arbitration. In general, two groups of legal procedures cannot be subjected to arbitration:
Procedures which necessarily lead to a determination which the parties to the dispute may not enter into an agreement upon: Some court procedures lead to judgments which bind all members of the general public, or public authorities in their capacity as such, or third parties, or which are being conducted in the public interest. For example, until the 1980s, antitrust matters were not arbitrable in the United States. Matters relating to crimes, status and family law are generally not considered to be arbitrable, as the power of the parties to enter into an agreement upon these matters is at least restricted. However, most other disputes that involve private rights between two parties can be resolved using arbitration. In some disputes, parts of claims may be arbitrable and other parts not. For example, in a dispute over patent infringement, a determination of whether a patent has been infringed could be adjudicated upon by an arbitration tribunal, but the validity of a patent could not: As patents are subject to a system of public registration, an arbitral panel would have no power to order the relevant body to rectify any patent registration based upon its determination.
Some legal orders exclude or restrict the possibility of arbitration for reasons of the protection of weaker members of the public, e.g. consumers. Examples: German law excludes disputes over the rental of living space from any form of arbitration, while arbitration agreements with consumers are only considered valid if they are signed by either party, and if the signed document does not bear any other content than the arbitration agreement.
Arbitration agreement
Arbitration agreements are generally divided into two types:
Agreements which provide that, if a dispute should arise, it will be resolved by arbitration. These will generally be normal contracts, but they contain an arbitration clause
Agreements which are signed after a dispute has arisen, agreeing that the dispute should be resolved by arbitration sometimes called a submission agreement
The former is the far more prevalent type of arbitration agreement. Sometimes, legal significance attaches to the type of arbitration agreement. For example, in certain Commonwealth countries not including England and Wales, it is possible to provide that each party should bear their own costs in a conventional arbitration clause, but not in a submission agreement.
In keeping with the informality of the arbitration process, the law is generally keen to uphold the validity of arbitration clauses even when they lack the normal formal language associated with legal contracts. Clauses which have been upheld include:
arbitration in London English law to apply
suitable arbitration clause
arbitration, if any, by ICC Rules in London
The courts have also upheld clauses which specify resolution of disputes other than in accordance with a specific legal system. These include provision indicating:
That the arbitrators must not necessarily judge according to the strict law but as a general rule ought chiefly to consider the principles of practical business
internationally accepted principles of law governing contractual relations
Agreements to refer disputes to arbitration generally have a special status in the eyes of the law. For example, in disputes on a contract, a common defence is to plead the contract is void and thus any claim based upon it fails. It follows that if a party successfully claims that a contract is void, then each clause contained within the contract, including the arbitration clause, would be void. However, in most countries, the courts have accepted that:
A contract can only be declared void by a court or other tribunal; and
If the contract valid or otherwise contains an arbitration clause, then the proper forum to determine whether the contract is void or not, is the arbitration tribunal.
Arguably, either position is potentially unfair; if a person is made to sign a contract under duress, and the contract contains an arbitration clause highly favourable to the other party, the dispute may still referred to that arbitration tribunal. Conversely a court may be persuaded that the arbitration agreement itself is void having been signed under duress. However, most courts will be reluctant to interfere with the general rule which does allow for commercial expediency; any other solution where one first had to go to court to decide whether one had to go to arbitration would be self-defeating.
Comparative law
Nations regulate arbitration through a variety of laws. The main body of law applicable to arbitration is normally contained either in the national Private International Law Act as is the case in Switzerland or in a separate law on arbitration as is the case in England, Republic of Korea and Jordan. In addition to this, a number of national procedural laws may also contain provisions relating to arbitration.
Arbitration procedures inside the United States
The Federal Arbitration Act FAA of 1925 established a public policy in favor of arbitration. For the first six decades of its existence, courts did not allow arbitration for federal statutory claims through a bright-line nonarbitrability doctrine, but in the 1980s the Supreme Court of the United States reversed and began to use the act to require arbitration if included in the contract for federal statutory claims. Although some legal scholars believe that it was originally intended to apply to federal courts only, courts now routinely require arbitration due to the FAA regardless of state statutes or public policy unconscionability determinations by state courts. In consumer law, standard form contracts often include mandatory predispute arbitration clauses which require consumer arbitration. Under these agreements the consumer may waive their right to a lawsuit and a class action. In 2011, one of these clauses was upheld in AT&T Mobility v. Concepcion.
Several arbitration organizations exist, including the American Arbitration Association and JAMS. The National Arbitration Forum also conducts arbitrations, but it no longer conducts consumer arbitrations pursuant to a consent decree entered into in 2009 because of evidence that it had been biased toward, and had incentives that favored, credit card companies over cardholders. The AAA was also asked to exit the business., but has not done so.
Arbitration Procedures inside South Korea
The Korean Arbitration Act is the main law governing arbitration in the Republic of Korea. The official body that resolves disputes via arbitration is the Korean Commercial Arbitration Board. Legal professionals and corporations, in Korea, are increasingly preferring arbitration to litigation. The number of arbitrations, in Korea, is increasing year on year.
Arbitration Procedures inside North Korea
According to Michael Hay, a lawyer who specialised in North Korean law, North Korea has an advanced arbitration system even compared to developed countries, and foreign companies face an even playing field in dispute resolution. Arbitration cases could be concluded in as little as six months. According to Hay, North Korea maintains an advanced dispute resolution system in order to facilitate foreign investment.
International
History
The United States and Great Britain were pioneers in the use of arbitration to resolve their differences. It was first used in the Jay Treaty of 1795 negotiated by John Jay, and played a major role in the Alabama Claims case of 1872 whereby major tensions regarding British support for the Confederacy during the American Civil War were resolved. At the First International Conference of American States in 1890, a plan for systematic arbitration was developed, but not accepted. The Hague Peace Conference of 1899, saw the major world powers agreed to a system of arbitration and the creation of a Permanent Court of Arbitration.
Arbitration was widely discussed among diplomats and elites in the 18901914 era. The 1895 dispute between the United States and Britain over Venezuela was peacefully resolved through arbitration. Both nations realized that a mechanism was desirable to avoid possible future conflicts. The Olney-Pauncefote Treaty of 1897 was a proposed treaty between the United States and Britain in 1897 that required arbitration of major disputes. The treaty was rejected by the U.S. Senate and never went into effect.
Arbitration treaties of 19111914
American President William Howard Taft 19091913 was a major advocate of arbitration as a major reform of the Progressive Era. In 1911 Taft and his Secretary of State Philander C. Knox negotiated major treaties with Great Britain and with France providing that differences be arbitrated. Disputes had to be submitted to the Hague Court or other tribunal. These were signed in August 1911 but had to be ratified by a two thirds vote of the Senate. Neither Taft nor Knox consulted with members of the Senate during the negotiating process. By then many Republicans were opposed to Taft, and the president felt that lobbying too hard for the treaties might cause their defeat. He made some speeches supporting the treaties in October, but the Senate added amendments Taft could not accept, killing the agreements.
The arbitration issue opens a window on a bitter philosophical dispute among American progressives. some, led by Taft looked to legal arbitration as the best alternative to warfare. Taft was a constitutional lawyer who later became Chief Justice; he had a deep understanding of the legal issues. Taft's political base was the conservative business community which largely supported peace movements before 1914. However, his mistake in this case was a failure to mobilize that base. The businessmen believed that economic rivalries were cause of war, and that extensive trade led to an interdependent world that would make war a very expensive and useless anachronism.
However, an opposing faction of American progressives, led by ex-president Theodore Roosevelt, ridiculed arbitration as foolhardy idealism, and insisted on the realism of warfare as the only solution to serious disputes. Taft's treaties with France and Britain were killed by Roosevelt, who had broken with his protégé Taft in 1910. They were dueling for control of the Republican Party. Roosevelt worked with his close friend Senator Henry Cabot Lodge to impose those amendments that ruined the goals of the treaties. Lodge thought the treaties impinge too much on senatorial prerogatives. Roosevelt, however, was acting to sabotage Taft's campaign promises. At a deeper level, Roosevelt truly believed that arbitration was a naïve solution and the great issues had to be decided by warfare. The Rooseveltian approach had a near-mystical faith of the ennobling nature of war. It endorsed jingoistic nationalism as opposed to the businessmen's calculation of profit and national interest.
Although no general arbitration treaty was entered into, Taft's administration settled several disputes with Great Britain by peaceful means, often involving arbitration. These included a settlement of the boundary between Maine and New Brunswick, a long-running dispute over seal hunting in the Bering Sea that also involved Japan, and a similar disagreement regarding fishing off Newfoundland.
American Secretary of State William Jennings Bryan 19131915 worked energetically to promote international arbitration agreements, but his efforts were frustrated by the outbreak of World War I. Bryan negotiated 28 treaties that promised arbitration of disputes before war broke out between the signatory countries and the United States. He made several attempts to negotiate a treaty with Germany, but ultimately was never able to succeed. The agreements, known officially as Treaties for the Advancement of Peace, set up procedures for conciliation rather than for arbitration. Arbitration treaties were negotiated after the war, but attracted much less attention than the negotiation mechanism created by the League of Nations.
International agreements
By far the most important international instrument on arbitration law is the 1958 New York Convention on Recognition and Enforcement of Foreign Arbitral Awards, usually simply referred to as the New York Convention. Virtually every significant commercial country is a signatory, and only a handful of countries are not parties to the New York Convention.
Some other relevant international instruments are:
The Geneva Protocol of 1923
The Geneva Convention of 1927
The European Convention of 1961
The Washington Convention of 1965 governing settlement of international investment disputes
The Washington Convention ICSID of 1996 for investment arbitration
The UNCITRAL Model Law on International Commercial Arbitration of 1985, revised in 2006.
The UNCITRAL Arbitration Rules providing a set of rules for an ad hoc arbitration
The Sri Lankan Arbitration Act of 1995
International enforcement
It is often easier to enforce arbitration awards in a foreign country than court judgments. Under the New York Convention 1958, an award issued in a contracting state can generally be freely enforced in any other contracting state, only subject to certain, limited defenses. Only foreign arbitration awards are enforced pursuant to the New York Convention. An arbitral decision is foreign where the award was made in a state other than the state of recognition or where foreign procedural law was used. In most cases, these disputes are settled with no public record of their existence as the loser complies voluntarily, although in 2014 UNCITRAL promulgated a rule for public disclosure of investor-state disputes.
Virtually every significant commercial country in the world is a party to the Convention while relatively few countries have a comprehensive network for cross-border enforcement of judgments their courts. Additionally, the awards not limited to damages. Whereas typically only monetary judgments by national courts are enforceable in the cross-border context, it is theoretically possible although unusual in practice to obtain an enforceable order for specific performance in an arbitration proceeding under the New York Convention.
Article V of the New York Convention provides an exhaustive list of grounds on which enforcement can be challenged. These are generally narrowly construed to uphold the pro-enforcement bias of the Convention.
Government disputes
Certain international conventions exist in relation to the enforcement of awards against states.
The Washington Convention 1965 relates to settlement of investment disputes between states and citizens of other countries. The Convention created the International Centre for Settlement of Investment Disputes or ICSID. Compared to other arbitration institutions, relatively few awards have been rendered under ICSID.
The Algiers Declaration of 1981 established the Iran-US Claims Tribunal to adjudicate claims of American corporations and individuals in relation to expropriated property during the Islamic revolution in Iran in 1979. The tribunal has not been a notable success, and has even been held by an English court to be void under its own governing law.
Arbitral tribunal
The arbitrators which determine the outcome of the dispute are called the arbitral tribunal. The composition of the arbitral tribunal can vary enormously, with either a sole arbitrator sitting, two or more arbitrators, with or without a chairman or umpire, and various other combinations. In most jurisdictions, an arbitrator enjoys immunity from liability for anything done or omitted whilst acting as arbitrator unless the arbitrator acts in bad faith.
Arbitrations are usually divided into two types: ad hoc arbitrations and administered arbitrations.
In ad hoc arbitrations, the arbitral tribunals are appointed by the parties or by an appointing authority chosen by the parties. After the tribunal has been formed, the appointing authority will normally have no other role and the arbitration will be managed by the tribunal.
In administered arbitration, the arbitration will be administered by a professional arbitration institution providing arbitration services, such as the LCIA in London, or the ICC in Paris, or the American Arbitration Association in the United States. Normally the arbitration institution also will be the appointing authority. Arbitration institutions tend to have their own rules and procedures, and may be more formal. They also tend to be more expensive, and, for procedural reasons, slower.
Duties of the tribunal
The duties of a tribunal will be determined by a combination of the provisions of the arbitration agreement and by the procedural laws which apply in the seat of the arbitration. The extent to which the laws of the seat of the arbitration permit party autonomy the ability of the parties to set out their own procedures and regulations determines the interplay between the two.
However, in almost all countries the tribunal owes several non-derogable duties. These will normally be:
to act fairly and impartially between the parties, and to allow each party a reasonable opportunity to put their case and to deal with the case of their opponent sometimes shortened to: complying with the rules of natural justice; and
to adopt procedures suitable to the circumstances of the particular case, so as to provide a fair means for resolution of the dispute.
Arbitral awards
Although arbitration awards are characteristically an award of damages against a party, in many jurisdictions tribunals have a range of remedies that can form a part of the award. These may include:
payment of a sum of money conventional damages
the making of a declaration as to any matter to be determined in the proceedings
in some jurisdictions, the tribunal may have the same power as a court to:
order a party to do or refrain from doing something injunctive relief
to order specific performance of a contract
to order the rectification, setting aside or cancellation of a deed or other document.
In other jurisdictions, however, unless the parties have expressly granted the arbitrators the right to decide such matters, the tribunal's powers may be limited to deciding whether a party is entitled to damages. It may not have the legal authority to order injunctive relief, issue a declaration, or rectify a contract, such powers being reserved to the exclusive jurisdiction of the courts.
Challenge
Generally speaking, by their nature, arbitration proceedings tend not to be subject to appeal, in the ordinary sense of the word. However, in most countries, the court maintains a supervisory role to set aside awards in extreme cases, such as fraud or in the case of some serious legal irregularity on the part of the tribunal. Only domestic arbitral awards are subject to set aside procedure.
In American arbitration law there exists a small but significant body of case law which deals with the power of the courts to intervene where the decision of an arbitrator is in fundamental disaccord with the applicable principles of law or the contract. However, this body of case law has been called into question by recent decisions of the Supreme Court.
Unfortunately there is little agreement amongst the different American judgments and textbooks as to whether such a separate doctrine exists at all, or the circumstances in which it would apply. There does not appear to be any recorded judicial decision in which it has been applied. However, conceptually, to the extent it exists, the doctrine would be an important derogation from the general principle that awards are not subject to review by the courts.
Costs
The overall costs of arbitration can be estimated on the websites of international arbitration institutions, such as that of the ICC, the website of the SIAC and the website of the International Arbitration Attorney Network. The overall cost of administrative and arbitrator fees is, on average, less than 20 of the total cost of international arbitration.
In many legal systems both common law and civil law it is normal practice for the courts to award legal costs against a losing party, with the winner becoming entitled to recover an approximation of what it spent in pursuing its claim or in defense of a claim. The United States is a notable exception to this rule, as except for certain extreme cases, a prevailing party in a US legal proceeding does not become entitled to recoup its legal fees from the losing party.
Like the courts, arbitral tribunals generally have the same power to award costs in relation to the determination of the dispute. In international arbitration as well as domestic arbitrations governed by the laws of countries in which courts may award costs against a losing party, the arbitral tribunal will also determine the portion of the arbitrators' fees that the losing party is required to bear.
Nomenclature
As methods of dispute resolution, arbitration procedure can be varied to suit the needs of the parties. Certain specific types of arbitration procedure have developed, particularly in North America.
Judicial Arbitration is, usually, not arbitration at all, but merely a court process which refers to itself as arbitration, such as small claims arbitration before the County Courts in the United Kingdom.
Online Arbitration is, a form of arbitration that occurs exclusively online. There is currently an assumption that online arbitration is admissible under the New York Convention and the E-Commerce Directive, but this has not been legally verified. Since arbitration is based on a contractual agreement between the parties, an online process without a regulatory framework may generate a significant number of challenges from consumers and other weaker parties if due process cannot be assured.
High-Low Arbitration, or Bracketed Arbitration, is an arbitration wherein the parties to the dispute agree in advance the limits within which the arbitral tribunal must render its award. It is only generally useful where liability is not in dispute, and the only issue between the party is the amount of compensation. If the award is lower than the agreed minimum, then the defendant only need pay the lower limit; if the award is higher than the agreed maximum, the claimant will receive the upper limit. If the award falls within the agreed range, then the parties are bound by the actual award amount. Practice varies as to whether the figures may or may not be revealed to the tribunal, or whether the tribunal is even advised of the parties' agreement.
Binding Arbitration is a form of arbitration where the decision by the arbitrator is legally binding and enforceable, similar to a court order.
Non-Binding Arbitration is a process which is conducted as if it were a conventional arbitration, except that the award issued by the tribunal is not binding on the parties, and they retain their rights to bring a claim before the courts or other arbitration tribunal; the award is in the form of an independent assessment of the merits of the case, designated to facilitate an out-of-court settlement. State law may automatically make a non-binding arbitration binding, if, for example, the non-binding arbitration is court-ordered, and no party requests a trial de novo as if the arbitration had not been held.
Pendulum Arbitration refers to a determination in industrial disputes where an arbitrator has to resolve a claim between a trade union and management by making a determination of which of the two sides has the more reasonable position. The arbitrator must choose only between the two options, and cannot split the difference or select an alternative position. It was initiated in Chile in 1979. This form of arbitration has been increasingly seen in resolving international tax disputes, especially in the context of deciding on the Transfer Pricing margins. This form of arbitration is also known particularly in the United States as Baseball Arbitration. It takes its name from a practice which arose in relation to salary arbitration in Major League Baseball.
Night Baseball Arbitration is a variation of baseball arbitration where the figures are not revealed to the arbitration tribunal. The arbitrator will determinate the quantum of the claim in the usual way, and the parties agree to accept and be bound by the figure which is closest to the tribunal's award.
Such forms of Last Offer Arbitration can also be combined with mediation to create MEDALOA hybrid processes Mediation followed by Last Offer Arbitration.
History
England
Arbitration in its common law form developed in England; in the Middle Ages, tribunals such as the Courts of the Boroughs, of the Fair and of the Staple arose as the Royal Courts were not designed for trade disputes, and trade with foreigners was otherwise unenforceable. In the mid-16th century, common law courts developed contract law and the Admiralty court became accessible for disputes with foreign merchants, broadening the venues for trade disputes. Courts became suspicious of arbitration; for example, in Kill v. Hollister 1746, an English court ruled that the arbitration agreement could 'oust' courts of law and equity of jurisdiction. Merchants, however, retained provisions to settle disputes among themselves, but tension between the arbitration proceedings and courts eventually resulted in the Common Law Procedure Act 1854 which provided for the appointment of arbitrators and umpires, allowed courts to 'stay proceedings' when a disputant filed a suit despite an agreement to arbitrate, and provided a process for arbitrators to submit questions to a court. Later, the Arbitration Act 1889 was passed, followed by other Arbitration Acts in 1950, 1975, 1979 and 1996. Arbitration Act 1979 in particular limited judicial review for arbitration awards.
United States
Arbitration was common in the early United States, with George Washington serving as an arbiter on an occasion. The United States had a notable difference from England, however, in that unlike England, its courts generally did not enforce executory agreements binding predispute agreements to arbitrate. This meant that prior to an award, a claimant could sue in court even if they had contractually agreed to settle disputes by arbitration. After the award, courts reviewed the judgment, but generally deferred to the arbitration, although the practice was not consistent.
The lack of enforcement of predispose agreements led to the Federal Arbitration Act of 1925, with New York leading with a state law enforcing predispose agreements. In 1921, the American Bar Association drafted the Federal Arbitration Act based on the New York law, which was passed in 1925 with minor changes. In the next decade, the American Arbitration Association promoted rules and facilitated arbitrations through appointments.
See also
Alternative dispute resolution
American Arbitration Association
Arbitral tribunal
Arbitration award
Arbitration in the United States
Arbitration Roundtable of Toronto
Conflict resolution research
Dispute resolution organization
Expert determination
International arbitration
Mandatory arbitration
National Academy of Arbitrators
National Arbitration Forum
Society of Construction Arbitrators
UNCITRAL Model Law on International Commercial Arbitration
Ukrainian Arbitration Association
Uppsala Conflict Data Program
Lawyer-supported mediation
Notes
References
Boskey, James B. 1993 The American Arbitration Association Insurance ADR Manual West Pub. Co.
International arbitration
Blackaby, Nigel; Lindsey, David; Spinillo, Alessandro 2003 International Arbitration in Latin America Kluwer
Born, Gary 2009 International Commercial Arbitration Kluwer
Buhring-Uhle, Christian and Kirchhof, Gabriele Lars 2006 Arbitration and Mediation in International Business 2nd Ed.
Craig, W. Laurence; Park, William W.; Paulsson, January 2001 International Chamber of Commerce Arbitration Oxford University Press
David, R. 1985 Arbitration in International Trade
Dezalay, Yves and Garth, Bryant G. 1998 Dealing in Virtue: International Commercial Arbitration and the Construction of a Transnational Legal Order
Dugan, Christopher; Wallace, Jr., Don; Rubins, Noah 2005 Investor-State Arbitration Oxford University Press
Lew, Julian; Mistelis, Loukas; Kroell, Stefan 2003 Comparative International Commercial Arbitration
The Permanent Court of Arbitration 2000 International Alternative Dispute Resolution: Past, Present and Future
PWC 2008 International Arbitration: Corporate Attitudes and Practices
Redfern, A. and Hunter, M. 2004 Law and Practice of International Commercial Arbitration 4th Ed.
Schreuer, Christoph H. 2001 The ICSID Convention: A Commentary Cambridge University Press International Centre for Settlement of Investment Disputes
Stuyt, Alexander, ed. Survey of International Arbitrations: 17941970 1990
Nuwan Weerasrkara Sri Lankan Arbitrator
Varady, Tibor; Barcelo, John J.; Von Mehren, Arthur Taylor 2006 International Commercial Arbitration 3rd Ed.
External links
.
Introduction to Securities Arbitration
Domestic and international Arbitration
Category:Legal terminology | wikipedia |
patient - doctor relationship has been defined as a meaningful therapeutic interaction between the patients and their doctors and is considered as the seventh element of healthcare quality .
meaningful therapeutic interaction between patients and doctors includes both patient - doctor communication and trust .
an effective patient - doctor communication consists of explaining patient 's illnesses and treatments , spending adequate time , managing uncertainty , and developing rapport [ 35 ] .
patient - doctor trust is high when the doctor is technically competent , is thorough and careful in examining the patient , has good listening capabilities , and has complete understanding of patient 's illnesses and treatments [ 610 ] .
effective communication has been found to enhance patient 's engagement in care , satisfaction with care , and treatment adherence .
effective communication has also been found to improve health outcomes [ 14 , 15 ] . among older patients with diabetes ,
patient - doctor communication has been found to be associated with lower blood pressure , lower anxiety , and better quality of life .
similarly , high trust in the doctor has been found to be associated with lower hassles in self - care , better ability to perform diabetes care activities , and satisfaction with the doctor .
effective patient - doctor communication and trust become especially important in managing patients with two or more chronic conditions ( i.e. , multimorbidity ) .
multimorbidity affects elderly population disproportionately and is projected to increase from 34,835 million in 2000 to 81,999 million by 2050 .
elderly individuals with multimorbidity account for 98% of hospital readmissions , incur 93% of total medicare spending , and experience higher rates of preventable hospitalizations as compared to those without multimorbidity .
multimorbidity also affects care coordination and leads to poor management of cooccurring conditions due to the focus on one dominant chronic condition .
therefore , policymakers , providers , and researchers have emphasized the need for meaningful interactions between patients and doctors in managing the burden of multimorbidity [ 2326 ] .
an effective communication and high trust with the doctor can improve the care of the elderly with multimorbidity . a special case of multimorbidity
presence of mental health condition in addition to chronic physical conditions can be very challenging for disease management [ 2730 ] .
effective communication and trust have been shown to improve outcomes for not only individuals with chronic physical conditions but also those with a mental health condition .
for example , effective communication decreased the patient health questionnaire ( phq-9 ) scores among adults with depression from baseline to one - month follow - up , indicating an improvement in the severity of depression .
however , a survey sponsored by the national depressive and manic - depressive association ( dmda ) found that ineffective communication exists between primary care physicians and patients with depression .
for example , the survey found that even though doctors thought that they explained the potential adverse effects of antidepressant medications , the patients felt a lack of information on certain adverse effects such as sexual dysfunction , weight gain , and insomnia .
also , trust in the doctor is important for patients with mental illness to maintain the confidentiality of their mental illness due to its associated social and personal stigma . there is a lack of research on the impact of having a mental health condition in addition to multiple chronic physical illnesses on communication and trust with the doctor among elderly individuals .
we could only find two studies ( one in the us and one in germany ) , which evaluated the relationship between number of chronic conditions and patient - doctor relationship [ 35 , 36 ] . in the us , a study among noninstitutionalized adults aged 18 years or older from 12 metropolitan communities analyzed the relationship between number of chronic conditions and scores on patient - doctor communication scale .
the study found a small but significant relationship between higher number of chronic conditions and ineffective patient - doctor communication .
another study among the german adults examined the factors associated with patient - doctor relationship which was measured using the german version of the patient - doctor relationship questionnaire ( pdrq-9 ) .
the study found that individuals with lower number of chronic physical and mental comorbidities reported higher scores on the pdrq-9 , indicating the higher quality of patient - doctor relationship .
therefore , the primary objective of this study is to examine patient - doctor communication and trust among the elderly who had both chronic mental and physical conditions as compared to those having multiple physical conditions without any mental condition .
we hypothesized that elderly patients having both mental and physical conditions will be more likely to have ineffective communication and have low trust with the doctor as compared to those having multiple physical conditions without any mental health condition .
according to the previous studies , factors other than multimorbidity can affect meaningful therapeutic interactions between the patients and their doctors .
these may include age , gender , race / ethnicity [ 37 , 38 ] , socioeconomic status , health status , and length of the visit .
therefore , we utilized the theoretical model of patient - doctor relationship by gabay ( 2015 ) to guide the selection of independent variables used in our study . according to this model , patient - doctor relationship
is influenced by ( a ) sociodemographic factors such as patient 's age , race / ethnicity , gender , education , insurance , and metropolitan area ; ( b ) health condition factors including multimorbidity and body mass index ; ( c ) health status such as perceived general health status and functional health status ; and ( d ) patient 's satisfaction with care .
we adopted a cross - sectional study design using data from a nationally representative survey of medicare beneficiaries .
we utilized data from the access to care module of the medicare current beneficiary survey ( mcbs ) 2012 .
the mcbs is a continuous multipurpose survey of a nationally representative sample of medicare beneficiaries conducted by the centers for medicare & medicaid services [ 42 , 43 ] .
the mcbs is conducted among all medicare beneficiaries who are above 65 years of age or who are disabled .
the survey is conducted through computer - assisted personal interviews ( capi ) with the beneficiaries .
the person level survey data is released in two modules : access to care ( ac ) and cost and use ( cu ) .
we utilized the ac module of the mcbs that uses valid and reliable survey questions to assess patients ' experiences with care received from their provider .
the ac module represents the population of individuals who were always enrolled in the medicare during the calendar year .
it contains deidentified information on each participant 's access to health care , usual source of care , and satisfaction with care .
the ac module also includes demographic , health insurance , health status , and functioning data .
the mcbs is a longitudinal panel survey , where individuals are interviewed three times a year for a maximum of four years .
the participants are selected from the medicare enrollment file using a multistage and stratified sampling design to be representative of the medicare population .
the multistage and stratified sampling design is commonly used in large national surveys to feasibly conduct survey , reduce bias , and produce nationally representative survey results . in the multistage design
it avoids the sampling of all the units which can be expensive and time consuming . in stratified sampling design , the beneficiaries are divided into seven strata based on age : 0 to 44 , 45 to 64 , 65 to 69 , 70 to 74 , 75 to 79 , 80 to 84 , and 85 or older .
the sampling units are then selected from each stratum so that the results can be representative of the total population .
we included community - dwelling elderly medicare beneficiaries who were aged 65 years or older , had at least one chronic physical condition , and had a usual source of care in our study .
yes to the question is there a particular medical person or a clinic you usually go to when you are sick or for advice about your health ? further , we excluded the individuals with missing data for chronic health conditions , communication , or trust variables .
we utilized the participants ' responses to the survey questions from 2012 ac module of the mcbs in this study . a survey item in the mcbs asked about the specialty of participants ' doctor .
about 90% of beneficiaries answered family practice , general practice , or internal medicine . thus , most beneficiaries referred to their primary care physician while responding to the survey items about communication and trust with their doctor .
an effective patient - doctor communication consists of discussing patient 's illness and treatment , spending adequate time , building rapport , and managing patient 's uncertainty [ 3 , 5 ] .
we used the following six survey items from the mcbs which assessed these components of communication with the doctor to construct a patient - doctor communication scale ( table 1 ) : ( a ) your doctor tells you all you want to know about your condition and treatment , ( b ) your doctor often does not explain your medical problems to you , ( c ) you often have health problems that should be discussed but are not , ( d ) your doctor often seems to be in a hurry , ( e ) your doctor often acts as though he was doing you a favor by talking to you , and ( f ) your doctor answers all questions . the response scale ranged from one to four ( 1 :
strongly agree , 2 : agree , 3 : disagree , and 4 : strongly disagree ) .
we reverse coded the survey items ( a ) and ( f ) to make their scores consistent with other items .
the sum of scores of these six survey items ranged from 6 to 24 and was highly skewed .
thus , we dichotomized the total score on communication scale by using median split method to create a binary response variable .
the elderly with total communication score equal to or above the median value ( 18 ) were categorized as having effective communication with the doctor while those with scores below median value were considered to experience ineffective communication .
patient 's trust in the doctor is influenced by technical skills of the doctor , thorough examination of the patient , and complete understanding of patient 's medical conditions [ 610 ] .
we utilized the following five survey items from the mcbs which measured these components of trust to construct patient - doctor trust scale : ( a ) your doctor is very careful to check everything when examining you , ( b ) your doctor is competent and well - trained , ( c ) your doctor has a good understanding of your medical history , ( d ) your doctor has a complete understanding of the things that are wrong with you , and ( e ) you have great confidence in your doctor .
the response scale ranged from one to four ( 1 : strongly agree , 2 : agree , 3 : disagree , and 4 : strongly disagree ) .
the sum of scores of these five survey items ranged from 5 to 20 and was highly skewed .
hence , we dichotomized the total score on trust scale by using median split method to create a binary response variable .
the elderly with a total score equal to or above median value ( 17 ) were categorized as having high trust in the doctor while those with scores below median value were considered to have low trust in the doctor .
we utilized participants ' having been told by a doctor that they have a chronic condition to assess the presence of multimorbidity .
we selected chronic conditions based on the conceptual framework by goodman and colleagues for defining and measuring chronic conditions for research , policy , program , and practice .
the chronic physical conditions included arthritis ( osteoarthritis or rheumatoid arthritis ) , cancer ( skin or any other cancer ) , diabetes ( type 1 or type 2 ) , heart disease ( angina pectoris , myocardial infarction , or any other heart condition ) , hypertension , osteoporosis , and respiratory diseases ( asthma , chronic obstructive pulmonary disease , or emphysema ) .
the mental health conditions consisted of depression or any other mental or psychiatric disorder . based on the presence of these chronic physical and mental health conditions
, we defined three multimorbidity categories : ( a ) no mm ( no multimorbidity , that is , only one physical condition ) , ( b ) mm - pi ( two or more physical conditions but no mental illness ) , and ( c ) mm - pi&mi ( both physical and mental health conditions ) .
we also included patient 's body mass index ( underweight / normal , overweight , and obese / morbid obese ) as a health condition factor .
the sociodemographic factors included beneficiaries ' age , sex , race / ethnicity , marital status , education level , annual personal income , supplemental insurance ( medicaid ) and type of insurance ( hmo / ffs ) , and external environmental characteristics ( metro status and region of residence ) .
we measured patient 's self - perceived general health status as compared to others of the same age ( excellent / very good , good , or fair / poor ) .
we also measured functional health status by examining participants ' self - reported difficulty with activities of daily living ( adl ) including difficulty in walking , eating , bathing , dressing , getting in or out of bed or chair , or using the toilet [ 4750 ] .
we classified participants ' difficulty with adl in three categories : ( a ) no adl , ( b ) 1 - 2 adl , and ( c ) 36 adl .
patient 's satisfaction with care constitutes an important factor which can affect patient - doctor communication and trust .
we used participants ' responses to the survey item please tell me how satisfied you have been with the overall quality of the health care you have received over the past year to assess patient 's satisfaction with care [ 5154 ] .
dissatisfied or very dissatisfied were considered dissatisfied with the quality of care .
we analyzed the validity of patient - doctor communication and trust scales using factor structure by the principal component analysis with promax rotation and internal consistency ( a measure of reliability ) by cronbach 's alpha coefficient .
the principal component analysis yielded single factor for both patient - doctor communication and trust scales .
the single factor accounted for 98% of variance for the communication scale and 100% of variance for the trust scale .
the alpha coefficient value for the communication scale was 0.87 and for the trust scale was 0.92 , which indicated high reliability for both the scales .
we used chi - square tests to examine the unadjusted associations of patient - doctor communication and trust with theoretically derived predictor variables ( e.g. , patient 's sociodemographic characteristics , health status , health condition , and patient 's satisfaction factors ) .
then , correlations were used to assess multicollinearity , resulting in the removal of patient 's health status ( self - perceived general health and functional status ) from further analysis .
multivariable logistic regressions were conducted to examine the relationship between multimorbidity and patient - doctor relationships , after adjusting for patient 's sociodemographic factors , health condition , and satisfaction with care .
we used survey procedures with statistical analysis system ( sas ) software to account for the complex survey design .
among 9,867 medicare beneficiaries included in this study ( table 1 ) , the majority were white ( 78.5% ) , lived in a metro region ( 77.4% ) , did not have limitations in activities of daily living ( 66.2% ) , were either overweight or obese ( 64.6% ) , and were satisfied with quality of care ( 97.4% ) .
also , 56.6% elderly beneficiaries were women , 57.2% were married , 45.4% had more than high school education , 35.1% were enrolled in hmo , 12.3% had medicaid insurance , 19.6% had fair or poor general health status , and 58.6% were past or current smokers ( table 1 ) .
more than two - thirds of beneficiaries had mm - pi ( 72.0% ) and 12.1% had mm - pi&mi , constituting 84.1% of beneficiaries with either type of multimorbidity .
from the unadjusted analysis , mm - pi&mi was present among a higher percentage of women than men ( 14.5% versus 9.0% ) , current smokers than nonsmokers ( 20.2% versus 11.3% ) , those aged 6569 years than 7579 years ( 14.3% versus 10.6% ) , those having less than high school education than more than high school education ( 15.2% versus 10.9% ) , having < $ 20,000 annual income than > $ 50,000 income ( 16.5% versus 8.5% ) , and having medicaid insurance ( 20.6% versus 11.0% ) ( table 1 ) .
an overwhelming majority of the elderly strongly agreed or agreed that their doctor tells them all that they want to know about their condition and treatment ( 95.7% ) and
( 97.5% ) . also , a majority of beneficiaries strongly disagreed or disagreed that they often have health problems that should be discussed but are not
( 92.2% ) , and often acts as though he was doing them a favor by talking to them
a lower percentage of the elderly with mm - pi&mi ( 80.1% ) had effective communication with the doctor as compared to those with mm - pi ( 84.2% ) and no mm ( 89.7% ) ( table 3 ) .
a majority of beneficiaries agreed or strongly agreed that they have great confidence in their doctor
( 99.1% ) , is very careful to check everything when examining them ( 95.4% ) , has a good understanding of their medical history ( 97.7% ) , and has a complete understanding of the things that are wrong with them ( 96.6% ) ( table 2 ) . from the unadjusted analysis
, there was no significant difference in trust in the doctor among the elderly with different multimorbidity categories ( table 3 ) . from the adjusted multivariate analysis , type of multimorbidity had a significant association with patient - doctor communication .
after adjusting for patient 's sociodemographic characteristics , patient 's health condition , and patient 's satisfaction with care , medicare beneficiaries with mm - pi&mi were significantly less likely to have effective communication with the doctor ( adjusted odds ratio [ 95% confidence interval ] = 0.80 [ 0.68 , 0.96 ] ) , as compared to those with mm - pi ( table 4 ) .
further , the elderly with no mm were significantly more likely to have effective communication with the doctor ( 1.48 [ 1.21 , 1.82 ] ) , as compared to those with mm - pi .
other factors significantly associated with effective communication with the doctor were higher education and higher satisfaction with the quality of care .
further , those living in the west were less likely to have efficient communication with the doctor as compared to those living in the northeast ( table 4 ) .
the multimorbidity did not have a significant association with elderly patient 's trust in the doctor ( mm - pi&mi versus mm - pi : 0.98 [ 0.84 , 1.15 ] ) .
other variables significantly associated with high trust in the doctor included female sex , higher education , higher personal income , and higher satisfaction with the quality of care ( table 4 ) .
the elderly above 80 years of age compared to 6569 years , those who are african american or other race compared to white race , and those living in a metropolitan area compared to nonmetropolitan area were less likely to have high trust in the doctor ( table 4 ) .
with multimorbidity being a norm in the us elderly population , policy focus has recently shifted towards the better illness management of these individuals [ 58 , 59 ] .
elderly patients with multimorbidity need care that is responsive to the interactions between multiple conditions and treatments and is tailored to their individual needs .
an effective communication and high trust between the patient and doctor are necessary for improving the care of these patients .
to our knowledge , this is the first study to examine the association between multimorbidity with or without a mental condition and patient - doctor communication and trust among a nationally representative population of the elderly in the us .
our results suggest that a majority of elderly medicare beneficiaries experience effective communication and have high trust in their doctor .
however , the elderly who had a mental health condition in addition to chronic physical conditions were less likely to have effective communication as compared to the elderly who had multiple physical conditions without any mental condition .
these results are consistent with a previous study that found an ineffective communication between doctor and patient with a single chronic mental condition .
the elderly with a mental condition have been found to have different communication needs from individuals without any mental condition .
for example , nonverbal communication activities such as gesture and facial activity are impaired among patients with a mental condition .
the elderly with both mental and physical chronic conditions may also have social and internal stigma due to mental condition which might affect their communication with the doctor as compared to those with multiple physical conditions without mental condition .
our results suggest that clinicians need to pay additional attention for an effective communication and higher trust when treating patients with concurrent physical and mental conditions .
nearly fifteen percent of elderly beneficiaries with both chronic physical and mental conditions agreed or strongly agreed that their doctor is often in a hurry .
a study by quirk et al . found that doctor 's appearing to be in a hurry during the visit is perceived as an uncaring attitude by the patients .
patients place importance on having a doctor who talks at a slow pace and allows the patient to take his / her time .
it is especially critical for an elderly patient with multiple chronic conditions because elderly patients and their families have to take care of all the cooccurring physical and mental health conditions at the same time and may want to talk about all of their diagnoses and comprehend numerous prescribed drugs and treatments .
it is important for the clinicians not to hurry during consultation with an elderly patient having multimorbidity and allow the patient to take his / her own time to understand their multiple diagnoses and treatments .
multimorbidity presents a challenge to primary care providers for addressing the competing demands of multiple physical and mental conditions in busy outpatient settings .
discussion of multiple illnesses and treatments within a short visit may leave some patients feeling that the doctor did not discuss or provide all the information regarding their conditions and treatments , which we observed in our study .
physicians who are treating patients with chronic physical and mental conditions may want to explore some alternative solutions to improve the discussion of illnesses and treatments such as the use of printed materials or internet , patient self - care , and use of physician assistants or nurse practitioners in primary care which can improve communication and trust .
while we recognize the limitations of self - reported measures of mental illness , it should be noted that survey data has been routinely used for surveillance of mental illness and its associated health and cost burden .
also , the mcbs utilizes computer - assisted interview procedures to improve the quality of the survey data .
the participants are surveyed at relatively short intervals and the collected information is verified from medical claims to minimize errors .
it is possible that patients who reported multiple chronic physical and mental conditions had more critical assessments of their interaction with their provider .
also , communication and trust are container concepts and comprise several different domains [ 33 , 66 ] .
patients ' perceived communication and trust with the doctor might be influenced by several other factors such as the severity of patient 's chronic condition , differences in patient and providers ' culture and communication styles , and organizational factors .
multimorbidity is , therefore , one of the many factors that affect patient - doctor communication and trust .
the study sample included elderly individuals who had at least one chronic physical condition . by excluding patients who have no comorbidities , any differences in communication and trust observed among the three groups were likely due to the presence of multimorbidity only
. we did not compare patients with and without chronic conditions as this has been covered in the literature .
further , we did not use a continuous variable for multimorbidity such as number of chronic conditions because we wanted to examine the association of type of multimorbidity with communication and trust .
therefore , we categorized the patients into three groups according to the presence of multiple chronic physical and mental conditions .
the strengths of our study include the use of a comprehensive list of survey items from mcbs ac module to measure specific components of patient - doctor communication and trust , which has been lacking in existing studies .
we used a nationally representative dataset with a large sample size , and our study results can be generalized to elderly noninstitutionalized medicare beneficiaries throughout the us .
also , our study used mcbs , which is a valid multipurpose survey and one of the first to use capi for data quality .
the majority of elderly medicare beneficiaries experienced effective communication and high trust with their primary care doctors .
the elderly with both chronic physical and mental health conditions had ineffective communication with their doctor as compared to those with multiple physical illnesses only .
doctor being often in a hurry and doctor often not explaining illnesses were the two most significant communication issues reported by those with multimorbidity . in the absence of evidence - based clinical guidelines ,
better patient - doctor communication is required to overcome the challenges of managing multiple chronic conditions .
it is important to examine and explain the multiple medical conditions and treatments among patients with multimorbidity . | pubmed |
How to calculate the surface temperature of a material when illuminated by laser
I'm currently wondering how to calculate the equilibrium surface temperature of a spherical particle when illuminated by the 1 Watt laser.
The particle is in the room temperature with 1 atm air and is being illuminated on one side by the laser. The effect of wind is neglected.
Could you give me some advice where to start?
You can make a rough approximation about its surface temperature by assuming it to be a blackbody and then measuring the amount of heat radiated by the body, thereby measuring the radiated flux. Then use Stefan's Law.
Hope this helps.
| stackexchange/physics |
Edward Livingston Martin March 29, 1837 January 22, 1897 was an American lawyer and politician from Seaford, in Sussex County, Delaware. He was a member of the Democratic Party, who served as U. S. Representative from Delaware.
Early life and family
Martin was born in Seaford, Delaware and attended private schools, Newark Academy, Bolmar's Academy in West Chester, Pennsylvania and Delaware College in Newark, Delaware. He graduated from the University of Virginia at Charlottesville in 1859.
Professional and political career
Martin served as clerk of the Delaware Senate from 1863 to 1865. He was a delegate to the Democratic National Conventions in 1864, 1872, 1876, 1880, and 1884. He studied law at the University of Virginia in 1866, was admitted to the Delaware Bar the same year and practiced in Dover until 1867. He then returned to Seaford and engaged in agricultural and horticultural pursuits, and served as director of the Delaware Board of Agriculture, president of the Peninsula Horticultural Society, and lecturer of the Delaware State Grange.
He was a commissioner to settle the disputed boundary line between the states of Delaware and New Jersey between 1873 and 1875. He was elected as a Democrat to the 46th and 47th Congress, serving from March 4, 1879 to March 4, 1883. He was not a candidate for renomination in 1882 and resumed horticultural and agricultural pursuits. He was twice an unsuccessful candidate for election to the U.S. Senate. Martin spent the years prior to his death in 1897 founding the Kansas City Suburban Belt Railway with Arthur Stilwell in Kansas City, Missouri. Martin and Stilwell founded the railway in 1887 and began its operations in 1890.
Death and legacy
Martin died at Seaford and is buried there in the St. Luke's Episcopal Churchyard.
Almanac
Elections are held the first Tuesday after November 1. U.S. Representatives took office March 4 and have a two-year term.
References
External links
Biographical Directory of the United States Congress
Delaware's Members of Congress
Find a Grave
The Political Graveyard
Places with more information
Delaware Historical Society; website; 505 North Market Street, Wilmington, Delaware 19801; 302 655-7161
University of Delaware; Library website; 181 South College Avenue, Newark, Delaware 19717; 302 831-2965
Category:1837 births
Category:1897 deaths
Category:University of Virginia alumni
Category:19th-century American Episcopalians
Category:People from Seaford, Delaware
Category:Members of the United States House of Representatives from Delaware
Category:Kansas City Southern Railway
Category:Burials in Sussex County, Delaware
Category:Delaware Democrats
Category:Democratic Party members of the United States House of Representatives
Category:19th-century American politicians | wikipedia |
Why are heterogeneous catalysts calcined?
Most of the literature I read says to calcine heterogeneous catalysts when preparing them. When synthesizing heterogeneous catalysts, what is the reason for calcining them?
For **heterogeneous catalysis** calcining of the catalyst allows for the following:
* mechanically and thermodynamically stable macrostructure (matrix) with defined geometry, surface and pore size;
* predictable activity based on calcining regime (generally, there is a temperature peak for maximum activity, and further extreme temperature treatment often lowers catalyst's activity);
* pure composition without traces of organics and majority of other undesired impurities;
* production convenience and scalability (for example, metal oxide catalyst manufacturing process can be easily implemented within mining and processing plants);
* when distributed over support, more uniform distribution of metal oxide is achieved, and upon slow treatment crystallinity of the catalyst can also be tweaked.
One of the most important reasons to calcine a catalyst preparation is to decompose the impregnated metal salts. This includes decomposition of nitrates, chlorides, carbonates and organic chelates, leaving a metal or metal oxide on the support surface.
| stackexchange/chemistry |
the properties of hot nuclei , such as excitation energies , entropies , symmetry energies , and density distributions , are of great interest in both nuclear physics and astrophysics @xcite . especially , the symmetry energy and its dependence on density and temperature play a crucial role in understanding various phenomena in heavy - ion collisions , supernova explosions , and neutron - star properties @xcite .
hot nuclei formed in nucleus - nucleus collisions are thermodynamically unstable against the emission of nucleons .
theoretically , an external pressure is imposed on the nucleus to compensate for the tendency of nucleon emission .
this pressure is assumed to be exerted by a surrounding gas representing evaporated nucleons , which is in equilibrium with the hot nucleus . in order to isolate the nucleus from the surrounding gas ,
a subtraction procedure was first proposed in the hartree - fock framework @xcite and then used in the thomas - fermi approach @xcite .
the subtraction procedure is based on the existence of two solutions to the equations of motion , one corresponding to the nuclear liquid phase in equilibrium with the surrounding gas ( @xmath0 ) and the other corresponding to the nucleon gas alone ( @xmath1 ) .
the density profile of the nucleus ( @xmath2 ) is then obtained by subtracting the gas density from that of the liquid - plus - gas phase . as a result ,
physical quantities of the isolated nucleus obtained using the subtraction procedure could be independent of the size of the box in which the calculation is performed . this subtraction procedure has been widely used in the nonrelativistic thomas - fermi approximation with skyrme effective interactions @xcite .
it is interesting and important to develop a relativistic thomas - fermi model for the description of hot nuclei by employing the subtraction procedure and to investigate the temperature dependence of the symmetry energy of finite nuclei .
the relativistic thomas - fermi approximation has been developed and applied to study the droplet formation @xcite and nuclear pasta phases @xcite in asymmetric nuclear matter at subnuclear densities .
this method is considered to be self - consistent in the treatment of surface effects and nucleon distributions .
the relativistic thomas - fermi approximation has been used to describe finite nuclei @xcite and nonuniform nuclear matter for supernova simulations @xcite . in refs .
@xcite , the caloric curve for finite nuclei was studied within the relativistic thomas - fermi approximation , and the results obtained were found to depend on the input freeze - out volume , which is actually the box size for performing the calculation . in the present work
, we aim to study the properties of hot nuclei within the relativistic thomas fermi approximation by employing the subtraction procedure , so that the results obtained can be independent of the box size . for the nuclear interaction , we adopt the relativistic mean - field ( rmf ) model , which has been successfully used to study various phenomena in nuclear physics @xcite . in the rmf approach
, nucleons interact via the exchange of scalar and vector mesons , and the parameters are generally fitted to nuclear matter saturation properties or ground - state properties of finite nuclei . in the present calculations , we consider four different rmf parametrizations , nl3 @xcite , tm1 @xcite , fsu @xcite , and iufsu @xcite , so that we can examine the dependence of results on the rmf parametrization .
these rmf parametrizations are known to be successful in describing the ground state properties of finite nuclei including unstable ones . in this work ,
we intend to adopt these different rmf parametrizations to study the properties of hot nuclei and investigate the temperature dependence of the symmetry energy of finite nuclei within the relativistic thomas - fermi approximation .
because of the increasing importance of the symmetry energy in nuclear physics and astrophysics , there have been numerous studies on the symmetry energy of nuclear matter based on various many - body methods @xcite . however , there are fewer calculations for the symmetry energy of finite nuclei @xcite . in ref .
@xcite , the symmetry energy of finite nuclei was calculated based on a density - functional theory at both zero and finite temperatures .
a parametrized thomas - fermi approach was used in ref .
@xcite to estimate the density dependence of the symmetry energy from nuclear masses . in ref .
@xcite , the symmetry energy coefficients of finite nuclei were extracted in the framework of the skyrme - hartree - fock approach . the nonrelativistic thomas - fermi approximation with skyrme effective interactions
was employed for evaluating the symmetry energy of finite nuclei and its dependence on temperature @xcite . in a recent work by agrawal _
@xcite , various definitions of the symmetry energy coefficients of infinite nuclear matter and finite nuclei , as well as their temperature dependencies , have been extensively investigated by using skyrme interactions , and it was found that the symmetry energy of nuclear matter has a weak dependence on temperature , while that of finite nuclei shows a rapid decrease with increasing temperature . in the present work , we will use the relativistic thomas - fermi approximation with the rmf model for nuclear interactions to study the temperature dependence of the symmetry energy of finite nuclei .
we will also make a comparison between the relativistic and nonrelativistic results .
this article is organized as follows . in sec .
[ sec:2 ] , we briefly describe the rmf model and the relativistic thomas - fermi approximation by employing the subtraction procedure for the description of hot nuclei . in sec .
[ sec:3 ] , we present the numerical results of hot nuclei properties and the temperature dependence of the symmetry energy of finite nuclei .
section [ sec:4 ] is devoted to the conclusions .
in this section , we first give a brief description of the rmf model used for nuclear interactions .
then we develop a relativistic thomas - fermi model by employing the subtraction procedure for the description of hot nuclei .
the symmetry energy of finite nuclei can be calculated by a pair of nuclei that have the same mass number ( @xmath3 ) but different numbers of protons ( @xmath4 ) and neutrons ( @xmath2 ) . in the rmf approach ,
nucleons interact through the exchange of various mesons .
the mesons considered are the isoscalar scalar and vector mesons ( @xmath5 and @xmath6 ) and isovector vector meson ( @xmath7 ) .
the nucleonic lagrangian density reads @xmath8\psi_i
\notag \\ & & + \frac{1}{2}\partial_{\mu}\sigma\partial^{\mu}\sigma -\frac{1}{2}m^2_{\sigma}\sigma^2-\frac{1}{3}g_{2}\sigma^{3 } -\frac{1}{4}g_{3}\sigma^{4 } \notag \\ & & -\frac{1}{4}w_{\mu\nu}w^{\mu\nu } + \frac{1}{2}m^2_{\omega}\omega_{\mu}\omega^{\mu } + \frac{1}{4}c_{3}\left(\omega_{\mu}\omega^{\mu}\right)^2 \notag \\ & & -\frac{1}{4}r^a_{\mu\nu}r^{a\mu\nu } + \frac{1}{2}m^2_{\rho}\rho^a_{\mu}\rho^{a\mu } + \lambda_{\rm{v } } \left(g_{\omega}^2\omega_{\mu}\omega^{\mu}\right ) \left(g_{\rho}^2\rho^a_{\mu}\rho^{a\mu}\right),\end{aligned}\ ] ] where @xmath9 and @xmath10 are the antisymmetric field tensors for @xmath11 and @xmath12 , respectively . in the rmf approach , meson fields are treated as classical fields and the field operators are replaced by their expectation values . for a static system ,
the nonvanishing expectation values are @xmath13 , @xmath14 , and @xmath15 . for nonuniform nuclear matter at finite temperature , the local energy density derived from the lagrangian density ( [ eq : lrmf ] )
is given by @xmath16 where @xmath17 is the effective nucleon mass and @xmath18 is the number density of species @xmath19 ( @xmath20 or @xmath21 ) .
the entropy density is given by @xmath22,\end{aligned}\ ] ] where @xmath23 and @xmath24 ( @xmath20 or @xmath21 ) are the occupation probabilities of the particle and antiparticle at momentum @xmath25 , respectively .
the number density of protons ( @xmath20 ) or neutrons ( @xmath26 ) at position @xmath27 is given by @xmath28 in the rmf model , the parameters are generally fitted to nuclear matter saturation properties or ground - state properties of finite nuclei . in the present work , we consider four different rmf parametrizations , nl3 @xcite , tm1 @xcite , fsu @xcite , and iufsu @xcite , so that we can examine the dependence of results on the rmf parametrization .
it is known that these rmf parametrizations are successful in reproducing the ground - state properties of finite nuclei including unstable ones .
the nl3 model includes nonlinear terms of the @xmath5 meson only , while the tm1 model includes nonlinear terms for both @xmath5 and @xmath6 mesons .
an additional @xmath6-@xmath7 coupling term is added in the fsu and iufsu models ; it plays an important role in modifying the density dependence of the symmetry energy and affecting the neutron - star properties @xcite .
the iufsu parametrization was developed from fsu by reducing the neutron - skin thickness of @xmath29pb and increasing the maximum neutron - star mass in the parameter fitting @xcite .
the tm1 model was successfully used to construct the equation of state for supernova simulations and neutron - star calculations @xcite . for completeness
, we present the parameter sets and corresponding properties of nuclear matter and finite nuclei for these rmf models in table [ tab:1 ] .
it is noticeable that the symmetry energy slope @xmath30 of the rmf models ranges from a low value of @xmath31 mev for iufsu to a high value of @xmath32 mev for nl3 .
therefore , it is possible to investigate the influence of @xmath30 on the results obtained by using these different rmf models .
we use the relativistic thomas - fermi approximation to describe hot nuclei by employing the subtraction procedure as described in refs .
the subtraction procedure was proposed in order to isolate the hot nucleus from the surrounding gas , so that the resulting properties of the nucleus could be independent of the size of the box in which the calculation was performed . at given temperature and chemical potentials , there
exist two solutions to the equations in the rmf model derived from the lagrangian density ( [ eq : lrmf ] ) , one corresponding to the nuclear liquid phase with the surrounding gas ( @xmath0 ) and the other corresponding to the nucleon gas alone ( @xmath1 ) .
the density profile of the nucleus ( @xmath2 ) is then obtained by subtracting the gas density from that of the liquid - plus - gas phase . without the inclusion of the coulomb interaction in the lagrangian density ( [ eq : lrmf ] ) , the gas phase is just diluted uniform nuclear matter , while the liquid - plus - gas phase is an uncharged nucleus in equilibrium with surrounding nucleon gas .
the inclusion of the coulomb interaction leads to a difficulty in describing hot nuclei . because the coulomb repulsion increases with the box size , it drives protons to the border and finally results in a divergence . to overcome this difficulty , the author of ref .
@xcite proposed calculating the coulomb potential from the subtracted proton density , which is the proton density of the isolated nucleus .
this implies that protons in the gas phase do not contribute to the coulomb potential , but they can be influenced by the coulomb potential of the nucleus .
this prescription for the inclusion of the coulomb interaction is quite successful in describing hot nuclei , and , as a result , properties of the hot nucleus are independent of the box size . using the relativistic thomas - fermi approximation with the subtraction procedure , we study a hot nucleus based on the thermodynamic potential of the isolated nucleus , which is defined by @xmath33 where @xmath34 and @xmath35 are the nucleonic thermodynamic potentials in the @xmath0 and @xmath1 phases , respectively .
we employ the rmf model to calculate the thermodynamic potential @xmath36 ( @xmath37 or @xmath1 ) , which can be written as @xmath38 here , the energy @xmath39 , entropy @xmath40 , and particle number @xmath41 in the phase @xmath42 are obtained by @xmath43 where @xmath44 , @xmath45 , and @xmath46 are the local energy density , entropy density , and particle number density in the rmf model given by eqs .
( [ eq : ermf ] ) , ( [ eq : srmf ] ) , and ( [ eq : nirmf ] ) , respectively .
the coulomb energy is calculated from the subtracted proton density as @xmath47 d^{3}r,\end{aligned}\ ] ] where @xmath48 is the electrostatic potential .
the equilibrium state of the isolated nucleus can be obtained by minimization of the thermodynamic potential @xmath49 defined in eq .
( [ eq : on ] ) .
the meson mean fields in the @xmath0 phase satisfy the variational equation @xmath50 which leads to the following equations of motion for meson mean fields in the @xmath0 phase : [ eq : png ] @xmath51 the occupation probability @xmath52 ( @xmath53 ) of species @xmath19 ( @xmath20 or @xmath21 ) can be derived from the variational equation , @xmath54 which results in the fermi - dirac distribution of particles and antiparticles , @xmath55 \right\}^{-1}.\end{aligned}\ ] ] similarly , we obtain the equations of motion for meson mean fields in the @xmath1 phase as [ eq : pg ] @xmath56 and the occupation probability in the @xmath1 phase as @xmath57 \right\}^{-1}.\end{aligned}\ ] ] in the equations for meson mean fields , @xmath58 and @xmath59 denote , respectively , the scalar and number densities of species @xmath19 ( @xmath20 or @xmath21 ) in the @xmath42 ( @xmath37 or @xmath1 ) phase .
the number density @xmath59 is calculated from eq .
( [ eq : nirmf ] ) , while the scalar density @xmath58 is given by @xmath60 by minimizing @xmath49 with respect to the electrostatic potential @xmath48 , we obtain the poisson equation for @xmath48 as @xmath61 the inclusion of the coulomb energy in @xmath49 leads to a coupling between the two sets of equations for the @xmath0 and @xmath1 phases .
therefore , the coupled equations ( [ eq : png ] ) , ( [ eq : pg ] ) , and ( [ eq : eqa ] ) should be solved simultaneously at given temperature @xmath62 and chemical potentials @xmath63 and @xmath64 . to solve eqs .
( [ eq : png ] ) and ( [ eq : pg ] ) , we take the boundary conditions for meson mean fields in phase @xmath42 ( @xmath37 or @xmath1 ) as @xmath65 where @xmath66 and @xmath67 represent , respectively , the center and the edge of a spherical box with radius @xmath68 . for the electrostatic potential @xmath48 ,
the boundary conditions are taken as @xmath69 where @xmath70 is the proton number of the isolated nucleus given by eq .
( [ eq : ni ] ) below , and @xmath71 is the electromagnetic coupling constant . the box radius @xmath68 is generally taken to be sufficiently large ( about 1520 fm ) so that the results of the isolated nucleus could be independent of the box size . in the present calculations ,
we set @xmath72 fm , and we have checked that the resulting properties of the nucleus remain unchanged when varying @xmath68 from @xmath73 to @xmath74 fm for @xmath75 mev . for a nucleus with @xmath70 protons and @xmath76 neutrons at temperature @xmath62 , the proton and neutron chemical potentials @xmath63 and @xmath64 can be determined from given @xmath70 and @xmath76 . once the chemical potentials are known , the occupation probabilities and density distributions can be obtained easily . in practice ,
we solve self - consistently the coupled set of eqs .
( [ eq : png ] ) , ( [ eq : pg ] ) , and ( [ eq : eqa ] ) under the constraints of given @xmath70 and @xmath76 . after getting the solutions for the @xmath0 and @xmath1 phases
, we can extract the properties of hot nuclei based on the subtraction procedure .
the proton and neutron numbers , @xmath70 and @xmath76 , are given by @xmath77 where @xmath78 is the local density of the isolated nucleus , which decreases to zero at large distances .
therefore , physical quantities of the isolated nucleus could be independent of the size of the box in which the calculation is performed .
the total energy of the hot nucleus is given by @xmath79 where @xmath80 and @xmath81 are the nucleonic energies without the coulomb interaction in the @xmath0 and @xmath1 phases , which are calculated from eq .
( [ eq : ea ] ) . the coulomb energy @xmath82 is given by eq .
( [ eq : ec ] ) .
for a nucleus at temperature @xmath62 , its excitation energy is defined as @xmath83 the entropy and other extensive quantities of the isolated nucleus can be calculated by subtracting the contribution of the @xmath1 phase from that of the @xmath0 phase .
the symmetry energy is a key quantity in the study of exotic nuclei , heavy - ion collisions , and astrophysical phenomena @xcite .
for infinite nuclear matter , the symmetry energy is defined by expanding the energy per particle , @xmath84 , in terms of the isospin asymmetry parameter , @xmath85 , as @xmath86 where @xmath87 is the nucleon number density .
@xmath88 is the symmetry energy coefficient of nuclear matter at density @xmath21 , and its value at saturation density @xmath89 is about @xmath90@xmath91 mev @xcite .
on the other hand , the symmetry energy of finite nuclei can be defined based on the bethe - weizscker mass formula , which gives the expression for the binding energy per particle as @xmath92 where @xmath2 and @xmath4 are the neutron and proton numbers , respectively , while @xmath93 is the mass number .
the volume , surface , symmetry , and coulomb energies per particle are denoted by @xmath94 and @xmath95 , respectively , while the last term @xmath96 represents the pairing correction . here , @xmath97 is the symmetry energy coefficient of finite nuclei , which is generally dependent on the mass number @xmath3 .
the symmetry energy of finite nuclei includes the volume and surface terms , and they are related by @xcite @xmath98 where @xmath99 and @xmath100 are the volume and surface symmetry energy coefficients , respectively . in the limit of large @xmath3 , @xmath101 can be expanded in power of @xmath102 , which results in the relation @xcite @xmath103 with @xmath104 .
the volume symmetry energy coefficient @xmath99 is identified as the symmetry energy coefficient of infinite nuclear matter at saturation density , and its value is around @xmath90@xmath91 mev as mentioned above .
the ratio of volume and surface coefficients , @xmath105 , was found to be in a range of @xmath1060.4@xmath107 for skyrme interactions , as shown in fig .
15 of ref .
@xcite . in the present work ,
we calculate the symmetry energy coefficient of a nucleus with mass number @xmath3 at temperature @xmath62 from a different method @xcite : @xmath108/ \left(x_{1}^2-x_{2}^2\right),\ ] ] where @xmath109 and @xmath110 are the neutron excesses of a pair of nuclei having the same mass number @xmath3 but different proton number @xmath4 . for a nucleus with @xmath4 protons and @xmath2 neutrons
, the neutron excess is defined by @xmath111 . here , @xmath112 is the energy per particle obtained by subtracting the coulomb part .
the total energy per particle , @xmath113 , is calculated from eq .
( [ eq : en ] ) , while the coulomb energy per particle , @xmath114 , is obtained from eq .
( [ eq : ec ] ) . in practice , we choose a pair of even - even nuclei with the same @xmath3 but different @xmath4 for the calculation of @xmath115 used in eq .
( [ eq : eafn ] ) . according to the definition given by eq .
( [ eq : eafn ] ) , the resulting @xmath115 would also depend on the choice of nuclear pair , namely , the choice of @xmath116 and @xmath117 .
this dependence has been discussed in ref .
@xcite by using the nonrelativistic thomas - fermi approximation with skyrme effective interactions . in the present study
, we will employ the relativistic thomas - fermi approximation with the rmf model for nuclear interactions to extract the symmetry energy coefficient of finite nuclei from eq .
( [ eq : eafn ] )
. we will also evaluate the symmetry energy coefficient from uncharged nuclei ; namely , the coulomb interaction is switched off , so that the symmetry energy coefficient extracted would not be hindered by the coulomb interaction . in the next section , we will present and discuss our results and make a comparison with those obtained in the nonrelativistic approach .
in this section , we investigate properties of hot nuclei within the relativistic thomas - fermi approximation by employing the subtraction procedure . for a nucleus with @xmath70 protons and @xmath76 neutrons at temperature @xmath62 , we solve the coupled set of eqs .
( [ eq : png ] ) , ( [ eq : pg ] ) , and ( [ eq : eqa ] ) with the chemical potentials @xmath63 and @xmath64 constrained by given @xmath70 and @xmath76 . after getting the solutions for the @xmath0 and @xmath1 phases , we can obtain physical properties of the isolated nucleus ( @xmath2 ) using the subtraction procedure . in figs
. [ fig:1dis56 ] and [ fig:2dis208 ] , we display the density distributions of neutrons and protons for @xmath118fe and @xmath29pb at @xmath119 , 4 , and 8 mev obtained by using the tm1 parametrization . from top to bottom , we show , respectively , the results of the nuclear liquid - plus - gas phase ( @xmath0 ) , nucleon gas phase ( @xmath1 ) , and subtracted nuclear liquid phase ( @xmath2 ) .
it is clear that the densities of the isolated nucleus ( @xmath2 ) vanish at large distances , and , as a result , physical quantities of the nucleus could be independent of the box size . at zero temperature , the proton and neutron densities of the @xmath1 phase
are found to be exactly zero , while their values are finite but very small at finite temperature . as temperature increases , the neutron and proton densities of the @xmath1 phase increase significantly .
moreover , densities at the center of the nucleus are reduced and the nuclear surface becomes more diffuse with increasing @xmath62 . as can be seen in the middle panels of figs .
[ fig:1dis56 ] and [ fig:2dis208 ] , the densities of the @xmath1 phase are obviously polarized due to the inclusion of the coulomb interaction .
the nucleon distributions at the center of a heavy nucleus such as @xmath29pb are significantly affected by the repulsive coulomb potential ; namely , the nucleon densities ( especially the proton densities ) at the center of the nucleus are slightly lower than those at the surface region , as shown in the bottom panel of fig .
[ fig:2dis208 ] .
these tendencies are consistent with those obtained in nonrelativistic approaches @xcite .
we show in figs .
[ fig:3r56 ] and [ fig:4r208 ] the root - mean - square ( rms ) radii of neutrons and protons , @xmath120 and @xmath121 , and their difference known as the neutron - skin thickness , @xmath122 , as a function of the temperature @xmath62 for @xmath118fe and @xmath29pb , respectively .
it is well known that there is a correlation between the neutron - skin thickness @xmath123 and the symmetry energy slope @xmath30 @xcite . in order to study the temperature dependence of this correlation
, we calculate @xmath123 by using four different rmf parametrizations , namely , nl3 ,
tm1 , fsu , and iufsu , which cover a wide range of @xmath30 as listed in table [ tab:1 ] .
it is shown that a larger @xmath30 favors a larger @xmath123 , which does not change much with increasing @xmath62 .
the values of @xmath123 for @xmath29pb at @xmath119 are presented in table [ tab:1 ] .
on the other hand , both @xmath120 and @xmath121 are found to increase significantly with increasing @xmath62 .
this is because the nucleon distributions become more diffuse at higher temperature , as shown in figs .
[ fig:1dis56 ] and [ fig:2dis208 ] .
the increase of @xmath120 and @xmath121 in tm1 is somewhat slower than that in the other three cases , which can be roughly explained by a relatively small decrease in the saturation density of nuclear matter . with increasing @xmath62 , the saturation density of nuclear matter obtained in tm1
deceases more slowly compared to that obtained in other three cases , and , as a result , the size of a nuclear drop with the same mass number @xmath3 would increase more slowly with temperature , as shown by black - solid lines in figs .
[ fig:3r56 ] and [ fig:4r208 ] .
the temperature dependence of @xmath120 and @xmath121 obtained in this work is comparable to that shown in ref . @xcite . for the influence of @xmath30 on @xmath120 and @xmath121
, it is shown that @xmath120 of heavy nuclei is more sensitive to @xmath30 than @xmath121 , which is related to the correlation between @xmath123 and @xmath30 .
the excitation energies of hot nuclei are calculated from eq .
( [ eq : estar ] ) using the four different rmf parametrizations listed in table [ tab:1 ] .
we plot in fig .
[ fig:5te ] the temperature @xmath62 as a function of the excitation energy per particle , @xmath124 ( the so - called caloric curve ) , for four representative nuclei , @xmath118fe , @xmath125sn , @xmath126sm , and @xmath29pb .
it is shown that different rmf parametrizations produce very similar results in all cases .
this is because all of these models have been fitted to experimental masses of finite nuclei covering a wide range of atomic numbers .
therefore , binding energies obtained by these models are close to each other .
as one can see in fig .
[ fig:5te ] , @xmath124 increases slowly at low temperature , while it rises more rapidly as @xmath62 increases .
it is known that there exists a limiting temperature @xmath127 for a hot nucleus , above which the nucleus becomes unstable due to the coulomb interaction @xcite .
the limiting temperature @xmath127 depends on the nucleus , and it generally decreases with increasing mass number @xmath3 and with increasing charge - to - mass ratio @xmath128 @xcite .
it was found in the finite - temperature hartree - fock calculation @xcite and the nonrelativistic thomas - fermi approximation @xcite that @xmath127 is about 810 mev depending on the nucleus and effective interactions . in the present study , we find that the instability of hot nuclei caused by the coulomb interaction occurs at @xmath129 mev .
therefore , we perform our calculation for hot nuclei up to @xmath130 mev .
we investigate the temperature dependence of the symmetry energy of finite nuclei within the relativistic thomas - fermi approximation .
the symmetry energy coefficient of a nucleus with mass number @xmath3 at temperature @xmath62 is calculated from eq .
( [ eq : eafn ] ) by a pair of nuclei with proton numbers @xmath131 and @xmath132 . in practice
, we choose the nuclear pair ( @xmath3 , @xmath131 ) and ( @xmath3 , @xmath132 ) near the @xmath133-stability line with @xmath134 for evaluating the symmetry energy coefficient @xmath97 .
according to the liquid - drop model , the symmetry energy coefficient of finite nuclei is dependent on the mass number @xmath3 due to the combination of volume and surface contributions @xcite , but it would not be very sensitive to the choice of nuclear pair , namely , the choice of @xmath116 and @xmath117 .
however , calculations done by de and samaddar @xcite show that @xmath97 depends sensitively on the choice of the nuclear pair ( see figs .
6 , 7 , and 8 of ref .
@xcite ) . in order to test the dependence of @xmath97 on the choice of @xmath131 with @xmath135 , we plot in figs .
[ fig:6eaz1tm1 ] and [ fig:7eaz1fsu ] the coefficient @xmath97 by red - dashed lines as a function of @xmath131 for @xmath136 and @xmath137 at @xmath119 , @xmath138 , and @xmath139 mev using the tm1 and fsu parametrizations , respectively .
it is shown that the dependence of @xmath97 on @xmath131 becomes more pronounced for higher temperature and close to isospin symmetry .
for the case of @xmath140 mev and @xmath136 , there is a sharp drop in @xmath97 at @xmath141 , which is calculated from the nuclear pair ( @xmath142 , @xmath143 ) and ( @xmath142 , @xmath144 ) .
this value even becomes negative for the fsu parametrization , as shown in the bottom - left panel of fig .
[ fig:7eaz1fsu ] .
negative @xmath97 extracted from the same nuclear pair at @xmath140 mev has also been presented in fig .
6 of ref .
@xcite . in principle
, the symmetry energy coefficient could be extracted from uncharged nuclei in which the coulomb interaction is switched off @xcite .
this is because the symmetry energy is solely determined by nuclear forces
. it would be more appropriate to switch off the coulomb interaction in extracting the symmetry energy coefficient of finite nuclei , rather than to subtract the coulomb energy after calculating charged nuclei as defined by eq .
( [ eq : eafn ] ) .
this is because the coulomb interaction can significantly polarize nucleon densities and affect nuclear surface properties @xcite . as a result , the symmetry energy coefficient calculated from eq .
( [ eq : eafn ] ) is hindered by the coulomb polarization . in figs .
[ fig:6eaz1tm1 ] and [ fig:7eaz1fsu ] , we compare the results of @xmath97 extracted from uncharged nuclei ( without coulomb ) with those obtained from charged nuclei ( with coulomb ) .
as one can see , @xmath97 without the coulomb interaction becomes much less sensitive to the choice of nuclear pair in comparison to that with the coulomb interaction .
we note that a lower sensitivity to the nuclear pair is expected according to the liquid - drop model . in figs .
[ fig:8eattm1 ] and [ fig:9eatfsu ] , we display and compare the temperature dependence of @xmath97 obtained from charged nuclei ( with coulomb ) and uncharged nuclei ( without coulomb ) using the tm1 and fsu parametrizations , respectively .
the calculations are performed for four pairs of nuclei with @xmath135 , while the representative nuclei ( @xmath3 , @xmath131 ) are chosen to be @xmath118fe , @xmath125sn , @xmath126sm , and @xmath29pb .
it is shown that @xmath97 with the coulomb interaction decreases more rapidly than that without the coulomb interaction , which may be related to a more pronounced coulomb polarization effect at higher temperature .
it has been pointed out in ref .
@xcite that a fast drop of @xmath97 even results in negative values of @xmath97 , which is likely to arise from the coulomb polarization of nucleon densities . in the present study , we find that @xmath97 obtained from uncharged nuclei is less sensitive to the choice of nuclear pair as expected and shows a smaller decrease than that with the coulomb interaction .
the relatively weak temperature dependence of @xmath97 obtained without the coulomb interaction seems to be more consistent with the behavior of infinite nuclear matter @xcite . in order to examine the impact of the rmf parametrization on the results obtained , we calculate @xmath97 from uncharged nuclei by using four different rmf parametrizations , nl3 , tm1 , fsu , and iufsu .
we show in fig .
[ fig:10eaall ] the results calculated from four pairs of nuclei with @xmath135 , while the representative nuclei ( @xmath3 , @xmath131 ) are again chosen to be @xmath118fe , @xmath125sn , @xmath126sm , and @xmath29pb .
one can see that there are no large differences among these rmf parametrizations , and all of them show a decreasing @xmath97 with increasing temperature .
it is shown that the largest @xmath30 of nl3 is associated with the smallest @xmath97 at @xmath119 for all nuclei considered .
this is because the surface term for the model with a larger @xmath30 can contribute more to the symmetry energy ; namely , the ratio of volume and surface coefficients , @xmath105 , appearing in eq .
( [ eq : avas1 ] ) has a bigger value for a larger @xmath30 .
the correlation between @xmath105 and @xmath30 calculated from skyrme interactions has been shown in fig .
15 of ref .
@xcite . here
, we can calculate the ratio @xmath105 at @xmath119 for each rmf parametrization from eq .
( [ eq : avas1 ] ) using the results of @xmath29pb . with @xmath99 given in table [ tab:1 ] and @xmath145 calculated from the pair of uncharged nuclei ( @xmath146 , @xmath147 ) and ( @xmath146 , @xmath148 ) , we obtain that the ratio @xmath105 ranges from @xmath149 for iufsu to @xmath150 for nl3 ( see table [ tab:1 ] ) .
the correlation between @xmath105 and @xmath30 obtained in the present study is consistent with that shown in fig .
15 of ref .
@xcite . due to the large value of @xmath105 for nl3
, we obtain a relatively small @xmath151 mev for nl3 ( see the bottom - right panel of fig . [ fig:10eaall ] ) , although its nuclear matter symmetry energy coefficient is as large as @xmath152 mev . for comparison ,
the corresponding values for iufsu are @xmath153 mev and @xmath154 mev . in the cases of tm1 and fsu
, we obtain @xmath155 and @xmath156 mev , respectively . as one can see from the upper - left panel of fig .
[ fig:10eaall ] , @xmath157 obtained in tm1 is almost identical to that obtained in fsu for @xmath158 mev , which is the result of competition between the volume and surface contributions . from eq .
( [ eq : avas1 ] ) , we can see that the surface term plays a more important role in relatively light nuclei .
furthermore , we find that the results of @xmath159 for @xmath136 , @xmath160 and @xmath161 extracted from uncharged nuclei agree well with those calculated from eq .
( [ eq : avas1 ] ) using parameters given in table [ tab:1 ] .
this implies that the mass dependence of the symmetry energy coefficient of finite nuclei given by eq .
( [ eq : avas1 ] ) is approximately valid in the relativistic thomas - fermi approximation . from eq .
( [ eq : avas1 ] ) , it is easy to understand the increase of @xmath159 by @xmath1063 mev from @xmath136 to @xmath137 as shown in fig .
[ fig:10eaall ] .
at finite temperature , the symmetry energy coefficient @xmath97 decreases smoothly with increasing @xmath62 .
it is found that @xmath97 obtained in iufsu falls more rapidly than others , which may be related to its lower value of @xmath30 .
it is interesting to compare our results with those of ref .
@xcite , which were obtained in the nonrelativistic thomas - fermi approximation .
we find that the temperature dependence of @xmath97 shown in fig .
[ fig:10eaall ] is much smaller than that shown in fig . 5 of ref .
for instance , @xmath97 for @xmath136 and @xmath162 with the sbm effective interaction , as shown by red - dashed lines in fig . 5 of ref .
@xcite , decreases by @xmath10610 mev up to @xmath140 mev , whereas the corresponding value in our calculation without the coulomb interaction is @xmath1064 mev with the fsu parametrization . from fig .
[ fig:9eatfsu ] , one can see that @xmath97 with the coulomb interaction decreases more rapidly than that without the coulomb interaction , and a drop of @xmath10610 mev is achieved for @xmath136 and @xmath162 with the fsu parametrization , which is very close to the value of ref .
@xcite with the sbm interaction , as mentioned above .
we note that saturation properties of nuclear matter are very similar between the sbm interaction and the fsu interaction .
therefore , the different temperature dependence between our results shown in fig .
[ fig:10eaall ] and that presented in fig
. 5 of ref . @xcite may be mainly attributed to different treatments of the coulomb interaction .
as discussed above , the symmetry energy coefficient of finite nuclei can be significantly affected by the coulomb polarization effect .
it would be more appropriate to switch off the coulomb interaction in extracting the symmetry energy coefficient of finite nuclei , rather than to subtract the coulomb energy after calculating charged nuclei .
we have developed a relativistic thomas - fermi approximation by employing the subtraction procedure for the description of hot nuclei .
the subtraction procedure is necessary for isolating the nucleus from the surrounding nucleon gas , so that the resulting properties of the nucleus could be independent of the size of the box in which the calculation is performed .
for the nuclear interaction , we have adopted the rmf model and considered four successful parametrizations , nl3 , tm1 , fsu , and iufsu , which cover a wide range of the symmetry energy slope @xmath30 . by comparing the results with different rmf parametrizations , it is possible to study the impact of the rmf parametrization on properties of hot nuclei .
the correlation between the neutron - skin thickness @xmath123 and the symmetry energy slope @xmath30 has been confirmed in the present calculation , and we have found that @xmath123 is almost independent of temperature @xmath62 . on the other hand ,
the rms radii of neutrons and protons , @xmath120 and @xmath121 , have been shown to increase significantly with increasing @xmath62 , and nucleon distributions become more diffuse at higher temperature .
the excitation energies of hot nuclei have been found to be insensitive to the rmf parametrization .
we have achieved very similar caloric curves for different rmf parametrizations .
we have investigated the symmetry energy of finite nuclei within the relativistic thomas - fermi approximation .
the symmetry energy coefficient @xmath97 of finite nuclei , which is dependent on the mass number @xmath3 and temperature @xmath62 , has been extracted from a nuclear pair ( @xmath3 , @xmath131 ) and ( @xmath3 , @xmath132 ) near the @xmath133-stability line with @xmath134 .
it has been found that @xmath97 calculated from charged nuclei depends sensitively on the choice of nuclear pair , especially at high temperature and close to isospin symmetry .
this is because the coulomb interaction can significantly polarize nucleon densities and affect nuclear surface properties . on the other hand
, @xmath97 calculated from uncharged nuclei becomes much less sensitive to the choice of nuclear pair in comparison to that obtained from charged nuclei .
furthermore , the temperature dependence of @xmath97 extracted from uncharged nuclei has been shown to be much smaller than that calculated from charged nuclei , which may be due to the coulomb polarization effect becoming more pronounced at higher temperature .
therefore , we conclude that the symmetry energy coefficient of finite nuclei can be significantly affected by the coulomb polarization effect
. it would be more appropriate to switch off the coulomb interaction in extracting the symmetry energy coefficient of finite nuclei , rather than to subtract the coulomb energy after calculating charged nuclei , so that the resulting @xmath97 would not be hindered by the coulomb polarization .
we have studied the temperature dependence of @xmath97 for several representative nuclei using different rmf parametrizations in order to examine the impact of the rmf parametrization on the results obtained .
it has been found that @xmath97 extracted from uncharged nuclei decreases smoothly with increasing @xmath62 , and a drop of @xmath1063@xmath163 mev has been achieved up to @xmath140 mev depending on @xmath3 and on the rmf parametrization used .
the tendency of the temperature dependence of @xmath97 is similar for different rmf parametrizations .
we have compared our results with those obtained in the nonrelativistic thomas - fermi approximation @xcite .
it has been shown that the temperature dependence of @xmath97 obtained in the present work from uncharged nuclei is much smaller than that presented in ref .
@xcite , which may be mainly attributed to different treatments of the coulomb interaction .
we have evaluated the ratio of volume and surface symmetry energy coefficients , @xmath105 , at zero temperature .
it has been found that a larger symmetry energy slope @xmath30 of nuclear matter corresponds to a bigger value of @xmath105 , which is consistent with that obtained by skyrme interactions @xcite .
when the temperature increases from zero to a finite value , both @xmath99 and @xmath100 may change with the temperature .
we plan to investigate the temperature dependence of @xmath99 and @xmath100 in a further study .
this work was supported in part by the national natural science foundation of china ( grant no .
11375089 ) .
.parameter sets for the four rmf parametrizations used in this work and corresponding properties of nuclear matter and finite nuclei .
the masses are all given in mev .
the quantities @xmath164 , @xmath165 , @xmath99 , and @xmath30 are , respectively , the energy per particle , incompressibility coefficient , symmetry energy coefficient , and symmetry energy slope of nuclear matter at saturation density @xmath89 .
the last two lines show the neutron - skin thickness of @xmath29pb , @xmath123 , and the ratio of volume and surface symmetry energy coefficients , @xmath105 , extracted from the results of @xmath29pb at zero temperature . [
cols="<,^,^,^,^",options="header " , ] fe at @xmath119 , 4 , and 8 mev obtained using the tm1 parametrization .
the results of the nuclear liquid - plus - gas phase ( @xmath0 ) , nucleon gas phase ( @xmath1 ) , and subtracted nuclear liquid phase ( @xmath2 ) are shown in the top , middle , and bottom panels , respectively.,width=8 ] as a function of @xmath131 for @xmath136 and @xmath137 at @xmath119 , @xmath138 , and @xmath139 mev obtained using the tm1 parametrization .
the nuclear pair used for calculating @xmath97 is chosen to be ( @xmath3 , @xmath131 ) and ( @xmath3 , @xmath166 ) .
the results extracted from uncharged nuclei ( without coulomb ) are compared with those calculated from charged nuclei by subtracting the coulomb energy ( with coulomb).,width=8 ] for @xmath118fe , @xmath125sn , @xmath126sm , and @xmath29pb obtained using the tm1 parametrization .
the results obtained from uncharged nuclei ( without coulomb ) are compared with those calculated from charged nuclei by subtracting the coulomb energy ( with coulomb).,width=8 ] | arxiv |
Commelina erecta, commonly known as the white mouth dayflower, slender dayflower, or widow's tears, is a perennial herb native throughout the Americas, Africa and western Asia. It is considered to be the most variable species of Commelina in North America.
Distribution and habitat
Commelina erecta is native to much of the world, including the Americas, Africa and western Asia. In the Americas it is present in the United States, the West Indies, every country of Central America and south through the tropics into Argentina. In the United States it can be found from New York and Nebraska in the north, south to Florida and Texas. In the West Indies it is present throughout Puerto Rico and on several of the Virgin Islands such as Saint Croix, Saint Thomas, Saint John, George Dog Island, Anegada, Great Camanoe, Guana Island, Tortola and Water Island.
The native Slender dayflower is located occasionally in the western half Illinois, Northeast, and Southern Illinois. It is usually in dry sand prairies, woodlands, or anywhere drier than normal. illinoiswildflowers.info
In tropical Africa the plant is also widespread. In west Africa it is present in Senegal, Guinea, Guinea-Bissau, Sierra Leone, Liberia, the Ivory Coast, Ghana, Burkina Faso, Benin, Nigeria, and Bioko.
In Nigeria, the plant is known as Ewe Apolukuluku and Itopere.
In the West Indies it is common in disturbed sites as well as in dry to moist woods from sea level up to 1300 meters.
References
External links
Profile at Flora of Missouri Webpage
Erecta
Category:Flora of Asia
Category:Flora of Africa
Category:Flora of North America
Category:Plants described in 1753 | wikipedia |
Esteban Zimányi is a full professor and the director of the Department of Computer & Decision Engineering (CoDE) at ULB. He started his studies at the Universidad Autónoma de Centro América, Costa Rica. He received a B.Sc. (1988) and a doctorate (1992) in computer science from the Faculty of Sciences at the ULB. During 1997, he was a visiting researcher at the Database Laboratory of the Ecole Polytechnique Fédérale de Lausanne, Switzerland. He co-authored and co-edited 16 books, 18 book chapters, 19 articles in international journals, and 82 papers in international conferences. He is coordinator of the BDMA and IT4BI-DC Erasmus Mundus programmes. He is Editor-in-Chief of the Journal on Data Semantics published by Springer. His current research interests include data warehouses, spatio-temporal databases, geographic information systems, and semantic web. | slim_pajama |
general relativity in spacetime dimension @xmath3 larger than four supports black brane solutions that , unlike in lower dimensions , are not uniquely characterized by their asymptotic charges ( mass , spin , gauge charges ) .
an example of this situation is the kaluza - klein black hole , a solution of the einstein equations consisting of a black hole embedded in a compactified spacetime , for instance @xmath4 . because of the lack of uniqueness in @xmath5 , this system exhibits a range of phases , characterized by the horizon topology , as the period @xmath6 of the @xmath7 is varied . for @xmath6
much larger than the horizon length scale , the horizon topology is @xmath8 corresponding to an isolated black hole . as @xmath6 becomes of order @xmath9 one finds uniform and non - uniform black string phases with horizon topology @xmath10 .
there is evidence to support the conjecture that uniform string decays @xcite proceed via a topology changing phase transition into a black hole final state ( see @xcite for reviews ) .
other proposals for the final state of the unstable black string can be found in @xcite .
understanding the dynamics of the black hole / black string phase transition is important for a variety of reasons .
apart from being a toy model for studying the physics of topology change in higher dimensional general relativity , it is also relevant for its connection to gauge / gravity duality in string theory @xcite .
also , the kaluza - klein black hole plays a role in the phenomenology of scenarios where gravity is strong at the tev scale , and production of higher dimensional black holes at the lhc becomes a possibility
. there does not exist an analytic solution of the einstein equations describing a black hole in the background @xmath0 with @xmath11 ( however , see @xcite ; for @xmath12 , a closed form metric can be found in ref .
@xcite ) . for generic values of the ratio @xmath13 one must resort to numerical simulations in order to find solutions .
these have been carried out in @xcite . here
, we will consider the asymptotic region of the phase diagram in which the parameter @xmath14 is much less than unity , and analytic solutions can be found perturbatively .
although this region of parameter space is likely to be far from where the black hole / black string transition is expected to take place , it is a region that can be mapped out analytically .
these perturbative calculations provide a useful test of the numerical simulations , and by extrapolation , may give qualitative information on the full phase diagram of solutions .
the @xmath1 corrections to the thermodynamics of a small black hole in the background @xmath4 have been calculated in ref .
@xcite to leading order for arbitrary @xmath3 , and in ref .
@xcite to order @xmath2 for @xmath15 . in ref .
@xcite , the order @xmath1 corrections were calculated by employing a specialized coordinate system @xcite for the entire spacetime .
alternatively , the approach taken in @xcite is to split the spacetime into a region near the black hole where the solution is the @xmath3-schwarzschild metric , @xmath16 weakly perturbed by compactification , and a far region in which the metric can be parametrized in terms of asymptotic multipole moments ( see ref .
@xcite for a systematic discussion of this procedure ) .
these two solutions are then patched together in an overlap region , yielding a relation between the short distance parameters ( the scale @xmath9 of the @xmath3-dimensional schwarzschild metric ) and the mass @xmath17 and tension @xmath18 as measured by an observer far from the black hole .
this behavior can be traced to the short distance singularities of the @xmath3-dimensional flat space green s function .
a prescription for handling such divergences at leading order in @xmath1 can be found in @xcite . ] . as discussed in @xcite ,
all thermodynamic quantities relevant to the phase diagram can be calculated given the asymptotic charges " @xmath19 . here
, we propose a different method for calculating the phase diagram in the perturbative region @xmath20 , based on the effective field theory approach applied to extended gravitational systems developed in @xcite .
since in the @xmath20 limit there is a large hierarchy between the short distance scale @xmath9 and the compactification size , it is natural to integrate out ultraviolet modes at distances shorter than @xmath9 to obtain an effective lagrangian describing the dynamics of the relevant degrees of freedom at the scale @xmath6 . in the resulting eft , the scale @xmath9 only appears in the wilson coefficients of operators in the action constructed from the relevant modes . ignoring horizon absorption @xcite and spin @xcite ,
these long wavelength modes are simply the metric tensor @xmath21 coupled to the black hole worldline coordinate @xmath22 .
the couplings of the particle worldline to the metric can be obtained by a fairly straightforward matching calculation , although one expects that all operators consistent with symmetries ( diffeomorphism invariance , worldline reparametrizations ) are present .
although clearly there are some similarities between the eft approach and the matched asymptotics of @xcite , there are several advantages to formulating the @xmath1 expansion in the language of an eft : * in the eft , it is possible to disentangle the terms in the perturbative expansion that arise from the finite extent of the black hole , which scale like integer powers of @xmath13 , versus post - newtonian " corrections due to the non - linear terms in the einstein - hilbert lagrangian that scale like integer powers of @xmath23 and are therefore also equivalent to powers of @xmath1 . *
the eft has manifest power counting in @xmath1 .
this means that it is possible to determine at what order in the expansion effects from the finite size of the black hole horizon first arise . as we will show in the next section , the first finite size correction , which in the eft manifests itself through a non - minimal coupling of the black hole worldline to the riemann tensor arises at order @xmath24 . for a fixed @xmath3 the finite size effects , for example the tidal distortion of the black hole horizon , will contribute to the thermodynamic variables at order @xmath25 relative to the leading order result .
thus the finite horizon effects become as large as @xmath2 as @xmath26 .
this also indicates that the results of refs .
@xcite are not sensitive to the specific structure of the kaluza - klein black hole , but rather reflect the thermodynamics of structureless point particles .
* in the eft , calculations can be carried out using the standard tools of field theoretic perturbation theory . in particular
, the perturbative expansion has a diagrammatic interpretation in terms of standard feynman diagrams .
ultraviolet divergences that arise in feynman integrals can be dealt with using a standard regulator ( e.g , dimensional regularization ) and absorbed into the coefficients of local operators .
there is no impediment to renormalizing the theory to all orders in @xmath1 .
as an example of this procedure we calculate in sec .
[ sec : pt ] the @xmath27 corrections to the asymptotic mass and tension of the kaluza - klein black hole .
our results are organized as follows . in sec .
[ sec : eft ] we formulate the eft and derive the power counting rules for @xmath20 . using this power counting
we analyze the relative contribution of an arbitrary finite size worldline operator . in sec .
[ sec : pt ] we use the eft to calculate the @xmath27 corrections to the asymptotic charges @xmath17 and @xmath18 for arbitrary @xmath3 and use these results in sec . [ sec : thermo ] to work out the corresponding corrections to the thermodynamic relations . in this section
we also compare our analytic formulas to the results of numerical simulations @xcite for @xmath15 and @xmath28 .
we consider an isolated black hole in a background spacetime of the form @xmath0
. coordinates on @xmath29 are denoted by @xmath30 and @xmath31 labels circumference along @xmath7 . coordinates on @xmath3-dimensional spacetime
are denoted @xmath32 .
the period of the @xmath7 factor as measured by an observer at @xmath33 is @xmath6 . in order to determine the phase diagram of this system , it is sufficient to calculate the moments of the kaluza - klein black hole that appear in the first non - trivial corrections to the asymptotic metric . by the symmetries of the background , the non - vanishing terms are , to leading order as @xmath34 , @xmath35
the coefficients @xmath36 and @xmath37 are related to the asymptotic mass @xmath17 and tension @xmath18 by the relations @xcite , @xmath38 the constant @xmath39 is defined such that the newton potential between two masses in uncompactified @xmath3-dimensional space is @xmath40 . in the limit @xmath41 , these quantities can be calculated in perturbation theory .
one method is to solve the einstein equations perturbatively , using the matched asymptotic techniques of @xcite .
another possibility is to first integrate out the black hole , replacing the spacetime in the vicinity of the horizon with an effective lagrangian for the black hole worldline coupled to gravity .
including all terms with up to two derivatives ( we will be more specific about the expansion parameter in this expansion below ) this lagrangian takes the form @xmath42 -m_0\int ds + c_e\int ds e_{\alpha\beta } e^{\alpha\beta } + c_b\int ds b_{\alpha_1\cdots\alpha_{d-2 } } b^{\alpha_1\cdots\alpha_{d-2 } } + \cdots.\ ] ] here , as in any other eft , we have simply written down all terms compatible with diffeomorphism invariance and worldline reparametrization invariance . in this equation ,
@xmath43 and the tensors @xmath44 , and @xmath45 are the electric and magnetic components of the riemann tensor . @xmath46 note that if the black hole is in a ricci flat background then operators involving the ricci tensor can be removed by field redefinitions of the metric . in this case
the components of @xmath47 are sufficient to specify the riemann tensor .
all coefficients of operators in eq .
( [ eq : efts ] ) scale like powers of @xmath48 and @xmath9 , given by @xmath49 in a way that we can be fixed by matching to the full schwarzschild solution ( see below ) . starting from eq .
( [ eq : efts ] ) , we use the background field method @xcite to calculate @xmath17 and @xmath18 .
we decompose the metric tensor into a long wavelength non - dynamical background field @xmath50 and a short wavelength graviton field @xmath51 @xmath52 and do the path integral over @xmath53 , holding the black hole worldline to some fixed value @xmath22 , @xmath54 = \int { \cal d } h_{\alpha\beta } \exp i \left(s[{\bar g}+h , x ] + s_{gf}[{\bar g},h]\right),\ ] ] where @xmath55 is a suitable gauge fixing term .
it is convenient to choose @xmath55 to be compatible with background field diffeomorphisms , for example @xmath56 with @xmath57 . to calculate eq .
( [ eq : pi ] ) it is sufficient to linearize about flat space , @xmath58 and to take @xmath59 .
the relation between @xmath60 and @xmath61 can be read off the linear terms in @xmath62 $ ] with no derivatives @xmath63 = -{1\over 2 } m\int dt { \bar h}_{00 } + { 1\over 2 } \tau l\int dt { \bar h}_{zz } + \cdots.\ ] ] because of eq .
( [ eq : pi ] ) , these two terms are simply the sum of feynman diagrams like those of fig .
[ eb ] , fig .
[ m2 ] and fig .
wavy internal lines denote the propagator for the graviton @xmath53 , which given our form for @xmath55 is @xmath64 with @xmath65 $ ] , and @xmath66 is the kaluza - klein representation of the propagator on flat @xmath0 .
the solid lines denote the black hole worldline .
there are no propagators associated with such lines .
an external line denotes an insertion of a factor of @xmath67 .
finally , the vertices are constructed from the @xmath68-graviton terms in the expansion of eq .
( [ eq : efts ] ) about flat space .
diagrams that become disconnected by the removal of the particle worldline do not contribute to the terms in @xmath62 $ ] .
note also that if we treat eq .
( [ eq : tad ] ) as an effective source term in the einstein equations , we recover the relation eq .
( [ eq : ab ] ) between the metric coefficients @xmath69 and the thermodynamic charges .
each feynman diagram in the eft contributes a definite power of @xmath1 to the terms in eq .
( [ eq : tad ] ) .
counting powers of @xmath1 is straightforward . given that the only scale in the propagator is @xmath6 we assign @xmath70 and thus @xmath71 so that we assign the scaling @xmath72 .
we assign no power counting factors to @xmath67 .
power counting relative to the action for the free background graviton , the parameter @xmath73 that counts graviton loops is @xmath74 this means that @xmath75 and for example the terms @xmath76 obtained by expanding eq .
( [ eq : efts ] ) , scale as @xmath77 .
therefore the diagram in fig .
[ m2](b ) gives a contribution to @xmath62 $ ] that scales like ( @xmath78 denotes a time ordered vev in the free graviton theory ) , @xmath79 so that by eq . ( [ eq : lo ] ) it gives a contribution to @xmath17 that is suppressed by a single power of @xmath1 relative to the leading order result @xmath80 .
likewise , the @xmath81 vertex in the gravitational action is @xmath82 so that fig .
[ m2](a ) scales like @xmath83 . in general , a given diagram scales as @xmath84 , where @xmath85 and @xmath86 , the latter bound saturated by diagrams containing no internal graviton loops . in order to power
count the worldline operators with more derivatives , we first need to fix the dependence of the coefficients on @xmath48 and @xmath9 .
this is done by matching the effective lagrangian of eq .
( [ eq : efts ] ) to the full black hole theory , described by the schwarzschild metric of eq .
( [ eq : bhmetric ] ) . as in any other eft ,
the matching procedure consists of adjusting the couplings in the effective lagrangian so that observables calculated in the eft agree with those of the full theory .
a convenient observable to match to is the @xmath87-matrix element for low energy elastic graviton scattering off the black hole geometry . in the full theory
, this is obtained by solving the linearized wave equation for the graviton field in the schwarzschild metric .
after separation of variables this boils down to solving a radial equation that generalizes the regge - wheeler equation describing perturbations of four - dimensional schwarzschild black holes to @xmath3-dimensions .
the explicit form of this equation can be found in @xcite ( see also @xcite ) .
since the only scale in the full theory is @xmath9 we expect the amplitude to take the form @xmath88 where @xmath89 is the energy of the incident graviton , @xmath90 are spin labels , @xmath91 is the scattering angle and @xmath92 is a calculable function . in the eft
, the scattering cross section receives contributions from insertions of all the couplings in eq .
( [ eq : efts ] ) . in particular , the two - derivative operators give rise to terms in the amplitude that go like @xmath93,\ ] ] where @xmath94 are functions whose specific form is not important for our purposes here .
thus @xmath95 are non - zero only if @xmath92 has a term in the low energy limit that scales like @xmath96 . if this is the case then we find that @xmath97 . after expanding about flat space
, we have for @xmath98 , @xmath99 , @xmath100 the first contribution to the tadpoles in @xmath62 $ ] due to an insertion of @xmath101 is from the diagram in fig .
[ eb ] . according to our power counting rules
@xmath102 implying that the @xmath20 thermodynamics is not sensitive to the structure of the black hole until order @xmath103 , which for @xmath15 is one order beyond the second order results of @xcite and becomes @xmath27 as @xmath26 . more generally , a worldline operator with @xmath104 derivatives and @xmath105 factors of the graviton scales like @xmath106 and it gives a contribution to the charges @xmath17 and @xmath18 that is order @xmath107 ( @xmath108 ) .
as an application of the eft method , we now compute the @xmath27 corrections to the quantities @xmath60 that govern the thermodynamics of the kaluza - klein black hole . according to the power counting rules established in the previous section , the relevant diagrams are those of fig .
[ m2 ] and fig .
finite size effects do not come in at this order .
the first corrections to the mass and tension of the system arise from the two diagrams in fig .
the diagram in fig .
[ m2](a ) gives a contribution to the background field effective action which , using the feynman rules of the eft , is of the form @xmath109 ^ 2 v_{k_\perp n}({\bar h}),\ ] ] where the vertex function is @xmath110 { \bar h}_{\mu\nu}.\ ] ] since we are only interested in the terms of eq .
( [ eq : tad ] ) we have set @xmath111 to a constant , in which case the momentum flowing into the diagram vanishes and the calculation of the integral simplifies . for the @xmath112 term , eq .
( [ eq : v ] ) gives @xmath113 where we have used @xmath114 where @xmath115 is the riemann zeta function .
note that this integral is actually ultraviolet divergent .
the divergence renormalizes the point particle mass and can be absorbed by a shift in @xmath116 .
we use dimensional regularization to deal with this .
since we are interested in @xmath11 , the divergent part of the integral is simply set to zero by the regulator .
for the @xmath117 term we have @xmath118 here we have used the additional integral @xmath119 ^ 2 = \left(2-{d\over 2}\right ) i_0(l).\ ] ] since the source is at rest , fig .
[ m2](b ) only gives a contribution to the @xmath112 tadpole @xmath120 combining these results we find to first order in @xmath1 @xmath121 where we have defined @xmath122 .
this reproduces the results of @xcite .
it is convenient to consider separately the corrections to the @xmath123 , @xmath124 terms in the effective action . for the @xmath124 terms , the diagrams in fig .
[ m3](a ) , fig .
[ m3](c ) , and fig .
[ m3](e ) do not contribute .
it is straightforward to derive the feynman rules necessary to calculate the diagrams of fig .
we will simply write down the results of evaluating each diagram . for the @xmath123 tadpoles in the effective action
, one finds that evaluating the diagrams at zero external momentum gives rise to no new integrals : the integration over the internal momenta factorizes into the square of the integrals @xmath125 of the previous section .
the results are @xmath126 for the tadpole terms @xmath124 , we find from fig .
[ m3](b ) @xmath127 the contribution of graphs fig .
[ m3](d ) , fig .
[ m3](f ) to the tadpole @xmath123 does not factorize into the integrals of the form @xmath125 .
however their sum does , @xmath128 thus the @xmath129 terms in the effective action are @xmath130\right|_{\ell\lambda^2 } = -{1\over 4}m_0{\hat\lambda}^2 \int dt { \bar h}_{00 } -{1\over 2 } m_0 ( d-3 ) { \hat\lambda}^2 \int dt { \bar h}_{zz}.\ ] ]
we have found , from the diagrams in fig . [ m2 ] and fig .
[ m3 ] @xmath131 to obtain observables which can be tested against the numerical data of @xcite , we must eliminate the unphysical bare mass parameter @xmath116 from these two equations .
this gives , @xmath132 which agrees with the results of @xcite when @xmath15 .
we may then relate the asymptotic charge to the thermodynamics quantities via smarr s relation @xmath133 ( see ref .
@xcite ) which , using eq .
( [ eq : tvm ] ) , gives @xmath134 as a function of @xmath135 .
as @xmath136 the entropy @xmath87 simply becomes the entropy of an isolated @xmath3-dimensional black hole .
this scales like the area of the black hole , @xmath137 .
thus for @xmath20 we expect @xmath138 the function @xmath139 can be obtained from the relation @xmath140 together with the formula for @xmath134 that follows from smarr s law .
we finds @xmath141 and @xmath142\zeta^2(d-3 ) \left({2
g_n m\over l^{d-3}}\right)^2+\cdots,\ ] ] where @xmath143 and @xmath144 are the entropy and temperature of an uncompactified black hole , @xmath145 we may then compare with the numerical results of kudoh and wiseman @xcite in the special cases of five and six dimensions which are shown in fig . [
fig : data](a ) and fig .
[ fig : data](b ) respectively in units where the entropy of the uncompactified @xmath3-dimensional black hole is @xmath146 . ] .
the difference between the numerical data and the analytical results grows with @xmath87 , but it is difficult to gauge the relevance of this deviation without some measure of the errors in the numerical computation . as a crude measure of convergence of the perturbative expansion we plot in fig .
[ fig : conv ] the ratio of the @xmath27 to the @xmath147 terms in the series expansion for @xmath148 versus @xmath87 . to @xmath147 terms in the perturbative expansion of @xmath149 versus @xmath87 for @xmath15 ( dashed line ) and @xmath28 ( solid line).,width=302 ]
in this paper , we have used eft methods to determine the qualitative structure of the thermodynamics of kaluza - klein black holes when their radius is much smaller than the compactification scale . using the power counting in the eft , we find that the asymptotic charges @xmath19 are related in the regime @xmath150 by an expansion of the form @xmath151 where @xmath152 is analytic about zero and @xmath153 . for @xmath154 ,
we find @xmath155,\ ] ] which agrees with the @xmath156 results of @xcite in @xmath3 spacetime dimensions and with the @xmath157 @xmath15 results of @xcite calculated in perturbation theory about the full uncompactifed schwarzschild background .
thus our results indicate that the existing analytical tests of the numerics for @xmath158 only probe the thermodynamics of point particles and are not sensitive to the dynamics of the black hole horizon
. it would be interesting to repeat the numerical simulations for large dimension where the phase diagram is more sensitive to the structure of the horizon .
for instance in @xmath159 , the first finite size effect comes in at order @xmath160 , @xmath161 , and is distinguishable from terms in the black hole thermodynamics that can be reproduced by a minimal point particle action @xmath162 .
+ + we thank h. kudoh and t. wiseman for making the numerical results of @xcite available to us , and t. wiseman for helpful discussions .
y - zc and wg are supported in part by the department of energy under grant de - fg02 - 92er40704 .
izr is supported in part by the department of energy under grants doe - er-40682 - 143 and deac02 - 6ch03000 .
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The Woodsman
Based on the play
by
Steven Fechter
Written
by
Steven Fechter
and
Nicole Kassell
Winner 1st Prize 2001 Slamdance Screenplay Competition
July 30, 2002
BEGIN TITLES - OPENING SEQUENCE MONTAGE
Over black we HEAR the rhythmic sound of machinery. This
sound will continue throughout the title sequence as other
sounds fade in and out. We move forward and back in time.
EXT. APARTMENT - DAY
A sparrow flutters in birdseed on a window sill. More birds
crowd a bird feeder that hangs above.
EXT. SCHOOL PLAYGROUND - DAY
A lone child swings lazily on a swing. Other children tear
about in a wild game of chase.
INT. LUMBERYARD WAREHOUSE - DAY
CLOSE on a piece of wood as it is fed through a wood chipper.
A man finishes feeding the log into the chipper. He pauses to
wipe the sweat and grime from his face. He is WALTER, early
forties, features handsome but hardened by time.
INT. BUS - EARLY MORNING
Walter is silhouetted by the early morning light. He holds a
duffel bag in his lap and watches out the bus window.
The sun is just rising over the horizon, streaks of pink and
purple graze the frosted ground. Wilderness gives way to
frozen farmland.
INT. POLICE DEPARTMENT - DAY
Walter stands at a counter, a female officer fingerprints
each finger.
EXT. LUMBERYARD - DAY
Walter and some other men drop the side of the flatbed truck
and trees crash to the ground.
EXT. BUS STOP - DAY
The bus pulls away, revealing Walter standing alone on the
sidewalk of a dilapidated neighborhood. He holds his duffle
bag.
INT. WAREHOUSE - DUSK
The 5 oclock whistle BLOWS. Workers hustle to get their
coats and punch out. Walter stands in line, keeping to
himself. As his turn arrives to punch out he receives a rough
knock by two guys play-fighting behind him. Walter doesnt
react, punches out, and exits the door.
Vicki, a tough-looking but striking woman, stands in line a
little further back watching.
EXT./INT. APARTMENT - DAY
A superintendent opens the door to an apartment, then hands
Walter the keys. Her gaze is cold.
Walter closes the door and turns around. He stands in the
middle of a prefab/pre-furnished kitchen, living room area.
Light works its way through the dilapidated blinds.
INT. LUMBERYARD OFFICE - DAY
Walter shakes the bosss hand -- BOB, early thirties,
strapping and trim, is the manager of the business.
MARY-KAY, the secretary, looks up from her typing and takes
Walter in. Bob introduces them. She is in her early forties.
Walter follows Bob from the office, Mary-Kay watches as they
leave.
INT. POLICE DEPARTMENT
There is a flash as a camera snaps a photo.
Walter is captured in a photograph, standing against a babyblue
background.
INT. WALTERS APARTMENT - DAY
Walter lifts the blinds. The birds flutter away.
CUT TO:
Walter stands under the shower.
CUT TO:
Walter, hair wet and clean shaven, tosses back some pills.
EXT. WAREHOUSE - DUSK
Tires SCREECH as cars tear out of the driveway. Walter stands
at a bus stop across the street.
As Vicki walks across the lot, a car pulls up next to her and
men catcall and whistle out the window.
Vicki flicks them off. The men burst into hysterics and peal
out of the lot. She gets in her Jeep and leaves, tearing by
the bus stop.
Walter looks after her then turns his collar up against the
chill. It is late winter. The trees are bare -- black
silhouettes against the darkening sky.
Walter turns towards the shelter for protection from the
wind. Filling the kiosk, a clothing advertisement displays a
young girl striking a seductive pose.
INT. POLICE DEPARTMENT - DAY
CLOSE on a police file. A mug shot reveals Walter, many years
younger. Pages are flipped through giving glimpses of newspaper
clippings as well as typed documents. Words stand out --
"Convicted, 1st degree --," "3 counts --," "served --."
An plain clothes officer closes the folder and looks out his
office window where Walter stands being fingerprinted. This
is Sergeant LUCAS, mid-fifties, face creased and greying
hair.
INT. BUS - DAY
Walter watches out the window as farmland gives way to city.
Traffic builds, billboards line the highway.
INT. LUMBERYARD WAREHOUSE - DAY
Details of machines cutting the wood.
INT. WALTERS APARTMENT - DAY
Walter fills the bird feeder with birdseed.
There is the SOUND of children playing, and Walter looks up.
Walters POV: Across the way, children play outside of the
school.
Walter watches then closes his window.
EXT. POLICE DEPARTMENT - DAY
Walter exits the police station and crosses the street.
INT. POLICE DEPARTMENT
CLOSE on fingers typing on a keyboard.
A computer screen shows Walters image -- the photo just
taken of him against the blue background. Words appear across
the screen as they are typed, creating an Internet
notification page:
Released: 02/25/02 Qualifying Offense(s):____________
We MOVE in on the photo of Walter till it fills the frame.
FREEZE FRAME. All sound fades out.
The title "THE WOODSMAN" fades in.
END TITLES
INT. OFFICE - NIGHT
Walter sits in a small windowless office with his coat still
on. He looks at someone off screen.
MAN (0.S.)
So. How are you adjusting?
WALTER
Im adjusting okay.
MAN (O.S.)
And your new apartment?
WALTER
Apartments okay.
MAN (O.S.)
Are you taking your medication?
WALTER
It gives me headaches.
MAN (O.S.)
But you are taking it?
WALTER
Yeah.
Across from Walter, sits ROSEN, young, awkward and clearly
new to the profession, jotting something down in a notepad.
ROSEN
Good. Ill talk to your physician
about the headaches. Maybe he can
change the prescription.
Walter doesnt say anything.
ROSEN (contd)
And hows your job?
WALTER
The jobs okay.
ROSEN
Do I take "okay" to mean you feel
good about working there?
WALTER
I said the job is okay.
ROSEN
(smiling)
Thats right, you did.
(pause)
Have you made any friends there?
WALTER
Im not running for Mr. Popularity.
ROSEN
(pause)
You seem a little hostile today.
WALTER
That was a joke.
Rosen jots something on his notepad. Walter reaches over and
taps on the notebook.
WALTER (contd)
Its called sarcasm, Dr. Rosen.
ROSEN
No need to call me doctor. Im a
therapist, not a psychiatrist.
WALTER
Its all the same.
Rosen looks at Walter for a long moment. Walter avoids his
gaze.
ROSEN
Walter, Id like you to try
something for me.
WALTER
What?
ROSEN
Id like you to keep a journal.
WALTER
A diary?
ROSEN
Thats right.
WALTER
No way.
ROSEN
Why not?
WALTER
Diaries have sent too many guys to
prison.
ROSEN
I dont understand.
WALTER
Ev-i-dence.
ROSEN
Oh. It never crossed my mind.
WALTER
Of course.
ROSEN
It was just an idea.
WALTER
Bad idea.
ROSEN
I thought a journal would encourage
you to reflect.
WALTER
Reflect.
ROSEN
Thats right.
WALTER
You think reflection is good.
ROSEN
Its very good, indeed.
WALTER
Hows that?
ROSEN
By reflection we can derive a
deeper meaning from our experience
in life. We gain greater
understanding about ourselves that
can lead to making better choices
in our relationships, our careers,
and our goals.
Walter looks at him flatly.
WALTER
You read that in a book.
Rosen blushes.
ROSEN
Try it.
WALTER
No fucking way.
ROSEN
Then think about it.
Walter is silent.
EXT. PHARMACY, STRIP MALL - NIGHT
The sidewalk is crowded with pedestrians. Walter heads
towards the pharmacy entrance, but he is abruptly cut off by
a group of kids zooming by on their scooters and skateboards.
He pauses for them to pass, watches after them momentarily,
then proceeds inside.
INT. PHARMACY - NIGHT
Walter hands a prescription to a MALE PHARMACIST. The
pharmacist looks at the prescription. He glances at Walter
then goes over to a FEMALE PHARMACIST working in the back
area.
She reads the prescription, glances at Walter over her
bifocals, then back at the prescription. Walter has not
missed any of this.
WALTER
There a problem?
MALE PHARMACIST
A problem?
A middle-aged shopper talking on her cell phone nearby looks
over and pauses in her conversation.
WALTER
Can you read the prescription?
MALE PHARMACIST
Yes.
WALTER
Can you fill the prescription?
FEMALE PHARMACIST
Yes.
WALTER
Then I suggest one of you move your
ass, because if I dont get my
medication I get extremely violent.
The male pharmacist scrambles to fill the prescription.
The shopper gasps. Walter looks at her and smiles. The
shopper stuffs her items in her cart and quickly leaves.
Walter stifles his grin.
INT. WALTERS APARTMENT - NIGHT
Walter opens the door to his apartment, carrying a grocery
bag. As he flips on the lights, a metal object is thrown
across the room. He catches it with one hand. Its a can of
beer. A man laughs.
CARLOS (O.S.)
You still think fast.
Carlos sits at the table with a six-pack. Walter sets the bag
on the table and pops open the can.
WALTER
Dont need to think fast to handle
beer.
CARLOS
Took some talking to convince your
super I was a relative.
WALTER
I told her all my relatives are
good-looking.
Carlos laughs.
CARLOS
Jesus Christ, man, its good to see
you!
Carlos stands and they awkwardly embrace.
CARLOS (contd)
You look good, damn good,
considering youre an old man now!
WALTER
Seems like the whole worlds gotten
younger.
There is silence. Carlos sits back down at the table and
opens another beer.
Walter starts unpacking the groceries.
CARLOS
You doing okay?
WALTER
Got a job at old Franks place. His
son runs it now.
CARLOS
Oh man, that kid takes himself real
serious.
WALTER
Yeah, you still with Northland?
CARLOS
(grins)
Foreman now.
WALTER
No shit.
CARLOS
Five years.
WALTER
Beautiful. Hows business?
CARLOS
Booming. Lots of building going on.
We cant keep up with all the work.
In fact, I just hired a few new
guys...
Glancing at Walter, he realizes his blunder.
CARLOS (contd)
Just until we catch up.
There is a brief silence as both men drink. Carlos looks at
Walter.
CARLOS (contd)
Ill never forget you got me
started there.
WALTER
I just recommended you. You still
had to prove yourself.
Carlos gets up and walks over to the window. He gazes
outside.
CARLOS
Hey, is that a school?
WALTER
K through sixth.
Carlos glances at Walter, then back outside.
CARLOS
Living across the street from a
grade school. Jesus.
WALTER
Something wrong with that?
CARLOS
I was just thinking of... the
noise.
WALTER
I like the noise.
Walter walks over to the window.
WALTER (contd)
One hundred and twenty feet.
CARLOS
What?
WALTER
Law says I cant come within one
hundred feet of where children
congregate. I figure the distance
from my window to the school is one
hundred and twenty. Make a bet?
CARLOS
No way, man, youd rob me blind!
The two men laugh, but the laughter quickly fades.
CARLOS (contd)
But maybe its not so healthy being
so close, you know, to a school.
WALTER
(heated)
You find me a decent place for
under three hundred a month in this
town, and Ill happily move out of
this crap neighborhood.
Carlos shrugs and tosses down the rest of his beer.
CARLOS
I should go. Your sister worries,
and when she worries she yells.
WALTER
How is she?
CARLOS
Annette? Shes good... tense.
WALTER
When can I see her?
CARLOS
Im working on it.
WALTER
Is it because of Anna?
CARLOS
I dont know. She wont talk about
it.
WALTER
(pause)
Youre the only one in the family
who still talks to me.
CARLOS
I remember when they all referred
to me as "the little spic poor
Annette married." Except her
brother. You treated me with
respect.
(pause)
Look, you paid your dues. Your
slate is clean now.
WALTER
How old is Anna?
CARLOS
Shell be twelve next week. Were
throwing a big party on Saturday.
Wish I could ask you to come...
WALTER
Only if its no closer than a
hundred feet.
Carlos looks away.
WALTER (contd)
Sorry, bad joke.
They stiffly embrace. Then Carlos exits leaving Walter alone.
EXT. SCHOOLYARD - DAWN
CLOSE on a mans feet slowly walking heel to toe. The ground
is covered in frost. TILT UP to reveal Walter counting his
footsteps as he walks towards the school across from his
apartment building. The schoolyard is empty.
WALTER
One hundred and ten, one hundred
and eleven, one hundred and
twelve...
A birds cry pierces the sky. Walter looks up to see a hawk
circling above. He watches for a moment then continues
walking.
WALTER (contd)
One hundred and thirteen, one
hundred and fourteen, one hundred
and fifteen...
He reaches the school entrance and touches it.
WALTER (contd)
One hundred and twenty.
Walter looks at the hawk still circling above and hollers --
WALTER (contd)
How about that!?
Slowly the SOUND of children fades in and a red ball bounces
to Walters feet. He looks in the direction the ball came
from.
Nothing is there.
Walter looks back down at his feet. The ball is gone. The
sound of children fades back away and is replaced by a
rhythmic squeak. Walter looks towards the playground where an
empty swing sways back and forth in the wind, the chain
squeaking in its hinges.
The hawks cry pierces the silence. Walter looks up to see
the hawk being chased by two smaller birds.
INT. WAREHOUSE - DAY
There is a tremendous crash as logs are dropped near the wood
chipper. Forklifts move and stack wood.
Walter stands at the end of a wood chipper, pushing a long
piece of wood through. Suddenly above the din of machinery
there is the sound of raised voices.
Walter looks across the way to see Vicki yelling furiously
and smacking a GUY around the head with her work gloves. The
man cowers, protecting his head from the blows. Some other
men nearby are doubled over in laughter.
VICKI
GOD DAMN IT! PEDRO! WHAT THE FUCK
DO YOU THINK YOU ARE DOING! HOW
WOULD YOU FEEL IF SOME FUCKER DID
THAT TO YOUR SISTER?! YOU WOULDNT
THINK IT SO FUNNY THEN, WOULD YOU?!
She backs off out of breath. Pedro straightens up, having a
very hard time keeping a straight face.
The other guys start to applaud.
Vicki looks around and storms off, kicking a piece of wood
into one of the men, hard. She brushes past Walter on her way
to the exit. He watches after her.
INT. WAREHOUSE CAFETERIA - DAY
Vicki sits alone at a table eating a sandwich. She takes
large bites and eats fast.
Walter approaches carrying a tray of food. He pauses across
from where Vicki sits.
Vicki ignores him.
WALTER
You okay?
Vicki looks up.
VICKI
What?
WALTER
Are you okay?
VICKI
(pause)
Yeah, Im fucking fantastic.
Walter nods and keeps on walking. Vicki returns to her food.
After a moment, she steals a glance up at Walter.
Across the way, Mary-Kay watches Walter as he sits down to
the table neighboring Vickis.
Bob sits down across from Mary-Kay with a tray of food and a
newspaper. He opens the paper and starts to read.
MARY-KAY
So, whatd he do?
BOB
What did who do?
MARY-KAY
You know, the new guy.
Bob looks across the room at Walter.
BOB
Mind your own business, Mary-Kay.
MARY-KAY
Come on, just tell me what he did.
Bob ignores her and reads the paper.
MARY-KAY (contd)
Drugs, armed robbery, manslaughter,
tax evasion -
Bob picks up his tray and moves away.
Mary-Kay smiles to herself.
INT. BUS - DUSK
Walter sits on the bus. He is squeezed into the window seat,
the bus crowded with commuters and teenagers on their way
home from school. He focuses out the window.
INT. WALTERS APARTMENT - NIGHT
Walter sits alone on his couch, watching a baseball game,
drinking a beer.
SPORTSCASTER (V.O.)
The winning run on base, and a full
count on Williams, whos been in a
terrible slump. Heres the pitch.
Williams swings and misses! The
Rangers win, ball game over.
Walter switches off the TV.
EXT. WALTERS APARTMENT - DAY
Walter crosses the street outside of his apartment and heads
towards the bus stop.
A white Volvo is parked along the road. A MAN sits inside the
car looking out towards the school. The engine is off. Hes
in his twenties, good build, nice clothes.
Walter looks at the man as he passes by.
The man doesnt notice him, his attention fixed down the
street.
Walter looks in the direction of his gaze.
The schoolyard is quiet except for a couple of students
running in.
Walter looks back at the man. The man doesnt notice him.
Walter hurries to his bus stop.
INT. WAREHOUSE - DAY
Walter works feeding wood through the chipper.
Vicki drives a forklift past Walter and watches him as she
passes. He remains intent upon his work.
EXT. WAREHOUSE - DUSK
Walter walks across the parking lot, heading towards the bus
stop. Before he reaches the road Vickis rusty old Jeep pulls
up alongside him and stops, honking to grab his attention.
Vicki rolls down the passenger side window.
VICKI
Want a ride?
WALTER
Im all right.
VICKI
Its fucking freezing out here.
Walter hesitates and looks down the road. There is no bus in
sight.
VICKI (contd)
Come on, I wont bite.
He gets in.
As they pull away, a beat up grey Chevy pulls into the
parking lot. Sergeant Lucas gets out of the car, and pauses
watching after Vicki and Walter. He then turns and heads into
the office.
INT. CAR - NIGHT
Walter and Vicki drive silently. Vicki glances at Walter.
VICKI
Theres something wrong with this
picture.
WALTER
What picture?
VICKI
Im talking about you.
WALTER
Me?
VICKI
Yeah, you.
Walter looks out the window.
VICKI (contd)
Heres this nice, hard working guy
who suddenly appears out of the
blue and rides the bus to and from
work. I mean, who rides the bus
anymore?
WALTER
People without cars.
She gives him a look.
VICKI
Very weird.
WALTER
No weirder than a sharp, young,
good-looking woman working in a
lumberyard.
VICKI
Whats weird about that?
WALTER
Most women wouldnt choose it.
VICKI
Guess Im not like most women.
Vicki takes out a cigarette and presses the cigarette lighter
in, revealing a tattoo on her wrist of a pair of breasts with
angel wings.
Walter notices the tattoo. Vicki notices Walter notice. She
smiles at him.
VICKI (contd)
Youre quiet at work.
WALTER
Im just quiet.
VICKI
You dont hang out with the other
guys.
WALTER
Neither do you.
VICKI
Theyre all assholes.
Walter shrugs.
VICKI (cont'd)
You never spoke to me before.
WALTER
I thought you were a dyke.
Vicki laughs and stops at a red light.
WALTER (contd)
(smiling)
Are you?
VICKI
What do you think?
She shoots him a look.
INT. WALTERS APARTMENT - NIGHT
Vicki paces around the apartment.
Walter takes two beers from the fridge then turns and stands
holding them, watching her.
VICKI
Southern light.
WALTER
What?
VICKI
Your windows face south. Northern
light is the purest. But southern
light is very good.
WALTER
Ill buy a plant.
VICKI
You should buy several. Ive got
shitty light in my place, but my
plants dont seem to mind. Lights
important, but its not everything.
She looks at Walter.
VICKI (contd)
You plan to drink both those beers?
WALTER
Sorry.
Walter hands her a beer.
VICKI
Thanks.
She takes a swig then gazes back out the window.
VICKI (contd)
Is that a school?
WALTER
K through sixth.
VICKI
Doesnt it get noisy?
WALTER
I like the noise.
VICKI
My place faces a truck street. Ive
got cracks in every window from the
shaking.
WALTER
You must hate it.
VICKI
I go backpacking a lot. Lose myself
in the wilderness for a week or
two.
Vicki wanders through the stark living room space, looking at
what little there is to look at.
WALTER
What about bears?
VICKI
What about them?
WALTER
They could eat you.
VICKI
(laughing)
Yeah, they could.
She looks closely at the bus map taped to the wall, the only
decoration in the place. She looks at Walter.
VICKI (contd)
I thought you were just shy, but
now I think its something else.
WALTER
What?
VICKI
Youre damaged.
Walter drinks his beer and sits down on the couch.
VICKI (contd)
Something happened to you.
WALTER
Yeah?
Vicki sits next to him.
VICKI
Im not easily shocked.
WALTER
I get that impression.
VICKI
So... whats your dark secret?
WALTER
Why do you want to know?
VICKI
Dont you think I should know
before we have sex?
Walter looks at her in surprise.
VICKI (contd)
I dont like to waste time.
Vicki leans in and kisses him.
VICKI (contd)
So?
WALTER
What?
VICKI
Are you going to tell me your deep
dark secret before we have sex?
She kisses him again.
WALTER
No.
Vicki looks at him.
VICKI
Okay.
She kisses him. Hesitantly, he kisses her back.
SERIES OF SHOTS - JUMPING FORWARD AND BACK IN TIME
A) BATHROOM: Walters hands shake as he splashes water on his
face. His shirt is off, and he wears just his jeans. He looks
up at himself in the mirror.
B) BEDROOM: Walter lies back on his bed. Vicki runs her hand
up his chest, pulling his shirt over his head. Walter looks
at Vicki, already topless. He tentatively touches her breast.
C) BEDROOM: Walter kisses Vicki, then more and more rapidly,
all over, passionately. They roll so she is underneath him.
D) LIVINGROOM: Vicki walks backwards towards the bedroom door,
pulling Walters hand to follow.
E) BEDROOM: Walter lies next to Vicki, staring up at the
ceiling, spent, still breathing hard.
F) BEDROOM: Walter gropes Vickis body and urgently pulls her
underwear off.
G) BEDROOM: Walter and Vicki are completely engrossed in each
other, making love.
H) BATHROOM: Walter breaks his gaze from the mirror and turns
the faucet off.
INT. WALTERS BEDROOM - NIGHT
Vicki lies in bed, relaxed, smoking a cigarette. The sheets
are pulled to her waist.
Walter enters and sits on the side of the bed. He smiles
shyly at her.
WALTER
So, youre not a dyke.
VICKI
Not tonight.
Walter looks at her. Vicki laughs and nudges him in the butt
with her foot.
VICKI (contd)
Hey, that was... intense.
WALTER
Youre still here.
VICKI
I didnt say I didnt enjoy it.
WALTER
Of course. Sorry. Im such a
fucking asshole.
VICKI
No youre not.
WALTER
Dont tell me Im not a fucking
asshole when I know Im a fucking
asshole!
Walter gets up and walks over to the window.
VICKI
Whats the problem?
WALTER
You think I have a problem?
VICKI
Do you?
WALTER
(pause)
Its been a while since...
VICKI
Since youve had sex?
Walter looks out the window, silent.
VICKI (contd)
Tell me about it.
WALTER
Maybe later.
VICKI
How about in the morning.
WALTER
The morning?
VICKI
I thought Id stay the night.
WALTER
What for?
VICKI
Well, Walter, this is going to
sound off-the-wall, but I like to
sleep with a man after we fuck.
Walter is silent.
VICKI (contd)
Did I say something wrong?
WALTER
I suffer from insomnia.
VICKI
Is that all?
WALTER
When I do sleep, I sweat a lot.
Usually I get nightmares and wake
up screaming.
VICKI
(smiling)
I sleep like a dead horse. Anything
else?
Walter has run out of excuses. Vicki drops her cigarette in
an empty beer bottle and slides deeper under the covers.
INT. WALTERS APARTMENT - MORNING
Walter stands by the window watching Vicki walk towards her
Jeep. Something brushes his leg. He looks down to see the red
ball resting by his foot. He turns to see...
A glimpse of a young girl as she flashes by the door. She is
twelve years old and wears a white nightgown.
There is the sound of a car HONK, and Walter looks out the
window to see Vicki pull away.
He looks back toward the girl. There is nothing there.
INT. APARTMENT BEDROOM - MORNING
Walter rummages through a drawer. From underneath a pile of
clothes he pulls out a well-worn notebook. Walter leafs
through the pages. They are filled with writing but towards
the back the pages are blank.
INT. APARTMENT - DAY
Walter sits next to the window watching birds play at the
bird feeder. The notebook sits next to him on the windowsill.
There is the SOUND of children playing outside. Walter opens
the notebook, closes it, then opens it again. He looks up and
sees his reflection in the window. He starts to write.
WALTER (V.O.)
I watch the kids arrive at school.
INT. ROSENS OFFICE - DAY
Walter sits in the chair across from Rosen, looking at his
hands.
ROSEN
Hows the journal?
WALTER
Im still thinking about it.
ROSEN
I wish youd give it a try.
Walter is silent.
ROSEN (contd)
You dont like coming here, do you?
WALTER
Its okay.
ROSEN
But you dont like coming here. Be
honest, Walter.
WALTER
Honest? No.
ROSEN
Good. Thats an honest answer. And
why dont you like coming here?
WALTER
Honest? Your cheery personality
makes my skin itch.
ROSEN
(stung)
Is it just my cheery personality
that makes your skin itch?
WALTER
Forget it.
ROSEN
Maybe its the way I look. Or the
sound of my name.
WALTER
Rosen? I dont have a problem with
that.
ROSEN
Because if you did, I know a
therapist named Ryan. I also know a
therapist named Chung.
WALTER
I dont need someone else.
Rosen settles back.
ROSEN
Fine.
Pause. Walter looks at Rosen.
INT./EXT. APARTMENT - DAY
Continued from previous journal scene. Walter sits at his
windowsill writing in his journal. There is the sound of
children arriving to school outside. He looks up.
WALTER
But for the last few weeks Ive
noticed someone else watching them.
Walters POV: The man with the white Volvo stands leaning
against his car watching a bus load of children arrive. He
pops M&Ms in his mouth.
WALTER (CONTD)
I call him Candy.
The boys run and tackle each other. A group walks by Candy.
WALTER (V.0.)(contd)
He talks to the boys, fifth and
sixth graders. He goes for the
pretty ones, faces like angels.
Walter finishes writing then looks outside.
INT. BUS - MORNING
Walter stands on a crowded bus, staring out the window at the
landscape rushing by. The bus pulls to a stop. Passengers get
off, then a group of girls come crashing onto the bus. They
overflow with energy and giggles.
Walter squeezes back so they can get by, but the bus lurches
into motion throwing one of the girls into Walter. He helps
her regain her balance, and the girl smiles at him.
GIRL
Sorry!
She and her friends burst into laughter and move on past.
Walter watches her move down the aisle then quickly turns
away, scanning the faces surrounding him. No one looks at
him.
INT. WAREHOUSE - DAY
Walter sweats heavily as he works. Vicki walks by and glances
at Walter as she passes. He doesnt notice her.
INT. WAREHOUSE CAFETERIA - DAY
Walter sits at a table eating. Vicki sits down across from
him. They eat silently. Walter doesnt look up. Vicki blows a
straw wrapper, hitting Walter in the face.
After a moment, without glancing up, Walter retaliates. Vicki
smothers a laugh. Walter cracks a smile.
Mary-Kay sits across the room watching the flirtation between
Vicki and Walter.
INT. WAREHOUSE BATHROOM - DAY
Vicki exits a stall and goes to the sink to wash her hands.
Shes smiling a little smile to herself.
Mary-Kay enters and starts primping in the mirror, fixing her
hair, putting on lipstick. She watches Vicki in the
reflection of the mirror.
MARY-KAY
Id keep away from him.
VICKI
What?
MARY-KAY
The new man. Id keep away from
him, if I were you.
VICKI
Whys that?
MARY-KAY
You dont want to know, but hes
damaged goods -- real damaged
goods, if you know what I mean.
VICKI
(cold)
Yeah, Mary-Kay, I think I do.
Thanks a bunch for the advice.
Mary-Kay smiles, missing Vickis ironic tone.
MARY-KAY
Just trying to be helpful.
VICKI
Well, Mary, youre about as helpful
as a broken sewer pipe. You do know
what runs out of a sewer pipe,
dont you?
Mary-Kays smile withers into a sneer.
MARY-KAY
Suit yourself.
She drops the lipstick into her bag and exits.
Vicki turns and finishes washing her hands, glancing at
herself in the mirror.
EXT. WAREHOUSE - LATER
Walter exits the building amidst a group of men. He walks
towards the bus stop. Vicki hollers to him from her Jeep.
VICKI
Hey.
Vicki waves him over.
INT. DINER - NIGHT
Vicki sits across from Walter in a booth. She takes a large
bite from a burger and washes it down with a milk shake.
Walter folds his napkin over his hand to make a little rabbit
hand puppet. The rabbit nods at Vicki.
She busts out laughing.
INT. BAR - NIGHT
Walter and Vicki play pool. She knocks two balls into a
corner pocket. She is kicking his ass and visibly enjoying
it.
Walter hands her a quarter. Vicki kisses him on the cheek and
goes to line up the next shot.
INT. WALTERS BATHROOM - NIGHT
Walter and Vicki shower together. Walter rinses the suds from
Vickis hair.
INT. WALTERS BEDROOM - NIGHT
Vicki and Walter have just finished making love, Vicki on
top. She lies down on his chest. He strokes her hair, then
leans his head close and takes a deep breath.
INT. WALTERS BEDROOM - MORNING
Vicki is woken up by Walter who makes the moaning sounds of
someone having a nightmare. She turns on her side and watches
him.
Walter wakes up with a start, then sees Vicki and cuddles
close. She runs her fingers through his hair and kisses his
forehead.
VICKI
Hey, there.
WALTER
(sleepy)
Hi.
He closes his eyes again. Vicki looks at him closely.
VICKI
What happened to you?
Walter opens his eyes. Vicki continues to stroke his hair.
VICKI (contd)
Walter, what did you do?
Walter pulls away.
WALTER
Why do you want to know?
VICKI
Because I like you.
Walter is silent.
VICKI (contd)
I wont run away.
Theres a long pause. He rests back down against the pillows.
WALTER
Whats the worst thing you ever
did?
VICKI
The worst?
WALTER
Yeah.
Vicki looks at him.
VICKI
Fucked my best friends husband.
Walter listens with no reaction.
VICKI (contd)
I mean my best friend since the
second grade. Her husband was hot
for me and, god, he was cute. She
was an international flight
attendant, so we would get it on
for days, while she was off in some
country we couldnt pronounce. Then
he told her, the shit. It broke up
our friendship, broke up their
marriage. Later she had a nervous
breakdown, quit her job, then moved
in with her sister who she
despised.
Vicki lights a cigarette and takes a long drag.
VICKI (contd)
I still feel like the lowest piece
of shit, when I think about it.
She looks at Walter. He says nothing, his expression blank.
VICKI (contd)
So, what did you do?
WALTER
I molested little girls.
VICKI
Molested little girls?
WALTER
Yeah.
Vicki laughs.
WALTER (contd)
You dont believe me?
She shakes her head no but the laughter begins to die.
WALTER (contd)
I wish the judge had your sense of
humor.
Vicki is quiet.
VICKI
Youre not joking.
WALTER
Twelve years in prison is no joke.
Walter gets out of bed and pulls on his pants. Vicki doesnt
move, the cigarette burns in her hand.
WALTER (contd)
(signaling to the door)
Look, you can go now.
VICKI
How many girls did you molest?
Walter walks over to the window.
WALTER
Obviously one too many.
(bitter laugh)
Vicki looks away.
WALTER (contd)
Sorry.
VICKI
What did you do to them?
WALTER
(looking back out the window)
Its not what you think.
VICKI
How young?
WALTER
Between ten and twelve. Once a nineyear-
old told me she was eleven.
Once a fourteen-year-old told me
she was twelve. I always asked how
old they were.
Vicki is visibly shaken. She puts the cigarette out.
VICKI
So it was mostly fondling? Shit
like that?
Walter looks at her.
WALTER
I never hurt them. Never.
VICKI
Twelve years in prison?
WALTER
The judge had a thing about sex
offenders. Later I heard his
daughter had been raped. If I
hadnt had a good lawyer, it would
have been twenty-five to thirty.
Vicki is silent.
WALTER (contd)
Why dont you just go now, okay?
VICKI
I told you Im not easily shocked.
WALTER
You should be shocked. Or do you
get off on this shit?
VICKI
What?
WALTER
Get your kicks somewhere else.
VICKI
Hey, Im not --
WALTER
Depraved? My mistake.
VICKI
Walter.
Advancing towards her.
WALTER
Get the fuck out of here!
Vicki doesnt move. After a long moment, Walter sits down
next to her.
VICKI
You dont molest little girls
anymore, do you?
WALTER
No. Never again.
Vicki looks away, struggling to digest the news.
WALTER (contd)
(quiet)
You should go now.
Vicki gets up and pulls on her clothes. She looks at Walter
who sits motionless on the bed. She leaves.
INT. VICKIS CAR - DAY
Vicki drives fast. Window down. Cigarette gripped between her
fingers. Tears stream down her face. She comes to a stop
light and sits completely still, staring ahead without
blinking. Suddenly cars HONK. She snaps out of her stupor and
keeps on driving.
INT. WALTERS APARTMENT - NIGHT
Walter sits on the couch writing in his journal. The TV is
on, a baseball game in progress, sound on low. Abruptly,
Walter throws the journal across the room. Then he lies back
and stares at the ceiling.
Suddenly, there is a loud THUMP outside of the apartment.
Walter picks up his journal and puts it in a drawer, then
walks quietly to the door and opens it a crack.
EXT. WALTERS APARTMENT LANDING - NIGHT
A man struggles to bring a large object up the stairs.
Walter opens the door. Carlos turns in surprise.
WALTER
What are you doing?
CARLOS
This little table is one heavy
bitch.
INT. WALTERS APARTMENT - NIGHT
Carlos enters the apartment and sets a table down in the
middle of the room. Walter looks at it.
WALTER
Cherry.
CARLOS
Huh?
WALTER
Its made from cherry. Thats a
hard wood.
CARLOS
Its a nice table.
Walter runs his hand along the surface.
WALTER
Notice the grain. See how deep and
rich the red runs?
CARLOS
Yeah. Its really nice.
Carlos sits in a chair.
WALTER
Its my own design. You wont find
another table like it in the world.
CARLOS
It was a beautiful present.
WALTER
Then why the fuck are you giving it
back to me?!
CARLOS
(gesturing to the empty space)
You need a table.
WALTER
She was going to throw it out,
wasnt she? Just toss it like a
scrap of wood.
CARLOS
It wasnt like that.
WALTER
Then what? What?!
CARLOS
Shes got all this new furniture
now. She said it didnt fit
anymore, so I kept it in the attic.
I thought you might like it.
WALTER
I made that table for you and
Annette, for your wedding. I put a
lot of love into it.
CARLOS
I know, man. I love this table too.
(Looks at Walter)
But I also love my wife.
Carlos notices the TV.
CARLOS (contd)
Whats happening?
WALTER
Mariners are pounding the shit out
of the Tigers.
Walter stares at Carlos for a moment, then turns and goes to
the fridge and pulls out two beers. He hands Carlos a beer
and sits down on the couch. Carlos sits down next to him.
CARLOS
Fucking Mariners.
WALTER
Fucking Tigers. They got no
pitching except for a bunch of
green kids straight out of Double A
or Southern Cal.
(pause)
How was the party?
CARLOS
What party?
WALTER
The birthday party.
CARLOS
Oh, Annas. It was great, man. Anna
was so pretty.
(getting excited)
She looked like a princess, like
one of those girls in a fairy tale,
you know, like Snow White.
Walter looks at Carlos.
CARLOS (contd)
Ive got some pictures.
(reaching for his back pocket)
Want to see?
WALTER
No thanks.
CARLOS
Ah, come on.
WALTER
(snapping)
I dont want to see any goddamn
pictures.
Carlos backs off.
CARLOS
Theyre just photos I took of the
party.
Walter is silent and avoids Carloss gaze. Carlos gives
Walter a look, then heads to the door.
WALTER
Carlos.
(Carlos turns)
I want to see my sister and Anna in
person. Okay?
Carlos nods.
CARLOS
Yeah, man, I understand.
He exits.
Walter walks over to the table and slowly runs his hand along
the surface.
INT. ROSENS OFFICE - DAY
Walter sits across from Rosen.
ROSEN
How do you feel about that?
WALTER
I dont feel anything.
ROSEN
You have no feelings for your
niece?
WALTER
She was born after they put me
away. How can I have feelings?
ROSEN
Then why are you talking about
this?
WALTER
Have to talk about something.
ROSEN
What are you afraid will happen?
WALTER
Im not afraid. Im just saying
that Carlos has a thing for his
daughter, and if he isnt careful
hes going to suffer.
ROSEN
Have you talked to Carlos about
your concerns?
WALTER
Im not that crazy.
ROSEN
Do you think youre crazy?
WALTER
If Im not, then what the hell am I
doing here?
ROSEN
Why do you think youre here?
WALTER
You know why. Its part of the
parole deal.
ROSEN
Is that what you are angry about?
WALTER
Talking to you is like riding on a
merry-go-round.
ROSEN
That is a marvelous image, Walter.
Because by going in circles we find
the things we missed the first time
around.
Walter looks at Rosen.
WALTER
How long is this going to take?
ROSEN
(checking the clock)
We have a few more minutes.
WALTER
I mean, when will I be normal.
ROSEN
(pause)
We have a lot of work to do.
WALTER
(speaking slowly)
Will I ever be normal?
ROSEN
I couldnt say.
WALTER
You couldnt say.
ROSEN
Im afraid not.
WALTER
Do you know what "normal" is?
ROSEN
I suppose its however society
defines it.
WALTER
How do you define it?
ROSEN
I dont.
WALTER
Then how do you know if your
patients are getting better?
ROSEN
They usually tell me.
WALTER
How do they know?
ROSEN
What is your idea of being normal?
WALTER
(mimicking Rosen)
What is your idea of being a Jew?
ROSEN
(controlled)
Whatever my ideas are of being a
Jew is not going to help you.
(looks at the clock)
Why dont we continue this on
Thursday.
WALTER
(exploding)
I want to be normal!
ROSEN
Then go see a therapist who will
tell you youre normal!
WALTER
Fuck you, Rosen!
ROSEN
I know --
WALTER
You dont know!
ROSEN
I know youre frustrated, Walter,
but --
Walter gets up and slams out the door.
Rosen looks at the empty chair.
ROSEN (contd)
-- you really are making progress.
INT. WALTERS APARTMENT - MORNING
Walter sits at his window with his journal, watching outside.
Walters POV: Candy leans against his car, patiently waiting.
Something grabs Candys attention, and Walter follows his
gaze.
Kids pour off a school bus. Candy waves to one ANGEL-FACED
BOY of ten or eleven.
WALTER (V.O)
So what should I do? Call the cops?
(he laughs)
Yeah, thats pretty funny.
The boy and a buddy run over to Candy.
WALTER (V.0.) (contd)
But what if Candy seduces one to go
for a ride?
Candy smiles and offers Angel-face a candy bar, which the boy
accepts.
WALTER (V.O.)(contd)
Yeah, thats right. If the boy goes
for a ride its because he wants to
go for a ride.
The BELL rings. The other boy grabs Angel-face, and they run
off to school.
Walter rests his chin on his hands, watching.
INT. WAREHOUSE LOCKER ROOM - DAY
Vicki closes her locker to see Walter standing at the end of
the room in front of his locker. She looks away.
Walter looks at her, closes his locker loudly, and walks
brusquely past.
EXT. WAREHOUSE - DAY
Vicki stands near a pile of wood chips, taking a cigarette
break.
Walter approaches, pushing a cart full of wood chips. Vicki
looks at him as if to say something, but Walter continues
past, dumps the chips, and returns back inside.
INT. WAREHOUSE CAFETERIA - DAY
Walter sits at a table across the room from Vicki.
Mary-Kay enters and sits down with Walter
MARY-KAY
Hi, Walter. How are you doing?
WALTER
Fine thanks.
MARY-KAY
You know, its really a beautiful
day out there, and I was thinking -
Walter wipes his mouth and gets up.
WALTER
Excuse me. Got another load coming
in.
Walter exits. The smile fades from Mary-Kays face.
Vicki watches Walter leave.
EXT. WAREHOUSE - DUSK
Walter stands alone at the bus stop.
Vicki gets in her Jeep and pauses before turning on the
engine, watching Walter.
He turns his back to the cold wind and her.
Vicki turns on the car and pulls out of the lot, roaring by
Walter without looking at him.
INT. VICKIS APT. - MORNING
Vicki moves around her apartment, cigarette in one hand,
spray bottle in the other, squirting her plants.
She prunes dead leaves from one of them, then pauses looking
at the leaves in her hands.
VICKI
Dont die on me, you little shit.
She aggressively squirts the little plant with water, then
pauses, noticing her reflection in the window. She looks at
herself long and hard.
INT. WALTERS APT. - MORNING
There is a knock on the door. Walter walks through the room
to the door, tucking in his shirt as he walks. He cracks the
door.
Vicki stands outside. Walter opens the door.
VICKI
You want to go for a ride?
Walter looks at her.
INT. VICKIS CAR - A LITTLE LATER
Walter and Vicki drive without saying anything. Slowly the
city-scape gives way to countryside. Walter looks over at
Vicki. She stares ahead.
EXT. RESERVOIR - DAY
Walter and Vicki get out of the car which is parked on the
edge of a reservoir surrounded by a thick pine forest. Vicki
works her way down to the waters edge. A Great Blue Heron
skims across the waters surface.
Walter watches her for a moment then follows. He sits down
near her.
Vicki lights a cigarette and stares out over the water. After
a long pause.
VICKI
What was prison like?
WALTER
(pause)
You dont really --
VICKI
Yes! I want to know.
Walter is quiet for a moment.
WALTER
Prison is... time.
Vicki looks at him.
VICKI
You mean the time youre locked
away?
WALTER
No. Prison is time. Thats it. You
think time, you feel time, you hear
time. Your heart doesnt beat to
live, it just beats... time.
VICKI
Im sorry, Walter.
WALTER
(shrugs)
Dont be sorry for me. I did those
things. No one else did. Im
dealing with that.
Vicki looks out at the water.
VICKI
My father took me fishing here when
I was a kid. He could name every
fish in the lake. And for every
fish he named, he had a fishing
story. I hated fishing, but I loved
his stories.
WALTER
Sounds like a special guy.
VICKI
My father was an alcoholic who
drank himself right into the grave.
Walter looks at her.
VICKI (contd)
He said he couldnt help it. Said
he hated himself for doing it. But,
boy, did that man love to drink.
There is a long pause.
WALTER
Ive changed.
VICKI
Why young girls, Walter?
Walter is silent.
VICKI (contd)
Is it their innocence? Their
beauty?...
WALTER
(pause)
Their power. They seduce me.
VICKI
They seduce you?
WALTER
I was always the one seduced.
VICKI
You really believe that?
WALTER
(long pause)
No. Thats what I used to tell
myself.
VICKI
And what do you tell yourself now?
WALTER
Nothing. Its over.
VICKI
Bullshit.
Walter looks at Vicki for a moment then stands up.
WALTER
Okay. Then take me home.
Vicki doesnt move.
WALTER (contd)
What do you want from me?
Vicki stands.
VICKI
I want you to change my mind!
Walter is silent. Vicki shoves Walter hard.
VICKI (contd)
Try, goddamnit!
Walter stumbles back a few steps but regains himself. He
stares at Vicki. His anger wells and he snaps.
WALTER
I had this plan once... or maybe it
was a dream. I was going to quit
the building business... open my
own shop. Make and design fine
country furniture. I had saved
enough money. I found the perfect
place. Cheap five-year-lease. The
loan was in the bag. My wife was a
hundred percent behind it.
Everything was set... Then I got in
trouble.
(pause)
Do you know what the worst kind of
trouble is?
Vicki watches Walter, silent.
WALTER (contd)
Its trouble you bring on
yourself... and the people you love
the most. I lost a wife and a
daughter. It hurt to lose my wife.
It killed me to lose my daughter.
Walter stops, looks at Vicki.
Vicki stares back at him. After a long pause, she approaches
and tentatively pulls him into an embrace.
INT. OFFICE SPACE
Close up on computer screen displaying a web page for
registered felons. The heading reads -"Sex Offenders: the
more we know, the better!" "Stay informed!" Mock Police
sirens and lights frame the heading.
The listing of sex offenders scrolls down revealing photos,
name, address, and crime details of man after man, in
alphabetical order, page after page.
The scrolling slows down, past "Mason," past all of the
Mcs..., and stops on "Miles, Walter." Convicted 1988 for
sexual abuse of minors, five counts, released... It is the
notification page that we saw created in the opening montage.
Walters photo stares back at us.
We slowly pull back to reveal Mary-Kay at the computer. She
clucks her tongue and shakes her head.
INT. WALTERS BEDROOM - DAY
Vicki and Walter lie in bed, spooning, fully clothed. Vickis
back to Walter, he holds her close.
WALTER
(gently)
You know, this is crazy.
VICKI
What?
WALTER
Being here, with me.
VICKI
I know.
WALTER
(pause)
Most people say the odds are
against me.
VICKI
What odds?
WALTER
The percentages --
Vicki looks at him blankly.
WALTER (contd)
For men like me. They say most of
us end up back... there. Im saying
there are risks... seeing me.
VICKI
Well, most people are stupid.
(pause)
You want to talk about odds? One
day Ill tell you how I survived as
the youngest in a family of three
sons. You wanna talk about odds?
WALTER
Why not tell me now?
Long pause. Vicki lights a cigarette.
VICKI
I got poked around... here and
there.
WALTER
Which brother did this?
VICKI
All three -- in chronological
order.
WALTER
You must hate your brothers.
VICKI
I love my brothers.
WALTER
No you dont.
VICKI
I love all of them. Theyre strong,
gentle men with families of their
own. And if you asked them about
what they did to me, theyd call
you a fucking liar and then beat
the shit out of you.
WALTER
You never asked them about it?
VICKI
(laughs)
Are you serious?
WALTER
Not ever?
VICKI
Not ever.
Vicki drinks from her beer. Walter watches her.
INT. WALTERS APT. - NIGHT
Walter sits at his table, a scrap of wood in his hand. He
whittles away at the wood. It is the rough outline of a heart
with wings.
There is a loud KNOCK on the door. Walter gets up. The KNOCK
comes again, even harder.
Walter goes to the door and opens it. The smiles fades from
his face.
Sergeant Lucas pushes the door open further and walks right
in. He wears a well-tailored suit.
LUCAS
Hiya, Walter.
WALTER
Cop.
MAN
Sergeant Lucas.
(flashes his badge)
May I come in?
WALTER
You are in.
LUCAS
So I am. But I always like to ask.
Walter closes the door behind him. Lucas walks around the
apartment. Walter watches him, uneasy.
WALTER
Whats up?
LUCAS
Have a seat.
Walter hesitates, then obeys.
LUCAS (contd)
You dont know?
WALTER
I have no idea.
LUCAS
I think you do.
WALTER
Why dont you just tell me?
Lucas walks over to the window.
WALTER (contd)
(pause)
I havent broken any laws.
LUCAS
Then you wont mind if I look
around.
WALTER
I would.
LUCAS
Got something to hide?
WALTER
Doesnt everybody?
LUCAS
I could get a search warrant.
WALTER
If you could, you would have
brought one today.
Lucas looks at Walter. He looks at the table.
LUCAS
Cherry?
WALTER
Yeah.
LUCAS
Unusual design for a contemporary
piece.
Lucas runs his hand along the surface.
WALTER
Its not for sale.
LUCAS
Who said I wanted to buy it?
Lucas walks back to the window.
LUCAS (contd)
Two nights ago, a ten-year-old-girl
was attacked not too far from here.
Seems theres been a number of
attacks on young girls in the
vicinity. Kind of a coincidence,
wouldnt you say?
Walter stands up.
WALTER
If you tell me when this happened --
Walter places his hands in his pockets. Lucas whirls around.
LUCAS
Move your fucking hands away from
your pockets!
Walter does.
LUCAS (contd)
Sit down!
Walter sits.
LUCAS (contd)
We know every step you make, every
goddamn step! We know when you
sleep, when you eat, when you shit,
and when you jack off.
Lucas leans over the table, nose to nose with Walter.
LUCAS (contd)
And when you sit by the window,
watching the girls in the little
cotton skirts parade by, do you
wave your wanger at the girls? Is
that when you jerk off?
WALTER
You cant talk to me like --
LUCAS
(interrupting)
Like a piece of shit? In my eyes,
you are a piece of shit. Think
anyone would miss you if I threw
you out the window right now?
I could say you jumped when I came
in. Who are they going to believe?
Not you, because youd be a dead
piece of shit.
Beat. Lucas taps Walter on the forehead and smiles.
LUCAS (contd)
(feigning kindness)
We just want to make sure youre
being a good boy, Walter. Okay?
Walter is silent. Lucas taps him again.
LUCAS (contd)
Okay?
WALTER
(flatly)
Okay.
Lucas rises, spits his gum in the sink, and leaves.
Walter leans over squeezing his head tight between his hands.
The sound of children fades in and Walter looks up. The girl
with the red ball stands across from him in the doorway to
his bedroom. She smiles and bounces the ball.
Walter folds over, cradling his head in his arms.
EXT. WALTERS APT. - DAY
Walter stands alone at his bus stop. As he waits, he sees the
white Volvo turn a corner and pull up in front of the school.
The bus pulls up to the stop, obscuring Walters view. He
quickly gets on and moves to the back, looking for Candys
car. It is nowhere in sight, the place where it had parked,
empty. Walter sits down and stares ahead, numb.
EXT. MALL - DAY
Its a bright Saturday afternoon. A city bus turns into the
parking lot of a large mall. Passengers exit the bus and pour
into the malls entrance. Walter is among them.
WALTER (V.O.)
I followed a girl.
INT. MALL - DAY
Music blares from speakers. Packs of teenagers cruise the
mall. It is alive with chatter.
WALTER (V.O.)
I dont know why I did it.
Walter is frequently jostled, as if he has forgotten how to
navigate crowds.
WALTER (V.O.) (contd)
There were all of these people...
He passes many stores and snack shops then sees a Barnes &
Noble and enters.
INT. BOOKSTORE - DAY
The bookstore is two floors and vast. Walter looks lost as he
moves through the crowds.
CUT TO:
Walter rides an escalator. Three girls stand ahead of him.
The girl closest to him wears a short skirt which flutters
above Walters face. He looks up.
WALTER (V.O.)
She was pretty. Very pretty.
They reach the next level and Walter watches the girl walk
away with her friends. Suddenly, the girl looks back. Their
eyes lock -- briefly. She turns the corner.
WALTER (V.O.) (contd)
She gave me a look. If she hadnt
given me that look...
Walter pauses, then follows.
The girl separates from her friends and goes down an aisle.
Walter follows her. She goes down another aisle. He follows.
In the middle of the aisle, the girl bends down, looking at
titles. From the end of the aisle, Walter pretends to be
looking for a book as he edges closer to her. Hes now a few
feet away. The girl pulls out a book and opens it. Walter
gazes at the nape of her neck.
SALESMAN (O.S.)
Can I help you find something?
Walter turns, startled.
Behind the salesman, Walter sees a security guard exit the
rest room area.
WALTER
No, Im --
He turns, the girl is gone. He bolts the other way, through
the aisles, down the elevator, through the mall as fast as
possible. The faces are a blur, sound becomes distorted. Then
we hear --
ROSEN (O.S.)
Did she know that you were
following her?
INT. ROSENS OFFICE
Walter sits in Rosens office.
WALTER
I dont know.
ROSEN
What did you think would happen?
WALTER
I dont know.
ROSEN
What did you want to happen?
WALTER
I dont know!
Walter is agitated. Rosen calmly writes.
WALTER (contd)
I cant believe I took such a risk.
(looks at Rosen)
Will you stop writing in that
fucking pad!
Rosen stops and looks at Walter.
WALTER (contd)
You know that if anything happens,
I spend the rest of my life in
prison. No parole, no nothing.
ROSEN
Is this the first one?
WALTER
Of course it is! Thats why Im
telling you!
ROSEN
I want you to calm down.
With effort Walter settles down.
ROSEN (contd)
You followed a girl. One girl.
Perhaps you wanted to see what it
felt like after so many years.
Maybe unconsciously you were
testing yourself. You followed her
and nothing happened. And here you
are talking about it with me. This
is positive.
There is a pause. Walter looks down, unconvinced. Rosen
checks the time.
ROSEN (contd)
Walter, well pick up here next
time.
WALTER
I want to talk about it now.
ROSEN
Well talk about it more on
Thursday.
WALTER
Remember when you asked me what my
idea of "normal" was?
ROSEN
(gently)
Go home, Walter.
WALTER
Now I know. Its when I can see a
girl, be near a girl, even talk to
a girl... and walk away.
(pause)
Thats my idea of being normal.
INT. BUS-STOP - DAY
Walter rides the bus, staring out the window. Sensing
something, he looks up.
A GIRL sits across from Walter. She is about twelve years
old. She wears glasses and a pair of binoculars hangs around
her neck. She casually nibbles on food she produces from her
backpack. She glances at Walter briefly then looks back out
the window.
Walter turns away.
INT. WALTERS KITCHEN - NIGHT
Walter and Vicki sit at his table eating Chinese take-out.
Walter glances at Vicki who is devouring her food.
WALTER
Maybe this isnt a good idea.
VICKI
What?
WALTER
(pause)
Us seeing each other.
She looks up at him.
VICKI
Youre scared.
WALTER
Im not scared.
VICKI
Neither am I.
WALTER
Maybe you should be.
Walter gets up from the table and clears his plate to the
sink. Vicki looks at him.
VICKI
Well, Walter, I got an idea of my
own.
He avoids her look.
VICKI (contd)
You listening to me?
He doesnt answer.
VICKI (contd)
We should live together.
WALTER
(looks at her)
Live together.
VICKI
Move in with me.
He stares at her.
WALTER
Its a bad idea.
VICKI
I think its a fucking good idea.
Walter goes to the fridge for a beer.
WALTER
I dont even know how to live with
myself.
VICKI
Just think about it.
WALTER
Ive got problems.
VICKI
Who doesnt?
WALTER
Most people dont have my kind of
problems.
VICKI
Guess that makes you pretty
special.
WALTER
Thats not what I meant.
Vicki looks at him blankly.
WALTER (contd)
I say we call it quits.
VICKI
Fine.
Vicki puts her fork down, pulls on her jacket and exits.
Walter looks at the closed door, baffled.
WALTER (CONTD)
Shes gone.
(pause)
That was easy.
He takes a swig from his beer.
WALTER (contd)
Good. Im glad. Im fucking glad!
EXT. WALTERS APARTMENT - CONTINUED
Vicki jogs down the stairs and over to her Jeep. She opens
the door.
INT. WALTERS APARTMENT - CONTINUED
Walter pulls the carving he was working on from a drawer and
looks at it. Its finished.
Vicki reenters holding a plant and sets it loudly on the
table. Walter looks at her then at the plant.
WALTER
Whats this?
VICKI
Whats it look like?
She gets herself a beer from the fridge.
WALTER
I dont need a plant.
VICKI
Everyone needs a plant. This ivy is
one tough baby. Its a cutting from
one of mine.
Walter seems at a loss. Vicki takes a swig from her beer.
VICKI (contd)
Heres the deal. Give it a little
water. Go easy on the direct
sunlight. And notice it every once
in a while. They love it when you
look at them, or touch their
leaves. Can you handle that?
Walter looks unconvinced.
WALTER
Thank you.
VICKI
Youre such an asshole.
She kisses him then gives him a teasing look.
VICKI (contd)
Dont be scared, Walter.
WALTER
(cracking a smile)
Im not scared.
VICKI
Prove it.
Vicki walks towards the bedroom.
WALTER
Hey.
Vicki turns. He tosses her the carving.
Vicki catches it and looks at it for a long moment, then at
Walter.
WALTER (contd)
I made it for you.
She smiles.
WALTER (contd)
Its cedar.
INT. WAREHOUSE LOCKER ROOM - DAY
There is the usual morning chaos in the locker room. Walter
opens his locker but stops abruptly.
Taped to the inside of his locker is a magazine ad of a young
girl, joyfully swinging on a swing. Scrawled over the image
in red marker is a circle with line across it and the words
"WERE WATCHING YOU" written below.
Walter quickly tears down the picture and looks around. The
men are all oblivious.
INT. WAREHOUSE - DAY
Walter works at the saw, watching closely every person that
walks by him. No one pays him any mind.
Bob, the boss, walks into the space and stops to have a few
words with a worker who points in Walters direction. Bob
heads towards Walter.
Walter sees him coming and pauses in his work. Bob walks
right by to talk to another man working behind Walter.
Walter watches for a moment then continues working.
INT. WAREHOUSE - LATER
Walter exits the mens room and stops to drink from the water
fountain. Mary-Kay is walking down the hall and pauses.
MARY-KAY
Hi, Walter. How ya doing?
WALTER
Fine thanks. How are you, Mary-Kay?
She leans up against the wall.
MARY-KAY
Well, Ive got this problem. I
promised my sister that Id babysit
her little girl tonight while
shes on a date. Single mother,
right? Her daughters a cute little
thing, about nine or ten. Real
entertaining. But once shes
asleep, I get soo bored. Id love
to have some company.
She gives Walter a suggestive look.
MARY-KAY (contd)
What are you doing tonight, Walter?
WALTER
(cold)
I got plans.
A couple of men walk down the hall interrupting them.
WALTER (contd)
Have a nice day, Mary-Kay.
Mary-Kay watches Walter walk away.
INT. BUS - DUSK
Walter rides the bus, staring out the window. The bus is
crowded.
Time passes, fewer passengers, dusk has turned to night.
INT. ROSENS OFFICE - NIGHT
Walter and Rosen sit in their usual places.
ROSEN
Youre very late.
WALTER
Sorry.
ROSEN
Please dont do it again.
WALTER
I said I was sorry.
ROSEN
I cant move my patients around to
accommodate one person.
Walter silently stares at his hands. Rosen looks at him
closely.
ROSEN (contd)
Walter, I want to ask you a
question. Will you try to answer
it?
Walter looks at him.
ROSEN (contd)
When did it all start?
WALTER
You mean my problem?
ROSEN
If by "problem" you mean your
desire for prepubescent girls, yes.
WALTER
I dont know.
ROSEN
Thats not a helpful answer.
WALTER
Thats my answer.
Rosen looks at Walter.
ROSEN
Close your eyes.
WALTER
What?
ROSEN
Id like you to close your eyes.
WALTER
Why?
ROSEN
To relax.
WALTER
(snaps)
Im relaxed.
ROSEN
Close your eyes and let your mind
be blank.
WALTER
Hey, Rosen, you going to hypnotize
me?
Walter laughs.
ROSEN
No, I am not going to --
WALTER
(closing his eyes)
Okay. Eyes closed, mind a blank.
Im all yours. Do it, Rosen.
Rosen gets up so hes positioned directly in front of Walter.
ROSEN
When I say the word "girl" what is
the earliest image that you can
remember?
WALTER
Nothing. Can I open my eyes?
ROSEN
No. When I say the word "pretty,"
when I say the word "pleasure,"
what is the earliest memory you
see?
WALTER
I dont see --
ROSEN
In your mind, Walter. Take your
time.
After a moment, Walters expression shifts.
ROSEN (contd)
(watching closely)
Who do you see?
WALTER
(long pause)
I see my sister.
Rosen is excited by this "breakthrough."
ROSEN
Where is she? What is she doing?
How old --
WALTER
(interrupting)
Not so fast.
ROSEN
Sorry.
(pause)
Where is she?
WALTER
In my bedroom, sleeping.
ROSEN
Where?
WALTER
In my bed, Rosen. Where do you
think?
ROSEN
Where are you?
WALTER
In my bed too.
ROSEN
How old are you and your sister?
WALTER
Were little kids.
ROSEN
But roughly, how old?
WALTER
Im maybe about six... which would
make her four.
Rosen walks around Walter and paces behind him.
ROSEN
And what are you doing?
WALTER
Just lying there.
(pause)
Were taking a nap.
ROSEN
A nap?
WALTER
Yes, a nap. Kids do that. You ever
take a nap, Rosen?
Walter opens his eyes.
WALTER (contd)
I dont want to talk about it any
more.
He sees Rosen behind him.
WALTER (contd)
What the hell are you doing there?
ROSEN
Did you and your sister often take
naps together?
WALTER
(exploding)
I want you back in your chair!
Right now!
Rosen stumbles back to his chair.
WALTER (contd)
Dont ever do that again.
ROSEN
All right.
WALTER
I dont like nobody behind my back!
ROSEN
Im sorry. I shouldnt have been
there.
Walter looks away, quelling his anger.
ROSEN (contd)
Walter, what did you do while
taking a nap with your sister?
WALTER
Nothing.
ROSEN
Did you touch her? Did you take off
her clothes? Did you take off your
clothes?
WALTER
This is garbage!
ROSEN
Im only asking questions.
WALTER
Okay Ill tell you what I did --
just to shut you up!
(pause)
I smelled her hair.
ROSEN
What else?
WALTER
Thats all. I just liked smelling
her hair.
ROSEN
You felt pleasure.
WALTER
(long pause)
Yes.
Rosen writes a few notes.
ROSEN
Did you get an erection?
WALTER
(glaring at Rosen)
I was six years old!
ROSEN
I meant later... when you two took
naps.
Walter is silent.
ROSEN (contd)
When the two of you held each
other. When you were ten or eleven
and she was eight or nine. When
your parents were out and the two
of you were alone... completely
alone in that big house.
WALTER
It was a small house.
ROSEN
All right. A small house... with
small rooms.
WALTER
(His eyes well up.)
I smelled her hair. Thats it. I
just liked smelling her hair.
Walter presses his face into his hands. Rosen watches him
silently. When Walter lifts his face...
INT. BAR - NIGHT
... Carlos sits before him. They are in a booth, the table
covered with drinks and remnants of bar food. The bar bustles
in the background.
CARLOS
Ive got some good news.
WALTER
Whats that?
CARLOS
Annette will see you.
Walter is quiet.
CARLOS (contd)
Arent you glad?
WALTER
When?
CARLOS
Soon.
WALTER
Next week? The week after?
CARLOS
Early July.
Walter looks at Carlos.
CARLOS (contd)
Its just a better time.
Carlos avoids Walters gaze.
CARLOS (contd)
Anna will be away at camp. The
house will be quiet. Its better
when its quiet.
WALTER
Tell Annette Im busy in July.
CARLOS
Cmon, Walter.
WALTER
You should see my appointment book.
It got crazy.
CARLOS
Its not what you think.
WALTER
Isnt it?
CARLOS
The important thing is that you and
Annette need to talk. She needs to
see you, and you need to see her.
WALTER
(a long pause)
Im not a monster.
CARLOS
Youre a good man, Walter. Okay,
you did some wrong things, but
inside youre a good, decent man.
WALTER
Maybe Im not a good man. Maybe
inside Im bad, and Ill always be
bad.
CARLOS
Dont talk like that.
The waitress interrupts to clear the table, leaning over to
grab the empty plates. Carlos checks her out.
CARLOS (contd)
(pause)
Next week Annette is going away for
a few days. And the thing is that
when Annettes away...
Carlos watches the waitress depart.
CARLOS (contd)
I get horny as hell for other
women.
(whispering)
I mean I fantasize about raping
some beautiful woman.
WALTER
You dont have to tell me this.
CARLOS
Im just talking, man.
WALTER
Carlos, I never raped a woman.
CARLOS
I know. Im just saying I
understand.
Walter doesnt look at Carlos.
CARLOS (contd)
Its crazy out there.
(signaling to the crowd)
Young girls wearing mini this and
mini that. Sometimes when I walk
down the street and pass some sexylooking
woman, she makes me feel
like Im bothering her. She stares
down like shes afraid to look at
me. Why she do that? Why cant she
look me in the face?
WALTER
Maybe because youre looking her in
the face.
Carlos looks at Walter.
CARLOS
I see a pretty woman, I look.
Thats the price of beauty, my
friend. My god, you should see what
Annas friends wear.
Carlos laughs. Walter looks at him.
WALTER
Carlos, can I ask you something?
CARLOS
Sure.
WALTER
(pause)
Nothing.
CARLOS
Ask me. Ask me anything.
WALTER
(pause)
Did you ever... Do you have
feelings for Anna?
Carlos looks at Walter.
CARLOS
What do you mean?
WALTER
I mean... feelings.
A look of horror/disgust passes over Carloss face, and he
lurches forward grabbing Walter by the shirt collar. Drinks
spill.
CARLOS
Listen, man. I dont got your sick
problem, and if you or anybody else
ever comes near my daughter, Ill
kill you.
Carlos lets go of Walter roughly and gets up and leaves.
Walter looks around embarrassed -- onlookers slowly turn
away. Walter picks up a napkin and starts to blot the table
dry.
INT. WALTERS BEDROOM - NIGHT
Vicki stands before Walter who sits on the edge of the bed.
Both are naked. She kisses him. He turns her around and pulls
her to his lap.
Walters hands are on her hips. He moves her body slowly --
very slowly -- around his lap.
Vicki goes with it, enjoying herself, then tries to turn
around. Walter holds her still.
VICKI
Walter...
He leans his face into her hair. He takes deep audible
breaths. Vicki tries to turn again, but he wont let her. She
is aroused but confused.
VICKI (contd)
Walter... let me...
She tries to reach back. Walter catches her hand and holds it
to her side.
WALTER
Dont touch me... please.
He holds her tight.
INT. WALTERS BEDROOM - EARLY MORNING
Walter lies in bed, eyes open. There is the SOUND of children
playing outside. He carefully sits up in bed revealing Vicki
asleep beside him.
EXT. SCHOOLYARD - MORNING
In slightly fast motion grainy style of transferred 8 mm,
kids parade down the sidewalk heading for school. The camera
pans to reveal Candy watching them.
WALTER (V.O.)
(in the ratatat tone of a
sportscaster)
Good morning, fellow sports fans.
The match is about to begin. Candy
enters the arena looking sweet and
trim. He checks out the scene but
plays it cool. Hes definitely
holding back.
(Pause)
Uh-oh, Candys eyes have locked
onto something. Oh yeah.
Trailing behind the others is the angel-faced boy. Freeze
frame.
WALTER (V.O.)(contd)
A cherub of a lad has separated
from his friends. Candy quickly
makes his move. He pats the cherub
on his head, ruffles his hair. With
his other hand, he offers the boy a
bag of M&Ms. Jumbo size.
The boy tears open the bag.
Candy smiles. Freeze frame.
WALTER (V.O.) (contd)
Round one to Candy.
Candy points across the street to his white Volvo.
WALTER (V.O.) (contd)
A very risky move by Candy. The boy
looks at the car but walks away!
Candy follows the boy. Freeze frame.
WALTER (V.O.) (contd)
Round two goes to the cherub.
Candy struts around the boy rapping, clapping, snapping his
fingers.
WALTER (V.O.) (contd)
I have never seen Candy act so
cocky.
Candy points to his car again, then dances, seen in slowmotion,
toward it.
WALTER (V.O.) (contd)
The cherub looks at Candy; the
cherub looks at the car; the cherub
looks for his friends. But his
friends are long gone. The cherub
is alone. The cherub crosses the
street!
Candy opens the car door.
WALTER (V.O.) (contd)
(Pause. Normal tone)
The cherub gets in the car.
The boy gets in the car. Instant replay. The boy gets in the
car. ZOOM IN. The car door closes.
INT. WALTERS APT. - DAY
Walter sits staring out the window. The sound of children
playing.
Vicki walks into the room and sees Walter sitting by the
window. She walks up behind him and puts her hands on his
shoulders.
VICKI
What are you doing?
Walter turns around, startled, brushing her off.
WALTER
Dont do that.
VICKI
Do what?
WALTER
Sneak up behind me like that.
VICKI
Whats your fucking problem?
WALTER
Whys it always my fucking problem?
Vicki looks at Walter.
VICKI
Whats going on?
WALTER
Nothing.
Vicki looks at him.
WALTER (contd)
I didnt sleep well.
VICKI
Do you want to talk about it?
WALTER
I need a shower.
He walks back into the bedroom.
A SCHOOL BELL rings and Vicki looks out the window. She sees
the children running into school. She looks back in the
direction Walter left.
INT. VICKIS CAR - DAY
Vicki and Walter ride in the car. Vicki glances at Walter. He
stares ahead, then leans his head back and closes his eyes...
INT. BUS - DAY
... Walter rides, head back, eyes closed. The bus comes to a
stop and a couple of passengers get on. Walter opens his
eyes.
The girl with binoculars comes to sit in the seat ahead of
Walter.
Walter stares at the girl. The bus pulls up to another stop --
it is Walters. The doors to the bus open. Walter looks at
the doors, he does not move. The doors close. He looks back
at the girl. The bus drives on.
EXT. BUS-STOP - DAY
The bus comes to a stop. The girl gets off amongst a couple
of passengers. Walter follows.
EXT. PARK - DAY
Walter walks down a path that opens onto a secluded little
field surrounded by trees.
The girl stands in the middle of the field looking at the sky
through her binoculars. She turns slowly, scanning the trees.
She spots Walter and lowers the binoculars.
GIRL
Hello.
Walter is silent. He looks up at the trees.
GIRL (contd)
What are you looking at?
WALTER
Birds.
GIRL
(indifferently)
Theres a million birds here.
WALTER
In that birch tree is a nest.
GIRLS VOICE
(interested)
Where?
WALTER
(pointing)
Up there.
She looks through her binoculars. Walter stares at her.
WALTER (contd)
A little higher.
She points her binoculars up. Walter walks towards her.
GIRL
Theres little chicks!
(turns to Walter)
You want to see?
WALTER
Sure.
She hands him her binoculars. He looks through them.
GIRL
Theyre starlings.
WALTER
(continues looking)
Is that right?
GIRL
I dont like starlings.
WALTER
Why not?
GIRL
Theyre extremely aggressive birds.
Plus, their habits are rather
filthy.
WALTER
The mother sure has her hands full.
He hands her back the binoculars.
WALTER (contd)
You always carry these?
GIRL
When I go bird-watching. Its why I
like coming here.
WALTER
Its just a city park.
GIRL
Youd be surprised how many kinds
of birds youll see here. Last week
I saw a purple martin. And the week
before that, I saw a solitary
vireo. Thats rare.
WALTER
A solitary vireo. I like that one.
GIRL
Their sound is quite musical.
WALTER
How does it sound?
GIRL
Its hard to describe.
WALTER
Try.
GIRL
I cant.
WALTER
I bet you can.
She shakes her head.
WALTER (contd)
Id love to hear it.
GIRL
(pause)
Its a bright sound.
She closes her eyes and pipes a little tune.
GIRL (contd)
Cheery! Cheerily! Cheery! Cheerily!
She opens her eyes, shyly.
GIRL (contd)
Something like that.
WALTER
That was terrific.
GIRL
You should hear the bird.
WALTER
You live around here?
GIRL
(Pause)
Not too far.
(She looks at him)
Are you a bird-watcher too?
WALTER
Me? Nah. Im more of a people
watcher.
GIRL
Were you watching me?
WALTER
(pause)
Not at first. You would stare at
the tops of the trees so intently.
Any second I thought you would take
off and fly.
GIRL
I have to go.
WALTER
Do you come here often?
GIRL
My daddy likes me home before dark.
WALTER
Its good to listen to your daddy.
The girl runs off down the path.
Walter watches after her. He stands alone in the field.
INT. BUS - DAY
Walter rides the bus. Through many different neighborhoods,
day passes into night. He stares beyond his reflection. Over
the following voice-over we cut between Walters apartment
and Walter riding the bus.
WALTER (V.O.)
I followed a girl.
INT. WALTERS APARTMENT - NIGHT
Walter sits at his window, writing in his journal, fast.
WALTER (V.0.)
I talked to a girl... I was near a
girl... Jesus God! What did I want
to happen?
INT. BUS - NIGHT
The bus drives by a number of billboards, childrens Gap
ads...
WALTER (V.O.)
Maybe its like Rosen said. Maybe I
wanted nothing to happen.
INT. WALTERS APT. - NIGHT
Walter pauses in the writing.
WALTER
(out loud)
Fucking Rosen! This isnt helping.
Theres a loud KNOCK at the door. Walter looks over in
surprise. The KNOCK comes again. Walter quickly closes his
journal and puts it in a drawer. The KNOCK comes again.
Walter goes to the door and opens it partially.
Sergeant Lucas stands outside.
LUCAS
Hiya, Walter.
Walter opens the door. Lucas enters. Walter slowly closes the
door behind him.
WALTER
What can I do for you, Sergeant
Lucas?
Lucas signals a chair.
LUCAS
Have a seat.
Walter slowly sits. Lucas walks around the room. He pauses.
LUCAS (contd)
Too much sun.
WALTER
What?
Lucas points to the plant on the windowsill.
LUCAS
Your ivy. Too much direct sunlight.
These plants dont like a lot of
sun.
WALTER
They grow outside, dont they?
LUCAS
Sure they do. But outside theyve
got trees around them. The trees
shade them from the sun. Of course,
the plants enrich the soil around
the trees. One of natures
symbiotic relationships.
WALTER
You going to take me on a nature
walk?
LUCAS
Dont be witty.
(pause)
Yesterday you took the number
twelve bus from work, but instead
of getting off at your normal stop,
for some reason you stayed on. Why
did you stay on the bus, Walter?
WALTER
I fell asleep.
Lucas throws him a look.
WALTER (contd)
When I woke up I was confused. I
got off at the wrong stop and
walked home.
Lucas looks at the bus map on the wall.
LUCAS
You walked home.
WALTER
Yes.
Lucas spits his gum into the garbage can and sits down across
from Walter.
LUCAS
Some of these guys... They walk
right into a familys home as if
they live there. Very fucking
ballsy.
Walter is silent.
LUCAS (contd)
This one guy on death row, who Ill
call Henry, told me about his last
victim. Henry says how hes in the
bedroom of a seven-year-old cutie
named Adele. Her mothers in the
living room watching TV. Shes got
the volume on so damn high he can
hear David Lettermans jokes. Henry
puts his hand over Adeles mouth
and says, "If you scream, little
girl, Ill kill your mother." And
of course little Adele doesnt
scream, doesnt cry, doesnt make a
sound. Then he takes her hand and
out they go through the front door.
(pause)
Ten days later they find Adeles
body. Or whats left of it.
(looks at Walter)
You believe in fairy tales?
WALTER
Fairy tales?
LUCAS
Do you believe in them?
WALTER
No.
LUCAS
Neither do I.
Whats the one with the woodsman?
WALTER
Woodsman?
LUCAS
The one with the ax?
WALTER
I dont know.
LUCAS
Sure you do. He cuts open the
wolfs stomach, and the girl steps
out alive.
WALTER
Little Red Riding Hood.
LUCAS
Thats it. Little Red Riding Hood
jumps out of the wolfs guts with
hardly a scratch.
(pause)
Ever see a seven-year-old girl
sodomized almost in half?
Walter shakes his head.
LUCAS (contd)
She looked so small and broken. I
saw hardened twenty-year veterans
cry. They cried like babies. I was
there. Aint no fucking woodsman in
this world.
Lucas takes out a fresh piece of gum and pops it in his
mouth. Then he rises.
WALTER
You knew her?
LUCAS
What?
WALTER
The girl.
Lucas stares coldly at Walter, his face red. He looks
dangerous.
LUCAS
(seething)
I dont know why they keep letting
scum like you return to the
streets. It just means weve got to
catch you all over again.
He slaps Walter on the back of the head...
LUCAS (contd)
See ya, Walter.
... and exits.
Walter rushes to the blinds, drawing them down, then
scrambles to get his journal from the drawer. He drops to his
knees, tearing the pages from his journal, tearing them to
bits.
WALTER
You have no right to talk to... to
speak like... I am not!... I am
not!
The SOUND of children fades in, and Walter looks up.
In the bedroom doorway is the girl in her white nightgown,
sitting on the red ball, rocking back and forth, her chin in
her hands.
GIRL
Wallie, what are you doing?
Walter squeezes his eyes shut and clamps his hands over his
ears. The sound abruptly stops.
INT. BUS - MORNING
Walter rides the bus. He is unshaven and looks exhausted. He
is jostled by the crowds but seems oblivious.
INT. WAREHOUSE - MORNING
As Walter walks into the warehouse, men step out of the way
and give him leering looks. Walter walks into --
INT. WAREHOUSE LOCKER ROOM - DAY
-- the locker room. A hush suddenly falls over the room.
Walter looks around. No one will meet his eyes. He opens his
locker and a piece of paper slides out.
It is a Xerox of the police notification information of
Walter printed from the Internet.
Walter stares at the paper. Suddenly something slams next to
his head. A piece of metal clangs to the floor. Walter turns
around.
Pedro stares at him, surrounded by a number of men.
Vicki stands in front of her locker holding the flyer. She
looks scared. She glances at the men then walks over to
Walter.
VICKI
(quiet)
Come on, lets get out of here.
Walter doesnt move.
PEDRO
Dont tell me you feel sorry for
this sick fuck.
VICKI
Mind your own business, Pedro!
Vicki looks defiantly at the men.
Bob hurries in, followed by a worker.
BOB
What the hell is going on here?!
Hes handed a flyer. He looks it over and turns red. He looks
at Walter then the men.
BOB (contd)
Who did this?
Mary-Kay stands quietly in the back of the room, a look of
satisfaction on her face. Vicki looks at her. Mary-Kay turns
and sees Vickis glare. She quickly looks away.
No one answers. Bob looks at the men for a long moment then
at Walter.
BOB (contd)
Any man who cant deal with it can
see me in my office. Ill pay you
for a week, and you can clear out.
Bob crumples the paper in his hand.
BOB (contd)
Weve got a hell of a lot of orders
today. Get to work.
Bob turns and walks away.
The men are stunned. Three angrily follow after Bob. As does
Mary-Kay.
Walter walks off without saying anything, his expression
blank.
INT. WAREHOUSE - DAY
Walter works at his station. He pauses, staring at the
cutting blade whirling before him. He looks up around him.
After a long moment, he turns the machine off and walks away.
INT. WAREHOUSE - LATER
Vicki looks up from where she is working and notices Walters
place is empty. She looks around.
INT. WAREHOUSE OFFICE - DAY
Vicki enters. Mary-Kay sits at her desk, typing.
VICKI
Have you seen Walter?
MARY-KAY
(big fake smile)
Lovers quarrel?
Vicki picks up Mary-Kays mug and pours coffee on her lap.
Mary-Kay shrieks and stands up.
Vicki tears through Mary-Kays drawers throwing contents to
the floor.
MARY-KAY (contd)
What the hell are you doing?
Bob walks in.
BOB
What the hell is going on?
Vicki pulls out a handful of the notification fliers.
MARY-KAY
People have the right to know.
VICKI
If shes here tomorrow, Ill
fucking kill her.
Vicki throws the papers at Bob and storms out.
Bob looks at Mary-Kay.
EXT. WAREHOUSE - DAY
Vicki quickly crosses the parking lot to her Jeep, putting
her coat on as she goes.
INT. BUS - DAY
Walter rides the bus, watching the landscape go by, his
expression stony.
EXT. WALTERS APT. - DAY
Vicki pulls her Jeep into the parking lot and screeches to a
stop.
She races up the stairs and knocks on Walters door. No
answer. She knocks again. No answer.
VICKI
Shit.
She disappears back down the stairs.
INT. WALTERS APT. - DAY
The door opens. Vicki enters and turns to the superintendent
standing in the doorway.
VICKI
Thanks again. I promised Id take
care of his plants.
The super shrugs and heads back down the stairs. Vicki closes
the door and turns around.
The place is a mess, the blinds drawn. She turns on the
lights. There is no sign of Walter.
She sees the journal scattered on the floor and leafs through
the pieces. The image of the girl with red marker is stuck
inside.
VICKI (contd)
Shit.
She picks up a couple pieces of paper and scans them, then
she puts the pieces together. Walters words are scrawled
across the paper. Her hands start to shake.
INT. BUS - DAY
The bus pulls to a stop. Walter gets off.
EXT. PARK - DAY
Walter walks down park path. A jogger runs by, but otherwise
it is quiet.
INT. WALTERS APT. - DAY
Vicki frantically gathers pieces of the journal and stuffs
them in a plastic bag. Her face is flushed.
She stands up and stuffs the bag in the garbage then pauses,
staring at the garbage can. She opens the can, grabs the bag,
quickly looks around the apartment. There is the sound of the
school bell outside. She rushes to the window and raises the
blinds. Children pour out of the school. She quickly leaves.
EXT. PARK - DAY
Walter sits on a park bench in the same little field where he
had encountered the girl before. He is alone. He sits still.
He looks up at the trees.
INT. VICKIS CAR - DAY
Vicki drives, the bag on the passenger seat. She comes to a
stop light and looks in the rear view mirror.
A cop car pulls up behind her.
Vicki reaches over for the bag and stuffs it under the seat.
The light turns green. Vicki drives slowly. The cop changes
lanes and passes her. She lets out her breath.
EXT. STREETS MONTAGE - SAME TIME
Vicki slowly drives by a series of parks, schools, malls -
searching.
Children abound, playing, running free, getting off of school
buses, running to meet their parents. There is no sign of
Walter.
EXT. PARK - DAY
The girl walks into the clearing, wearing her binoculars
around her neck. She stops when she sees Walter sitting on
the bench.
Walter continues staring at the trees. She walks over to him.
GIRL
See anything interesting?
WALTER
Not yet.
The girl sits on the bench and pulls a small book from her
backpack. She starts writing in it.
Walter watches her.
WALTER (contd)
What are you writing in that book?
GIRL
Its my bird book.
She shows it to him.
GIRL (contd)
Ive identified sixty-seven species
of birds this year alone.
The girl writes in her book. Walter watches.
WALTER
Where are your friends?
She continues writing ignoring his question.
WALTER (contd)
Dont you have friends?
GIRL
I have friends.
WALTER
A pretty girl like you should have
a lot of friends.
GIRL
Im not pretty.
WALTER
Well... not in the common way.
She looks at Walter.
GIRL
What does that mean?
WALTER
It means uncommon beauty is
commonly overlooked. Most people
only notice birds with the
brightest colors.
The girl sits silently.
WALTER (contd)
Whats your name?
She picks up her binoculars and peers through them.
WALTER (contd)
Linda... Susan... Jennifer...
Jackie..
She continues looking, but she smiles.
WALTER (contd)
You tell me your name, Ill tell
you mine.
GIRL
(pause)
Robin.
Walter laughs.
ROBIN
Yeah, like the bird.
WALTER
(pause)
Can I ask how old you are?
ROBIN
Im twelve.
WALTER
No youre not.
ROBIN
I will be in three months.
(pause)
I cant wait. I hate being eleven.
It has to be the stupidest age in
the world.
She looks at Walter.
ROBIN (contd)
Whats your name?
Walter hesitates then shrugs.
WALTER
Walter.
ROBIN
Do you have many friends?
WALTER
No.
ROBIN
How come?
WALTER
A long time ago, I was sent far
away. When they let me come back,
all my friends were gone.
ROBIN
It sounds like you were banished.
WALTER
Banished... yeah.
ROBIN
Birds are my friends. That sounds
egotistical, but they are. Birds
know I watch them, but they dont
mind because they like being
watched... if they know you wont
hurt them.
WALTER
Robin?
ROBIN
Yes?
WALTER
Would you like to sit on my lap?
Robin looks at him.
ROBIN
What?
WALTER
Would you like to sit on my lap?
ROBIN
(pause)
No thank you.
WALTER
Are you sure?
ROBIN
Im sure. Thank you all the same.
WALTER
Thats okay... doesnt matter.
ROBIN
(pause)
Do you want me to sit on your lap?
Walter looks at her.
WALTER
Yes. I would enjoy that.
Robin shivers.
WALTER (contd)
Are you cold?
She shakes her head. Walter slides closer and rubs her arms
with his hands.
WALTER (contd)
You look cold.
Robin is silent.
WALTER (contd)
I know a place in the park where
only very small birds go. There are
no people or dogs or ugly crows and
pigeons. Its quiet except for the
song of these tiny sparrowlike
birds. Would you like me to take
you there?
ROBIN
(pause)
They sound like finches.
WALTER
They could be finches. I dont
know. We should go before it gets
dark.
He stands up.
WALTER (contd)
Ready?
Robin doesnt move.
ROBIN
My daddy lets me sit on his lap.
WALTER
Does he?
ROBIN
Yes.
WALTER
Do you like it when he asks you?
She looks at him.
ROBIN
No.
Her answer has a strange effect on Walter, as if for a moment
he has lost his balance. Carefully, he sits down and stares
at his hands.
WALTER
Why not?
She is quiet.
WALTER (contd)
Are you two alone when he asks you?
Still silent.
WALTER (contd)
Does he touch you?
Robin looks through her binoculars.
WALTER (contd)
Does he say strange things?
She scans the trees.
WALTER (contd)
Does he move his legs in a funny
way?
Robin drops her head and quietly sobs. Walter looks at her
but makes no effort to comfort her.
WALTER (contd)
Have you told your mother?
She shakes her head.
WALTER (contd)
Is there anyone at home you can
talk to?
She is quiet.
WALTER (contd)
Is there a teacher you like at
school?
She nods.
WALTER (contd)
Whats her name?
ROBIN
Ms. Kramer.
WALTER
Tell Ms. Kramer what your daddy
does.
ROBIN
I cant.
WALTER
Yes you can, Robin.
Robin in silent.
WALTER (contd)
You said you couldnt make the
sound of a solitary vireo. But you
did. Beautifully. I heard you.
ROBIN
What will happen if I do?
WALTER
Someone will talk to your daddy.
And then hell stop doing those
things... the things you dont
like.
Tears come to Robins eyes again.
ROBIN
But will he... ?
WALTER
Your daddy will always love you.
ROBIN
How do you know?
WALTER
I know because... its just
something I know.
ROBIN
I dont want to hurt my daddy.
WALTER
Robin, listen to me.
She looks at him. Walter struggles to find the words.
WALTER (contd)
At first hell be upset... very
upset. Its because hell realize
hes been a bad daddy. Then hell
try... Hell try very hard to be a
good daddy... People will say
stupid, ignorant things about your
daddy. That will be hard for you...
But one thing I know for sure,
hell always love you... always.
There is a long moment of silence.
ROBIN
Walter?
WALTER
Yes?
ROBIN
Do you still want me to sit on your
lap?
Walter stares at her.
ROBIN (contd)
I will.
Walter slides away from her.
WALTER
No.
ROBIN
I dont mind.
WALTER
You should go home.
ROBIN
Cant I stay a little longer?
WALTER
It's getting dark. Go home.
ROBIN
Will I see you again?
Walter is silent.
WALTER
Go home, Robin.
Robin gets up, goes over to Walter, and hugs him. Walter
starts to put his arms around her but refrains.
ROBIN
Bye.
She runs off. Walter looks out, numb.
EXT. WALTERS APARTMENT - NIGHT
Walter approaches his building. The white Volvo sits parked
across the street in front of the school. Walter walks a
couple of more steps when the door to the Volvo opens. Walter
freezes.
Candy gets out of the car. As he turns, Walter no longer sees
Candy but himself -- many years younger.
Walter watches, fear and emotion coursing through his face.
Young Walter leans back in and pulls the front seat forward,
and a young girl emerges.
Flash to the angel-faced boy getting out of the car. Candy
pats him on the head.
Walter sees young Walter pat the girl on the head. She runs
off down the street.
Walter races towards Candy.
Candy tucks his shirt in, puts the seat back, and is about to
get in the car when Walter calls out --
WALTER
Hey!
Candy whirls around. Walter smashes him in the face. Candy
reels backwards hitting the car. Walter attacks Candy full
force. As he punches flashes of young Walter appear, then
Candy, then young Walter again.
He pounds and pounds on Candy then finally pulls away.
Candy sputters on the ground.
Walter, breathing hard, stares at Candy. He looks at the
blood on his hands, which shake uncontrollably. He slowly
stands up and starts to back away.
Candy rolls over and groans as he tries to raise himself.
Walter turns, tucks his head down, and quickly walks away.
INT. WALTERS APARTMENT - NIGHT
Walter stands in the living room. He looks down at the floor
where the journal was and sees that nothing is there. He goes
to his windows and lowers the blinds.
EXT. VICKIS APARTMENT - NIGHT
Through the window we see Vicki sitting on her couch, biting
her nail, staring off into space. The phone sits next to her.
INT. WALTERS BATHROOM - NIGHT
Walter stands in the shower. He turns the water on and lets
it run over him. Slowly, he begins to sob.
INT. WALTERS BEDROOM - NIGHT
Walter stands at the bureau, cleaned up and dressed in fresh
clothes. He looks up and stares at himself in the mirror. The
sound of TRAFFIC fades in.
EXT. CITY STREETS - NIGHT
Walter walks down a city street with boarded up store fronts.
The sidewalks are wet from a steady drizzle. Cars pass by on
the wet pavement.
As Walter walks, we intercut with a SERIES OF FLASHBACKS:
A) EXT. SCHOOL - Walter looks at the blood on his hands then
at Candy moaning on the ground.
B) EXT. PARK - Robin stands in the middle of the field,
binoculars held to her eyes, scanning the trees.
C) EXTREME CLOSE-UP: Robin lowers the binoculars and stares
us straight in the eye.
EXT. CITY STREET - NIGHT
Walter stands at an intersection. The lights play across his
face.
FLASHBACK
D) EXT. COP CAR - NIGHT - Walters face slams against a cop
car. His hands are cuffed behind him, and he is roughly
frisked. He tries to look back over his shoulder but his face
is held down.
E) EXT. PARK - Robin dances in circles in the fields, arms
stretched out as if she is ready to fly.
EXT. CITY STREET - NIGHT
A car races by, and Walter walks along a busy street fast.
The rain falls harder now.
FLASHBACK
F) EXT. HOUSE - NIGHT - Walter gets place in the back of the
cop car. The cops get in the front seat. Walter looks out the
window at his house as the car pulls away.
Standing on the front steps, his wife turns away, carrying
his daughter inside. A cop closes the door behind them.
G) EXT. SCHOOL - Walter pounds and pounds on Candy.
EXT. CITY STREET - NIGHT
Walter crosses an old brick bridge that spans a river.
FLASHBACK
H) EXT. PARK - Robin twirls and twirls, then slowly dissolves
into the girl with the red ball and white nightgown. The girl
spins and spins, her dress fluttering in the wind. Slowly the
girl fades away so the field is empty, except for a number of
small birds fluttering around the ground.
EXT. VICKIS APARTMENT - NIGHT
Walter stands outside Vickis door. After a moment he knocks.
The door opens to show Vicki. She stares at Walter.
EXT./INT. VICKIS APARTMENT - NIGHT
Through the window we see Vicki sit down on the couch, and
Walter sit on the coffee table, facing her. He starts to talk
and takes her hand. She pulls it away. He continues to talk
and takes her hand again, not letting her pull away.
Trucks pass by over the wet pavement, rattling the windows.
EXT. SCHOOLYARD - DAY
The school is quiet, the playground empty. Swings sway
listlessly in the breeze.
EXT. WALTERS APARTMENT BUILDING - DAY
The old Chevy pulls into the parking lot.
INT. WALTERS APARTMENT - DAY
Walter brings his duffel bag into his living room and sets it
down next to a clothes hamper. Boxes are scattered about the
space. Theres a KNOCK on the door.
WALTER
Its open.
The door opens and Lucas enters.
Walter pauses.
LUCAS
Hi ya, Walter.
Walter automatically sits down in the chair.
WALTER
What can I do for you, Sergeant
Lucas?
Lucas walks over to the window.
LUCAS
You dont know?
WALTER
Know what?
LUCAS
Ill be asking the questions.
(pause)
Last night, you hear anything
unusual? Screams? Shouts?
WALTER
No.
LUCAS
A man was badly beaten across the
street. You know anything about
that?
WALTER
I was asleep.
LUCAS
(pause)
I didnt say what time the assault
occurred.
WALTER
You said last night. I went to bed
pretty early.
LUCAS
The assault took place at
approximately seven thirty.
WALTER
I went to bed around seven.
Lucas gives him a look.
WALTER (contd)
I wasnt feeling well.
LUCAS
I could take you downtown.
WALTER
You could. Itd be a waste of your
time, though.
Walter starts folding his clothes and placing them in the
duffle bag.
LUCAS
There was a boy there.
Walter is silent. Lucas watches him closely.
LUCAS (contd)
He I.D.d the assailant. The
description matches you pretty
well.
WALTER
I suppose if youre looking for a
male between the ages of thirty and
fifty, medium height, medium
weight, medium build. Probably not
too many men fit that bill.
LUCAS
Just give me a straight answer,
Walter, cause the irony goes right
over my head.
Lucas walks around. Walter folds a shirt.
LUCAS (contd)
Thats a nasty scratch on your
neck.
WALTER
I have a passionate girlfriend.
LUCAS
Whats with the boxes?
WALTER
Youre a cop. Figure it out.
LUCAS
Id say youre moving.
WALTER
Its a free country, isnt it?
Lucas throws him a look.
WALTER (contd)
Just kidding. Im moving in with my
girlfriend.
Lucas raises his brows then takes out a piece of gum.
LUCAS
The passionate one?
WALTER
Yes.
LUCAS
Then Id say youre a lucky fellow.
WALTER
I count my blessings.
LUCAS
Well, I guess Ill be seeing you.
Lucas pops the gum in his mouth and heads towards the door.
Walter pauses in his folding.
WALTER
Think youll catch this guy?
Lucas turns.
LUCAS
Oh, yeah. Well catch him.
Unfortunately, the victim cant
talk. In addition to his other
injuries, his jaw is broken.
Walter is silent.
LUCAS (contd)
However, we ran an I.D. on the
victim. Turns out hes wanted in
Pennsylvania. He raped a boy there.
Lucas watches Walter who impassively unrolls and rolls the
same pair of socks.
LUCAS (contd)
You sure you dont know nothing
about this?
WALTER
Fraid not.
Lucas looks at Walter for a moment.
LUCAS
Stay out of trouble, Walter. Cause
Ill be watching you.
He exits.
Walter realizes he unrolled the socks. He tosses them in the
duffel bag.
INT. VICKIS CAR - LATE AFTERNOON
Vicki drives. Walter stares out the passenger window. The sun
is low on the horizon. Walter wears a pressed button-down
shirt. He is clean-shaven and his hair neatly combed. His
hand fidgets in his lap.
VICKI
You okay?
WALTER
Yeah.
VICKI
Fucking liar.
Vicki reaches for his hand, then something catches her eye.
VICKI (contd)
Hey, look.
Walter follows her gaze.
VICKI (contd)
Starlings.
On the horizon, a flock of starlings whirl and turn as if one
huge body, a dancing cloud against the sky.
WALTER
I heard they were filthy birds.
VICKI
Not when they fly.
Vicki looks at him and smiles. There is a long beat as they
drive.
I/E. VICKIS CAR, RESERVOIR - DAY
Vicki sits in her car smoking. She stubs out her cigarette.
The ashtray is full. She looks out the window.
Vickis POV: Walter and a woman stand in the distance near
the water. The woman looks a few years younger than Walter.
There is space between them. Walter faces her, but she looks
out at the water. After a long moment, he reaches to touch
her arm.
The woman pulls away and yells something at him. Walters
head drops.
Vicki lights another cigarette. She flips on the radio to
country music, blocking out all sound. She looks back out the
window.
The woman yells angrily then falls quiet -- staring at
Walter. After a long moment, she turns and walks back up the
hill to her car where Carlos waits, leaning against the car.
Annette gets in the car, slamming the door. Carlos pauses,
looking at Walter, then gets in the car and turns on the
engine to leave.
Walter stays standing near the water.
WALTER (V.O.)
I saw my sister.
INT. ROSENS OFFICE
Walter sits in his usual seat across from Rosen.
WALTER
It was hard.
Rosen is silent.
WALTER (contd)
Shes still really hurt... and
angry. I dont know... if she will
ever... forgive me.
I understand that. I do. I just
hope... I just want her to...
ROSEN
Accept you?
Walter nods.
ROSEN (contd)
Its going to take time, Walter.
WALTER
(to himself)
Time.
ROSEN
How do you feel about that?
WALTER
I feel... okay.
Walter looks at Rosen who nods. There is a moment of silence
between them.
THE END
| screenplays |
spinal anesthesia provides a fast , profound , and symmetrical sensory and motor block of high quality in patients undergoing cesarean delivery ( 1 , 2 ) . the most common serious adverse effect of spinal anesthesia for cesarean delivery is hypotension , with a reported incidence greater than 80% ( 3 ) .
a number of strategies for preventing hypotension have been investigated , because it may have detrimental maternal and neonatal effects .
the use of lateral uterine displacement is routine procedure to prevent hypotension ( 4 ) .
other strategies have included the use of intravenous fluid preload , gravity ( trendelenburg or leg rising ) , compression devices on the legs , and prophylactic vasopressors ( 1 ) .
the prophylactic administration of ephedrine by the intramuscular route is very controversial because its systemic absorption and peak effect are difficult to predict , thus , possibly resulting in rebound hypertension ( 5 ) .
the intravenous route may be more effective and controllable , although large doses are used ; the incidence of hypotension was still high in some studies ( 6 , 7 ) .
intravenous ephedrine given immediately after the induction of spinal anesthesia has been described ( 7 , 8) .
doses of 10 - 20 - 30 mg or 0.25 mg / kg were not effective in eliminating hypotension completely ( 7 - 10 ) .
therefore , we designed a randomized , double - blinded study to determine efficacy and safety of 0.5 mg / kg intravenous ephedrine for preventing hypotension during spinal anesthesia for cesarean delivery .
they were women , asa status i or ii , undergoing elective cesarean section under spinal anesthesia .
three had to be excluded because of hypertension , two refused to participate , and one was missed because of high workload . written informed consent was obtained from each subject , and the study protocol was approved by the human ethics committee of our medical school .
patients with preexisting or pregnancy - induced hypertension , known cardiovascular or cerebrovascular disease , abnormal cardiotocography ( ctg ) tracing , or contraindications to spinal anesthesia were excluded .
randomization was based on a computer - generated code that was prepared at a remote site and sealed in opaque , sequentially numbered envelopes .
the patients were randomly divided into 2 groups : ephedrine group ( n=23 ) and control group ( n=23 ) after spinal anesthesia .
on arrival in the operation room , baseline measurements of systolic arterial pressure ( sap ) and heart rate ( hr ) were calculated with a criticare system 1100 monitor ( criticare system inc . ,
waukesha , wi , u.s.a . ) as the mean of three successive measurements , 1 min apart and in the modified supine position with at least 15 of left lateral tilt .
18-gauge intravenous cannula was sited in the non - dominant hand and intravenous preload of 15 ml / kg lactated ringer 's solution was given , within 15 min , after which the intravenous infusion was slowed to the minimum rate required to maintain vein patency .
after skin infiltration with lidocaine , a 25-gauge whitacre needle was inserted at the l2 - 3 or l3 - 4 vertebral interspace and hyperbaric 0.5% bupivacaine 2 ml with fentanyl 10 g was injected intrathecally .
shortly after the spinal injection , ephedrine 0.5 mg / kg in the ephedrine group or saline in the control group was injected intravenous for 60 sec .
all study medications were administered by an anesthetist not be involved in the care of the patient or collection of data .
a second anesthetist , blind to identity of the study medication , managed the patient .
the study period started at the time of intrathecal injection and ended when the umbilical cord was clamped .
the baseline sap and hr , lowest and highest sap and hr , nausea , vomiting , dizziness , and chest symptoms were recorded every minute .
the first rescue ephedrine time , total doses of rescue ephedrine , and total dose of used ephedrine were also recorded . upper sensory level of anesthesia was measured by assessing loss of pinprick discrimination at 10 min .
maternal bradycardia was defined as heart rate < 60 beats / min and treated immediately by using intravenous atropine 0.5 mg .
hypotension was treated immediately by using rescue intravenous ephedrine 5 mg every minute until sap returned to normal values ( > 80% of baseline value ) .
after delivery , apgar scores were assessed at 1 and 5 min by the attending pediatrician .
arterial blood samples were taken from umbilical cord for blood - gas analysis within 2 min .
prospective power analysis showed that a sample size of 20 patients per study group would have 80% power at the 5% significance level to detect a difference of 50% in the incidence of hypotension in the study group compared with control , assuming a baseline incidence of 80% , as reported in a published study of a similar patient group ( 10 ) .
data were presented as meanstandard deviation , median ( range ) , or percentage , as appropriate .
demographic parameters , delivery time , first rescue ephedrine time , umbilical arterial ph , sap , and hr were compared with t - test . changes over time in sap and hr between and within the study groups , comparing values at each time point , were analyzed with repeated measures anova followed by a post hoc bonferroni test to identify significant differences .
doses of total rescue and used ephedrine , apgar scores , and upper sensory level were compared with mann - withney u test .
hypotension , hypertension , tachycardia , bradycardia and nausea and vomiting of the study groups were compared with or fisher 's exact test , as appropriate
of 46 patients randomized , two in the both groups ( n=21 ) had to be excluded from data analysis because of the protocol violations . in each study group
there was no difference between the study groups with regard to the age , weight , height , and delivery time ( p>0.05 ) ( table 1 ) .
all patients had adequate surgical anesthesia . the median upper sensory level 10 min after the intrathecal injection was t4 ( t3-t5 ) for all the study groups .
there was no significant difference in the sap and hr vaues at baseline between the study groups ( p>0.05 ) .
the mean highest and lowest hr in the ephedrine group was higher than those of control group ( p<0.05 ) .
there were significant differences in mean lowest sap between the study groups ( p<0.05 ) .
the mean highest sap in the ephedrine group was higher than that of control group , but this difference was not significant ( fig .
the mean saps in the control group were significantly lower than those of the ephedrine group ( p<0.05 ) ( fig .
significant decreases of the mean sap in the control group were observed as compared with baseline ( p<0.05 ) ( fig .
the mean hr in the control group was significantly lower than those of the ephedrine group ( p<0.05 ) ( fig .
the incidences of hypotension , hypertension , tachycardia , bradycardia , nausea or vomiting , the total doses rescue and used ephedrine , and the first rescue ephedrine time are summarized in table 2 .
there was significant lower incidences of hypotension in the ephedrine group compared with the control group ( 8 [ 38.1% ] vs. 18 [ 85.7% ] ) ( p<0.05 ) .
there were significant lower incidences of nausea and vomiting in the ephedrine group compared with the control group ( 4 [ 19% ] vs. 12 [ 57.1% ] ) ( p<0.05 ) .
there was no difference in the ratio of hypertension between the study groups ( p>0.05 ) .
the ratio of bradycardia in the control group was significantly higher than that of the ephedrine group ( 14.3% vs. 0% ; p<0.05 ) .
there were significant decrease total doses of rescue ephedrine required in the ephedrine group ( p<0.05 ) ( table 2 ) .
total doses of used ephedrine in the ephedrine group were significant higher than that of control group .
the first rescue ephedrine time in the ephedrine group was significantly longer ( 14.97.1 min vs. 7.95.4 min ) than that of the control group ( p<0.05 ) ( table 2 ) .
this is the first report to our knowledge to investigate the effect of intravenous ephedrine given according to maternal weight dose of 0.5 mg / kg after the induction of spinal anesthesia for cesarean section to prevent hypotension related to spinal anesthesia .
our findings demonstrated that prophylactic intravenous ephedrine during spinal anesthesia for cesarean section can prevent hypotension without significant maternal tachycardia or hypertension , and also it increases the first rescue ephedrine time and decreases the ratio of nausea and vomiting .
the incidence of hypotension during spinal anesthesia for cesarean section is reported to be as high as 80% , despite fluid preload , lateral uterine displacement and use of vasopressor agents ( 11 ) . in the anesthesia practice
, prevention and management of hypotension related to spinal anesthesia remains a difficult problem and there was no consensus on its optimal management .
phenylephrine , 1-adrenergic agonist whose action would be expected to counteract the decrease in systemic vascular resistance induced by spinal anesthesia ( 12 ) .
phenylephrine can be used for the prevention and treatment of maternal hypotension ( 13 - 15 ) but a reduction of fetal oxygenation due to uterine vasoconstriction has been observed in animals ( 16 ) .
loughrey et al . ( 18 ) compared intravenous bolus of ephedrine and phenylephrine combination with ephedrine alone .
they found the combination of ephedrine and phenylephrine given as an intravenous bolus was not superior regarding to the incidence of hypotension , maternal side effects , or umbilical blood gases when administered as a prophylactic bolus followed by rescue boluses and compared to ephedrine alone .
ephedrine , an indirectly acting sympathomimetic amine , is probably the vasopressor of choice in obstetric anesthesia .
although ephedrine has mixed - and -adrenoreceptor activity , it maintains arterial pressure mainly by increases in cardiac output ( co ) and heart rate as a result of its predominant activity on 1-adrenoreceptors ( 19 ) .
variable intravenous infusions of ephedrine appear to be successfu1 ( 14 , 20 - 22 ) .
kee et al . ( 10 ) investigated the efficacy and optimum dose of intravenous ephedrine for prevention of hypotension during spinal anesthesia for cesarean delivery .
they compared the effect of ephedrine 10 , 20 , or 30 mg intravenous for the prevention of hypotension .
they found that a bolus dose of 30 mg intravenous ephedrine was required to reduce the incidence of hypotension during spinal anesthesia for cesarean delivery .
they concluded that although the incidence of hypotension was reduced to 35% in the patients who received ephedrine 30 mg compared with the control rate of 95% , this was at the expense of an increased incidence of hypertension , which occurred in 45% of the patients .
they suggested that 30-mg intravenous ephedrine may not be suitable in some patients such as those with cardiovascular or cerebrovascular disease .
( 10 ) , the incidence of reactive hypertension is lower in our study ( 45% vs. 28.6% ) .
was 30 sec , however , in our study ; it was 60 sec . decreased ratio of reactive hypertension in the ephedrine group in our study
particularly if sympathetic block level is low , reactive hypertension may be a problem . in the ephedrine and control groups ,
upper sensory level was t4 ( t3-t5 ) , however , it was t4 ( c2-t7 ) in the study of kee et al .
( 10 ) , and the range of sensorial block was wide compared to our study . increased sympathetic activity might be related to compensatory stimulation of thoracic sympathetic nerves , including the fibers supplying the heart ( t1-t4 ) in the patients undergoing spinal anesthesia ( 23 ) .
such event also was reported in low spinal anesthesia and epidural blocks in which sympathetic block does not reach the t4 level ( 24 ) .
the ratio of reactive hypertension was similar the patients given intravenous ephedrine and saline ( 28.6% vs. 19% ) . in the control group ,
cause of reactive hypertension may result from the administration of higher doses of rescue ephedrine .
( 9 ) reviewed available studies to determine the dose - response characteristics of prophylactic intravenous ephedrine for the prevention of hypotension during spinal anesthesia for cesarean delivery .
they reported that , significant dose - response relationships were found for hypotension , hypertension and umbilical arterial ph .
they suggested that , the use of larger doses of ephedrine ( > 14 mg ) does not completely eliminate hypotension but causes reactive hypertension and a minor decrease in umbilical arterial ph .
they found no evidence of a dose - response relationship for nausea or vomiting , fetal acidosis , or apgar scores .
both ratio of hypotension and nausea and vomiting decreased with ephedrine dose used in this study .
some studies found significantly higher umbilical arterial ph when using prophylactic ephedrine ( 7 ) .
thus , it seems that ephedrine must be used during cesarean section to avoid spinal hypotension , which remains a major determinant of fetal acidemia ( 10 , 25 ) .
ephedrine has been shown to cross the placenta and to affect the fetal and neonatal heart rate ( 26 ) due to -adrenoreceptor activity .
a greater proportion of low umbilical artery ph has been observed with ephedrine than phenylephrine ( 12 ) .
previous studies have shown that the use of ephedrine to prevent or treat hypotension associated with spinal and epidural anesthesia for cesarean delivery may not correct fetal acidosis and may even increase it , especially if hypotension still occurs ( 5 , 22 , 27 ) .
kee et al . ( 10 ) found that umbilical blood ph values were lower in patients who had hypotension compared with patients who did not , whereas hypertension was not associated with adverse effects .
although they did not measure uteroplacental flow , their results suggest that , within the range of doses used in their study ( 10 , 20 , or 30 mg ) , the potential vasoconstrictive effects of ephedrine may have a less detrimental effect on uteroplacental blood flow than the effects of hypotension .
they suggested that when a -adrenergic agonist was administered before elective cesarean section , lower respiratory morbidity , and better lung function and reduced risk of hypoglycaemia in the newborn infant were found . in our study , lowest sap was maintained better in patients who received intravenous ephedrine compared with the control groups .
we found no significant difference in neither apgar scores nor umbilical arterial blood gases data between the study groups , despite a difference in the incidence of hypotension , probably reflecting the early recognition and restoration of hypotension with rescue ephedrine .
although mean highest hr in the ephedrine group was higher , we found no difference in ratio of tachycardia between the study groups . this could be explained by both the effect of " rescue " ephedrine and baroreceptor - mediated reflex increases in heart rate in patients who became hypotensive .
these findings suggest , the prophylactic bolus dose of 0.5 mg / kg intravenous ephedrine given at the time of intrathecal block after a crystalloid fluid preload , plus rescue boluses reduce the incidence of hypotension . it has not been shown to eliminate the need to treat maternal hypotension during spinal anesthesia for elective cesarean delivery compared to intravenous rescue boluses alone . | pubmed |
Analogy expectation of an observable / random variable
I'm trying to figure out the analogies between the *expectation of a random variable $X$* and the *expectation of an observable of a quantum mechanical system $A$* (using [this wikipedia article](https://en.wikipedia.org/wiki/Quantum_statistical_mechanics)).
The **expectation of $A$** is
$$\mathbb{E}(A)\equiv\int\_\mathbb{R}\lambda\text{d}\text{D}\_A(\lambda)\,,$$
where **the distribution of $A$ under $S$** is
$$\text{D}\_A(U)\equiv\text{Tr}(\text{E}\_A(U)S)\,,$$
where $S$ is a given **state** (i.e. density operator) and the **spectral measure** is
$$\text{E}\_A(U)\equiv\int\_U\lambda\text{d}\text{E}(\lambda)\,,$$
(where $\text{E}(\lambda)$ is the **spectral projection** of $A$?)
Does anybody know to how to define $\text{D}\_X(\lambda)$ for a random variable in a way similar to $\text{D}\_A(\lambda)$ such that
$$\mathbb{E}(X)\equiv\int\_\mathbb{R}\lambda\text{d}\text{D}\_X(\lambda)\,,$$
and the analogy is complete? Also, to what does $E\_A(U)$ correspond in the case of a random variable?
Partial attempt:
* the state $S$ corresponds to the probability measure $P$
* the distribution of $X$ under $P$ can be defined as $P(X\in U)$, which is
$$D\_X(U)=\int 1\_{X\in U}\text{d}P\,,$$
but I still don't know how to write this like a trace of the form $\text{Tr}(\cdots P)$.
A (real) **Classical Random Variable** is usually defined as a map $X: \Omega \rightarrow \mathbb R$, where $\Omega$ and $\mathbb R$ are assumed to be measurable spaces with sigma algebras $\Sigma$ and $\mathscr B$.
If we take a specific probability measure $P$ on $\Omega$, then it induces a probability measure $D\_{X}$ on $\mathbb R$ given by: $$D\_{X} (U) := P(X^{-1}(U)), \text{ } U\in\mathscr{B} $$.
Defining $D\_{X}(\lambda)={D\_{X}({({-\infty},\lambda]})}$, we get $$\mathbb{E}(X)\equiv\int\_\mathbb{R}\lambda\text{d}\text{D}\_X(\lambda)$$
You got close, but I think the problem is making the clear symbolic distinction between the underlying space $\Omega$ of the random variable $X$, and its target space $\mathbb{R}$. You need to do this to see a full parallel with the quantum case, in which: $\Omega \leftrightarrow \mathscr{H}$,$X \leftrightarrow A$, $P \leftrightarrow S$, and $P(X^{-1}(U)) \leftrightarrow \text{Tr}(\text{E}\_A(U)S)$.
Here I've tried to limit myself to your specific question, and to use your notation. However, I've given a more elaborate and less superficial analogy (with, I think, a better notation) between classical and quantum probability theory in [this answer](https://physics.stackexchange.com/questions/262448/why-is-a-hermitian-operator-a-quantum-random-variable/262736#262736), if you're interested.
| stackexchange/physics |
Harry Potter The Shadows of the Beast: Year 1
All right, I guess you have stumbled onto my new fic. My second ever, and hoping to be the first one I finish. Any who, I plan to go through all seven years, one through five not having too many changes, mostly just having my own characters thrown in the mix with Harry and the gang. Once we hit sixth year I will changes things, because I can't stand HBP or DH, sorry to anyone who likes them. Alright I've rambled on enough, on with the show.
Disclaimer: Anything Harry Potter belongs to Rowling, I only own my created characters.
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Encounters with the unknown
I guess most of you know of the wizard Harry Potter or the gist of the story at least.
As a baby Harry survived the killing curse as an infant, left with what little family he had left who hated him. Went on to save the world and stop an evil rampaging lunatic.
Well, that was the story fed to the public anyway; I'm here to tell you not to believe everything you hear from your ministry.
Before I begin to retell my side of the story, first time since I settled down again, I must tell you that this story is not for the faint of heart. The story of you all know and cling to is a kiddy version, so turn back now if you don't think you can handle it.
I'm guessing by now all that is running through your head is 'Who the hell does this guy think he is.' Well I was at the front lines in the war, I watched Harry finish it, kill my father, but that is for a later time than this.
I have few people left that I consider close to me, most being murdered in the war because I disobeyed my father and helped to fight his death eaters.
If you haven't guessed by now, I am Taylor James Riddle. The only son of the dark lord Voldemort, I only found this out in my fourth year at Hogwarts though.
My story starts in number 12 Pivot Dr. I had been living with two elderly muggles, non-magic folk, for as long as I could remember.
It was nice, I never really questioned why I lived with them when they were not even related to me, and I just kind of accepted it. They we
They always told me to call them by their first names. Mike always saying, 'anything else would make us feel old.'
They always got me whatever I would ask for, not that I asked for that much I was pretty content with what they gave me to begin with.
Mike and Vicky, some of the nicest people I have ever met and I will never forget them. They had moved from the U.S. shortly after they got married. One of their daughters, Mikie, had moved back to the U.S. after she finished school.
I can still remember the first time I was told that I would have to go to school.
I was eating breakfast, Vicky silently watching me savagely attacking my French toast, when Mike put his paper down and cleared his throat. "Taylor, I need to talk to you."
Uh oh.
He never calls me Taylor unless it is something really important or I'm in trouble.
I gulped down the last bit of my milk before answering him. "About what?"
He smiled when he saw my worried look, quickly calming my fears. "Don't worry, your not in trouble, it's about you starting school next week."
That's right; I got to start school soon.
The week passed blindly fast after that morning, I felt like I had blinked and missed it.
Once I had started school was when I noticed something different about myself from the other kids. I seemed to be able to retain information very well. I could look at a page in a book once and recite it word for word. I may not have understood everything at once, but I would eventually.
School was also where I met two of my closest friends, Harry Potter and Cassandra Black.
I had first met Harry and Cassandra one day when I was wandering around outside the playground, waiting for Vicky and Mike to get out of a conference with my teacher; she seemed to think I needed to be bumped up a grade
I seemed to astound my teacher at the way I had been learning things so much faster than just about anyone else in the class. I had been wondering what Vicky would make for dinner when my thoughts were interrupted by a near by shout.
"Hey, leave him alone you bully!" It was a girl, and it sounded like she wasn't too far away.
I jumped off the log I was balancing on and ran over to where I heard the shout. I gasped when I saw the scene in front of me.
A very large boy, more like a mini whale, was standing over another boy with jet black messy hair and glasses. The boy on the ground looked like he hadn't eaten in days, and his clothes were four sizes too big on him. Not too far off was a girl with black hair that reached to the beginning of her back, her eyes a startling pale grey.
Tubby, as I had so accurately nicknamed the mini whale, lumbered over to the girl and pushed her into the ground, I'd had enough of this kid and walked into view of him.
He looked at me and grinned. "Well, who are you?" He walked toward me, stubby fingers forming into a fist. "Well, answer me."
I really hadn't thought much of what I was going to do to him, I was smallish at the time, and he could have easily sat on me and crushed me.
By the time I had used to size him up, he was in front of me with his fist raised. One moment everything was fine. The next it felt like the world was on fire, or at least my left eye was.
The world swam for a second; I was finding it hard to stand. I felt something building in my fingertips. I did the first thing that came to mind and pushed against his chest with all my strength. I thought for sure his blubber was going to eat me or something, but then he flew back, hitting the ground hard.
I stared at the boy and my hands, my eyes moving between the two a few times.
The boy that had been on the ground when I showed up slowly got to his feet and walked over to me, his green eyes seeming to shine. "How did you do that?"
At the time I really had no idea. The girl stood up and walked over to us, brushing off the dirt from her jeans. "I guess I wasn't much help sorry about that, um what was your name again?"
The Boy smiled, but I noticed that he wasn't looking too great. He had a few cuts and bruises just about everywhere you looked.
"My name is Harry Potter, what about you two?"
"Mine is Cassandra Black."
They both turned to me, expecting me to answer I supposed. "Taylor, but please call me TJ."
We only got closer from there. The three of us were inseparable, always seen together before and after school, and during lunch.
I soon learned that Tubby's real name was Dudley Dursley and he was Harry's cousin. I had made it my objective from that day on to make his life hell when I was older.
As the years went on, weird stuff kept happening to not just me but Harry and Cassandra too. I had crossed being crazy and seeing things off my list because, well, it wasn't only happening to me.
My eleventh birthday rolled around and I had a great party, even if only Harry and Cassandra showed up. Unless you count Cassandra's cousin, Nymphadora Tonks, I don't because I didn't really invite her it was the only way Cassandra was allowed to come. Tonks was cool though, she was tall; remember I was still small for an eleven year old. She had bright pink hair and light blue eyes.
I didn't see the family resemblance but Cassandra told me not to worry about it.
Over all it was a fun birthday, but the fun had really started a few days after when a man had stopped by the house.
Vicky answered the door and they talked for a few minutes before he walked inside the house and slipped into the family room.
Everyone followed him and waited for him to speak. He looked older than Mike and Vicky combined. He had a pointy midnight blue hat and what looked like a robe of some sort. His blue eyes were startling behind his half-moon glasses, at the time it looked like he was peering into my soul. My first guess was almost on the target with his eyes. His grey beard reached the floor when he sat down. All in all he looked like father time.
The man smiled and looked right at me. "You have the same determined look your father always had, but got most of your mother's looks, except your eyes of course."
Wait, he knew my parents, this was the first time I had ever heard anything about them. "You knew my parents sir?"
"Knew them, I taught them at Hogwarts school of Witchcraft and Wizardry." Wait, say again. He reached into his robe and pulled out a thick letter and handed it to me. "Wait to open that after I have left, I still have some things to explain."
I was still a little skeptic as he explained who he was and that I was a wizard. Can you really blame me though, but as I went over things in my head I realized that this could be the only explanation for some of the things I had done.
As Dumbledore left I had started to walk up to my room when Vicky stopped me. "Here, this is rightfully yours, we never looked in it." I grabbed the envelope in her outstretched hand and looked at it and smiled. On the cover it said, 'to my son, Taylor' a bit lower it said 'from your loving mother.'
"Thank you," My voice sounded distant as I thanked Vicky and walked to my room, ripping the letter from my mum open. I don't really remember when I had started crying, only that I had cried myself to sleep that night.
_My Son,_
_If you are reading this then I am dead, murdered by a group of evil wizards under your father's command. I wish I was there to see you grow up to be the fine young man I know you will be. If you don't already know, you're a wizard. If you were wondering how you will pay for school, don't worry I have taken care of that, in the envelope is a key. It is for your vault at Gringots, the wizard bank. You have been left everything from my side of the family but you can't get your full inheritance in till you come of age. Just remember that you will always have people that love you close by, never follow in your father's foot steps._
_I love you,_
_Jennifer Madeline Culverin._
By the time I was done reading the letter for the third time I slid the rest of the contents of the envelope into my hand. A key and a necklace came out. I studied the necklace intently. It was a silver chain with a silver snake dangling off it. The snake had small green jewels for eyes.
I sniffled and placed the two letters and my key and necklace on my nightstand and settled down to try and sleep.
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AN: Ok, so here is my new and improved version. Taylor has a different background. As I thought of where I wanted to go with this story I realized that what I had written before would have never worked. I hope you like it. Please review and tell me.
Till next time.
End file.
| fanfiction |
oral invasive procedures like surgical removal of the impacted third molars can give nightmares to the patients .
it involves severe laceration and tissue trauma to soft and hard tissues surrounding it.1 - 3 this causes pain , swelling and limited mouth opening to the patients .
although inflammatory response is good for healing but an exacerbated response can cause all of the above mentioned complications . to overcome these complications , clinicians mostly prescribe corticosteroids.4,5 in the initial phase of the inflammatory process , corticosteroid acts by suppressing the production of vasoactive substances such as prostaglandins and leukotrienes .
this reduces fluid transudation and hence reduces chances of swelling.2 these drugs help to control mild pain hence they should be used in conjugation with potent analgesics.1 few complications like stomach irritation , indigestion , tachycardia , nausea , insomnia , metallic taste in the mouth are present , but it all depends on the dose and mode of administration of the drug .
but in dental extraction the doses are for shorter duration , hence chances of adverse effects are very rare . till date , only one study has been carried out which relates the type , dosage , time and mode of administration of these drugs .
further , the use of these drugs in surgical extractions have remained under - investigated .
also , in international research scenario , this topic is very much debated.6 the aim of this study was to find out which drug among the two is better for surgical dental extractions .
this study was a split - mouth study conducted in the department of oral and maxillofacial surgery .
about 25 patients were selected from the patient pool of the department based on the inclusion and exclusion criterias .
the study was approved by the ethical committee of the institution and an informed consent was signed by all the patients .
patients having bilateral mandibular third molars with pell and gregory s class ii position b impaction assessed clinically and radiographically were included in the study .
patients on any anti - inflammatory or analgesic drugs 15 days prior to study or having any known allergy to drugs used in the study were excluded from the study .
pregnant and lactating females were also excluded from the study . both the surgeries were performed with a gap of 3 - 4 weeks by the same surgeon .
the side of surgery and the drug to be prescribed were randomly selected on the day of the first surgery .
the drugs either dexamethasone 8 mg or methyl prednisolone 40 mg were administered to the patients orally , 1 h prior to the surgery . on the day of surgery ,
anesthesia was achieved by administration of 2% lidocaine with 1:100,000 epinephrine.7 first incision was placed from distal to mesial on the alveolar ridge till the disto - lingual region of the second molar .
then intrasulcular incision was placed encircling the second molar till the interdental papilla between the second and first molar region . following the incisions ,
after sectioning the tooth , it was remove and the surgical site was cleaned with copious irrigation of saline .
the duration of the surgery was measured in minutes from time of incision to suture placement .
after surgery , the intensity of the pain was measured by a 10-point visual analog scale .
pain was assessed at 8 h intervals for the first 3 days of the post - operative period and the number of analgesics consumed in 7 days postoperatively were also noted .
post - operative swelling was evaluated by the method described by ustun et al.8 the assessment of the swelling was carried out before the beginning of the surgical procedure ( baseline ) and after 1 , 2 , 3 and 7 days following surgery .
trismus was assessed by measuring the distance between the right upper and lower central incisors with the help of a caliper .
the evaluation of trismus was also done preoperatively ( baseline ) and after 1 , 2 , 3 and 7 days following surgery .
all the patients were cooperative and reported on all the follow - up visits . there were no cases of any post - operative complication .
when duration of surgery and number of analgesics ( group a mean 14 tabs and group b mean 13.25 tabs ) were compared , no significant differences ( p = 0.680 ) were found ( table 1 ) .
it was noted that maximum swelling resulted at 48 h in both the groups ( group a mean 4.95 and group b mean 8.66 ) .
statistically significant differences were observed in all phases of swelling ( table 2 ) between both the groups ( p = 0.023 , 0.002 , 0.025 , and 0.19 respectively ) .
mouth opening reduction was noted in all groups regardless of the drug used , but reduction was more following surgery in which methylprednisolone was prescribed .
statistically significant differences were found at 24 , 48 and 72 h ( p = 0.201 , 0.031 and 0.431 ) , whereas on 7 day the mouth opening reduction was nonsignificant ( p = 0.698 ) ( table 3 ) .
no statistically significant difference was noted in post - operative pain during the follow - up visits .
however , low pain scores were obtained with the use of dexamethasone before surgery ( figure 1 ) .
corticosteroids are very well - known for controlling inflammation , and reducing transudation and edema . most of the surgeons prescribe corticosteroids to control surgical outcomes and yield a comfortable post - surgical healing period
. however , there are no definite protocols related to different molecules or regimes , time and route of administration.6 there is limited information on the use of corticosteroids as a single oral pre - surgical dose to reduce pain during third molar extractions .
the drug doses used in the present study were based on the previous literature available .
the dose of the drug should be more than the cortisol released normally by the body . due to this reason , in the present study 8 mg dexamethasone and 40 mg,10 methylprednisolone
the present study was done as a split - mouth study as it reduces the subject variability and reduces confounders .
furthermore , same position or levels of impacted teeth were selected with the help of a radiograph as it is a good indicator for complications occurring after surgery.11 thus , pell and gregory s classification was used in the study .
duration of surgery and analgesics consumed by the patients were evaluated and checked for their effect on the parameters taken in the study , but no statistically significant result was found which was in accordance to various other studies.8,12,13 inability to open the mouth completely is a complication after surgery that hinders patients activities such as eating , drinking and performing oral hygiene procedures .
dexamethasone caused less trismus out of the two drugs which was significant on the 2 day of evaluation .
this could be due to the long lasting action of the drug as compared to methyl prednisolone which is intermediate acting drug and has a shorter half - life than dexamethasone.2 this result was in accordance to a study done by vegas - bustamante et al .
it can be caused by the response of the tissues to manipulation and trauma caused during surgery .
its onset is gradual and maximum swelling is present during 48 h after surgery . in the present study ,
this is again attributed to the half - life of the drug which is more than methyl prednisolone.2,14 the efficacy of dexamethasone is also due to the reason that it reduces the formation of thromboxane a2 which in turn reduces the amount of prostaglandin e2 that is formed.13 graziani et al . in his study with 43 patients stated that dexamethasone in conjugation with augmentin 12 hourly for 5 days best controlled the edema and swelling.11 patients were asked to take acetaminophen 750 mg as a rescue drug in case the pain persisted .
a numerical rating scale was used to rate the pain caused to the patients in the early post - operative period .
patients rated less pain in all surgeries where dexamethasone was administered as compared to methyl prednisolone .
the production of prostaglandins that influence the peripheral pain response is not controlled,13,15 thus emphasizing the result obtained .
from the present study , it can be concluded that 8 mg dexamethasone is more efficient in controlling swelling and trismus as compared to 40 mg methyl prednisolone . but
although much attention is given to post - operative medications , radiography , dental morphology and depth of impaction , but age of the patient as well as experience of the surgeon should also be taken into account .
further studies are needed to be undertaken which include all parameters mentioned above to establish this fact . | pubmed |
Do minerals and/or metals found in water tend to settle to the bottom?
I was reading an article that suggested that if one lets water sit for a day in a bottle or pot, then some of the metals in the water, such as lead, will settle to the bottom.
Does anyone know if this theory has been tested?
The reasoning seems somewhat logical, since particles in water tend to sink to the bottom. However, at the molecular level I know that ionic interactions may cause unintuitive behaviors.
I do have a TDS and pH meter. Perhaps I could let water sit for a day, then check the TDS of the water on top. Then compare that with the TDS of water that has been thoroughly mixed. Does anyone see any flaws with this idea?
>
> **Excessive toxic metals.**
>
>
> Many city water supplies, especially wells,
> contain some excessive amounts toxic metals or toxic amounts or forms
> of other minerals. Common toxic metals include arsenic and lead,
> which are found in many pesticides and herbicides and find their way
> into the wells and other water supplies. At times, these are
> difficult to remove from large amounts of water, so they are just left
> there even if the water violates environmental standards, especially
> in poorer nations.
>
>
> Other minerals that often contaminate drinking
> water include too much iron, manganese, boron and copper depending on
> the location. One way to remove some of these easily is to let a
> pitcher or pot full of tap water sit for a day and some of the metals
> will settle to the bottom of the pot.
>
>
> You can then pour off the
> water, leaving most of the minerals in the bottom of the pot. You may
> lose some beneficial minerals this way, but it is one way to remove
> some toxic metals, as well.
>
>
>
-Dr. Lawrence Wilson
<http://www.drlwilson.com/ARTICLES/WATER.htm#INTRO>
I have experimented with this phenomenon and found that allowing water to sit for a day may have a non-trivial effect on the TDS gradient in the water. This effect could be due to various reasons, however.
**Materials**: Glass pitcher, plastic & porcelain & glass containers; tap water from near Chicago, IL, USA; TDS meter
**Methods**: I poured tap water into various containers and allowed the water to stand for about 30 hours. I then measured the TDS at the top of the water. Then I stirred the water vigorously and let the water sit for about a minute. I took a TDS reading again at the top of the water. I repeated the experiment a total of 4 times.
**Results (Updated 12/23/2016)**:
$$\begin{array}{ccc}
& \text{TDS Before Stirring} & \text{TDS After Stirring} \\ \hline
\text{Glass} & 138 & 141 \\
\text{Plastic} & 150 & 146 \\
\text{Porcelain} & 153 & 152 \\
\text{Glass} & 147 & 149 \\
\end{array}$$
**Conclusion**: The results are interesting. I will discuss a few possible reasons behind the results, but I'm not certain.
* TDS (after) was higher both times for glass. Maybe this is because when the water sits, a small number of ions adsorb to the glass surface.
* For plastic and porcelain, TDA (after) was lower for both plastic and porcelain. This may be due to dust that settled and dissolved into the water, as I did not cover the containers (looking back, covering the containers would probably have made the experiment more controlled). In addition, maybe ion adsorption happens less with porcelain and plastic.
My well water in California has lots of minerals, especially in the summer and fall, when the water table is low. I've been letting water sit in tall gallon containers for many years. Over time, the bottoms of the containers get cloudy with mineral build up. I pour the water off the top, until it gets down to the last three or four inches in the container. Then I pour the water that's been on the bottom out, and rinse and refill the container.
When the containers get so cloudy, I use a vinegar solution to get rid of built up minerals. Seeing how quickly the containers show mineral accretion, I continue to do this. I keep three glass gallon containers going at the same time, so that two are sitting while I use the last one.
Perhaps it doesn't really do much, but the amount of accretion I see in the jars inspires me to keep doing it.
Thanks for conducting and posting your research!
| stackexchange/chemistry |
neuroleptic malignant syndrome ( nms ) is a potentially life - threatening adverse reaction to antipsychotic drugs .
neuroleptic malignant syndrome is uncommon with the use of atypical antipsychotics like olanzapine . in the past few years
there has been increased use of atypical antipsychotic drugs . a case of nms related to olanzapine therapy
was reported in a young male ; thereby drawing the attention towards adverse events occurring with the use of atypical antipsychotics .
an 18 year old male presented with four years duration of bipolar affective disorder ( bpad ) .
his illness started with manic symptoms characterized by decreased need for sleep and rest , over activity , over cheerfulness , over planning and over spending . in the initial two years of his illness , he had multiple episodes of mania , each lasting for three weeks , after which he would recover spontaneously . in between he
had a few depressive episodes when he would complain of poor sleep and appetite , lethargy , sad mood , and finding no interest in any activity . during the last one year of his illness ,
the patient sought treatment from various medical facilities but did not continue any long - term management . during his last episode of mania ,
the treating psychiatrist prescribed olanzapine 10 mg / day , aripiprazole 15 mg bd , and sertraline 100 mg / day .
after one week , the patient reported tremors when aripiprazole was stopped and olanzapine was increased to 20 mg / day along with sertraline 100 mg / day .
the patient reported increase in tremors after two days and in next week he developed rigidity in all the four limbs associated with mutism , at which time the patient stopped all medications and presented to us with altered consciousness and no responsiveness to questions or commands .
the patient was diagnosed with neuroleptic malignant syndrome , and his serum cpk at 1622 iu / l along with the characteristic symptoms and signs confirmed the diagnosis .
he was started with bromocriptine 7.5 mg / day in divided doses , which was later increased to 15 mg / day with tab lorazepam 4 mg / day .
the patient improved only minimally , and levodopa 125 mg three times a day was added
the rigidity also reduced markedly and he started walking . during routine chest x - ray ,
the patient was referred to chest and tuberculosis hospital . at the time of discharge he was ambulatory , had adequate oral intake and serum cpk had reduced to 106
he was discharged with an advice to continue levodopa 125 mg , three times a day , bromocriptine 5 mg / day and lorazepam 2 mg / day and was asked to follow up in the out - patient department after one week with a plan to start prophylaxis for bpad during follow up .
however , this case illustrates that nms can also occur due to treatment with atypical antipsychotic medications ( like olanzapine ) .
the patient also had tubercular infection of chest , but patient 's symptomatology could not be explained on the basis of this .
nms is more common in affective illness and young male , which is also the risk factor in our case . a rapid loading of antipsychotics is considered to be the causal factor in the development of nms by causing a sudden and massive down - regulation of dopaminergic transmission .
the same mechanism seems to have worked in our patient too as there was temporal co - relation between increased dose of olanzapine to 20 mg / day and onset of features suggestive of neuroleptic malignant syndrome .
we have assessed the causality of this adverse reaction by the who - umc causality assessment system and naranjo 's assessment scale . in this case , there is clinical features and laboratory test abnormality ( serum cpk at 1622
the symptoms could not be explained on the basis of other disease or drugs . and
considering the typical clinical picture and laboratory abnormalities of nms , rechallenge with the drug was not required . so as per the who - umc causality assessment system the adverse event is
as the reaction was life threatening and led to prolonged hospitalisation and required intensive medical care , it is classified as
severe. neuroleptic malignant syndrome can occur with atypical antipsychotics like olanzapine especially in the presence of risk factors .
nms remains a dangerous condition and has also been described in non - psychiatric settings . | pubmed |
Jaw, that tooter shot has to be one of the nicest photos I've ever seen on this or any other forum. That's a winner.
Artman wrote: Jaw, that tooter shot has to be one of the nicest photos I've ever seen on this or any other forum. That's a winner. | slim_pajama |
ovarian cancer is divided into two ( 2 ) histopathologic groups with distinct molecular pathogenesis as well as propensity for extra ovarian spread .
group 1 includes tumors of borderline malignancy , low - grade serous carcinomas , endometrioid and mucinous carcinomas .
these tumors arise from ovarian parenchyma , confined to one or more cysts , and do not typically originate from or involve the ovarian surface and often exhibit braf , kras , p - ten , b - catenin mutations .
group 2 includes serous carcinomas that arise from the ovarian surface epithelium or mullerian inclusions , fallopian tube mucosa , and mullerian epithelium in peritoneal cavity and often exhibit p53 mutations ; these tumors are rapidly evolving and lethal .
primary fallopian tube carcinomas ( pftcs ) that arise from the mucosa of the fallopian tube , accounts for less than 1% of all female genital tract carcinomas .
morphologic features such as dominant , centrally located mass in fallopian tube , presence of in situ carcinoma , absence of coexisting endometrial carcinoma , minimal ovarian involvement , qualifies these tumors as pftc .
primary peritoneal serous carcinomas ( ppscs ) though morphologically resemble ovarian serous carcinomas ( oscs ) ; the ovaries are either normal or minimally involved .
coexisting intraepithelial neoplasia is a prerequisite for pftc diagnosis ; on contrary , ppsc are often diagnosed in the absence of an in situ lesion .
recent studies by crum et al . have shown the association of tic in 47% ( 5/8 ) of ppsc and 37% ( 19/39 ) osc cases [ 35 ] .
the group has also established tic as an earliest manifestation of pelvic serous carcinoma in both brca+/sporadic tubal carcinomas [ 3 , 6 ] . as the role of distal fallopian tube as an organ of serous carcinogenesis is emerging , the primary aim of our study was to understand if the biologic properties of tumors arising in distal fallopian tube that remain as pftc are different when seeds on peritoneal surface ( ppsc ) .
tic though fallopian tube in origin can be genetically related to ovarian / peritoneal carcinomas , and our secondary goal was to understand the biologic properties of tic in association with pftc from ppsc w / associated tic .
mwh pathology files were searched between the years january 2006 december 2009 . all tumors that met who 2001 criteria for ppsc were selected .
ovarian involvement - nonexistent confined to surface w / no stromal invasion ( < 5 5 cm ) .
see - fim protocol , a procedure for sectioning the entire fimbriated end ( see - fim protocol ) in prophylactic oophorectomy specimens tubes , are first fixed for 46 hours : the fimbriated end ( a ) is amputated , ( b ) open - sectioned longitudinally to expose the maximum surface area , ( c ) submitted in toto with the remainder of the tube sectioned at 2 - 3 mm intervals , was adopted at mwh in 2006 .
ppsc were grouped into tumors with associated tic in the adjacent fallopian tubes and tumors without associated tic .
hematoxylin & eosin ( h&e ) slides were reviewed and the diagnosis was confirmed .
figures 1 , 2 , and 3 show the histologic and ihc expression for pax 2 , wt-1 , and p53 markers .
representative tumor blocks as well as associated tic in the corresponding fallopian tube sections were selected .
wilm 's tumor gene 1 ( wt-1 ) , p53 , and pax 2 gene markers were selected for loss of heterozygosity ( loh ) and immunohistochemical ( ihc ) analysis .
one or two paraffin blocks were selected to represent tumor and normal tissue from each patient .
the first and last sections were stained with h&e to confirm that the intervening blank slides contained the lesional material .
tissue fragments were microdissected under stereomicroscopic visualization from 68 blank deparaffinized slides for each of the marked targets .
areas that contained large amounts blood , necrosis , or contaminating normal tissue were avoided during microdissection .
pcr amplification was performed using fluorescently labeled primers flanking microsatellite repeat polymorphisms located in close proximity to the specific genes of interest .
six microsatellite loci situated adjacent to three known tumor suppressor genes on chromosome 10q ( pax2 d10s.520 , d10s.1173 ) , 11p ( wt-1 d11s.2370 , d11s.995 ) , and 17p ( p53 d17s.1844 , d17s.516 ) were assessed .
amplification products were detected using fluorescence capillary electrophoresis and gene mapper software 4.0 ( abi 3730 , applied biosystems , foster city , ca ) .
allelic peak heights of each electropherogram in relative fluorescence units were analyzed . the presence or absence of allelic imbalance
was accessed by comparing allelic peak heights for each tumor sample with corresponding normal tissue .
the sample was considered as noninformative ( ni ) if the tissue sample demonstrates only a single peak .
individuals with a heterozygous allele pattern ( two peaks ) were designated as informative for that particular locus ( figure 4 ) .
loss of heterozygosity ( loh ) was calculated using the following formula : loh = allele ratio [ tumor]/allele ratio [ normal ] ) .
the sample was considered to have high level of allelic imbalance if the allelic ratio for a specific microsatellite marker was less than 0.5 or greater than 2.0 and to have low level of allelic imbalance when the peak height ratios fall into the range of 0.50,7 or 1.652.0 .
immunohistochemical stains were performed on the blank sections on the corresponding paraffin - embedded block selected for loh analysis .
staining is considered positive for all the three antibodies wt-1 , p53 , and pax 2 .
the intensity of staining ( is ) was graded as negative ( 0 ) , weak ( 1 ) , moderate ( 2 ) , and strong ( 3 ) , and proportion of positive staining cells ( ps ) was recorded as 0%5% ( 1 ) , 1%20% ( 2 ) , 21 - 80% ( 3 ) and greater than 80% ( 4 ) . a cumulative score ( cs )
the score is derived by the summation of ps and is , ranged from 0 to 7 and is further divided into negative ( 0 ) , weak ( 1 - 2 ) ; moderate ( 35 ) ; strong ( 67 ) .
this group included all cases of primary fallopian tube carcinomas ( pftcs ) . all tumors ( 100% ) were present in the background of tic .
table 2 shows the clinical and pathologic features of the pftc ( group 1 ) cases .
pax 2there is heterogeneity in pax 2 immunostain expression in both tic as well as the adjacent invasive carcinoma .
a moderate - strong staining is seen in 40% ( 4/10 ) cases of both tic as well as the adjacent invasive carcinoma .
the foci of tic were able to be captured for loh analysis in four ( 4 ) out of ten ( 10 ) cases .
there is heterogeneity in pax 2 immunostain expression in both tic as well as the adjacent invasive carcinoma .
a moderate - strong staining is seen in 40% ( 4/10 ) cases of both tic as well as the adjacent invasive carcinoma .
the foci of tic were able to be captured for loh analysis in four ( 4 ) out of ten ( 10 ) cases .
a strong nuclear staining is seen in 100% ( 10/10 ) of all tic and 80% ( 8/10 ) adjacent invasive carcinoma .
loh was seen in up to 50% ( 2/4 ) of tic and 30% ( 3/10 ) of invasive carcinomas .
a strong nuclear staining is seen in 100% ( 10/10 ) of all tic and 80% ( 8/10 ) adjacent invasive carcinoma .
loh was seen in up to 50% ( 2/4 ) of tic and 30% ( 3/10 ) of invasive carcinomas .
this group includes all cases of ppsc without associated tic in the fallopian tubes .
a strong pax expression is seen in 33.3% ( 3/9 ) and moderate expression in 33.3% ( 3/9 ) .
loh was seen in a higher frequency in 7/9 ( 79% ) of cases .
a strong pax expression is seen in 33.3% ( 3/9 ) and moderate expression in 33.3% ( 3/9 ) .
loh was seen in a higher frequency in 7/9 ( 79% ) of cases .
a strong nuclear staining is seen in 100% ( 10/10 ) of all tic and 80% ( 8/10 ) adjacent invasive carcinoma .
loh was seen in up to 44% ( 4/9 ) at the wt-1 locus and 44% ( 4/9 ) at the p53 locus .
is seen in 100% ( 10/10 ) of all tic and 80% ( 8/10 ) adjacent invasive carcinoma .
loh was seen in up to 44% ( 4/9 ) at the wt-1 locus and 44% ( 4/9 ) at the p53 locus .
this group includes all cases of ppsc with associated tic in the fallopian tubes .
pax 2there is heterogeneity in the expression of pax 2 immunostain expression in both tic as well as ppsc .
a moderate - strong staining is seen in 40% ( 2/5 ) cases ppsc , and 20% ( 1/5 ) of associated tic .
no loh was seen in both tic as well as ppsc at the pax gene .
there is heterogeneity in the expression of pax 2 immunostain expression in both tic as well as ppsc .
a moderate - strong staining is seen in 40% ( 2/5 ) cases ppsc , and 20% ( 1/5 ) of associated tic .
no loh was seen in both tic as well as ppsc at the pax gene .
a strong nuclear staining is seen in 100% ( 5/5 ) of all tic and 80% ( 4/5 ) adjacent invasive carcinoma .
no loh was seen in both tic as well as ppsc at the wt-1 or p53 gene loci .
one ( 1 ) out of five ( 5 ) cases showed loh at wt-1 gene locus in both tic as well as ppsc .
tables 3 , 4 , and 5 show the immunohistochemical and loh expression for pax 2 , wt-1 , and p53 gene markers .
a strong nuclear staining is seen in 100% ( 5/5 ) of all tic and 80% ( 4/5 ) adjacent invasive carcinoma .
no loh was seen in both tic as well as ppsc at the wt-1 or p53 gene loci .
one ( 1 ) out of five ( 5 ) cases showed loh at wt-1 gene locus in both tic as well as ppsc .
tables 3 , 4 , and 5 show the immunohistochemical and loh expression for pax 2 , wt-1 , and p53 gene markers .
primary fallopian tube carcinomas ( pftcs ) are rare and comprises up to 1.1% of all gynecologic cancers . in order to be considered for ptfc
, the tumor must be macroscopically located within the tube or at the fimbriated end and the uterus and ovary should be free of the tumor
. presence of in situ carcinoma designated as tic qualifies fallopian tube as the origin
. a great majority of the tubal carcinomas are predominantly serous in histology .
primary peritoneal serous carcinoma ( ppsc ) is diagnosed in the absence of an in situ lesion .
the spread of ppsc is similar to ovarian carcinoma and sometimes involvement of adjacent ovary makes it difficult to determine the primary tumor origin and often classified either as ovarian or primary peritoneal in origin based on the bulk of the tumor . tubal intraepithelial carcinoma ( tic ) , though fallopian tube in origin has been shown in recent studies to be associated with nearly half of osc as well as ppsc .
further p53 analysis on both tic as well as ppsc has shown comparable mutational analysis genetically linking tic as a precursor lesion to some of the ppsc .
these observations were further endorsed in a proposed model for pathogenesis of pelvic serous carcinoma by crum et al . in this proposed model , when the normal tubal mucosa at the fimbriated end transforms into tic , the tumor cells exfoliated into the peritoneal surface and thus seeding extensively .
distal fallopian tube ( fimbria ) is a unique region with large surface area exposed to biologic events that impact the ovarian surface .
these tumors are diagnosed effortlessly in the presence of a distended fallopian tube with a large centrally located tumor .
however most of the tumors in this region are less commonly recognized as pftc when a microscopic invasive tumor or a focus of tic is present , until they spread to other sites .
additionally , fallopian tubes are not thoroughly examined in all ppsc for a tubal source .
interestingly , in the tumors arising from the distal fallopian tube though they share a common precursor lesion
tic , some of them appear to remain as pftc and others seed on to the peritoneal surface to become ppsc .
one of the primary goals of our study was to understand the biologic properties of the tumors arising in the distal fallopian tube that remain as pftc are similar when they seed on to the peritoneal surface to become ppsc .
two tumor suppressor gene markers p53 and wt-1 were chosen along with an emerging mullerian marker pax2 to understand these biologic properties .
pax2 gene , transcription factor expressed in the intermediate mesoderm ( wolffian ducts as well as mllerian ducts originate ) , is located on chromosome 10q24 .
pax2 immunohistochemistry has shown to be a sensitive marker for diagnosing nephrogenic adenomas and renal cell carcinoma [ 1012 ] . in the female genital organs ,
pax 2 expression is seen in benign fimbriae of the fallopian tubes to the epithelium of the cervix . in the same study ,
pax2 expression is seen in up to ( 60% ) of osc cases . in a recent published study
, we have demonstrated a diffuse pax 2 expression in simple serous cysts , and serous cystadenofibromas as well as ovarian serous carcinomas . in the same study ,
we observed a diffuse pax 2 expression in secretory cells of the tubal epithelial lining [ 13 , 14 ] .
mutations of p53 are common in many human cancers ; overexpression of p53 protein is associated with poor prognosis in a variety of cancers .
p53 mutations are seen in up to 75% ( 8/12 ) of p53 signatures and a much higher incidence in tic as well [ 7 , 12 ] .
loss of normal wt-1 gene function is a common event in both ppsc and advanced osc due to downregulation by regulatory factors . wt-1
immunohistochemical expression was shown in majority of serous carcinomas of ovary , fallopian tube as well as ppsc establishing as a highly sensitive as well as specific marker for tumors of mullerian differentiation [ 4 , 5 , 1517 ] . in our study ,
loh in the wt-1 gene locus was seen in up to 44% of cases in ppsc without associated tic group in contrast to one case ( 20% ) in the ppsc with associated tic . using the three markers
, we observed a great majority of our ppsc without associated tic exhibited loh in the pax gene locus followed by wt-1 gene locus compared to the other tumor groups . in the pftc group ,
the loh patterns of both the tic as well as the invasive carcinoma were similar .
in the tumors of distal fallopian tube with a common tic origin ( that includes pftc as well as subset of ppsc ) ; there exists a difference in the loh patterns in the tumors remaining as pftc in comparison to the tumors that seed on to the peritoneal surface ( ppsc ) .
the group of ppsc arising in the absence of tic exhibits different loh patterns in comparison to ppsc w / associated tic .
our study demonstrates the heterogeneity that exists within these tumors of the distal fallopian tube .
based on the loh patterns , it is possible that though these tumors share the same precursor lesion
, early or late events in genetic stability are facilitating these tumors to follow the pathway of developing into ppsc or to remain as pftc .
it is also possible that the subset of ppsc in the absence of tic might arise within the mullerian foci of the peritoneal cavity thus circumventing the tubal pathway .
we further observed that the tic in association with pftc demonstrates different loh patterns in comparison to ppsc w / tic also raising the question of tubal origin in some of these tumors .
early serous carcinomas were diagnosed in 2%10% of brca ( + ) women undergoing prophylactic bilateral salpingo - oopherectomies [ 12 , 18 ] .
p53 signatures are defined as benign appearing tubal mucosa that strongly expresses p53 mutations and show low mib 1 activity .
these signatures are present in the distal tube and predominate in secretory cells .
p53 signature is seen in 24% of brca patients and in association with tic in 50% cases .
this signature represents the initiation of serous carcinogenesis in distal fallopian tube and is theorized that women at high genetic risk are more likely to progress from the p53 signature to tic as well as invasive carcinoma . though we did not perform mib 1 in our study to assess the proliferation activity , interestingly in some of our ppsc without tic group , we have observed a small subset of cases that showed loh at the pax 2 locus but no expression by ihc . though this may not be exactly similar to p53 signature , but appears to be an earliest genetic instability at the pax 2 locus exhibited by these tumors in comparison to other tumors , might be representative of a type of pax 2 signature .
in conclusion , tumors arise in distal ft remaining as pftc appears to exhibit different loh patterns when seeds on peritoneal surface ( ppsc ) though there is no difference in the expression of these tumors by immunohistochemistry .
tic in association with pftc demonstrates different loh patterns in comparison to ppsc w / tic ( ?
understanding precursor lesions in distal fallopian tube helps in detection of early serous carcinomas ( brca ) .
our study is the first to demonstrate the loh and ihc of pax2 in these tumors and might be an emerging biologic marker for early detection .
studies are in progress using these molecular markers in brca ( + ) women w / prophylactic bilateral salpingo - oophorectomies . | pubmed |
sudden cardiac death ( scd ) accounts for 15% to 20% of all natural deaths in adults in the united states and western europe , and up to 50% of all cardiovascular deaths .
ventricular arrhythmias present with various symptoms including palpitations , chest pain , or syncope and may occur in various pathologic settings such as cardiomyopathies , congenital heart disease , inflammatory myocardial disease , as well as in the structurally normal heart .
40 years of age , incidence of sudden death is approximately 1.3 to 8.5 per 100,000 person - years , and the vast majority of cases are considered to be scd [ 3 , 4 ] . in this age group ,
a great proportion of scds occur in the context of potentially inherited disease such as cardiomyopathy and primary electrical disease [ 5 , 6 ] , and a strong monogenic hereditary component is thought to determine risk of sudden death in most cases [ 7 , 8 ] .
in contrast , at older ages , the great majority of scds occur in the context of acute myocardial ischemia / infarction .
epidemiologic studies have shown that heritable factors also determine risk in these cases [ 1012 ] .
we provide a brief update on novel genes uncovered for the monogenic primary electrical disorders and highlight results of recent genome - wide association studies that have uncovered novel genetic loci that may contribute to risk of scd in the general population .
molecular genetic research into the monogenic arrhythmia syndromes over the past 15 years has had an enormous impact on the management of patients with these disorders .
they are now known to be caused primarily by mutations in genes encoding ion channel subunits or their regulatory components .
the increased understanding of the genetic basis of these disorders has provided great insight into many aspects of these disease entities , including their pathophysiology , and prognosis , and optimal treatment options for the specific molecular genetic subtypes .
perhaps the most significant impact has been on the management of patients with the congenital long qt syndrome ( lqts ) .
this disorder is among the most prevalent of the monogenic arrhythmia syndromes and has facilitated large studies looking into genotype
such studies have uncovered triggers specific to the different genetic subtypes , providing opportunities for lifestyle adjustments and an explanation as to why -blockers might not be equally effective in all genetic subtypes ( i.e. , they are most effective in lqts1 subtype and of high to moderate effectiveness in the lqts2 subtype , in accordance with the adrenergic triggers in these subtypes , and of uncertain effectiveness in lqts3 [ 14 , 15 ] .
knowledge of the genetic subtype may therefore be critical to the cardiologist in assessing optimal treatment strategies .
the availability of a genetic test has also provided an opportunity for presymptomatic diagnosis of patients with these disorders .
active cascade screening within families is generally advised after the identification of an affected proband because it leads to timely presymptomatic treatment of relatives also carrying the mutation , which may be life - saving , whereas relatives not carrying the genetic defect can be reassured [ 16 ] .
however , genetic testing is not always straightforward , and a proper interpretation of the genetic test result is critical considering the implications of mutation identification .
the occurrence of a mutation within a likely gene does not automatically imply genetic causation .
analysis for co - segregation with the disorder in an extended pedigree is often helpful in establishing causality of an identified mutation , but such pedigrees are not always available . distinguishing pathogenic mutations from innocuous and clinically silent gene variants remains a major challenge in many instances .
mutation type ( e.g. , nonsense vs. missense ) , mutation location in channel sub - domain ( e.g. , pore vs. transmembrane vs. linker ) , and ethnic - specific background rates have been shown to be critical factors in predicting the pathogenicity of novel mutations [ 17 ] .
for instance , in lqts , a novel mutation ( an unclassified variant ) identified in the transmembrane regions of the scn5a - encoded sodium channel is much more likely to be pathogenic than when located in an interdomain linker [ 17 ] .
thus , genetic tests must be viewed as probabilistic tests to be interpreted along with other diagnostic tests . in the research setting
, the identification of novel genes underlying the monogenic rhythm disorders may be rather challenging .
ideally for such studies , one has access to genetic material from multiple clinically affected individuals within an extended pedigree with the possibility of establishing genetic linkage to a particular chromosomal segment followed by the sequencing of candidate genes for identification of the causal defect .
however , availability of an extended pedigree is rarely the case for these disorders in particular because individuals within a pedigree might have already died suddenly of arrhythmia before dna collection is possible .
furthermore , as is the case for most mendelian monogenic disorders , these disorders display reduced penetrance ( not all mutation carriers have clinical signs of the disorder ) and variable clinical expression [ 18 , 19 ] , which further complicates the process of gene identification .
one group of rhythm disorders for which it is exceptionally difficult to track the genetic substrate is idiopathic ventricular fibrillation ( vf ) , defined as spontaneous vf in the absence of identifiable structural or electrical heart disease . the diagnosis of this disorder , which accounts for as many as 10% of sudden deaths , mainly in the young , can not be made on the basis of electrocardiogram ( ecg ) abnormalities but can only be made after the occurrence of ( aborted ) scd .
many affected patients die young , thus leaving only small numbers of patients and material available for analysis . using an alternative approach , searching for shared ancestral haplotypes ( chromosomal segments ) among three distantly related pedigrees with the disorder originating from one region in the netherlands ,
dpp6 encodes dipeptidyl - peptidase 6 , a putative subunit of the transient outward current potassium - channel complex ( ito ) .
although , expression of dpp6 was increased in cardiac biopsies of carriers of the risk haplotype [ 21 ] , more research is required to establish the pathophysiologic mechanism of dpp6-related idiopathic vf and how such a genetic defect is silent on ecg .
genetic testing is crucial in these patients because it is the only means of identifying those at risk of developing potentially fatal arrhythmia allowing for timely presymptomatic implantation of an implantable cardioverter defibrillator .
a disorder that has attracted much attention in recent months is the early repolarization syndrome . for a long time , early repolarization , consisting of an elevation of the qrs - st junction ( j point )
, qrs notching or slurring ( j wave ) , and a tall symmetric t wave , was considered to be a benign feature .
three case - controls studies however recently demonstrated that a pattern of early repolarization in the inferior and/or lateral leads was more frequent in patients with idiopathic vf compared with controls [ 24 , 25 , 26 ] .
a community - based study in finland also showed that an early repolarization pattern in the inferior leads of the ecg is associated with an increased risk of death from cardiac causes during very long - term follow - up in middle - aged individuals .
so far , only one mutation in the kcnj8 gene , encoding a subunit of the katp channel , has been reported for the disorder in a single patient .
it is expected that unraveling the genetic basis of this newly recognized disease entity will aid in the understanding of the mechanism for this ecg pattern and related arrhythmia .
in recent years , interest in the genetics of cardiac arrhythmias has shifted to include the search for those genetic factors influencing risk of scd in the general adult population . in adults , the overwhelming majority ( ~80% ) of scds
is caused by the sequela of coronary artery disease , namely myocardial ischemia or acute myocardial infarction ( mi ) [ 9 , 29 ] , where scd is the first clinically identified expression of heart disease in up to one half of cases . in the late 1990s ,
two important studies advanced the concept that even in these more common arrhythmias , a genetic component also contributes to risk . in a population - based case - control study ,
a family history of mi or scd , after correction for all common risk factors , was positively associated with the risk of scd . in the paris prospective study ,
selectively performed in men , among whom 118 cases of sudden death occurred , parental sudden death was found to be an independent risk factor for sudden death .
a study from our group investigated this concept further in the arrhythmia genetics in the netherlands study ( agnes ) , conducted specifically in patients with a first acute mi . in this study we demonstrated that familial sudden death occurred significantly more frequently among patients with a first mi complicated by vf ( cases ) compared with patients presenting with a first mi but without vf ( controls ) .
however , in contrast to the significant advances made in the understanding of the genetics of the monogenic arrhythmia syndromes , progress in understanding the genetic and molecular mechanisms that determine susceptibility to these common arrhythmias , affecting a much greater proportion of the population , has been limited [ 3133 ] . an important reason for this slow progress
is the fact that most victims die outside of the hospital , making it extremely difficult to include patients with appropriately consented dna samples for genetic studies . in an effort to identify common genetic variation within the genome contributing to risk of vf during acute mi ,
our group recently conducted a genomewide association study for vf in the agnes population [ 34 ] . by comparing the frequency of common single nucleotide polymorphisms ( snps ) spread throughout the 22 autosomes between mi patients with vf ( cases ) and mi patients without vf ( controls ) from the agnes study
, we identified a region on chromosome 21 in the vicinity of the cxadr gene associated with susceptibility to vf .
cxadr encodes the coxsackievirus and adenovirus receptor ( car ) protein , which has a long - recognized role as viral receptor in the pathogenesis of viral myocarditis and its sequela of dilated cardiomyopathy [ 35 , 36 ] .
interestingly , the frequency of active coxsackie b virus infection has been reported to be high in a group of mi patients who died suddenly .
two studies have reported a physiologic role for the receptor in localization of connexin 45 at the intercalated disks of the cardiomyocytes in the atrioventricular node , and a role in conduction of the cardiac impulse within this cardiac compartment [ 38 , 39 ] .
thus , cxadr can be considered a very relevant candidate gene for the association detected at this locus . as a complementary approach to establishing direct bridges between genetic variation and arrhythmia susceptibility ,
researchers in the field have also undertaken a strategy whereby snps are first analyzed for effects on heart rate and other ecg indices of conduction and repolarization .
this approach stems from knowledge that these ecg measures constitute heritable traits [ 40 , 41 ] and that their extremes ( too long or too short ) influence risk of arrhythmia , both in the general population [ 42 , 43 ] as well in specific disease groups , which makes ecg indices potentially relevant intermediate phenotypes .
the most extensively studied ecg parameter studied until now in this way has been the qt interval , reflecting ventricular repolarization .
these studies have uncovered numerous genetic loci and snps modulating this measure ( table 1 ) , the most significant of which have consistently been snps in and around the nos1ap gene , encoding the nitric oxide synthase 1 ( neuronal ) adaptor protein [ 45 , 46 , 47 ] . although the exact mechanism for the effect of snps in nos1ap on ventricular repolarization is still unknown , one must realize that this gene was previously unlinked to cardiac electrophysiology , underscoring the power of the genome - wide association approach to highlight unknown pathways that could represent an important means to ultimately unravel mechanisms of disease and development of new therapies .
table 1candidate genes identified in genome - wide association studies for heart rate and ecg indices of conduction ( pr , qrs ) and repolarization ( qtc)qt intervalpr intervalqrs intervalheart rateatp1b1 [ 47]arhgap24 [ 51 , 53]cav1 [ 51]myh6 [ 51]gins3
[ 46]cav1/cav2 [ 51 , 53]cdkn1n [ 51]kcne1 [ 46]meis1 [ 53]dkk1 [ 51]kcnh2 [ 46 , 47]myh6 [ 51]scn10a [ 52]kcnj2 [ 47]nkx2 - 5 [ 53]tbx5 [ 51]kcnq1 [ 46 , 47]scn10a [ 51 , 52 , 53]lig3-rffl [ 46]scn5a [ 53]litaf [ 46 , 47]sox5 [ 53]ndrg4 [ 46 , 47]tbx5-tbx3 [ 51 , 53]nos1ap [ 45 , 46 , 47]wnt1l [ 53]pln [ 46 , 47]rnf207 [ 46 , 47]scn5a [ 46 , 47]only candidate genes at loci displaying association at genome - wide significance ( p < 5 10 ) are listedecg electrocardiogram candidate genes identified in genome - wide association studies for heart rate and ecg indices of conduction ( pr , qrs ) and repolarization ( qtc ) only candidate genes at loci displaying association at genome - wide significance ( p < 5 10 ) are listed ecg electrocardiogram crotti et al .
[ 49 ] went on to test whether snps in nos1ap could modulate disease expression ( qtc and arrhythmia ) in the congenital lqts , where pronounced inter - individual variability in qtc - prolongation and occurrence of arrhythmia exists .
the first study investigated south african families segregating a founder mutation in kcnq1 ( all affected individuals were carriers of the a341v mutation in kcnq1 ) and demonstrated that carriers of risk alleles at nos1ap snp sites had longer qtc and an increased risk of cardiac arrest and scd . carrying out such studies in the setting of families with a founder mutation is attractive because it circumvents the inter - individual variability in disease manifestations that could otherwise arise as a consequence of the different primary genetic defects among study participants . in the second study ,
[ 49 ] , who carried out association studies of nos1ap snps in a large lqt patient cohort ( 901 patients from 520 families ) with mutations in different genes , subsequently demonstrated that the effects of snps in nos1ap are also detectable in a more diverse lqt patient cohort .
these authors proposed that genotyping nos1ap snps could in the future become useful in refining risk stratification in this disorder .
one nos1ap snp ( rs10494366 ) associated with risk of cardiac events in the lqts study by toms et al . [ 49 ] was not associated with risk of scd in community - based populations .
furthermore , in the latter study , another snp ( rs12567209 ) , which was not correlated with qt interval , was still associated with scd , suggesting that there may be multiple functional elements within the nos1ap region , some of which may modulate risk of arrhythmia independently from the repolarization process .
research is still required to resolve the underlying issue . following successful identification of several loci impacting the qt interval ,
investigators also turned their attention to other ecg parameters , namely heart rate [ 51 ] , the pr - interval ( a measure of the time required for the electrical impulse to travel from the sinus node , through the atria and atrioventricular node to the purkinje fibers ) [ 51 , 52 , 53 ] , and qrs duration ( a measure of the time required for depolarization of the ventricles ) [ 51 ] .
these studies presented compelling evidence that snps in the scn5a and scn10a genes modulate cardiac conduction .
this finding is not surprising with respect to snps in scn5a , which encodes the major sodium channel in the heart ( nav1.5 ) .
sodium ion influx through this channel mediates the rapid upstroke of the cardiac action potential and is therefore a critical mediator of cardiac conduction , and mutations in scn5a cause cardiac conduction disease . on the other hand , the implication of the scn10a gene ( located within < 100 kb - pairs of scn5a on chromosome 3 ) as a modulator of cardiac conduction was a very novel finding .
scn10a encodes the sodium channel nav1.8 , expressed primarily in the peripheral sensory nervous system and to a lesser extent in the heart .
it has been hypothesized that amino acid altering snps in scn10a might be responsible for the observed effect on cardiac conduction [ 52 , 53 ] .
the a - allele at snp rs6795970 , which is associated with slower conduction in the general population , appeared protective against risk of vf in the setting of acute mi in the agnes study [ 52 ] .
these genome - wide association studies have also uncovered snps in or near genes encoding transcription factors involved in cardiac development , including nkx2 - 5 which encodes the cardiac - specific homeobox transcription factor nkx2.5 .
mutations in this gene were previously linked to atrial septal defect with conduction defects , tetralogy of fallot , and high - degree atrioventricular block .
another locus identified as impacting on conduction is in the region of the tbx3 and tbx5 genes , which encode t - box containing transcription factors important for cardiac conduction system formation in the developing heart [ 56 , 57 ] .
mutations in tbx5 cause holt - oram syndrome , which includes atrial and ventricular septal defects , conduction disease , and occasionally atrial fibrillation , whereas mutations in tbx3 cause ulnar - mammary syndrome , with limb , mammary , tooth , genital , and cardiac abnormalities . furthermore , as for genomewide association studies for qt interval , genomewide association studies for heart rate and conduction indices
have also uncovered genes previously unlinked to cardiac electrical function ( e.g. , the association of arhgap24 , which encodes a rho - gtpase - activating protein , with pr , and the association of myh6 , encoding the alpha heavy chain subunit of cardiac myosin . , with heart rate and pr ) , thereby potentially illuminating novel pathways .
the wealth of information being generated by genome - wide association studies is likely to trigger researchers around the world into following new avenues for research into novel pathways that could be involved in cardiac electrical function .
however , one should realize that much work still needs to be done before we fully understand the exact molecular mechanisms whereby the identified genetic loci contribute to inter - individual variability in the related trait and ultimately to whether they also impact on risk of arrhythmia .
perhaps the most crucial of these issues relates to the fact that although these studies have uncovered regions on chromosomes that are linked to the traits of interest , some of which harbor highly plausible candidate genes , in basically all instances mentioned above , unequivocal evidence for genes mediating the observed effects is lacking , let alone knowledge of which functional genetic variants underlie these effects .
another fact that needs mentioning is that the variants identified as modulators of ecg parameters , as expected in complex genetic traits , are associated with very small effect sizes .
for instance , effect sizes for alleles impacting on qtc range from 1 to 3 ms per allele [ 46 , 47 ] . even in aggregate ,
the identified genetic variants still explain only a very small percentage of the variance in these traits . in a meta - analysis by pfeufer et al .
[ 47 ] including 16,678 individuals , association signals from 10 loci found to be associated with qtc - interval ( at genome - wide statistical significance ) in aggregate explained only 3.3% of the variance in qtc . in another meta - analysis performed by newton - cheh et al .
[ 46 ] , comprising 13,685 individuals , in aggregate , 5.4% to 6.5% of the variation in qt interval was explained by 14 independent variants at 10 loci .
larger and larger association studies , including more study subjects , will be required to provide unequivocal evidence for novel genetic associations and complementary strategies to uncover the genetic underpinnings of these complex traits are obviously necessary .
for instance , it is generally hypothesized that other genetic variants , such as rare variants not detected in genome - wide association studies that likely have stronger influences on these ecg indices , may be present .
the identification of the genetic defects underlying the monogenic arrhythmia syndromes is important because it provides insight into important aspects of these disease entities , including prognosis and optimal treatment options for the specific molecular genetic subtypes and allows for presymptomatic identification and treatment of patients at risk .
recent genome - wide association studies have generated remarkable insight into chromosomal regions and genes that impact on cardiac electrical activity .
such strategies have now started to be applied to the identification of genes impacting on arrhythmia risk in the general population .
these studies are likely to provide insight into pathways determining risk of arrhythmia in the general population . | pubmed |
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Urinary tract infections strike millions of women, yet they often go undiagnosed. Here's how to spot them -- and treat them. | slim_pajama |
Question about measurement of half-cell potential
I am reading about electrochemical cells from the chapter: Electrochemical cells, Batteries and Fuel cells in the book 'Physical Chemistry' by Thomas Engel and Philip Reid, 3rd edition.
I came across the following paragraph and I want to know if my understanding of this paragraph is correct or not?
The paragraph is about $\ce{Zn}$ elctrode partially immersed in an aqueous solution of $\ce{ZnSO4}$
---
Paragraph: Can we measure $\Phi$( half-cell potential) directly? Let us assume we can carry out the measurement using two chemically inert **Pt** wires as probes. One **Pt** wire is placed on **Zn** electrode and the second **Pt** wire is placed in the $\ce{ZnSO4}$ solution. However, the measured voltage is the difference in electrical potential between a **Pt** wire connected to a zinc electrode in $\ce{ZnSO4}$ solution and a **Pt** electrode in a $\ce{ZnSO4}$ solution, which is not what we want.
---
My question is whether the author wants to say that the second platinum wire will act as an electrode in zinc sulphate solution and hence the potential difference measured will be between zinc electrode and platinum wire which won't be the potential difference between zinc electrode and zinc sulphate solution?
Any help is appreciated.
Thanks!
Absolute measurements of half-potentials have no sense. They do not exist. They can be measured with respect to something, like for example the hydrogen electrode. It is similar to measuring the absolute altitude. The absolute altitude does not exist. The altitude is measured with respect to the sea level. The altitude cannot have an absolute value.
| stackexchange/chemistry |
Batman 1. Chapter 1
**Summary: Damian meats a girl at school and he gets a really strange feeling. He doesn't no what it is so he asks Dick. Damian isn't to happy with the answer.**
**Authors note: Damian is like 14 in this story and is just discovering girls. Ok hey guy well this is my first fan fiction so no bad comments please. This is my first as u no well I am not very good at putting camas and quotation marks in. I know that damian sounds kind of childish in this but it is my first. I do not own any of the batman universe characters although I wish I did I don't. All credit goes to the right people. My character is VICTORIA.**
Title: **Damian finds love**
Genera: **Family, weird feelings**
Rating: **T**
People: **Dick Grayson/ Batman, Damian Wayne/ **
**Robin, Slade/ or Death Stroke what ever you want to call him**
**!On With the Story!**
**Narrators POV:**
Damian was running through the manor looking for Dick who he calls Grayson when suddenly he trip's and falls. Dick runs over after hearing the loud sound. "Damian, what happened", "nothing I just fell while looking for you Grayson". "May I ask why you were looking for me". well I have a question I met this girl at school today. Dick interrupts, "O so it's a girl." He holds back a smirk. Damian yells "Yea it's a girl what do you care never mind I don't need your help I will just ask Pennyworth." "Dami I didn't mean to make you mad just tell me." Tt fine if you want me to Grayson. Ok as I was saying I meat this girl in school today and she kept staring at me so finally after 15 min I went up and was going to ask her to stop. As I was walking I forgot what I was going to say I went up to her and couldn't find the words and it felt weird. What does that mean dick?
**Dicks POV:**
Did he just call me by my fist name never mind. Damian seems to need my help. Wow I never thought that Damian would actually come to me for girl advice." Ok Damian I think you might like her. That is the same feeling that I had when I got my fist crush." "Grayson I do not like her." 'Yea you do just ask her out." How every time I go by her I don't know what to say and she is always with her friends." "What is her name anyway I didn't quit catch it." "I think it is Victoria Wilson." I just stood there Wilson I hope her father isn't Slade I am going to tell Damian to stay away from her just in case this is a trick. "Dami you cant ask her out." Damian starts yelling even louder, "why not." "Just to be safe." "GRAYSON tell me why not."
Author: yep I left it on a cliff hanger going to have to come back later. I will try and post a new update every 2-3 days
2. no new story
Sorry Guys but I will not be uploading a new chapter. I got writers block so I will be doing new chapters and one shots.
End file.
| fanfiction |
If two pendulums connected by a spring both following Simply Harmonic Motion - why do they need the same time dependence?
I was reading a section of Introduction to Mechanics by Kleppner and Kolenkow:
[](https://i.stack.imgur.com/E2FP1.png)
where it talks about the same time dependence. I'm not very familiar with this term but was wondering if there was some proof or intuition towards both pendulums having the same time dependence.
If you interchange the two pendulums, you have the exact same system, so they better have the same time dependence.
Otherwise, it depends on which way you're looking at: from above the page, or from below the page...and that would be an unacceptable result.
Personally, I don't think this is intuitive at all. Every linear system has what is called normal modes$^\dagger$, solutions to the system where every component oscillates with the same frequency. A linear system is one where you can add two solutions together and still have a solution to the system.
So if we have such a system, there exist solutions where every part of the system oscillates with the same frequency. You can imagine a complicated setup of lots of springs and pendulums and somehow this has solutions where every part oscillates with the same frequency. This is quite amazing I think.
However, if you add two normal modes with different frequencies, this will break the pattern. There is not a single frequency anymore with which the system oscillates.
$\dagger$ I'm not entirely sure what the precise requirements are for a system having normal modes. I think it was that the system is linear. If someone can verify that it would be nice. This happens when every term in the equation is just $\theta(t)$ times a constant or a derivative of $\theta(t)$ times a constant.
If you try slightly more general solutions
$$\begin{align} θ\_1(t) = A\_1\sin(ω\_1 t + \phi\_1) \\ θ\_2(t) = A\_2\sin(ω\_2t+\phi\_2) \end{align}$$
and plug them into Eqs. (6.5), you get
$$(Ω^2-ω\_1²) A\_1 \sin(ω\_1 t + \phi\_1) = κ^2 A\_2 \sin(ω\_2 t + \phi\_2)$$
and its counterpart with 1 and 2 switched. If $κ\ne 0$, this equation says that the function $\sin(ω\_1 t + \phi\_1)$ is a constant multiple of the function $\sin(ω\_2 t + \phi\_2)$. That's only possible if $ω\_1=ω\_2$ and the phases differ by a multiple of 180°. The case where they are 180° out of phase can be handled by negating the amplitude instead, so you can take $\phi\_1=\phi\_2$.
| stackexchange/physics |
in 1968 , mack , wilson and gell - mann recognized that scale invariance is a broken symmetry of strong interactions@xcite . in 1969 , salam and strathedee showed that to formulate a broken chiral as well as scale symmetry within an effective lagrangian approach one has to assume the existence of a chirally invariant scalar field @xmath16 of dimension 1@xcite . in 1970 , ellis proposed to identify this scalar field with the @xmath17 meson@xcite the existence of which was suggested by earlier measurements of forward - backward asymmetry in @xmath18@xcite .
the scalar meson dominance of the trace of the energy - momentum tensor ( also referred to as a partially conserved dilatation current ) has been used to study the couplings of the @xmath17 meson@xcite . with the advent of qcd in 1970 s
it has been recognized that the quantization of qcd lagrangian leads to breaking of scale invariance in qcd .
the anomalous breaking of scale symmetry results in qcd scale anomaly which was shown@xcite to have the form @xmath19 here @xmath20 and @xmath21 are the gluon field strength and the quark field with running mass @xmath22 . @xmath23 and @xmath24 are the gell - mann @xmath23-function and quark anomalous dimension@xcite .
the summation over colour is understood .
@xmath25 is the trace of the energy - momentum tensor . in the absence of a technology to solve the fundamental qcd theory and find the hadron spectrum and the interactions of the composite states
, we use the effective lagrangian method to study the hadron dynamics at low energies@xcite .
the basic ingredient in constructing effective lagrangians is anomaly matching .
the effective lagrangian must posses not only the symmetries but also the anomalies of the original qcd theory@xcite . in 1981 , schechter suggested that a scalar gluonium field @xmath16 plays a major role in effective qcd lagrangian through its connection to the qcd trace anomaly@xcite .
effective lagrangians with such dilaton - gluonium field @xmath16 were subsequently examined from various aspects in a series of studies@xcite . in 1985 ,
ellis and lanik@xcite constructed an effective qcd lagrangian with broken scale and chiral symmetry in which the dilaton - gluonium scalar field @xmath26 is related to the scalar gluonic current @xmath27 by a relation @xmath28 in eq .
( 1.2 ) @xmath10 is the @xmath16 meson mass and @xmath29 is related to gluon condensate @xmath30 @xmath31 by an approximate relation@xcite @xmath32 the gluon condensate @xmath30 parametrizes the nonperturbative effects of qcd and is related to the energy density of qcd vacuum .
the relation ( 1.2 ) is unique to ellis - lanik lagrangian . starting with the salam - strathedee chirally invariant field @xmath33 , it is the result of matching of the qcd trace anomaly in gluonic sector with the trace of the energy - momentum tensor of the @xmath16 field@xcite and low - energy theorems for scalar gluonic current @xmath27@xcite . from their lagrangian
ellis and lanik derived the following relations for @xmath16 decay widths @xmath34 @xmath35 where @xmath36 .
the appearance of the gell - mann function @xmath23 in the scale anomaly ( 1.1 ) reflects the qcd confinement . in the ellis - lanik lagrangian
the @xmath16 field codes the qcd confinement which is often a missing feature in other effective qcd lagrangians .
the cern measurements of @xmath18 and @xmath37 on polarized targets reopened the question of existence of the @xmath38 meson .
these measurements allow a model independent determination of normalized production amplitudes , including the two @xmath1-wave transversity amplitudes .
evidence for a narrow @xmath38 resonance was found in amplitude analyses of cern data on @xmath18 at 17.2 gev / c in the mass range 600 - 900 mev and on @xmath37 at 5.98 and 11.85 gev / c in the mass range 580 - 980 mev@xcite .
further evidence was found recently in amplitude analysis of measurements @xmath18 on polarized target at 1.78 gev / c at itep@xcite .
our new amplitude analysis@xcite of the cern measurements of @xmath18 on polarized targets at 17.2 gev / c and momentum transfer @xmath39 = 0.005 - 0.20 @xmath40 extends the mass range to 580 - 1080 mev and allows to study the effects of @xmath41 interference .
there are two solutions for the unnormalized moduli @xmath42 and @xmath43 of the two @xmath1-wave transversity amplitudes @xmath44 and @xmath1 corresponding to recoil nucleon transversity `` up '' and `` down '' relative to the scattering plane . here
@xmath45 is the integrated cross - section .
both moduli in both solutions exhibit a resonant behaviour around 750 - 780 mev .
in our analysis@xcite we supplement the cern data with an assumption of analyticity of production amplitudes in dipion mass .
analyticity allows to parametrize the transversity amplitudes @xmath1 and @xmath44 as a sum of breit - wigner amplitudes for @xmath38 and @xmath46 with complex coefficients and a complex background .
next we performed simultaneous fits to the moduli @xmath43 and @xmath42 in the four solution combinations @xmath6 , @xmath7 , @xmath8 and @xmath9 . in each solution combination we obtained two fits , a and b , with the same resonance parameters for @xmath38 and @xmath46 and the same @xmath47 .
the average values of @xmath16 mass and width are @xmath48 mev and @xmath49 mev .
the transversity amplitudes @xmath1 and @xmath44 are linear combinations of nucleon helicity nonflip amplitude @xmath3 and nucleon helicity flip amplitude @xmath4 corresponding to @xmath50 and @xmath51 exchange in the @xmath52-channel , respectively .
these amplitudes are physically interesting since the residue of the pion pole in @xmath4 is related to the @xmath1-wave partial wave in @xmath5 scattering .
the residue of the @xmath50 pole in @xmath3 is related to the @xmath1-wave partial wave in @xmath53 scattering .
analyticity imparts the fitted transversity amplitudes with an absolute phase .
this allows to determine the helicity amplitudes from the fitted transversity amplitudes .
due to a sign ambiguity there are two solutions , `` up '' and `` down '' in each solution combination and in each fit a and b. in the `` down '' solution the @xmath2 is suppressed in the flip amplitude @xmath4 while it dominates the nonflip amplitude @xmath3 . in the `` up ''
solution the situation is reversed . in ref .
@xcite we show that unitarity in @xmath5 scattering excludes the `` up '' solution .
furthermore , the `` down '' solution - and thus the evidence for the narrow @xmath2 - is in agreement with unitarity in both @xmath5 and @xmath53 scattering . in the `` down '' solution
the narrow @xmath2 manifests itself as a broad resonance centered at @xmath54 720 mev in the helicity flip mass spectra @xmath55 in solution combinations @xmath6 and @xmath7 .
in contrast , the contribution of @xmath2 is small in @xmath55 in combinatins @xmath8 and @xmath9 .
the dual manifestation of the @xmath2 as a narrow resonance in nonflip amplitude @xmath3 and as a broad resonance in the flip amplitude @xmath4 is connected to symmetries of qcd . in this paper
we show that ellis - lanik relation ( 1.5 ) selects the solution combinations @xmath6 and @xmath8 .
weinberg s mended symmetry of spontaneously broken chiral symmetry@xcite selects solutions @xmath6 and @xmath7 .
the combined preferred solution is thus @xmath6 for which @xmath12 mev and @xmath13 mev .
the agreement with ellis - lanik relation imparts the @xmath2 resonance with a dilaton - gluonium interpretation and relates its existence to breaking of scale symmetry in qcd . at the same time , the degeneracy of @xmath2 mass with @xmath56 and the metamorphosis of the narrow @xmath2 into a broad @xmath1-wave structure in @xmath5 scattering is in agreement with weinberg s mended symmetry which predicts @xmath57 with a broad width@xcite .
we suggest that the broad resonant @xmath1-wave structure in @xmath5 scattering associated with the spontaneous breaking of chiral symmetry is due to the interaction of the chirally invariant and narrow @xmath2 with the chirally noninvariant qcd vacuum in @xmath5 scattering .
the paper is organized as follows . in section ii .
we use the most recent values of gluon condensate to show that ellis - lanik relation ( 1.5 ) selects the solutions @xmath6 and @xmath8 . in section iii .
we show how weinberg s mended symmetry selects the solutions @xmath58 and @xmath7 and comment on the role of qcd vacuum in hadron reactions .
the observed degeneracy of @xmath2 and @xmath59 is used in section iv . to derive new relations between gluon condensate and pion decay constant , and between chiral condensate and gluon condensate .
we find that these relatons are well satisfied .
the paper closes with a summary and remarks in section v.
the moduli of the @xmath1-wave transversity amplitudes @xmath44 and @xmath1 measured in @xmath18 at 17.2 gev / c on polarized target are shown in figure 1 .
the figure shows the two solutions for @xmath42 and @xmath43 and the results of simultaneous fits to the four solution combinations @xmath6 , @xmath7 , @xmath8 and @xmath9 .
two fits , a and b , give essentially identical curves , the same resonance parameters for @xmath38 and @xmath46 , and the same @xmath47@xcite .
the transversity `` up '' amplitude @xmath42 clearly resonates below 800 mev while the transversity `` down '' amplitude @xmath43 shows a broader structure around 800 mev . in table
i we present the mass @xmath10 and the width @xmath61 of the @xmath16 resonance for the best fits in each solution combination .
the measured width @xmath61 is the total width of the @xmath16 decays . to compare our results with the ellis - lanik relation ( 1.5 )
we need partial width @xmath62 where @xmath63 is the fraction of charged @xmath64 decays . as we shall see below
, the partial width @xmath65 is small .
we also assume that @xmath66 decays of @xmath16 are suppressed
. then isospin conservation requires that @xmath67 . with this value of @xmath63
we then calculate the value @xmath30 of the gluon condensate from ellis - lanik relation for each solution combination .
the numerical values of @xmath30 were estimated originally by the itep group@xcite to be @xmath68 ( gev)@xmath69 or up to @xmath70 ( gev)@xmath69 in later calculations@xcite .
more recent estimates are @xmath71 ( gev)@xmath69 @xcite and @xmath72 ( gev)@xmath69@xcite . the latest estimate@xcite based on analysis of the @xmath73 violating ratio @xmath74 is @xmath75 ( gev)@xmath69 . the most recent estimate based on charmonium sum rules@xcite gives a similar result @xmath76 ( gev)@xmath69 .
this new itep value includes a contribution from @xmath77 condensate in dilute instanton model@xcite . in this paper
we will use the average value of the two last results @xmath78 the comparison of @xmath30 in ( 2.1 ) with the results for @xmath30 from ellis -lanik relation in table i shows the best agreement is for solution combinations @xmath6 and @xmath8 .
the ellis - lanik relation thus selects the solutions @xmath6 and @xmath8 and imparts the @xmath2 resonance with a dilaton - gluonium interpretation .
we can now use the relation ( 1.6 ) to calculate the decay width @xmath79 .
assuming @xmath80 and @xmath67 we obtain results shown in table i. we see that @xmath79 is too small for @xmath2 to be observed in @xmath81 decays .
this result is in full agreement with the measurements of reactions @xmath82@xcite and @xmath83@xcite which found no evidence of resonance structure below @xmath46 .
the fact that @xmath2 is not observed in these reactions strongly suggests a gluonium interpretation of this state since gluons do not couple directly to photons .
these experiments support the ellis - lanik identification of the scalar dilaton field @xmath16 with a scalar gluonium which they based solely on the dominance of the scalar gluonic current @xmath27 by the field @xmath16@xcite .
a theoretical support for the gluonium interpretation of @xmath2 comes from recent studies of qcd sum rules .
it was shown by elias and collaborators in @xcite that qcd sum rules require that a scalar state with a mass below 800 mev has a narrow width .
several analyses using qcd sum rules concluded that the scalar states with a mass below @xmath46 are non-@xmath84 states@xcite .
the qcd sum rules are thus consistent with the identification of the narrow @xmath2 resonance with the lowest mass scalar gluonium .
in 1990 , weinberg showed that even where a symmetry is spontaneously broken it can still be used to classify hadron states@xcite .
such mended symmetry leads to a quartet of particles with definite mass relations and c - parity .
he showed that @xmath51 , @xmath16 , @xmath85 and @xmath50 mesons corresponding to spontaneously broken chiral symmetry of strong interactions occupy the quartet .
weinberg s mended symmetry predicts @xmath57 in agreement with our results for @xmath10 shown in table i. central to weinberg s mended symmetry are current algebra and superconvergence sum rules for helicity amplitudes . in 1968 ,
gilman and harari studied saturation of such sum rules in a framework of a linear sigma model@xcite .
they found that @xmath57 and @xmath86 which gives @xmath87 mev . a broad resonant structure below 900 mev in the @xmath1-wave in @xmath5 is required to saturate the adler - weisberger sum rule for @xmath88 scattering and to produce the equality @xmath57
. a narrow resonance like @xmath2 will not do it .
but then , what does saturate the adler - weisberger sum rule for @xmath5 scattering?@xcite we suggest that the solutions @xmath6 and @xmath7 provide the answer . in these two solutions
the narrow @xmath2 manifests itself as a broad resonant structure at @xmath54 720 mev in the flip helicity amplitude @xmath4 .
this broad resonant structure will appear also in the @xmath1-wave in @xmath5 and we conjecture that it will saturate the adler s sum rule as required by weinberg s mended symmetry .
weinberg s mended symmetry then selects the solution combinatins @xmath6 and @xmath7 . when combined with the ellis - lanik relation ,
the preferred solution is @xmath6 . from table
i we see that the corresponding @xmath12 mev compares well with particle data group value @xmath89 mev@xcite . in the following we thus refer to the @xmath16 resonance as @xmath2 .
a question now arises how a chirally invariant and narrow resonance in the nonflip amplitude @xmath3 can also manifest itself as a broad resonant state breaking chiral symmetry in the flip amplitude @xmath4 , i.e. in @xmath5 scattering .
we suggest that the answer may lie in the interaction of the chirally invariant @xmath2 with the chirally noninvariant qcd vacuum in the @xmath5 scattering .
it is well - known that qed vacuum participates in electromagnetic processes .
for instance , the photon propagator is modified by the vacuum polarization@xcite . in ref .
@xcite it is shown that the scalar gluonic current interacts strongly with qcd vacuum .
recently kharzeev and collaborators demonstrated that qcd vacuum participates in hadron interactions at low as well as at high energies with involvement of the qcd trace anomaly@xcite .
in general , the involvement of the qcd vacuum may depend on the hadronic process and in @xmath5 scattering it could result in the metamorphosis of the narrow and chirally invariant @xmath2 into a broad resonant structure associated with breaking of the chiral symmetry .
chiral symmetry allows for two phases of qcd vacuum : asymmetric and degenerate nambu - goldstone phase and a symmetric wigner - weyl phase@xcite .
the interaction of the chirally invariant @xmath2 with qcd vacuum in @xmath5 scattering could also modify the vacuum itself@xcite .
brown and rho used the dilaton - gluonium scalar field @xmath16 and ellis - lanik effective lagrangian to describe the change of qcd vacuum in a dense medium@xcite .
superconvergence sum rules assumed in weinberg s mended symmetry are based on analyticity of helicity amplitdes .
analyticity connects hadron dynamics at low and high energies and is thus used also in amplitude analyses of hadronic reactions .
qcd vacuum participates in hadron scattering also at low and high enegies@xcite .
the reason why analyticity seems to reflect important aspects of hadron dynamics could be that it originates in some way from the structure of qcd vacuum .
finally we note that in 1968 when gilman and harari published their paper@xcite , only @xmath16 and @xmath85 were assumed to contribute to @xmath88 scattering . today we know of many more resonances the contribution of which
should be taken into account in the saturation of the sum rules each of which becomes more complicated .
also , the presence of these resonances enlarges the set of sum rules equations .
we suggest that the sum rules equations factorize into a chain of solvable sets with the gilman - harari set of @xmath90 and @xmath50 forming the first ( lowest mass ) set .
these sets could in fact be the representations ( multiplets ) of the weinberg s mended symmetry .
if such is the case , then mended symmetry could provide a new organizing principle of the hadron spectra and effective qcd dynamics .
the mass and width of the @xmath16 resonance in the preferred solution combination @xmath6 are from table i @xmath92 a comparison with particle data group@xcite values for mass and width of the @xmath93 meson @xmath94 indicates a strong @xmath95 degeneracy .
this experimentally observed @xmath96 degeneracy leads to some interesting consequences . in the following we set @xmath57 and @xmath97 . using the usual @xmath98 coupling , the @xmath99 decay width
is given by@xcite @xmath100 where @xmath101 is the pion decay constant and @xmath102 is the pion momentum in the rest frame of @xmath93 . with @xmath62 , the ellis - lanik relation ( 1.5 )
then relates the gluon condensate and the pion decay constant @xmath103 the @xmath15 chiral condensate @xmath104 is related to the pion decay constant by the gell - mann , oakes and renner ( gmor ) relation@xcite @xmath105 the new measurements of @xmath106 decay by e865 collaboration at bnl@xcite have been used recently to verify the validity of the gmor relation@xcite . combining ( 4.4 ) and ( 4.5 )
we get a new relation for chiral condensate in terms of the gluon condensate @xmath107 the new relations ( 4.4 ) and ( 4.6 ) are a nontrivial consequence of ellis - lanik effective lagrangian which is coding the breaking of scale symmetry and confinement in qcd and the cern measurements of pion production on polarized target . with pdg value @xmath101 = 92.4 mev , the relation ( 4.4 ) gives the following value for the gluon condensate @xmath108 with pdg average value @xmath109 = 8 mev and using @xmath30 from ( 4.7 ) we obtain from relation ( 4.6 ) a value of chiral condensate @xmath110 the value of @xmath30 is in agreement with the value from ellis - lanik relation for the solution combination @xmath6 shown in table i and in a reasonable agreement with the accepted value ( 2.1 ) .
the value of the qcd scale @xmath111 from ( 4.8 ) is in agreement with recent expectations .
it is interesting to calculate the gluon and chiral condensates for @xmath112 @xmath113 @xmath114 comparing the values ( 4.7 ) and ( 4.9 ) for the gluon condensate @xmath30 we notice that the value ( 4.9 ) for @xmath63 = 1 is in a better agreement with the accepted value @xmath30 = 0.0117 @xmath115 0.0051 gev@xmath69 in ( 2.1 ) .
we note that the values of @xmath30 calculated from ellis - lanik relation assuming @xmath112 are also closer to the accepted value of @xmath30 in ( 2.1 ) but still selecting solutions @xmath6 and @xmath8 with @xmath30 = 0.0116 @xmath115 0.0028 gev@xmath69 and @xmath30 = 0.0122 @xmath115 0.0056 gev@xmath69 , respectively .
it appears that these improved agreements with the accepted value of gluon condensate require an additional factor of @xmath116 in the ellis - lanik relation ( 1.5 ) and in relations ( 4.4 ) and ( 4.6 ) .
however we note that @xmath2 is suppressed in @xmath1-wave intensity in @xmath117 at 18.3 gev / c@xcite .
this suggests that @xmath118 so that @xmath119 and improved agrrements follow .
an additional term in the ellis - lanik effective lagrangian may thus be required by the @xmath120 production data to suppress or cancel the @xmath121 coupling .
cern measurements of @xmath18 on polarized target enable experimental determination of partial wave production spin amplitudes .
the measured @xmath1-wave transversity amplitudes provide evidence for existence of a narrow scalar resonance @xmath2 .
the assumption of analyticity of production amplitudes in dipion mass allows the deterimation of the @xmath1-wave helicity amplitudes @xmath3 and @xmath4 .
the unitarity in @xmath5 selects `` down '' solutions @xmath6 , @xmath7 , @xmath8 and @xmath9 .
ellis - lanik relation selects solutions @xmath6 and @xmath8 while weinberg s mended symmetry selects solutions @xmath6 and @xmath7
. the combined preferred solution @xmath6 has the @xmath16 meson mass and width degenerate with @xmath59 .
the agreement with ellis - lanik relation imparts the @xmath2 resonance with a dilaton - gluonium interpretation and relates its existence to breaking of scale symmetry in qcd .
the qcd vacuum participates in hadron reactions and the interaction of chirally invariant and narrow @xmath2 with chirally noninvarinat qcd vacuum in @xmath5 scattering is proposed as the mechanism for its metamorphosis into a broad resonant @xmath1-wave structure in @xmath5 related to spontaneous breaking of chiral symmetry .
the observed @xmath122 degeneracy leads to two new relations for pion decay constant and @xmath15 chiral condensate which are both well satisfied experimentally .
scalar mesons are probes of qcd vacuum@xcite and the complexity of scalar states reflects the complex structure of the qcd vacuum .
there is an emerging evidence for a @xmath123 resonance from tau decays @xmath124@xcite , from @xmath125 decays@xcite and from measurements of @xmath117 at 18.3 gev / c@xcite .
the cern measurement of @xmath126 on polarized target at 5.98 gev / c suggests existence of a strange scalar @xmath127@xcite .
several recent investigations examined the possibility of a scalar nonet below 1 gev@xcite . however
a non-@xmath128 structure of @xmath123 and @xmath127 has been also proposed@xcite .
high statistics measurements of @xmath117 and @xmath129 on polarized targets@xcite would help clarify the evidence for these scalar states .
due to its dilaton - gluonium nature , the @xmath2 may play a special and a broader role .
estimate of the cosmological constant from qcd scale anomaly yields a value in a remarkable agreement with the latest astrophysical data@xcite .
a dilatonic nature of the quintessence has been recently proposed by damour , piazza and veneziano@xcite .
bulk dilaton field in ads brane world models can be stabilized on the brane and allow for an interaction of the dilaton field with the standard matter through its fluctuation corresponding to an observable massive dilaton@xcite .
qcd / string duality stemming from the ads / cft correspondence@xcite in ads brane world model predicts the lowest mass of the scalar gluonium @xmath130@xcite where @xmath132 is the string coupling constant , @xmath133 is the string energy scale , @xmath134 is the number of branes and @xmath135 is the ads radius . it is inviting to identify the predicted @xmath136 with the mass of @xmath2 . the resonance parameters of @xmath2 may then be related to large scale structure and evolution of the universe .
lattice qcd calculations in pure - gauge theory predict large masses for @xmath130 gluonium .
recent calculations predict @xmath137 mev@xcite .
lower masses are obtained in lattice calculations with scalar glueball - scalar meson mixing in a quenched approximation@xcite .
implementing chiral symmetry in lattice calculations can also modify the predicted mass of the scalar gluonium@xcite .
conformal symmetry may be another additional ingredient in lattice calculations that may bring the predicted gluonium mass closer to the 770 mev inferred from the cern measurements of pion production on polarized target .
the @xmath14 degeneracy leads to observable effects in hadron reactions .
the degeneracy implies that the @xmath2 regge trajectory @xmath138 is a daugther trajectory of the @xmath56 regge trajectory @xmath139 .
such @xmath16 exchange regge amplitude is required to describe the observed anomalous energy dependence of polarizations in @xmath140 and @xmath141 elastic scattering and the deviation from the mirror symmetry in polarizations in @xmath142 and @xmath143 elastic scattering at intermediate energies@xcite .
this indicates that polarization measurements of hadron reactions even at intermediate energies may provide a testing ground for the renewed efforts to develop regge amplitudes from ads / cft and qcd / string duality@xcite .
the regge behaviour of helicity amplitudes is essential to superconvergence sum rules assumed in weinberg s mended symmetry@xcite .
the relationship between nonlinearly realized conformal invariance developed by salam and strathdee@xcite and the breaking of chiral symmetry and its connection to mended symmetry was first discussed by beane and van kolck in 1994@xcite .
a remarkable feature of hadron collisions is the conversion of the kinetic energy of colliding hadrons into the matter of produced particles .
the pion production is the simplest of these matter creation processes .
the measurements of pion production on polarized targets access the production process on the fundamental level of spin amplitudes rather than spin averaged cross - sections .
our results emphasize the need for a dedicated and systematic study of various production processes on the level of spin amplitudes measured in experiments with polarized targets .
such `` amplitude spectroscopy '' will be feasible at high intensity hadron facilities@xcite
. the first high intensity hadron facility will be the japan hadron facility at kek .
it will become operational in 2007 and the formation of its experimental program is now in progress@xcite .
i wish to thank v. elias for his interest and helpful e - mail correspondence concerning qcd sum rules , scale invariance and @xmath16 meson .
i thank m. rho for bringing to my attention the role of @xmath16 meson in the change of qcd vacuum in a dense medium and to references@xcite .
my special thanks go to s. weinberg for stimulating and encouraging e - mail correspondence concerning @xmath16 meson and mended symmetry . .mass @xmath10 and width @xmath61 from simultaneous fits to amplitudes @xmath144 and @xmath145 in four combinations of solutions of @xmath144 and @xmath145 .
the gluon condensate @xmath30 and the width @xmath146 are calculated from ellis -lanik relations ( 1.5 ) and ( 1.6 ) with @xmath67 . [ cols="^,^,^,^,^ " , ] | arxiv |
What do you really see on a line of clocks as you pass by them at high speed?
According to my understanding of SR, if I travel at 0.8c relative to a line of clocks, I should see the clocks in front of me going 3 times faster than my own, and those behind me going 3 times slower than my own (Doppler effect).
OK, so what happens at my exact location? I reckon that as I look nearer and nearer to my origin, I would see a discontinuity between the forwards and backwards directions.
That's bad enough, but at my origin there is no light travel delay, so my local time is my proper time, and the speed of the clocks should then be in accordance with gamma (4/3) at 0.8c.
So, my question is: how do I reconcile the 3 contradictory speeds that I should observe for a clock at my origin? I think it should be the value given by gamma, but I can't explain the discontinuity resulting from the Doppler effect both forward and back in close proximity to the origin.
I assume you used the formulae $f\_o = fs\sqrt{\frac{1+v/c}{1-v/c}}$ for the clocks ahead of you and $f\_o = fs\sqrt{\frac{1-v/c}{1+v/c}}$ for the clocks behind you. Those formulae do imply a singularity for the clock that is closest to you. Which equation to use?
The answer is neither. Those expressions assume the travel is along the line of sight to the source. There is a singularity because collisions are singularities. Your spaceship is plowing through the line of clocks. What you'll see in front of you are a series of clocks ticking faster than yours. Behind you, you'll see a cloud of pulverized clocks. Your spaceship had better have some very good forward shields.
Your spacecraft presumably isn't doing that. Instead, you are flying parallel to the line of clocks, with some constant, non-zero distance between the spacecraft and the line of clocks. You need to use the more generic expession
$$f\_o = fs \frac{\sqrt{1-\left(\frac v c\right)^2}} {1-\frac v c \cos \theta\_o}$$
where $\theta\_o$ is the angle between the clock in question and your line of travel, as observed by you. The sign convention here is that $\theta\_o$ is positive for clocks in front of you, negative for clocks behind you.
The above expression reduces to the simpler expressions at the start of my answer for clocks very far in front of you and very far behind you. In between, you'll get a nice continuous change from faster in front, slower behind. The clock right next to you? It's a bit redshifted, and hence slower. Here $\cos \theta\_0=0$, so in this case $fo=fs\sqrt{1-(v/c)^2}$. This is called the transverse Doppler redshift. This means that there's a clock just slightly ahead of you that is ticking at your own clock's rate.
The signal from the clock moving towards you is the Doppler shifted version of the value you "know" it to be - that is, first slow it down by gamma (clock moving relative to your frame of reference), then speed it up by Doppler shift.
Ditto, with sign reversed, for clocks behind you. Now the clock moving at right angles shows what you expect and there is no discontinuity.
If you consider a straight-on trajectory, there really will be a discontinuity. That is the same as with the audible Doppler effect.
There is a smooth drop in frequency of a fire truck's siren passing you on the street. The reason is, that there is a certain distance between you and the truck at the closest point. If that were not the case, i.e. the siren moves directly through you without the truck smashing you, you would perceive a sudden drop in frequency.
I am assuming we are talking about the one dimensional case in which we can "move through" clocks.
Assuming you synchronise the clocks in your own frame, those further away from you will show an older time than those closer because it takes longer for light to reach you from them.
On top of that, all clocks will be equally time dilated since they are all moving in the same frame.
The doppler effect enters because it will change the color of the clock - those ahead will appear blue and those behind red. The doppler effect does not change the actual time on the clock, though.
I don't have the reputation to comment, so I'll comment about David Hammen's (accepted) answer here.
His conclusion is correct, but mentions *"Those formulae do imply a singularity for the clock that is closest to you"* in reference to the forumale he thought you were referring to. He also mentions *"In between, you'll get a nice continuous change from faster in front, slower behind"* in reference to his latter formula involving a cosine.
There is no singularity present in your original formulae that is not also present in David's. He has compared your equations (using a head-on speed) to his (using the proper, 'pythagorean' relative speed).
In particular, if you are headed straight for a clock the angle $\theta\_0$ will instantaneously flip $180^\circ$ when you pass it. At the same time $v$'s magnitude will flip. The 'singularity' is still there!
| stackexchange/physics |
we may need to go a long way before we understand how the confinement mechanism works within nonabelian gauge theory .
a lot of physicists now consider the abelian projection as the best way to understand the confinement mechanism .
after abelian projection one should consider the element of some abelian subgroup of the gauge group instead of the full gauge group element .
thus , the theory becomes abelian and one can look at the picture of the confinement phenomenon in a simpler way .
abelian projections differ from each other by the choice of the subgroup of the gauge group and the projection method .
the closeness of a given abelian projection to the solution of the confinement problem is measured as follows .
suppose that the link gauge group elements @xmath3 are projected onto the elements of the given abelian subgroup @xmath4 .
we consider @xmath5 instead of the wilson loop and extract the potential from @xmath6 , ( the _ projected _ potential ) .
if that potential is close to the original confining potential at sufficiently large distances one can say that the projection is suitable for the investigation of the confinement mechanism . dealing with the @xmath0 gauge group ,
the cartan subgroup @xmath7 and the center subgroup @xmath8 have been considered .
the most popular projections are the maximal abelian and the maximal center projections .
those projections are achieved by minimization with respect to the gauge transformations of the distance between the given configuration of the link gauge field and the cartan ( center ) subgroup of @xmath0 . in both cases
the potentials are very close to the @xmath0 confining potential but unfortunately do not exactly coincide with it .
greensite et al .
@xcite have argued that only central charges @xmath9 are confined in nonabelian gauge theories . from the work of bornyakov et al .
@xcite it is known that gauge fixing procedures suffer from a gauge copies problem .
several gauges have been used so far in practical computations : the direct and indirect @xcite center gauges and the laplacian center gauge @xcite . only the first two suffers from the occurrence of gauge copies , the last one is free from this difficulty . according to refs .
@xcite this problem disappears for large lattices and when the number of gribov copies considered is increased .
of course , this means that the computational effort must also be increased . in this work
we propose a new center projection which is not connected with partial gauge fixing .
thus , all the objects existing within the projected theory have a gauge invariant nature .
we call this procedure the simple center projection ( scp ) . based on numerical simulations
we make the conjecture that the projected potential coincides with the @xmath0 potential up to the mass renormalization term at sufficiently large distances . within the scp we can construct the center vortices and the center monopoles (
also known as _
nexuses _ , see refs . @xcite and @xcite ) .
the properties of the scp monopoles found in our investigations lead us to believe that those monopoles are the objects which play the role of the cooper pairs in the dual superconductor .
we consider @xmath0 gluodynamics with the wilson action @xmath10 the sum runs over all the plaquettes of the lattice .
the plaquette action @xmath11 is defined in the standard way . first we consider the plaquette variable @xmath12 we can represent @xmath13 as the sum of a closed form @xmath14 for @xmath15 and the form @xmath16 . here
@xmath17 , @xmath18 , and @xmath19 .
@xmath20 the physical variables depending upon @xmath13 could be expressed through @xmath21 we shall say that @xmath22 is the center projected link variable .
there are many different ways to make this projection .
the maximal center projection ( mcp ) uses the gauge ambiguity to make all link matrices @xmath23 as close as possible to @xmath24 .
thus the 1-form @xmath25 is fixed for every gauge configuration . there
exist several ways to achieve this @xcite . one way , the _ direct way _ , is to minimize the quantity @xmath26 { \rm tr } [ u^\dag _ \mu ( x ) ] .
\label{eq.041}\ ] ] in the _ indirect way _ one minimizes the quantity @xmath27 , \label{eq.042}\ ] ] and extracts from @xmath28 the diagonal part @xmath29 $ ] thus fixing the gauge .
finally the remnant abelian symmetry is used to bring @xmath30 as close to an element of @xmath8 as possible by maximizing @xmath31 it is clear that both procedures are complicated and time consuming , as the number of variables involved in the case of e.g. @xmath0 is three .
whatever method is used , the 1-form @xmath25 is fixed for every gauge configuration .
now we choose a simpler and more natural procedure .
imagine the surface @xmath32 formed by the plaquettes dual to the `` negative '' plaquettes ( for which @xmath33 ) .
this surface has a boundary .
we enlarge the surface by adding a surface @xmath34
so that : + 1 . the resulting surface @xmath35 will be closed ; + 2 . when we eliminate from the surface @xmath34 the plaquettes carrying even numbers @xmath36 , the area of the remnant surface will be minimal for the given boundary .
so @xmath37 can be represented by the closed form @xmath38 on the original lattice for the integer link variable @xmath39 .
and @xmath25 is the required center projected link variable .
numerically this procedure lookes as follows . for the given variable @xmath13 we should choose such a @xmath8 variable @xmath25 that @xmath40\,{\rm mod}\ , 2 $ ] is as close as possible to @xmath13 .
it means that we minimize the functional @xmath41 with respect to @xmath25 .
the procedure works in the following way .
we consider a given link @xmath42 and the sum over plaquettes @xmath43 we minimize this sum with respect to the one link value @xmath25 .
all links are treated in this way and the procedure is iterated until a global minimum is found .
we call this unique and simple procedure the simple center projection .
our projection method also finds local minima , gribov copies , but as the procedure is much simpler and faster that the methods use until now , we can afford to repeat our calculations to include several gribov copies .
the physical meaning of the projected variables becomes clear after considering the continuum limit .
naively , the considered surfaces disappear as the field strength on them tends to infinity .
nevertheless this fact should be investigated more carefully . in any case for resonable sizes of lattices
finite volume effects occur and the scaling window ends at some value of @xmath44 . thus the direct drop into the continuum limit is impossible and within the scaling window our surfaces @xmath32 carry large but not infinite field strength .
the results of the next section give us the reason to believe that these surfaces are those which play the crucial role in the confinement mechanism .
let us also mention that it is reasonable to consider the analogous construction for which we change the plaquettes into loops of sizes @xmath45 , @xmath46 .
these extended projections solve the problem of the positive plaquette model , for which our `` @xmath47 '' @xmath32 is absent .
in the calculations we report on here , we used as our standard lattice one with dimension @xmath48 and for investigations at finite temperature one with size @xmath49 . for reasons of comparison
we have occasionally used smaller lattices , of sizes @xmath50 and @xmath51 .
some results were checked on the larger lattice @xmath52 .
we have mentioned the gauge copy problem .
we checked that for lattices with linear dimensions @xmath53 , which we have used , 15 copies are sufficient and so we used everywhere 15 gribov copies .
we consider the following definition of the projected wilson loop @xmath54 where @xmath55 is the perimeter of the loop @xmath56 .
it may be interesting for the reader that this expression is very similar to the first term in the character expansion from @xcite .
one can get the above expression from that formula substituting the factor @xmath57 instead of @xmath58 and the power @xmath59 instead of @xmath60 . however , as the authors of refs .
@xcite derive their expression for lattices without gauge fixing , they can derive their results with local operators , using the characters of the gauge group to obtain dominance of the fundamental representation . in our case , we perform gauge fixing , which results in a nonlocal operator . consequently , we can not use the same derivation as refs .
@xcite . as we have not been able to find a rigorous derivation of eq .
( [ eq.060 ] ) , one must consider our results up till now as empirical ones .
it should be stressed that these results were checked for wilson loops of sizes up till @xmath61 .
it might be useful to check whether eq . ( [ eq.060 ] ) continues to give good results if larger wilson loops are considered and the statistics is improved .
the reader can recognize from fig .
[ fig.01 ] that @xmath62 and @xmath63 exactely coincide with each other for large enough sizes of the loop ( we represent here @xmath64 and @xmath65 as a function of the loop area for the values @xmath44 = 2.3 and 2.4 ) . @xmath66 differs from @xmath6 by the perimeter factor .
thus we understand that the projected potential ( extracted from @xmath6 ) differs from the full potential ( extracted from @xmath67 ) only by the mass renormalization term at low energies .
other terms ( including the confining linear term ) are the same .
it demonstrates the center dominance .
we construct the closed two - dimensional center vortices as in @xcite @xmath68 first , we can express @xmath6 as @xmath69 where @xmath70 is the linking number @xcite .
thus , according to the previous subsection the aharonov - bohm interaction between the center vortices and the charged particle leads to the confinement of the fundamental charge @xcite .
also we investigate other properties of the center vortices for the finite temperature theory ( the nonsymmetric lattice @xmath49 ) .
the density of the vortices @xmath71 is shown in fig .
[ fig.02 ] . the fractal dimension , defined as @xmath72 , where @xmath73 is the number of plaquettes and @xmath42 is the number of links @xcite of the vortices , is shown in fig . [ fig.03 ] . a line @xmath42 is counted as belonging to the vortex if at least one of the faces of a cube dual to that link contains a plaquette with charge 1
following @xcite we construct the center monopoles ( nexuses ) @xmath74\ ; { \rm mod}\ , 2 .
\label{eq.070}\ ] ] we show the density of the nexuses as a function of @xmath44 in fig . [ fig.02 ] .
it is important to make sure that the monopole lines are closed .
it follows from the equation @xmath75\ ; { \rm mod}\ ; 2 = 0 $ ] .
we investigated the percolation properties of @xmath76 and considered the probability of two points to be connected by a monopole worldline on a constant - time hypersurface .
the dependence of that probability upon @xmath44 for a nonsymmetric lattice is shown in fig .
[ fig.04 ] .
the percolation probability is dependent on the lattice size .
this is obvious for very small lattices , but it is seen to persists at larger sizes . here
we would like to remark on the role the monopole condensate plays as an order parameter .
ivanenko et al .
@xcite have shown for abelian monopoles , obtained after maximal abelian projection , that the monopole condensate can be used as an order parameter : it vanishes in the deconfined phase , while it takes a finite value in the confining phase .
the authors of ref .
@xcite made the interesting observation that the behavior of the condensate near the point of the phase transition depends on the `` thickness '' of the monopole lines .
it was demonstrated in ref .
@xcite that abelian monopoles are strongly connected with vortices . for vortex lines with a thickness of one lattice spacing , the condensate vanishes smoothly near the critical point , whereas for lines with a thickness of two lattice units , the variation of the condensate near the critical point is very steep .
we see that the monopoles are condensed in the confinement phase and not condensed in the deconfinement phase , but the phase transition is rather smooth as is the case for thin abelian monopoles . if we would investigate , along the lines of ref .
@xcite nexuses of larger sizes like @xmath77 , @xmath78 and so forth , we think that we shall obtain a better sensitivity of the condensates @xmath79 , @xmath80 etc . to the phase transition .
( here we use the obvious notation @xmath81 for the condensate of vortices of size @xmath82 .
we expect the center monopoles to be the monopoles that are present in the dual superconductor picture of confinement .
as the phase transition is not very pronounced for the thin vortices we considered here , our results may be taken as a `` proof of principle '' .
they must be substantiated by considering thick vortices which are supposed to be more strongly connected to confinement @xcite .
the analytical connection of the monopole condensation and the formation of the dual superconductor was considered in @xcite for the case of @xmath83 symmetry .
of course , the results of that paper obtain also for the @xmath0 theory .
it follows from @xcite that in the case both condensation of nexuses and center dominance occur , the picture of the dual superconductor in which the nexuses play the role of cooper pairs and the quarks play the role of the monopoles becomes clear . in particular , one can rewrite the fundamental wilson loop as follows @xmath84)\nonumber\\ -\sum_{xy } \phi_{x } e^{2ih_{xy } } \phi_y^+ - v(|\phi|))\end{aligned}\ ] ] here @xmath85 is the electromagnetic field , @xmath86 $ ] is the area of the surface spanned on the quark loop , @xmath87 is the nexus field , @xmath88 is nonlocal effective action , @xmath89 is an infinitely deep potential , supporting the infinite value of the nexus condensate .
thus we have indeed the nonlocal relativistic superconductor theory , in which the nexuses are the cooper pairs and the quarks are the monopoles .
the condensation of nexuses gives rise to the formation of the quark - antiquark string appearing as the abrikosov vortex .
in this work we construct the gauge invariant center projection and show that center dominance takes place .
we investigate the properties of the topological defects in the center projected theory , which are shown to be closely connected to the confinement picture .
particulary it occurs that the center monopoles from this projection are good candidates for the cooper pairs in the dual superconductor .
the simple numerical nature of the simple center projection , the exact center dominance and the properties of the topological defects existing in the center projected theory give us the reason to propose scp as the basic abelian projection for the considering of the confinement picture .
we are grateful to v.g .
bornyakov , m.n .
chernodub , and m.i .
polikarpov for useful discussions .
a.i.v . and m.a.z .
kindly acknowledge the hospitality of the department of physics and astronomy of the vrije universiteit , where part of this work was done .
this work was partly supported by the grants rfbr 99 - 01 - 01230 , intas 96 - 370 . | arxiv |
the concept of colony stimulating factor ( csf ) as a hematopoietic induction , differentiation , and growth factor was first discussed in 1966 ( 1 ) . a case of malignancy
was later reported with increased csf activation in serum and urine in 1974 ( 2 ) .
afterwards , it was demonstrated for the first time that csf was directly produced in a lung cancer tissue specimen in 1977 ( 3 ) .
granulocyte - colony stimulating factor ( g - csf ) is recognized as a naturally occurring glycoprotein that stimulates the proliferation and maturation of precursor cells in the bone marrow into fully differentiated neutrophils ( 4 ) .
although several accounts of g - csf - producing malignant tumors in lung cancer exist , few have been observed in the digestive system .
notably , there have been scarcely any cases found in primary liver cancer , such as hepatocellular carcinoma ( hcc ) . here ,
we present a rare case of g - csf - producing hcc that was confirmed by immunohistochemistry .
a 69-yr - old man was admitted to our hospital in july 1999 suffering from fever , general fatigue , weight loss , and right upper abdominal pain . on examination ,
his temperature was 36.2. he showed no signs of alcohol addiction and had no indications of co - morbidities , such as diabetes mellitus or dyslipidemia .
he had no signs of anemia or jaundice in conjunctiva and presented with no abdominal masses or hepatosplenomegaly , but did complain of tenderness on the right side hypochondrium .
laboratory tests showed a white blood cell count of 25,450/l with 90% neutrophils , a red blood cell count of 36710/l , and a platelet count of 35.210/l .
blood chemistry showed aspartate aminotransferase of 57 u / l , alanine aminotransferase of 36 u /
l , alkaline phosphatase of 949 u / l ( normal range : 115 to 359 u / l ) , gamma - glutamyl transpeptidase of 313 u / l , cholinesterase of 44 u / l , total protein of 6.7 g / dl , and total albumin of 2.7 g / dl .
c - reactive protein ( crp ) was found to be 13.1 mg / dl in serological studies .
the serum level of afp was 2.0 ng / ml , the level of protein induced by vitamin k absence or antagonist ii ( pivka ii ) was 43 mau / ml , the level of cea was 9.9 ng / ml(normal value : less than 5.0 ng / ml ) , and the level of ca19 - 9 was 6.0 u / ml .
tests for hepatitis b virus surface antigen ( hbsag ) , hepatitis b core antibody ( hbcab ) , and hepatitis c virus antibody were all negative .
elevations in serum g - csf and interleukin-6 ( il-6 ) were seen at 62 pg / ml ( normal value : less than 18.1 pg / ml ) and 26.7 pg / ml ( normal value : less than 4.0 pg / ml ) , respectively . bone marrow aspiration and a biopsy specimen revealed hypercellularity of mature neutrophils with normal erythropoiesis and megakaryopoiesis .
a hypoechoic tumor 5 cm in diameter was detected by ultrasonography between the anterior inferior segment ( s5 ) and anterior superior segment ( s8 ) of the liver .
the tumor presented as a slightly low density area in pre - contrasted computed tomography ( ct ) .
it was enhanced in early phase contrast enhanced ct and accompanied with diffuse enhancement in the surrounding area , and finally washed out in the late phase with delayed hyper - enhancement in the surrounding area ( fig .
1 ) . magnetic resonance imaging ( mri ) showed low and high intensity nodules in t1 and t2 weighted imaging with fat suppression , respectively .
we clinically diagnosed the hepatic tumor to be common hcc according to these findings and the surrounding area to be secondary inflammatory change associated with the tumor .
we initially considered the possibility of co - infection since the patient had fever , extreme leukocytosis , and high serum levels of crp .
we intravenously administered 2 g / day sulbactam / cefoperazone and 2,400 mg / day clindamycin for 10 days , and then changed treatment to 1 g / day meropenem and 2,400 mg / day clindamycin for 9 days .
no effects were seen , nor could we detect any infective foci in other organ sites by radiography or ct .
blood cultures were also tested several times after admission but were all negative for bacteria and fungus .
based on the above , we concluded that the patient had no co - infections and diagnosed him as having a paraneoplastic syndrome .
his blood leukocyte counts decreased to normal range , and serum g - csf and il-6 deceased to 12 pg / ml and 5.9 pg / ml , respectively .
an encapsulated gray - white nodule with foci of necrosis was seen by cut surface of the resected liver ( fig .
resected specimens of tumor histologically revealed that the tumor was a moderately differentiated hepatocellular carcinoma ( fig .
2b ) . a specimen of liver parenchyma adjacent to the tumor , which was diffusely enhanced by contrast enhanced ct , showed marked infiltration with neutrophils within the widened sinusoid that represented congestion ( fig .
the tumor showed positive staining for hepatocyte paraffin 1 ( hep par 1 ) and g - csf ( anti - g - csf [ ab-1 ] , mouse monoclonal antibody , calbiochem , darmstadt , germany ) in the cytoplasm , but was negative for g - csf receptor ( g - csf receptor antibody [ s-1284 ] , mouse monoclonal antibody , abcam , cambridge , uk ) ( fig .
he experienced rib pain in 2003 and was diagnosed as having multiple bone metastases by several imaging examinations .
he was admitted to our hospital again for palliative care , and succumbed to his illness one month later .
his serum g - csf at the time of death was 18 pg / ml and within normal range .
all cases of g - csf - producing hcc reported in english literature are listed in table 1 ( 5 , 6 ) . as
g - csf - producing hcc is extremely rare , only two cases have been documented until now . here , we present the third such case , along with immunohistochemical proof of g - csf expression .
the following findings are indicative of g - csf producing tumors : elevation of serum g - csf and an increased leukocyte count , transient decreases in g - csf and leukocyte count to normal ranges after tumor resection , a simultaneous increase in g - csf and neutrophil count with tumor recurrence , and an elevation in g - csf expression levels in resected specimens on the basis of immunohistochemical staining or real - time reverse transcriptase polymerase chain reaction .
one direct way to prove g - csf production on the tumor cells is by immunohistochemical techniques ( 7 ) . in this case
, we could clearly demonstrate that the hepatic tumor produced g - csf by immunohistochemical analysis of specimens taken during his operation ( fig .
furthermore , both serum white blood cell counts and g - csf levels decreased after resection of the tumor . in light of these , we could be sure that this case was g - csf - producing hcc .
the prognosis of g - csf - producing tumors is generally considered to be poor and depends largely on the primary disease ( 8) . such a prognosis was also noted in the previous two cases of g - csf - producing hcc . in support of this , g - csf was demonstrated to stimulate growth of a non hematopoietic malignant cell line in vivo ( 9 ) and is considered to be an autocrine growth factor in rapid tumor proliferation and metastasis ( 10 - 13 ) .
we also performed immunohistochemical staining for the g - csf receptor , which yielded negative findings .
this is the first case of g - csf - producing hcc in which immunohistochemical staining for g - csf receptor was performed .
although the localization of the tumor and absence of liver cirrhosis in this patient may have contributed to a better prognosis , we can also speculate that the absence of g - csf receptors in the patient 's tumor caused a deficiency or absence of autocrine growth , which led to a more favorable prognosis . in a similar manner ,
g - csf - receptor - positive groups of oral and mesopharyngeal squamous cell carcinomas had a significantly lower disease - free and overall survival rate than g - csf - receptor - negative groups ( 14 ) .
another difference between our case and previous ones lies in the degree of tumor cell differentiation seen in histopathology ; our case showed moderate differentiation , but the others were poorly differentiated ( table 1 ) .
it may be likely that local expression and interactions between g - csf and g - csf receptors induce differentiation of hcc cells into an immature phenotype .
lastly , serum values of il-6 were elevated both in our case and in case 2 ( 6 ) .
it has been reported that co - production of g - csf and il-6 is associated with the production of il-1 , a known as inflammatory cytokine , in g - csf producing cancer cell lines ( 15 ) .
high levels of serum il-6 and crp in the present case may have been responsible for the chief complaint of fever .
il-6 is considered to act as an endogenous pyrogen ( 16 , 17 ) that regulates the synthesis of acute phase proteins , including crp ( 18 , 19 )
. however , we were unable to clarify the production of il-6 ( il-6 [ r-49l ] : sc-90110 , mouse monoclonal antibody , santa cruz biotechnology , inc . , santa , cruz , ca , usa ) or expression of il-6 receptor ( gp130 [ an - h2 ] , sc-9994 , mouse monoclonal antibody , santa cruz biotechnology , inc . )
it is possible that the antibodies used were not sensitive enough for this tumor . in conclusion
, clinicians should consider g - csf - producing hcc when encountering patients with leukocytosis and a hepatic tumor , and radical surgery may provide a more favorable prognosis in such instances .
further cases are needed to clarify the clinical findings of g - csf - producing hcc . | pubmed |
Last night, after the Porthleven Town Council meeting I attended the Bickford-Smith Institute (large clock building in Porthleven) Christmas Concert, held at St. Bartholomews Church. This is a yearly concert helps fund a certain part of the building.
The Moushole Male Voice Choir and Porthleven Town Band provided the entertainment. I have to say it was a fantastic concert and well worth the £4 entry fee. I have a small confession in I have a soft-spot for the songs from male voice choirs, even though I cannot muster an in-tune note!
Porthleven Town Band were also excellent, and it was good to see the band made up of so many young people; which bodes well for the future success of the town band. A great evenings entertainment. Well done to all who made it so. | slim_pajama |
CONAN
Screenplay by
Thomas Dean Donnelly & Joshua Oppenheimer
Based on the writings of Robert E. Howard
REVISED 12/09/10 - Andrew Lobel
REVISED 02/01/10 - Andrew Lobel
REVISED 02/23/10 - Sean Hood
REVISED 03/01/10 - Sean Hood
REVISED 03/07/10 - Sean Hood
REVISED 03/09/10 - Sean Hood
REVISED 03/11/10 - Sean Hood
REVISED 03/16/10 - Sean Hood
REVISED 03/21/10 - Sean Hood
REVISED 03/24/10 - Sean Hood
REVISED 03/31/10 - Sean Hood
REVISED 04/09/10 - Sean Hood
REVISED 04/19/10 - Sean Hood
REVISED 04/30/10 - Sean Hood
REVISED 05/05/10 - Sean Hood
REVISED 5/12/10 - Sean Hood
RESHOOT PAGES (begin page 104)
Sean Hood - 11/19/10INT. WOMB - DAY
IN DARKNESS, the solitary sound of a HEARTBEAT, resounding
like a drum over the distant sounds of war, STEEL AGAINST
STEEL, the crack of bootleather on bone.
NARRATOR (V.O.)
Between the years when the oceans
drank Atlantis, and the rise of the
sons of Aryas, there was an age
undreamed of...
TILT DOWN to the immaculate crown of an UNBORN BABY, eyes
closed, floating at peace within the warm glow of the womb.
NARRATOR (V.O.)
It was an age of war. And of all
Hyboria, none knew war like the
Cimmerians...
SSSKKTTTCH! A flash of steel as a BLADE PIERCES THE WOMB, not
an inch from the child. As the sword is pulled free we MOVE
WITH IT, out into the MADNESS OF BATTLE.
EXT. CIMMERIA - BATTLEFIELD - DAY
A VANIR WARRIOR withdraws the stained blade from FIALLA, a
wild-maned Cimmerian warrior-woman, many months pregnant.
From atop a mountain of the dead, CORIN, rallying his
CIMMERIAN WARRIORS against the Vanir, spots Fialla fall.
Corin races across the battlefield, the FOREST ON FIRE around
him, cutting through those in his way.
The battlefield is littered with dead Vanir; by the looks of
it they’ve been fighting over these lands for years.
Fialla clutches her belly, looking up at her attacker, her
other hand reaching through mud for her lost weapon.
Her attacker advances. She DRIVES THE BLADE up into the gap
in his armor. He HOWLS in agony, raising his sword to finish
her off when-
He’s CLEAVED FROM HELMET TO STERNUM, a geyser of blood and
bonechips. Corin draws back his blade and kneels beside his
fallen wife.
Fialla looks down at her bare belly, a visible impression of
the baby against her flesh. She tries to speak, coughing up
blood.FIALLA
Take your child.
CORIN
Do not speak, love.
FIALLA
You have never been able to still
my tongue, and you will not on this
day.
Fialla grits her bloodstained teeth, drawing a dagger from
her pelt.
FIALLA
I will see my child before I die.
Fialla NEVER takes her eyes off Corin, NEVER screams as Corin
performs the horrific task. The sounds of war fade away, no
more steel, no more screams...
Just the sound of a CHILD CRYING.
Fialla kisses her newborn, his first taste not of mother’s
milk, but of her blood.
FIALLA
See that there will be more to his
life than fire and blood.
No kissing or hugging for these two. Corin and Fialla share a
warrior’s handgrasp, touching forehead to bloody forehead.
CORIN
Name your child...
EXT. CIMMERIA - BURIAL GROUND - NIGHT
The air is wild with burning embers from funeral pyres. Corin
stands with his newborn son.
FIALLA (O.S.)
His name is Conan.
Corin raises YOUNG CONAN skyward against the pyres ablaze. A
baptism by fire.
TITLES: CONAN2EXT. CIMMERIAN VILLAGE - CREDIT SEQUENCE - DAY
SMALL BOOTS race through fresh snow. A BOY, 11 sprints
through the village. We don’t see his face, just his scrawny
frame, black unkempt hair hanging in tangles.
The boy cuts through the village center around a large hut,
leaping over a sitting CIMMERIAN ELDER and a ring of GIRLS
crafting a ceremonial drum. The Elder looks scandalized.
No time to apologize. The boy continues his run, weaving
around CIMMERIAN WARRIORS sparring with swords and spears,
ducking under a large SLAIN ELK being prepped for the spit.
The village is preparing for a celebration.
EXT. CIMMERIAN VILLAGE - TRAINING GROUNDS - DAY
The boy clears the village, a haven nestled in heavy forests,
surrounded by rolling hills and ashen skies. Ahead...
Corin, older, limping from a war injury, stands before a line
of eager CIMMERIAN BOYS, 12-15. A ring of CIMMERIAN ELDERS
watch this solemn ceremony begin.
As if handing out the Eucharist, Corin walks down the line of
boys, placing in each one’s mouth a small, blue RAVEN’S EGG.
The boys hold the fragile orbs delicately between their lips.
CORIN
When a Cimmerian feels thirst, it
is the thirst for blood. When he
feels cold, it is the cold edge of
steel.
(beat)
But, the courage of a Cimmerian is
tempered. He neither fears death,
nor rushes foolishly to meet it.
(beat)
So, to be a Cimmerian warrior, you
must have cunning and balance as
well as strength and speed.
Suddenly, the boy blunders up and takes a spot at the end of
the line. He struggles to catch his breath.
CORIN
(surprise)
Conan?
ONLY NOW DO WE SEE CONAN’S FACE. At age 11, the boy has a pre-
adolescent scrawniness, lacking the swagger or the size of
the other boys. They eye him dubiously.3CORIN
I gave you chores, boy.
CONAN
Finished, father.
Corin studies his son’s dark intensity, and then he nods
curtly. He places the last egg in Conan’s mouth.
CORIN
The first to circle the hills and
return, the egg unbroken, earns the
right to train with the warriors.
A moment as Corin looks over his son.
CORIN
By Crom, what are you waiting for?
AND OFF THEY RUN, a brutal footrace. They struggle to knock
each other down, to trip each other in the river, to break
the eggs the others carry in their mouths.
EXT. CIMMERIAN FOREST - DAY
They race along a path towards the hill. A TALL BOY kicks
another, whose egg BURSTS as his chin hits the dirt.
Then the Tall Boy swings for Conan’s mouth. Conan ducks,
stumbles, and nearly falls. But the egg remains unbroken.
The bigger boys take the lead, but Conan gains on them by
cutting off the trail, hopping over rocks and logs.
EXT. CIMMERIA - MUDDY FOREST - DAY
Conan takes the lead, with two larger boys right behind him,
all bounding over roots with remarkable balance.
They glide through the harsh wilderness like young wolves,
careful no false step should break their fragile cargo.
But suddenly, around them, there is MOVEMENT IN THE TREES.
Conan spots BARE FEET leaping among the branches, tracking
them. He slows, realizing what this means.
The other boys, even the biggest, stop dead, turn and flee,
rushing back toward the village.
But Conan stands his ground.4WHOOSH! A BOLA ARCS THROUGH THE FOLIAGE. It snags Conan’s
feet, drops him face first into the mud.
Conan tries to stand, tangled in the snare. He wipes mud from
his eyes, finds he’s surrounded by 3 PICT SCOUTS, savages
decorated in tribal warpaint, armed with dual handaxes, the
rotting heads of their enemies slung at their waists.
The Picts make no move, discussing their catch in their
native tongue. Conan watches, mouth held shut, struggling
with the bola, his expression dark and canny.
The PICT LEADER draws a CURVED SKINNING KNIFE, snatches a
fist full of Conan’s hair. He laughs to his fellow scouts.
He doesn’t notice that Conan has slipped free of the Bola, or
that the weighted end is already rising in a wide arc.
CONAN SHATTERS THE LEADER’S SKULL.
With startling speed, Conan grabs the dead Pict’s axe and
with a bloodthirsty shriek, leaps towards the two remaining
warriors...
EXT. CIMMERIAN VILLAGE - TRAINING GROUNDS - DAY
As Corin and the elders wait for the boys to return.
WARRIOR (O.C.)
Corin! Picts on the trail!
The Cimmerian warriors we saw sparring earlier rush up with
all the frightened boys we saw flee from the Pict scouts.
All except Conan.
CORIN
Where?
Corin suddenly turns, and everyone follows his eyes, looking
up the path, but instead of the enemy, they see...
CONAN, COVERED IN BLOOD. He walks past the stunned Cimmerian
boys, past the dumfounded elders, right up to his father.
He clutches the SEVERED HEADS of the slain Picts by their
hair. He SPITS out the broken shell of the egg, and speaks.
CONAN
I am ready to fight.
Corin studies the boy, gravely. All stand in awe. Then Corin
nods to the warriors who rush out onto the trail.5CORIN
Search the hills.
INT. CIMMERIAN VILLAGE - CORIN’S FORGE - NIGHT
Corin enters and watches his boy wave a short sword through
the air, lost in fantasies of battle. Corin looks troubled.
Corin reaches out and grasps the hilt, trying to take the
weapon away. For a moment the outraged boy won’t let go. But
it only lasts a moment. Coming to his senses, Conan
relinquishes the blade and goes back to work.
CORIN
Remember that you fight not just
for yourself. There are secrets
hidden here that have the power to
change the course of history, and
someday they will be your
responsibility to protect.
Corin opens a WELL HIDDEN DOOR IN THE FLOOR and places the
sword back in a cache of weapons, armor and sacred objects.
Conan works the bellows of a complex forge, the walls adorned
with ARMS AND ARMOR. He looks bored and impatient, staring
into the fire, FLAMES REFLECTED IN HIS EYES.
CORIN
Come. It’s time you learned to
forge a blade.
Corin leads Conan to their anvil, offers Conan the master
smithing hammer. Conan doesn’t take it.
CONAN
Crom made me to wield swords, not
to hammer them.
CORIN
Crom has shaped you, as he shapes
us all, to his own cold ends.
INT. CIMMERIAN VILLAGE - VARIOUS - SMITHING MONTAGE
Over the course of many weeks, Corin teaches Conan the art of
blacksmithing. Days and nights pass as,
- Ore is carted in from the hills, BACK-BREAKING WORK.
- Bellows ROAR as the ore is superheated to liquid metal,
poured into a mold from an ELABORATE PULLEY SYSTEM.6- The FORGING of the blade, hot iron poured into a mold.
- Corin EXAMINES CONAN’S SWORD. Conan is proud of his work.
CORIN
What is most important when forging
a blade, fire or ice?
CONAN
(obviously)
Fire.
Corin stares. Silence. Conan senses he’s made a mistake.
CONAN
Ice?
Corin continues to stare. Conan looks baffled.
CORIN
Are you certain?
Conan nods, uncertain.
Corin sighs, shakes his head, and then STRIKES the anvil with
the sword. THE BLADE SHATTERS. Conan stares at his own
reflection caught in the shards of broken metal.
CORIN
Let’s begin again.
- RELENTLESS HAMMER WORK, Corin and Conan pound the metal
together, backlit by the forge. Sparks fly.
CORIN (O.S.)
This sword we make will be yours
one day. But before you wield it,
you must understand it.
- The blade is HEATED until it glows.
CORIN
A sword must bend or it will break.
- The blade is QUENCHED. Steam rises from the cooling tub.
CORIN (O.S.)
It must be tempered...
- Conan watches Corin etch the pommel of the CIMMERIAN
GREATSWORD. A work of art.7CORIN
Fire and ice. Together. This is the
mystery of steel.
EXT. CIMMERIAN VILLAGE - FROZEN RIVER - DAY
Conan and Corin spar atop an ice sheet over a shallow river.
For his age, Conan is quite the warrior, and he shows it.
But, his father, the master warrior, wielding the new
greatsword, easily deflects his every blow. It’s like nothing
Conan has ever faced before.
CORIN
You are STILL all fire, boy.
Frustrated, Conan just swings harder, struggling for balance
as his feet slip and slide on the ice.
CORIN
No. Slow down. Find your footing.
Corin sidesteps a clumsy thrust, knocks Conan off his feet,
spreading cracks across the ice.
CORIN
(shaking his head)
Enough.
But Conan isn’t finished. What he lacks in skill he delivers
in ferocity, slashing and charging. But, with two flowing
strokes Corin knocks the boy back.
CORIN
ENOUGH.
Corin PLUNGES HIS GREATSWORD into the cracked ice sheet, like
Arthur returning the sword to the stone.
In an explosion of sudden anger and frustration, Conan
CHARGES HIS FATHER with his sword. Corin calmly pulls back
his blade stuck in the ice sheet.
Corin’s blade works like a lever, cracking the ice further.
And just as Conan reaches him.
CRACK! The ice splits. Conan DROPS INTO THE SHALLOW RIVER.
Corin glares. Conan pulls himself out of the frigid water to
see his father sheathing the blade he wants so badly.8CORIN
(with disappointment)
You are not ready for this sword.
Humiliated, Conan turns and bolts towards the hills.
Corin watches him go, then walks somberly to the village.
However, as the wind picks up, he sniffs as if sensing
something in the air. Perhaps a coming storm.
EXT. CIMMERIA - HILLTOP - DAY
Conan, hair still soaked, races past snow covered pines,
slashing limbs, causing a rain of shattered ice crystals.
Conan sits at the hilltop looking out over the slopes and
sombre hills of Cimmeria.
A long beat as he broods. A sudden gust of icy wind.
Conan senses something. He listens. Something in the distance
CRACKS like a whip, and panicked birds race across the sky.
Far below, he sees a line of DARK RIDERS galloping ominously
towards the tiny village. A rumble like thunder.
Then, from the south, a swarm of lighted arrows rise brightly
against the ashen sky, arc slowly and fall on the thatched
rooftops, setting them aflame.
Conan gawks, stunned. And then he RUNS...
EXT. CIMMERIA - MUDDY FORREST - DAY
As Conan races home, MOUNTED TURANIANS, scouts for the
invading army, ride towards him, hooves kicking up powder.
He ducks into the cover of the forest. The riders spur on
their horses and pass by. Conan stays low, taking his
shortcut through the wilderness.
EXT. CIMMERIA - WILDERNESS - DAY
Conan bushwhacks his way back to the village. As he gets
closer, the forest darkens, thick with BLACK SMOKE.
He slides down a snowbank, racing across the small river
running from his village, waist deep before he realizes...
THE RIVER RUNS RED WITH BLOOD.9EXT. CIMMERIAN VILLAGE - OUTSKIRTS - DAY
Conan bursts through the treeline out into an open field.
Ahead, his village is in flames. Cimmerian warriors, both men
and women form defensive lines. And behind him...
AQUILONIAN BRIGADES COME CHARGING - bandit knights who fight
with polished shields and short swords. Conan’s shortcut has
placed him smack in the middle of the invasion.
He sprints for the village as the mounted riders converge all
around him. Conan swerves to avoid being trampled. On foot,
these men would be twice his size. On horseback, they’re
armored juggernauts towering over him.
And then, he sees the most terrible sight of all.
A RIDER EMERGES FROM A CLOUD OF BLACK SMOKE, an angel of
death wearing green leather armor and bearing a shield marked
with the ACHERONIAN SEAL.
This is the brigand-leader KHALAR ZYM.
EXT. CIMMERIAN VILLAGE - CORIN’S FORGE - DAY
Leading a band of strong Cimmerian warriors, Corin drives the
first wave of Aquilonians back. The old master swordsman
takes down two attackers himself.
But more and MORE keep coming.
EXT. CIMMERIAN VILLAGE - DAY
As Conan enters the village, he sees FOUR tribes assault his
people from different directions.
KUSH SPEARMEN, muscled warriors wearing the bones of
slaughtered victims, assault the Cimmerians from the flank.
TURANIAN raiders swarm the opposite flank.
The AQUILONIAN knights have crossed the moat, pushing the
defending Cimmerians back.
BRYTHUNIAN ARCHERS, amazons augmented for ranged combat,
pepper the village with arrows. THUNK! THUNK! THUNK! The
arrows stick into Cimmerian shields.
Conan keeps running.10As the boy passes an unsuspecting Aquilonian, he grabs the
warrior, spins him into the path of the arrows. The
Aquilonian gets skewered, Conan snatches his shortsword.
SLAM! Conan is knocked down by a Kush warrior. Conan spins to
avoid a spear attack, driving his blade into the warrior’s
gut. The spearman crumbles.
And Conan springs back to his feet.
EXT. CIMMERIAN VILLAGE - NEAR THE FORGE - CONTINUOUS
The air thick with smoke, the snow rich with blood. So many
Cimmerians have fallen. It’s a massacre.
And still the invaders come, unmerciful and relentless.
Conan sprints to the forge, one of the few buildings not
burning, but the open door reveals it is full of enemies.
Looking through the cracks between wall boards, Conan sees
his father surrounded by the leaders of each enemy tribe.
INT. CIMMERIAN VILLAGE - CORIN’S FORGE - CONAN’S POV - DAY
It’s difficult to hear what is being said. One by one, Conan
scans the faces of each tribal leader.
AKHOUN, a Turanian, four hundred pounds of corpulent flesh,
not so much armored as wrapped in chain.
CHERIN, the Brythunian, looks statuesque and imposing.
LUCIUS, the Aquilonian leader, corpulent and vain, who rolls
and cracks his neck in a distinctive manner. He holds the
leash of a growling wolfhound.
UKAFA, a Kush chieftain wielding an enormous mace lined with
sharpened bones and rusted metal.
REMO, a crippled hunchback , and with him an acolyte baring
the invaders’ standard, a death mask made of shards of bone .
And lastly, Khalar Zym himself, an exiled prince from the
lands of Nemedia; Khalar may look like a brigand, but he
speaks as eloquently as a prince.
KHALAR ZYM
There is no shame in kneeling
before me. All these fighters have
surrendered, left their lands and
sworn their allegiance to me.11
(MORE)(beat)
They’ve done so because they know I
will one day be a god.
Corin stares calmly in Khalar’s face, but Conan sees, as
Corin turns, that his father’s shoulder has been pierced with
an arrow, and his back is wet with blood.
CORIN
One day, the other clans of
Cimmeria will gather for vengeance.
Then, god or not, you shall fall.
Khalar rolls his eyes. He hears this all the time. Then he
indicates the strange mask of bone.
KHALAR ZYM
There is one piecemissing from
this mask. Give it to me now... or
die, and I’ll find it myself.
Corin just smiles defiantly.
CORIN
I prefer death.
Lucius steps up, raises his short sword to behead him.
And then, CONAN BURSTS IN like a wild animal.
WHOOSH! A blade SLASHES LUCIUS’ NOSE CLEAR OFF. He tumbles
backward, grabbing for his severed nose, failing to snatch it
before the wolfhound DEVOURS IT.
Then Conan POUNCES, blade thrust at Khalar.
But Khalar is too fast. He deflects the blade, though the
strike carries such ferocity that Khalar is knocked back, the
sword grazing his ear, DRAWING BLOOD.
Ukafa and Remo seize Conan. Corin lunges to defend his son
but he is clubbed down by Akhoun.
Khalar catches his own blood in his palm, shocked, but
IMPRESSED. He smiles.
KHALAR ZYM
Is that your son? I LIKE HIM.
MINUTES LATER
Akhoun binds Corin to the forge, a fiery vat of molten steel
suspended precariously above him.12
KHALAR ZYM (CONT'D)Khalar pokes a support chain and the vat wobbles. A tiny glob
of molten metal spills from the brim and falls on Corin’s
shoulder, burning and bubbling through his flesh like acid.
But the gritty Cimmerian does NOT cry out in pain.
KHALAR ZYM
Such a waste. Think of the power I
could have shared with you.
CORIN
Cimmerians have no use for sorcery.
Conan is pinned to the floor by the strong chieftain, Ukafa.
Lucius presses blood soaked rags to his ruined face.
Remo and Cherin ransack the forge, turning it inside out.
REMO
The bone shard is not here.
KHALAR ZYM
You just don’t know how to look.
Stepping eerily from the shadows where she had been lurking
all along, is Khalar’s daughter, MARIQUE, 13.
Her face is uncanny; with no eyebrows and a hairline high
above her forehead, she looks both regal and serpentine.
KHALAR ZYM
Your son has courage, but my
daughter has talents as well.
(beat)
Where is it, Marique?
Khalar’s lieutenants are clearly unnerved by the little girl.
She dangles her long fingers along the ransacked arms and
armor, as if she had some sixth sense in her fingertips.
KHALAR ZYM
The Cimmerians do not pray. They
have no priests or preachers.
Closing her eyes she SNIFFS, as if catching an intriguing
scent, and she feels along the walls like a blind girl
exploring the face of a lover.
KHALAR ZYM
This is what matters to them. This
is their church. It will be here...
Her witch-eye flashing magically, Marique discovers the
hidden door in the floor. She opens it.13Conan sees his father clench his teeth and wince. The boy
tries to squirm out of Ukafa’s grip but is held fast.
Marique’s spidery fingers probe the weapons in the secret
cache. She gasps suddenly and smiles.
From the cache, she pulls out a LUMP OF ORE, brings it close
to her face to sniff it and to probe it with her tongue.
Then she crosses the forge and places the ore in the furnace.
All watch as the ore heats and rapidly loses its shape. A
SHARD OF BONE rises to the surface.
The girl reaches in, and with two budding black nails,
pointed as needles, she picks out BONE FRAGMENT. Sharp as sin
and white as death, it mysteriously cools before their eyes.
KHALAR ZYM
Your mother would be proud.
The men stand back in deference as she crosses and hands over
the shard to her father.
Khalar looks at it with a kind of religious awe. His eyes
water. His hands actually tremble as he grasps it.
But then he steels himself.
KHALAR ZYM
Gather the men. Burn everything.
Lucius moves to impale Conan.
KHALAR ZYM
Wait. Not him. Not yet.
LUCIUS
Not yet? HE CUT OFF MY NOSE!
Khalar’s other henchmen toss torches against the far walls.
The forge catches aflame. Khalar locks eyes with Corin.
KHALAR ZYM
How do I punish you Cimmerian? You
fear not death, nor pain, nor
insult to honor.
Marique whispers in her father’s ear, making him smile.
Khalar hacks at a support chain. The vat of SUPERHEATED METAL
begins to tip toward Corin.14Conan SNATCHES the stabilizing chain, grimacing as the links,
heated from the fire, SIZZLES into the flesh of his palms.
KHALAR ZYM
Something worse than death. Watch
your son die because he loves you.
Khalar exits, his men follow. Marique, the last to go.
She lingers at Corin’s greatsword, awed by the craftsmanship.
She runs her finger perversely over the edge, slicing her
fingertip. The sting seems to please her.
Smiling sadistically, she steals the blade and goes. Conan is
incensed, but helpless: if he lets go of the chain, his
father will die in a shower of molten metal.
EXT. CIMMERIAN VILLAGE - CORIN’S FORGE - DAY
Flames sweep over the walls and rooftop, swiftly becoming a
raging inferno.
EXT. CIMMERIAN VILLAGE - DAY
Khalar Zym stands, surrounded by his victorious army, and he
is joined by his daughter.
Remo hands him the MASK OF ACHERON, a jigsaw puzzle of many
bone fragments, arranged in a white mask of death.
With bated breath, Khalar inserts the recovered shard into
the mask. It fits perfectly. The mask is complete.
Khalar RAISES THE MASK OF ACHERON. His mercenary army CHEERS.
KHALAR ZYM
We are halfway there, Marique. Now
we must find the pureblood, and
then, your mother will return .
INT. CIMMERIAN VILLAGE - CORIN’S FORGE - DAY
Conan struggles to keep the vat of molten ore from tipping.
If he lets go, his father dies. If he doesn’t let go, the
SPREADING FLAMES will kill them both.
CORIN
Conan, you cannot save me. 15Conan struggles with the chain, his hands smoldering. A
droplet of molten steel falls from the vat, searing his cheek
but he does not loosen his grip.
CORIN
Let go of the chain, boy.
Conan’s losing ground, his heels sliding through the dirt. He
won’t look Corin in the eye.
CONAN
I’m not afraid to die.
CORIN
Nor I. But, I watched your mother
die so you could live.
But Conan will not let go. He will never let go. And Corin
knows this, watching the fire spread around them, blistering
the skin of Conan’s back.
CORIN
Conan... LOOK AT ME.
The boy looks in his father’s eyes.
CORIN
She wanted more for you, in this
life, than fire and blood .
(beat)
I love you , son.
Corin uses the last of his strength to pull the chain from
Conan’s hands. The vat of ore spills down, a TORRENT OF METAL
ENVELOPING CONAN’S FATHER.
EXT. CIMMERIAN VILLAGE - FORGE - DAY
Conan crawls from the runoff through the snow toward the
frozen river. He plunges his hands into the water.
As he pulls his hands free, he looks at his palms. The chain
has been branded into his flesh.
EXT. CIMMERIAN VILLAGE - DAY
Conan stumbles back into the village. The bodies of everyone
he knew, litter the ground. In a grim echo of the scene of
his birth, all the buildings are aflame.
His blue eyes are wide with the shock of innocence lost. 16Looking down, he sees a Cimmerian sword sunk, point first,
into the snow. He grabs the hilt and drags it like a stick.
The boy walks on, in shock, and a lingering Turanian Raider
looting a corpse, looks up and sees him approaching.
Sensing an easy kill, the Turanian springs towards the boy,
but Conan snaps out of his trance and CUTS HIM DOWN.
Then the boy runs wildly forward, HOWLING WITH RAGE. With his
wiry, adolescent arm, he RAISES THE BLADE IN THE AIR.
MATCH CUT TO:
EXT. ZINGARAN COASTLINE - DAY
The SAME SWORD RAISED HIGH IN THE AIR, but the arm that holds
it is massive, muscled, and scarred.
CONAN, the fully grown icon we all recognize, CHARGES down a
hill on horseback, leading a crew of Zingaran pirates.
ARTUS, a dashing captain of Zingaran pirates, rides alongside
him, unleashing a lusty battle cry.
Around them a dozen BOULDERS roll downhill like tumbleweeds.
It’s a wild frenzy of energy, motion and aggression.
DOWN BELOW
A SLAVE CARAVAN rolls across broken earth. SLAVEGIRLS, naked
save for their loincloths and the chains that bind them, sit
packed in caged wagons, sheltered from the midday sun.
The MALE SLAVES walk alongside the wagon, their feet
blistered, skin blacked, and flesh lean from hard labor.
A rumble like an earthquake. The HEAD SLAVER looks up,
confused as the ground itself seems to be HURLING TOWARD HIM-
BOOM! A boulder CRUSHES the slaver, crashing into the
caravan, sending the horses into a frenzy, spilling loot
across the road. BOOM! BOOM! More boulders tear through
wagons and shatter carts of food.
Then the Zingaran pirates swarm, waving their steel.
Most of the slavers take one look at their attackers and
FLEE, abandoning their caravan. Artus howls with laughter.
ARTUS
Come back and fight! You pink-
bellied, stub-cocked, goat lovers!17Conan gallops alongside a caged wagon, past spellbound slave
girls gaping at the sight of him. He swats a slaver off his
mount sending him head first into the sand.
The Zingaran pirates ride in circles, whooping, screaming,
and beating their chests. The few remaining slavers give up,
and ride away in panic and terror...
... all except one. The largest slaver, THE WILD MAN, his
simian arms, hairy back, ratty beard and blackened teeth.
With a ferocious shriek, the Wild Man CHARGES AT CONAN AND
ARTUS. The two men study him curiously as he gallops.
ARTUS
Are you going to take this one?
CONAN
No, you go ahead.
The Wild Man rides closer, raising his deadly spear.
ARTUS
I had the troglodyte last week.
CONAN
Are you sure?
ARTUS
I insist.
At the last possible second, Conan calmly ducks a frenzied
spear thrust to his face, and lops off the slaver’s head.
As the decapitated body rides on, the severed head twirls in
the air like a soccer ball and lands in the sand. THUNK!
Conan scowls at his sword. Artus mimes his swing.
ARTUS
I think you pulled left.
CONAN
(shaking his head)
The blade is warped.
Both pirates and slaves erupt in cheers.
INT. ZINGARAN COASTLINE - LATER
Artus and his pirates loot the caravan of anything and
everything of value and load it onto rafts and rowboats.
Anchored at bay is their pirate ship, THE HORNET.18Conan cuts the slaves free.
CONAN
Go. You are all free.
The slaves look frightened and bewildered. TWO BUXOM SLAVE
GIRLSsteps forward.
SLAVE GIRL #1
But... But you have taken all the
food, all the weapons.
(beat)
Where would you have us go?
It’s wilderness and unbroken coast in every direction.
Conan looks over the slaves. He’s right; no food, no weapons,
the men wear loincloths, the women wear even less.
CONAN
You are right...
(thinking)
The women will come with us.
INT. MESSANTIA - ALEHOUSE - NIGHT
SLAVE GIRLS GONE WILD. They dangle from hanging lanterns,
dance on table tops, and pour ale into mugs for the randy
pirate crew. The air is thick with smoke.
Two women, painted and naked, writhe on Artus’s lap. One is a
waif, petite and pert, who feeds him dates.
KEERRRACK! A portly GOON’S wrist breaks as Artusbeats him in
an arm wrestling match. The pirates jeer at the Goon’s
dangling arm as he stumbles away from the table.
Conan arrives, mugs of ale in hand, and laughing in mock-
challenge, takes the Goon’s place.
Now Artus and Conan arm wrestle, and the two muscled hulks
battle to a tie. Slave girls and pirates cheer them on.
Then Conan cheats, hurling ale in Artus’s face, and as his
friend flinches, Conan drives his arm to the table.
Conan laughs in triumph, until Artus SLUGS HIM IN THE FACE.
Artus ROARS with laughter as his friend shakes off the blow.
CONAN
I still win.19SLAVE GIRL #1 chugs her ale, the foam gushing over her chin
and dribbling off her breasts, where Conan happily laps it
up. Another SLAVE GIRL # 2 runs her fingers admiringly over
his MUSCLES.
SLAVE GIRL #2
You are as strong as Crom himself!
Artus stands from the table and speaks to all...
ARTUS
When I first met him, he was no
bigger than you. Just a scrawny
little rat picking pockets in
Zamora.
SLAVE GIRL #2
(slinking into Conan)
Is it true?
The girls listen in rapt attention, and SLAVE GIRL writhes
like a showgirl.
ARTUS
But even so, it was he who stole
The Elephant’s Heart and slew the
sorcerer Yara.
The girls SQUEAL in delighted disbelief.
SLAVE GIRL #2
(impressed)
That was YOU?
CONAN
Who’s next?!
There are no takers for the empty seat across from Conan.
Suddenly an wily thief, ELA SHAN, ducks into the alehouse,
glancing over his shoulder as if pursued. This rogue in an
eye patch tries to lose himself in the raucous crowd.
Seeing only one empty seat, Ela Shan cuts through the
drinking and fornication, and sits across from Conan.
Conan drops his elbow to the table, hand open, offering the
challenge. The skeptical crowd reacts with wild laughter.
ELA SHAN swallows, hides his face and puts his own arm on the
table, accepting the match with trepidation.
As the arm wrestling begins, Conan hams it up for the crowd,
grunting and huffing as if his opponent were Hercules. 20Conan allows Ela to push his arm closer and closer to the
table, but then using only his index finger, he pushes back
to center. The slave girls root and cheer!
The anxious thief looks to the entrance and sees...
The CITY GUARD, THREEheavyweights in armor, scan the crowd.
The Captain of the Guard, a corpulent man in a strange mask
that covers his nose, points directly at the thief.
Conan squints through haze at the Captain, catching only
glimpses through the mob. He ’s familiar: The distinctive way
he rolls his neck. The mask that covers his nose.
But after dispatching his men, the Captain of the Guard steps
into a waiting chariot and is gone.
Conan’s face goes dark - the same grim intensity we saw in
the boy. Could it be the same man?
Conan looks down at the MANACLES clamped to Ela Shan’s
wrists. Conan smiles, grips the thief harder, even as Ela
tries to pry free and run.
The guards get closer and closer.
ELA SHAN
They’ll be happy to take us both to
prison, if you don’t let go!
Conan smiles and nods. Just as the surly Guards reach them ...
CRUNCH!Conan slams his head back, breaking Guard # 1’snose,
sending him stumbling backwards.
The crowd is shocked. Artus looks up in confusion.
Conan BURSTS UP FROM THE TABLE as Guard #2 charges. Conan
lifts up a wooden bench and slams it across Guard # 2’sface,
sending him reeling.
Guard #3 points the tip his sword at Conan. Guards #1 and #2
draw swords too. Conan just raises his hands in surrender.
Artus shoots Conan a look: what the hell are you doing?
Conan shakes his head: don’t interfere. Artus raises an arm to
keep any of the pirates from stepping in.
Guard #1 nabsEla Shan ashe tries to slip away unnoticed.
Conan allow shimself to be cuffed.21EXT. PRISON - QUARRY - DAY
Emaciated INMATES, many shackled together, work in a small
quarry. They turn to watch the City Guards enter, leading a
shackled Conan and Ela Shan into the yard.
Ela looks at Conan, who seems relaxed and determined.
ELA SHAN
Never have I seen one so calm as he
is led to the gallows.
INT. PRISON - GUARD ROOM - NIGHT
In a chamber filled with instruments of torture, a prisoner,
skeletal and suffering, sits chained to the wall.
By stark contrast, the BAILIFF sits at a table, calmly eating
a “civilized” dinner of wine and pheasant.
The Bailiff throws a bone at the feet of the prisoner, and
giggles as the starving man grasps for it, just out of reach.
Conan, still shackled, stands before the Bailiff.
CONAN
Where is the captain?
BAILIFF
Aha, so the hill ape can speak. The
captain is currently... occupied.
From down a corridor, we hear SCREAMS OF PAIN. The Bailiff
cackles impishly.
BAILIFF
But don’t worry. Everyone gets
their chance.
The Bailiff tries to taunt the barbarian by dangling a
pheasant drumbstick just out of reach. It’s a mistake.
Conan twists his bound hands around the Bailiff's arm. He
twists the chains hard, breaking bone.
Then delivers a PRIMAL HEADBUTT, knocking the Bailiff to the
ground. Conan places his boot to the Bailiff’s throat.
CONAN
Where is the Captain of the Guard?22BAILIFF
His door is sealed from within, and
he will only open it for me!
INT. PRISON - CAPTAIN’S CHAMBER - NIGHT
The CAPTAIN OF THE GUARD sits before a table of knives and
hooks. He works a nasty set of CLAMPS onto Ela Shan’s wrists.
A FAT GUARD watches, vaguely bored.
Then comes a HEAVY KNOCK at the door.
FAT GUARD
Yes?
Another knock. The guard, frustrated, retrieves his keys,
sliding open a small EYEHOLE.
The Bailiff stares back at him.
The Guard opens the door, finds Conan holding the Bailiff’s
head. The Guard barely has time to blink before Conan GUTS
HIM. The Captain turns around, the mask hiding his face.
But there’s no mistaking him now. It’s Lucius, the disfigured
Aquilonian Conan last met as a boy.
Lucius reaches for his blade. Conan is faster, grabbing it,
DRIVING IT THROUGH LUCIUS’S FOOT into the wood floor below,
pinning him in place.
LUCIUS
GUARDS!
INT. PRISON - AREA OUTSIDE CAPTAIN’S CHAMBER - CONTINUOUS
FIVE ARMED GUARDS rush in, weapons drawn. Conan doesn’t
hesitate. He flings the table through the threshold, sending
knives and hooks into Armed Guard #1.
Armed Guard #2 leaps over the table. Conan grabs him midair
and slams him down onto the blades. Ela Shan watches in awe.
The other guards rush forward at once. Conan slams Guard #3
face down into a COAL FIREPOT. Then, Conan spins and severs
Guard #4’s arm at the elbow.
Finally, Guard #5 pins Conan to the wall, choking him with
the shaft of his poleaxe. Conan struggles for breath, turning
a deep shade of purple.23Conan reaches for his blade. He doesn’t need it. The soldier
drops, stabbed from behind by Ela Shan.
Conan catches his breath, steadies himself with the wall.
ELA SHAN
NORTHERNER, BEHIND YOU.
Conan spins just in time to block Lucius’ dagger attack. He
lifts Lucius off the ground by his throat.
CONAN
You remember me?
LUCIUS
What? Who are you?
CONAN
The one who gave you your pretty
face.
Conan rips off Lucius’ prosthetic, revealing his disfigured
face, a GAPING BLACK HOLE where his nose used to be. And now
Lucius does remember, eyes growing wide with horror.
Conan grabs Lucius by the empty cavity and pulls him over to
the torture rig.
INT. PRISON - CAPTAIN’S CELLS - LATER
Ela Shan tightens the clamps on Lucius. He shrieks. His
prosthetic mask hangs awkwardly on his beaten face.
A flag with the Seal of Acheron hangs on the wall.
CONAN
Where is the man who killed my
father?
LUCIUS
You seek Khalar Zym?
CONAN
Zym? No. My people were slain by a
common bandit, not a king.
LUCIUS
He was a bandit then, but now, a
legend - a shadow lord, nowhere to
be found, yet everywhere at once.
Unimpressed, Conan picks up an executioner’s axe.24CONAN
Well, then, I have no use for you.
LUCIUS
Wait. WAIT. I can help. I’ll tell
you what I know. Just give your
word, give me your word you won’t
kill me.
Conan thinks about this. A moment, then he SLAMS DOWN THE
AXE, nearly cutting off Lucius’s hand.
CONAN
Speak. I won’t kill you.
LUCIUS
You know of the Turanian deserts,
and the forbidden forest?
CONAN
Nothing there but dead men and the
animals who pick their bones.
LUCIUS
And yet Khalar leads his legions
through the waste as we speak.
CONAN
Not good enough.
Raising the axe again.
LUCIUS
Wait please. The waste is large,
yes, but when he returns to his
stronghold at Khor Kalba, it will
be by way of the Shahpur ravine.
Conan looks to the thief.
ELA SHAN
That’s a fine place for an ambush.
CONAN
What does he want in the Red Waste?
LUCIIUS
He and his witch daughter are
searching for a girl.
CONAN
Searching the wasteland for a
woman? Are you sending me into a
trap?25LUCIUS
No! I have no reason to lie. He’s
mad, obsessed with Acheronian
sorcery. I have no loyalty to him.
Conan just stares at Lucius. Lucius eyes the axe
uncomfortably.
LUCIUS
I’ve upheld my part of the deal,
Northerner.
Conan rips a small key from Lucius’ keyring. In one motion he
tilts back Lucius’ head, stuffs the key down his throat. A
second later, Conan pours ale into his mouth.
Lucius can’t help but swallow the key.
LUCIUS
By Mitra, what are you doing?
CONAN
Toasting to our deal.
EXT. PRISON - QUARRY - NIGHT
Conan kicks Lucius through the gate into the quarry. The
emaciated inmates stare on in confusion.
CONAN
The key to your shackles sits in
the captain’s gut.
Lucius looks from Conan to the inmates.
LUCIUS
YOU GAVE YOUR WORD. YOU SWORE YOU’D
SPARE MY LIFE.
CONAN
I said I wouldn’t kill you. And I
won’t.
But they will...
LUCIUS
BARBARIAN!
Conan leaves Lucius to the inmates, his shrieks turning to
horrific GARGLES. The thief moves to catch up with him.
ELA SHAN
Northerner...26Conan doesn’t slow. The cloying thief sprints to catch up.
ELA SHAN
I am Ela Shan. Perhaps you have
heard that there is no lock I can
not break or vault I can not enter.
Conan shakes his head .
ELA SHAN
If you are ever foolish enough to
pursue this man to Khor Khalba ,
come see me in Argalon so I can
talk you out of it.
But Conan justwalks on.
ELA SHAN
Ask anyone you meet there for Ela
Shan!
EXT. HORNET - OPEN SEA - DUSK
The Pirates unfurl the sails and set out to sea.
INT. HORNET - BELOW DECK - DUSK
Conan places a sword fresh from the fire against his torn
flesh, cauterizing the wound.
Artus inspects Conan’s new injuries. He laughs heartily and
takes a swig straight from a bottle.
ARTUS
They’ll be rioting in Messantia for
days thanks to you!
Artus hands him the bottle but Conan doesn’t take it.
ARTUS
What?
CONAN
I learned the name of the man who
killed my father and took his
sword. Khalar Zym.
Artus is stunned by this information. It’s as if Conan told
him his father was killed by the devil himself.
ARTUS
Zym?! Do you know who that is?27CONAN
(shrugging)
Iam told he is dangerous .
ARTUS
I am told he is the angel of death .
CONAN
(unimpressed)
I leave tonight to pursue him in
Shahpur.
ARTUS
We can sail as far as the baynear
the Shahpur Outpost.
CONAN
And then you wait for me there.
ARTUS
Wait? Ha! I am not your serving
maid. I will gowith you.
CONAN
Not this time, my friend. It is
something I must do alone.
Artus nods insober silence. Conan is lost in his own dark
thoughts.
EXT. SHAHPUR COASTLINE - EDGE OF RED WASTE - DAY
Conan embarks on his journey, riding his horse, slowly but
relentlessly away from the sea into the unforgiving dunes.
Behind him is the pirate ship, waiting in the bay.
Around him, waves of heat rise from the sand, causing hi s
image to ripple as if on the surface of water.
DISSOLVE TO :
INT. HIDDENMONASTERY - FASSIR’S CHAMBER - DAY
We dissolve to r ipples in an actual pool of water, and the
reflected face of a beautiful woman , UPSIDE DOWN, for she is
sitting on the opposite side.
TAMARA (O.C.)
What is it you see , Master ?28Reveal FASSIR, 70’s, elder monk, staring into the pool , and
inhaling deeply from an ornamental hookah. He reads the
ripples on the water like a seer reading tea leaves.
FASSIR
Itisunclear. I see a journey. I
see a mancrossing the sands.
Kneeling opposite is TAMARA, 20, a monastery student . The
lines of her robed body flawless. Her eyes sharp and bright.
She wears a distinctive NECKLACE with a jeweled amulet.
TAMARA
A knight?
FASSIR
A warrior.
A half circle of young FEMALE STUDENTS , in similar robes and
necklaces, kneel with Tamara around the old manas if before
a guru, and shoot furtive glances back and forth.
FASSIR
Your paths will merge . He will take
you home, to your birthplace...
But the trance seems to lift, and Fassir stops himself from
talking, as if he has said too much. Themastercontinues to
gaze into the pool with a uneasy expression.
TAMARA
Is that all you see ?
FASSIR
(shaking his head )
That is all. Continue your
exercises .
Fassirseemsdisturbed by the reading , buthe closes his
eyes, retreats within himself, and will not say more.
Sensing class is over, the girls hop to their feet and
scamper to the exit. Tamara is surrounded by friends who
attempt to cheer her up .
TAMARA
Why would I be in the Master’s
visions?
FEMALE STUDENT #1
Oh, everyone knows you are his
favorite.29FEMALE STUDENT # 2
(teasing her)
Perhaps this warriorwill be noble
and pure , sweeping you off your
feet and onto his dark steed.
TAMARA
(rolling her eyes)
Perhaps the Master had too much of
thatpipe.
ON FASSIR
His eyes open and he looks away from the pool, thinking.
EXT. FORBIDDEN FORREST - SHA HPUR RAVINE - DAY
A SINGLE DOT ON THE HORIZON, a riderwrapped in a scarf to
protect against the sun .
It’s Conan. He reaches the end of the desert, and through the
jagged Shahpur Ravine, enters an ominous forest thick with
gnarled trees and jagged rocks .
EXT. RED FOREST - DAY
An EERIE FOG blankets the rocks and trees. Shapes move like
dark creatures in murky water, rising and emerging as FIGURES
ON HORSEBACK in stark silhouette.
A CLOAKED FIGURE leads them forward , and Ukafa appears behind
her...
UKAFA
To what cursed land have you led us
now?
The Cloaked Figure removes her hood, revealing...
MARIQUE
The pureblood is close. I can taste
her in the air.
Marique has grown up and become a powerful, intense and
perverse young witch. We recognize her by her missing
eyebrows and hairline , as she sniffs the air.
Around her belt is the familiar HILT of Corin’s broadsword.
She grasps and strokes the handle with perverse excitement.
Behind her, an imposing figure rides forward. The fog
obscures his face but his voice is unmistakable. 30KHALAR ZYM(O.C.)
The mists they summon have hidden
them well , Marique .
MARIQUE
Not well enough, father...
I/E. THE FORBIDDEN FOREST - TUNNEL - DAY
Marique rides on ahead, leading the way like a bloodhound.
Behind her through the mist, the very earth seems to rise up
in a wave. It is an army of Black Riders.
She takes them to a cliff wall, and a HIDDEN TUNNEL.
EXT. HIDDENMONASTERY - BALCONY - DAY
Fassir walks out ontoa balcony that overlooks the monastery
grounds, its plaza, and the north gate. Quiet and austere.
Below him, his female students exercise with balance staffs ,
moving in well-practiced forms and routines . On the grounds,
monks prepare rituals and tend to flocks.
ON TAMARA - FASSIR’S POV
She stands out from her peers - more balanced, more focused,
and more radiant.
ON FASSIR
He watches with an expression of sadness and concern.
Then Fassir is distracted by a RUMBLE. Ripples dance across
the reflecting pool. His students look around , curious.
The rumble gets louder, monks look around in confusion.
A LINE OF BLACK RIDERS CHARGE INTO THE MONASTERY , led by
Marique, like a hound leading the hunt.
The monks and their sheep scatter. One freezes, watching in
disbelief as the horseman tramples him.
Tamara gawksin horror as more invaders pour into the
monastery square and impalefleeing monks on THROWING SPEARS.
Several Black Riders carry STANDARDS marked with the image of
the ACHERONIAN SEAL. Behind them trails a War Carriage drawn
by four horses.
Fassir flees the balcony.31EXT. HIDDENMONASTERY - VARIOUS - DAY 43A 43A
WARRIOR MONKS fire arrows from rooftops and raised balconies.
One monk takes out a rider with a n arrow to the neck . The
riderless horsebarrelsthrough a nearby market stand.
A brigade of monks , men and women, charge fromamonastery
building. These warriors wear no armor, battling with
balanced staffs, using a Shaolin-inspired fighting style.
Tamara fights shoulder to shoulder with the others.
A warrior monk leap sonto the back of one of the attacker’s
horses, crushing the rider’s skull with his staff.
But even as the warrior monks engage the horsemen , Ukafa and
his retinue of spearmen pour into the monastery grounds,
surrounding th em.
Cherin and a line of archers return fire at the monks on the
rooftops, and several monks are hit.
Then MORE waves of Black Riders wash in, each better armed
and more intimidating than the last. This is no ragged troupe
of bandits. This is an army, vast and indomitable.
Then, for a moment, nuns and monks alike are frozen in awe.
Tamara looks out to see, coming out of the tunnel...
...THE MAN OF WAR, a gargantuan siege ship retrofitted as a
movable fortress, glides across the groundas if upon an
ocean, borne on the back of twenty four elephants.
Standing at its bow, magnificent and terrible, in the black
armor of a future emperor, is Khalar Zym.
EXT. HIDDENMONASTERY - PLAZA - DAY
Tamara fights through the madness of battle , searching
desperately for someone . All around her, the warrior monks
struggle to hold off the invaders. They don’t stand a chance.
TAMARA
(to the Monks)
We must protect the Master!
She gets no answer. The marketplace has become a killing
field. Monksare being slaughtered left and right .Agile and
quick, Tamara is one of the few fighters to survive and
retreat.32ATOP THE PANTHEON STEPS
Spearmen execute the male monks, kickingtheir lifeless
bodies down the marble steps. A carpet of the dead stretch es
from the steps to the reflecting pool.
ON KHALAR ZYM
He directs his army from the bow of his land ship, and
observes the genocide with triumph and satisfaction.
ON MARIQUE
She movesdown the line of bound and captured female monks,
who kneel and bow their heads .
She removes a glove, revealing her FINGERNAILS, a series of
STYGIAN NEEDLES sewn into her fingertips.
Marque examines each girl by piercing her skin with a needle,
removing a drop, and then licking the needle’s edge to taste
it.With each girl, she shakes her head.
Next, UKAFA, following along behind her, lifts his spear and
skewers the one she just tested; the girl’s limp corpse drops
onto the hard marble floor.
With each girl it’s the same: Marique tests the blood, shakes
her head , and turns to the next as Ukafa executes.
MARIQUE
Which one of you is the pureblood?
The one who points her out will be
spared.
STUDENT #1, looks up, confused; her lips are defiantly shut.
Marique doesn’t bother to test her and just nods to Ukafa who
plunges his spear in her back.
Impatient, Marique marches down the line, until she sees
FEMALE STUDENT #2 at the end. Her dress and jewelry make her
stand out. She looks regal.
Marique stares at her, and her eye sseems to spar kle.
MARIQUE
(triumphant)
You. You are the one.
Female Student #2 is too terrified and confused to speak.
Marique grabs the student by the hair, yanks back her head,
and buries a long needle deep intothe girl’s neck.33As she screams, Marique withdraws the syringe witha drop of
her blood. Mariqueplaces it to her tongue ,and tastes it.
Ukafa and other Kush warriors wait for the result with bated
breath. Eager. Hopeful.
Then Marique spits,both disgusted and frustrated.
MARIQUE
Not pure.
With offhand brutality and the speed of a striking snake,
Marique sinks two finger-needles INTO HER VICTIM’S EYES.
The girl falls forward, dead before her face hits the marble,
and Marique walks past the end of the line.
EXT. HIDDENMONASTERY - ATRIUM- DAY
Tamara rushes for the atrium, but stumbles.
She scrambles to her feet to see a War Carriage cutting her
off, circling wildly and then bearing down upon her , a
bloodthirsty Aquilonian warrior at the reins.
Tamara raises her staff to defend herself as the carriage
barrels forward, threatening to run her down .
Someone GRABS HER ARM and tugs her out of the way at the last
moment...
It is Fassir.
A monk’s arrow pierces the Aquilonian driver’s chest. Five
other MONK PROTECTORS, all on horseback, ride up alongside
the War Carriage , taking control of the horses.
FASSIR
Get into the carriage.
TAMARA
NO! I will defend our home!
FASSIR
For the sake of your people you
must leave this place and go to the
monks in Hyrkania . It isyour duty .
Do not hesitate and do not waver.
Tamara steps up to get inside the carriage.
TAMARA
I don’t want to leave you here.34FASSIR
Do you trust me, Tamara?
TAMARA
With my life. With everything I...
The master touches her cheek, his eyes clear and unblinking.
FASSIR
Then ask no more questions, and do
as I say.
EXT. HIDDEN MONASTERY - PLAZA - ON REMO - INTERCUT
As Remo finishes off the wounded and dying, he looks out
towards the western gate and sees...
WESTERN GATE - REMO’S POV
Fassir firmly pushes Tamara inside the carriage and shuts the
door. Amonk takes the driver’s seat and whips the horses.
ON REMO
He waves to his Horse Warriors.
REMO
Let none escape!
EXT. HIDDENMONASTERY - TUNNEL- DAY
The War Carriage flees through the gatewith 6MONK RIDERS,
three in front and three behind.
They gothrough the cave system, a series of intertwining
rabbit holes lit by shafts of light.
EXT. HIDDENMONASTERY - GATE - DAY
Remo and a dozen Horse Warriors CHARGE INTO THE TUNNEL,
pursuing the Monk Riders and the captured war carriage.
EXT. FORBIDDEN FOREST - DAY
Tamara and her escort ride out from the tunnel out into the
FORBIDDEN FOREST . They continue out into the foggy forest.35EXT. HIDDENMONASTERY - DAY
ATOP THE PANTHEON STEPS, Fassir stands, beaten and bruised.
Behind Khalaran Acolyte holds the Acheronian Mask as a
battle standard. Fassir looks up at this Acheronian artifact
with horror - like a German pacifist viewing a swastika.
KHALAR ZYM
You know who I’ve come for. Why
suffer over it?
FASSIR
None ofthe ancient blood line
remain. Your search is in vain.
KHALAR ZYM
If that is true, why have you monks
hidden herefor a thousand years?
FASSIR
We live here in peace . We have no
riches. We do not make war. We
value life.
Khalar’s expression goes dark.
KHALAR ZYM
You value life? Have you forgotten
what happened in the forests of
Ophir?
Khalarmoves closer.
EXT. OPHIR FORREST CLEARING - NIGHT - FLASHBACK
A woman dressed in black flees through dark woods.
Around her dogs bark and torches glow. She runs in a wild
panic. When she finally bursts into a clearing, an angry mob
emerges from the trees to surround her.
KHALAR ZYM(V.O.)
Did not ALL the nationsof Hyboria
hunt a woman down like an animal?
MALIVA, a mysteriously beautiful young woman, with wicked
eyes like her daughter’s, is lashed to a wooden Vitruvian
Wheel, her hands and feet tied to a central cross.36KHALAR ZYM(V.O.)
Were not both my daughter and I
forced to watch as Maliva, my
innocent wife, was lashed to the
wheel and set aflame?
The wheel burns. Maliva wails in suffering. The fire consumes
herbody, burning her luminous white skin coal black.
Bound in chains and forced to watch , theirfaces blank with
shock, are Khalar and the child Marique.
We HOLD ON KHALAR’S FACE and...
MATCH DISSOLVE:
EXT. HIDDENMONASTERY - DAY
CLOSE ON the older Khalar Zym, perhaps the most cold blooded
man in Hyboria, who cannot stop his voice from breaking.
KHALAR ZYM
It is death you value , and so you
must suffer and kneel to me, like
all the rest.
(composing himself)
It is I who seek the power to give
life. I’ve travelled to the four
corners of Hyboria for it.
FASSIR
The monks here had no part in her
death.
Khalar waves him off.
KHALAR ZYM
Where is the one I seek?
Fassir stares blankly into space, lips closed tight.
Khalar’s eyes narrow. He nods to Marique. She traces a needle
under Fassir’s cheek, slow, like a lover’s caress.
MARIQUE
Oh, he will tell me his secrets, as
have all others before him.
But just as she dips her needle in a vial of oily liquid and
prepares to pierce his flesh ...
The old man looks up, his eyes suddenly flashing defiantly.37FASSIR
Your vain pursuit for the secrets
of Acheron is a lust for power not
a love of life. Your “innocent”
wife sought to enslave all of
Hyboriawith her sorcery , and so
she deserved to burn.
(beat)
You will neverrule, and Maliva
will neverrise again.
Khalarstares at him blankly, and then EXPLODES WITH RAGE.
He SMASHES FASSIR’S FACE against the marble steps, again and
again and again. The rounded up monks watch in horror as
Khalar, finished, tosses Fassir’s limp body down the steps.
HORSE WARRIOR (O.S.)
M-m-my lord...
One of Remo’s Horse Riders approaches. He looks very nervous
to be bearing bad news.
HORSE WARRIOR
I’ve been sent to tell you that
a... a... a womanhas escaped to
the South. But, Remo himself along
with his men are in pursuit.
Khalar nods slowly. Marique grits her teeth. The Horse
Warrior cringes, expecting his hand to be cut off.
But Khalar smiles, satisfied.
KHALAR ZYM
Shemust be the one. Remo will
surely capture her.
EXT. FORBIDDEN FORREST- DAY
The War Carriage and the six Monk Riders follow the twisting
trade route, surrounded on both sides by steep rock and
trees.The men’s faces are chapped and white with dust.
ABOVE THEM - ROCKY LEDGE
Conancrouches on a rocky ledge , and spots the carriage
advance across the path, plumes of dust in its wake.
He unwraps a delicately engraved instrument shaped like a
long slender bone. It’s only when he looks through it that we
realize that it is a nancient LENS.38THROUGH THE LENS - CONAN’S POV
On the side of the carriage he sees emblazoned, THE
ACHERONIAN SEAL.
ON THE CARRIAGE
Meanwhile, the MONK RIDERS see that they are being pursued.
12 HORSE WARRIORS emerge from the clouds of dust behind them.
Three of the Monk Riders fall back to defend the rear.
ROCKY LEDGE
Conan waits until the carriage is about to pass underneath
him, runs along the ledge to match the carriage’s speed ...
...And JUMPS !
ON THE CARRIAGE
Conan lands on the roof of the carriage with a THUD.
Monk #1, the driver ,looks back in shock, as Conan plunges
his fist through the wooden roof, and TEARS IT OPEN .
However, w hen Conan looks inside, i nstead of Khalar,hefinds
Tamarastaring back at him in confusion.
She SLUGS HIM IN THE JAW. Conan grabs her wrist...
CONAN
Where is he ?
With her other hand she shoots a dagger towards his neck.
Conan grabs that wrist too, narrowly avoiding the point. This
girl’s got spunk.
CONAN
Whereis Khalar?
TAMARA
WhoisKhalar?
Monk #1, the driver, turns to face Conan, but...
PPFFTT!An arrow hitsMONK#1 directly in the chest. He reels
backwards. Conanspots the affixed oil-sack on the arrow,
fuse burning...
The oil sack BURSTS INTO FLAME , liquefying MONK #1, and he
falls burning from the carriage and is trampled .39Conan looks behind him and sees Horse Warrior #1 lower his
bow and charge directly towards the carriage.
Tamara pokes her head out of the top of the carriage just in
time to see Conan thrust his sword and skewer Horse Warrior
#1 as he attempts to jump aboard.
ON CONAN
He leaps from the carriage onto Horse Warrior #1’s horse.
ON TAMARA
As the carriage teeters out of control, Tamara crawls out of
the hole to the exterior front seat and takes the reins.
ON THE HORSE WARRIORS
Remo and his HORSE WARRIORS close in on MONK RIDERS #3, #4,
and #5 guarding the rear. These monks spread out to avoid
being surrounded by Remo’s men.
HORSE WARRIOR # 9swings a bolo and hurls it at Monk Rider #3.
It coils around his neck like a snake. He falls, his head
CRUSHED by a horse’s hoof.
ON CONAN
He looks back and we linger on his face as he RECOGNIZES the
man leading the attack on the carriage and the Monk Riders.
It’s Remo! Conan’s expression becomes steely.
ON TAMARA
She looks back to see tha t...
HORSE WARRIOR #2 stands on the back of his horse and hurls a
spear. Monk Rider #4 is hit in the back and taken down.
ON CONAN
He sees Horse Warrior #2 raise a spear again , aiming for the
carriage horses , but this time Conan charges, swinging his
sword and chopping Warrior #2’s legs out from under him.
ON TAMARA
She locks eyes with the mysterious man who is, to her
bewilderment, fighting on her side. Who IS he?
Then she looks back to see Horse Warrior #9gaining on her.
Suddenly, the rider LEAPS ON THE CARRIAGE rooftop. 40Tamara reaches down and pounds the LATCH holding the back
cabin. Once unhooked the carriage pulls free and spirals into
pieces, taking Horse Warrior #9down with it.
Now Tamara stands on the front axle, and the four horses pull
the remains of the carriage like a chariot.
ON CONAN
He observes the mysterious girl’s startling tenacity, and he
locks eyes with her again. Who IS she?
ON REMO
As Horse Warrior #3 preps another explosive arrow and aims it
at Tamara . Remo stops him.
REMO
Nomore arrows ! You will hit the
woman!
Remo engages with MONK RIDER #5, shredding the poor man’s
face with a BRUTAL SPIKED SHIELD.
ON TAMARA
Tamara grabs the CHARIOT WHIP, lash ingat Horse Warrior #3 .
The whip tangles the front legs of his horse, tripping the
animal, and planting him into the dirt.
Tamara cracks the whip again, snag ging Horse Warrior #4 by
the neck. The two then strugglefor control of the whip , in a
fierce tug of war.
Tamara tosses the whip handle through the spokes of her own
wheel. The whip tangles, violently snapping the rider’s neck,
yanking him from his horse, and dragging Horse Warrior #4
through the dirt behind her.
Horse Warrior #5 moves to flank Tamara, riding closer. As he
reaches out for her-
CRUNCH!The warrioris slammed from the side, caught
completely off-guard, a T bone collision with another horse.
ON CONAN
HorseWarrior #6 LEAPS ONTO CONAN’S HORSE, facing him,
striking him with his bladed shield.
Conan struggl es tofend off the assault -one hand on the
reins, the other blocking the warrior’s attacks. 41Conan backhands the warriorfrom his horse. The agile warrior
flips UNDERNEATH THE STALLION, climbing up the other side,
still trying to wedge hisshield into Conan’s ribs.
ON TAMARA
Remo leaps from his horse onto the carriage . Reacting
quickly, Tamaraleaps onto the carriages ’s lead horse.
As Remo clambers after Tamara, she veers the horse directly
for a jagged formation of ROCKS .
Conan, still riding behind the remains of the carriage ,
watchesTamara head directly toward the rocks.
Tamara JUMPS THE HORSE CLEAR OVER THE ROCKS. The landing is
tough. Tamara loses her grip, FALLS FROM THE HORSE.
Remo, clinging to the chariot, looks up just as the vehicle
SMASHES against the rocks, flipping end over end. Remo rolls
off the aerial wreck ...
...but instead of breaking his neck, Remo hits the ground
rolling, leaping back onto a different horse.
The last of the escorts, Monk Rider #6, ducks as the carriage
soars right over his head, CRASHING ON HORSE WARRIOR #7.
Conan, riding behind Tamara, watches a SPLINTERED WOODEN
WHEEL break free from the wreck and spin like a frisbee right
at him. He grabs agile Horse Warrior #6 , lifts him up and-
SMASH!The wooden wheel breaks most of the warrior’s face.
Conan spurs on his horse, closing the gap. A pair of warriors
spin in their saddles, riding backwards so they can LOB
THROWING SPEARS at Conan. He uses the recovered spiked shield
to protect against the spear attacks.
As he nears, he lobs the shield like a bladed disc, tripping
one of the warrior’s horses.
REMO rides alongside Tamara’s horse. But where is Tamara? He
gets closer , staring in confusion at the empty saddle .
Tamara rises up from the opposite side of the saddle, kicks
Remo square in the jaw, nearly knocking him from his horse.
Tamara has a brief moment to enjoy her victory. There’s
nothing but open trail and a clearing ahead of her.
Then, CONAN SNATCHES TAMARA RIGHT OFF HER HORSE. Tamara tries
to keep hold of her reins, struggling against him. 42EXT. FORBIDDEN FOREST - CLEARING - CONTINUOUS
Ahead, the forest trail opens into a clearing.
In the sand sits the rotting remains of an ancient siege
equipment , including a SPIKEDTRAPattached by a LONG CHAIN .
Remo launches a BRUTAL BOLA at Conan’s steed. It twists
around the horse’s legs, tripping the animal, sending Conan
and Tamara skidding into the dirt.
Conan rises, wipes mudfrom his face, looks up to see Remo
and the 3 surviving Horse Warriors. They encircle the
barbarian, weapons readied.
REMO
Step aside, Northerner. The woman
is property of Khalar Zym.
Conan looks over Tamara, bloodied and bruised but unbroken.
CONAN
She is my property now .
Tamara rises and looks at Conan. Your property?
Conan stares the warriors down. Remo removes his helmet.
REMO
You have no claimtoher!
CONAN
No. But I have a claimtoyou.
Remo spurs on his horse, CHARGING Conan. At the last moment
he REARS UP THE ANIMAL, kicking out its hooves.
REMO
(mocking)
And what “claim” is that?
CONAN
Death.
What happens next happens QUICKLY.
Conan SWIPEShis broadsword with such force that he knocks
the armored warhorse over .As the beast collapses, Conan
lunges for Remo.
But, Remo’s too quick, diving back, rolling from the saddle. 43Horse Warrior #10 and #11 attack together. Conan dodges them
and rips away Horse Warrior #10’s weapon. Without slowing,
Conanlodges the weapon into Horse Warrior #11’s chest.
The armored horse sscatter in all directions.
Then in one continuing motion, C onan rips Horse Warrior #10
from his saddle andcrusheshis skull.
Tamara dartsfor theloose horse but skids to a halt as Remo
leaps atop it from behind, taking it from her.
Warrior #12, the last of Remo’s dozen, charges Conan , but,
Conan grabs the CHAIN, draws it taught, and TRIPS THE HORSE.
Warrior #12 is flipped through the air...
... and he is impaled on the SPIKED TRAP .
ON CONAN AND TAMARA
Tamara stumbles and falling to her knees but scrambles back
behind Conan, putting him between her and Remo, whopulls up
on his reins.
Remo looks from one body to another ,three men were butchered
in a matter of seconds.
REMO
Impossible... Who ARE you?
Conan raises up his broadsword.
CONAN
When you fight a Cimmerian, even a
boy, you bestkill him.
Remo is baffled - what is he talking about?
REMO
I... killed hundreds of Cimmerians.
CONAN
Yes. An entire village. But I
didn’t burn in my father’s forge.
Recognition wash esover Remo’s face , and then terror.
CONAN
If you run from me, I will tear
apart the mountains to find you. I
will follow you to Hell!
The little coward turns and GALLOPS AWAY. 44Conan rushes up to Tamara, grabs her and lifts her up onto
the back of the same horse they were riding before.
TAMARA
What are we doing?
Conan snatches up Remo’s own SPIKED SHIELD. Then he himself
mounts the beleaguered steed.
Together, they gallop after Remo, with Tamara clutching Conan
around his waist.
EXT. RED WASTE - EDGE OF THE FOREST - CONTINUOUS
Here the forest gives way to desert - the Red Waste that we
saw Conan crossing earlier.
Conan catches up to Remo. As he gets close, Conan HURLS the
shield at him like a SAW-BLADE FRISBEE...
EXT. RED WASTE - ANCIENT SHIPWRECK - CONTINUOUS
... The shield hits Remo square in the back. The force of the
blow throws Remo off his horse, through the air, STRAIGHT
INTO THE SHIPWRECK.
Remoslams into the hull and crumples, unconscious.
Conan pulls up on the reins and dismounts.
Stunned and exhausted, Tamara FALLS FROM THE HORSE to the
sand. She looks up to see...
Black hair hanging in his face, blue eyes burning like flame,
blood-splattered skin glistening like burnished brass, Conan
stands above her like some primitive demigod.
TAMARA
My master told me I wouldmeet you.
He had visions that our paths would
merge.
Conan studies her as ifshe were barking mad.
CONAN
You are the one that Khalar Zym
seeks?
TAMARA
I know nothing about it. 45CONAN
(doubtful)
Those were his men chasing you.
TAMARA
They attacked our monastery.
Conan just turns away to examine Remo. He’s still breathing,
but he is out cold.
TAMARA
So... will youescort me to
Hyrkania?
Conan stares off into the desert in the direction of the
forests and the ravine.
CONAN
We will wait for Khalar.
TAMARA
We? There is no “we.” I will go to
Hyrkania as my master instructed.
Conan bristles at being contradicted.
CONAN
I SAID we will wait.
Tamara bristles at being contradicted.
TAMARA
I SAID I will go to Hyrkania.
She stands up, arms crossed and marches away from him
petulantly into the forest. Again, Conan eyes her as if she
must be a raving lunatic.
EXT. RED WASTE - CAMPFIRE - NIGHT
Tamara’s wrists and ankles are bound together and she is tied
to the anchor like a dog leashed to a post.
Remo remains unconscious where he fell, but he is bound.
Conan slaps him but he does not awaken.
TAMARA
Is he dead?
CONAN
Not yet.46TAMARA
What are you going to do with him?
CONAN
I will wait for him to awaken. I
want to look him in the eyes when I
kill him.
The relentless trauma of the day finally overwhelms her.
TAMARA
You... you are NO knight. You are
not... NOBLE.
(outraged)
This... all of this...
is...BARBARIC.
CONAN
(deadpan)
Yes, I am a barbarian. The “civilized
men” were the ones chasing you.
Conan sits beside her in silence. DESERT TOA DS cook over the
fire on sticks. Conan takes one and hands her the other.
Tamara takes a tentative, dainty nibble of her frog’s crispy
leg. It revolts her.
CONAN
Do you have a name?
TAMARA
My name Tamara Amaliat Jorvi
Karushan.
Conan just grunts and bites the head off his toad. Tamara
waits for a response, but gets none.
TAMARA
And yours is..?
CONAN
Conan.
TAMARA
Conan?That’s it?
CONAN
How many names do I need?
Tamara sighs and tries a more direct tact.47TAMARA
Why did you save me ... only to tie
me up?
CONAN
Khalaris a hard man to find. As
long as I possess you, he must come
to me.
TAMARA
Possess? I am not your property. I
am not your “possession. ”
(gritting her teeth )
Or is it’s your plan to force
yourself upon me ? Because if it is -
Hardly. Conan closes his eyes, utterly exhausted.
CONAN
Go to sleep.
TAMARA
And I take orders from no man. I am
a monk of the order of Shahpur and
my people have NEVER -
Abruptly, Conan stuffs a GAG INTO TAMARA’S MOUTH.
Enraged, Tamara glares silently at the back of his head.
EXT. THE FORBIDDEN FOREST - NIGHT
Khalar Zymrides by the Man of War with Marique.
INT. MAN OF WAR - KHALAR ZYM’S CABIN- NIGHT
Khalarstands as Marique, behind him, removes his armor. As
she unbuckles every metal plate and interlocking ring, she
lingers over his body, relishing the well worn ritual.
MARIQUE
No word from Remo and his scouts?
KHALAR ZYM
Bydawn, Remo will bring her here.
He has never disappointed me.
INT. MAN OF WAR - ZYM’S CABIN - CONTINUOUS
Marique strips off her father’s breast plate .48MARIQUE
So, the prize is near father. At
lastyou will have not only the
mask but also the blood to fill it.
Khalar runs his fingers over The Mask of Acheron as if were
his wife’s face. It seems to send shivers of euphoria down
his neck. Marique’s eyes narrow.
KHALAR ZYM
Ah, how your mother yearned for the
sorcery of Acheron. Imagine what
secrets she will bring back from
the realm of dead. Imagine how
INDOMITABLE I will become with her
back at my side.
Marique kneels down to remove the plates on Khalar’s legs.
MARIQUE
Yes, and we shall have greatness,
but... if the girl is lost, or the
ritual fails.
KHALAR ZYM
It will not fail.
MARIQUE
But even if it does...
Khalar eyes flash with anger.
KHALAR ZYM
IT WILL NOT !MalivaWILL return.
Still kneeling before him like a supplicant, Marique takes
her father’s imperial hand.. .
MARIQUE
My powers are growing, father. I
have my mother’s blood flowing
through me. I could uncover the
secrets of Acheron, as she did.
(beat)
I could make them ALL kneel before
you, just as I do now.
She gently kisses her father’s hand. Khalar stares down at
his daughter, studying her gravely and yanks his hand away.
KHALAR ZYM
Yes Marique, you are like your
mother in so many ways. 49
(MORE)(pointed)
But you are... not her.
Her father coldly turns and exits. Marique’s impenetrable
expression melts. For a brief moment, s he is devastated.
EXT. RED WASTE - ANCIENT SHIPWRECK - DAWN
The sun is just rising over the sand. Conan pu lls the gag
from Tamara’s mouth and gives his thirsty captive water from
a flask.
CONAN
The truth this time. Why does
Khalarwant you ?
TAMARA
How many times must I say it ?I am
only a simple monk. I am of NO
value to a warlord.
But then a weak voice come sfrom the nearby column.
REMO (O.C.)
She’s lying.
Tamara and Conan look over to the feeble, but now fully
conscious, Remo.
Conan walks over to Remo and grabs him by the throat. Remo
speaks in a rasp.
REMO
It’s her blood. Her blood is
special.She’slast of the
bloodline of Acheron.
Conan raises his sword to run him through...
TAMARA
Wait.Don’t kill him yet.
(to Remo)
You are mistaken. The bloodline
ended a thousand years ago.. .
REMO
(spitting)
You lie... whore.
TAMARA
(deadpan)
You can kill him now .50
KHALAR ZYM (CONT'D)Tamara turns in a huff, her legs free but her wrists still
bound together. ..
REMO
(whispering)
No, PLEASE. For her I can get you a
king’s ransom!It is true! Khalar
has been searching for a pureblood
descendant for twenty years .
... but Tamara lurks, listening nearby.
CONAN
What makes you sure that she is the
one he is looking for?
REMO
All the others are dead. She was
the one who ran away.
Conan thinks this over.
CONAN
We will wait for Khalar.
REMO
He will not come this way through
the ravine . He will travel through
the flatlands . I can show you...
EXT. RED WASTE - COLUMN DESERT - DAY
The landscape is littered with broken columns and the remains
of wars fought long ago, including a catapult.
Tamara and Remo watch as Conan scans the desert with his
spyglass.
THROUGH THE SPYGLASS
The MAN OF WAR moves over the flatlands .
REMO
You see? I speak the truth. If you
want, he will give your weight in
gold for this woman. I will arrange
everything. I will deliver the
message...
CONAN
Yes. You will.
ON THE CATAPULT - LATER51Reveal that REMO is gagged and TIED TO THE BOULDER.
EXT. RED WASTE - DAY
THE MAN OF WAR moves through the flatlands on the backs of
the elepha nts.
Suddenly, t he catapulted rock SLAMSinto its side ,bursting
the hull like a torpedo .
INT. MAN OF WAR - ZYM’S CABIN - INTERCUT
The boulder crashes through the ceiling, ripping through
Khalar’s prize possessions. An explosion of splintered wood.
MOMENTS LATER
Along with scores of his men, Khalar Zym looks over the
ruined boat. Tied to the massive boulder, is REMO.
From Remo’s mouth, Marique pulls out a ball of fabric in
which is wrapped Tamara’s necklace. On the fabric are words
written in blood.
KHALAR ZYM
What does it say?
MARIQUE
“I have the woman. The Shahpur
Outpost at noon. Come alone.”
She sniffs the fabric deeply and licks the necklace to taste
it. Her father waits anxiously. She turns to him, and nods.
MARIQUE
It’s her.
EXT. RED WASTE -COLUMN DESERT - DAY
Conan cuts Tamarafree, and walks to his horse, which is
looking much healthier.
CONAN
Come.
TAMARA
Why should I? So you can hand me
over to that murderer?
CONAN
Not if I kill him first.52Tamara stands and takes a big step back.
Conan ignores the question and picks up the rope again.
Tamara keeps backing away.
TAMARA
Barbarian, is your head made of
stone? Do you really think he’ll
come by himself?
CONAN
I have a plan.
TAMARA
But even if you kill him, what
then? I have seen his massive army.
Do you think they will just let
us... walk away?
CONAN
It does not matter what happens to
us as long as he dies by my hand.
TAMARA
So you’re willing to give up both
my life AND yours... for what?
CONAN
Must I gag you again?
Tamara is backed up against a column, but as Conan RAISES THE
ROPE to tie her...
...quick as a cat her hand darts out and GRABS THE KNIFE ON
HIS BELT. She crouches like a warrior, holding the blad ewith
remarkable skill.
Conan stares, eyes blazing, and she stares back defiantly.
EXT. SHAHPUR OUTPOST - DAY
From afar the crumbling stone structure seems abandoned and
lifeless. Vultures circle overhead.
EXT. SHAHPUR OUTPOST - COURTYARD - DAY
The Shahpur Outpost was once a working fortress, and rickety
scaffolding, ladders and platforms remain. On the ground sit
loading docks, old farm and construction equipment .53Conan stands and waits. Any who approach the fortress can be
seen. He looks to the walls, to the entrance, to nearby
hills. He sees no one. He continues to wait.
Wind rattles the planks and kicks up dust.
Behind him Tamara stands BOUND TO A POST like a prisoner. Her
lips move as if in silent prayer.
Conan looks down at his hand. With his index finger he traces
the old scar on his palm left by the heated chain.
Then he closes his eyes and breathes. This is the moment he
has been waiting for his adult life.
Conan paces. Each footstep crunches loudly in the sand. His
sword rattles in its sheath. Amplified in the quiet.
He looks at Tamara again and she back at him, her eyes fierce
and inscrutable. They hear footfalls of an approaching horse.
Conan turns to face the entrance. Every sense on high alert.
Riding in slowly on a magnificent white warhorse, resplendent
and regal, is Khalar Zym.
Conan stands motionless, only his eyes move to track the
warlord as he trots casually to a crumbling platform opposite
him across the courtyard. Khalardismounts.
The warlord stands atop theramp, statuesque; the sun gleams
off his gilded armor, and heshimmers like a god .
Conan, ragged and primitive, painted in dust and dry blood,
stares back at him. Khalardoes indeed seem to be alone.
Khalartakes a moment to look over at Tamara. His expression
betrays nothing but curiosity and vague amusement.
Then he looks back at Conan, eyes narrowed.
KHALAR ZYM
You are bold, Northerner . I admire
valor, even in the foolish.
Khalartosses a CANVAS BAG down into the courtyard, GOLD
COINS spilling across the sand.
KHALAR ZYM
Your reward.
CONAN
I don’t want your gold.54A long moment. Khalarstudies Conan. Finally,
KHALAR ZYM
What then do you want ?
Conan draws his sword.
CONAN
Your head .
Conan jumps down and strides towards his foe. Khalar Zym
nods and sighs, as if already bored with this.
KHALAR ZYM
Yes. Yes. Of course.
(aside)
Kill him. ..
ON MARIQUE
Peering out from the shadows high atop the outpost walls near
the entrance, Marique lips move in silent incantation. Her
fingers fondle the hilt of Corin’s sword.
THE COURTYARD
The ground between Conan and Khalar ripples... and EXPLODES .
THREESTYGIAN SAND WARRIORS burst from the dust, covered in
branded glyph s andarmed with bladed gauntlets.
Conan swings his sword, but the Stygians div ethrough the
sand as if it were water , andburst up from behind him.
They circle the barbarian, like hyenas assaulting a bear.
Stygian #1 launches a bladed skyhook, butConan dives out of
the way, rolling back to his feet.
Stygian #2 catches the skyhook with his gauntlet, and quickly
hurls it,spinning back toward Conan, slicingopen his side.
The Stygians toss the skyhook back and forth, trapping Conan
in the center like some murderous circus act.
ON KHALAR
Between him and Tamara, the Sand Warriors assault Conan. So,
he calmly but purposefully walks around the perimeter of the
Outpost towards the bound and helpless woman.55ON CONAN
He rips off a plank from the loading ramp. As the skyhook
flies at him he swings out the plank, CATCHING THE SKYHOOK,
its jagged tip piercing deep through the wooden plank.
And he hurls the entire plank, end over end, SPLITTING
STYGIAN #1 with the makeshift axe. Stygian #1 doesn’t bleed;
he falls apart, returning to mud and raw earth.
Conan tosses Stygian #2 off his back at the parapet wall. The
warrior flips in mid-air, rebounding back at Conan.
This time, Conan catches him with his broadsword, and Stygian
#2 BURSTS in an explosion of dirt, leaving only his weapons
to clatter to earth.
Stygian #3 leaps up from the sand behind him...
ON TAMARA
As Khalar gets closer and closer, Tamara stays perfectly
still... right to the point that he reaches out to GRAB HER.
ON CONAN
He whips his sword and the tip catches his attacker, slicing
Stygian #3. His RIGHT ARM AND LEG dissolve a shower of dirt,
his BOW AND QUIVER falling to the ground...
ON KHALAR
Khalar moves to cut the ropes binding Tamara’s hands, but in
one swift motion, she reveals THE KNIFE HIDDEN BEHIND HER
BACK and tries to drive it into Khalar’s neck.
She was never really bound at all.
Khalar jumps back, narrowly avoiding the point, and
instinctively draws his sword. But he hesitates, not wanting
to harm his prize.
TAMARA
Conan!
Khalar turns to see the Northerner bolting towards him.
CONAN
Run, woman! FLEE!
EXT. SHAHPUR OUTPOST - CONTINUOUS
Conan and Khalar meet in a LOUD CLASH and SPARK of steel.56CONAN AND KhalarDO BATTLE. Conan unleashes furious strike
after furious strike , and it’s all Khalar can do to block
them.Conan is fast, skilled, and incredibly strong.
ON TAMARA
Doing as she was told, she flees towards the exit. But
reaching up from the sand, STYGIAN WARRIOR #3 reaches out
with his remaining arm and GRABS HER FOOT.
Tamara falls to the ground, turns over, and hacks at him with
her dagger...
ON CONAN AND KHALAR
Khalar is shocked to face such a worthy opponent. Khalar
parries and jumps back out of reach of Conan’s long,
dangerous blade. Khalar circles his foe, sizing him up.
KHALAR ZYM
Who ARE you?
CONAN
Iam the boy you left behind ,
holding a chain , to watch his
father die .
Recognition washes over Khalar’s face.
An unexpected up-swipe of Conan’s sword clips Khalar’s
helmet, knocking him to the ground.
KHALAR ZYM
Cimmerian...
Khalaris vulnerable. With a feral cry Conan LEAPS to impale
him, but Khalaris too quick. He rolls, avoids the falling
sword, and springs to his feet.
KHALAR ZYM
There, that was your chance .You
won’t get another.
(beat)
Wouldn’t your father be ashamed?
Now Conan unleashes all his rage, rushing Khalar...
ON TAMARA
She drive her blade into Stygian Warrior #3’s face, and it
POPS like a balloon filled with dust.57ON CONAN AND KHALAR
Conan’sblows become wild and reckless, and Khalarhandles
them easily , revealing that Khalartoo is a warrior of
breathtaking skill.
Well aimed counter strikes push Conan back. More and more,
Khalartakes advantage of his opponent’s loss of composure.
With nowhere to go, Conan is forced up a loading ramp.
EXT. SHAHPUR OUTPOST - COURTYARD - ON MARIQUE - CONTINUOUS
Marique readies a double-bladed DAGGER , dipping its pointsin
black poison. She raises it up , and prepares to throw...
ON CONAN
He hears the whistle of the knife and dodges it, but the
razor sharpmissile nicks his thigh.
Then Conan raises his sword just in time to block Khalar’s
heavy blow, the weapon glancing off his blade.
CONAN’S POV
Sounds become warped, and Khalar seems to move in slow
motion, spinning and twirling his weapon.
Conan’s own arms are heavy. He struggles to focus his eyes.
ON KHALAR
Now Khalardodges Conan’sclumsy, off-balance blows,and
dazzles his groggy opponent with a three-part attack ending
in a SLICE TO CONAN’S SIDE.
Then Khalar delivers a KICK to Conan’s chest, knocking him
back onto the stack of rotting barrels.
Khalarleaps onto the barrels, looming over Conan, weapon
ready for the kill.
THUNK! An arrow lands inches away from Khalar’s skull and
pierces a rotting barrel. Seeing it’s a BURNING OILBAG,
Khalardives away.
A BALL OF FLAME drives him to the ground.
ON TAMARA
She lets fly another arrow from the Stygian’s quiver.58ON KHALAR
He rolls away and the arrow just misses him. BOOM! A rotting
cart explodes into flames . Khalar scrambles backfurther.
ON CONAN
Tamara rushes to the barbarian as he struggles to his feet ,
the world spinning around him .Some noxious substance bubbles
poisonously along the cut to his neck.
ON THE ENTRANCE
Suddenly Khalar’s warriors, led by Marique, swarm the
entrance and the crumbling walls .
Khalarrushes towards them from one direction. Marique and a
horde rush toward them from the other.. .
...Tamara slides under Conan’s arm, grabs Conan’s wrist and
pulls it up so that THE SWORD IS AT HER THROAT.
Khalar Zymstops dead in his tracks, holding up his hands and
calling out to his warriors.
KHALAR ZYM
Stop! She mustn’t be harmed.
Tamara and Conan back away... towards the wall. Conan is
losing a lot of blood VERY fast.
Now the outpost is teaming with Khalar’s fierce warriors,
blocking every conceivable exit.
KHALAR ZYM
There is only one way out of the
fortress. You’re trapped. Give her
to me, and I’ll let you live.
TAMARA
(low, to Conan)
Is this your plan? This is a very,
very bad plan.
Gathering all his remaining strength and focus, Conan grabs
Tamara, and rushesbackwards AWAY FROM THE EXIT .
The soldiers swarm after them, racing around the outpost to
the left, storming across the outpost from the right.
And,Khalar bar esdown on them with sword raised.
Conan and Tamara keep going scrambling up scaffolding to the
top of the rear outpost wall .59ATOP THE WALL
Tamara stops at the edge - a vertiginous drop to cliffs and a
raging sea.
TAMARA
There’s nowhere to go...!!!
CONAN
But down.
Shocking all who watch, Conan and Tamara LEAPoffthe wall
out INTO OPEN AIR BESIDE A WATERFALL , plummeting down toward
the harbor below.
EXT. VILLAYET COAST - SHAHPUR OUTPOST - MOMENTS LATER
Khalarlooks down in shock. Marique joins her father, but
avoids his accusing stare. His tone is low but dismissive, as
if she were some annoying insect.
KHALAR ZYM
Your sorcery has failed me... and
your weakness sickens me.
Marique backs away from him shocked and wounded by his words.
Khalar continues to stare out to sea, and then...
MARIQUE (O.C.)
My weakness? It was I who found
her. MY “WEAKNESS?!!”
Khalar turns and looks off screen, and what he sees makes his
heart skip beating and his lungs strain for air.
All the warriors suddenly freeze, looking up...
REVEAL MARIQUE
She dangles The Mask of Acheron over the side of the wall.
MARIQUE
Watch my sorcery shatter the mask
and scatter the pieces in the sea.
Watch me tear the eyes from your
soldiers and set the walls aflame.
(beat)
And then, AND THEN will you dare
call me WEAK?!
For a LONG BEAT, both are motionless, The Mask hanging
precariously between her nimble fingers.60But then her father smiles, charming as the biblical serpent,
and he slowly walks towards her.
KHALAR ZYM
Forgive me for scolding you. We are
SO close to everything we have
spent our lives pursuing.
He reaches out and touches her cheek, and her anger cools. He
gently takes The Mask away. Once again she bows her head.
KHALAR ZYM
I want you to use all your unique
and valuable gifts... to find her
again.
DISSOLVE TO:
EXT. OCEAN - DAY
The Hornet sails over water sparkling in the sunlight.
INT. HORNET - BELOW DECK - NIGHT
CLOSE ON rippling water under candle light.
A white rag is dipped in a basin of clear water. Itruns up
and down bronzed skin, washing away the soil and blood.
CLOSE ON CONAN - FEVER DREAM
Conan slips in and out of consciousness andfever dreams. A
FORGE burns brightly with FIRE. He’s bathed in sweat.
CONAN (O.C.)
My skin burns .
TAMARA’S FACE appears ,going in and out of focus, hovering
over him like a ghost, and the forge flames die down. Her
voice is soothing and maternal.
TAMARA
Don’t speak. You were poisoned and
your wounds are inflamed. It’s
given you fever.
RAGS press, cool and wet, to his cheeks. HISSSS! A sword is
quenched in icy water, steam rises around his flesh.
TAMARA’S HANDS cleanse his wounds and wrap them in bandages.
Still hallucinating, Conan flinches and growls in pain.
Tamara cradles his head and lifts him up.61TAMARA
Hush. Hush now. Drink this.
COOL WATER gushes from a flask over his CHAPPED LIPS, and
Conan falls back asleep...
INT. HORNET - BELOW DECK - DAY
As Tamarawashes him, she can’t help being taken by both the raw
physical beauty of his rippled flesh and the astounding physical
punishment he’s endured.
She examines his palms, the ten year old scarsfrom gripping
thered-hot chain. As she touches his scar, CONAN GRABS HER.
She gasps. He’s disoriented, still a bit delirious.
CONAN
Where am I?
TAMARA
You are with friends. Though I was
surprised to find you had any.
He releases her, and winces. His wounds and internal injuries
causing him great pain, he struggles to his feet.
TAMARA
Don’t get up. You’ve lost too much
blood. Your stitches will burst!
CONAN
CROM!Enough of your ceaseless
prattle.
He falls to one knee, clutches his side, and rises again.
TAMARA
Where do you think you’re going?
CONAN
To find Khalar, and cleave his
skullto the teeth.
Tamara sighs, exhausted from too little sleep. Her ragged
monk’s gown is torn, bloody, and filthy.
TAMARA
Well, he is not on the boat. Lie
back down. You need to rest.
CONAN
I am well enough.62TAMARA
You can barely stand! You think you
are going to kill him now?
CONAN
Yes. If I don’t have you to carry
on my back!
TAMARA
If it weren’t for me you’d be dead.
Conan has no comeback. He exits gruffly to the galley.
INT. HORNET - GALLEY - NIGHT
Artus and Conan sit alone at a table drinking mead.
CONAN
I had him, Artus. I had him.
ARTUS
The gods are cruel.
CONAN
Blast the gods. This was not their
doing. It was I who failed.
ARTUS
Are the tales they tell true? Does he
have fiery red eyes and a hide of
golden scales?
CONAN
He is just a man.
ARTUS
Then it is he who failed. In fact, you
may be the only man in Hyboria to
fight Khalar Zym and live.
Conan spreads a MAP out on the table before them.
CONAN
I must go ashore to find him. Are we
near the coast?
Artus places SHARK’S TEETH on the map: On for Khalar’s position
at Shahpur and one for the boat sailing close to the coastline .
ARTU
Yes. We left him at Shahpur, here.
You must catch him along the costal
roads here...63With a third tooth , Artus marks the hidden cove marked by a
fallen colossus .
ARTUS
...Before he reaches Khor Kalba,
because neither god nor demon can
touch him once he is behind his
fortress walls.
He marks Khor Kalba with the tiny skull of a monkey.
CONAN
He won’t go home without the woman.
After I go, you must take her
someplace safe.
Artus laughs, playfully mocking his friend.
ARTUS
What favors does this beauty shower
upon you to win such gratitude?
CONAN
She saved my life. For that she has my
loyalty.
ARTUS
Then she has mine as well.
EXT. HORNET - MAIN DECK - DUSK
At the bow of the boat, his sword gleaming with the setting
sun, Conan practices his moves and strikes. Despite his
injuries he is relentless in his discipline.
Tamara climbs on deck. She nowdressed like a HAREM GIRL, her
skin barely covered in the silken drapes , and she doesn’t
look happy about it.
Artus approaches her from the helm. They watch Conan from
afar.His movements have grim beauty.
TAMARA
A charming man, your friend.
ARTUS
(shrugging)
Most men are born to mother’s milk.
But hisfirst taste was ofhis
mother’s blood. He was battle born.
TAMARA
So all he can do is kill ?64ARTUS
Oh no. He has the heart of a king.The
loyalty of a bloodhound.
(beat)
Barbarians may be warriors, but they
do not sacrifice their children or
enslave their allies like the priests
and princes of the “civilized” world.
(beat)
As for his manners ...
CONAN (O.C.)
You look like a harlot !
Conan lurches past them, eying her clothes with disapproval.
Tamara stares right back at him, matching fire with fire.
TAMARA
Yes, apparently I’m the only woman
you have ever met who isn’t one!
The stare-off continues between the hulk and the pixie. All
the other pirates watch, curious to see what will happen.
Surprisingly, it is Conan who blinks first.
CONAN
(to Artus)
Give her leather and armor.
(to all)
She handles a knife better than any
of youdrunken cutthroats !
Conan limps to the helm , clutching his side and cursing as he
goes. Artus smiles at his friend’s outburst.
ARTUS
I think he likes you.
INT. HORNET - GALLEY - NIGHT
Conan sits alone, finally relaxing. He lights a PIPE,
breathes out a plume of smoke, then closes his eyes .
Appearing in leather and armor, Tamara makes both a sexy and
steely warrior. She marches up to him and KICKS his boot.
TAMARA
We have to talk.
His looks says, “Please Crom, kill me now.”65TAMARA
I must go to Hyrkania, as my master
instructed.
CONAN
Artus will take you. I mustgo ashore
alone and hunt Khalar.
TAMARA
So, you’re not using me as bait?
CONAN
No.
Conan offers her the pipe, insisting. She takes it and sits
down beside him.
TAMARA
Why did Khalar slaughter your
village?
CONAN
For a sliver of bone that fit into
a mask.
TAMARA
The Mask of Acheron?
CONAN
What do you know about it?.
Tamara smokes, inexpertly, and COUGHS .
TAMARA
I only know the stories I heard as a
girl. 3000 years ago inthe empire of
Acheron, Necromancers discovered
powerful magic and enslaved almost all
of Hyboria. It was their mask.
Shelooks at the WATER SHIMMERING IN THEBUCKET just as
Fassir gazed in his pool...
INT. KHOR KALBA - SKULL CAVE - TAMARA’S VISION
Tamara’s face dissolves to a vision of the Mask of Acheron.
The abstract images look like shadows on rippling water.
TAMARA (V.O.)
Theycrafted it from the bones of
kings, and sacrificed their
daughters to theirbaleful gods.66We see hazy, murky images of a lithe body being strapped to a
VITRUVIAN WHEEL before a SACRIFICIAL PIT.
The Acheronian wizard, holdingthe mask, raises a SACRIFICIAL
SWORD, and slices his own flesh at his chest.
He fills the mask with his own blood, and the bone shards writhe
like tentacles.
TAMARA (V.O.)
Then thebarbarian tribes rose up
and shattered the mask .
We see dreamy abstract images of battle; the MASK IS SHATTERED
into dozens of sharp slivers of bone.
TAMARA
Thesliverswereindestructible. So,
each tribe HID APIECE, scattering
them across the land.
INT. HORNET - BELOW DECK - NIGHT - BACK TO SCENE
Back on Tamara’s face, her vision becoming more intense .
CONAN
What does the mask do?
TAMARA
Resurrection. It raises the souls
of the unspeakably evil.
Like Fassir, Tamara’s face twists in horror at the vision in
the shimmering water...
EXT. BALD MOUNTAIN - NIGHT
TAMARA (V.O.)
The spir its and demons they summoned
gave them powers no mortal men should
hold.
The vision swells into a panoramic view of thousands of
slaves driven over fiery rocks and crimson water. It’s like a
vision of Hell by Hieronymus Bosch.
INT. HORNET - BELOW DECK - NIGHT - BACK TO SCENE
Horrified, Tamara snaps out of her trance , but she is groggy.
Her eyes flutter open and shut.67CONAN
What?
TAMARA
I... I’m not sure if I saw a vision
of the past or of the future.
Tamara struggles to focus, but she is nodding off.
CONAN
What did you see?
TAMARA
Kingdoms in ruin. An ocean of
blood. An... apocalypse. ..
Tamara passes out from pipeweed. Conan gently takes her in his
arms and puts her gently down on the bed of straw.
THUMP.He hears something brush the hull of the ship. It’s
very soft, but it still troubles him...
INT. HORNET - GALLEY
The Pirates, Artus among them, lie asleep on benches, some on
the floor. None of them hear another dull THUMP.
EXT. HORNET - MAIN DECK - NIGHT
The sea is dead calm, like a sheet of black marble. The main
deck is eerily quietand still.
Conan walks up above deck. Hehears a soft THUMPagain. He
crosses the deck, and looks over the side of the boat.
There he sees an empty RAFT and a ROWBOAT in the water, tied
to the side of the ship, gently brushing the hull.
Alarmed, Conan looks up to see...
AT THE HELM
The Boatswain lies dead, his throat cut, in a pool of blood.
CONAN
ARTUS!!
AT THE BOW
A DOZEN of Khalar’s warriors, Kush spearmen and Turanian
Raiders, swarm over the rail like ants from small boats
below. They rush across the deck, weapons raised...68Unarmed, Conan turns and turnsback, grabs a HAMMER and slams
the iron shell of an ALARM BELL...
INT. HORNET - GALLEY - INTERCUT
CLANG! Artus’s eyes snap open. He jumps to his feet and
rushes out. The other pirates are groggy and slow to awaken.
INT. HORNET - BELOW DECK - NIGHT
CLANG! Tamara is startled awake . She stands up from the bed
of straw, but suddenly...
UKAFA GRABS HER and covers her mouth. As she kicks and bucks,
he drags her through the claustrophobic corridors.
UKAFA
Be still.
Tamara sinks her teeth into Ukafa’s hand. Ukafa squeals in
pain and raises his ugly fist to club her.
CRASH!Conan BURSTS THROUGH the wall behind Ukafa, fist right
through wood, grabbing Ukafa from behind. Tamara breaks free
as Conan shoulders his way through the broken planks.
UKAFA
I remember those eyes...
Ukafa tries use his spear, but there isn’t space to maneuver.
Conan grabs the shaft and wrestles for control.
They both buck and thrash, two giants SMASHING one another
into the walls of the hold, like bulls in a pen.
Tamara jumps back, pulls a dagger from her boot, grips the
tip, and raises it up to throw...
But as the two men careen and spin, slamming back and forth,
she can’t get a clear shot. She waits for her opportunity.
Knife raised high. COMPLETELY STILL.
EXT. HORNET - STERN - NIGHT
Artus rushes on deck...
THUNK! Pirate #1 is struck dead. A spear piercing his chest
and impaling him to the mast.
Artus draws his sword just as the defending Pirate #2 is CUT
DOWN by Khalar’s warriors.69Artus is completely overwhelmed... driven back by the horde
advancing across the deck towards the galley.
INT. HORNET - BELOW DECK - NIGHT
Conan knocks the spear from Ukafa’s hand, and it sticks butt
first into the splintered wall. This gives the Kush warrior
time to land a fist to Conan’s jaw, knocking him backwards.
They fight now with fists and shards of broken wood. Neither
able to gain the advantage.
Then Conan kicks Ukafa and sends him flailing to the floor.
Ukafa springs to his feet, hand reaching out for his spear...
THUNK! Tamara’s throwing knife pins his hand to the wall,
slicing off one of his fingers. Ukafa SCREAMS!
Then Conan grabs UKAFA by the collar, and with all his brute
strength, lifts the fat assassin up...
CONAN
How many Cimmerians died at the
point of that spear?
...and THROWS UKAFA ONTO HIS OWN SPEAR , impaling him through
the heart and killing him instantly .
EXT. HORNET - MAIN DECK - NIGHT
Only Artus and a few other pirates defend against the
onslaught, fighting valiantly, taking on three and four
invaders each, but there are too many opponents to handle.
Marauders slash through sails and ropes, pressing forward.
Attackers to their right and left, Artus and his men are
driven back against the entrance to the galley.
Cherin leads Khalar’s warriors, bloodthirsty and energized,
on the verge of a complete massacre...
INT. HORNET - GALLEY - NIGHT
Some primal edge to Conan’s voice rallies panicked men to
action...
CONAN
Grab your steel, dogs! Spill some
blood before you greet your
ancestors in Hell!70EXT. HORNET - MAIN DECK - NIGHT
Just as Artus and his defenders are about to be overwhelmed
and cut down, the tide turns...
ON CONAN
CONAN
NOW is time for the feasting of
swords!
Leaping out from below deck, flying athletically through
space, Conan sweeps his long blade in a wide arc. The sharp
point finds the throat of a hapless warrior, sending a
fountain of blood over the heads of the attackers.
The man is dead before his corpse hits the floor.
THE PIRATES ATTACK!
Bursting from below deck, pirates assault Khalar's Warriors
with battle axes, forcing them backwards to the rail.
ON ARTUS
He hacks, slices, and unleashes a fierce battle cry.
ON CHERIN
She directs warriors away from the central battle.
CHERIN
FIND THE GIRL.
Cherin advances towards the galley when AN ARROW hits the
warrior queen BETWEEN THE EYES. She drops to the deck in a
lifeless THUD!
Tamara stands across deck, bow in hand.
TAMARA
You found me.
ON CONAN
Despite his injuries Conan fights like a god of war. Slicing
right, and hacking left, taking down several warriors at a
time, and completely shattering the enemy’s morale.
ON TAMARA
Now she fights alongside Conan and the pirates ,spinning an
elegant dagger in each hand. 71Her martial arts training is on full display as she parries,
dodges and spins to cut down one warrior and another, until
her blade reaches...
CONAN’S FACE. She stops the knife thrust inches from his
nose. Conan shoots her a look.
TAMARA
Sorry!
ON ARTUS
He swings on a jib, knocking a pair of Khalar's Warriors off
the ship. He drives his sword through another attacker up to
the hilt, then uses the impaled attacker as a human shield.
ARTUS
CONAN.
Conan turns and tosses an attacker towards his friend,
impaling the second warrior upon the blade.
WIDE ON THE DECK
It’s a complete rout. Those few of Khalar’s warriors who are
not cut down leap over the rail in retreat.
SEA BATTLE WITH KHALAR’S WARSHIP - OMITTED *
EXT. HORNET - MAIN DECK - NIGHT
The battle is over. Conan raises his bloody sword in TRIUMPH!
Tamara and Conan gaze at each other, burning with battle lust
and the joy of victory. They share a warrior’s handshake.
EXT. OCEAN - DAWN
As the sun rises, the Hornet sails over calm waters.
EXT. HORNET - MAIN DECK - DAWN
The pirates celebrate their victory drinking from mugs and
flasks in rowdy celebration. Conan looks around for Tamara
but he doesn’t see her...
INT. HORNET - BELOW DECK - DAWN
In a quiet corner, Tamara sets up a simple altar with a
candle, a bowl, and runes scratched into the wood.72She has stripped off her armor, and wears her clean monk’s
robe - so torn it barely covers her bare flesh underneath.
She kneels before it and prays in a whisper.
TAMARA
Mitra, help overcome whatever sins
I may carry in my blood. Show me my
purpose, and help me find peace.
Conan watches her from the shadows nearby. He is spellbound,
perhaps for the first time, by her extraordinary beauty.
TAMARA
With you r gentle wisdom, bless this
man who protects me, and lift his
burden of pain, as you do mine.
Sensing a presence in the room, Tamara looks up...
For a moment their eyes lock. The bare skin on her thighs and
shoulders are luminous in the candle light. His bright blue
eyes are, for once, soft with empathy.
But then he looks away, respectfully, turns and exits.
DISSOLVE TO:
EXT. HORNET - DAY
The pirates work to repair the boat. Fresh planks line the
deck like the scars of healed wounds.
EXT. VILLAYET COASTLINE - WIDE- DAY
The tiny pirate ship sits at the ancient dock. Beyond it is a
rocky shore covered in spectacular, crumbling ruins.
EXT. HORNET - DAY
Conan stands near Artus at the helm, as pirates repair the
wheel. He and Artus share a warrior’s handshake.
ARTUS
May you find what you seek, Conan.
ON TAMARA
She watches Conan gather his weapons and gear on the dock.
Artus joins her at the rail of the ship .73ARTUS
Our repairs are almost complete.
TAMARA
Thank you, Artus. I hope one day to
pay you all handsomely for your
trouble.
ARTUS
What do pirates care for gold?
Artus notices how she looks at his friend as he walks towards
the cliffs. Artus pulls out a piece of folded parchment.
ARTUS
It seems our friend has forgotten
his map of the shoreline. I think
you should take it to him... And
say goodbye.
Without hesitation, Tamara takes the map, quickly disembarks
and chases after Conan.
ARTUS
We sail at dawn... Don’t be late!
He watches as Tamara catches up and hands Conan the map. As
he sees the two exchange words and continue walking together,
Artus smiles to himself.
EXT. VILLAYET COASTLINE - DAY
Conanand Tamara climb the rocks up from the shoreline ,
Tamara catches up with him. Together they look up at the
ruins of some once grand culture, long forgotten.
TAMARA
They too, whoever they were, once
sought to rule the earth and sea.
The fog parts revealing the fallen remains of an ANCIENT
COLOSSUS STATUE, body crumbled and broken. Tamara gazes up at
the fallen giant.
TAMARA
(re: The Colossus)
Do you ever wonder if our actions
serve some plan - some purposespun
by the gods? Or like him, are we
all just doomed to chaos and ruin?
Conan speaks without irony or affectation.74CONAN
I know not, and I care not. I live,
I love, I slay... I am content.
Tamara stares at him - raw, unrefined, true to himself.
Abruptly, like a damn bursting, she lunges forward and kisses
him. Each grabs fistfuls of the other’s hair.
INT. VILLAYET COASTLINE - COLOSSUS HEAD - DUSK
A gush of rough ardor and tender caress. Conan and Tamara
buck and writhe in a slip-slide display of the most gorgeous
naked flesh to fill a movie screen.
The waves of nail-raking, back-arching, breast-heaving
ecstacy, rise... froth... and crash upon the sand.
ON CONAN AND TAMARA - LATER - NIGHT
Tamara lies in Conan’s arms by a small fire. She traces her
finger tip over the long scars across his bare flesh, like
roads or rivers on a map.
But when runs her finger tip over the scar that splits his
eyebrow, HE FLINCHES ,pulling away the touch, the strange
intimacy of it is more than he can bear.
But seeing the sympathy in her eyes, he relaxes, allowing her
to brush her lips gently against his brow. Then she kisses
his eyelid and the scar along his cheek.
Finally, and perhaps most intimately of all, she takes his
hand, brings it to her mouth and KISSES THE SCAR ON HIS PALM.
His eyes sparkle. He is soothed. He kisses her forehead.
Her head on his shoulder, theystare up through the eye of
colossus at a sliver of THE MOON, which glimmers like a
reflection in an iris.
INT. VILLAYET COASTLINE - COLOSSUS HEAD - DAWN
Tamara, fully dressed, gazes down at the sleeping barbarian.
Without waking him, she kisses his cheek .
TAMARA
(whispers)
Goodbye.75EXT. VILLAYET COASTLINE - FOREST - DAY
Leaving the ruins behind her, Tamara walks alone through the
woods back to shore, towards the row boat.
Lost in the afterglow, she doesn’t notice the dark, blurry
form of A FIGURE stalking her from the trees.
Sssssst! Tamara flinches as if stung by a bee. She reaches to
the back of her neck and finds stuck there...
A DARTin the shape of a bug - similar to the dart that
struck Conan at the Outpost. She YANKS it out and flings it
away.
Panic. Tamara looks around her and glimpses a movement all
around on the path. Her head spins with venom.
She BOLTS, racing back towards the colossus head, stumbling,
gasping for air, the trees melting and rippling around her.
TAMARA
Conan...
Many pursuers rush upon her. She glimpses a shield with an
ACHERONIAN SEAL. A rider appears on the path. And another.
As a dark rider lurches towards her Tamara reacts
instinctively ,THROWING HER KNIFE. The rider is hit ,and the
horse spooks and BOLTS...
...then Tamara falls. Dizzy. Nauseated. The world a blur.
She thrashes as cruel hands pin down her arms. The last
things she sees before passing out are the needle-nails on
Marique’s fingertips, dangling over her face like a spider.
INT. VILLAYET COASTLINE - COLOSSUS HEAD - DAY
Conan’s eyes snap open at the sound of the muffled roll of
galloping horses.
EXT. VILLAYET COASTLINE - FOREST - DAY
Conan crouches and finds the Stygian needle, discarded on the
ground. Around him are footprints and horse tracks.
Conan’s blue eyes glow, fierce and iridescent in the fading
light. He grits his teeth and snaps the needle in half.76Conan stands and walks to the place where the rider fell when
he was hit by Tamara’s knife. There is a heavy imprint in the
mud and a pool of blood.
A shape moves through the brush. Conan whips around to see...
... the rider’s abandoned horse, fully armored, with the SEAL
OF ACHERON emblazoned on the metal plates.
Conan’s eyes widen in horror.
EXT. WILDERNESS - WIND AND RAIN - NIGHT
Anashen sky hangs over an ancient trail.
Riding the horse now stripped of its armor, Conan tracks west
across a cold and rocky wilderness.
A bitter wind blows in his face, and even the horse looks
weary and defeated. Conan’s burden has never been greater.
EXT. KHOR KALBA - THRONE ROOM - DUSK
Massive iron doors like inverted fangs swing slowly open.
Into the room comes Khalar’s triumphant daughter, Marique.
Behind her four ACOLYTES lead Tamara in chains. She is still
unsteady and sick from the effects of the poison.
Tamara scans the long room, filled with ominous statues,
mosaics and artifacts of the age of Acheron. She sees Khalar
sitting upon a gigantic throne cut into the stone wall.
As they approach the throne, Marique takes Tamara by the hair
and forces her to kneel.
Khalar steps forward, gazes down at his helpless captive, and
lifts Tamara’s chin so that she looks up into his eyes.
KHALAR ZYM
Hello, my elusive one.
TAMARA
(desperate )
You have made a mistake. I am not
the one you are looking for.
Khalar nods to Marique...
A black needle sinks in Tamara’s neck and she flinches as if
bitten. Marique withdraws it and puts it to her tongue.77MARIQUE
She is the pure blood descendant of
the Necromancer s of Acheron .
Tamara closes her eyes and holds back tears, all hope lost.
Khalarsmiles.
KHALAR ZYM
We begin the ritual at once.
MARIQUE
No... tomorrow night . When the moon
is dark and eager to be reborn, and
the tide ebbs, leaving the ruins
dry.
KHALAR ZYM
You have made me proud , my
daughter.
He touches her cheek, and Marique’s face glows. THE DOORS
BOOM SHUT.
EXT. ARGALON - OUTSKIRTS - DUSK
Conan rides to a hilltop with a wide view, and he gazes down
upon Argalon, a city near the coast with domed buildings.
EXT. DEN OF BLADES - VARIOUS - NIGHT
VARIOUS SHOTS of Conan moving past dilapidated stands.
Loitering thugs and cutthroats trade weapons, poisons and
contraband.
We see him approaching several wily thugs who shake their
heads. Finally a skinny street urchin points to...
A rotting door bears the mark of SEVEN BLADES. Conan opens it
and enters.
INT. DEN OF BLADES - NIGHT
The Den of Blades is a hookah bar - dark, smoke-filled, and
ominously quiet. It functions as a thieves guild, and it is
densely packed with shiny stolen objects like abazaar.
As Conan crosses from the door, dozens of treacherous eyes
mark him from the shadows. There are belly dancers and women
writhing with snakes.78Conan approaches a FAT MAN, who stands and pours colorful
drinks onto a silver three-level serving tray.
CONAN
I am looking for a thief.
FAT MAN
Argalon is a city of thieves.
Conan clutches him by the folds of his neck, the tray falls
to the ground and the drinks spill across the floor.
CONAN
I am looking for a thief named Ela
Shan.
The Fat Man just cackles.
BARMAN
Who are you to ask, Barbarian?
Suddenly from every shadow and every corner, a DOZEN ugly,
treacherous THIEVES of all shapes and sizes, weapons drawn,
stand and leap forward to surround Conan.
Conan crouches and clutches the hilt of his sword...
ELA SHAN
Stand down, fools!
The bandit steps forward. It is Ela Shan himself.
He steps into the light to show off elaborate armor instead
of prison chains; Ela Shan LAUGHS and waves off his men.
ELA SHAN (CONT’D)
Fast as Yezud, he will gut you like
fish. I owe this man my life.
Conan relaxes, sheaths his sword, and eyes the thief.
CONAN
Well, Ela Shan, you will have your
chance to repay it.
Ela Shan’s smile fades.
AT A CORNER TABLE - LATER
Conan and Ela Shan sit and drink. Ela Shan looks anxious,
trying to talk him out of it.79ELA SHAN
It is not for me to criticize a
great man such as yourself but...
This is madness. Don’t go in. Just
wait for him to come out!
CONAN
A woman is inside.
Elan rubs his temple. A woman?
ELA SHAN
She must be a pretty one. Breaking
into Khalar Zym’s fortress is like
reaching under a sleeping dragon to
steal her eggs.
(beat)
It can’t be done.
CONAN
It MUST be... And quickly.
ELA SHAN
(scoffing)
Quickly? No one has done it in a
thousand years!
CONAN
There must be a way. You owe me
this.
ELA SHAN
(shaking his head)
Well, below the flooded spires is
the tunnel of locks.
CONAN
Didn’t you say there is no lock you
can not break?
Ela Shan spits, silently cursing his words.
ELA SHAN
I am without doubt the only thief
alive who could get you through it.
CONAN
Then that is the way.
ELA SHAN
It is the way to “The Dweller” that
guards the fortress depths... or so
the rumors say.80CONAN
And what is The Dweller?
Ela Shan throws up his hands, and smiles.
ELA SHAN
Certain death.
INT. KHOR KALBA - THRONE ROOM - DAY
Along the walls are primitive but macabre images of genocides
and slavery - fire and blood. Artifacts of Acheron displayed
as if this were some sinister museum.
A CEREMONIAL TUB - VARIOUS SHOTS
Still weakened and hazy, as if drugged, Tamara sits in s
ceremonial tub. ACOLYTES scrub and cleanse her body, comb and
arrange her hair, clip her nails.
As she rises up from the water, they swath her in red towels
with all the formality of a religious ceremony , drying her
naked skin as if polishing white marble.
As the acolytes anoint Tamara’s bare flesh with oil, Marique
watches over the preparations, darkly.
LATER
Marique grooms the groggy Tamara before a full length mirror
of dark polished obsidian. Tamara is wearing Maliva’s
distinctive dress, her jewelry and dark makeup.
MARIQUE
My mother wore this gown on her
wedding day. It flatters you.
TAMARA
I am NOT your mother.
MARIQUE
No but you will be.
She runsa finger-needle up Tamara’s chest to her neck, and
whispers sadistically .
MARIQUE (CONT’D)
Imagine your body is a vessel and
your soul is the water that fills
it.When yourblood seeds the mask,
my father will empty you .81As Marique speaks, she takes a long, sinuous glass vase and
pours the water out on the stone floor.
As Marique continues, she refills the vase with red wine.
MARIQUE
And my mother’s soul will rise to
fill up your toes, your legs, up
into your breasts, neck and lips...
She leans in close, lips practically pressed against Tamara’s
cheek.
MARIQUE
... until my mother turnsyour
pretty blue eyes pitchblack.
TAMARA
I would rather die.
KHALAR ZYM (O.C.)
Oh yes, you will...
At that moment, Khalar enters, continuing for Marique.
KHALAR ZYM
... and your death shall herald a
New Age of Acheron. The spirits I
raise will melt flesh from the
bones of kings. My wife and I will
cast all rivals into oceans of
blood.
Marique presses the point of the needle hard against Tamara’s
skin, almost but not quite breaking the surface.
MARIQUE
And what of me, father?
Khalar freezes, seeing the deadly nail at Tamara’s throat.
KHALAR ZYM
What of...? Remove your nail.
Marique stares at her father with eerie intensity.
MARIQUE
Why? So that I can be cast aside...
into an ocean of blood?
Nobody moves ,but then Khalar approaches his daughter.82KHALAR ZYM
So that you may reign as our
princess and heir.
He touches her cheek and she melts, all her rage rushing out
of her like water.
She removes the nail, and hugs him around the waist.
IN THE OBSIDIAN MIRROR
It frames a strange triangle: two women and Khalar between
them. Only Tamara can seethat Khalar ’s expression is
treacherous, even as his voice is silky and smooth.
KHALAR ZYM
Smile, my cruel angel. Tonight we
will be a family once again.
And looking away from the mirror, only Tamara can see that
Marique’s expression is equally cold and bitter, even as her
voice is sweet and obedient.
MARIQUE
Yes, my dear father. Yes.
EXT. KHOR KALBA - OUTSKIRTS - D USK
Khor Kalba is the flooded ruins of jagged stone towers that
have stood against the sea for thousands of years. Indeed the
walls and fortifications make it look impregnable.
EXT. KHOR KALBA - FLOODED RUINS - NIGHT
Conan and Ela Shan scramble over rocks along treacherous
cliffs and pounding surf. The find a round rock with a metal
face plate and runes etched around the edges .
Ela Shan slips slender hooks and pointed dowels into the face
plate and opens it , but his hands are shaking badly.
Inside is an ornate locking mechanism.
ELA SHAN
Please. I beg you one last time. Do
not do this. Let us turn back.
Conan shakes his h ead. Silent but firm.83As Ela picks at the mechanism there is a cascade of CLICKS
and CLANKS swelling into a deafening RATTLE as somewhere
massive tumblers spin. The noise becomes frighteningly
loud...
... and then with a SNAP, the lock turns. The stone slides
open in halves revealing stairs down to the flooded sewers.
INT. KHOR KALBA - THRONE ROOM - NIGHT
The acolytes bind Tamarato the VITRUVIAN WHEEL. Each wrist
and ankle is bound with MANACLES and long CHAINS to the
spokes. She is spread eagle .
Carrying Corin’s greatsword, Marique approaches Tamara.
MARIQUE
Did you know I met your Barbarian
when he was a boy? I took this
sword from him.
She runs her lips perversely over its hilt.
MARIQUE
I’m toldthat Cimmerian steel is
sharperand harderthan any other ,
and that when it cuts, the pain is
close to pleasure.
She holds the edge against Tamara’s bare skin on her chest.
MARIQUE
I know it will pleaseyou.
INT. TUNNEL OF LOCKS - CURVING TUNNELS - NIGHT
Ela Shan pops the lock to another spiral gate leading them
into a CURVING SEWER TUNNEL. The water is waist high, and
roiling as if something large were moving below.
Their torches flicker, giving off more smoke than light.
There are deep ominous RUMBLES from above and below.
The surface of the water ripples, as if teeming with fish .
Ela stops and grabs Conan’s arm.
ELA SHAN
Something moves in the water.
As Ela turns we see that clinging to the other side of his
face and neck is a BLACK, THROBBING MASS the size of a
lobster. 84Ela sees Conan’s expression. The thief SQUEALS in horror,
tears the leach off his face, and throws it away. The water
is alive with the slimy creatures.
Conan rips a GIANT LEECH off his own arm and yanks another
off Ela’s back. Ela finds another squirming on his belly.
Ela’s scream still echoing in the chamber, they hurry,
sloshing towards the next gate .
EXT. KHOR KALBA - RUINS- NIGHT
A procession moves slowly from the central tower, towards the
Skull Cave. Khalar leads them in his resplendent armor. Then
comes Marique leading twelve Guards .
TWOacolytes chant in a long forgotten language and strike
GONGS etched with the Seal of Acheron. It is as ominous as a
funeral march. Ceremonial and grim.
Behind them , another FOUR ACOLYTES bear Tamara on the
Vetruvian Wheel, like a corpse upon a stretcher.
Surrounding the procession is a LEGION of Khalar’s soldiers.
INT. TUNNEL OF LOCKS - BLOOD GATES - NIGHT
Ela and Conan trudge through a long, narrow sewer. Ela is
shaking badly, and he looks a bit lost.
Above them are HOLES in the rock where runoff water gurgles
into the chamber. They reach a DEAD END.
Far above them is a clang and rumble, as if some giant valve
were turning and a torrent of water unleashed.
ELA SHAN
We should not have come this way.
Liquid bursts from the runoff holes and gushes into the
chamber - hundreds of gallons of deep red.
Conan and Ela retreat through the fountains of blood. The
liquid becomes thicker...
... and the two are hit with chunks of human bone, severed
arms, severed legs, and ground gore - a ghastly soup of human
flesh showering down upon them!
They flee, out of the dead end tunnel, as human heads bob in
the water like buoys. Conan drives his shoulder into a gate,
breaking the rusty bars and slamming it open.85INT. KHOR KALBA - TUNNELS UNDER THE PIT - CONTINUOUS
Ela Shan reignites a STASHED TORCH. There are no more gates
to be seen. A triumphant smile beams on Ela Shan’s face.
ELA SHAN
That was the last gate. I told you
I could get you insafely!
A great RUMBLING PASSES, the sound of something ENORMOUS
moving underneath them in the depths.
Ela’s smile fades.
WHOOSH!Conan and Ela are DRAGGED UNDER THE WATER, whipped
down and away in less than a second.
INT. KHOR KALBA - UNDER THE PIT - NIGHT
Conan is yankedthrough deep, murky water. He’s just a
flailing shape in the darkness.
He lashes out with his blade, hacking at something that has
wrapped around his foot like a snake. It releases him.
Ela Shan is not as lucky. He is dragged passed Conan, towards
some MASSIVE THROBBING SHAPE with UNDULATING ARMS, but Conan
grabs Ela by the collar and yanks him free.
Conan drags Ela towards the glow of the surface.
INT. KHOR KALBA - THE DWELLER PIT - NIGHT
Ela and Conan burst to the surface of a circular pool. Both
of them gasp for breath . The danger seems to have passed.
They scramble to the edge, and as they climb out they look up
into the gigantic space around them , taking it all in.
Thepool is surrounded by the curving steps and tall columns
of a massive amphitheater. The air is thick with steam.
Above them, cages hang from pulleys attached to an iron grid.
Chains strung through the pulleys hang like vines.
Inside the cages are virgins, ADOLESCENTS in nothing but
loincloths. One cage near the water is filled with the same
blood and remains that were showered upon them below.
AKHOUN (O.C.)
YOU!86Conan looks across the pit to see the last of Khalar’s
henchmen who was present in Corin’s forge.
AKHOUN
The giant villain holds chains attached to pulleys high above
him on the iron grid. This allows him to raise and lower
cages like a puppet master.
CONAN
Another feast for my sword.
There is an ominous rumble, and the surface bubbles. Akhoun
lets loose a long peal of laughter.
AKHOUN
No! Another feast for my pet!
THEN A TENTACLE bursts from the water , BLOCKING CONAN’S PATH,
thick as a tree trunk, lined with bony spurs.
The tentacle curls and snaps like the tail of a scorpion.
Conan defends himself with swipes of his sword sending jets
of the creature’s blood, black as ink, across the water.
Ela squeals, swims away, and climbs up into the empty cage.
He slams the door shut, trying to shut the tentacle out.
The tip of atentacle coils around Conan’s arm, but he drives
his sword into itsbase.
From somewhere deep in the pool comes an agonized rumble and
a squeal of pain. The tentacle retracts.
But then TWO ENRAGED TENTACLES whip out of the water,
replacing the first, attacking the barbarian , and driving him
backwards.
A THIRD TENTACLE shoots out of the water and probesthe cage
where Ela is hiding. Ela kicks at it in desperation.
Amassive undulating SHAPE rises just under the surface of
the pool. It is ENORMOUS and GROTESQUE , with an ugly mouth
rimmed with teeth the size of sabers : The Dweller.
Conan avoids the mouth and stabs at a tentacle, but then Three
PIT GUARDS enter and stalk Conan around the edge of the pool ,
walking over iron rails on its surface.
PIT GUARD #1 is immediately snatched bya tentacle that wraps
around his neck and yank shim high up into the air and down
into its hungry mouth.
Red Blood fills the pool, mixing with black.87PIT GUARD #2 and PIT GUARD #3 attack Conan together, but
Conan slays#3, right under Ela Shan’s hanging cage.
Conan eyes Akhoun and lures Pit Guard #2 closer to him. Just
as Pit Guard #2 reaches him, Conan leaps away...
CRASH! Akhoun drops Ela Shan’s cage, misses Conan, and
crushes Pit Guard#2 instead.
Conan rushes at Akhoun and the two clash.Conan allows Akhoun
to land several ugly blows ,but as he does so, Conan wraps
the hanging chain around the villain’s neck.
As Ela Shan’s cage is PULLED UNDERWATER by several strong
tentacles, Akhoun is lifted up by his neck, hanged by his own
chains.
TWENTY KHOR KALBA WARRIORS rush into the amphitheater, and
surround the pool, blocking the floor level exits.
Conan swims to Ela’s sinking cage, but Ela is already under the
surface - the cage dragged towards the Dweller’s MOUTH.
Above Conan, tentacles wrap around the dangling Akhoun.
Then amassive SINGLE EYE rises up out of the water like a
glistening, oily DOME.
Standing up on the sinking cage, Conan leaps, raises the
sword like a stake, and drives it into The Dweller’s eye...
With a LOW ROAR and a HIGH WHISTLE The Dweller ’s massive arms
CRASH upon the surface and sink into the depths .
As Akhoun and his chains are dragged DOWN with the Dweller,
Conan, who is clinging to Ella’s cage, is pulled UP...
... to a mid-level above the grid, where Conan helps Ela
escape through the DAMAGED bars .
INT. KHOR KALBA - TUNNELS ABOVETHE PIT - NIGHT
Conanrushesout of an exit from the mid-level of The Pit ,
and he dragsthe hapless thief along with him.
EXT. KHOR KALBA - NIGHT
Conan pulls himself up out of a crack in the Khor Kalba ruins.
Then he pulls the exhausted Ela Shan up beside him. High up, he
gets a view of the entire fortress.88CONAN’S POV
The procession rides out over the peninsula towards the Skull
Cave.They are escorted by the legion of Khalar’s soldiers.
EXT. KHOR KALBA- SKULL CAVE - ENTRANCE - NIGHT
Khalar leads a procession on horseback into the ancient
Acheronian site. Marique and twoacolytes rideclosely
behind.
Tamara, bound tightly to the Vitruvian Wheel , is carried by
four ACOLYTES as if it were some nightmarish funeral march.
Behind them the twelve Cave Guards and another twelve
Warriors from the legion, bring up the rear .
Before themis a massive Excavation Site, with scaffolding,
carts and crude tools. Bit and pieces of purple, Acheronian
ruins sprout out of the cave floor like the bones of some
massive fossil.
On the high cave ceiling are openings - the “eyes” of the
skull that we saw from the outside.
The bulk of the Legion of warriors wait outside the cave.
INT. SKULL CAVE - MAIN CHAMBER - CONTINUOUS
TwoAcolytes blow RAM’S HORNS in steady rhythm, like a
primitive siren.
They reach a central PLATFORM , on which are more scaffolding
and LONG CHAINS hanging from pulleys. In front of all this is
a sacrificial PIT.
OUTER RING
Along the edges is an OUTER RING w here Cave Guards and
Warriors take up positions .
ON THE PLATFORM
Four of the Acolytes carry theancient V itruvian Wheelto the
Platform. The other two hold ceremonial torches.
With the pulleys and chains, the wheel is hoisted and
positioned so that two long pins on its outer rim fit into
two stone posts on The Platform. This allows the entire wheel
to tip forwards and backwards.89EXT. KHOR KALBA - COASTLINE CLIFFS - NIGHT
Conan climbs and jumps over jagged rocks toward the skull cave.
Never has he looked more determined. Terrified and gasping for
breath, Ella can barely keep up with him.
INT. SKULL CAVE - ALTAR - NIGHT
TheAcolytes CHANT, somelow and guttural, somehigh and
shrill - an eerie, pagan cacophony.
Marique hands Khalar Corin’s Greatsword.
MARIQUE
As a victorious Barbarian sword
once shattered the mask, a
vanquished Barbarian sword shall
revive it.
Khalar takes the Cimmerian Blade, impressed by its balance
and craftsmanship. He is pleased.
Marique bears the MASK OF ACHERON on a RITUAL TRAY.
EXT. SKULL CAVE - NIGHT - INTERCUT
Grasping tangled vines and roots, Conan and Ela Shan drag
themselves up and over the rain-slick rock, arriving above one
of the two massive HOLES in the cave ceiling.
Below, they see the whole, perverse spectacle, with Tamara at
the center of it all, bound to the wheel .
Ella gawks and swallows; he trembles like a wet gerbil.
CONAN
Your debt is paid. Go.
ELA SHAN
I humbly respect your decision.
INT. SKULL CAVE - ALTAR PLATFORM - NIGHT
Two Acolytes tilt the wheel forward so that Tamara faces down.
Khalar raisesCorin’s greatsword .
KHALAR ZYM
By lusty Derketo and serpent-headed
Set, by Dagon and Nergal, I seed the
mask with its master’s blood.90Every movement in this ritual seems well-practiced and
choreographed, as if each gesture had symbolic meaning.
Khalar cuts Tamara just below her collarbone. She SCREAMS!
BLOOD flows from the wound . Mariqueholds The Mask beneath
her ona sacred ritual TRAY.
ON TAMARA
Tamara gasps in horror. She watches helplessly as blood runs
down her body into the mask, seeding it.
CAVE ENTRANCE - ON CONAN
SNAP! Cave Guard #1’s head is turned and his neck is broken.
Conan drops the body quietly.
Conan moves swiftly, silently and almost invisibly along the
side of the cave.
THE PLATFORM - ON THE MASK
Fertilized by the blood, the Mask of Acheron comes alive. The
shards of bone swell and squirm like the arms of The Dweller.
ON KHALAR AND MARIQUE
Theyexchange a look of eager anticipation. They have both
waited a long time for this moment.
With the sword in one hand, Khalarraisesthe mask with the
other, high above h ishead before The Pit.
KHALAR ZYM
AncientOnes, who burn beneath us,
unspeakable are thy names,
Behold and despair, your new
master.
With both excitement and trepidation, Khalar places the mask on
his face. It fuses with his flesh, the tentacles piercing his
forehead, cheeks and neck. He and the mask become one.
ON THE PIT
An eerie glow paints its rim, a low rumble shakes the cave,
as if something in the depths were awakening.
ON KHALAR
The excruciating pain of the piercing shards gives way to
exhilaration as The Mask’s power flows through him.91ON TAMARA
She can’t watch. She turns her head, chin to shoulder. But
from her high vantage point, she can see...
CONAN - TAMARA’S POV
Intent and unstoppable, Conan climbs up the rocksfrom behind
the altar. He quietly cutsCave Guard #2’s throat.
Then, he looks up and sees TAMARA STARING DOWN AT HIM. He is
dismayed to see her awash in her own blood.
ON TAMARA
Its all she can do to keep from calling out to him. She
shakes her head... GO BACK!
ON CONAN
But he does not stop. He comes closer and CLOSER, listening
to Khalar’s incantation to his dead wife.
THE PIT
KHALAR ZYM (CONT’D)
Maliva, my queen, hear my call...
But Khalar is interupted...
BEHIND THE WHEEL - ON CONAN
Boltingfrom his hiding place , Conan LEAPS and SWINGS his
sword in a mighty arc.
At the last second, Khalar ducks, and RAISES CORIN’S SWORD to
block him...
Conan’s sword GLANCESTHE EDGE OF THE MASK, chipping it,
causing bright sparks and a resounding CLANG as the metal
hits bone.
Reeling, Khalar falls backwards to the ground.
As the mask is hit, the Pitrumbles with energy, causing
TREMORS across the excavation site .
The Platform CRACKS and the stone posts holding The Wheel
crumble. Conan is knocked off his feet.
DOZENS of Warriors and Guards rushing to the altar are swallowed
into the trembling, crumbling Pit.92INSIDE THE PIT
The men tumble helplessly into a fiery abyss.
ON THE PLATFORM
The SCAFFOLDING COLLAPSES, crushing Cave Guard #3 and #4
under its weight, and dangling long chains into The Pit.
ON THE PLATFORM
The WHEEL FALLS from its chassis, with Tamara still attached
to it. It tips forward and DROPS INTO THE PIT.
INSIDE THE PIT
After falling ten feet into the shaft, The Wheel gets STUCK
as its two PINS catch on the walls.
ON TAMARA - UNDER THE WHEEL
Boundto The Wheel, Tamara SCREAMS and pulls at the chains.
Wide eyed, Tamara gawksdown into a yawning abyss. The sides
of The Pitopen up into a wide crevice filled with purple-
tinged, ACHERONIAN RUINS.
Below that is a fiery , bottomless VORTEX.
SKULL CAVE - ABOVE THE PIT- ON CONAN
Conanhops to his feet , looks down to see Tamara on the
wheel, and HE JUMPS DOWN.. .
INSIDE THE PIT- ON THE WHEEL
Conan lands on the wheel with startling balance. He reaches
down and breaks one of the manacles with the hilt of his
sword. Tamara’s wrist pulls free.
SKULL CAVE - ABOVE THE PIT- ON KHALAR
He scrambles to his feet , looks into the Pit, and sees Conan
breaking Tamara’s legs free.
Hecalls out to Marique.
KHALAR ZYM
Don’t let her escape !
Then, Corin’s sword in hand, he JUMPS DOWN ...93INSIDE THE PIT- ON THE WHEEL
Khalar lands on the wheel and nearly slips and falls. The
wheel teeters right and left under his feet like a see-saw.
SKULL CAVE - ON MARIQUE
Pulling out a DAGGER , Marique rushes away from The Platform
to an outcropping of ruins, leading down...
ON TAMARA - UNDER THE WHEEL
She hangs upside down like an acrobat as the men fight above
her. She pullsher other wrist away from the wheel, but it is
still bound to a long, loose chain .
She climbs off, scrambling down the ravine walls to...
INT. RUINS OF ACHERON - BALCONY - INTERCUT
Tamara claws desperately at the sides of the rocky crevice,
and slides to the Stone Balcony.
Around her are the bizarre Acheronian Ruins - an entire
subterranean city. Stairways extend in all directions, some
sideways or upside down, all leading through A MAZE of
archways and columns .
Below her, flaming magma flows through the ruins in canals
and pours into the Vortex.
Tamara doesn’t see the dark figure rushing towards her from
behind out of The Maze.
Shestares up at the men fighting .She has no weapon, and no
way to climb back up to help.
CONAN
(from above)
Find a way out!
Reluctantly, Tamara rushes away into The Maze, dragging the
long chain with her.
INT. INSIDETHE PIT- ON THE WHEEL - INTERCUT
Khalar and Conan clash. Every thrust and parry of their
weapons causes the wheel to tip precipitously in one
direction and then another.
When Khalar attacks, Conan shifts his weight on the wheel,
making the masked warlord stumble to regain his footing.94INT. RUINS OF ACHERON - THE MAZE - INTERCUT
Tamara runs over stairways, under archways, and around
columns, but the labyrinth is disorienting, and she doesn’t
see the dark figure rushing towards her from behind...
MARIQUE GRABS TAMARA, but she resists capture.
Tamara throws her elbow into Marique’s gut, driving the witch
backwards. She slams her fist against Marique’s jaw, snapping
Marique’s head to one side.
Frustrated, Marique steps back and brandishes her dagger.
MARIQUE
Kneel down!
Tamara doesn’t kneel. She twirls the long chain still attached
to her wrist and faces off with the witch. Marique raises the
dagger, and Tamara swings the chain...
...wraps it around Marique’s wrist, and YANKS THE DAGGEROUT
OF MARIQUE’S HAND. The blade clatters away .
Marique lunges for Tamara, her needle-fingers extended, and
grabs Tamara by the hair.
INT. THE PIT- KHALAR AND CONAN - INTERCUT
Khalar lunges and misses, slipping on the wheel, and his mask
writhes in frustration .
CONAN
You had your chance Khalar, and you
won’t get another.
(beat)
Won’t your dead queen be ashamed?
With an explosion of fury, Khalar lunges at Conan... and
KHALAR LOSES HIS BALANCE.
Khalar slips, stumbles and KICKS the pin stuck in the side of
the ravine. THE PIN SNAPS OFF !
As the pin in the wheel break sfree,the “floor” falls out from
beneath their feet.
The Wheel falls, bouncing off the crevice walls. Conan and
Khalar fall, scrambling desperately to the sides of the
ravine,into plumes of dust.95INT. RUINS OF ACHERON - THE VORTEX BELOW - CONTINUOUS
The wheel crashes off the balcony ,flips and plummets,, and
then disappears into The Vortex.
It’s only by watching the wheel fall that we get a sense for
just how breathtakingly deep the abyss really is.
INT. RUINS OF ACHERON - BALCONY - CONTINOUS
Conan and Khalar tumble down to the balcony .Panther-like,
Conan lands on his feet.
By contrast Khalar LANDS HARD on the stone floor, and HE
STUMBLES. Conan swings and Khalar ducks the blade...
CRACK! The tip of Conan’s sword clips the mask, and once
again, when the mask is hit, TREMORS shake the ruins.
Khalar FALLS TO THE EDGE of the balcony. As when he fell at
the Shahpur Outpost, HE IS VULNERABLE.
But just as Conan raises his sword and is about to spring across
the balcony to where Khalar has fallen.. .
... CONAN HEARS TAMARA SCREAM!
Locking eyes with Khalar, Conan hesitates - another chance
for vengeance hanging on his decision.
The villain smiles.
Then Conan DARTS INTO THE MAZE to save the woman he loves.
INT. ACHERONIAN RUINS - ON TAMARA AND MARIQUE - CONT.
As the women fight, more tremors shake the ruins. Lava
bubbles and spills over ancient timbers, which burst into
high flames.
Marique drives her knee against Tamara’s chest pinning her to
the ground. But, Tamara STILL won’t submit.
TAMARA
How will it feel when your father
casts you aside?
Marique flashes with anger and threatens Tamara with her long
needle fingers , holding them above Tamara’s face. 96TAMARA
You are nothing to him. He only
cares for her.
Marique HISSES, enraged beyond all reason , but as she plunges
five finger-needles towards Tamara’s eyes...
Marique finds her thrust BLOCKED, and her needles SNAP
against the flat end of a hard Cimmerian blade!
Conan whips the sharp blade back, and he SLICES OFF MARIQUE’S
FINGERS!
Marique SCREAMS and clutches her mutilated hand. She’s
delirious with fury.
Tamara grits her teeth...
TAMARA
Burn like your mother, witch.
Tamara KICKS MARIQUE into the burning timber below ...
ON MARIQUE - AS SHE FALLS
She flails and claws at the air, and she is IMPALED on a
jagged, burning timber. H er skin bursts in toflames.
ON KHALAR
He enters the maze, and just as he once watched Maliva, he
watches Marique as she is consumed by the fire.
INT. RUINS OF ACHERON - THE MAZE - NIGHT
Darting in one direction and then another, Tamara and Conan
fleeDEEPER into the labyrinth.
There are more rumbles from below and PILLARS TIP and CRASH
around them. Theynarrowly avoid getting crushed.
INT. RUINS OF ACHERON - THE MAZE - CONTINOUS
Conandoubles back and triesa different direction, around
the perimeter but HEIS CUT OFF BY KHALAR.
Tamara rushes back behind Conan, and the two magnificent
warriors clash.
It is the most spectacular fight we have seen in the film. Conan
swings his blade with all his father’s balance and skill.97But, empowered by the mask and with room to maneuver, Khalar
fights with phenomenal strength.
As he wields Corin’s greatsword , Khalar’s shear speed and
dexterity are breathtaking. He seems invincible, and Conan now
looks overmatched. He’s driven back. ..
... or perhaps leading his opponent forward as...
...another RUMBLE shakes the ruins and another ARCHWAY CRUMBLES
AND FALLS . Conan leaps away just in time, but Khalar is
seemingly buried in rubble .
INT. RUINS OF ACHERON - ANCIENT BRIDGE
Conan and Tamara flee out onto a thin wooden BRIDGE that
spans the crevice , and below it is the fiery vortex .
The bridge is made of flat rotting panels, suspended by
ancient chainsand propped up by cracked girders.
Conan crosses quickly to the other side, but behind him, as
Tamararuns to the center of the bridge, shestumbles , the
panels crack and splinter beneath her feet...
...and she FALLS THROUGH .
CONAN
(gasping)
Tamara.
The chain trails after her into the hole...
ON TAMARA
Tamara plummets...
...and then she is YANKED to a full stop. She dangles under
the bridge by her manacled wrist.
ON CONAN
He clutches the end of the chain and he is nearly pulled into
the hole himself...
...but he stops her fall.
And then, the barbarian looks up to see, emerging out of clouds
of dust and falling rubble...98KHALAR ZYM
Arms raised,he steps out upon the bridge and calls out the
final verse, completing the ritual.
KHALAR ZYM
Beside me none are equal,
Beneath me all must submit,
Before me all rivals will be
sacrificed!!
(beat)
Maliva, I summon you here!
ON THE RUINS
As if responding to his words, they rattle and hum.
ON THE BRIDGE
A fierce wind rises from the depths. Around them millions of
glowing embers stream up in swarms and float slowly down like
fiery confetti.
UNDER THE BRIDGE - ON TAMARA
Her eyes flicker to pitch black, but as she screams and
shakes her head in defiance, they flicker back to blue.
INT. RUINS OF ACHERON - ANCIENT BRIDGE - CONTINUOUS
The whole bridge sways and buckles under their weight. Khalar
strides towards Conan in triumph.
KHALAR
Once again, the little Cimmerian
boy is caught holding a chain.
TAMARA
Drop me!
Conan looks back from Tamara beneath him to Khalar across
from him. With one hand on the chain and the other holding
his sword he can neither fight nor pull her up.
ON TAMARA
Waves of heat sizzle her skin. The hem of her clothing is
starting to light aflame. Tamara’s eyes flicker black.
TAMARA
Let GO of me, CONAN!99ON CONAN AND KHALAR
KHALAR ZYM
No. Kneel to me, and she will live.
TAMARA
His witch possesses me! I can’t
fight her... DROP THE CHAIN!
Khalar’s voice is as silky and convincing as a serpent.
KHALAR ZYM
And let another die in your place
like your father?
Conan cannot strike. He cannot let go. His fully extended arm
shakes from the torque and strain. He can’t win...
And so, Conan kneels.
Khalar smiles, knowing full well the barbarian would never let
go of the chain.
ON TAMARA
Eyes jet black , Maliva has overcome her. Around her BLACK ASHES
and GLOWING EMBERS swirl and undulate like a swarm of insects.
Scalding WIND whips her hair.
She crawls up the chain towards Conan...
ON CONAN AND KHALAR
Conan drives his sword point-first into the wooden panel. But
just as Khalar steps forward to take the chain...
KHALAR ZYM
I warned him that I would one day be a
god.
CONAN
And my father warned you...
Conan calmly pulls back his blade stuck in the panel. Just
like Corin’s blade in the ice, it works like a lever,
CRACKING THE WOOD UNDER KHALAR’S FEET.
Khalar FALLS THROUGH, extending his arms to clutch the
splintering wood at his sides to keep from falling through to
the abyss. He FUMBLES CORIN’S SWORD .
SLOW MOTION: Corin’s Sword shoots into the air, tumbling and
spinning, until.. . 100...Conan grabs the hilt!
CONAN
God or not...
Conan swings Corin’ssword ONCE, and SHATTERS KHALAR’S MASK.
CONAN
... You will fall.
And swings TWICE, back the other way and BEHEADS HIM!
CLOSE ON KHALAR’S HEAD - FOLLOWING IT AS IT FALLS
Mouth still gnashing and eyes still rolling in shock and
rage, Khalar’s head tumbles into the vortex.
As each shard of the mask falls into the vortex...
ON TAMARA - INTERCUT
As Conan pulls Tamara up, Maliva’s spirit dissipates. Her
eyes turn back to blue.
Conan scoops her upto her feet . She lost a lot of blood, but
she is still alive. As Conan is about to kiss her...
The vortex rumbles. The bridge buckles and shakes. Great
fissures appear in the ruins . Boulders fall from above.
INT. ACHERONIAN RUINS - VARIOUS LEVELS - NIGHT
The ancient city collapses and thefissures open wide and
split the ravine. Staircases, columns and archways fall into
the abyss.
INT. SKULL CAVE - THE PLATFORM - NIGHT
As Tamara and Conan escape out of the same outcropping of
pillars that Marique entered earlier, The Platform is
consumed. The ravine closes. The Pitis shut.
The entire cave is collapsing around them.
EXT. SKULL CAVE - NIGHT
Conanand Tamara rush out of the cave.
The Skull face of the cave implodes in a final dramatic
quake. The Warriors from Khalar’s legion, those who are not
swallowed and buried in the rubble, scatter and flee.101The Acheronian ruins are buried.
Onthe rocky shore there are two abandoned HORSES from the
procession . The sun rises over the water.
MOMENTS LATER - AT THE SHORELINE
Bothmounted on the horses, Tamaralooks to Conan.
TAMARA
And now?
Conan extends his father’s sword and watches the sunlight
gleam across the steel.
CONAN
We think of life. The dead are
dead, and what has passed is done.
Conan, black-haired, sullen-eyed, his father’s sword in hand,
leads hertowards a fiery sunrise and a darkened sea.
FADE TO BLACK102ALTERNATE ENDING:
EXT. CAVE - DAWN
Conan carries Tamara - bloody, pale and weak - out of the
cave. He puts her limp body down on the sand.
Blood runs from her mouth. Her body shivers in pain
CONAN
What is it?
Conan sees THE WOUND that Marique gave her in the fight.
TAMARA
Poison.
Conan realizes she is dying, and he looks stricken. With the
last of her strength she smiles and whispers to him.
TAMARA (CONT’D)
Grieve not my death, Conan. Think
of life.
She rises up with bloody lips and like his mother, Fialla,
kisses him so that he can taste her blood.
Tamara dies in Conan’s arms.
EXT. BEACH - DAY
Conan caries Tamara like a groom carrying his bride through a
threshold, but he carries her not to the wedding bed...
... butto a small funeral pyre of beachwood .
Conan lays Tamara’s body atop it.
Conan lights the pyre. Flames glimmer in his eyes. The air
fills with embers. Conan steps away.
As the fire burns behind him, his father's sword in hand,
Conan walks alone towards a darkened sea.103RESHOOTS *
EXT. PITCH BLACK - NIGHT *
NARRATOR *
Between the years when the oceans *
drank Atlantis and the rise of the *
Sons of Aryas... *
The sky shimmers with a cascade of STARS. *
NARRATOR *
...there was an Age undreamed of, *
when shining kingdoms lay spread *
across the world like blue mantles *
beneath the stars. *
We TILT DOWN past the milky way to... *
EXT. ACHERONIAN TEMPLES - CONTINUOUS *
A WIDE SHOT [Matte painting] of Acheron, the dark landscape *
and colossal edifice built into cliffs by the sea. *
NARRATOR *
First came the dark empire of *
Acheron, where cruel necromancers *
sought secrets of resurrection. *
[As Shot] A priest raises The Mask of Acheron. *
NARRATOR *
They crafted A MASK from the bones *
of kings... *
[As Shot] A pureblood daughter is bound to the Wheel. *
NARRATOR *
...andsacrificed their daughters *
to baleful gods. *
CLOSE ON THE MASK. The victim’s flesh is CUT, her blood flows *
onto The Mask. [This will mirror the climax] *
[As Shot] the priest lowers the mask and puts it on his face. *
NARRATOR *
The mask summoned spirits of *
unspeakable evil, giving them power *
no mortal men should hold. *104CLOSE ON THE WHEEL - THE GIRL’S FACE *
The girl screams, as black embers swirl around her, and her *
face becomes POSSESSED by some loathsome demon. [This will *
mirror Tamara’s possession by Maliva in the climax.] *
NARRATOR *
Soon rivers ran red with blood, and *
cities burst in flame. Acheron *
enslaved the civilized world. *
IMAGES OF APOCALYPSE *
A landscape boils with explosions of fire and waves of blood. *
SCENES OF WARFARE *
Barbarian hordes swarm Acheron. A fierce battle rages. *
NARRATOR *
Only the barbarian tribes were left *
to rise up against them. *
CLOSE ON The Mask CLEAVED by a barbarian sword. *
NARRATOR *
The Mask was shattered… and Acheron *
fell. *
CLOSE ON the shards as they are separated, divided, and *
hidden among the tribes. *
NARRATOR *
Each tribe kept a single shard, so *
that no man might attempt to join *
them back together, and drive the *
world again into madness and ruin. *
The final shard hidden in a GOLDEN BOX [the one we will *
reshoot in Corin’s forge.] *
NARRATOR *
The pieces remained hidden, *
scattered across the land for three *
thousand years. *
INT. WOMB - DAY *
DARKNESS again, and SILENCE. Then, the sound of a HEARTBEAT *
heard from the womb. *105NARRATOR *
So rose the Hyborian Age, both *
bleak and brutal,... *
TILT DOWN to the immaculate crown of an UNBORN BABY, eyes *
closed, floating at peace within the warm glow of the womb. *
NARRATOR (V.O.) *
...andso came a child born of *
battle. *
SSSKKTTTCH ! A flash of steel as a BLADE PIERCES THE WOMB, not *
an inch from the child. As the sword is pulled free we MOVE *
WITH IT, out into the MADNESS OF BATTLE. *
YOUNG CONAN/ADULT CONAN TRANSITION *
EXT. CIMMERIAN VILLAGE - DUSK [AS SHOT] *
Looking down, young Conan sees a Cimmerian sword. Howling *
with rage he raises the blade in the air. *
Camera BOOMS UP with the sword... *
FADE OUT. *
[OPTIONAL NARRATION] *
NARRATOR *
For twelve long years Conan, son of *
Corin, wandered the ragged edges of *
the world. *
(beat) *
But, the nameless man who killed *
his father remained in shadow. *
YOUNG CONAN/ADULT CONAN TRANSITION - VERSION TWO
EXT. ZINGARAN COASTLINE - DAY *
VERY CLOSE ON skeletons half-submerged in desert sand. *
CAMERA DRIFTS over old, rusted chains and massive shackles as *
the wind blows sand and ashes over the slave’s bones. *
NARRATOR *
Cimmerians do not pine for the *
hereafter. *106
(MORE)Their god is Crom, who rules over a *
sunless place of everlasting mist, *
the land of the dead. *
A mighty hand digs into the sand past skull and bone, and *
lifts dust into the wind. *
The dust falls through his fingers like sand in an hourglass. *
NARRATOR *
Conan left Cimmeria and wandered *
the edges of the world, slaying, *
thieving, surviving , storming the *
high walls of Venarium and prowling *
the dark seas among pirates. *
CAMERA MOVES around the strong, scarred arm revealing the *
face of the mature CONAN. On bent knee, Conan looks into the *
dust as if he can see something through it. *
He rises, brushing sand from his hands and looks at his palm. *
CLOSE ON HIS PALM *
We see the burn scars from the hot chains he once held to *
support his father in the forge. His hand balls into a fist. *
NARRATOR *
But the nameless man who scarred *
his hands remained in shadow. *
EXT. ZINGARAN COASTLINE - DAY *
[We begin with the “Zingaran Slave Colony” matte, and shots *
of the slaves being whipped and abused by their masters] *
CONAN ENTRANCE SHOT: *
[If this were a commercial, this would be our product shot] *
We PAN up the edge of a broad sword, over the massive fist *
that grips the hilt, over the powerful muscles of the arms to *
the chiseled chest, and we PULL BACK to REVEAL the adult *
Conan, staring down at the slavers from atop a horse. *
Artus enters frame and looks up at the barbarian. *
ARTUS *
Conan, I am told the man you seek *
is not here. Why attack? *107
NARRATOR (CONT'D)CONAN *
No man should live in chains. *
Conan raises his sword high in the air, giving the signal to *
the other pirates. *
We cut to the existing shot of Conan with sword raised and *
Messantia in the background [... andthe rocks begin to *
roll.] *
INT. MESSANTIA - ALEHOUSE - NIGHT *
Conan squints through haze at THE CAPTAIN, catching only *
glimpses through the mob. He’s familiar: The distinctive way *
he rolls his neck. The mask that covers his nose. [As Shot] *
A hush falls over the rowdy crowd. *
SLAVE GIRLS (O.C.) *
(gasping) *
The captain of the guard! *
[Then after Ela and Conan fight the surly guards] *
Conan offers his wrist in surrender. As the guard hesitates *
to shackle him... *
CONAN *
Take me to your captain, or die *
where you stand. *
SAND WARRIORS *
EXT. SHAHPUR OUTPOST - DAY *
From afar the crumbling stone structure seems abandoned and *
lifeless. A wisp of smoke rises from behind the walls. *
EXT. SHAHPUR OUTPOST - COURTYARD - DAY *
[As shot] The Shahpur outpost was once a working fortress, *
and rickety scaffolding, ladders and platforms remain. On the *
ground sit loading docks, old farm and construction *
equipment. A few torches burn on the walls. *
Conan stands and waits. Behind him Tamara stands BOUND TO A *
POST like a prisoner. *108Conan studies his surroundings. He looks right and sees... *
One of several TORCHES, burning. *
Conan looks left and sees... *
POOLS OF TAR leaking from BARRELS. *
... [Then at the end of the fight sequence] *
ON TAMARA *
She hides behind fallen debris, and she watches... *
KHALAR AND CONAN [As shot] *
Khalar delivers a KICK to Conan’s chest, and he spins in slow *
motion and falls hard to the ground. *
Khalar moves toward Conan. Khalar is ready for the kill . *
ON CONAN *
Poisoned and weak, Conan locks eyes with Tamara, and NODS... *
ON TAMARA *
She dashes from her hiding place, grabs the BURNING TORCH, *
and tosses it to him... *
ON CONAN *
He catches it and HURLS the torch at the POOL OF OILY TAR. *
ON THE BARRELS *
The tar IGNITES and flames rush towards the barrels! *
ON CONAN AND TAMARA *
Tamara helps Conan to his feet. *
CONAN *
Run! *
As they bolt... *
WIDER ON THE OUTPOST [AS SHOT] *
KABOOM!!! The barrels explode into flames. Khalar dives for *
cover. *109ON CONAN AND TAMARA [AS SHOT] *
Conan and Tamara scramble up scaffolding to the top of the *
rear outpost wall. *
ATOP THE WALL [AS SHOT] *
Tamara stops at the edge - a vertiginous drop to cliffs and a *
raging sea. Tamara hesitates... *
ON ARTUS - IN THE BOAT *
ARTUS *
By Mitra... JUMP! *
WIDE ON THE CLIFFS [as shot] *
Conan and Tamara LEAP off the wall, plummeting down toward *
the harbor below. *
ON CONAN AND TAMARA *
They land in the ocean water and sink... *
ON THE OCEAN SURFACE *
Like a life guard, Tamara clutches a semi-conscious Conan and *
drags him across the ocean towards the boat. *
CLIMAX ON THE BRIDGE *
INT. RUINS OF ACHERON - ANCIENT BRIDGE *
Conan and Tamara flee out onto a thin wooden BRIDGE that *
spans the crevice, and below it is the fiery vortex. *
The bridge is made of flat rotting panels, suspended by *
ancient chains and propped up by cracked girders. *
KHALAR ZYM (O.C.) *
Barbarian! *
As they hesitate, turning back at the sound of Khalar’s *
voice, the panels splinter beneath Tamara’s feet... *
...and she FALLS THROUGH. *
The chain trails after her into the hole... *
ON TAMARA *
Tamara plummets... *110ON CONAN *
... Conan lunges for the chain. *
ON TAMARA *
...she is YANKED to a full stop. She dangles under the bridge *
by her manacled wrist . She looks down in terror at the *
yawning abyss. *
ON CONAN *
He clutches the end of the chain and he is nearly pulled into *
the hole himself... *
...but with his free hand he drives Corin’s sword into the *
wood, anchoring himself. It takes all his strength to hold *
on. *
But then, the barbarian looks up to see, emerging out of *
clouds of dust and falling rubble... *
KHALAR ZYM *
Arms raised, he steps out upon the bridge and calls out the *
final verse, completing the ritual. *
KHALAR ZYM *
Maliva, I summon you here! *
ON THE RUINS *
As if responding to his words, the ruins rattle and hum. *
ON THE BRIDGE *
A fierce wind rises from the depths. Around them millions of *
glowing embers stream up in swarms and float slowly down like *
fiery confetti. *
UNDER THE BRIDGE - ON TAMARA *
Her eyes flicker and roll back as Maliva’s spirit washes over *
her. But she RESISTS. She screams and shakes her head in *
defiance. Her eyes return to normal. *
INT. RUINS OF ACHERON - ANCIENT BRIDGE - CONTINUOUS *
Khalar strides towards Conan in triumph. *
KHALAR *
Once again, the little Cimmerian *
boy is caught holding a chain. *111Conan looks down to... *
TAMARA *
...dangling beneath him like a spider on a thread. Her body *
convulses and twitches as she struggles against the demonic *
spirit taking hold of her. It’s getting worse. *
TAMARA *
His witch possesses me! *
ON CONAN AND KHALAR *
Calmly, Khalar stands over Conan. *
KHALAR ZYM *
Boy, there is no shame in kneeling *
before me. *
With one hand on the chain and the other holding his sword *
Conan can neither fight nor pull her up . *
Khalar places his hand on Conan’s hand the grips the chain. *
ON TAMARA *
Waves of heat sizzle her skin. The hem of her clothing is *
starting to light aflame. Tamara’s eyes roll back, and her *
face changes shape as Maliva flows through her. *
TAMARA *
I can’t fight her. Drop the chain! *
ON CONAN AND KHALAR *
Khalar’s voice is as silky and convincing as a serpent. *
KHALAR ZYM *
And let another die in your place *
like your father? *
TAMARA *
LET GO, CONAN! Drop me and KILL *
HIM! *
Conan cannot strike. He cannot let go. His fully extended arm *
shakes from the torque and strain. He can’t win... *
Khalar smiles, knowing full well Conan would never let go. *
ON TAMARA *
Eyes blank, her hairline receding to reveal the witches long *
forehead, Maliva has overcome her. She hisses in delight. *112Around her BLACK ASHES and GLOWING EMBERS swirl and undulate *
like a swarm of insects. Scalding WIND whips her hair. *
She crawls up the chain towards Conan... *
ON CONAN AND KHALAR *
Conan drives his sword point-first into the wooden panel. But *
just as Khalar steps forward to take the chain... *
KHALAR ZYM *
I warned him that I would one day *
be a god. *
CONAN *
And my father warned you... *
Conan pulls back his blade stuck in the panel. Just like *
Corin’s blade in the ice, it works like a lever, CRACKING THE *
WOOD UNDER KHALAR’S FEET. *
CONAN *
God or not... *
Khalar LOSES HIS BALANCE, extending his arms at his sides to *
keep from falling through to the abyss. *
CONAN *
... You will fall. *
Conan swings Corin’s sword and SHATTERS THE MASK. *
The bridges buckles and breaks. KHALAR FALLS. *
CLOSE ON KHALAR - FOLLOWING HIM AS HE FALLS *
Mouth still gnashing and arms still thrashing in shock and *
rage, Khalar tumbles into the vortex. *
ON THE MASK *
As the shards of the mask fall into the vortex... *
ON TAMARA *
...Maliva’s spirit dissipates. The spell is broken. Tamara’s *
face becomes normal. *
ON CONAN *
Using both hands he draws the chain up. *113ON TAMARA - INTERCUT *
As Conan pulls, Tamara reaches up to him... *
ON CONAN *
Conan grabs her hand and scoops her up through the hole. She *
groggy and disoriented, but she is still alive. *
As he holds her in his arms, their eyes lock . Just as it *
seems as if Conan is about to kiss her... *
The vortex rumbles. The bridge buckles and shakes. Great *
fissures appear in the ruins. Boulders fall from above. *
WIDE ON THE BRIDGE *
Conan and Tamara race off the bridge. *
MAZE OF PILLARS *
Conan and Tamara flee as ruins collapse. *
INT. ACHERONIAN RUINS - VARIOUS LEVELS - NIGHT *
The ancient city crumbles and the fissures open wide. *
Staircases, columns and archways fall into the abyss. *
EXT. SKULL CAVE - DAWN *
Conan and Tamara ride along the shore away from the cave. *
Behind them The Skull face of the cave collapses and implodes *
in a final dramatic quake and thunderous boom. *
EXT. SHORELINE - DAWN *
WIDE ON the beach as they continue to ride across the sand. *
DISSOLVE TO: *
EXT. HYRKANIA - DAY *
Conan slows the horse to a stop. *
Tamara dismounts. In the distance is a monastery surrounded *
by lush fields and idyllic woods. *114TAMARA *
So, my master was right, Conan. You *
did take me home. *
She takes his hand and kisses it, but then she steps back. *
She looks up at him, sullen and strong. *
TAMARA *
Now go... and seek life. I am *
content. *
With a touch of sadness, Tamara watches Conan ride off. *
EXT. ROCKY BLUFF - DAY - FINAL SHOT VERSION #1 *
Our iconic hero’s exit shot: As the narration begins Conan *
rides up the bluff towards us until he fills frame. *
For a moment he pauses, iconic, mythic, and bold. He holds *
his father’s sword by the hilt. *
NARRATOR *
Hither came Conan the Cimmerian, *
his father’s sword in hand... *
Then as the narration continues we PULL BACK. *
As we move farther and farther away, Conan get’s smaller and *
smaller, until the hero is obscured by swirling mist, and he *
fades away like a ghost. *
NARRATOR *
...a thief, a slayer, a son born of *
battle, to tread the shadow-guarded *
tombs and ride the battle-ravaged *
earth where he would one day rise *
as King. *
EXT. CORIN’S FORGE - DAY - FINAL SHOT VERSION #2 *
Now all that remains of the Cimmerian village is a circle of *
stone hearths, crumbling chimneys, and rusted metal scraps. *
We pan over the remains of the forge to THE STONE MOLD , where *
Corin’s sword was pored. It still has the shape of a blade. *
Conan approaches the stone mold and hearth as if it were a *
tombstone, running his finger over the edge. *
CLOSE ON THE STONE *
On the stone Conan places a single, unbroken RAVEN’S EGG .*115ON CONAN - [WITH OPTIONAL NARRATION] *
NARRATOR *
Hither came Conan the Cimmerian, *
his father’s sword in hand... *
Conan crouches on the grounds, holding his father’s sword, *
waving and thrusting and sparing, just as he did as a boy. *
As the sun sets behind him and the blade flashes, Conan looks *
larger than life - a mythic and timeless icon. *
NARRATOR *
...a thief, a slayer, a son born of *
battle, to tread the shadow-guarded *
tombs and ride the battle-ravaged *
earth where he would one day rise *
as King. *
We PULL BACK and PAN UP as he raises the sword to the sky. *116 | screenplays |
Oily to Bed, Oily to Rise is a 1939 short subject directed by Jules White starring American slapstick comedy team The Three Stooges Moe Howard, Larry Fine and Curly Howard. It is the 42nd entry in the series released by Columbia Pictures starring the comedians, who released 190 shorts for the studio between 1934 and 1959.
Plot
The Stooges are three hapless tramps. After nearly destroying a farmer's Richard Fiske pile of firewood, and destroying some of his equipment, they hit the road on foot. Curly wishes they had a car after they stop for a break. By accident they think they've found a car for free and take it. After driving around for a bit, and in their distraction nearly having a few collisions, the boys come to the assistance of the farm Widow Jenkins Eva McKenzie and her three daughters. Just as Curly had wished, she graciously gives them a huge meal and in return they offer to fix her broken outdoor water pump.
As the Stooges attempt to fix the pump, they discover oil hidden under the farm when the pump turns into an oil geyser, staining their clothes and spewing Curly high in the air. They are happy for the lady and her beautiful daughters, until she regretfully tells them she had just sold the farm. The Stooges realize she was cheated out of her land by a trio of swindlers Dick Curtis, Eddie Laughton, James Craig. After a hair-raising road chase with the swindlers, they manage to retrieve the deed to the land before it is recorded at the court house, and are allowed to marry the now wealthy Widow Jenkins' daughters.
Production notes
Oily to Bed, Oily to Rise was filmed on March 1620, 1939. The film's title is a parody of Benjamin Franklin's, early to bed, early to rise, makes a man healthy, wealthy and wise.
Towards the end of the film, Moe tells Curly to wish for quintuplets and Curly responds that honeymooning in Canada with their new found loves is how to make the wish come true, a reference to the Dionne quintuplets.
The studio crew can be heard laughing when Curly accidentally hits his head on Widow Jenkins' kitchen door while trumpeting and singing A-Pumping We Will Go.
The shot of Curly riding the oil gusher up into the sky would be reused in Oil's Well That Ends Well.
Moe's injury
Moe Howard recalled in his autobiography that he received a glob of goo representing oil directly under his eyelids during shooting:
Moe would have a similar ordeal while filming 1946's The Three Troubledoers, when chunks of black soot became lodged under his eyelids.
References
External links
Category:1939 films
Category:Columbia Pictures short films
Category:1930s comedy films
Category:The Three Stooges films
Category:American films
Category:English-language films
Category:American black-and-white films
Category:Films directed by Jules White
Category:American slapstick comedy films | wikipedia |
with firm evidence for a higgs boson with a mass around @xmath8gev , the primary focus of particle physics has now shifted to the study of the properties of this new particle , in particular of its couplings .
an important channel in this context is higgs - boson production with subsequent decay into a @xmath9 pair , for which both atlas and cms have recently reported @xmath10 evidence @xcite . with a branching ratio of about 22% ,
this is the second largest decay channel of the higgs boson . because of the missing energy in the final state , the @xmath9 channel is not particularly well suited for a higgs mass measurement , but it offers the possibility for a precise higgs coupling measurement and spin studies .
a challenge is posed by the large background from @xmath11 production , which , after the top - quarks decay , results in a @xmath9 pair in association with two @xmath12-quark jets .
this background is significantly reduced by rejecting events containing jets with transverse momentum above a certain threshold @xmath13 , which is chosen around 2530gev in current experimental analyses .
imposing such a jet veto enhances the higher - order qcd corrections to the higgs - boson production cross section by sudakov logarithms of the form @xmath0 , with @xmath14 .
one might argue that these logarithms are not particularly large for the relevant values of @xmath13 ; however , even the total higgs production rate suffers from large corrections , and additional enhancements can easily lead to unreliable predictions . for the fixed - order predictions of the production cross section with a jet veto ,
it was observed that there is a numerical cancellation between the negative corrections from sudakov logarithms and the large positive virtual corrections to the total rate , which leads to artificially small scale uncertainties @xcite . to avoid this cancellation and get a more reliable estimate of the theoretical uncertainties ,
it was subsequently proposed to add in quadrature the scale uncertainties of the total cross section and the cross section with one or more jets in the final state , which leads to an uncertainty of 17% on the higgs production cross section with a jet veto @xcite .
this uncertainty is about twice as large as the experimental systematic errors and of the same size as the current statistical uncertainty . to make full use of the coming lhc data ,
the theoretical uncertainty should thus be reduced significantly .
there has been a lot of progress in the theoretical description of the higgs - boson production rate with a jet veto over the past year , starting with the work @xcite , where it was shown that the sudakov logarithms associated with the jet veto can be resummed at next - to - leading logarithmic ( nll ) order .
subsequently , we have derived an all - order factorization theorem @xcite using soft - collinear effective theory ( scet ) @xcite , which allows for resummation to any desired accuracy , given the necessary perturbative input .
we have also explicitly carried out the resummation at nnll order .
one of the necessary ingredients at this level of accuracy is the two - loop coefficient @xmath15 of the so - called collinear anomaly @xcite , which we had extracted from partial nnll results of @xcite under the assumption that these results remained valid in the limit where the jet - radius parameter @xmath1 is taken to infinity .
it was subsequently shown by banfi et al . that this assumption does not hold @xcite .
the limits @xmath16 and @xmath17 do not commute , and taking the large-@xmath1 limit naively one misses an @xmath1-independent term in @xmath15 .
after correcting the value of the two - loop coefficient accordingly , there is full agreement between the nnll results presented in @xcite and @xcite .
the validity of factorization formula put forward in @xcite was questioned by the authors of @xcite , who claimed that this formula breaks down unless the jet radius @xmath1 is assumed to be parametrically small , such that @xmath18 . however , for small @xmath1 the perturbative corrections to the cross section are enhanced by logarithms of the jet radius , and these logarithms can not be resummed by means of the factorization formula obtained in @xcite .
reference @xcite concluded that one is `` stuck between a rock and a hard place '' , because one would either face factorization - breaking corrections or large unresummed logarithms of @xmath1 .
however , immediately after the paper @xcite appeared a nnll resummation formula was published in @xcite , and it was verified numerically that it correctly predicts the relevant logarithms up to @xmath19 , even for @xmath20 . to nnll accuracy , our factorization formula precisely matches the result of @xcite .
the purpose of the present paper is three - fold .
first , we will compute the two - loop anomaly coefficient @xmath15 directly within the scet framework .
we find complete agreement with the qcd result of @xcite , which demonstrates explicitly and analytically that our factorization formula , which does not include soft - collinear mixing terms , is correct up to nnll order .
we provide a completely analytic result for the expansion of the two - loop anomaly coefficient in @xmath1 , whose @xmath1-independent piece was only obtained in numerical form in previous papers @xcite .
secondly , we will show that the soft - collinear mixing contributions obtained in @xcite are absent if one ensures that the computation is done in such a way that there is no double counting among the different momentum regions in the effective theory .
this double counting is avoided from the beginning if loop and phase - space integrals in the effective theory are properly expanded in the different momentum regions .
if the jet measure is left unexpanded , as was done in @xcite , then non - zero soft - collinear mixing contributions can arise in individual integrals , but they cancel if the necessary subtractions are performed to remove the soft - collinear overlap regions from the integrals .
we discuss these issues in detail , give arguments that factorization breaking will also not arise at higher logarithmic accuracy , and conclude that all the available evidence indicates that the factorization theorem proposed in @xcite is valid to all orders .
thirdly , we present an updated and improved phenomenological analysis of the higgs - boson production cross section with a jet veto . since the two - loop anomaly coefficient turns out to be numerically large for the values of @xmath1 used by the experimental collaborations , the predictions obtained at nnll order still suffer from significant scale uncertainties .
we show that all the ingredients required to increase the accuracy to n@xmath4ll order are either already known or can be extracted numerically , except for the three - loop anomaly coefficient and the four - loop cusp anomalous dimension .
we estimate the effect of these missing coefficients and find that they only have a small numerical impact on the results .
we thus obtain predictions with n@xmath4ll@xmath21 accuracy , where the subscript `` p '' ( for `` partial '' ) indicates that two of the ingredients for a complete n@xmath4ll calculation are yet unknown .
we also include power - suppressed terms by matching our results to the nnlo fixed - order cross section , finding that these power corrections are numerically small .
this indicates that the expansion about small @xmath13 is well behaved at the experimentally relevant values of the jet - veto scale .
our paper is organized as follows : we first review in section [ sec:2 ] the factorization theorem for the cross section with a jet veto and collect the necessary perturbative ingredients . in section [ sec : multipole ] , we then discuss the clustering of particles in different momentum regions and show that factorization - breaking terms are absent . after this general discussion , we present the explicit calculation of the two - loop anomaly coefficient @xmath15 in section [ sec:2loop ] . the numerical extraction of the two - loop beam functions and the fixed - order matching are discussed in section [ sec : beamfuns ] . with these ingredients at hand , we present in section [ sec : numerics ] our numerical results for the jet - veto cross section for higgs production at the lhc .
our conclusions are summarized in section [ sec : concl ] . in the appendix
, we give some details on the analytic calculation of the two - loop anomaly coefficient as an expansion in the jet - radius parameter @xmath1 .
using arguments based on scet , we have shown in @xcite that the higgs - boson production cross section defined with a jet veto @xmath22 can be factorized , to all orders in perturbation theory and at leading power in the small ratio @xmath2 , in a way that separates the short - distance scales @xmath23 and @xmath24 from the scale @xmath13 of the jet veto .
we work with the usual class of sequential recombination jet algorithms @xcite , with distance measure @xmath25 where @xmath26 corresponds to the @xmath27 algorithm @xcite , @xmath28 to the cambridge - aachen algorithm @xcite , and @xmath29 to the anti-@xmath27 algorithm @xcite .
the two particles with the smallest distance are combined into a new `` particle '' , whose momentum is the sum of the momenta of the parent particles . if the smallest distance is @xmath30 , then particle @xmath31 is considered a jet and removed from the list .
the procedure is iterated until all particles are grouped into jets , i.e. , the algorithm is inclusive . in the following
, the jet - radius parameter is assumed to obey the inequalities @xmath32 and we work in the limit where @xmath33 is a small expansion parameter
. then these inequalities are satisfied as long as @xmath1 is treated as an @xmath34 number , independent of @xmath35
. for too small values of @xmath1 ( meaning @xmath36 or smaller ) , large logarithms @xmath37 arise , which would require a special treatment .
these `` clustering logarithms '' have a complicated structure in higher orders @xcite , and it is currently not understood how to resum them . for too large @xmath1
( meaning @xmath38 or larger ) , on the other hand , the factorization formula breaks down .
the factorization formula is obtained by factorizing the contributions of hard , collinear , anti - collinear , and soft modes in scet . denoting by @xmath39 the rapidity of the higgs boson in the proton - proton center - of - mass frame ,
one first derives the preliminary result @xmath40_{q^2=m_h^2 } , \ ] ] where @xmath41 and @xmath42 the wilson coefficient @xmath43 arises when one approximates the fermion - loop contribution to the gluon fusion amplitude by an effective , local @xmath44 operator , as is routinely done in calculations of the higgs - boson production amplitude .
the hard matching coefficient @xmath45 appears when the scalar two - gluon operator is matched onto a corresponding operator in scet @xcite .
both coefficients are known to three - loop order in perturbation theory , but for our purposes we only need the two - loop expressions derived in @xcite and @xcite , respectively .
the resulting expressions can also be found in eqs .
( 12 ) and ( 17 ) of @xcite .
the emissions of ( anti-)collinear and soft gluons , which are then grouped into jets according to the jet algorithm , are accounted for by the beam functions @xmath46 , @xmath47 and the soft function @xmath48 in the factorization theorem ( [ dsigdy ] ) .
besides the veto scale , these functions also depend on the jet definition and in particular on the jet - radius parameter @xmath1 .
this dependence is suppressed in our notation .
the collinear matrix element relevant for higgs production reads @xcite @xmath49 & \quad\times \langle p(p)|\,{\cal a}_{c\perp}^{\mu , a}(t\bar n)\,|x_c\rangle\ , \langle x_c|\,{\cal a}_{c\perp\mu}^a(0)\,|p(p)\rangle \ , , \end{aligned}\ ] ] where @xmath50 denotes the gauge - invariant collinear gluon field in scet .
the matrix element in the second line is exactly the same as that entering the definition of the standard parton distribution function ( pdf ) for the gluon .
the only difference is that the sum over intermediate states in ( [ collfun ] ) is constrained by the jet veto , whose effect is encoded in a `` measurement function '' @xmath51 , which depends on the momenta @xmath52 of the particles in the final state .
likewise , the soft function is defined as @xmath53 with @xmath54 .
it involves wilson lines of soft gluon fields in the adjoint representation , integrated along the beam directions @xmath55 and @xmath56 .
like in the case of the transverse - position dependent pdfs studied in @xcite , the presence of a measurement function probing parton transverse momenta leads to additional light - cone ( or rapidity ) divergences , which are not regularized in dimensional regularization .
the sums over collinear states @xmath57 in ( [ collfun ] ) and soft states @xmath58 in ( [ softfun ] ) are therefore regularized analytically . to this end
, we use the phase - space regularization prescription of @xcite , which amounts to replacing the usual phase - space measure by @xmath59 where @xmath60 and @xmath61 .
the regularization softens the light - cone singularities arising in the evaluation of the matrix elements .
it introduces a new scale @xmath62 , which plays an analogous role to the scale @xmath63 entering in dimensional regularization .
once the light - cone singularities in the ( anti-)collinear and soft functions have been regularized , they show up as poles in the analytic regulator @xmath64 , which cancel in the product of the three matrix elements in ( [ dsigdy ] ) .
however , after the cancellation large logarithms of the scale ratio @xmath65 arise , which need to be resummed to all orders in perturbation theory .
this effect has been called the `` collinear factorization anomaly '' @xcite .
the resummation of the anomalous logarithms can be accomplished by means of solving simple differential equations , which express the fact that the product of the three functions must be regularization independent @xcite .
one finds that @xmath66_{q^2=m_h^2 } \\ & = \left ( \frac{m_h}{{p_t^{\hspace{-0.3mm}\rm veto}\hspace{-0.3 mm } } } \right)^{-2f_{gg}({p_t^{\hspace{-0.3mm}\rm veto}\hspace{-0.3mm}},\mu ) } e^{2h_a({p_t^{\hspace{-0.3mm}\rm veto}\hspace{-0.3mm}},\mu)}\ , \bar b_g(\xi_1,{p_t^{\hspace{-0.3mm}\rm veto}\hspace{-0.3mm}})\,\bar b_g(\xi_2,{p_t^{\hspace{-0.3mm}\rm veto}\hspace{-0.3 mm } } ) \ , , \end{aligned}\ ] ] where the anomalous dependence on the hard scale @xmath24 is now explicit .
compared with @xcite , we have extracted a factor @xmath67 from each collinear function , which is chosen such that the remaining function @xmath68 is renormalization - group ( rg ) invariant .
we have also absorbed the square root of the soft function into the collinear matrix elements .
( in the regularization scheme adopted here , @xmath69 to all orders in perturbation theory , so this last step is trivial . ) the exponents @xmath70 and @xmath71 obey the rg equations @xcite @xmath72 where without loss of generality we can impose the normalization condition @xmath73 . in ( [ evol ] ) , @xmath74 is the cusp anomalous dimension in the adjoint representation , and @xmath75 denotes the anomalous dimension of the collinear gluon field as defined in @xcite . for our analysis
we require the three - loop expression for the anomaly exponent @xmath70 and the two - loop result for @xmath71 . solving the evolution equations ( [ evol ] )
, we obtain @xmath76 + a_s^2 \left [ \gamma_0^a\beta_0\,\frac{l_\perp^2}{2 } + \gamma_1^a\,l_\perp + d_2^{\rm veto}(r ) \right ] \nonumber\\ & & \mbox{}+ a_s^3 \left [ \gamma_0^a\beta_0 ^ 2\,\frac{l_\perp^3}{3 } + \left ( \gamma_0^a\beta_1 + 2\gamma_1^a\beta_0 \right ) \frac{l_\perp^2}{2 } + l_\perp \left(\gamma _ 2^a+2 \beta _ 0\,d_2^{\rm veto}(r ) \right ) + d_3^{\rm veto}(r ) \right ] ,
\nonumber\\ h_a({p_t^{\hspace{-0.3mm}\rm veto}\hspace{-0.3mm}},\mu ) & = & a_s \left [ \gamma_0^a\,\frac{l_\perp^2}{4 } - \gamma_0^g\,l_\perp \right ] + a_s^2 \left [ \gamma_0^a\beta_0\,\frac{l_\perp^3}{12 } + \left ( \gamma_1^a - 2\gamma_0^g\beta_0 \right ) \frac{l_\perp^2}{4}-
\gamma_1^g\,l_\perp \right ] , \end{aligned}\ ] ] where we have defined the abbreviations @xmath77 and @xmath78 .
the coefficients @xmath79 , @xmath80 , and @xmath81 appear in the perturbative expansions of the anomalous dimensions and @xmath82-function , defined as @xmath83 as long as the veto scale @xmath13 is in the perturbative domain , one can match the beam function @xmath84 appearing in ( [ colanom ] ) onto standard pdfs , @xmath85 which is accurate up to hadronic corrections suppressed by powers of @xmath86 .
the matching coefficients are connected by the simple rescaling relation @xmath87 to the functions @xmath88 computed at one - loop order in @xcite .
we find @xmath89 + { \cal o}(a_s^2 ) , \ ] ] where @xmath90 are the one - loop dglap splitting functions .
the explicit one - loop calculations of @xmath70 and @xmath91 performed in @xcite show that ( in the @xmath92 scheme ) @xmath93 at two - loop order , the anomaly coefficient @xmath15 can be extracted from results presented in @xcite .
one finds that @xmath94 where the expansion of @xmath95 for small @xmath1 reads , in numerical form , can be found in @xcite . ]
@xmath96 in the following section we will reproduce this expression based on a two - loop calculation in scet , which relies on the structure of the factorization formula ( [ dsigdy ] ) .
the fact that we will reproduce the above expression exactly provides a non - trivial test of our factorization theorem at two - loop order .
the three - loop coefficient @xmath97 in ( [ fhexpansions ] ) is presently still unknown and will be estimated in section [ sec:2loop ] below , where we will also extract the two - loop corrections to the beam functions @xmath98 in ( [ pdfmatch ] ) in numerical form .
we can now rewrite the jet - veto cross section from ( [ dsigdy ] ) in the final , factorized form @xmath99 where we have introduced the rg - invariant hard function @xmath100 which contains all dependence on the short - distance scales
@xmath23 and @xmath24 . the dependence on rapidity
is carried only by the beam functions @xmath101 .
note that , due to the collinear anomaly , it is not possible to factorize the dependence on the jet - veto scale @xmath13 in the hard function @xmath102 .
however , it _ is _ possible to resum all large logarithms in the ratio @xmath65 consistently , to all orders in perturbation theory . to this end
, one chooses a low factorization scale @xmath103 in the factorization formula ( [ sigfinal ] ) .
then the kernel functions @xmath104 required to compute the beam function @xmath84 can be calculated in fixed - order perturbation theory .
likewise , the fixed - order expressions for @xmath70 and @xmath71 in ( [ fhexpansions ] ) are sufficient .
on the other hand , the matching coefficients @xmath105 and @xmath106 need to be computed in rg - improved perturbation theory .
they can be evolved from the high matching scales @xmath107 and @xmath108 , where the matching calculations are performed , down to lower scales @xmath103 using rg equations .
we will require the resulting expressions at next - to - next - to - leading order ( nnlo ) in rg - improved perturbation theory , which is equivalent to n@xmath4ll accuracy .
the corresponding expressions can be found in eqs .
( 20 ) and ( 22 ) of @xcite , with further details given in the appendix of @xcite .
all objects in the factorization formula ( [ sigfinal ] ) are defined in a rg - invariant way , i.e. they are formally independent of the factorization scale @xmath63 .
as is common practice , we can use the residual @xmath63 dependence arising when the expressions ( [ pdfmatch ] ) and ( [ hbardef ] ) are evaluated at some fixed order in perturbation theory as an indicator of the remaining perturbative uncertainties .
this can be done for each of these objects separately , not just for the total cross section .
we also note that the expression for the hard function becomes particularly simple if one adopts the default scale choice @xmath109 on the right - hand side of ( [ hbardef ] ) . in this case @xmath110
we now analyze the factorization properties of the jet - veto cross section using the formalism of scet , in which highly energetic particles aligned with the colliding protons are described in terms of collinear and anti - collinear quark and gluon fields , and soft particles emitted from the beam jets are described in terms of soft fields .
the effective theory implements an expansion of scattering amplitudes in powers of the small parameter @xmath111 , where the jet veto sets the characteristic size of all transverse momenta in the process .
we introduce two light - like reference vectors @xmath112 and @xmath113 ( satisfying @xmath114 ) parallel to the beam axis and decompose all 4-vectors in the light - cone basis spanned by these vectors , @xmath115 the different types of modes relevant to our discussion are characterized by the scalings of their momenta @xmath116 with powers of @xmath35 , namely @xmath117 for collinear particles , @xmath118 for anti - collinear particles , and @xmath119 for soft particles .
hence , the particles in these three categories have transverse momenta of order the jet veto , but very different rapidities .
the scaling of these modes is displayed graphically in figure [ fig : regions ] .
in addition , the cross section receives contributions from the hard momentum region @xmath120 , where we do not distinguish between @xmath24 and @xmath23 .
these corrections are purely virtual and are integrated out in the construction of the effective theory .
one may also worry about the contributions from modes with smaller virtualities , @xmath121 .
for example , an on - shell soft mode , which accidentally is closely aligned with the beam axis , would have momentum scaling @xmath122 .
this mode has a rapidity lying in between that of collinear and soft modes .
indeed , it may also be regarded as a collinear mode whose minus component is accidentally small .
the important point is that , because of their small transverse momenta , such modes play no role for the total transverse momentum of a jet .
therefore , an arbitrary number of them can be emitted , and their effect cancels out in the factorization theorem .
this is in analogy with the cancellation of ultrasoft modes in the factorization theorem for the drell - yan cross section at small transverse momentum @xcite .
[ b]@xmath123[l]@xmath124 [ r]@xmath24[r]@xmath125[r]@xmath126 [ ] @xmath127[]@xmath126[]@xmath125 momentum regions relevant for the jet - veto cross section .
the figure indicates the scaling of the @xmath123 and @xmath124 components of soft ( @xmath128 ) , collinear ( @xmath129 ) , anti - collinear ( @xmath130 ) , and hard ( @xmath131 ) contributions . the hyperbola corresponds to @xmath132 .
the red hatching shows the soft - collinear overlap regions.,title="fig:",scaledwidth=45.0% ] as explained in @xcite , the jet clustering algorithm does not group particles with different momentum scalings ( collinear , anti - collinear , or soft ) into the same jet .
the reason is that , generically , the rapidity difference between two such particles are such that @xmath133 , which by assumption is much larger than @xmath1 , see ( [ r1 ] ) . as a consequence , in the jet algorithm
( [ algo ] ) the distance measure @xmath134 for two such particles is always larger than the minimum of @xmath30 and @xmath135 .
since the soft and ( anti-)collinear modes have the same virtuality , they live along the hyperbola in the @xmath136 plane shown in figure [ fig : regions ] , and their precise separation along this hyperbola is to some extent arbitrary .
the fact that these modes differ by large rapidities gives rise to large logarithms , which are accounted for by the collinear anomaly .
in complete analogy with the construction of the scet lagrangian , where based on the _ generic _ scalings of the fields one does not include soft - collinear interaction terms , it is unnecessary to consider the degenerate case where a collinear and a soft mode near the boundary are clustered into a single jet .
since there are no enhancements of the cross section in these power - suppressed phase - space regions , boundary effects do not contribute at leading power . only in corners of the phase space , e.g. when a soft emission becomes collinear to the beam , soft and collinear radiation can be clustered into the same jet . however , since the cross section does not exhibit additional singularities in the corresponding limit , such configurations only give rise to power - suppressed contributions . the argument
just presented has been challenged in @xcite , where it was argued that the clustering of soft and collinear modes near the boundary of phase space that separates them in rapidity does give rise to leading - order contributions to the cross section starting at nnll order , unless the jet - radius parameter @xmath1 is taken to be parametrically much smaller than 1 .
if this was true , then there would be no region in parameter space where our factorization theorem ( [ sigfinal ] ) would be useful , since for parametrically small values of @xmath1 it does not accomplish the resummation of @xmath37 terms .
the argument presented in @xcite was backed up by a calculation of a particular soft - collinear clustering contribution , which was found to be non - zero and provided a leading - power contribution to the cross section proportional to @xmath137 and @xmath138 , hence the claim that these contributions are suppressed only for parametrically small @xmath1 .
we will now demonstrate in detail that these findings are not in conflict with our factorization formula .
scet is based on the method of regions .
loop and phase - space integrations are split into different momentum regions in a systematic manner dictated by the structure of the effective lagrangian .
one could separate the different regions using cutoffs , as indicated graphically in figure [ fig : regions ] , but this is impractical because it would spoil gauge invariance in the individual sectors of the effective theory .
instead , one uses dimensional regularization to handle the appearing singularities .
it is then crucially important to perform the calculation of scet diagrams using a multipole expansion , which expands out components of particle momenta ( or position vectors ) that are parametrically suppressed with respect to the leading ones in a given interaction or propagator @xcite .
only if this is done consistently , there is no double counting of momentum configurations .
the reason is that , once we consider the contribution from a certain momentum region to an integral , any expansion of the integrand around another limit will leave us with a scaleless integral , which is zero in dimensional ( or , more generally , analytic ) regularization . in the present case ,
it is important that one performs the multipole expansion not only for the integrands of loop or phase - space integrals , but also for the measurement functions @xmath51 in the definitions ( [ collfun ] ) and ( [ softfun ] ) .
if one does not perform the multipole expansion consistently , then there arise contributions from the double counting of overlapping momentum regions , which must be subtracted by hand in order to obtain the correct result . in the scet community these subtraction terms
are referred to as `` zero - bin subtractions '' @xcite .
the problem with the argument presented in @xcite is that the soft - collinear clustering contribution was calculated _ without _ performing the multipole expansion , but the relevant zero - bin subtractions were not evaluated .
we will argue that these zero - bin subtractions exactly cancel the soft - collinear clustering term , so that one recovers the same result as before .
when the multipole expansion is performed consistently , the contributions in which different modes are clustered by the jet algorithm are simply zero .
we will now illustrate these statements with the help of a simple example , which demonstrates our point without involving the technical complexities of the real calculation . in section [ sec:2loop ]
, we will perform the calculation of the two - loop anomaly coefficient @xmath15 in the context of scet , considering only the contributions of two collinear or two soft emissions , in accordance with our factorization formula ( [ dsigdy ] ) , according to which the jet veto must be applied separately in each sector of scet .
the fact that in this way we reproduce the result extracted from @xcite proves that there are no missing contributions at this order .
we thus do not confirm the statement made in @xcite that soft - collinear mixing terms contribute to the cross section at @xmath139 .
moreover , since our arguments are completely general and not tied to a particular order in the perturbative expansion , they support our claim that the factorization formula ( [ sigfinal ] ) remains valid also in higher orders in perturbation theory .
consider the following simple rapidity integral with integrand 1 and the constraint that two particles with rapidities @xmath140 and @xmath39 are clustered into one jet : @xmath141 here @xmath142 is the fixed rapidity of a collinear particle , and we assume that @xmath3 .
the @xmath143-function plays the role of the measurement function @xmath51 in the definitions ( [ collfun ] ) and ( [ softfun ] ) .
even though this integral is extremely simple , it captures the main features of the integrals we will encounter in the computation of the @xmath144 term in section [ sec : cf2 ] , since the relevant part of the amplitude for this color structure only depends on the transverse momentum .
the only difference to the trivial example integral ( [ simpex ] ) is that one also integrates over the rapidity of the second emission and the azimuthal angles , which then also enter the @xmath143-function constraint . in the context of scet
we should evaluate the integral as a sum over contributions from different momentum regions . in each region
we must multipole expand the argument of the @xmath143-function according to the rules of the effective theory .
for the purposes of our discussion we will consider for the moment only the contributions from collinear and soft partons ; as we discuss below , adding the anti - collinear region would not change the argument .
a collinear particle has momentum scaling @xmath145 . in the collinear region
both rapidities scale the same , @xmath146 , but their difference is @xmath34 . there is thus nothing to expand in the argument of the @xmath143-function , and we get @xmath147 for the collinear - collinear clustering term .
a soft particle has momentum scaling @xmath148 and hence @xmath149 .
it follows that in the argument of the @xmath143-function @xmath150 is parametrically larger than @xmath151 .
we must therefore perform the multipole expansion @xmath152 the higher - order terms in the expansion will contain derivatives of @xmath153-functions , but because the arguments are always non - zero the entire expression on the right - hand side just vanishes . at this point
one may worry about double counting , since in the collinear - collinear contribution we have also integrated over the region where the collinear particle becomes soft .
one should therefore subtract the contribution from the soft - collinear overlap region ( the `` zero bin '' ) , which otherwise would be counted twice .
however , after the multipole expansion this overlap contribution vanishes , @xmath154 , for the same reason that the soft - collinear contribution vanishes .
alternatively , one could evaluate the contributions from the two regions without performing the multipole expansion .
then obviously both regions yield the same contribution , @xmath155 .
but now the double - counted soft - collinear overlap contribution is also non - zero , and indeed @xmath156 is equal to the soft - collinear contribution .
the final result is @xmath157 , as it should be . in analogy with the findings of @xcite
the soft - collinear clustering term is non - zero in this case , but its contribution is precisely cancelled by the zero - bin subtraction .
when also the anti - collinear region is included , we still only need to compute the contribution @xmath158 if the multipole expansion is performed consistently , but when working with subtractions the procedure gets more complicated .
the general expression for three momentum regions reads @xmath159 the last term @xmath160 describes the double overlap region , where the momentum can simultaneously be part of any region .
it is obtained by expanding the integrand in the limit where the momentum scales as @xmath161 .
it has to be added back , since the other three subtractions would remove this region from the integral .
the general systematics of subtractions was studied in detail in @xcite , as a step towards a proof of the method of regions . in our simple example ,
all of the above contributions are equal to the original integral @xmath162 . since the momenta in the double overlap region and in the @xmath163 contribution scale in the same way , the last two terms in ( [ subtr ] ) are identical for any given integral , and the general expression simplifies to @xmath164 while useful to map the integrals in dimensional regularization onto standard integrals , the subtraction procedure is extremely cumbersome in practice .
for the two - emission case , for example , one would start off with 25 momentum configurations , since each of the two momenta can be in any of the regions or overlap regions in ( [ subtrsimp ] ) .
in addition to the proliferation of regions , another drawback of the subtraction method is fact that the integrals are no longer homogenous in the expansion parameter @xmath35 , so that in general one will need to reexpand the final result in @xmath35 after integrating .
it may appear strange at first sight that we had to expand the argument of the @xmath143-function in ( [ simpex ] ) in powers of @xmath165 , not in powers of @xmath35 .
this distinction is however meaningless . instead of ( [ thetaexp ] ) we may equally well write @xmath166 , where @xmath167 for a soft particle .
the multipole expansion is now an expansion in powers of @xmath35 .
indeed , one can always rewrite the rapidity integrals in terms of integrals over components of light - cone momenta . for example , denoting the collinear reference momentum by @xmath168 and the soft momentum by @xmath169 , we have @xmath170 and @xmath171 , and hence the phase - space constraint can be rewritten in the form @xmath172 in the last step we have indicated the scalings of the various soft and collinear momentum components . neglecting higher - order terms in @xmath35 , we obtain @xmath173 which vanishes , since each light - cone component of an on - shell momentum is positive .
we can further think of the @xmath143-functions of momentum components as the discontinuities of some propagators .
this clearly shows that the multipole expansion in ( [ thetaexp ] ) is not different from multipole expansions of propagators in ordinary scet loop or phase - space integrals , and it makes it clear that power - suppressed terms , which are expanded out , are governed by powers of @xmath35 , not powers of @xmath174 .
we finish this section with an important remark .
the structure of the first @xmath143-function in ( [ eq : phasespace ] ) suggests that some of the power - suppressed terms may be accompanied by a factor @xmath175 . because we treat @xmath1 as an @xmath34 parameter
, also @xmath175 is _ not _ a parametrically large quantity , so even if such terms exist , their presence would not upset the structure of the factorization formula ( [ sigfinal ] ) .
the question of the numerical size of power - suppressed corrections must be separated from the issue of parametrically enhanced corrections .
the outcome of our discussion is that , for @xmath3 , there are _ no contributions _ to the cross section arising from soft - collinear clustering terms , which would upset the factorization formula . in our framework
all soft contributions are purely scaleless . in physical terms
, this means that the soft contributions can effectively be absorbed into the ( anti-)collinear fields .
the structure of relation ( [ colanom ] ) implies that this is indeed possible .
the same happens for the transverse - momentum spectrum of electroweak bosons @xcite , and also in all scet@xmath176 applications where a separate mode with @xmath148 scaling is not needed to describe the physics .
nevertheless , there are power - corrections to our factorization formula from subleading terms in the effective lagrangian and subleading scet operators . in section [ sec : numerics ] we will study their numerical impact by matching our results to the cross section computed in fixed - order perturbation theory . we will find that even for @xmath177 the power corrections remain small ; indeed , we will not find any numerical evidence for the existence of @xmath175-enhanced power corrections .
we now turn to the computation of the two - loop anomaly exponent @xmath15 in ( [ fhexpansions ] ) . according to the factorization formula ( [ sigfinal ] ) , this quantity can be obtained from a perturbative computation of the collinear and soft matrix elements defined in ( [ collfun ] ) and ( [ softfun ] ) . instead of the beam function @xmath178 for a gluon
, we will in the following consider the analogous function for a collinear quark , defined as @xmath179 this function would appear in the calculation of the jet - veto cross section for a quark - initiated process such as @xmath180-boson production at the lhc .
as we will explain below , the result for @xmath15 relevant for higgs production can be obtained from the corresponding coefficient for @xmath180 production by replacing @xmath181 , but distinguishing the two color factors will make it easier to organize the calculation .
the gauge - invariant gluon and quark fields in the matrix elements in ( [ collfun ] ) and ( [ collfunquark ] ) are related to the usual qcd fields by @xcite @xmath182 \ , , \qquad \chi_c(x ) = \frac{n\!\!\!/\bar n\!\!\!/}{4}\,w^\dagger(x)\,\psi(x ) \,,\ ] ] where @xmath183 is a straight wilson line along the @xmath56 direction from @xmath184 to @xmath185 .
we use the standard qcd lagrangian to evaluate the collinear matrix element in ( [ collfunquark ] ) , since the collinear scet lagrangian is equivalent to it ( see e.g. @xcite ) .
some representative examples of two - loop diagrams contributing to this matrix element are shown in figure [ fig : collcollrealvirt ] .
examples of two - loop diagrams contributing to the collinear function @xmath186 .
the collinear wilson lines are denoted by the gray blobs.,scaledwidth=100.0% ] in order to extract the anomaly coefficient @xmath15 , we can evaluate the collinear matrix elements ( [ collfun ] ) and ( [ collfunquark ] ) with partonic instead of hadronic external states .
in addition , we also need to calculate the soft function defined in ( [ softfun ] ) , which involves products of soft wilson lines along the two beam directions . for the higgs case , these are wilson lines in the adjoint representation , while the fundamental representation is relevant for the case of @xmath180-boson production .
the normalization factor becomes @xmath187 in the latter case , such that @xmath69 at lowest order in perturbation theory . in the analytic regularization scheme based on the prescription ( [ analytreg ] ) ,
the soft function is given by scaleless integrals of the type @xmath188 which vanish by definition .
the reason is that the integral over the total rapidity @xmath189 of the emitted soft gluons is not constrained by the jet veto .
it follows that @xmath69 to all orders in this regularization scheme . in principle , it is thus sufficient to evaluate the collinear functions @xmath190 and @xmath191 , and since the divergences in the analytic regulator must cancel in the product of these functions , calculating the left- or right - collinear function would be sufficient in practice . in our calculation
we will , however , adopt a different strategy .
it has been shown in @xcite that one obtains a non - zero soft function if one imposes different jet vetoes for the left- and right - moving particles .
the anomalous large logarithms in the soft function are then tied , via the anomaly equations , to those in the collinear beam functions . extracting the coefficient @xmath15 from the soft function offers the advantage that the relevant wilson - line diagrams are simpler to compute than the loop diagrams for the collinear functions . instead of imposing different jet vetoes for left- and right - moving particles
, we can generate a non - trivial soft function by using different analytic regulators for them . to this end
, we generalize the regularization prescription in ( [ analytreg ] ) by replacing @xmath192 after the multipole expansion , the collinear function only involves the regulator @xmath82 , while the anti - collinear function is regularized by @xmath64 .
the cancellation of divergences between the soft and ( anti-)collinear functions then proceeds in the way shown schematically in table [ table : corrmat ] . because of the structure of the cancellations , the computation of the divergence of a single function is again sufficient , and with the regulator ( [ splitreg ] ) we can work with the soft instead of the ( anti-)collinear functions .
for convenience , we will perform the extraction of the color structures @xmath193 and @xmath194 of the anomaly coefficient @xmath15 from the computation of the soft function using the split regulator ( [ splitreg ] ) , while we will extract the @xmath144 part from the collinear functions with the original form ( [ analytreg ] ) of the regulator .
.[table : corrmat ] structure of the divergences of two - emission diagrams arising when one uses the regulator ( [ splitreg ] ) , which distinguishes left- and right - moving particles .
we denote collinear particles by @xmath129 , anti - collinear ones by @xmath195 , and soft ones by @xmath128 . [ cols="^,^,^,^,^",options="header " , ] numerical results for the jet - veto cross section and efficiency are given in table [ tab : numbers ] for two different values of @xmath1 .
in addition to the uncertainties shown in the table , one has to account for the pdf and @xmath196 errors .
the combined relative uncertainty due to these input parameters is very similar to that obtained for the total cross section .
the table shows that it would be beneficial to increase the jet radius compared to the presently used values @xmath197 . on the experimental side
, this would increase the sensitivity to the underlying event and pile - up , but these effects could be mitigated by resorting to techniques such as the one proposed in @xcite .
using methods from effective field theory , we have obtained precise predictions for the higgs - boson production cross section in the presence of a jet veto , in which both sudakov logarithms of the form @xmath0 arising due to the veto as well as the large virtual corrections affecting also the total cross section are resummed in a systematic way . to demonstrate the validity of the factorization formula ( [ sigfinal ] ) for the cross section , which was first derived in @xcite , we have determined all its ingredients at two - loop order and have increased the logarithmic accuracy of the resummation to ( partial ) n@xmath4ll order . in particular , we have computed the two - loop anomaly coefficient @xmath15 and have obtained a fully analytic expression for its series expansion valid for @xmath198 , including the constant term , which previously was only known in numerical form .
our result agrees with the expression obtained in @xcite through a calculation in qcd .
contrary to claims in the literature @xcite , we find that even for @xmath3 soft - collinear mixing contributions , which would break factorization , are absent .
this establishes factorization at nnll accuracy .
in addition to the explicit two - loop calculation , we have discussed in detail why such soft - collinear mixing terms are absent also in higher orders of the perturbative expansion . that they do not arise becomes manifest if the multipole expansion in the effective theory is properly implemented , i.e. , if power - suppressed terms are consistently expanded away at the integrand level .
since scet does not include hard cutoffs to separate the soft and collinear momentum regions , this multipole expansion is necessary in order to avoid double counting of certain momentum configurations . if , as in @xcite , the multipole expansion is only performed at the lagrangian level , but not for the measurement function which defines the observable , then soft - collinear mixing terms arise in the overlap of the soft and collinear regions .
however , we have shown that they cancel against the contribution from the overlap region .
our analysis thus reinforces the validity of the factorization theorem proposed in @xcite .
we have extended the phenomenological analysis of the higgs - boson production cross section with a jet veto to n@xmath4ll@xmath21 accuracy , where the subscript `` p '' stands for `` partial '' and indicates that two perturbative coefficients the four - loop cusp anomalous dimension and the three - loop coefficient of the collinear anomaly are currently still missing to complete the resummation at this order . the motivation for going beyond nnll order is that the two - loop anomaly coefficient @xmath15 turns out to be numerically quite large .
for example , at @xmath199 it is almost six times larger than the corresponding coefficient arising in the resummation formula for the transverse - momentum spectrum of the higgs boson .
this gives rise to a significant scale uncertainty of the nnll result .
furthermore , for small values of the jet - radius parameter @xmath1 , the scale variation can not be trusted as an estimator of the effect of higher - order corrections .
this is because the three - loop coefficient @xmath97 is enhanced by two powers of @xmath200 , while the scale - dependent pieces at two - loop order involve at most a single logarithm of @xmath1 . in view of this fact
, we have estimated the impact of the three - loop coefficient and find that it is relatively small , even with a generous estimate for the coefficient of the double - logarithmic term .
the numerical impact of the other missing ingredient , the four - loop cusp anomalous dimension , is negligibly small .
the most important contribution at n@xmath4ll order arises from the two - loop beam functions , which we have extracted numerically using the fixed - order code hnnlo . as for the two - loop anomaly coefficient , we find that the two - loop perturbative corrections to the beam functions are rather large , especially in the region of small @xmath1 , where they are logarithmically enhanced . for @xmath201 ,
the two - loop corrections are larger than estimated by the one - loop scale variation , and also the scale uncertainty of the two - loop beam functions is larger than at one - loop order .
it constitutes the main uncertainty of our final results for the cross section . on the other hand , since the leading @xmath200-dependent corrections to both the exponent of the collinear anomaly and the beam functions are included in our n@xmath4ll@xmath21+nnlo results , we expect that yet higher - order corrections would turn out to be small
. nevertheless , it would be interesting and important to compute the @xmath200-enhanced terms at three - loop order ( and perhaps even beyond ) .
we believe that it should be possible to calculate the leading logarithmic part of the three - loop anomaly coefficient @xmath97 , which would reduce the uncertainty of our predictions especially at low values of @xmath1 .
in addition to performing the resummation of the jet - veto cross section at leading power in @xmath2 , we have matched our resummed results to the full fixed - order expression for the cross section computed at nnlo , which has allowed us to also include power - suppressed terms .
the size of these power corrections serves as an important check of the quality of the expansion in the small ratio @xmath2 , which is the basis for our factorization formula .
numerically , the power corrections turn out to be quite small for the relevant values of @xmath13 .
importantly , we find no evidence for a growth of the power corrections with increasing @xmath1 . a crucial element of our analysis is that we have separated different sources of theoretical uncertainties .
this avoids accidental cancellations and furthermore allows us to investigate the uncertainty associated with each source individually . in our final results ,
we have added in quadrature the uncertainties in the hard function ( which contains the resummation of all large logarithms ) , the beam functions , and the power corrections to the cross section .
our results significantly improve the accuracy of the higgs - boson production cross section with a jet veto .
detailed numerical predictions can be found in table [ tab : numbers ] .
it would be interesting to perform the resummation of large logarithms also for the @xmath9 production cross section , which is the main background to the @xmath202 signal in the presence of a jet veto .
the @xmath9 cross section is furthermore used to search for anomalous gauge couplings , and also in this case it is necessary to impose a jet veto . likewise
, sudakov logarithms should also be resummed for the cross sections for higgs production in association with one or two tagged jets .
the resummation is more challenging in the higher jet bins , due to the presence of non - global logarithms .
however , a recent study at nll order suggests that the numerical effect of the non - global logarithms is likely to be small @xcite . _
acknowledgments : _ we are grateful to andrea banfi , guido bell , gavin salam , frank tackmann , and giulia zanderighi for useful discussions .
t.b . and m.n .
thank kitp santa barbara for hospitality and support during the completion of this paper .
kitp is supported by the national science foundation under grant no .
nsf phy11 - 25915 . the work of t.b .
is supported by the swiss national science foundation ( snf ) under grant 200020 - 140978 .
the research of m.n . is supported by the erc advanced grant eft4lhc , the cluster of excellence _ precision physics , fundamental interactions and structure of matter _ ( prisma exc 1098 ) and grant ne 398/3 - 1 of the german research foundation ( dfg ) , grants 05h09ume and 05h12ume of the german federal ministry for education and research ( bmbf ) , and the rhineland - palatinate research center elementary forces and mathematical foundations .
in this appendix , we describe the analytical calculation of the function @xmath203 , which enters the two - loop anomaly coefficient in ( [ d2vetor ] ) , as a series expansion valid for @xmath198 .
since the contribution from two independent gluon emissions , given by the second term in ( [ fbrres ] ) , is known in closed form , we will focus on the correlated emission contribution ( [ softcorr ] ) .
the corresponding squared matrix elements @xmath204 can be found in compact form in appendix c of @xcite and also in @xcite . using relations ( [ deltad2 ] ) , ( [ deltadd2 ] ) and ( [ softcorr ] ) , we find that ( recall that @xmath205 for the higgs case ) @xmath206 where @xmath207 and similarly for the integral @xmath208 .
the reduced matrix elements @xmath209 are given by @xmath210 \frac{1}{\sinh^2\frac{\delta y}{2}+\sin^2\frac{\delta\phi}{2}}\ , \frac{1}{1 + 4z(1-z)\sinh^2\frac{\delta y}{2 } } \\ & \quad\times \left [ 1 - \frac{4z(1-z)\sinh^2\frac{\delta y}{2}\cosh^2\frac{\delta y}{2 } } { ( \sinh^2\frac{\delta y}{2}+\sin^2\frac{\delta\phi}{2})\,(1 + 4z(1-z)\sinh^2\frac{\delta y}{2 } ) } \right ] , \\[2 mm ] a_{\rm sum}(z,\delta y,\delta\phi ) & = \frac14 \ln\left [ \frac{\sqrt{1 - 4z(1-z)\sin^2\frac{\delta\phi}{2}}}{1-z } \right ] \frac{1}{\sinh^2\frac{\delta y}{2}+\sin^2\frac{\delta\phi}{2}}\ , \frac{1}{1 + 4z(1-z)\sinh^2\frac{\delta y}{2 } } \\ & \quad\times \left [ \bigg ( \frac{z^2+(1-z)^2}{z(1-z ) } + 1 + 2\sinh^2\frac{\delta y}{2 } \bigg ) \bigg ( 1 - 2\sin^2\frac{\delta\phi}{2 } \bigg ) - \frac12 \right ] .
\end{aligned}\ ] ] we now change variables to @xmath211 , @xmath212 , and @xmath213 .
this yields @xmath214 \frac{1}{u^2+v^2}\,\frac{1}{1+\xi v^2 } \\ & \quad\times \left [ 1 - \frac{\xi v^2(1+v^2)}{(u^2+v^2)\,(1+\xi v^2 ) } \right ] \theta\bigg(\ !
\arcsin^2u + \mbox{arcsinh}^2v - \frac{r^2}{4 } \bigg ) \ , , \\[2 mm ] i_{\rm sum } & = \frac{1}{2\pi } \int_0 ^ 1\!\frac{d\xi}{\sqrt{1-\xi } } \int_0^\infty\!\frac{dv}{\sqrt{1+v^2 } } \int_0 ^ 1\!\frac{du}{\sqrt{1-u^2}}\ , \ln\left[\frac{4(1-\xi u^2)}{(1+\sqrt{1-\xi})^2 } \right ] \frac{1}{u^2+v^2}\,\frac{1}{1+\xi v^2 } \\ & \quad\times \left [ \frac{2(2-\xi)}{\xi}\,(1 - 2u^2 ) - 2u^2 + 2v^2 - 4u^2 v^2 + \frac12 \right ] \theta\bigg(\ ! \arcsin^2u + \mbox{arcsinh}^2v - \frac{r^2}{4 } \bigg ) \ , . \end{aligned}\ ] ] for very small @xmath1 , the main sensitivity to the jet - radius parameter arises from the region where both @xmath216 and @xmath217 are very small . expanding the integrands about this limit
, we obtain the simpler expressions @xmath218 \int_0^\infty\!dv \int_0 ^ 1\!du\,\frac{1}{u^2+v^2 } \left [ 1 - \frac{\xi v^2}{u^2+v^2 } \right ] \theta\bigg(\ ! u^2 + v^2 - \frac{r^2}{4 } \bigg ) \ , , \\[2 mm ] i_{\rm sum}^{\rm exp } & = \frac{1}{\pi } \int_0 ^ 1\!\frac{d\xi}{\sqrt{1-\xi}}\ , \ln\left[\frac{2}{1+\sqrt{1-\xi } } \right ] \int_0^\infty\!dv
\int_0 ^ 1\!du\,\frac{1}{u^2+v^2 } \left [ \frac{4}{\xi } - \frac32 \right ] \theta\bigg(\ ! u^2 + v^2 - \frac{r^2}{4 } \bigg ) \ , . \end{aligned}\ ] ] the double integrals over @xmath216 and @xmath217 can be evaluated using polar coordinates @xmath219 and @xmath220 , carrying out the integration over @xmath221 first . performing then the integrations over @xmath222 and @xmath223
, we find @xmath224 the differences @xmath225 can be evaluated by setting @xmath226 .
we obtain @xmath227 \frac{1}{1+\xi v^2 } \left [ 1 - \frac{\xi v^2(1+v^2)}{(u^2+v^2)\,(1+\xi v^2 ) } \right ] \\ & \hspace{1.2cm}\mbox{}- \ln\left[\frac{4}{(1+\sqrt{1-\xi})^2 } \right ] \left [ 1 - \frac{\xi v^2}{u^2+v^2 } \right ] \bigg\ } \ , , \end{aligned}\ ] ] and similarly for @xmath228 . in the next step
we perform the integral over @xmath217 . in the first double integral
we perform a partial fraction decomposition and then use the integrals @xmath229 integrals with squared denominators can be obtained from these expressions by means of derivatives . after the integration over @xmath217 has been performed , the contribution resulting from the terms in the second line of ( [ deltaif ] ) exhibits a pole at @xmath230 , which is cancelled by the integral over the subtraction term shown in the third line .
this cancellation can be made explicit using the identity @xmath231 = 0 \,.\ ] ] this gives @xmath232 i_1(u ) - \frac{\xi\big [ 4 - 3\xi - u^2\xi(2+\xi)+2u^4\xi^2 \big]}{(1-\xi u^2)^3}\,i_2(\xi ) \bigg\ } \\
& \quad\mbox{}+ \frac{1}{2\pi } \int_0 ^ 1\!\frac{d\xi}{\sqrt{1-\xi } } \int_0 ^ 1\!\frac{du}{\sqrt{1-u^2 } } \ln(1-\xi u^2 ) \\ & \quad\times \bigg\ { \frac{\xi}{(1-\xi u^2)^2 } + \frac{2-\xi - u^2\xi(2 + 3\xi)+4u^4\xi^2}{2(1-\xi u^2)^3}\,i_1(u ) - \frac{\xi\big [ 4 - 3\xi - u^2\xi(2+\xi)+2u^4\xi^2 \big]}{2(1-\xi u^2)^3}\,i_2(\xi ) \bigg\ } , \end{aligned}\ ] ] and similarly @xmath233 i_1(u ) - \frac{4 - 3\xi-4u^2(2-\xi)}{(1-\xi u^2)}\,i_2(\xi ) \bigg\ } \\ & \quad\mbox{}+ \frac{1}{2\pi } \int_0 ^ 1\!\frac{d\xi}{\sqrt{1-\xi } } \int_0 ^ 1\!\frac{du}{\sqrt{1-u^2 } } \ln(1-\xi u^2 ) \\ & \quad\times \bigg\ { \left [ \frac{8 - 3\xi-16u^2 + 8\xi u^4}{2\xi(1-\xi u^2 ) } \right ] i_1(u ) - \frac{4 - 3\xi-4u^2(2-\xi)}{2(1-\xi u^2)}\,i_2(\xi ) \bigg\ } \ , .
\end{aligned}\ ] ] in the next step we integrate over @xmath216 .
this is straightforward for all terms except those involving the function @xmath234 in the second contribution in expressions ( [ dif ] ) and ( [ disum ] ) . for these terms
, one needs the basis integrals @xmath235 where we have changed variables from @xmath216 to @xmath236 . rewriting @xmath237 we first perform the integral over @xmath238 and then integrate over @xmath39 . in this way
, we obtain @xmath239 + \frac14 \left ( \frac{1}{x^4 } - 1 \right ) l_2\bigg ( \frac{1-x}{1+x } \bigg ) + \frac{k_0(\xi)}{x^4 } \ , , \\
k_3(\xi ) & = \frac{2 + 3x^2 - 5x^4}{32 x^4 } + \frac{5(1-x^4)}{16x^5 } \left [ \ln\frac{1+x}{2x } - \frac{7}{20 } \right ] + \frac14 \left ( \frac{1}{x^6 } - 1 \right ) l_2\bigg ( \frac{1-x}{1+x } \bigg ) + \frac{k_0(\xi)}{x^6 } \ , , \end{aligned}\ ] ] where @xmath240 . using these results , the integrations over @xmath216 can be performed in a straightforward way . integrating the resulting expressions over @xmath223 , which is facilitated by changing variables from @xmath223 to @xmath185 , we obtain @xmath241 in a last step , we now add back the subtraction terms given in ( [ expandedints ] ) . reexpressing the combination @xmath242 in terms of @xmath243 and @xmath244
, we finally arrive at @xmath245 from these results , one derives the coefficients @xmath246 and @xmath247 given in ( [ cltoc4 ] ) . except for the leading logarithmic singularity exhibited in ( [ iifinal ] ) , the integrals @xmath243 and @xmath244 can be expanded in a power series in @xmath137 , provided that @xmath198 .
terms of @xmath248 with @xmath249 can be obtained by applying @xmath55 differential operators @xmath250 on the subtracted integrals @xmath251 .
to this end , we introduce polar coordinates @xmath252 and @xmath253 and rewrite ( [ ifdef ] ) in the form ( with @xmath254 ) @xmath255 where @xmath256 is a power series in @xmath137 , and the constant term will be irrelevant for our discussion .
the quantities @xmath257 denote the reduced matrix elements @xmath209 in ( [ startform ] ) with their leading singularities ( for @xmath258 ) subtracted .
the first derivative @xmath250 yields a @xmath153-distribution , @xmath259 , and for @xmath198 the radial integral then simply sets @xmath260 in the integrand .
it is then straightforward to show that @xmath261 where the expansion coefficients are defined by @xmath262 the remaining integrals over @xmath222 and @xmath263 in ( [ c2ni ] ) can be performed in closed form .
explicitly , we obtain @xmath264 and @xmath265 even for a large value such as @xmath266 , the two power series converge rapidly , and truncating them at the @xmath267 term provides results that are accurate to the few permille level . for @xmath268 , it suffices to keep the first few terms in the series .
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Where does this derivation of the velocity addition theorem go wrong?
**Situation:** We consider two inertial systems $1$ and $2$ in standard configuration, i.e. system $2$ is moving into the direction $x\_1$ with a speed of $v$. We only consider one spatial axis. An object in uniform motion is observed, from system $1$ and $2$.
**System $1$** sees the object passing through a spatial distance of $s\_1$ in a time difference of $t\_1$ and concludes that it has a speed of $v\_1 = s\_1/t\_1$.
**System $2$** sees the object passing through a spatial distance of $s\_2$ in a time difference of $t\_2$ and concludes that it has a speed of $v\_2 = s\_2/t\_2$.
**Now** in system $2$ spatial distances are Lorentz contracted and temporal distances are Lorentz dilatated: $\displaystyle s\_2 = s\_1/\gamma$ and $t\_2 = \gamma t\_1$ where
$$\gamma = {1 \over \sqrt{1 - v^2/c^2}}$$
is the Lorentz factor.
Thus:
$$v\_2 = {s\_2\over t\_2} = {1\over \gamma^2} {s\_1\over t\_1} = \left(1 - {v^2 \over c^2}\right) v\_1 \quad {\rm and\ thus}\quad v\_1 = {v\_2 \over 1 - v^2/c^2}$$
On the other hand, textbook velocity addition tells us that
$$v\_1 = v \oplus v\_2 = {v + v\_2 \over 1 + v\,v\_2/c^2}$$
and, quite obviously, my derivation is wrong. This can be seen also from the fact that my "velocity formula" leads to an expression which is linear in $v\_2$.
**My question:** Where does my analysis go wrong? Why do I get a different formula than the textbook velocity addition? I want to know what I am doing wrong here.
**Note:** I do understand that my analysis (obviously) is wrong and I am aware of the textbook derivation of velocity addition. I am interested in the **exact** point where my reasoning is wrong.
Spatial distances are not contracted and times as well. The transformation rule is:
$$x\_1=\gamma (x\_2+vt\_2)$$
$$t\_1=\gamma(t\_2+vx\_2/c^2)$$
A velocity $v\_2$ measured by the second frame system will be measured by the first frame as:
$$\frac{x\_1}{t\_1}=\frac{x\_2+vt\_2}{t\_2+vx\_2/c^2}=\frac{v\_2t\_2+vt\_2}{t\_2+vv\_2t\_2/c^2}=\frac{v\_2+v}{1+vv\_2/c^2}$$
supposing that the particle with $v\_2$ start at the origin and both systems' origin coincide. These calculations have been carried out knowing that $x\_2=v\_2t\_2$ and then dividing the numerator and denominator by $t\_2$.
The first two equations can give the length contraction and time dilation. if you think about it Look:
$$x\_1=\gamma (x\_2)$$ if $t\_2$ is zero, and
$$t\_1=\gamma(t\_2)$$ if $x\_2$ is zero.
But, why does $x\_1$ depend on both $x\_2$ and $t\_2$? In special relativity, time is also a measurable coordinate as space. Indeed if you move respect a system $S\_1$, you will not "see" just everything contracted, you will "see" the future of $S\_1$ in front of you and the past of $S\_1$ behind you. That means, your present will be his future and past. The implications of this have many important consequences, like the fact that what an observer $S\_1$ measures as simultaneous (like two bombs at different places exploding at t=0) you may not (you might measure one explosion at t=1 and another at t=4). **Minkowski diagrams** will help you see it a lot better. So, that means that an interval of space for $S\_1$, that means $\Delta x\_1\neq 0$ and $\Delta t\_1 =0$ may be an interval of space $\Delta x\_2 \neq 0$ and also an interval of time $\Delta t\_2 \neq 0$ for $S\_2$. I insist on the fact that Minkowski diagrams will help you much better.
(Ok. Comment editing time and length is limited. For the sake of completeness, I will put down what I see as the final answer thus far in a bit broader wording. May it help the next person passing by this place.)
When substituting $s\_2$ by $s\_1/\gamma$ I do not claim to "invoke a transformation" but I apply a proposition stating that a measured length of an object is shorter than its proper length by the Lorentz factor.
This is where I go wrong: $s\_1$ is not a *proper* length in system 1 but just a (normal) length in system 1. The proposition does not apply here.
The reason of the problem being that - trained as a mathematician - I expect *all* preconditions of a proposition to be stated precisely **in** that proposition and not being dispersed **somewhere** in the explanation. All the texts I consulted on this actually *did* have that restriction *somewhere* in the same chapter but not as part of the "proposition". That is the reason I missed the limitation in the applicability of the formula.
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