PIRATE ISLAND

by Anthony Kirkwood

TV Script
Email: anthonykirkwood@hotmail.com

This two part television show is an action adventure story. It follows the adventures of the young Thomas Stevens and a group of sailors and pirates as they set out in search of Pirate Island. Pirate Island is part of pirate legend and is reputed to contain amazing riches. However, its location is unknown. Some pirates believe it exits, others don’t. If pirates have ever been there, none have returned. After being shipwrecked on an unknown island, Thomas, a handful of sailors and an evil pirate captain, find themselves being hunted down by a group of unfriendly island people. The group of marooned sailors and pirates are forced to run, hide and fight for their lives as they search for a way off the island. As they evade the island people, they discover the truth about the island’s secret treasures, and find they are not the first visitors. This script is registered with the Writers Guild of America, west

                      HALFWAY
                    
                         BY
                   ANTHONY KIRKWOOD


              PART ONE

FADE IN:
EXT. CHURCH - DAY
A funeral service is about to begin. A group of mourners, family and friends of the deceased, are entering the church. There are people with their arms linked together, leaning on each other for support. Some people are wiping tears from their eyes.
A car pulls up outside the church. Inside is the Leftman family - the MOTHER and FATHER, their twenty eight year old daughter, AMY, and their twenty six year old son, DANIEL. Daniel is wearing a dark suit and dark glasses. Amy is in a black dress. The parents are also dressed in dark sombre outfits.
INT. CAR - DAY
The Father peers through the side window at the church, looking for a sign with the name of the church.
FATHER
Is this it?
MOTHER
I think this is it.
AMY
I recognize a couple of them. That's Eleanor and Dean.

DANIEL
(angrily)
What'd you mean, is this it?
Daniel's parents turn and look at Daniel. Amy also turns her head and looks at Daniel.
AMY
(sharply)
Keep a lid on it, please, Daniel, just for today.
The parents don't speak and turn back around.
FATHER
I'm going to find a park. Why don't you get out here? I'll park somewhere and join you.
DANIEL
Is this it? Of course this is it. Are you stupid? Wait, don't answer. Of course you are.
(to his father)
You see that sign over the church, and the groups of people dressed in black, arm in arm, consoling each other, tears streaming down their cheeks? Does that tell you something? Does it tell you maybe, just maybe, we're at the right church?
FATHER
Daniel. Please. There's no need to get angry.
DANIEL
(contemptuously)
Why not? Anger is a natural emotion. Everyone feels anger. Most people just bottle it up. That's the wrong way of dealing with anger. Expressing anger is natural. As natural an emotion as happiness or sadness or . . .
AMY
(to Daniel)
Oh, Daniel. Shut up. We're here to pay our respects. Marcus was your friend. You grew up together for god's sake. Show a little feeling.
DANIEL
You don't think I know Marcus was my friend? You think you have to tell me that? I mean, did you ever meet Marcus? No. Did you ever speak to Marcus? No. Did you ever take any interest in any of my friends?
AMY
Daniel, shut up! I came to support you. If you're too dumb to see that, maybe we should just turn around and go home.
MOTHER
We're all going in and we're going to pay our respects.
AMY
(to Daniel)
And what do you know about anger anyway?
DANIEL
(to Amy; ready for a fight)
I beg your pardon?
FATHER
Why don't you all go inside a find a seat? I'll only be a minute.
The Mother and Amy get out of the car. Amy is still furious. Daniel doesn't move. He stays where he is. The Father sees the Daniel isn't getting out.
FATHER
Daniel?
DANIEL
What?
FATHER
Don't you want to pay your last respects to an old friend? This is it. This and the burial. This is your last chance to say goodbye to Marcus.
DANIEL
Hey, it's not my fault Marcus is dead. I didn't kill him. And I didn't tell him to kill himself.
FATHER
He was one of your oldest friends. Please, Daniel.
DANIEL
(contemptuously)
Fine.
Daniel gets out of the car. He slams the door behind him.
The Father calls out the window.
FATHER
(to the family)
I'll see you in a few minutes.
The Father drives on.
EXT. CHURCH - DAY
Daniel, his mother and Amy walk up to the church.
Daniel sees the parents of Marcus, sad and almost inconsolable, standing outside the church. The mother is seeking support in a friend's arms.
DANIEL
Shit. It's Marcus' mother. Don't make me speak to her. I can't cope with her tears.
AMY
(to Daniel)
You really are a cold-hearted bastard. You know that? She just lost her son to suicide. Where's your heart? You know, the thing you used to have?
DANIEL
I'll see you inside. Feel free to dwell on the miseries and sufferings of life while you're here. Excuse me if I don't. I've done that already and it doesn't get you anywhere.
Daniel walks up the church and disappears inside. He nods and smiles (an insincere smile) to Marcus' parents as he passes.
INT. CHURCH - DAY
The coffin is situated at the front of the church. On top of the coffin there is a large black and white photograph of Marcus. There is sombre, sad music playing somewhere in the church. The church is half full. Most people have already taken their seats and are talking quietly or sitting silently, waiting for the funeral service to begin.
Daniel stands just inside the church and takes it all in. He removes his sunglasses and sticks them in the top pocket of his coat.
A hand touches Daniel's shoulder. Daniel turns and sees who it is. It is SIMON, one of Marcus' other oldest friends. Daniel is also an old friend of Simon. Simon is a large, muscular young man. He is in a suit and tie. He looks sad, like the rest of the mourners.
DANIEL
Hey Simon. Look, I'm sorry about this.
SIMON
So am I.
There is a moment of silence.
DANIEL
Do you . . . do you blame me for this?
SIMON
For what?
DANIEL
Everyone seems content to blame me for Marcus. You know, why he died.
SIMON
No. Of course I don't Daniel. Why would you think that?


DANIEL
Thanks. That means a lot. To tell you the truth, I'm waiting for the knives to come out.
SIMON
Don't worry. I'm sure people don't see it the way you think.
DANIEL
Trust me, they do. Did you . . . see what was happening . . . to Marcus?
SIMON
We all saw. We saw but we couldn't do anything, hard as we tried. But no one blames you.
Daniel nods.
SIMON
I mean . . . I know what you two did. I know what you and Marcus got up to in your spare time. And you had a lot of spare time. Both of you. Didn't you tell Marcus it wasn't worth pursuing goals in life because they're all a waste of time?
DANIEL
Don't say it too loud, thanks. Okay, Simon? I've copped enough shit already from everyone, particularly Marcus' family. They're convinced I killed him.
SIMON
Did you?
DANIEL
Simon, look at me.
Simon looks back at Daniel.
DANIEL
It's not my fault Marcus died. You know that. Marcus had a . . . a screw loose. If anyone should get the blame it's his family.
Simon nods, accepting the point.
DANIEL
How's the football going?
SIMON
Good. We won our last three games. Last week we thrashed this team from the sticks.
DANIEL
Good. Glad to hear that.
SIMON
I think I'll go and take a seat.
DANIEL
Okay.
Simon ambles off. Daniel watches Simon as he finds his seat and sits down.
Daniel's mother and Amy enter the church. Daniel turns as they enter and he sees them. To avoid them, Daniel walks off to inspect the ornate decorations and the pictures on the walls of the church.
Daniel walks slowly along the side of the church. As he slowly walks down the church, he passes Marcus' family. Tears are still wet on their cheeks and some look distraught. Daniel can't help but look at them all for a few seconds. Then he turns away, just as they look up at him. Daniel decides not to acknowledge them, knowing what they think of him.
The distraught and emotional family members are now focused on Daniel. One whispers and points and the others nod as they recognize him.
Daniel turns slowly again and sees all the whispering and pointing. He frowns at them and their pointing.
Marcus' relatives sit quietly now and look back at Daniel, the anger and emotion barely containable. Finally, Daniel speaks.
DANIEL
(to Marcus' family)
What? You have something to say to me? Why just whisper and point when I'm right here?
The tone of Daniel's voice ignites their anger and exacerbates their distress, but they are just able to contain it. Heads in the church start to turn and watch.
MARCUS' AUNT
You're Daniel, aren't you?
DANIEL
Yes. I am.
MARCUS' AUNT
You were a friend of Marcus.
DANIEL
An old friend. We went back a long way.
MARCUS' AUNT
There's something wrong with you, Daniel. We know about you.
DANIEL
What do you know?
MARCUS' AUNT
You know what I'm talking about. You took a young, healthy, innocent boy, and you turned him into something he wasn't.
(almost breaking down now)
It should be you in that coffin.
The other family members reach across and comfort Marcus' Aunt, who is on the verge of tears.
DANIEL
Is that a fact? You know what? I didn't want to come to this funeral, because I knew that this is exactly what would happen. The finger-pointing, the criticism, and the blame. Let's all blame Daniel. He's responsible. Someone has to be responsible. It must be Daniel.
(to the point)
Marcus made a decision which no one could have stopped. I didn't kill him. Marcus killed himself. I didn't shove the pills down his throat.
This last comment horrifies Marcus' family. They turn away in disgust, several gasp, and they are all too horrified to utter a word. The church has gone quiet and everyone is watching the scene unfolding. Daniel sees everyone in the church looking at him.
DANIEL
(to the whole church, loudly)
That's right! I didn't shove the fucking pills down his fucking throat! Marcus made that decision himself.
(back to Marcus' family)
In fact, you know what, I'm leaving. Fuck this church, fuck this funeral, and fuck Marcus. I'm sorry he's gone, I feel it too, more than you'd know, but I won't be held responsible. Not now. Not ever.
MARCUS' UNCLE rises to his feet. He looks calm and in control. Daniel starts to leave. As he does, the uncle calls out, pleadingly.
MARCUS'S UNCLE
Daniel. Please. You need treatment. You need help. Please, get some help.
DANIEL
Marcus needed help.
Daniel walks off, towards the entrance.
MARCUS'S UNCLE
(to the leaving Daniel; not angrily)
We tried to get him help. He wouldn't listen, because you told him not to listen. Daniel, please, come back.
Daniel, disgusted by the accusations, storms from the church.
MARCUS' UNCLE
Get help Daniel. Before it's too late. It's not too late for you. Get help unless you want to end up here, like Marcus.
Everyone in the church is still looking at the uncle and at Daniel as he storms from the church. Daniel disappears out the door.
EXT. CHURCH - DAY
Daniel walks out of the church, seething and in a vile mood. He walks past a few more mourners making their way inside.
Marcus' parents are still standing outside the church. They look with teary eyes as Daniel appears from the church entrance. They are about to say something when Daniel dismisses them with a wave of his hand. He keeps going.
Daniel's father walks up the steps to the church entrance as Daniel is walking down them. Daniel storms past him.
FATHER
Daniel?
No reply.
FATHER
Daniel? Daniel, where are you going?
Daniel crosses the street and strides down the street away from the church.
INT. CHURCH - DAY
The funeral is being conducted. A speech is being given by Marcus' father. He is standing at the front of the church, next to the coffin.
MARCUS' FATHER
Marcus was a bright boy. He was clever and he was gifted. Marcus was also a good friend to everyone that knew him. Marcus was never without a smile and a cheery greeting. Everyone here knows that Marcus could have been whatever he wanted to be. If he had wanted it. But Marcus chose a different kind of life.
(tears are welling up in his eyes)
He chose a life that we all knew was bad. We all did our best to help him, to talk to him about what he was doing, but our best wasn't enough. I know that everyone in this church will miss Marcus for the rest of their lives.
INT. BAR - DAY
Daniel is downing a full glass of beer in one hit. He is already quite drunk. He is surrounded by three friends, all shady looking characters. They are all heavy drinkers and drug users. The shady friends cheer and urge him on. Daniel drains the glass and slams it down on the counter. He reaches for another full beer. He holds it up.
DANIEL
Here's to free living. Here's to doing whatever we want to do, when we want to do it.
More cheers of encouragement from his friends.
DANIEL
Here's to not having people tell us what to do and what to think.
SHADY FRIEND
That's right Daniel. No one, I mean no one, is ever going to tell us what to do and what to think.
DANIEL
(his glass still raised)
You know what we are? We're free souls. We're free from all the shit that people put up with every day of their stupid, pathetic lives. We're better than that.
(pause, more quietly)
We're better than that.
SHADY FRIEND
Damn straight.
The Shady Friend raises his glass and all the glasses are raised in a toast. They all touch glasses. Daniel puts his glass back down on the table.
SHADY FRIEND #2
So tell us what else happened?
DANIEL
With what?
SHADY FRIEND #2
With what! The funeral.
DANIEL
Oh. Marcus. Yeah, there were some bad feelings in the church. Everyone there was ready to strangle me.
SHADY FRIEND #3
For doing what?
DANIEL
Some of his family, maybe all of them, are of the opinion that I was somehow responsible for Marcus being where he is now.
SHADY FRIEND #3
They think you killed Marcus? You didn't kill Marcus. Marcus was . . .
SHADY FRIEND #1
Marcus couldn't handle his freedom.
Daniel is suddenly serious and there is a trace of anger on his face.
DANIEL
What the hell does that mean?
SHADY FRIEND #1
I mean, he couldn't handle himself in his new state of freedom. The freedom that you, me, all of us, have achieved. There are trappings in the world we live in, the trappings of freedom, and he fell into one of the holes. The black holes. They're bottomless and once you're in they're endless and you can't get out.
DANIEL
(to the others)
What the hell is he talking about?
SHADY FRIEND #2
He means that Marcus was naive and inexperienced. He didn't know what he was doing. He didn't even really know why he was doing it. That's why he's dead.
DANIEL
Marcus is dead because he was sick. He had an illness that messed with his head. I saw the change. I saw it take hold of him. It got so bad he couldn't think straight. That's why he's dead. It all got too much for him.
SHADY FRIEND #1
You know what Daniel? We think you're a bit . . . naive and inexperienced too. We think you're like Marcus.
DANIEL
You think I'll fall into one of your black holes?
SHADY FRIEND #2
Not if you stick with us.
SHADY FRIEND #3
Yeah. We'll teach you a few things.
Daniel laughs to himself.
DANIEL
I don't need your advice. I'm doing just fine.
SHADY FRIEND #1
Stick with us. We'll make sure you don't end up in a coffin.
Daniel is silent, astounded by what they're saying, and completely incredulous.
DANIEL
(to all of them)
You're serious?
They look at Daniel, but don't speak.
DANIEL
You'll protect me from the black holes?
They're silent, with traces of smiles on their face.
DANIEL
I think you got it wrong. It's the other way around. I should be teaching you how to handle life.
SHADY FRIEND
Daniel, please. We already see the signs that you're slipping.
DANIEL
Is that right?
SHADY FRIEND
We can save you. We can help you find true freedom.
Daniel is silent. He looks at his beer and after a while takes a sip. He looks back at his shady friends.
DANIEL
Whatever. Let's just drop it. None of you know what the hell you're talking about.
(pause)
Anyone feel like taking a ride?
EXT. QUIET STREET IN CITY - AFTERNOON
The wide city street is deserted. There are no cars, except those parked along the sides of the street.
Suddenly, a car screeches around a corner and onto the quiet street. It speeds down the street, well exceeding the speed limit and veering left and right.
INT. CAR - AFTERNOON
Daniel is at the wheel. His shady friends are in the car with him. Daniel has a bottle of beer in his hand.
They scream and yell out the window, laughing the whole time.
DANIEL
(ecstatic)
This is it! This is it!
SHADY FRIEND
Some rush, hey, Daniel?
Daniel floors it and the car goes even faster. Suddenly a dog runs out in the road. Daniel sees it and has a split second to react. He slams on the breaks and turns the wheel to the right. The car skids out of control and slams into a number of parked cars, before upturning and sliding to a stop.
Smoke is trailing from the car into the air. There is total quiet in the street.
Daniel is the first to wake up and crawl from the car. The others don't move.
Daniel's face is cut and bleeding. He manages to stand but staggers around for a second. He looks at the wrecked car. He walks to it and crouches down.
DANIEL
(to his shady friends)
Hey. Hey.
There is no response. Daniel looks for people to call for help. No one is there.
Daniel starts to walk away from the car, looking for help.
DANIEL
(shout to anyone)
Help! Help!
No one hears.
DANIEL
(desperate shout)
Help! Somebody, help!
Daniel gets giddy, his legs get wobbly, and he collapses to the ground. In the background, the wrecked car still has smoke drifting from it.
INT. HOSPITAL - NIGHT
Daniel wakes up slowly. He finds himself on a hospital stretcher in a crowded hospital room. Initially, his vision is blurred. He looks around him. The lights are too bright for his eyes and he winces and shuts his eyes for a second. When his eyes start to focus, he sees where he is. There are people cut, bruised and bleeding all around him. No one is looking at him.
An emergency room doctor, DR. SCRATE, who has seen that Daniel is awake, appears by his side.
DOCTOR SCRATE
Daniel?
DANIEL
Where am I? What happened?
DOCTOR SCRATE
You're at the hospital. You had an accident.
DANIEL
Where are the others?
DOCTOR SCRATE
You mean your friends who were in the car with you?
DANIEL
Where are they?
DOCTOR SCRATE
They . . . they're alive.
DANIEL
Are they hurt?
DOCTOR SCRATE
Yes. Two are in a coma. Their conditions aren't great. All we can do is wait and hope. The third is awake, but his injuries are serious.
Daniel tries to sit up, slightly alarmed. Dr. Scrate restrains him gently.
DOCTOR SCRATE
Relax Daniel. Don't try to get up.
Daniel lies back down.
DOCTOR SCRATE
The police are waiting to speak to you about the crash. They want to know what happened.
DANIEL
I can't remember. I think . . . I hit a dog.
DOCTOR SCRATE
Daniel, the good news is you're okay. You're not badly hurt. Just a few lacerations and bruises. You'll make a full recovery.
DANIEL
Where are my parents?
DOCTOR SCRATE
They're in the waiting room. Do you want to see them now?
Daniel thinks about this.
DANIEL
No. Not yet. I'm not ready to face the music.
DOCTOR SCRATE
Daniel, I was speaking to your parents and your sister. They're worried about you.
DANIEL
They shouldn't be.
DOCTOR SCRATE
Well, they are. To tell you the truth, I'm worried about you.
DANIEL
Don't believe them. Whatever they told you isn't true. They're all liars.

DOCTOR SCRATE
They seem like good, honest, caring people.
DANIEL
They've certainly got you fooled. I thought doctors were supposed to be intelligent.
Daniel winces at a sudden pain.
DOCTOR SCRATE
Where does it hurt?
DANIEL
No. Forget it. I'm okay.
DOCTOR SCRATE
Daniel, if I may make a suggestion. We have a good section of the hospital here that helps people in a situation like . . . that helps people who are in a situation like you are in.
DANIEL
(sarcastically)
Really. What section is that?
DOCTOR SCRATE
We have a psychiatric facility here. There are doctors and nurses who can look after you while you get better.
DANIEL
I'm not sick.
A POLICEMAN appears by Dr. Scrate's side. Dr. Scrate and Daniel look at him.
POLICEMAN
(to Dr. Scrate)
This him?
DOCTOR
Yes. This is Daniel.
POLICEMAN
(to Dr. Scrate)
Is he alright now?
DOCTOR SCRATE
He's just woken up. He's still groggy and in some pain.
POLICEMAN
But he'll be okay?
DOCTOR SCRATE
Yes.
POLICEMAN
(to Daniel)
Some accident you had today, Daniel. Did Dr. Scrate tell you that three people are badly hurt? Two of them are in a coma.
DOCTOR SCRATE
I told him.
POLICEMAN
Their families want to know whose responsible Daniel. What am I supposed to tell them?
DANIEL
Tell them to go to hell.
POLICEMAN
When you're feeling up to it, we have a few questions for you.
DANIEL
Like what?
POLICEMAN
We'll get to that later.
(he pats Daniel's leg)
Rest up.
(to Doctor Scrate)
Thanks. Please let us know when your patient is up to talking.
The Policeman walks away.
DANIEL
(quietly; to himself)
Asshole.
DOCTOR SCRATE
We're going to move you to your own room. You'll being staying in the hospital for a couple of days. But don't worry, you'll be on your feet in no time.
DANIEL
Good. Because I hate being here.
DOCTOR SCRATE
Think about what I said.
DANIEL
(dismissive and sarcastically)
Yeah, don't worry. I'll give it plenty of thought.
Dr. Scrate walks away.
INT. POLICE ROOM - DAY
A few days later.
Daniel is in a police room, being questioned by the police. Daniel is sitting at a table. POLICEMAN #1 is sitting opposite him, on the other side of a table. POLICEMAN #2 is standing near one of the walls in the room, his arms folded across his chest.
POLICEMAN
How are you feeling Daniel?
DANIEL
(sarcastically)
Oh, I feel just great. I feel like a million bucks.
POLICEMAN
Well?
DANIEL
Well what?
POLICEMAN
Tell us what happened.
DANIEL
I think I hit a dog.
POLICEMAN
We didn't find any dog.

DANIEL
(sarcastically)
How hard did you look?
The Policemen are silent, and stare at Daniel, unimpressed by his sarcasm. Daniel gets the message.
DANIEL
I saw a dog run onto the road. By the time I reacted it was too late. I tried to go around it. I lost control, the car spun out of control, and I think I hit some parked cars. That's all I can remember.
POLICEMAN #2
Had you been drinking? Had you taken any drugs?
DANIEL
(hesitant)
I don't remember.
POLICEMAN
Let me tell you what we know you were doing. You were driving, over the speed limit, and you were under the influence of a very, very dangerous concoction of alcohol and drugs.
Daniel doesn't reply to this. He looks at the floor.
POLICEMAN
The toxicology report doesn't lie. Your blood was full of illegal substances and your alcohol reading was extremely high. Extremely high. That's always bad news for someone who thinks they can get into a vehicle and drive.
DANIEL
What do you want me to say?
POLICEMAN
That's up to you.
DANIEL
I'm sorry. Okay?
POLICEMAN #2
Maybe you should apologize to the families of the friends who were in the car with you. They're an interesting bunch. They're swearing that they'll spill your blood in revenge.
Daniel looks across at Policeman #2, then back to Policeman #1.
DANIEL
What's the worst that you can do to me?
POLICEMAN
You can be held responsible for the accident. How's that? But that's if their families don't get to you first.
INT. DANIEL'S HOUSE - NIGHT
Daniel is back at home. He is sitting with his parents and his sister, Amy, at the dining table. Dinner is on the table and they are eating in silence. Daniel hardly touches his food. He moves his food around with his fork and then lays the fork down loudly. Daniel breaks the silence.
DANIEL
Did you tell the doctors lies about me?
AMY
They're not lies. You're not well.
DANIEL
Aren't I?
AMY
No. And neither was Marcus. It's sad but it's true. It's time you faced up to reality.
DANIEL
(sarcastically and insulting)
Like you know all about reality.
AMY
Oh, what a very mature response. I know more about the real world than you'll ever know Daniel.
DANIEL
What? You know all about the real world? You mean like when you used to believe in Santa Claus until you were ten, hoping every year he'd come down the chimney and put presents under the tree for you? Or, like your long held belief that star formations can alter the course of your life and change the future of the world? Yeah, it's obvious now I think about it. You do know more about reality than me.
Angry now, Amy stands up and is about to walk from the room.
AMY
(to their mother and father)
I'm sorry. I won't put up with this.
(to Daniel)
Good luck with your life Daniel.
Amy storms angrily from the room. Daniel and his parents sit in silence.
DANIEL'S MOTHER
Daniel, that wasn't necessary.
DANIEL'S FATHER
Daniel, we've been giving your situation a lot of thought. We think perhaps you need help.
DANIEL'S MOTHER
Professional treatment by people who really understand your problems and what you're going through.
DANIEL
I don't need any psychiatrists.

DANIEL'S FATHER
We were thinking you should be admitted to the psychiatric facility at Hallford Hospital. It would be voluntary.
DANIEL
Are you serious?
DANIEL'S FATHER
We think it's the only way you'll get better.
DANIEL
I don't believe this. You're selling me out too to a bunch of charlatans. That's what head doctors are. Fucking charlatans.
DANIEL'S FATHER
The police say they'll give you the chance to get help before they consider your case. They understand you were under a lot of stress and emotional distress that day.
DANIEL'S MOTHER
It might really help you get better. You might be able to find peace again.
DANIEL'S FATHER
Please, think about it.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
The next day.
Daniel is standing outside the psychiatric unit of Hallford Hospital with Dr. Scrate, and his parents and Amy. A sign on the front of the building reads: HALLFORD PSYCHIATRIC HOSPITAL. Daniel has one small suitcase with him, containing his clothes and personal belongings.
DOCTOR SCRATE
This is it, Daniel.
DANIEL
So what am I supposed to do here? What do crazy people do with their time?
DOCTOR SCRATE
Once you're inside, you'll be looked after by the doctors and the nurses who work in this unit. They're very well trained and experienced in psychiatric care.
DANIEL
Right. So I'm in good hands then.
DOCTOR SCRATE
You never know Daniel. You might get more out of this than you expect.
DANIEL
Maybe.
DOCTOR SCRATE
Good luck, Daniel.
Dr. Scrate smiles. He presses a button and a few moments later the door opens. Daniel waits and then enters, followed by his parents and Amy. Daniel turns before the door closes.
DANIEL
(to Dr. Scrate)
You're not coming?
DOCTOR SCRATE
No. They're expecting you. You'll do fine.
DANIEL
Gee, what a shame. I'll really miss you.
Daniel turns and enters the building. Dr. Scrate waits until they are all in and the door is closed. Then he turns and leaves.
INT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
DOCTOR BLUME, the head doctor of the Hallford Psychiatric Hospital, is standing just inside the entrance. Daniel and his parents and Amy come through the doors. Doctor Blume extends a hand and Daniel and Doctor Blume shake hands.
DOCTOR BLUME
Daniel, nice to meet you. My name is Dr. Blume. I'm the head doctor of the Hallford Psychiatric Hospital.
DANIEL
You can cut out the pleasantries. I don't like being here and I doubt I'll like you.
DANIEL'S MOTHER
Daniel. Please.
DANIEL'S FATHER
(to Doctor Blume)
Please excuse Daniel. He doesn't really mean that.
DANIEL
I can speak for myself. I am an adult you know.
AMY
Then perhaps you should act like one.
DOCTOR BLUME
It's okay. I understand. Daniel doesn't want to be treated like a child.
DANIEL
You figured that out all by yourself? God, you must be qualified.
DOCTOR BLUME
Daniel, would you like a look around?
DANIEL
Not really.
DOCTOR BLUME
I think it would be good for you to get acquainted with the unit straight away.
DANIEL
Sure.

DOCTOR BLUME
Before we get to that though, I need to inform you a few of the rules. You can have visitors of course, but they must be screened by us. And they can only visit at visiting times.
DANIEL
Okay.
DOCTOR BLUME
Second, no alcohol or drugs are permitted here.
DANIEL
Don't do them.
DOCTOR BLUME
Your toxicology report would indicate otherwise.
DANIEL
What else?
DOCTOR BLUME
We will also need to check your bag and your belongings. There are certain items you're not permitted in the facility. For your safety of course.
DANIEL
Sharp objects?
DOCTOR BLUME
Yes.
DANIEL
Anything else?
DOCTOR BLUME
There are a few other things.
DANIEL
Look, just go through my stuff, take out what isn't allowed and then give my things back to me.
DOCTOR BLUME
Daniel, do you know why you are in this unit?
DANIEL
I have the basic idea.
DOCTOR BLUME
You're here to be treated by specialists. By people who understand your problems and what you're feeling.
DANIEL
How many quacks have you got here?
DOCTOR BLUME
You'll see a doctor each day. Twice a day if they think it necessary. Our goal is to make you better. Through effective treatment, you can get better. The Hallford Psychiatric Hospital has a high success rate, one of the highest in the country. We're proud of our achievements.
DANIEL
I get it. I'm in good hands, and you'll do everything you can to help me.
DOCTOR BLUME
Yes. Outside of treatment, you're free to do what you want, within reason of course. We give our patients a range of activities to do. Paining, drawing, recreational activities, relaxation classes, yoga.
DANIEL
All the things I like to do at home.
(pause)
Can I go out for coffee if I feel like it?
DOCTOR BLUME
No. You're not allowed to leave the premises, except with clearance and under strict supervision.
DANIEL
Because I'm a menace to society and can't be trusted in other people's company. Right? You think I might do something dangerous.
DOCTOR BLUME
Until we know your state of mind, we can't let you out of the facility.
DANIEL
(to his parents)
I know my state of mind, god damn it. I know exactly what I think and exactly what I feel!
(to Doctor Blume)
No offense Doctor Blume, but I'd rather not have strangers probing inside my head twice a day. Not once a day, but twice a day.
DANIEL'S FATHER
It'll do you good Daniel. We can't stress enough that it's all to help you. The sessions with the doctors and the questions and all that is to help you get better. To put you back in control of your life. What else can we say to comfort you?
DANIEL
(to Doctor Blume)
Can I see my room now?
DOCTOR BLUME
Yes, of course.
DANIEL'S FATHER
Perhaps it's time we left.
DOCTOR BLUME
Yes. Perhaps.
DANIEL
(mockingly)
Yes, perhaps.
(then seriously)
Go. Go.
Daniel's mother and father both step forward and hug Daniel, his mother first. Amy then hugs Daniel.
DANIEL
(as he is hugged)
Yes, yes, okay. I won't be here that long. So you won't have to miss me for long.
DANIEL'S PARENTS/AMY
Bye Daniel.
Daniel's parents and Amy turn and walk to the exit doors and out of the facility. When they are gone,
DANIEL
So what happens if I need to go to the toilet? Will you be there to hold my hand?
DOCTOR BLUME
Daniel . . .
DANIEL
Come on. Let's just get it over with. Show me around.
INT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
Daniel and Doctor Blume are standing outside the suicide-watch section of the facility. There are patients sitting quietly inside, watching TV, or drawing, or reading.
DANIEL
What's wrong with them?
DOCTOR BLUME
This is where patients who need close watch stay.
DANIEL
(looking at the patients)
Suicide cases?
DOCTOR BLUME
Some are. Some are just more on edge. More unpredictable. They need a closer watch. If you ever . . . feel that things aren't going so well, and you feel like these people . . . please, tell us.
DANIEL
What else is there to see?
INT. NURSE'S STATION OF PSYCHIATRIC UNIT - DAY
The five nurses on duty are standing in a group in the nurses station. Doctor Blume and Daniel are standing in front of them.
NURSE GRAND
Hello Daniel.
The others say hello too.
OTHER NURSES
Hello, Daniel. It's nice to meet you.
DOCTOR BLUME
These are some of the hospital's nurses - Nurse Grand, Nurse Hisbeck, Nurse French, Nurse Crown, and Nurse Nollstich. They're here to look after you while you're under our care. Feel free to approach them at any time, no matter what.
Daniel nods. He waves a hand at the nurses.
DANIEL
Nice to meet you. Glad to be here. I hope my time here is a happy one.
(to Doctor Blume)
Is there anything else?
DOCTOR BLUME
No. Everything else you can see when you like - the recreation room, the TV room, the dining area. I'll show you your room now, if you like.


INT. DANIEL'S ROOM - DAY
Daniel is led into his room by Doctor Blume. There is one bed in the small room. Daniel looks around the small room.
DANIEL
This is it?
DOCTOR BLUME
Most of our patients share rooms. You have your own. Lucky for you the last patient in this room checked out this morning.
DANIEL
Checked out 'permanently', or just checked out?
DOCTOR BLUME
Lunch is going to be served in twenty minutes. Why don't you unpack, settle in, and then come down to the dining room?
Doctor Blume turns and exits the room.
EXT. DINING ROOM - DAY
Daniel walks into the hospital's dining room. Metal tables and plastic chairs are spread around the room.
There are a group of three patients sitting in the dining room, talking. Their names are LARRY BRIAN, REGINALD ARBUT and ROGER RYAN. There are other patients in the room, most of who are eating and talking quietly. Some sit alone.
ROGER
So, what's more than infinity?
REGINALD
Nothing is more than infinity. Infinity just keeps on going.
ROGER
But it has to end somewhere.
REGINALD
No. That's why it's called infinity. It doesn't stop.
LARRY
I always said the human mind is too small to understand these types of concepts.
REGINALD
I understand it perfectly. It's not a hard concept to understand.
LARRY
Roger doesn't get it.
Larry, Reginald and Roger look up at Daniel as he enters. They stop here and watch as Daniel enters. The conversation ceases.
Daniel ignores them and takes a seat away from them. They watch him with curiosity and discuss him quietly from the other side of the room.
LARRY
Who's that?
REGINALD
That's the new guy.
LARRY
What's his name? Is he in our room?
REGINALD
Don't know his name.
LARRY
Any idea why he's here?
REGINALD
Don't know. I haven't spoken to him yet.
LARRY
Maybe we should invite him over and introduce ourselves.
They sit, but no one moves.
REGINALD
Well?
LARRY
I'm not doing it. He might be hostile . . . or dangerous. He might lash out if I go over there.
ROGER
He looks harmless.
LARRY
Yeah, but you can never tell. Remember Ed. When he came in, I tried to speak to him, he flipped when I did, and tried to break my arm. I don't need that again.
ROGER
I'll go.
Roger stands up and walks over to Daniel. He stops at Daniel's table.
ROGER
Hi. My name's Roger.
Roger stands and extends a hand. Daniel looks briefly at Roger's outstretched hand and then he looks back at Roger's face.
DANIEL
What do you want?
ROGER
Usual etiquette is to accept the outstretched hand and to shake it in a friendly way. That's normally how it works.
DANIEL
Very funny. What do you want? I don't want to seem rude, but I'd rather not . . . try and pretend that I want to be your friend. I won't be here for long, so there's no point us getting acquainted. It'd only break your heart when I left.
ROGER
I'd hate to lose a friend.
DANIEL
(sarcastically)
Would you?
ROGER
I don't know if there's any point my asking this now, seeing as you've made your position clear to me, but . . . would you like to come and join us for lunch?
Daniel looks over at the group of the patients at the other table. They are watching him intently. Larry smiles and waves when Daniel looks at him. Daniel looks back at Roger.
DANIEL
No.
Roger doesn't know what to say to Daniel. He turns and walks back to the group of other patients. Roger sits back down.
REGINALD
(to Roger)
What did he say?
ROGER
He said no.
LARRY
See, some of them don't like to be disturbed. Like Ed. He didn't say a single word for two weeks. And when he did speak, the first words out of his mouth were 'leave me alone'. They just don't like talking.
REGINALD
I don't see why. In here, at least they know they're not alone. I wish they'd just open up. It'd surely make life easier for them.
Daniel sees a stack of newspapers and magazines on a nearby table. He walks over and picks up a tabloid magazine and sits back down. He looks at the cover. On it is a picture of Roger Ryan. The headline reads: "Roger Ryan's mental breakdown. Was it a matter of time and will he ever work again? (Let's hope not!)"
Daniel recognizes Roger's face, turns his head and scrutinizes Roger at the other table, to see if it is in fact the same person. The group is still looking at Daniel. Daniel holds up the magazine to the group and points at the cover.
DANIEL
(calling out across the room to Roger)
Hey! That you?
ROGER
(embarrassed, but angry too; to Larry and Reginald)
I thought I told you to get rid of all the magazines with me on the cover.
LARRY
(to Daniel)
Yep. That's him alright.
Daniel looks at the cover of the magazine again.
DANIEL
(to Roger)
This magazine is dated two months ago. You been here for all that time?
LARRY
Roger's making a good recovery. This is just a temporary setback for Roger. Once he's out of here, he'll get back into acting. And it'll be his best work yet. His career can only go upward from here.
DANIEL
The magazine doesn't seem to think so.
REGINALD
Forget what the magazine says. Roger Ryan is one of the most in demand actors working today. And one of the best of his generation.
LARRY
Yeah, he's made some great movies. You ever see Leech?
Daniel shakes his head.
DANIEL
What was that one about?
LARRY
Giant blood-sucking leeches that invade New York City. Leeches that suck people dry and leave withered corpses in their wake.
DANIEL
(sardonically)
Wow. That's amazing. How original.
LARRY
(not getting Daniel's true meaning; with a genuine smile)
I thought so too.
REGINALD
What about Revenge of the Zombie High School Girl Killers?
Daniel shrugs and shakes his head.
LARRY
The Brain in the Jar?
DANIEL
Can I guess what that one's about?
REGINALD
You mean, you haven't seen it?
DANIEL
No. Should I have?
REGINALD
It was only the most popular movie of 2003.
DANIEL
Sorry.
REGINALD
I got it. The Smiling Assassin. The action movie that redefined action movies. Roger brought something new to cinema with that role.
DANIEL
Again, I seemed to have missed it.
LARRY
Larry's a versatile actor. Horror, action, drama, comedy, even romance.
Larry and Roger both smile.
DANIEL
Romance?
(to Roger)
You?
LARRY
Cyber-Love.
Daniel sits. He watches them with a straight face.
DANIEL
Okay. I think it's safe to say I haven't seen any of Roger Ryan's films.
LARRY
Come on, Daniel. Don't tell me you don't know any of Roger Ryan's films. Surely you know some.
DANIEL
Can't say I do. But then again, I hardly go to the movies. I used to watch cartoons as a kid. That was about it. You know, Bugs Bunny. That sort of thing.
(to Roger)
You ever win any awards?
ROGER
No. At least, not yet. I've come close a few times. A few times I've been pipped at the post. But the critics love me. They adore my work.
DANIEL
(non-believing)
Do they?

ROGER
Yes. I've received more than my fair share of rave reviews. I'm blessed in a way.
DANIEL
How?
ROGER
To have been given the opportunity for a start. And to have so many people enjoy my work and tell me how much I mean to them.
DANIEL
(laughing)
What sort of people are these?
REGINALD
Fans. Lots of them. They love Roger. Everyone does.
DANIEL
What do they say?
ROGER
Some say I touch them in ways they've never experienced. You know, they find my films moving. Others just enjoy my emotional intensity on screen. Others just enjoy the laughter they get from my parts.
DANIEL
You're a comedian too? You must be gifted. Making people laugh is a hard thing to do. Ever done stand up comedy?
ROGER
No.
DANIEL
That'd be tough. A lot of people think they can do it, but they all bomb first go.
LARRY
Acting is tough too. For anyone. Except the truly great ones, like Roger.
DANIEL
You ever get letters from fans?
LARRY
Of course he does. Mountains of them. Piles and piles. The postman hates Roger because he has to carry so much fan mail each day.
DANIEL
Is that right?
LARRY
And the critics! The critics all want exclusives with the great Roger Ryan.
REGINALD
And then there are the women. Tons of them. A different woman every night for Roger. Isn't that right, Roger?
ROGER
(modestly)
Well . . .
DANIEL
But no awards. Oh well. Too bad. Maybe one day. Eh, Roge?
REGINALD
(to Daniel)
Forget what the magazine says. You can't trust what they say in those types of magazines.
LARRY
You don't know where they're getting their information from. They're always wrong. Always.
DANIEL
(interested in the magazine now)
Is this a fact?
Daniel opens up the magazine and opens it to the pages with the story on Roger Ryan. He starts to read. Larry and Reginald look to Roger. Roger gestures that it's okay. He's not offended.
DANIEL
(reading the article out loud)
"The great Roger Ryan has made some poor acting choices in his long career. Oh, what an understatement that is! It is safe to say that Roger Ryan's entire career has been a disastrous failure. Critics wonder what he's doing in film at all. Their repeated scathing reviews do not seem to stop the dimwits in the film industry from casting Roger Ryan in a series of disastrous roles. Nor do they seem to have any effect upon the abominable Ryan, who continues to strive to produce what you could call the worst acting performances of all time. Perhaps now though, Ryan has finally received the message from his critics and from the public. Ryan was recently admitted to a psychiatric hospital for reasons at present unknown. This magazine suspects however, that one too many bombs has led to a nervous breakdown in poor Ryan, and a realization has dawned on Ryan that he simply is no good."
Daniel puts down the magazine. While Daniel has insensitively read this, Ryan has become embarrassed and ashamed. Daniel has an amused look on his face. He looks at Roger.
DANIEL
That's a pretty hard review.
LARRY
Whoever wrote that doesn't know what they're talking about.
(to Roger)
Forget about it Roger. It's nothing. The writer is stupid. He's got no understanding of character development or your emotional depth.

DANIEL
It's a 'she' actually.
REGINALD
You just can't please everyone. It's the fans that matter most to Roger. Like we said, Roger has fans all over the world. He has a fan club who write him letters, telling him how much his work means to them. Isn't that right, Roger?
ROGER
They're all hard reviews. Every damn one of them. I've put up with them throughout my whole career. Every film, TV role, theatre part, the critics say the same things.
DANIEL
(to Roger)
Why do you think it is that everyone says you suck at acting?
They sit quietly and think about the question. Daniel is amused, maybe unaware of his own harsh, insensitive attitude to Roger.
DANIEL
Is it true though? Did the reviews cause you to have a nervous breakdown?
Larry and Reginald are still silent. When Daniel realizes there will be no answer, he dismisses the subject.
DANIEL
Suit yourself. Don't answer it at this time if you're not comfortable with it.
Daniel puts down the magazine, stands up and walks over to the group. He stands in front of them.
DANIEL
My name's Daniel. I'm not crazy.
They don't know what to do or say, don't know if Daniel is mocking them still or not.
LARRY
Neither are we.
DANIEL
Sure.
Roger is silent, looking at his shoes.
DANIEL
Cheer up Roger. I didn't mean to attack you. I didn't write the article.
REGINALD
(to Daniel)
It was a bit insensitive, you have to admit.
Roger looks up.
ROGER
It's alright. I'm used to it. It comes with the job.
LARRY
(to Daniel)
My name's Larry. Larry Brian.
ROGER
Roger Ryan. Actor.
Daniel looks at Reginald.
DANIEL
What about you?
REGINALD
Reginald Arbut.
DANIEL
(to the three)
Now that we're all acquainted, you can tell me what you're really here for.
REGINALD
We . . .
(he looks Larry and Roger for support)
We all have certain problems which don't allow us to live in the 'real' world.
DANIEL
Define 'real'.
REGINALD
The world out 'there'. The world people live in. We found we have trouble living in that world, with other people.
DANIEL
How long have you been here?
REGINALD
I've been here a year. Roger has only been here for three months. And Larry has been here for four.
DANIEL
Years?
LARRY
Months.
DANIEL
What's it like in here?
LARRY
It's not so bad. You'll get used to it. Most people get used to it.
DANIEL
There can't be much to do.
NURSE GRAND sticks her head in.
NURSE GRAND
Daniel, there's a phone call for you.
DANIEL
(to the other patients)
Excuse me. We'll talk again soon.
INT. NURSE'S STATION - DAY
Daniel has the wall phone to his ear.

DANIEL
(into phone)
Yes, Mom. Yes, I'm fine. Jesus, it's only been a few hours. Not even that.
Nurse French and Nurse Crown are standing nearby, sorting some medicinal pills. Nurse French looks at Daniel, and makes eye contact.
DANIEL
(into phone)
I've already made some friends. They're a bit odd, but they seem nice enough. Yes, isn't it wonderful? Yes, just as you said. Yes, I will adjust.
Nurse French is still looking at him.
DANIEL
(to Nurse French; slightly aggressively)
Could I have some privacy please?
Nurse French looks away.
DANIEL
(to Nurse French; contemptuously)
Thank-you.
(into phone)
No. It was just a nurse eavesdropping. How are Dad and Amy? Good. Glad to hear it. Just tell them I'm doing fine.
INT. DANIEL'S ROOM - NIGHT
Daniel is in his room. He is lying in bed. It is around 7 p.m., on the first night of his stay.
FRED
(V.O.; angry shout)
Go away! Leave me alone! No! Leave me alone!
Daniel sits up. The voice of Fred, a paranoid man, is reverberating through the wall.
Daniel gets up and walks to the wall. He bangs on it.
DANIEL
Hey! Keep it down!
FRED
(V.O.)
Go away! Get lost! Go away!
Daniel walks out into the corridor outside his room.
EXT. DANIEL'S ROOM - NIGHT
Daniel sees Nurse Hisbeck and Nurse Nollstich standing outside the room next door. Nurse Grand is inside Fred's room.
DANIEL
(to the nurses)
What's going on?
NURSE HISBECK
Nothing. Just a minor disagreement. It's okay. You can go back to your room.
DANIEL
Disagreement over what?
NURSE NOLLSTICH
Have you met your neighbour Fred?
DANIEL
No.
NURSE NOLLSTICH
Fred is refusing to take his medication.
DANIEL
I'm finding it hard to concentrate with all his shouting.
NURSE HISBECK
You'll get used to it. This is a daily event with Fred.
DANIEL
Well I won't be able to sleep with all that going on during the night. Can I move rooms?
FRED
(V.O.; to the nurse inside his room)
Go away! No! Take it away! I don't want it!
There is a sound of something crashing against the wall.
DANIEL
(putting a frustrated hand to his head)
Shit.
(pause)
How frequent is frequent?
Nurse Grand emerges from Fred's room. She shakes her head.
NURSE GRAND
It's no good. He won't take it.
NURSE HISBECK
I'll call Dr. Drow.
NURSE NOLLSTICH
(call to Fred)
Fred, we'll have to call Dr. Drow if you won't take your medication.
FRED
(O.C.; shout)
Fuck Dr. Drow! Get lost!
Daniel sighs, walks back into his room and closes the door.
INT. DANIEL'S ROOM - MORNING
It is early the next morning. Daniel is asleep. He opens his eyes, and rolls over. He closes them again and suddenly opens them. Sitting in a chair next to him is a WHITE HAIRED MAN he has not seen before. The man is quite old, with long scraggly white hair and a white goatee. He is wearing only a dressing gown which is partly open and reveals too much. He has pipe in his hands, but it is not lit.
DANIEL
Can I help you?

WHITE HAIRED MAN
Got a light?
Daniel looks at the pipe in the man's hands and then back at the man's face.
DANIEL
I don't smoke.
WHITE HAIRED MAN
You don't know what you're missing out on.
DANIEL
Are you allowed to smoke in here?
WHITE HAIRED MAN
No.
DANIEL
Then why are you asking for a light?
WHITE HAIRED MAN
Hmm.
(the white haired man thinks)
Don't know the answer to that one.
DANIEL
What are you doing in my room?
WHITE HAIRED MAN
I came to offer my greetings to you.
DANIEL
Are you . . . the guy from the next room?
WHITE HAIRED MAN
Fred? No. I'm not Fred. He can cause quite a scene, can't he? Was he at it again last night?
DANIEL
Yes.
WHITE HAIRED MAN
They gave me the room next to Fred for six months. I hardly slept for most of those six months.
DANIEL
That bad, huh?
WHITE HAIRED MAN
Can be. He thinks the medicine they give him is a mind control drug administered by the government. He also thinks there's a worldwide plot against him. Fred believes all sorts of things. The doctors are trying to make him see things the right way. But it takes time.
DANIEL
Would you mind if . . .
Daniel gestures to the unintentionally half-open dressing gown.
WHITE HAIRED MAN
(sees the dressing gown is open)
Whoops! Sorry.
The White-Haired man closes his dressing gown.
The White-Haired Man stands.
WHITE HAIRED MAN
Breakfast will be served in a few minutes, if you're hungry.
DANIEL
I'll be there.
WHITE HAIRED MAN
Good. Welcome to Hallford Psychiatric Hospital.
The White-Haired Man shuffles from the room. Daniel can't help but laugh.
INT. BREAKFAST ROOM - MORNING
Some of the patients are still having breakfast.
Another patient, CLARENCE BOZER, is standing in the room, practising his boxing moves in the air. He is throwing quick punches, ducking and weaving and breathing in and out as he does so.
The White-Haired Man is sitting reading the morning paper at a table, the unlit pipe in his mouth.
SAMANTHA and JANE BLUEBERRY, identical twins, are seated at another table. They aren't speaking.
All these patients are in various stages of eating their breakfast.
The White-Haired Man, reading the paper, finds something funny and cackles with laughter. He receives little attention, even though his laugh is loud and long. He never looks up from his newspaper.
Roger, Larry and Reginald are at another table. They are sitting quietly.
Reginald has a pile of bacon on his plate, next to a stack of eggs.
LARRY
(looking at Reginald's plate)
Don't you worry about what that's doing to you?
REGINALD
Breakfast is the most important meal of the day.
LARRY
Yeah, but look at it! You got a whole pig on your plate!
REGINALD
So?
ROGER
Larry's right, Reggie. You have to eat better. You want to live longer, you got to do right by your body.
Daniel walks into the room, showered and dressed. He immediately sees Clarence, still throwing air punches. Daniel walks past him, and sits down with Larry, Roger and Reginald.

DANIEL
(to the group)
What's he doing?
ROGER
The Boxer? Practising for his next fight?
DANIEL
When's that?
ROGER
Never, probably.
LARRY
He used to be something special. Turned professional at eighteen. 17-5 win/loss record. You might have heard of him. Clarence Bozer.
DANIEL
I never followed boxing. I always found it too brutal to watch. All those hits to the head can't be doing anyone any good.
LARRY
If you think you've seen brutal already wait until you see Clarence in the ring. He's brutal, but in a beautiful, graceful sort of way.
ROGER
He was fast, powerful and impossible to knock down. Of his 17 wins fifteen were victory by knock-outs. His five losses were points decisions. No one, ever, has knocked out Clarence Bozer.
DANIEL
Sounds like a champion.
REGINALD
Clarence has all his old fight tapes. If you ask nicely he'll let you have a look at them.
DANIEL
Why did he stop fighting?
LARRY
Clarence lost it when his mind went. He didn't only lose it in the ring, he lost it everywhere. Poor guy. His wife left him, took his two little kids and moved across the country. He's been here for five months.
REGINALD
Yeah. And he practises every day, for about eight hours a day. He just punches the air. Never stops.
LARRY
(to Clarence)
Hey! Clarence! Come over here a minute.
Clarence turns his head, but doesn't stop punching the air. He walks over, still dodging imaginary punches. As he stands in front of the group and Daniel he doesn't stop moving his feet.
LARRY
Clarence, this is Daniel. He wants to see you box.
CLARENCE BOZER
Too late, kid, I'm retired.
LARRY
No. He wants to see your tapes.
CLARENCE BOZER
They're upstairs, in my room.
Clarence lets loose two quick jabs.
CLARENCE BOZER
(to Daniel)
Room 12. Just go and take them.
Clarence moves away, the conversation finished. He continues to box.
ROGER
(to Daniel)
The TV is in the TV room, downstairs.

DANIEL
After breakfast. I'm starving.
INT. TV ROOM - MORNING
Daniel, Larry, Roger and Reginald are sitting on the lounge chairs in the TV room, in front of a big television. Reginald puts the tape into the video machine and presses play. He switches on the TV. He then sits down with the others.
LARRY
We're showing you the best of the best here. March 15, 2001. Clarence is in the prime of his career and is in the best physical condition of his life. He's taking on one of the big guys, Spike Pritten, a bruising hitter who's left most of his opponents with permanently shaky legs. The punters backed the big guy Spike, and everyone though Clarence had little chance of upsetting the champ.
The tape recording of the fight starts. The big guy is an enormous, physically perfect black man, with tattoos on his arms and back. He looks brutal and ready to kill or maim his opponent. He is flanked by trainers and assistants as he steps into the ring. Clarence is waiting quietly, throwing a couple of air-punches and moving his quick feet.
LARRY
Look at Clarence. Look at his feet. The man was a dancer. Beautiful!
We see highlights of the fight, cutting to different moments. The two fighters trade punches for ten rounds. Clarence takes a lot of punches, but delivers more than he receives. The crowd goes wild in the background as each punch is landed, and goes berserk when one punch leaves Spike Pritten wobbling on his feet.
Finally, in the tenth round, Clarence lands one on the jaw of Spike and Spike hits the deck. Clarence stands over the unconscious body of Spike Pritten, raises his arms, turns to the crowd with arms raised and a smile on his face, and then retreats to his corner, where his ecstatic trainer wipes the sweat from his face and tries to hug him.
REGINALD
We've seen this tape a hundred times and it gets better every time.
LARRY
What a punch. One of the best I've ever seen. Yep. Clarence was a hell of a boxer in his time. Still is I reckon. He just needs another shot.
INT. HOSPITAL CORRIDOR - DAY
Daniel is walking down the corridor. A door opens and Fred, the paranoid man, emerges from his room. Fred looks at Daniel, who has stopped walking with Fred's appearance, eyes him suspiciously, then, in a panic, runs in the opposite direction. He runs down the corridor, turns a corner and is gone. Daniel can't help but laugh.
INT. RECREATIONAL ROOM - DAY
Daniel is in the recreational room by himself. He is playing pool at the pool table. He lines up two shots and hits them. He hears a door creak open and looks up.
The two identical twins, Jane and Samantha Blueberry - the girls he first saw in the breakfast room - are standing there, watching him. There is something eerie about their identical appearance.
DANIEL
Hey, how's it going?
The twins are silent.
DANIEL
My name's Daniel.
JANE BLUEBERRY
Do you have any cigarettes?
DANIEL
Sorry. I don't smoke.
SAMANTHA BLUEBERRY
What about whiskey?
DANIEL
Whiskey?
The twins don't reply. They just keep watching Daniel.
DANIEL
I don't think that's allowed. I like a drink myself but I was told . . .
JANE BLUEBERRY
(to Samantha)
I told you he wouldn't help us.
They turn and exit the room. Daniel calls out as they leave.
DANIEL
Wait!
The twins are gone.
INT. PAINTING ROOM - DAY
Daniel is sitting in front of a painting board. He is sitting on a stool. A blank page is in front of him.
Larry, Roger and Reginald are also there, with their own painting boards.
The PAINTING INSTRUCTOR, a middle-aged woman with a soft voice, is walking around the room, speaking with a hushed but encouraging voice.
PAINTING INSTRUCTOR
Think of something that is important to your life. You might imagine something that has meant a lot to you, something that has perhaps changed your life. Use that as inspiration. Or, maybe, you could paint a scene that has brought you peace and calm. A forest. Or a beautiful beach. Or the moon in the sky. Just remember, you're free to paint whatever you like. Painting is a form of expression. Use it to try to express yourself, maybe some feeling you have or like.
ROGER
(to Painting Instructor)
Excuse me, Janet, couldn't we do live drawings this time? Perhaps, a naked woman?
LARRY
What if nothing in our lives has ever inspired us, or changed us, or brought us peace and happiness?
REGINALD
(nods at and agrees with Larry's statement)
Yes.
PAINTING INSTRUCTOR
Surely, you can think of something that has made a difference in your life.
LARRY
I took a few beatings as a kid. That changed me. Can I paint myself getting beaten by my father?
PAINTING INSTRUCTOR
I think you're thinking the wrong way, Larry. You have to put these bad memories and negative feelings away somewhere and lock them up. Don't let them come back.
LARRY
Easier said than done.
PAINTING INSTRUCTOR
Instead, you must think positive thoughts. Happy thoughts. Think of nice things - like beautiful flowers and little kittens and sunsets.
REGINALD
No offence, but I'm a bit tired of painting sunsets at the beach, or the stars in the sky, or an animal running through a forest. We seem to do the same thing every week.
PAINTING INSTRUCTOR
My answer would be . . . be inspired!
The group shrugs and picks up their paint brushes. They dip their brushes in their paint and begin painting.
INT. PAINTING ROOM - MORNING

A short time later. The group of patients are all busy painting. The Painting Instructor is slowly walking around the room, inspecting the paintings.
Roger, Larry and Reginald have all painted flowers and kittens and sunsets. As the Painting Instructor passes each of them she admires their paintings and makes a positive comment about each paintings.
PAINTING INSTRUCTOR
(to Roger)
Wonderful! You've managed to capture the beauty of nature.
(to Larry)
Good. Very nice!
(to Reginald)
Beautiful Reginald. You really do have a gift.
REGINALD
Maybe one day I can sell these and retire. I'd like a big boat.
The Painting Instructor walks to Daniel and looks at his painting. She gasps and clutches her chest with one hand.
Daniel is painting something disturbing - a picture of hell, with many tortured souls awaiting judgement and eternal punishment.
PAINTING INSTRUCTOR
Daniel?
DANIEL
I call it the Judgement of the Damned.

PAINTING INSTRUCTOR
It's . . . It's not . . . It's quite unusual. What's that?
The painting instructor points to a tortured soul in the picture.
DANIEL
That's one of the damned. What? Isn't it clear?
PAINTING INSTRUCTOR
What I try to encourage here is the painting of things that are the result or the cause of happy thoughts. I encourage people to put happy feelings onto the blank canvas. Remember, we're trying to be as happy as we can.
DANIEL
Oh. I thought we were free to paint whatever came into our minds.
PAINTING INSTRUCTOR
Well, you are. But next time, try something a little . . . try and portray something a little less distressing.
The Painting Instructor, still shocked, walks away. Daniel smiles. His joke worked.
EXT. KEITH DROW'S OFFICE - AFTERNOON
It is the afternoon. Daniel walks up to a door in the hospital unit. On the door is the name - Keith Drow. Daniel knocks.
KEITH DROW
(O.C.)
Come in.
Daniel opens the door and enters.
INT. KEITH DROW'S OFFICE - AFTERNOON
Daniel closes the door quietly and stands at the door. KEITH DROW is sitting at his desk, writing. He puts down his pen and stands up. He walks over and extends a hand. Daniel shakes Keith's hand.
KEITH DROW
Daniel?
DANIEL
That's me.
KEITH DROW
Welcome. Please, sit down.
Daniel takes a seat in a chair opposite Keith.
KEITH DROW
First things first. Some people find it difficult to open up to a stranger. You needn't feel that way. Whatever you wish to tell me you can. This conversation and all the conversations we have will be between us and us only. No one else is listening, and no one else is watching. You have my assurance of complete confidentiality in this room.
DANIEL
Okay. That's good to know.
KEITH DROW
That means you can tell me whatever you want. You will only be telling me.
DANIEL
Okay.
KEITH DROW
Daniel, why do you think you are here?
DANIEL
Misdiagnosis.
Keith is silent, waiting for more from Daniel.
DANIEL
The truth is - there's nothing wrong with me. A bunch of doctors convinced my family that I needed help. So they brought me here, against my will.
KEITH DROW
Your file says you've demonstrated some alarming and somewhat disturbing behaviour in recent times. Your once amiable attitude has become hostile and you've shown significant mood swings. Your file indicates that you've slipped mentally. You've fallen into a hole somewhere and you're struggling to get out.
DANIEL
It says that? That I've 'fallen into a hole'?
KEITH DROW
No. I'm just putting it in my own words.
DANIEL
What does it really say?
Keith looks at the file.
KEITH DROW
(reading the file)
Your doctor has written, "Daniel's behaviour over the last several months shows serious signs of mental deterioration. He is hostile, angry, highly stressed and shows signs of being deeply depressed. These worrying signs would justify Daniel's admission to a psychiatric hospital and I would unequivocally support this type of treatment for Daniel. In addition, Daniel's parents have expressed deep concern that Daniel is perhaps under the influence of people, whom Daniel considers friends, that he should avoid. They are having a negative effect upon his behaviour and state of mind. Importantly, Daniel recently lost one of his oldest and closest friends to suicide and this has placed another load upon Daniel's already stressed and fragile state of mind."
Daniel is silent.
KEITH DROW
You see, Daniel, people, particularly your family, care about you. They're worried about you.
DANIEL
They don't like me having a good time. That's all it is.
KEITH DROW
It doesn't sound like you have been having a good time. Several months of alcohol and substance abuse. The death of your closest friend.
DANIEL
(saddened thinking of Marcus)
Yes.
KEITH DROW
Did you feel unable to cope with the loss of your friend?
Daniel doesn't reply.
KEITH DROW
It's alright. We have time to talk about that.
DANIEL
Do you know how my friends are doing? The ones that were in the car with me.
KEITH DROW
Daniel, are those people really your 'friends'.
DANIEL
What do you mean?
KEITH DROW
Your family has told me they're the ones who have been exerting a bad influence upon you for several months.
DANIEL
I can handle myself. I don't need a baby-sitter to tell me what to do.
KEITH DROW
Daniel, there have been threats.
DANIEL
What?
KEITH DROW
Against you. And your family.
DANIEL
From who?
KEITH DROW
Your 'friends', and their friends, and their families. I didn't want to alarm you. We don't think they know where you are, and they can't find out. You're safe here.
There is a knock at the door.
DANIEL
Expecting someone?
KEITH DROW
Please, stay where you are. There's someone here who needs to have a talk with you.
DANIEL
Oh, Jesus, it's not my sister is it?
KEITH DROW
No.
Keith walks to the door and opens it. OFFICER MELLPOW is standing there. He enters, walks past Keith and stands near Daniel. Keith closes the door.
KEITH DROW
Daniel, this is Officer Mellpow.

DANIEL
What have I done now?
OFFICER MELLPOW
(to Daniel)
Daniel, I take it Keith has told you about the threats.
Daniel looks at Keith and back at Officer Mellpow.
DANIEL
What threats?
OFFICER MELLPOW
Daniel, the three men who were injured in the accident have family and friends who are, obviously, and understandably, angry at what has happened. They blame you. You were driving the car, you were drunk.
Daniel sits in silence.
OFFICER MELLPOW
They want your blood Daniel.
DANIEL
Oh, shit.
OFFICER MELLPOW
They're a disreputable bunch of characters. It seems your friends have had some experience in criminal matters. As have their friends and families. Did you know that?
DANIEL
No. I thought they were clean.
OFFICER MELLPOW
Now, we might be wrong and maybe nothing will happen to you. But we want you to know that there is the possibility that they'll come after you. For revenge. To get even.
DANIEL
Thank you for telling me. Can they get to me here?
OFFICER MELLPOW
No. They can't get in. We're more concerned about what will happen when you're released.
KEITH DROW
Daniel, we don't want to alarm unnecessarily. But there is the chance that they'll try to hurt you.
INT. RELAXATION ROOM - NIGHT
The room is dark. There are only a few candles spread around the room. The group, including everyone that Daniel has met, except Roger, is there. They all have their eyes closed, and a few are holding hands.
RELAXATION INSTRUCTOR
Now, keeping your eyes closed, just think happy thoughts. Relax. Relax your whole body. Each part one at a time. Let everything go. First, your head. Let the weight of the world fall away. Now your arms. That's it. Now your legs. Let your legs go. Relax your whole body. Now, breathe in deeply. That's it. Breathe in deeply. The whole time, breathe in deeply. And out.
Daniel opens his eyes during this boring instruction, deeply amused at the pathetic nature of the whole process. He isn't taking it seriously at all. A wide grin spreads across his face. He looks at everyone with their closed eyes. He is looking at Larry, when Larry opens his eyes. They make eye contact and Larry bursts out laughing, seeing Daniel's grin and sharing the same thoughts as Daniel. The instructor ignores it, her eyes still closed. Others open their eyes too and frown at Larry and close their eyes again.
DANIEL
(mouthing only to Larry)
Where's Roger?
Larry, unable to answer the question at that moment, assumes a ridiculous meditative position and Daniel starts laughing, again disrupting the group. Daniel laughs and cannot stop.
RELAXATION INSTRUCTOR
Daniel, Larry, is something funny?
Daniel's laughter finally stops.
DANIEL
Yes. This.
The rest of the relaxation group opens their eyes.
RELAXATION INSTRUCTOR
If you don't want to relax with us, you can leave at any time.
DANIEL
You know what, I think I will.
Daniel stands up.
LARRY
I'm going too.
Larry gets up and Daniel and Larry walk from the room. Reginald stays seated where he is. The rest of the group in relaxation watch Daniel and Larry as they leave the room. A couple shake their heads in disgust.
EXT. HOSPITAL CORRIDOR - NIGHT
Larry and Daniel walk out of the relaxation room.
DANIEL
(still laughing)
What the hell was that?
LARRY
Once a week, every week, we do that. Everyone else swears by it.
DANIEL
I don't see it could do much. It's not like it's going to cure you. Is it?
LARRY
They swear by it. It helps. It's never done a lot for me, but it does give some patients here a sense of peace and understanding.
DANIEL
Where was Roger?
LARRY
Roger wouldn't be seen dead in a relaxation session. He thinks the whole thing is dumb.
DANIEL
What about Fred? If anyone needs relaxing, it's Fred.
LARRY
Fred's so highly-strung I always think he's on the verge of flipping out.
DANIEL
He's already flipped out. That's why he's here.
Roger appears through a doorway, holding a newspaper in his face.
LARRY
Roger!
Roger lowers the paper and looks up.
ROGER
Hah! Listen to this. Remember that film I made about five years ago - Hell Comes to Venus?
LARRY
Hell Comes to Venus. The sci-fi flick? Oh yeah, that was a real piece of shit. Not you, of course. You were great. Best thing in it.
ROGER
Thanks for the compliment. Anyway, they're making a sequel. Hell Comes Back to Venus.
LARRY
Are you going to be in it?
ROGER
Hey, it's already in production according to this [the newspaper]. I guess they passed on me. But that's no surprise.
LARRY
Wait. Didn't your character die at the end of Hell Comes to Venus  I?
ROGER
Yeah, so? Haven't you ever heard of cryogenic freezing?
LARRY
How many of the original cast are appearing in the sequel?
Roger hesitates before answering.
ROGER
All of them. Except me.
Roger walks off before Larry or Daniel can say any more.
LARRY
Roger ranks that performance as his worst ever. He wasn't surprised by what the critics said about that one. Everyone in that film sucked.
DANIEL
Then why are they making a sequel?
LARRY
Beats me.
Suddenly, Fred appears down the corridor.
DANIEL
Hey Fred!
Fred looks startled, sees Daniel, and he runs off.
INT. HOSPITAL COURTYARD - MORNING
The next day.
Daniel and the others are sitting in the courtyard.

ROGER
Daniel, when someone new comes here, we like to know a bit about them. Tell us something about yourself.
DANIEL
Really, it's not that interesting.
ROGER
What else are we going to do?
Roger lights up a cigar.
DANIEL
I guess you're right. Okay, the reason the doctors put me in here, is because they think I lost the plot.
REGINALD
You're a slow learner Daniel. We all lost the plot. At least according to the doctors.
DANIEL
The truth is, my friend died. Everyone seems content to blame me for his death. That's enough reason for them to put me in here. I did wrong, I should be punished.
REGINALD
How did he die?
DANIEL
Suicide. Pills.
LARRY
I took pills once.
REGINALD
Me too.
They look at Roger.


ROGER
Hey, don't look at me. I may be crazy but I still have the will to live. Always have.
REGINALD
Daniel, I'm sorry people look to blame you for something they shouldn't.
DANIEL
Forget it. It's not your fault.
LARRY
(to Daniel)
Hey! You know why Reginald's here?
Daniel looks at Reginald.
REGINALD
I used to be a magician. Now, I'm an ex-magician.
DANIEL
And that made you crazy?
REGINALD
No. The magic made me crazy. I realized . . . I'd spent all my life engaging in deception and deceit. I fool people for a living. That's my job. How could I live with that any longer?
LARRY
You couldn't. That's why you're here.
REGINALD
(to Daniel)
Plus, every day I had to get up, think about my magic tricks . . . and how they might all go wrong. What if I pulled a rabbit out of my hat and I hurt the rabbit? What if I killed the rabbit? What if . . . what if I really sawed my assistant in half?

DANIEL
But you couldn't. It's just a trick, right?
Reginald scratches his head, smiles and looks away, at nothing.
ROGER
(to Larry)
Larry, tell him about you.
REGINALD
(to Larry)
Tell him about the money.
DANIEL
What money?
A momentary pause and there is a sense of Daniel's sudden interest.
ROGER
Larry claims he stashed away close to a hundred thousand someplace. Money he stole.
DANIEL
(to Larry)
You stole a hundred grand?
ROGER
Larry's a kleptomaniac. He's been stealing all his life. The fact that he stole money is nothing new. It's how much he stole that makes it interesting.
REGINALD
Stealing is an obsession with Larry. He sees something he wants, he takes it. He doesn't think of any consequences.
DANIEL
But a hundred grand! That sounds like something a professional thief would do.
LARRY
That was a one-off. Normally, I just stick to department stores and shopping centres, and corner shops and that sort of thing. The doctors here are helping me though that. I just have to see that stealing is wrong. I don't need to steal to feel good. That's what the doctors say I don't understand.
They sit in silence, thinking all this over. Roger speaks first.
ROGER
Good. Now we know each other a bit better. It helps to get this stuff off one's chest.
The door to the hospital suddenly bangs open and two police officers drag in a kicking and screaming young man, named TRISTAN. Tristan is acting very violently and doing everything he can to resist. Doctor Blume is with the police.
POLICEMAN
Where do you want him?
DOCTOR BLUME
This way.
TRISTAN
(angrily)
Let go of me, you fucking pigs.
The police drag Tristan to a padded room, the only one in the facility. Another nurse opens the door, and the police throw Tristan inside and the door is shut and locked. There is violent banging and irate shouting from inside.
This is all witnessed by the other patients, including Daniel. Clarence Bozer also sees it and stops his air-punching in astonishment. When the door is locked, Clarence Bozer resumes his air-punching as if nothing has happened.
ROGER
A padded cell. It must be serious.
DANIEL
(to all)
You . . . Any of you ever been in there?

ROGER
No. I was never the violent type.
REGINALD
Me neither.
LARRY
I have had violent thoughts once in a while, you know, normal stuff, but I never take it out on anyone.
DANIEL
What do you think he did?
LARRY
He's demonstrated violent behaviour. No question about it. He probably assaulted someone. Maybe the police. If they can't be controlled, it's straight to the padded room. And that's where they stay until they cool off.
REGINALD
He probably has a long history of mental problems.
DANIEL
I hope I never get put inside that room.
LARRY
No one wants to end up in there. They say you go even crazier. It's just you and the walls.
The two twins, Samantha and Jane, suddenly appear nearby. Daniel sees them and stands quickly and walks towards them.
DANIEL
Hey!
The twins try to disappear through a door and down a corridor. Daniel chases after them. Daniel runs through the door and into the corridor. He sees them turn a corner at the end of the corridor.
DANIEL
Hey! Wait!
The twins vanish. Daniel runs down the corridor and after them. He turns the corner and sees a door close. He runs to it and pushes it open and enters.

INT. ROOM IN HOSPITAL - DAY
Daniel is in an empty room. He sees an open window, the curtain is flapping in the breeze. He hurries to the window and looks out. He sees the two twins sitting on the roof outside.
EXT. ROOF OF HOSPITAL - DAY
Daniel climbs through the window out onto the roof. The twins watch him.
JANE BLUEBERRY
What do you want?
Daniel sits down next to the twins. The view is spectacular.
DANIEL
Hey, why did you run?
The twins don't reply.
They take out a packet of cigarettes and light up. Jane holds the packet out to Daniel.
DANIEL
No thanks. But thanks.
Jane puts the cigarettes in her pocket.
DANIEL
Some view you've got here.
JANE BLUEBERRY
We like it.
DANIEL
How old are you?
JANE BLUEBERRY
Eighteen.
Samantha pulls out a small flask filled with alcohol. They both drink from it.
SAMANTHA BLUEBERRY
Want some?
Daniel looks at the flask, and decides he could use a drink. He takes the flask and takes a gulp from it.
JANE BLUEBERRY
Better now?
DANIEL
How long have you been in here?
JANE BLUEBERRY
Just a few weeks. Before that they had us in a rehab clinic. They said we drank too much.
DANIEL
They said I have problems with my attitude. Keith Drow told me I have a 'fragile' mind.
SAMANTHA BLUEBERRY
Everyone in here has a fragile mind. We wouldn't be here if we didn't. And everyone has attitude problems.
DANIEL
That makes me feel better. So, why did they move you from a rehab centre to here?
The twins hold up their wrists, pull up their sleeves, and Daniel sees the cuts and bandages which he didn't notice before.
JANE BLUEBERRY
That's why.
SAMANTHA BLUEBERRY
We weren't happy where we were. But we like it here more.
DANIEL
So you won't . . . You won't try anything like that again?
SAMANTHA BLUEBERRY
No.
DANIEL
That's a relief.
INT. HALLFORD PSYCHIATRIC HOSPITAL - AFTERNOON
Clarence Bozer is boxing. Larry, Roger, Reginald, the White-Haired Man and two nurses are watching him intently, all very impressed. One of the Nurses is NURSE DREESE, a man who Daniel hasn't seen before.
ROGER
Clarence, you're still young. You could still get back what you once had.
REGINALD
Yeah, Clarence, you still got it. When you get better, you should line up a few fights. I bet you'll put them on the floor in the first round.
NURSE DREESE
You kidding me?
They all look at Nurse Dreese and a silence settles. It is clear for a split-second that Clarence has heard this. He reacts almost imperceptibly but keeps boxing, saying nothing.
REGINALD
(to Nurse Dreese)
Clarence was the best there was.
LARRY
(to Nurse Dreese)
Yeah, don't you forget that.
NURSE DREESE
You're kidding me, right?
LARRY
No, we aren't.
NURSE DREESE
(to Clarence)
Clarence, you can't actually be hoping for a comeback once we let you go, are you?
Clarence keeps boxing, apparently not listening.
NURSE DREESE
Come one, Clarence, why don't you call it quits? You're over the hill now Clarence. You're past it. I wouldn't call you washed up, but you're certainly close to it.
The others look at each other in shock and horror.
Clarence's punching slows down slightly as he reacts to the Nurse Dreese's cajoling.
NURSE DREESE
Come on Clarence, put down the gloves for good. It's over.
Clarence finally stops boxing the air. He lets his arms drop to his sides. He looks at Nurse Dreese, looking despondent.
NURSE DREESE
That's it Clarence. Give it up. There's no point any more.
ROGER
Don't listen to him, Clarence. Keep it up buddy. Knock them senseless. Left, right, left, right.
Clarence looks at the group near him.
CLARENCE BOZER
Maybe . . . Maybe I was meant to stop when I did. Maybe I had my go. Some things just end.
LARRY
And a good go it was Clarence. You were the best.
NURSE DREESE
(to Clarence)
Well, you weren't the best. But you did have a special gift in that ring.
REGINALD
You had something that no one else had Clarence. You know it. We know it.
NURSE DREESE
But your time is up now Clarence. It's time to see that. I bet, that if you got in the ring now Clarence, you wouldn't last two rounds.

REGINALD
(to the other patients; quietly)
Jesus Christ, he's [the nurse] really asking for it.
Clarence turns and walks away, looking despondent. When he is gone and out of earshot,
LARRY
(to Nurse Dreese)
What the hell were you thinking?
NURSE DREESE
Clarence needs to wake up. He can't box the rest of his life.
LARRY
Yeah, but Jesus, couldn't you wait for a better time to break this news to him? He's in a hospital. The man's on the edge.
ROGER
Yeah, if your intention was to shatter someone's dreams and hopes, I think you've succeeded.
NURSE DREESE
He'll be okay.
Nurse Dreese stands and walks away. He shakes his head as he leaves, a smile on his face. When the nurse is gone,
ROGER
Bastard.
LARRY
So cruel. So very cruel.
ROGER
Now, if I was a boxer, I'd knock that fucking nurse on his ass. No two ways about it. I'd fucking nail his ass.
LARRY
Me too.
REGINALD
He's not right though, is he? Clarence isn't washed up.
(pause)
Right?
INT. RECREATIONAL ROOM - AFTERNOON
Daniel is shooting pool with the twins.
DANIEL
If you don't mind my asking, why did you . . .
(he looks at their wrists)
You know . . . do that to yourself?
JANE BLUEBERRY
You must be new here. You spend enough time in this place, you see plenty of . . . this.
(she holds up her wrists)
DANIEL
Yeah, but you personally. Why did you do it?
JANE BLUEBERRY
We do everything together.
This morbid statement momentarily stuns Daniel.
DANIEL
What, one of you wants to die, so the other agrees to sacrifice her life?
JANE BLUEBERRY
Basically.
DANIEL
And you're cool with that?

JANE BLUEBERRY
Yes.
SAMANTHA BLUEBERRY
Yes.
DANIEL
So which one of you wanted to die?
Jane and Samantha exchange cautious looks.
SAMANTHA BLUEBERRY
We don't feel comfortable answering these questions.
JANE BLUEBERRY
To us, you're a stranger, prying into our personal lives. We don't have to tell you everything.
DANIEL
Fine. That's fine.
JANE BLUEBERRY
So, why are you here? If you don't mind our asking.
DANIEL
I shouldn't be here.
JANE BLUEBERRY
No. Of course not. None of us should.
DANIEL
No. I'm serious. I shouldn't. A few bad things happened. People, particularly my family, thought I was out of control. Drink, 'illegal substances' as Keith Drow likes to say, mood swings, attitude problems, lack of sensitivity, or empathy or something, regarding my closest friend's death and his family.
JANE BLUEBERRY
I'm sorry to hear about your friend. What's empathy?

SAMANTHA BLUEBERRY
Yeah, what is empathy?
DANIEL
It basically means that because I didn't show enough sympathy and compassion and all that emotional, feeling stuff, when Marcus died, then I'm effectively faulty up here.
(he taps his head)
I didn't try hard enough to understand how his family was feeling.
SAMANTHA BLUEBERRY
Oh.
DANIEL
Something has to be wrong with me because I simply displayed an uncaring attitude.
JANE BLUEBERRY
Did you care?
DANIEL
What? That Marcus died? Of course. But that doesn't mean I have to show it, but because I didn't show it, that does not make me crazy!
JANE BLUEBERRY
If that happened to me, if a close friend died, I'd cry. I'd be very sad.
SAMANTHA BLUEBERRY
(to Daniel)
Did you cry?
DANIEL
Honestly?
They nod.
DANIEL
No. And I never came close. I just didn't feel that sad that I was losing my oldest friend, someone I'd grown up with and shared so many things with.
JANE BLUEBERRY
I feel sorry for you Daniel. Maybe you can't show your emotions well at all.
DANIEL
But does that make me nuts?
Daniel sinks the last ball and wins the game.
DANIEL
Another game?
INT. HOSPITAL COURTYARD - AFTERNOON
The group of patients - the White-Haired Man and Larry and Roger and Reginald - are sitting in a courtyard. The White-Haired Man has his pipe in his mouth, unlit. They are playing a game of cards. A nurse sits nearby, watching them.
LARRY
(to the Nurse)
You want to play?
The Nurse shakes his head.
LARRY
Why not?
NURSE
You go ahead. I'm just here to watch.
Fred, the paranoid man, appears at the door to the courtyard. He stands there, nervously, and moves to a seat across the courtyard and sits down and starts to fidget. The group watches him.
ROGER
Fred! How goes it?
NURSE
Hi Fred.
FRED
The walls are talking again.
ROGER
Ah, shit, that's too bad Fred. What are they saying this time?
FRED
(nervously, obviously lying)
I can't remember.
ROGER
(to Fred)
Care for a game of cards?

FRED
No.
LARRY
Whose deal is it?
REGINALD
(to Larry)
Yours, I think.
Larry starts to shuffle the cards.
LARRY
(to Reginald)
And don't think I don't know you have two cards up your sleeve, Mr. Magician.
REGINALD
What the hell are you talking about? Check if you want.
LARRY
Maybe I will. Come on, show me what's up there.
REGINALD
You look, you won't find anything. So, deal.
Roger pulls out a cigar and lights it and puffs on it.
ROGER
Care to make this one interesting lads?
REGINALD
You want to bet money?
Reginald and Larry look at each other. Reginald looks then to the nurse. They shrug and think - why not?
REGINALD
(to Nurse)
Can you lend me twenty for the game?
NURSE
(to Reginald)
Sorry, Reginald.
LARRY
I got money.
Larry produces money from his pocket.
REGINALD
Where did you get that Larry?
LARRY
(suspiciously)
Nowhere. Why?
REGINALD
Did you steal it?
LARRY
I also got this watch.
Larry takes out a nice gold watch.
REGINALD
Larry, you're here for rehabilitation. Not to steal.
LARRY
Who said I stole it?
ROGER
Alright, forget it. I don't think I could take your money anyhow. It would seem unethical. Shuffle and deal Larry.
As the cards are being shuffled cards they see Clarence Bozer walk past. He is not boxing the air, but walks determinedly towards the nurse's station.
REGINALD
Hey! Clarence! Care for a game of cards?
Clarence walks past, and doesn't respond.
INT. NURSE'S STATION - AFTERNOON
Three nurses are in the station, Nurse French and Nurse Grand and Nurse Dreese, the nurse who earlier ridiculed Clarence. They are sipping tea and coffee from coffee mugs.
Clarence appears at the door.
NURSE DREESE
Hey! Clarence. Good to see you man!
Clarence stands there, not speaking.
NURSE FRENCH
Everything okay, Clarence?
Clarence points to Nurse Dreese.
NURSE DREESE
Me?
Nurse Dreese laughs, almost contemptuously.
NURSE DREESE
What did I do Clarence?
Clarence points again.
NURSE GRAND
(to Nurse Dreese)
Did you say something to him?
NURSE DREESE
No. Nothing.
CLARENCE BOZER
He said my boxing is over. He said I can't box any more.
NURSE DREESE
That's right Clarence. It is over. Why don't you realize that? Boxing the air all day won't get you back in the ring.
Nurse Dreese approaches Clarence and stands in front of him. Nurse Dreese has a friendly, reassuring smile on his face, which is, of course, fake.

NURSE DREESE
It's alright Clarence. You'll find something else besides boxing. Maybe a new job. There is life after boxing. Okay, Clarence?
CLARENCE BOZER
I can still box. I can still win.
NURSE DREESE
I'm sorry Clarence. It's over for you. Now go and play cards, or have a rest. Do something! Just quit boxing at nothing!
Clarence stands and waits for a few seconds. Then he turns and takes two steps away. Nurse Dreese smirks and turns back to the other two nurses.
NURSE DREESE
(to the other two nurses)
You can't box forever, can you?
Suddenly Clarence turns and launches the hardest punch he has directly at the head of Nurse Dreese. It connects with a loud whack and Nurse Dreese drops to the ground, his eyes open but moving wildly, half unconscious. Just as Clarence swings at Nurse Dreese, the other two nurses scream and try to stop him.
NURSE FRENCH AND NURSE GRAND
No Clarence!
Clarence looks down at the twitching body of Nurse Dreese.
NURSE FRENCH
Jesus Christ. I think he's killed him.
Nurse French and Nurse Grand kneel down at Nurse Dreese's side. The Nurse from the courtyard comes running, as do two others.
NURSE FRENCH
Call the doctor.
The group of patients in the courtyard watches on.

REGINALD
That was some punch.
LARRY
I knew Clarence still had it.
ROGER
I don't like to see anyone hurt, under any circumstances, but I can't say it wasn't deserved.
Clarence is calm and does not resist as the other nurses hold him.

OTHER NURSE
(to Clarence; reassuringly)
Clarence, let's go and sit down.
Clarence nods. The Other Nurse leads Clarence away to a side room.
OTHER NURSE
Good Clarence. We'll just sit down and have a talk. Okay?
Clarence nods.
Other patients in the area approach the nurse’s station out of curiosity, but one of the nurses talks to them and asks them to stay back.
OTHER NURSE #2
Please, everyone, just go into the other room.
The patients reluctantly move off to other rooms.
OTHER NURSE #2
Thank you. That's it. Thank-you.
Nurse Dreese is conscious now. He is so groggy and dazed he can barely move. He is lying on his back.
NURSE DREESE
What happened?
NURSE FRENCH
How many fingers am I holding up?
NURSE DREESE
Three.
Nurse French is holding up one.
Doctor Blume arrives.
DOCTOR BLUME
What happened?
Doctor Blume kneels down next to Nurse Dreese.
OTHER NURSE
Clarence king-hit him.
DOCTOR BLUME
Why?
The Nurses look guilty, knowing the truth. No one speaks.
DOCTOR BLUME
(angrily and impatiently)
Why?
OTHER NURSE
We're not sure.
Doctor Blume starts doing his tests on Nurse Dreese.
DOCTOR
Someone, give me a hand. We'll take him into the other room and lie him down.
They lift up Nurse Dreese. They carry him to another room and lay him down on the couch.
NURSE DREESE
(dazed; as he is carried away)
What day is it? Can someone feed my cat? He's all alone. I think someone should go and make sure . . .
DOCTOR BLUME
It's alright. You've got concussion. You'll be okay. Just relax.

EXT. COURTYARD IN PSYCHIATRIC UNIT - AFTERNOON
In the courtyard, the three patients are still playing cards, as though nothing has happened. Fred is sitting on the other side of the courtyard, still nervous. Roger sees how nervous and fidgety Fred is.
ROGER
(to Fred)
Relax, Fred. It'll all be over soon.
Fred looks nervously at the nurses and doctors surrounding the Nurses' station.

REGINALD
(to Larry and the Roger)
What do you think they'll do to Clarence?
Fred suddenly stands up and runs off, the drama too much to take. He disappears down a corridor.
ROGER
They'll move him out. He can't stay here now.
REGINALD
Poor Clarence. He just snapped.
LARRY
Wouldn't you? I mean, that fucking nurse was brutal.
REGINALD
Yeah, I guess I would.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
A van is waiting outside the hospital. Clarence is led out by two muscled security guards. He's put into the van, accompanied by Nurse Grand as well as the two guards. A small group of other patients is at the door, watching Clarence being led away. The Nurses are there too.
LARRY
Bye Clarence!
ROGER
Good luck Clarence. Let's hope we see you again soon. Don't forget us. We'll always be here for you.
REGINALD
You'll make it Clarence. Just hold on! You'll be back in the ring in no time!
Once Clarence is in the van, the doors are closed, the engine starts and the van drives away.
NURSE GRAND
(to the patients)
Alright everyone. Back inside.
The patients all turn and walk back inside, accompanied by Nurse Grand. Larry stands and breathes in the beautiful air and takes in the scenery before him (nice green trees in the distance).
LARRY
Gee, it's nice to be outside. I feel like a free man again.
NURSE GRAND
It's time to go back inside Larry.
Larry doesn't move. He continues to breathe in the fresh air. He closes his eyes, lifts his head, and savors the moment.
NURSE GRAND
(gently)
Larry?
Larry opens his eyes. He turns to the nurse and smiles.
LARRY
I was having the most beautiful visions in my mind. Visions I haven't experienced in a long time.
NURSE GRAND
Good, Larry. You can tell Dr. Drow all about it in your next session.
Larry nods and walks back to the entrance doors. He enters, followed by Nurse Grand.
EXT. ROOF IN HOSPITAL - DAY
The twins and Daniel are back on the roof. The twins are sitting next to each other. They are both smoking cigarettes. Daniel is standing near the edge of the roof.
JANE BLUEBERRY
Some view, isn't it?
DANIEL
It's pretty spectacular.
In the foreground are the green trees and a nearby park. Further in the distance are tall buildings that stand out in the clear blue sky and glimmer in the sun.
SAMANTHA BLUEBERRY
Our mother works in one of those buildings.
DANIEL
Which one?
SAMANTHA BLUEBERRY
I don't know. One of them. One of the tall ones. She works for a television station. She's a journalist.
JANE BLUEBERRY
She's a reporter on the evening news.
Daniel thinks about this and then changes the subject.
DANIEL
What do you plan to do when you get out of here?
JANE BLUEBERRY
We're moving to France. Somewhere in the countryside.
DANIEL
Why France?
JANE BLUEBERRY
We just like the idea. The peace and quiet.
SAMANTHA BLUEBERRY
Plus no one will know us there.
DANIEL
What will you do?
SAMANTHA BLUEBERRY
Get a job in a bakery.
DANIEL
Both of you?
SAMANTHA BLUEBERRY
Yes.
Jane Blueberry nods.

SAMANTHA BLUEBERRY
Maybe you could come live with us.
DANIEL
I don't know any French.
SAMANTHA BLUEBERRY
You don't have to.
DANIEL
I'll think about it.
JANE BLUEBERRY
Really?
DANIEL
Really. It's getting cold. We should go in.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
It is the middle of the night. Daniel can't sleep. He is in bed, but is tossing and turning.
FRED
(V.O.; screams from the next room)
Shut up! Shut up!
DANIEL
(to himself miserably)
Not again.
(to Fred, loud shout)
Shut up Fred! We're trying to sleep.
FRED
(V.O.)
Go away! I don't want to hear you anymore!
Daniel stands up and switches on a bedside light. He stands up and walks to the door. He opens it and steps into the darkened corridor. He walks to Fred's door and knocks. There is silence.
DANIEL
Fred, it's me. Daniel.
FRED
(V.O.)
There's no one in this room. Go away.
DANIEL
Fred, I know you're in there. I can hear your voice.
FRED
(V.O.)
No. You're imagining my voice.
Daniel pushes open the door.
INT. FRED'S ROOM - NIGHT
Daniel enters but stands by the door. Fred is sitting up in bed, looking thoroughly agitated and distressed.
DANIEL
Hi Fred.
No reply.
DANIEL
They're at it again, huh?
FRED
The walls talk to me.
DANIEL
Fred, why do you think that is?

FRED
I . . . I don't know.
DANIEL
I don't hear the walls talking.
FRED
So?
DANIEL
So, maybe . . .
FRED
You think I'm imagining it?
DANIEL
It's a possibility.
FRED
That's what Keith Drow says. He tells me I'm mixing up the real with the imagined. But they talk.
DANIEL
You know, I used to think there was a bogeyman under my bed when I was four. It took me two years to realize there was nothing there.
FRED
Stupid. There's no such thing as any bogeyman.
DANIEL
Fred, is there anything you want to talk about while I'm here? Anything you want to get off your chest. Sometimes it helps.
FRED
I can't think of anything.
DANIEL
I just have one request then. Just keep it down if you could. I'd like to get at least two hours sleep tonight.
FRED
You make the walls stop talking and then they'll be no problem.
Daniel nods.
DANIEL
I'll do my best.
Daniel walks from the room, quietly closing the door behind him.
INT. CORRIDOR IN HOSPITAL - NIGHT
Daniel walks slowly down the corridor, too awake to go back to sleep for the moment. He sees the nurses light on downstairs and then he sees the kitchen, in darkness. He feels like a snack.
EXT. NURSE'S STATION - NIGHT
Daniel is downstairs, walking slowly towards the nurse's station. He hears a faint moaning coming from the station. He is bewildered by it and walks slowly towards it. As he gets a glimpse inside, he sees two nurses having sex on a table. He watches for a second and then retreats silently, and tries not to laugh.
EXT. BREAKFAST ROOM IN HOSPITAL - MORNING

The next morning. Daniel walks down the corridor near the breakfast room. Larry is walking by his side.
DANIEL
Larry, can I ask you a question.
LARRY
Sure. Anything.
DANIEL
How long do you need to spend in here before you start to go a little crazy?
LARRY
You mean crazier?
DANIEL
I mean, doesn't it bother you and Roger and Reginald, that you can't ever leave?

LARRY
Why? You want to make a break for it?
Daniel stops walking. Larry sees this and stops to. Larry faces Daniel.
DANIEL
No. I'm just wondering how much a person can take of this.
LARRY
Some people do well. Their improvement once they're 'inside' is nothing short of miraculous. Others don't do so well.
DANIEL
Which are you?
LARRY
Me?
DANIEL
Yeah, how long do you think you'll be here?
LARRY
What you're feeling is normal, Daniel. Just remember, this place might seem like a prison sometimes, but it isn't. We're not convicts. We're not criminals. We're just unstable in our minds.
DANIEL
Yeah, okay. If you want to evade the question.
LARRY
Okay, fine. Outside, before I came in here, I used to think about the bad things that have happened to me. And I thought about it all the time. Once I was in here, my mind shifted a little. Then more. I started to listen to the doctors, and the nurses. I started to see that what they were telling me was quite possibly true. I did have serious problems. But there was a way to deal with it.
DANIEL
Are you talking about getting hit when you were a child?
LARRY
That and other things.
Sally, the nurse from the night before comes walking down the corridor.
DANIEL
Watch out. It's Sally.
Sally walks up to them and stops, a smile beaming across her face.
SALLY
Hello, Larry. Daniel.
They both nod but don't speak.
SALLY
Beautiful day.
LARRY
If only we could be outside enjoying it.
Sally smiles again.
SALLY
Well, be good. I'll see you later.
Sally walks off.
DANIEL
(to Larry)
Hey, by the way, have you ever noticed anything going on between Sally and that other night nurse?
Larry smiles.
REGINALD
Only every night.
They look at Sally down the corridor. They laugh and walk on.
INT. BREAKFAST ROOM - DAY
Larry and Daniel are sitting having their breakfast. Daniel is reading a newspaper. Larry sits quietly next to him, looking at Daniel.
LARRY
What's happening in the world today?
Daniel looks up.
DANIEL
What?
LARRY
What's the news?
DANIEL
Nothing much.
Suddenly, there is shouting from somewhere near the nurse's station. It is Tristan, screaming at the top of his voice.
TRISTAN
(O.C.)
Back up!! Back up!! I'll cut the bitch! I'll cut her fucking throat!!
Daniel and Larry look up and look at each other.
DANIEL
What the hell is that?
Larry stands, followed by Daniel. They hurry to the entry to the breakfast room and look across at the nurse's station. Four nurses are standing in a group. Across from them in the station is Tristan. He is holding a knife to Nurse French's throat. He has his other arm gripped around her body.
TRISTAN
What are you deaf? I said back the fuck up!!
The four nurses look calm, trying to control the situation.


NURSE GRAND
(to Tristan)
Tristan. Why don't you just put the knife down? Please.
TRISTAN
(scream)
What? You think I won't cut her?
NURSE GRAND
Please, put the knife down and let her go. We'll talk. Just put the knife down and let her go.
TRISTAN
I'm getting out of here. Now. This minute. Open the fucking door or I'll cut her!
Tristan presses the knife to Nurse French's throat.
NURSE GRAND
We can't do that. It's that simple. We can't let you go.
Two security guards and Keith Drow appear. Tristan spins around and shouts at them. They halt where they are, about ten metres away.
TRISTAN
Stop! Stay where you are!
KEITH DROW
Tristan! This isn't the way to . . .
TRISTAN
(to Keith)
Shut up! Shut the fuck up!
KEITH DROW
The police are on their way.
Daniel and Larry are watching this. Other patients have gathered and are watching too.
LARRY
Jesus, I hope this doesn't turn out bad.


TRISTAN
(to the nurses)
Hey! I'll give you one more chance. Open the door or she dies.
Nurse French screams suddenly.
NURSE FRENCH
For god's sake, do as he says!
There are police sirens outside.
KEITH DROW
You see, Tristan. You hear that? The police are here.
The door opens a few seconds later and the police run in, followed by Doctor Blume. The police have their guns pulled.
TRISTAN
Shit! Shit! Shit!
KEITH DROW
There's no way out Tristan. Please, let her go.
The police approach, their guns aimed at Tristan.
POLICE OFFICER
(shout)
Drop the knife.
TRISTAN
(to the police)
Fuck you!
POLICE OFFICER
(shout)
Drop it and let her go.
Tristan looks at all the watching faces.
Tristan suddenly raises the knife and is about to plunge it into Nurse French when a gun is fired and Tristan is hit in the face. He drops to the ground, dead. Nurse French, covered in blood, hurries to the other Nurses.
KEITH DROW
(to the nurses)
Get the patients out of here.
The nurses move to the watching patients.
NURSE #1
(to the patients watching)
Come on. Let's go. There's nothing more to see.
The patients all amble away, accompanied by the Nurses.
Tristan's body is sprawled on the ground where he fell. Blood is spreading out on the floor around his head.
INT. DANIEL'S ROOM - NIGHT
Daniel is sitting up in his bed. Roger and Reginald are standing in the room. Larry is sitting on a chair near the bed. They are sombre and still shell-shocked.
LARRY
So. What do you think about today's events?
DANIEL
I've never seen anyone shot in the face before.
LARRY
Me neither.
DANIEL
It's fucked up. That's what it is. He didn't have to do that.
LARRY
No. He didn't.
DANIEL
What if he hurt Nurse French? What if he stuck that god damn knife right in her heart?
LARRY
They'd have shot him either way. The way it happened, at least no one else was hurt. The police did what they had to do.
REGINALD
What do you think was wrong with him?
ROGER
We'll probably never know. Whatever it was, I feel sorry for him.
They sit in silence and think about Tristan.
REGINALD
Well, I don't know about you guys, but I'm hitting the sack. There's been too much action today for me. I'm beat.
ROGER
Me too. I need some shut-eye. I'll see you guys in the morning.
Roger and Reginald go to the door. They open it and walk out.
Larry waits a few moments.

LARRY
My guess is, Tristan didn't care if he did die.
Larry stands and slowly walks to the door.
LARRY
Good night, Daniel.
Daniel nods. Larry exits. Daniel is left sitting alone in his room.
FADE TO BLACK.
         
            END OF PART ONE




                  

                     HALFWAY
                   
                     PART TWO
                    Written by
                  Anthony Kirkwood


FADE IN:
INT. KEITH DROW'S OFFICE - DAY
Daniel is sitting in Keith's office. It is early morning.
KEITH DROW
So, Daniel.
DANIEL
So, Keith.
KEITH DROW
How are you doing?
DANIEL
That was some show Tristan put on the other day.
KEITH DROW
How do you feel about that?
DANIEL
How do I feel? I guess . . . I guess I'm wondering what would have happened if the police had misfired.
Keith sits in silence, looking at Daniel, and waits for more.
DANIEL
We've talked it through. Me, Roger, Larry, and Reggie.

KEITH DROW
Good. Talking helps. If you need any form of counselling, it's always available. I've said the same to everyone in the facility.
DANIEL
What - like if it causes me some sort of psychological trauma? No. I think I can cope.
KEITH DROW
I want to talk to you about Marcus.
DANIEL
Shit.
Daniel puts a hand to his head and rubs it around in his hair. Then his hand drops back to his side.
KEITH DROW
Is that a bad topic for you?
DANIEL
No. I don't mind. What is it you want to know?
KEITH DROW
I want to know how you really feel about it.
DANIEL
I'm sorry Marcus died.
KEITH DROW
You didn't seem sorry at the funeral. Not according to your parents and sister.
DANIEL
Yes, I had an altercation with Marcus' family and some regrettable things were said. Yes, I swore in God's house. Not that I'm particularly religious. Yes, I stormed out of that miserable fucking place. It's not fun to watch people cry that much. Jesus, you should have seen them. I've never seen such a display.
(pause)
But, Marcus wouldn't have minded what I did at his funeral. That's what no one else gets. Marcus would have laughed. He would have said, 'fuck that's just like Daniel.'
KEITH DROW
Is that person really you?
DANIEL
Which person?
KEITH DROW
The person who can't properly come to terms with his best friend's death.
DANIEL
I'm sorry he's dead. Okay. But what more can I do?
KEITH DROW
I don't know how sincere you are when you say that. I don't know if you're really telling the truth.
DANIEL
You'll have to take my word for it.
KEITH DROW
Let's move on.
Daniel waits for Keith to ask his next question.
KEITH DROW
Do you feel that somewhere, somehow, your own life has gone wrong?
DANIEL
Wait a minute. My life is just fine. Aren't I in here because my 'mind' is messed up somehow?
KEITH DROW
You family thinks you've made some terrible mistakes in the last year. Associating with the wrong people, people you mistakenly call friends, for one. And then there's drinking too much, and your taking of illegal substances.
DANIEL
What's you point?
KEITH DROW
My point is, perhaps some of these mistakes you've made have changed you in ways you might not yet perceive. They may be at the very core of your mental problems. Your attitude to people has changed, particularly your own family. Your approach to life is not what it was. From what I've been told, you used to be a kind, caring, compassionate, generous, funny, loving person. It sounds like that person just isn't around anymore and people want him back.
Daniel waits for more, but Keith is silent again, looking at Daniel.
DANIEL
Am I sick?
KEITH DROW
Not necessarily sick.
DANIEL
What's wrong with me? I mean, I know some people in here are very depressed, others are perhaps a little psychotic, some are clearly insane. Which am I?
KEITH DROW
I think you just need to come to terms with a few things. Sort those things out in your mind, affect change in your life, your relationships with people, including your family, and things might just start to get better for you.

DANIEL
I'll try.
KEITH DROW
Good.
Keith smiles.
INT. BREAKFAST ROOM IN HOSPITAL - MORNING
Daniel takes his plate of food from the kitchen, comprising bacon and eggs, and joins Larry and Reginald at a table. The White-Haired Man, pipe in his mouth, nods his greeting to Daniel. Roger is absent.
DANIEL
Where's Roger?
LARRY
He got a call from his manager this morning. Things just got a lot worse for him.
REGINALD
Turns out photos of him with a girl over twenty years his junior have surfaced in a few magazines.
LARRY
He just can't seem to keep his hands to himself.
REGINALD
Anyway, he can't deny he was with the young lady, because the photos reveal quite intimate moments.
DANIEL
That's no big deal. How old was the woman?
REGINALD
Sixteen.
DANIEL
So Roger's in some serious trouble you think?
REGINALD
Serious is an understatement.
INT. PRIVATE ROOM IN HOSPITAL - MORNING
Roger is in a private room in the facility, on his mobile phone with his MANAGER. He paces the room as he talks into the phone.
ROGER
(into the phone)
What do I pay you for, you useless son of a bitch! I pay you to keep these private stories away from the public.
MANAGER
(V.O.; on the other end of the line)
What could I do? I didn't even know about the affair until I read about it in a magazine.
ROGER
What do I do? No, what do I say?
MANAGER
(V.O.)
Say nothing. Let is pass. People won't see you as being any different because of this. They won't see you as an evil person. They won't see you as a deviant.
ROGER
(shout)
This could ruin my career! You stupid, useless, son of a bitch! God damn it. You're fired!
MANAGER
(V.O.)
What career? You've barely worked in a year anyway!
ROGER
I'm waiting for the right part.
MANAGER
(V.O.)
You're waiting for any part. And I've got news for you. It ain't coming. Not now or ever. Have you even read the reviews of all your work for the last twenty years? You're a laughing stock, Roger. The joke of the acting community.
ROGER
What reviews?
MANAGER
(V.O.)
The ones that say you're a terrible actor, who should have thought about another career choice after his first attempt at acting. I can quote a hundred of them.
ROGER
Which one said that? Which fuck said I should get another career?
MANAGER
(V.O.)
They all say that. The critics, they hate you! The only awards you've ever picked up are for the shittest performance in any genre. And you're nominated every year.
ROGER
(frustrated but subdued now)
Jesus. This is terrible. Look, you're not fired. I take that back. Come here, to the facility. But quietly. Don't let the media see you.
MANAGER
(V.O.)
I'll be there this afternoon. And try and keep your hands off any sixteen year old girls in the meantime.
ROGER
That's a low shot. Just get here when you can.

INT. BREAKFAST ROOM - MORNING
Roger enters the breakfast room. The room goes silent as he enters and the other patients try not to look at him. Roger picks up on this but doesn't show his anger.
ROGER
(to everyone in the room)
What? Now you can't look me in the eye?
Roger takes his seat with the others. He sits, in a grumpy mood. When Roger doesn't speak,
REGINALD
So?
ROGER
So what?
REGINALD
So, is there going to be a problem?
ROGER
My manager is going to deal with it.
LARRY
How?
ROGER
We haven't figured it out yet. He's coming here today.
DANIEL
A sixteen year old girl. You're what, in your forties?
ROGER
This business with the girl, that's not what bothers me the most. What bothers me the most is that everyone thinks I'm a crummy actor. And I guess . . . I guess I am.
REGINALD
No. You're a fine actor.

LARRY
That's right. One of the best of your generation.
DANIEL
I wouldn't know. I've never seen you in anything. Maybe when I get out of here, I can find something you did in the local video store.
ROGER
Who am I kidding? No one is ever going to want to work with me again. Especially after this. They didn't want me before, they sure won't want me now.
DANIEL
I wouldn't be so pessimistic. You never know. I'm sure a lot of perverts get work in showbiz.
ROGER
Daniel, what I said before, when you arrived here, about being critically acclaimed and all that, it's not exactly . . . true. I've received more bad reviews than probably any other actor in the business, dead or alive. Everything I do stinks. On top of that, I'm a certified looney. I'm in a mental institution because I'm crazy.
They sit quietly, thinking about this and feeling for Roger.
DANIEL
If you don't mind my asking, Roger, how did you get here?
ROGER
How did I go crazy?
DANIEL
And tell me the truth this time. I don't want any glowing self-praise. No lies. No fabrications of any sort. Just the truth.

LARRY
You think you can do that Roger? Tell the truth. No fabrications?
REGINALD
Yeah, he pretends for a living, remember. His business is make-believe.
ROGER
Hey, I could be in some serious shit here. Stop busting my balls for a bit.
EXT. HOSPITAL COURTYARD - DAY
Fred is sitting in the courtyard by himself. Daniel, Larry, Reginald and Roger open the door to the courtyard and enter. Fred jumps up and runs out the other door and disappears quickly down a corridor.
Daniel, Larry, Reginald sit down. Roger stands. He takes out a cigarette, lights it, and starts to smoke. The others sit and wait expectantly for Roger to speak. He puffs a couple of times, slowly. Then, finally, he speaks.
ACTOR
I never wanted to be famous.
Snorts of disbelief from Larry and Reginald. Roger ignores them and speaks to Daniel.
ROGER
I never wanted notoriety, accolades, or admiration from millions. I never wanted any of that.
DANIEL
I just want to know how you went so downhill.
REGINALD
Isn't it obvious already?
LARRY
Yeah, he never made it the way he thought he'd make it. That bummed him out too much. His impression, the impression in his mind, was that he was going to be a great actor. And it didn't turn out that way. That would devastate anyone. Really.
DANIEL
How about we let Roger tell it?
LARRY
Fine.
ROGER
I sort of just turned to acting. It wasn't what I had planned at the start. When I was young, I had this notion, you could call it a yearning, that I might be able to change the way people saw the world. More than that, I had a real desire to change the world itself. I wanted to make a difference in some way. I wanted to do something big, significant, something great. I thought of every way I might be able do that. Maybe become president or something like that. But I realized soon enough that I couldn't. It was beyond my grasp. Few people in this world are great enough to do what I thought I could do. I mean, how many people have actually been able to alter the course of human history? You see, Daniel, I had noble intentions when I was young.
More snorts of disbelief from Larry and Reginald. They have heard this story before.
ROGER
(to Larry and Reginald)
Do you want me to tell it or not?
(to Daniel)
Anyway, I realized that all the time I was searching for a way to change the world, I wasn't actually doing anything. I was sitting idle, and wasting my time. I wasn't accomplishing anything. After all that thinking about what I could do, I had gone nowhere. So, I decided that I needed to get off my backside and do something and do it quick. I enrolled in college, finally, and started studying to be a doctor.
LARRY
When I see the form that says you were studying to be a doctor then I'll believe it.
ROGER
I left medicine not long after I started it. I decided it wasn't for me. The same day I quit medicine, I was walking home when I saw an advertisement in the local newspaper for a small theatre group that put on performances at a small local theatre once a week. I was interested and went to check it out. I found myself reading for a part in their next production, I forget now what it was, maybe it was Shakespeare, but I can't be sure. From that time on, I knew what I was going to do. And I really believed I could do it well. Which, as I've discovered, I can't. For so long, I believed I was good. When I started to realize I wasn't, then I started to question myself. That's never good. But I couldn't give it up. I had to keep going. Something kept pushing me on.
LARRY
(to Daniel)
You should've asked for the shorter version.
ROGER
I got married after a couple of years, that marriage ended after six months. I remarried a year later. That lasted a year. I had a kid from that marriage, a kid I never see. The kid doesn't even know me. She doesn't want anything to do with me. Her mother made up terrible stories about me. She said I was a sick criminal locked away in jail. She said I was a cannibal or something. I forget. Anyway, through it all, I kept acting. It was the only thing that held my fragile life together through that tumultuous time. I scored some parts on TV and then on film. The first review I ever received slammed me as hopeless. But I kept going. I put it right out of my mind. Who cares what some stupid critic thinks? But the reviews kept getting worse and worse. I started to appear in every tabloid paper. Daniel, are you sure you've never read about me? I'm hard to miss.
DANIEL
I managed to miss it.
LARRY
If you were really so bad from the start, how did you get all the parts?
REGINALD
Yeah, why did they keep hiring you?
ROGER
Beats me. Maybe it was my good looks.
LARRY
Yeah, maybe.
ROGER
Two years ago, I knew I was in trouble. I felt awful all the time. My personal life was a shambles, my ego was shattered, my self-esteem was at its lowest point ever. Then I started to take my anger and despair out on others, particularly my friends, and I drove them all away. I ended up friendless. Lucky for me, I have good friends in here.
Roger looks at Larry and Reginald.
ROGER
Even if those friends are 1) an insane thief and 2) a useless ex-magician who can't get his life in order. But they're my friends. And they mean the world to me. A long chain of events led to my being in this hell-hole. I regret many of the things I've done. Most of the things. I'm bitter with all my critics. I feel an overpowering sense of failure as a professional actor. The list goes on.
Roger puffs on his cigarette, his story finished. Daniel sits and absorbs it. Roger raises an eyebrow to Daniel.
ROGER
(to Daniel)
Well?
DANIEL
I don't know what to say.
(pause)
Thank you for sharing that with us. It sounds like you've had a very hard time.
LARRY
He tells everyone he meets that story. The details seem to change each time. One day it's law he studied, the next day medicine.
ROGER
Anyway, now I'm just in another jam. I'll talk my way out of it if I need to. I have before. But it is bad. A liquored up sixteen year old. Christ, what was I thinking?
INT. TV ROOM - AFTERNOON
Roger puts a video tape in the video player. Daniel, Larry and Reginald are sitting on the lounge chairs. Roger turns to them.
ROGER
I regard this as one of my best performances. The critics didn't agree, but, hey, they never do. Enjoy.
Roger pushes play.
The group watches an abominably bad piece of soap drama starring Roger.
Time passes. The TV show ends. Roger stands. Daniel, Larry and Reginald are dead silent, in shock at the hopeless acting.
ROGER
What do you think? Impressive, huh?
DANIEL
It's a . . . an interesting take on a difficult piece. Any actor would have struggled through that. You did brilliantly. That says something about your acting abilities.
ROGER
Thanks for the flattery Daniel. But it's not necessary. I know it's bad. Very bad. That's why I wanted you to see it. To see that the critics were right all along. I am a hopeless actor.
DANIEL
I wouldn't use the word 'hopeless'.
ROGER
It's alright Daniel. I know what I can do and what I can't do. I know my abilities and my limitations. It's alright. You can tell me the truth.
LARRY
Good. Because that was the worst fucking piece of acting I've ever seen.

REGINALD
Yeah, Roger, what were you thinking? Larry could give a more commanding performance than that.
They all chuckle, including Roger.
DANIEL
Have you ever taken lessons?
ROGER
Lessons? No. Why would I need lessons?
EXT. HALLFORD PSYCHIATRIC HOSPITAL - AFTERNOON
Roger's manager pulls up in a slick sports car outside the facility. He gets out. He is wearing a black suit and dark sunglasses. He casts cautious glances around him and then walks towards the psychiatric hospital.
EXT. ACROSS THE ROAD FROM THE HOSPITAL - AFTERNOON
Across the road from the hospital a small van pulls up. It is a media van. It has followed Roger's manager. Inside the van is a reporter and a cameraman. They watch Roger's manager walk up to the psychiatric hospital and push a buzzer next to the entrance doors.
CAMERAMAN
You think Roger Ryan is in there?
REPORTER
Has to be. Why else would his manager come here?
CAMERAMAN
So he cracked up. All the attention and criticism finally got to him.
They laugh.
REPORTER
There's got to be a great frigging story in this.

INT. PRIVATE ROOM - AFTERNOON
Roger is meeting his manager in the private room. Daniel, Larry and Reginald are waiting there.
MANAGER
Should they be in here?
ROGER
You can trust them. They're on my side.
The others nod their affirmation.
MANAGER
Fine. Listen, I've received a hundred calls since this story broke. Everyone wants to know what really happened between you and the sixteen year old girl.
ROGER
What did you tell them?
MANAGER
I didn't tell them anything.
ROGER
Don't say anything.
MANAGER
We can't deny it. Everyone's seen the photos of you and her.
ROGER
Any offers?
MANAGER
What?
ROGER
Any offers. TV, film, theatre?
MANAGER
You serious? What if the girl cries rape all of a sudden and wants money from you? You could go to jail.
DANIEL
(to Roger)
It sounds to me like you really need some good press. You've been getting bad press all your life. It's time for a change.
MANAGER
You got any ideas, kid?
DANIEL
No. But if we all put our minds together, we should be able to come up with something.
They all now concentrate and think hard. No one speaks while they think. Roger and his Manager watch them. A long silence ensues. The Manager looks at Roger and looks amused.
ROGER
Anything?
They all shake their heads.
LARRY
Sorry, Roge, I've got nothing.
REGINALD
Me neither.
DANIEL
Sorry Roger. I just don't know how you can turn it all around.
REGINALD
(to the Manager)
No offence, but isn't this your job anyway? You know, getting Roger good publicity?
MANAGER
Hey, trust me, I've tried. I've tried to send Roger to kid's hospitals, I've tried to have him donate money to charities, I've tried to have him participate in community events.
ROGER
(to Manager)
My schedule at the time didn't allow it. You know that.
MANAGER
Oh, bullshit Roger. You're a self-centred asshole who won't do shit for anyone else. No wonder everyone hates you.
Roger sits silently, not angry, just a bit shocked at this attack. The others watch, but are silent.
MANAGER
Shit. Roger, I'm sorry. I didn't mean that. This is just a tough time for both of us. You know I'll stick with you through this, and everything else.
ROGER
Yeah, I know.
(to the others)
Let me tell you, he's the best manager anyone could want. The best.
MANAGER
Alright. Now, what the fuck are we going to do about this Dotman girl?
EXT. HALLFORD PSYCHIATRIC HOSPITAL - AFTERNOON
The reporter and cameraman have set up the camera outside the hospital. It is pointed at the door.
REPORTER
I doubt we can get inside, but if you catch a glimpse of Roger Ryan get a close up. I want everyone to know this silly actor really is nuts.
The door opens and the manager steps out, accompanied by Roger, Daniel, Larry, Reginald and two nurses.
REPORTER
There they are! Go.
The Camera Man starts to film. The reporter steps forward.
REPORTER
Roger! Any comments on the Belinda Dotman case?
ROGER
Shit.
Roger tries to hide his face and turns his back from the camera.
MANAGER
Get that fucking camera out of here.
REPORTER
Roger, are you really crazy?
The Manager approaches the reporter and cameraman.
MANAGER
I said, get that god damn camera out of here!
REPORTER
Is your client a sexual deviant?
MANAGER
My client denies any inappropriate conduct, now or ever. Satisfied?
REPORTER
Really? Does getting a sixteen year old girl drunk and having his way with her not constitute 'inappropriate behaviour'?
Roger has disappeared back inside. Daniel, and Larry and Reginald walk up to the reporter and the cameraman.
DANIEL
You heard him! Get that fucking camera out of our faces.
REPORTER
And who would you be? Another nutcase institutionalized because he's a danger to himself and society?
Daniel launches himself at the reporter but is held back by the two nurses, who jump into action.
REGINALD
(to reporter)
Hey, fuck-face!
The reporter looks at Reginald just as Reginald throws a mug he is holding at the reporter, who ducks. The mug hits the cameraman square in the head.
CAMERAMAN
Fuck!
The cameraman grabs his head and leaves the camera unattended.
REGINALD
Now, get lost. Go and get in your van and get out of here!
Larry, unnoticed, has sidled up to the camera and takes it off the tripod. He starts to walk off with it.
CAMERAMAN
(to Larry)
Hey, where do you think you're going?
Larry starts to run back to the hospital. The Cameraman pursues him. Larry turns and holds up the camera as though he is about to smash it on the ground. The Cameraman stops.
CAMERAMAN
Wait! Stop! That camera is a valuable piece of equipment.
LARRY
I'll smash it unless you get out of here.
CAMERAMAN
I'm not leaving without the camera.
LARRY
I said, get out of here or I smash it.
CAMERAMAN
Fuck you, you lunatic.
LARRY
What did you call me?
CAMERAMAN
You heard me. You fucking nutcase.
The Nurse tries to calm the situation.

NURSE
(calmly to Larry)
Larry, we've talked about this.
Larry looks sideways at the nurse.
NURSE
Larry, you can't take what's not yours.
Larry stares at the nurse for a few seconds. He finally relents and puts the camera down. The Cameraman runs to it, picks it up and joins the reporter. The retreat back towards the media van. As they head back to the van,
REPORTER
(shout)
Make sure you catch the six o'clock special tonight, because you'll all be on it.
They hurry to their van, get in and drive away.
NURSE
(to the patients)
Come on, let's go back inside. Come on. Everyone. Let's go.
The group of patients retreats slowly back inside.
LARRY
(as he goes back inside)
I should have smashed it.
NURSE
No. Larry. You did the right thing.
INT. TV ROOM - NIGHT
It is six o'clock. All the patients fill the room, eagerly watching the TV. The Manager is lying on a couch, an ice-pack cooling his overworked head.
DANIEL
Here. It's starting.
The Entertainment Program starts. The first piece is about Roger Ryan.

MANAGER
(over the TV)
This isn't the sort of publicity I was hoping for. We're doomed. It's over. My career is probably finished because of this.
They listen to the host introduce the piece and there is footage of Roger alongside the sixteen year old girl, Belinda Dotman.
ENTERTAINMENT REPORTER
Tonight's top story - Roger Ryan, the well-known actor - has been accused of sexual harassment of a girl just sixteen years old. Is this the final act in Ryan's faltering career? Tonight we speak exclusively with Belinda Dotman, the girl at the centre of this outrage.
WHITE HAIRED MAN
That her, Roger?
ROGER
(gloomily)
Yes. That's her.
ENTERTAINMENT REPORTER
It's no secret that Roger Ryan has problems. Ryan is currently doing a stint at a psychiatric hospital.
Then they see the footage of the incident outside the hospital. Daniel is there, seen shouting at the reporter. Reginald is seen throwing the mug, followed by the expletive from the Cameraman (beeped out).
A short time later.
Next is a short interview with Belinda Dotman. She appears on-screen.
ROGER
How did they get her on TV so fast?


REPORTER
(on TV)
What exactly did this man do to you?
BELINDA DOTMAN
(on TV)
All I remember is that he offered to buy me a drink. I was in a bar. He approached me and said he was a famous actor or something. He bought me a couple more drinks and then he took me back to his house. After that I had more to drink and then I remember he touched me and then we engaged in sexual activities for the rest of the night.
REPORTER
(on TV)
Do you believe this actor took advantage of you?
BELINDA DOTMAN
(on TV)
I guess.
REPORTER
(on TV)
Do you feel as though what he did to you was a bad thing?
BELINDA DOTMAN
(on TV)
I guess. He's older than me and all that.
The Manager removes the ice pack for a second and raises his head and looks at Roger.
MANAGER
(to Roger)
Exactly how many drinks did you give the girl?
ROGER
I forget. That's not how I remember it.


MANAGER
(with the ice pack back on his head)
Dear God.
REPORTER
(on TV)
What must be going through Roger Ryan's head? Failed marriages, an outcast child, a disastrous career, and now, sexual perversion and exploitation of a minor. Whatever it is, all I can say, is that no treatment could possibly be enough.
The report ends.
Daniel switches off the TV. The room is silent.
MANAGER
(despairingly from his place on the couch)
Oh, fuck.
REGINALD
Maybe no one will watch it.
ROGER
I think it's safe to say my career really is over this time.
LARRY
Come on Roger. You have to try and be positive. You've got through worse things before. You've faced your fair share of hurdles in your career. You'll get through this.
ROGER
I think this is one hurdle I can't get over.
INT. THUGS' HOUSE - NIGHT
THUG #1 is sitting watching the TV with another thug. They are the family and friends of the shady characters who were injured in the car crash.
The entertainment program is on TV and Daniel appears on the screen, shouting at the reporter.
THUG #1
Hey, isn't that the guy?
Thug #2 puts down the gun he is cleaning and looks at the screen. He too recognizes Daniel.
THUG #2
Yeah, that's him. What's he doing on TV?
THUG #1
This is Entertainment Daily. I taped it. I always tape it. Lucky I did, eh?
THUG #2 watches the footage of Daniel on the TV. He sees the sign of Hallford Psychiatric Unit in the background.
THUG #2
So, he's staying at the nut-house. No wonder we couldn't find him.
THUG #1
I think it's time we paid him a visit.
INT. THUGS' HOUSE - NIGHT
Another room in the thug's house. Thug #2 is on the phone.
THUG #2
(into phone)
It's him. Daniel Leftman. Yeah, we're sure. No. It's him. One hundred percent. He's in the nut-house. That's right. So, what do you want to do?
Thug #2 waits while he listens to his instructions.
THUG #2
Consider it done. The sooner the better. This kid ain't walking out of that hospital alive.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
It is early evening. The hospital is quiet.
A dark car pulls up across the road from the hospital. Inside the car are the two thugs who saw Daniel on TV, plus two other thugs.
INT. THUG'S CAR - NIGHT
The driver of the car switches off the engine. They all look to the psychiatric facility.
THUG #3
That it?
THUG #1
That's it. The same as on the TV.
THUG #3
How do we get in?
THUG #1
We can't. At least, it'll be difficult. That nut-house is designed to keep people in. I'm sure it's designed to keep people out too.
THUG #3
There has to be a way in.
THUG #2
Even if we get in, there'll be doctors and nurses and probably security guards inside.
THUG #3
So what do we do? How do we get to Daniel?
At this point, the doors open and Keith Drow walks out.
THUG #3
Wait. Who's that?
THUG #2
He doesn't look like a patient. More like a doctor.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
Keith is walking across the road. One of the thugs gets out of the car. He walks towards Keith.
THUG #1
(to Keith)
Hey!
Keith looks to the thug coming towards him, and stops. The thug walks up to Keith.
THUG #1
Is that the psych ward?
KEITH DROW
That's a facility for psychiatric patients, yes.
THUG #1
I've got a friend inside. I want to visit him.
KEITH DROW
Visiting hours are over for today. Come back tomorrow.
THUG #1
Can't do it. I'm going on holiday tomorrow. Are you a doctor?
KEITH DROW
Yes.
THUG #1
Any chance I could see my friend? Just for a few minutes.
KEITH DROW
I'm sorry. There's nothing I can do.
THUG #1
Please. Just a quick visit.
Keith hesitates.
KEITH DROW
Who is it?
THUG #1
Daniel Leftman.
KEITH DROW
You're a friend of Daniel?

THUG #1
Yes. A good friend. We go back a long way. When I heard he was in there, I came straight away.
Keith thinks again.
KEITH DROW
There are visitor rules, you know. This really isn't the way to. .
THUG #1
Hey, doc, come on, please. Let me see my old buddy Daniel.
Keith thinks about it.
KEITH DROW
Okay, follow me.
Keith turns and walks to the facility. The thug turns, gives the thumbs up, and signals to the other thugs that he's going inside.
Keith takes out his keys. He unlocks the doors. The thug follows him in.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
No patients are around. A couple of nurses are in the nurse’s station.
KEITH DROW
Daniel's upstairs. Follow me.
THUG #1
No need for you to come. If you just tell me the room number.
KEITH DROW
I'll accompany you up there.
THUG #1
No. It's fine. There's no need.
Suddenly, there is a call from the nurse’s station.
NURSE #1
Keith! Keith!
Keith turns quickly. A patient on suicide watch in the other section is causing a disturbance. He is shouting and threatening a nurse, who is trying to calm him down.
SUICIDAL PATIENT
(in the background)
Get back! All of you, get back now! I'll fucking hurt you if you don't back away!
KEITH DROW
(to thug)
I have to attend to this. Please, wait right here.
The thug is watching the patient causing the disturbance. Keith hurries over.
At that point, with the thug waiting and looking around the facility, Daniel appears down a corridor, and disappears. The thug sees him, glances at Keith who is now trying to calm down the patient too, and hurries after Daniel.
INT. HOSPITAL CORRIDOR - NIGHT
Daniel is walking down a corridor. The thug is close behind him. Daniel hasn't seen him.
THUG #1
(to Daniel)
Hey! Daniel!
Daniel turns. The thug cracks him in the face with his fist and Daniel stumbles backwards.
THUG #1
We're going to make you pay.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
The thug passes the nurses station and stops, just as Keith rejoins him.
KEITH DROW
Sorry about that.
THUG #1
Listen, I've got to go. I'll come back tomorrow morning early if I can. Sorry to take up your time.
Keith is confused.
KEITH DROW
Daniel's upstairs.
THUG #1
Tomorrow. He's probably asleep.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
The thug exits through the doors to the facility. He hurries to the car.
INT. THUG'S CAR - NIGHT
THUG #3
Well?
THUG #1
Job done. Let's get out of here.
They start the car and drive away.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
Daniel is lying on the ground, bleeding, dazed and groggy. He is on his back, unable to move properly. He tries to sit up but cannot. He slumps back onto his back.
EXT. HOSPITAL - NIGHT
Daniel is lying in a hospital bed. He is asleep. Keith Drow enters, followed by Daniel's parents and his sister.
KEITH DROW
He's in here.
Daniel's family looks at Daniel, horrified and distressed by his injuries.
AMY
He looks so peaceful lying there.

KEITH DROW
He's only sleeping. I can't tell you how sorry I am that I let this happen. I accept full responsibility.
DANIEL'S MOTHER
Will he be okay?
KEITH DROW
The doctors say he'll be fine. He's got a cracked rib, and some cuts and bruises. No major damage though.
DANIEL'S MOTHER
Thank God.
KEITH DROW
We think the people who did this to Daniel are the same people who were in the car that Daniel crashed. We think it's a revenge attack.
AMY
It's lucky they didn't kill him.
KEITH DROW
They could have. He was lucky.
They step up to Daniel. Daniel stirs and opens his eyes.
KEITH DROW
Daniel, your family is here.
AMY
Hi Daniel.
DANIEL'S MOTHER
Daniel, are you feeling okay?
DANIEL
Yeah, I'm fine. Just a few bruises. I'll live.
DANIEL'S FATHER
Daniel, who did this to you?
DANIEL
I don't know. I'd never seen him before. Ask Keith. He said he got a good look at him.
KEITH DROW
Daniel, I'm sorry this happened. I should never have let him into the facility.
DANIEL
Don't worry about it. We all make mistakes. You couldn't know.
DANIEL'S FATHER
(to Keith)
Can we find them?
DANIEL
No. Forget it. I got what I deserved. I hurt them, they hurt me. It's life.
AMY
Daniel, they could have killed you.
DANIEL
But they didn't. I don't want any police or an investigation.
DANIEL'S FATHER
But they might try it again.
AMY
Yes, they might come back to finish the job.
DANIEL
I'll be ready for them next time. So, Keith, do I have to go back [to the facility]?
KEITH DROW
Sorry Daniel. You're not quite ready to leave just yet. You'll need to rest up in here for a couple of days. Just until you're feeling better.
INT. HALLFORD PSYCHIATRIC HOSPITAL - MORNING

A few days later. The group of patients is sitting around in the courtyard. They are bored and uninterested in doing anything. A nurse is sitting near them, monitoring them as usual. The White Haired Man and Fred are there too.
LARRY
We can't just leave Daniel to suffer like this.
REGINALD
Then ask. They might say yes.
LARRY
(to Nurse)
Nurse, we have a request.
NURSE
I'm listening.
LARRY
We want to be allowed to go and visit Daniel in the hospital.
NURSE
You're not permitted to leave the facility without Dr. Drow's permission. You know that.
INT. KEITH DROW'S OFFICE - MORNING

The group of patients is standing in Keith Drow's office. Larry, Reginald, Roger, Fred, the White-Haired Man are there. Keith Drow is seated.
KEITH DROW
That's an interesting request. You do know the rules about leaving the hospital?
REGINALD
Keith, Daniel is badly hurt. We feel bad that he has to suffer alone, without the support of his friends. We're only asking to be allowed to go and visit him.
KEITH DROW
It would have to be under strict supervision, of course.
WHITE HAIRED MAN
Of course.
KEITH DROW
How many of you want to go?
REGINALD
Just us. Five.
Keith Drow looks at Fred.
KEITH DROW
You want to go too, Fred?
Fred looks with panic at all the faces in the room. He goes pale with fear.
KEITH DROW
Fred?
FRED
I want to visit Daniel because he's my friend.
Keith thinks about it for a while.
KEITH DROW
Very well. How's tomorrow for you?
ALL
Good. Fine. We're not doing anything. No plans.
INT. LARRY'S ROOM - NIGHT
Larry and Roger are both reclined in bed. Roger has a set of headphones on and is listening to classical music. Larry is sitting reading a book GREAT CRIMES OF THE TWENTIETH CENTURY.
He sighs and puts down the book. Larry looks across at Roger. Roger has his eyes closed.
LARRY
Roger. You asleep?
Roger doesn't open his eyes.
LARRY
What are you listening to?
No reply.

LARRY
Hey, Roger, you know that sister of yours you talk about, well, I fucked her, twice.
No reply from Roger. He keeps his eyes closed, relaxing to the music. Larry shakes his head. He stands from the bed and walks to Roger's bed. He sits down on it, next to Roger, who is reclined. Roger still doesn't see or hear Larry. Larry taps him on the leg. One of Roger's eyes opens. He looks at Larry. He takes off the headphones.
ROGER
(disappointed)
Shit.
LARRY
What?
LARRY
I thought you were on of the female nurses, come to kiss me good-night.
LARRY
In your dreams. You may be a star but people have their self-respect.
ROGER
What does that mean?
LARRY
Isn't it obvious?
ROGER
No. Not to me.
Larry sighs.
LARRY
You may have your fair share of women, but what sort of women are they? Any decent women, any woman with a sense of values, would steer well clear of you.
ROGER
Is this why you disturbed me? So you can hit me some more right where it hurts?

LARRY
Oh, come on. You need to accept criticism better. You've been married twice. They didn't last. Doesn't that tell you something?
ROGER
What about you?
LARRY
What about me?
ROGER
How many women 'throw' themselves at you?
LARRY
Not many.
ROGER
So? That must tell you something.
LARRY
I'm waiting for the right person.
ROGER
Sure.
(pause)
Larry, what's on your mind? Why'd you wake me up?
Larry looks at the ground, then back at Roger.
LARRY
It's about tomorrow.
Roger doesn't say anything, waiting for Larry to say what he has to say.
LARRY
I don't want anyone to get into trouble. I couldn't live with that. I couldn't go on if I thought I'd cause everyone to come to harm.
ROGER
We're just going to visit Daniel.

LARRY
And the rest? After that?
ROGER
Que sera, sera.
LARRY
I was thinking of calling Loretta.
ROGER
Oh.
LARRY
I think it's time that I called her. There's a big hole in my life and it's been there for too long.
ROGER
She's your sister. She'll understand. I bet she hopes every second of the day that you'll call her.
LARRY
Maybe. Maybe not. We parted on very bad terms.
ROGER
You've got nothing to lose.
Larry nods.
LARRY
Well, good night.
ROGER
Night, Larry.
Larry stands and walks from the room. Roger watches him, thinks about things for a moment, and then relaxes again, and puts his headphones back on.
INT. NURSE'S STATION - NIGHT
Larry walks up to the nurse’s station. Nurse Grand and Nurse Crown are sitting, watching a small colour TV. They both have cups of coffee in their hands. They see Larry walk up.

NURSE CROWN
Hi, Larry!
LARRY
I was wondering if I could use the phone. It's important.
NURSE CROWN
Who are you calling?
LARRY
Loretta.
The two nurses know who Loretta is, having heard about Larry and her many times.
NURSE CROWN
(with a comforting smile)
Go ahead.
INT. HOSPITAL - NIGHT
Larry is dialing Loretta's number. He waits for an answer. But doesn't get one. He hears Loretta's voice, but it is on the answering machine.
LORETTA
(V.O.; answering machine message)
Hi. You've reached Loretta. I'm not in at the moment, but if you want to leave a message, feel free. I'll give you a call as soon as I can. Thanks. Bye.
There is a beep. Larry hesitates.
LARRY
(after a long silence)
Loretta? It's me. Larry. I just wanted to call you and say . . . it's been a long time since we caught up. I'd like to see you. I know we've had our problems. But I think we can work through them. I'm not . . . in the business any more. I'm on the road to being a good citizen. That's about it. I'll call you again when I can.
(pause)
Actually, there's more. I want you to know that things are going to get better for me. And for you. There's a lot of money I put away in the half-way house in Gomon Street. Hopefully, by tomorrow night, I'll have it all. I know you know how I got it. I just wanted you to know I'll do my best to take care of you. Well, bye.
Larry hangs up the phone.
EXT. NURSE'S STATION - NIGHT
Larry walks up.
LARRY
(to Nurse Crown and Nurse Grand)
Okay. I'm done.
NURSE GRAND
Larry? Is everything okay?
LARRY
Fine. Thank-you.
NURSE GRAND
Are you sure?
LARRY
Yes.
Larry smiles, nods and walks off.
EXT. HOSPITAL - MORNING
It is the next day. The group of five patients, Larry, Reginald, Roger, Fred and the White-Haired Man, accompanied by a nurse and Keith Drow, walk to the entrance of the hospital.
INT. DANIEL'S HOSPITAL ROOM - MORNING
Daniel is sitting up in bed. His face is still bruised and cut and there are a couple of bandages on his face.
There is a knock at the door.
DANIEL
Come in.
Keith Drow enters the room.
KEITH DROW
Hello Daniel. How are you feeling this morning?
DANIEL
Much better, thank you.
KEITH DROW
What did the doctor's say?
DANIEL
I'll live. They hurt me pretty bad, but I'll live.
KEITH DROW
I've got a surprise for you.
DANIEL
I'm cured and you're letting me go?
Keith laughs. He turns to the door.
KEITH DROW
(to the five patients waiting outside)
You can come in now.
The group of five patients enters. Daniel, happy to see them all, smiles as they enter. They all stand by the bed. Fred looks typically agitated.
KEITH DROW
I'll leave you guys to talk. I'll be back in ten minutes.
Keith exits the room.
DANIEL
How the hell did you get Drow to let you out?
REGINALD
We told him the truth. We couldn't let you suffer alone.
Roger steps forward.
ROGER
So, you're feeling okay?
DANIEL
Yeah, good.
Roger looks cautiously back at the door and when he speaks, it is in a quiet voice.
ROGER
(quietly)
We've had an idea.
Daniel sees they have something important to say. He looks at the others and back at Roger.
DANIEL
What is it?
ROGER
You know Larry's story about the hundred grand he stole?
DANIEL
(with a smile)
Oh yeah.
ROGER
We decided he might be telling the truth.
REGINALD
Larry's a kleptomaniac, but he's not a liar.
LARRY
Thank you.
DANIEL
So he's telling the truth. What about it?
ROGER
We want to go get it.
DANIEL
How?
ROGER
We just go. Now. We make our escape right now. If, of course, you're feeling up to it.
DANIEL
You're serious.
ROGER
Yes. We've had enough of this hospital. All of us. Including Fred.
FRED
(quickly and nervously)
That's right. I've had enough.
DANIEL
What will you do with the money?
ROGER
If we help Larry recover the money, he'll split it with us. All of us. We all get an equal share.
DANIEL
Keith Drow is right outside the room. How do you plan to get past him?
ROGER
We tie him up. By the time it's discovered that we've escaped we'll be long gone.
DANIEL
This is risky. If they catch us . . . they'll bring us back and they'll never let us out.
LARRY
They won't catch us. Once we have the money we can use it to get away. For good.
REGINALD
We can go somewhere they'll never find us.
LARRY
One more thing. It's actually five hundred thousand, not one hundred. And I stole it from a bunch of gangsters.
The room is silent.
LARRY
We still split it the same. It's just more each. That's all.
EXT. DANIEL'S HOSPITAL ROOM - MORNING
Keith is standing a little way down from Daniel's hospital room door. He is waiting patiently, giving the visitors their ten minutes with Daniel. He glances at his watch. He walks back to the room and opens the door and enters.
INT. DANIEL'S HOSPITAL ROOM - MORNING
Daniel is lying in his bed. The others, minus Reginald and Larry, are standing around the bed. Keith notices the two missing patients.
KEITH DROW
Where are Larry and Reginald?
No one answers. Suddenly, Larry and Reginald burst from the bathroom with a cord and bind it around Keith's body. Keith tries to call out, but they put a hand over his mouth. Daniel jumps out of bed and is already fully dressed.
LARRY
(while he ties the cord around Keith)
Quiet now, Keith. We're making our escape and you're not going to stop us.
They tie a cloth around Keith's mouth as he tries to cry out. They finish tying him up and push him to the bed. They force him to lie down on the bed and they tie his feet to the bed. There is alarm in Keith's eyes.
ROGER
I'm sorry Keith. I know you were just trying to help us. You're a good man and we all know it. But we have to get out now.
Keith shakes his head urgently.
LARRY
(to Keith)
You just rest up here. You'll be okay.
REGINALD
(to Keith)
Please forgive us for this.
Daniel grabs his bag, which is already packed with some of his belongings.
DANIEL
Okay, let's go.
INT. CORRIDOR OUTSIDE DANIEL'S HOSPITAL BEDROOM - MORNING
A head peeps out of the room and scans the corridor. It is Larry. He looks and sees only one nurse sitting alone at the nurse's station, reading a file. The head disappears for a second, and then Larry tiptoes out of the room. Behind him comes the line of others - Fred, then the White-Haired Man (still holding his pipe), Reginald, Daniel and lastly, Roger. They turn and walk away from the nurse at the nurse's station, and down the corridor. They move quietly in a line. The nurse doesn't look up.
INT. CORRIDOR IN HOSPITAL - MORNING
The line of patients moves quietly down the corridor and turns a corner. They see a doctor, DOCTOR FOOT, walking towards them, looking down at his chart as he walks. They have no choice but to pass by him. They straighten up and look as normal and unsuspicious as possible. As they pass the doctor, the doctor looks up, nods and smiles his greetings but he keeps walking, thinking nothing of the group. He looks back at his file as he walks on. Then, further down the corridor, the doctor stops, turns, contemplates the group, thinks nothing of it again, and walks on.
INT. LIFT IN HOSPITAL - MORNING
The group arrives at the lifts. Daniel presses the DOWN button. They wait nervously.
DANIEL
That wasn't so hard.
INT. NURSE'S STATION IN HOSPITAL - MORNING
Dr. Foot, who passed the patients in the corridor, stops at the nurse’s station.
DOCTOR FOOT
(to nurse)
Excuse me, Nurse Brudan.
NURSE BRUDAN
Yes, doctor?
DOCTOR FOOT
Did you see that group of visitors?
NURSE BRUDAN
The patients from the psychiatric unit. They're with Keith Drow, in Daniel Leftman's room.
DOCTOR FOOT
No other visitors?
NURSE BRUDAN
None.
INT. DANIEL'S HOSPITAL ROOM - MORNING
Doctor Foot and Nurse Bruden burst into Daniels' room. Keith Drow is tied up in the bed, struggling and uttering cries which are muffled by the cloth around his mouth.
DOCTOR FOOT
Oh, Jesus.
Doctor Foot and Nurse Bruden run to the bed and untie Keith. Once his arms are free, Keith helps pull the cloth gag from his mouth.
DOCTOR FOOT
Who did this?
KEITH DROW
They're gone! All of them! They tied me up. Daniel was with them.
NURSE BRUDAN
They can't have gone far. Doctor, where did you see them?
DOCTOR FOOT
Just down the corridor.
EXT. LIFT IN HOSPITAL - MORNING
The lift opens and the group of patients hurries inside. They hit the ground floor button and the lift doors close.
INT. LIFT IN HOSPITAL - MORNING
The lift is going down eight floors to the ground floor. They stand in silence. They are all still nervous. Only the White-Haired Man has a wide grin on his face.
EXT. NURSE'S STATION IN HOSPITAL - MORNING
Doctor Foot, Keith Drow and Nurse Bruden are back at the nurse's station. Doctor Foot picks up the phone, punches in a number, and calls hospital security. He waits for an answer.
DOCTOR FOOT
(urgently into phone)
Security, this is Doctor Foot, on the eighth floor. We've got a group of patients . . .
(to Keith)
How many?
KEITH DROW
Six.
DOCTOR FOOT
(urgently into phone)
Six patients from the psychiatric hospital who have escaped. They're on their way down from the eighth floor.
(he listens)
I don't know.
(to Keith)
Are they dangerous?
KEITH DROW
Not dangerous. Unpredictable perhaps.
DOCTOR FOOT
(into phone)
They're an unpredictable bunch.
(he listens)
When they get there make sure you stop them. Seal off the exits if you need to! Don't let them out! We'll be right down.
Doctor Foot hangs up the phone.
DOCTOR FOOT
Doctor Drow, how did this happen?
KEITH DROW
I don't know. It all happened so fast. They must have planned it all along. It's my fault. They were my patients, under my care. I'm responsible.
DOCTOR FOOT
Don't worry about that. We'll catch them before they get far.
EXT. GROUND FLOOR OF HOSPITAL - MORNING
The elevator opens and the six patients walk out. They walk past a group of people waiting to enter the elevator. They walk casually through the crowded ground floor of the hospital, looking around for any sign of danger. They walk towards the entrance doors. Suddenly, they see two burly security guards step in front of the exit, about twenty metres away. The patients all turn and walk in the opposite direction.
REGINALD
(under his breath)
Which way?
Daniel sees a sign which reads - Outpatients.
DANIEL
That way. There has to be another way out.
They walk across the room to the door. They walk through it and down a long corridor.
EXT. LIFT ON GROUND FLOOR OF HOSPITAL - MORNING
Doctor Foot and Keith Drow and Nurse Bruden walk out of the elevator. They walk to the centre of the ground floor room and look in all directions. They scan the faces of all the people. Then they see security guards blocking the exit doors, letting no one out. They hurry to the security guards, who are restraining a group of arguing people who are trying to exit the hospital.
HOSPITAL VISITOR
(to the security guards)
What do you mean you won't let us out?
SECURITY GUARD
(to the visitor; reaching the end of his tether)
Look, you'll have to wait! Okay? No one leaves until we say so.
HOSPITAL VISITOR #2
You can't keep us here!
A large group of other hospital visitors are also angrily voicing their discontent with the security guards. Doctor Foot, Keith Drow and Nurse Bruden reach the security guards.
DOCTOR FOOT
(to the security guards)
Have you seen them?
SECURITY GUARD
We don't know what they look like. But we're not letting anyone out.
Doctor Foot, Keith Drow and Nurse Bruden turn and look all around the room.
INT. CORRIDOR IN HOSPITAL - MORNING
The group of patients hurry down a corridor, make a turn and go down another corridor. They go down this second one. They eventually arrive at another exit to the hospital. They hurry out.
EXT. HOSPITAL - MORNING
They come out of the hospital.
LARRY
Where now?
ROGER
We'd better think of something fast.
Daniel looks around desperately. He sees an ambulance parked down the road. An idea enters his mind.
EXT. HOSPITAL - MORNING
The ambulance starts up, and slowly pulls out. It drives off. An ambulance officer appears, shouts at the ambulance and goes running after it.
AMBULANCE OFFICER
Hey! Hey! Where the hell do you think you're going!
INT. AMBULANCE - MORNING
Daniel is driving the ambulance. Roger is sitting next to him in the front. In the back are the White-Haired Man, Fred, Larry and Reginald.
DANIEL
I can't believe we made it out of there.
ROGER
I'm starting to think we're getting into more trouble than we can handle.
DANIEL
What do you mean?
ROGER
I mean, we're crazy people. We just escaped from a psychiatric hospital by tying up a doctor, and we've stolen an ambulance. The police will be called, they'll probably catch up to us anyway, and they'll bring us back. The doctors won't listen to or understand our reasons. They'll just put it down to us being crazy.
DANIEL
I'm not crazy.
ROGER
(frustrated and upset)
How did things get so messed up for us all?
DANIEL
Relax. Things are going to get a hell of a lot better for all of us. We just need to stick together. If we're smart and careful, we'll get out of this.
In the back of the ambulance the others are sitting quietly, pondering their situation.
REGINALD
(to Larry)
What about the gangsters?
LARRY
I figure they've spent the last five years trying to find me, and they haven't managed to. That means they probably never will. I'm sure they'll forget about me, if they haven't already.
REGINALD
You took five hundred thousand dollars of their money. Why would they ever stop chasing you? They're gangsters. They don't forget someone who took five hundred thousand dollars from them.
LARRY
I don't want to put anyone else in danger.
WHITE HAIRED MAN
(to Fred)
You got a light? [for his pipe]
FRED
I don't smoke.
Up front of the ambulance,
DANIEL
We've got to ditch this ambulance soon.
EXT. LANEWAY - MORNING
The ambulance turns into a deserted back laneway, filled with rubbish bins. The ambulance comes to a stop. Daniel and Roger climb out. They open the back doors of the ambulance to let the others out.
WHITE HAIRED MAN
Are we here?
DANIEL
We're ditching the ambulance. Everyone out.
They all climb out and Daniel shuts the ambulance doors.
REGINALD
What now?
DANIEL
Larry, where exactly is the half-way house?
LARRY
It's on the other side of the city. Gomon Street.
DANIEL
Can you guide us there?
LARRY
I think so.
DANIEL
We can't take the ambulance.
Fred has disappeared and is busy breaking into a car. No one has noticed until now.
DANIEL
(to Fred)
Fred, what are you doing?
Fred doesn't reply or stop.
DANIEL
Fred. We have to keep moving.
Fred succeeds in his efforts and the car door opens. He climbs in and starts to hot-wire the car. The others watch him. The engine starts and Fred gets out. He looks at the others.
FRED
Anyone need a ride?
EXT. CITY STREET - DAY
The stolen car is driving through the city.
INT. STOLEN CAR - DAY
All six are squeezed inside. They are more relaxed now. Daniel is driving. No one speaks.
EXT. HALF-WAY HOUSE - NIGHT
The Half-Way House is in a seedy and relatively dangerous part of the city.
The area is dirty and littered with rubbish. The nearby houses are dirty and most have bars on the windows.
The stolen car stops thirty metres down from the half-way house on the other side of the road.
INT. STOLEN CAR - NIGHT
LARRY
That's it.
Larry points to the half-way house. It is a run-down looking building.
REGINALD
God. It looks . . . old.
DANIEL
So where's the money? How do we get it?
LARRY
It's probably a little more difficult than you think.
DANIEL
It's hidden, obviously. We guessed that much.


LARRY
I buried it. Under the floorboards in one the rooms, the room I used to live in.
ROGER
So, we tear up the floorboards.
DANIEL
Yeah, we take up the boards and take the money. Simple.
Larry is quiet.
DANIEL
Larry? We take up the floorboards and the money is there. Right?
LARRY
Right. But if I remember the . . . types of individuals who used to live here . . . They're a dangerous bunch. I think they'd notice six guys ripping up the floor and walking out with two suitcases full of money.
DANIEL
We wait until everyone's asleep and then go in. It can't be that hard.
LARRY
Most of the residents are ex-cons, and ex-crazy people. Throw in a few desperate recovering drug addicts. They're all people trying to get back on their feet.
ROGER
And five hundred grand is going be tempting to them.
DANIEL
Yeah, but only if they know what we're doing.
ROGER
We can't all go in, clearly. It'll be too obvious. They wouldn't let us in anyway.
LARRY
I have to go. Who else?
DANIEL
I'll go.
WHITE HAIRED MAN
Count me in.
DANIEL
(to White Haired Man)
No. You have to sit it out.
FRED
I can do it.
DANIEL
Good. Three's enough.
LARRY
Does anyone have a weapon?
DANIEL
A what?
LARRY
A weapon. Like a gun.
DANIEL
Anyone got a gun?
They all say 'no' and shake their heads.
DANIEL
Okay, no guns. We don't want trouble anyway. You pull a gun in front of ex-cons and you're in for it. So, no guns. If anyone asks us, we're visiting an old friend. We know he's in a half-way house somewhere and we think it's this one. Everyone got it?
They all nod and say 'yes'.
Daniel looks at the half-way house.
DANIEL
See that?
They look and see an open window.
DANIEL
That's our way in. We'll wait until everyone's asleep and then we'll go in.
INT. HALF-WAY HOUSE - NIGHT
Later.
Daniel climbs quietly through a window of the half-way house, followed by Larry and then Fred. The room they are in is dark. Two beds are in the dark room, and two people are sleeping in them. Daniel turns to the other two and signals for them to be silent by putting his finger to his lips. Daniel leads the way. He crosses the room, the floorboard creaking at times, to a door. He quietly opens it and goes through. Larry and Fred follow.
INT. HALF-WAY HOUSE - NIGHT
They are in a corridor. Daniel turns to Larry.
DANIEL
(a whisper)
Which way?
LARRY
Down there. That room.
Larry points to a closed door in the corridor. Suddenly, a door opens at the end of the corridor and a dishevelled black man in a dressing gown walks down the corridor. He passes the group, who are frozen in place, but he does no more than glance at them as he passes. The black man opens a door and goes into a room, closing the door behind him. They breathe a sigh of relief.
They walk to the door.
Larry sees a utility closet.
LARRY
Wait.
He opens the closet, searches through it and takes out a shovel.
LARRY
We'll need this to pry up the floorboards.
INT. ROOM WITH THE HIDDEN MONEY - NIGHT
The door creaks open. Larry enters first, followed by Daniel and then Fred. Larry looks around the room. There are four beds in this room. People are sleeping in them. Larry looks at the floor and points to the centre of the room. Daniel nods. Larry walks to the centre of the room and uses the shovel to pry up the floorboards. Someone stirs in their bed. They all look up and hold their breath. Larry continues with the job of getting the floorboards up. One comes loose and he removes it. He works on the second. Then there is a voice from one of the beds.
HALF WAY HOUSE RESIDENT
(gruff and slurred)
Hey. What the hell?
They freeze again and look at each other, now worried. The man sits up in bed. He reaches for a lamp next to the bed and switches it on. A worn-out looking man, with messy hair, sees the three intruders frozen where they are. He examines them through blood-shot eyes. He looks at the missing floorboard.
HALF WAY HOUSE RESIDENT
You'd better put that back when you done.
LARRY
We will.
HALF WAY HOUSE RESIDENT
Say, what you looking for down there?
LARRY
Personal stuff. My old belongings. I hid it all here.
HALF WAY HOUSE RESIDENT
Why?
LARRY
Didn't trust anyone in here.
The man nods, not really understanding.
HALF WAY HOUSE RESIDENT
It's tough in here.
LARRY
Yes it is.
The man nods.
HALF WAY HOUSE RESIDENT
Can I come with you where you going?
LARRY
Sorry friend. Now, you just lie back down and go to sleep. Have happy dreams.
The man nods again, and relaxes and lies back down. He closes his eyes. Larry quickens his work. He removes the second floorboard, sticks a hand down into the darkness beneath the floor and fishes around with his hand. He grabs hold of something and pulls it out. It is a dusty suitcase. He reaches down again and pulls out a second case.
DANIEL
That it?
Larry nods.
DANIEL
Let's go.
Larry opens one of the cases and it is filled with money.
DANIEL
Holy shit.
FRED
That's a lot of money.
Larry takes out a small roll of money and goes and places it under the pillow of the man in the bed who talked to them. He closes the case and nods to the others to go. They leave the room.
INT. STOLEN CAR - NIGHT
Roger, Reginald and the White-Haired Man are sitting in the car. Roger has his head back, his eyes closed. The White-Haired Man has his unlit pipe in his mouth. Reginald is looking at the house.
They see the flashing lights of a police car pull up behind them. Roger opens his eyes when Reginald nudges him. The White-Haired Man turns his head and looks through the rear window.
ROGER
Damn. Everyone just play it cool. We're . . . what are we doing?
The policeman walks up to the car. They watch him in the car mirrors. He leans in the window.
POLICEMAN
Evening.
ROGER
Evening, officer.
POLICEMAN
What are you doing?
ROGER
We're waiting for our friends. They're just visiting a friend in the house up the street.
The Policeman looks where Roger is pointing.
POLICEMAN
Really.
ROGER
Yes.
The Policeman looks at the three men.
POLICEMAN
(to Roger)
Hey, don't I know you?
ROGER
I don't think so.
POLICEMAN
Yeah, you're really familiar.
ROGER
I've got a familiar face. I get it all the time.
POLICEMAN
No. No. You're . . . Where did I see you? On TV, that's it. You're an actor, right?
ROGER
I used to be.
POLICEMAN
That's where I know you from.
Roger nods.
POLICEMAN
A word of advice. This isn't the best neighbourhood. I wouldn't hang around here too long if I were you.
ROGER
Thank you.
POLICEMAN
Take it easy gentlemen.
The Policeman nods and smiles and walks back to his car. He gets in his car, and drives past. They watch the police car until it has gone.
Suddenly, the door to the half-way house opens and Daniel, Larry and Fred exit quickly. They are carrying two suitcases. They walk across the road and towards the car. Suddenly, a slick black car with tinted windows skids up to them and blocks their path.
EXT. CITY STREET - NIGHT
Daniel, Larry and Fred stop dead in their tracks. Two men in dark suits, wearing sunglasses (at night), looking intimidating, step from the car, holding guns in their hands.
GANGSTER
Going somewhere Larry?
Daniel and Fred look at Larry and then at the suitcases.
GANGSTER
So we finally meet again. The boss really wants to have a talk with you Larry. The three of you, hand over the cases, and get in the car. Or we'll use these [they pat their guns].
DANIEL
Just try is asshole.
The Gangsters point their guns at Daniel.
GANGSTER
I think we got a smartass tough guy on our hands.
GANGSTER #2
Yeah, I think we do.
GANGSTER
What will it be kid?
DANIEL
What are my choices?
GANGSTER
Shut your god damn mouth and hand over the cases, or a bullet in your head.
LARRY
It's alright Daniel. Do as they say.
DANIEL
What? You're going to let these assholes take the cases?
LARRY
Just do it.
Larry lowers the case and puts it on the ground. Daniel follows Larry and reluctantly lowers his case to the ground.
GANGSTER
(to Daniel and Larry)
You've made the right choice.
Gangster #2 walks over and picks up the two cases. He walks to the car, opens the boot and puts the two cases inside. He closes the boot.
GANGSTER
(to Daniel and the others)
Now. Get in.
DANIEL
I'm not getting in nobody's car. Especially not a car belonging to some gangster.

GANGSTER
I ain't going to warn you again, you little bastard.
(threateningly)
Get in the fucking car.
LARRY
(to Daniel)
Daniel. Just do what they say.
DANIEL
(to Larry)
Larry, they'll kill us if we get in the car.
GANGSTER
We'll kill you if you don't.
DANIEL
My mother told me never to get into cars with strangers.
GANGSTER
Who gives a shit about what your mother said to you? Get in the car.
The Gangster is angry. He points his gun at Daniel again.
GANGSTER
(with gun pointed)
Or you get it now. Right in your fucking head.
Larry, Daniel and Fred go the car, after a nod from Larry.
DANIEL
Alright. Just lower then gun, will you. I wouldn't want it to go off accidentally.
Gangster #2 opens the back door and they climb in. Gangster #2 closes the door. The two Gangsters get into car, Gangster #1 in the back, Gangster #2 in the driver's seat. They drive off.
INT. STOLEN CAR - NIGHT
Roger, Reginald and the White-Haired Man have watched the gangster incident from their car.

REGINALD
Who the hell was that?
ROGER
I don't know. But I can guess.
REGINALD
Why did they get in the car?
ROGER
Didn't you see the guns?
Roger starts the car quickly.
ROGER
We're going after them.
REGINALD
Are you crazy? They had guns. They could kill us.
ROGER
We've got to do what we can.
Roger pulls the car out and drives after the gangster's car, which is just up ahead.
REGINALD
Roger, we don't have to do this.
ROGER
Yes. We do.
INT. GANGSTER'S CAR - NIGHT
Daniel, Larry and Fred are sitting in the back seat of the spacious gangster's car. Next to them is Gangster #1, holding his gun. Gangster #2 is driving. They are both still wearing their sunglasses.
DANIEL
Where are you taking us?
GANGSTER
(to Daniel)
The less talking you do the more chance you have of living.
(to Larry)
Thought you'd get away, did you Larry?
Larry is silent.
GANGSTER
Thought you'd get away with five hundred thousand dollars that doesn't belong to you? And what were you going to do with it - split it with your friends here?
Larry is silent.
DANIEL
Who are you?
GANGSTER
Oh, how rude of me. Sometimes I forget my manners. Let me introduce myself. You ever heard of Big Benny?
DANIEL
No. Should I have?
GANGSTER
Wise guy, huh?
DANIEL
It's a simple question.
GANGSTER
Did Larry tell you he used to work for Big Benny? Light-Fingered Larry we used to call him.
(pause, he looks at Larry)
Larry used to be a professional thief.
DANIEL
(to Larry)
Is that true, Larry?
Larry is still silent.
GANGSTER
Come on, Larry. Silence won't get you anywhere.
DANIEL
Larry?


LARRY
(to Daniel)
Yes. It's true. The story I told you about robbing from supermarkets and department stores, that was a lie. I was more than a petty shop-lifter. I was more than a simple kleptomaniac. The truth is, I used to be a professional thief. In my time, I stole more than two million dollars, all of which was meant for Big Benny.
DANIEL
You worked for mobsters?
LARRY
Yes.
GANGSTER
And Larry decided to keep some of the money he stole for Big Benny.
DANIEL
Let me guess - Fat Benny wants it back.
GANGSTER
'Big' Benny.
DANIEL
Whatever.
GANGSTER
Yes. He wants it back, plus interest.
FRED
Go to hell.
DANIEL
Easy, Fred.
(to Gangster)
What guarantee does Larry have that if he pays back Big Benny he'll walk free?
GANGSTER
None. You'll have to take it up with Big Benny. And considering you two are now accomplices to this theft from Big Benny, you'd better pray he's in the listening mood.
DANIEL
Look, the money's all there, in the two cases. Just pull over and let us go here. Big Benny has his money back, he's happy. You know Larry can't pay any 'interest'.
GANGSTER #2
(from the front seat)
You'd better hope that Big Benny doesn't kill the three of you on the spot.
GANGSTER
It ain't my call. It's up to Big Benny himself. Him and no one else.
INT. STOLEN CAR - NIGHT
Roger is driving.
REGINALD
Don't lose them. Keep up close. Get right on their tail.
ROGER
I get any closer they'll know they're being followed.
REGINALD
Just don't lose them.
ROGER
I'm not going to lose them.
REGINALD
Who do you think it is? You think Larry's in some kind of trouble?
ROGER
I think it's safe to say he is. Those guys looked like mobsters.

REGINALD
Great. So now we're getting involved in organized crime. Maybe Larry and Daniel and Fred can take care of themselves.
ROGER
You want to abandon them, I'll stop the car right now and you can get out and go home. But I'm going after them.
REGINALD
(to White Haired Man)
What do you think?
WHITE HAIRED MAN
I'm staying.
Reginald sits and thinks.
REGINALD
Alright. I'm in this too. We go all the way with this one.
(pause)
Do we have a plan?
EXT. BIG BENNY'S PLACE - NIGHT
Big Benny's Place is a large bar. Outside the bar is illuminated by large neon lights reading 'Big Benny's Place'.
The gangster's car drives past the front of the bar, and goes around to the back. It pulls into a deserted loading dock and stops. There is a single door in the wall.
INT. GANGSTER'S CAR - NIGHT
GANGSTER
All three of you, get out.
DANIEL
We're not going.
LARRY
Daniel, we have to.

DANIEL
I don't think so. These criminals won't let us walk out of that place alive. You know that us much as I do.
GANGSTER
Get the fuck out. Now.
LARRY
(to Daniel)
It might be okay.
Daniel hesitates and then gets out of the car, with Larry and Fred behind him. The two gangsters get out of the car too.
EXT. GANGSTER'S CAR - NIGHT
The five men are standing by the black car in the loading dock of Big Benny's Bar. The gangster still has his gun out, pointed low at the ground.
GANGSTER
(to Larry, Daniel and Fred)
See that door. Go through that door and up the stairs. Big Benny will be waiting. I'll be following, so don't try anything.
Larry, Daniel and Fred obey. Gangster #2 opens the door to the building, and Larry, Daniel and Fred enter.  The two Gangsters follow, closing the door behind them.
EXT. BIG BENNY'S PLACE - NIGHT
The stolen car, with Roger at the wheel, pulls up near the loading dock of Big Benny's bar. They have seen Larry, Daniel and Fred enter through the door.
REGINALD
(to Roger)
You know this place?
ROGER
Yes. I've been here once or twice.

REGINALD
Who the hell is Big Benny?
ROGER
He's the boss. He runs this bar and the illegal gambling den hidden in the basement. The cops know about it but Big Benny pays them off so they keep quiet and don't hassle him.
REGINALD
Is he dangerous?
ROGER
Big Benny's a criminal. Nothing else. He's a thug and he gets thugs to do his business.
REGINALD
So what do we do?
ROGER
I don't know.
INT. BIG BENNY'S PLACE - NIGHT
Daniel, Larry and Fred climb a dark staircase in Big Benny's Place. Music is booming from somewhere in the bar and it reverberates through the walls. They reach the top of the staircase. There is a door ahead to Big Benny's office. A 'NO ENTRY' sign is on the door. Larry, Daniel and Fred walk to the door.
GANGSTER
Stop there.
They stop outside the door. The Gangster walks to the door and knocks. The door is opened by a large black man, one of Big Benny's guards. The black guard, seeing who it is, steps aside.
GANGSTER
(to Daniel, Larry and Fred)
Okay, go in.
They enter Big Benny's room.

INT. BIG BENNY'S OFFICE - NIGHT
Big Benny is sitting at his desk, filling out some forms. He is a massive man, hugely overweight.
Larry, Daniel and Fred stand quietly in the room. Big Benny doesn't look up until he has finished writing. When he does look up, he smiles and stands.
BIG BENNY
Larry!
Big Benny walks around the desk and up to Larry. He puts his arms affectionately on Larry's shoulders and gives him a squeeze.
BIG BENNY
Long time since we caught up, Larry! Where you been!
Larry doesn't reply.
BIG BENNY
I hope my assistants weren't too rough.
DANIEL
They were very gentle and accommodating.
Big Benny looks to Daniel, surprised by this.
BIG BENNY
(to Daniel)
Good. Good.
(he extends a hand)
I don't think we've met before. Benny.
Daniel doesn't raise his hand to shake Benny's hand.
DANIEL
Is that B. Benny? B for Big. Or do you just go by the name Benny?
Benny laughs uproariously.
BIG BENNY
I already like this guy!
Benny looks to Fred.
BIG BENNY
And who is this?
Fred is silent.
BIG BENNY
What? Cat got your tongue?
LARRY
Benny, leave them out of this. It would be better if you let them go. Please, as a favour to me.
BIG BENNY
Favour? That's a big thing to ask me Larry. You want me to do favours now?
LARRY
They have nothing to do with any of this. Nothing. They didn't even know about the money until today.
BIG BENNY
So why did you take them to the half-way house?
Larry doesn't reply.
BIG BENNY
I know why. It's so they could take a piece of my hard earned money. You promised them a cut if they helped you get it. Right?
LARRY
Hard earned! You stole the money. I helped you steal it.
BIG BENNY
That's true. That's true.
LARRY
Maybe you've forgotten something Benny.
BIG BENNY
Really? What have I forgotten? I fed the dog, I took out the garbage, I ripped off a few people last week. What have I forgotten?
LARRY
You've forgotten that I could call the real owners of that money. They'd be interested to know that you were behind the theft of their money.
BIG BENNY
A threat?
LARRY
Yes. A threat. They'd come after you like you could never imagine.
Big Benny sits and ponders this. Then,
BIG BENNY
We'll think about that later. First things first. A few questions. Did you honestly think you'd get away with my money?
LARRY
I was optimistic.
BIG BENNY
And what did you plan to do with five hundred thousand dollars?
LARRY
Buy a house on the beach and retire.
Big Benny thinks about this.
BIG BENNY
Really.
(to Daniel and Fred)
And what about you? What were you going to do with your cut?
DANIEL
I hadn't decided.
FRED
I was going to spend it all on nice things.
Big Benny looks briefly at Fred, then back to Larry and Daniel.
BIG BENNY
I see. A house on the beach, opulence and luxurious living, all courtesy of Big Benny. What a generous guy I am!
He looks at his two assistants when he says the last sentence. They grin and laugh with Benny.
LARRY
I have a question of my own.
BIG BENNY
Shoot.
LARRY
How did you know that I was going to get the money tonight?
BIG BENNY
Simple really.
Big Benny nods to one of the Gangster. The Gangster walks to a door in the room and opens it. Larry's sister, LORETTA, is standing there, her hands tied behind her back and a gag over her mouth.
BIG BENNY
(to Larry's sister)
Step in here, darling.
The Gangster gives her a shove, which she angrily reacts to, but she steps into the room.
BIG BENNY
You remember your sister, don't you Larry? From what I hear, it's been some time since you two have been in touch. In fact, today, when you called her, it was the first time you'd spoken in three years.
LARRY
Loretta doesn't know anything.
BIG BENNY
As you probably know, Larry, there are other people, other individuals, who have a stake in my success. The police, for example. Certain cops, certain police chiefs. If I get rich, they benefit. It's in their interest for me to make as much money as possible. So, when I asked the police chief if I could put a bug in your sister's house, and tap her phone, hoping that one day you would call her, or drop by for a chat, they obliged immediately. No one else knows this of course. This morning when you called Loretta, we were listening. In fact, we'd been listening for three years. I knew though. I knew one day you'd call her. Your disappearing three years ago had me worried, but I knew you'd never abandon Loretta. You called her today, told her exactly what your plans were - to go to the half-way house and retrieve five hundred thousand dollars. I never knew where you hid the money. I just knew you hid it. And
(he looks at the two cases)
Here it is. Back where it belongs.
Satisfied he has covered everything, Big Benny walks back to his desk and sits down in his chair. The Gangster picks up the suitcases and puts them on Big Benny's desk and opens them up. They are filled with bunches of bank notes.
BIG BENNY
It really made me sad Larry, to see you betray me this way. I mean, I thought we were business partners. No. More than business partners. Friends. Good friends.
LARRY
You thought wrong Benny. We were never friends. These are my real friends.
Benny looks to Daniel and Fred.


BIG BENNY
(to Daniel and Fred)
So, what do you do? Are you thieves like Larry?
LARRY
(to Big Benny)
No. They're square.
DANIEL
Actually, Benny, it came as a shock to me to hear that Larry was a thief with organized crime connections. Someone like you I can understand. You're a lowlife, a hustler, a cheat, a fraud and a criminal. Larry I thought was above all that.
Big Benny is clearly angered by this statement by Daniel but smiles and chuckles.
BIG BENNY
So he told you the lies too. That's Larry for you. What did he tell you? That he was a small time thief?
Daniel doesn't reply.
BIG BENNY
Larry's an accomplished liar. He needs to be I suppose in his line of work. The truth of it is - Larry has worked for me for years. He was one of the best jewelry thieves around. The best. My wife loves him! She wears the spoils of his work. She's covered with jewels, all thanks to Larry. And Larry's a great thief. Not a good thief, a great thief. Larry's problem is that he could never help himself. He sees something he wants, he takes it. Isn't that right, Larry?

LARRY
What happens to us Benny?

BIG BENNY
That's what I have to decide. What do you think ought to happen to you?
LARRY
You have your money. Just let us go.
DANIEL
Mr. Benny?
Big Benny looks at Daniel.
DANIEL
We won't tell anyone anything about this. You can trust us.
BIG BENNY
(scoffing)
Trust! Trust!
(he laughs)
Trust!!
DANIEL
We'll keep it quiet. No one will ever know about you, or the money.
Big Benny is silent and looks at Daniel.
DANIEL
Benny, you don't want three deaths on your hands. Do you?
Big Benny once again sits and ponders Daniel's question. Then,
BIG BENNY
(to the two Gangsters)
Take them outside . . . and kill them.
GANGSTER
My pleasure.
The two Gangsters, with their guns out again, direct Daniel, Larry and Fred and Loretta to the door. The group, seeing the guns, has no choice.
BIG BENNY
(to the Gangsters)
And get rid of the bodies so no one will ever find them.
DANIEL
(as he is led out of the office)
Benny! Please, reconsider!
Benny isn't listening.
DANIEL
Benny! Come on! Please!
GANGSTER
Shut up and move it. All of you. Go.
The four are pushed out the door by the two Gangsters.
EXT. BIG BENNY'S PLACE - NIGHT
Roger, Reginald and the White Haired Man are outside the door in the loading dock. Roger tries the back door to Big Benny's Place. It doesn't open. He turns to Reginald and the White Haired Man.
ROGER
It's locked.
REGINALD
Now what?
WHITE HAIRED MAN
Give me a try. I've always been good with locks.
Roger and Reginald exchange glances.
ROGER
(to White Haired Man)
Go.
The White Haired Man removes a small piece of wire from his cardigan.

REGINALD
(to White Haired Man)
Where did you get that?

WHITE HAIRED MAN
I carry it around with me. Thought it might come in useful sometime. I guess I was right.
Roger and Reginald step aside. The White Haired Man steps up to the door and inserts the wire into the lock and starts to turn it around.
REGINALD
Look.
He points to a pile of crates and with the crates and pile of wooden planks.
ROGER
They'll do.
Roger and Reginald each grab a plank and then return to either side of the door.
WHITE HAIRED MAN
(fiddling with the lock)
It isn't working.
As he says this, the door opens and the two Gangsters are standing there. Daniel, Larry, Fred and Loretta are with them. They see only the White Haired Man. Roger and Reginald are standing to either side of the door.
GANGSTER
What the hell?
The White Hair Man smiles, gulps and steps backwards.
The Gangster takes out his gun, as does Gangster #2. They step outside and towards the retreating White Haired Man. They still can't see Roger and Reginald.
GANGSTER
Who the hell are you?
WHITE HAIRED MAN
Is this the supermarket?

GANGSTER
The what?
Suddenly, two planks crack into the heads of the two Gangsters and they fall to the ground, severely dazed. Roger and Reginald step forward from either side of the door. Daniel, Larry and Fred breathe a sigh of relief.
LARRY
I knew I could count on you guys.
ROGER
We don't have a lot of time. Let's get out of here now.
They all run off to the stolen car, parked nearby. They all climb into the car, Loretta included. Daniel starts the engine and drives quickly away and out of the back lot of Big Benny's Place.
INT. STOLEN CAR - NIGHT
They are back on a main road.
DANIEL
So, where to now?
LARRY
Take me to the coach terminal. I'm jumping on the first coach out of here.
DANIEL
What about money?
REGINALD
Yeah, we don't have the five hundred thousand now.
LARRY
I don't care. I just need to get away.
(to Loretta)
Loretta? Are you coming with me?
LORETTA
No, Larry. I'm going to stay.
LARRY
What about Big Benny? He'll find you. He'll find all of us.
DANIEL
We need a plan. We've got to put our minds together and come up with something.
(to Roger)
Roger, will your manager help us?
ROGER
I don't think so.
Suddenly, the flashing lights of a police car appear behind them, followed by the sound of a siren.
DANIEL
I'm pulling over.
LARRY
You pull over you know what will happen. They'll take us back.
DANIEL
I'm still pulling over.
EXT. MAIN ROAD IN CITY - NIGHT
Daniel pulls the stolen car over to the side of the road. The police car stops behind and a police officer steps out, his gun aimed at the stolen car. He walks towards it slowly.
POLICEMAN
Everyone out! Now! Move slow! Hands on the car!
They all get out reluctantly and obey the police officer's order. When they are all out,
POLICEMAN
You know this is a stolen car?
DANIEL
Yeah, we know.
INT. BIG BENNY'S OFFICE - NIGHT
The two Gangsters have returned guiltily to Big Benny's office. They are standing in front of Big Benny, who is sitting at his desk. Big Benny is in rage.

BIG BENNY
(angrily)
What are you telling me? They're gone? You let them escape?
(angry shout)
You useless, incompetent fucks. What do I pay you for?
GANGSTER
What can we say? They got away.
BIG BENNY
(scream)
You go find them then.
GANGSTER
They could be anywhere. We don't know where to look.
BIG BENNY
You look everywhere until they turn up.
GANGSTER
Benny, what if they've already left town? The search would be pointless. Why don't you just let it go? You've got your money back. Isn't that the important thing?
Benny sits and for a moment the Gangsters think he is going to erupt with rage. But he doesn't.
BIG BENNY
You know what? You're right. For a change, you're right.
GANGSTER
We are?
BIG BENNY
Yes. They're gone. They wouldn't hang around a second longer than they need to. Not knowing that Big Benny is going to hunt them down and make them pay. Forget it. Go home. I want to be alone.
(when the gangsters don't move)
Go! Get out of here! Before I change my mind.
(pause)
Go do something useful.
EXT. POLICE STATION HOLDING CELL - NIGHT
The group of patients and Loretta are all sitting in a police holding cell. Everyone is silent and looks gloomy.
Keith appears at the cell. They all look up. Larry leaps up to the cell bars.
LARRY
Keith! Thank God you're here. Get us the hell out of here. Tell them we're not criminals.
KEITH DROW
That's going to be hard to do, Larry.
LARRY
All we did was steal a car.
ROGER
Larry, have you forgotten what we did to Keith?
LARRY
Oh, yeah. I forgot.
KEITH DROW
The good news is, they're letting you back into my care. If you come back to the hospital quietly, the police will forget about the stolen car.
REGINALD
What about the . . . the assault on you?
KEITH DROW
I'll forget about it.
REGINALD
Jesus, you're a real pal, Keith.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
The group has returned to the hospital. Keith is waiting inside the front door and watches them all enter. They all look at Keith but none speak. They seem quiet and gloomy. They all file past him. Daniel stops.
DANIEL
Is this episode going to affect my chance of an early release?
KEITH DROW
We'll see how your treatment progresses.
Daniel nods and walks into the building.
INT. KEITH DROW'S OFFICE - DAY
A day later.
Keith is sitting in his chair behind his desk, a serious look on his face. He is tapping a pencil against the desk. Daniel is sitting in the chair opposite, and is looking sullenly at the floor. When Keith doesn't speak, Daniel looks up and talks.
DANIEL
Look, Keith. We're sorry. Really sorry. We had an idea, which, at the time, seemed like a good one.
KEITH DROW
It was a dangerous idea, Daniel. You could all have been killed.
DANIEL
But we weren't.
KEITH DROW
Yes. Thank heavens.
DANIEL
Is Larry going to be in trouble?
KEITH DROW
I've spoken to all of you. I've made myself as clear as I can. Nothing - I repeat, nothing - like this can ever happen again. Not while you're staying under our care.

DANIEL
Understood. But it won't affect our chances of getting out of here, will it? It doesn't show that we're . . . well, it doesn't show that we're unwell. Does it? In fact, I think it shows the opposite. We're capable of handling ourselves in difficult situations 'outside', in the 'real' world.
Keith sits back in his chair and thinks about this.
KEITH DROW
I don't know what to do about this. Do you have any suggestions?
DANIEL
Suggestions? Give us a chance at re-entering the world we used to live in. I know from speaking to Larry, and Roger and Reginald, even Fred, that we know what we're about. We know what we're doing. I'm not saying we're one hundred percent of what we once were. Not yet. But we're getting there.
(pause)
I think we can cope.
SUPERIMPOSE: ONE MONTH LATER
INT. DANIEL'S ROOM IN PSYCHIATRIC HOSPITAL - DAY
It is the day of Daniel's release. One month has passed.
Daniel is in his bedroom. He puts the final items of clothing in his suitcase, closes and locks the case and picks it up off the bed. He sighs, takes the small suitcase and walks from the room.
INT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
A short time later. Daniel is walking towards the exit door. Keith is waiting there, with a proud smile on his face.

KEITH DROW
Well, Daniel, you made it. You're free to go.
DANIEL
Am I cured?
KEITH DROW
I feel confident you'll do brilliantly once you walk through that door. The world needs you Daniel. Your family needs you. Your friends need you.
DANIEL
I have to say, I do feel a lot better today than the day I was sent here. I know a lot of that is thanks to you. Our talks mean a lot to me.
KEITH DROW
It was my pleasure.
DANIEL
Oh, and Keith, we're all sorry about what we did to you. We had no choice. I hope you understand.
KEITH DROW
I do. Now, go.
ROGER
(O.C.)
Daniel! Wait!
A group of patients comes hurrying up to him, with Roger, Larry and Reginald at the front. Fred and the White-Haired Man are behind them.
ROGER
(to Daniel)
What's the big idea?
DANIEL
I'm free now. I'm leaving.
ROGER
I mean, what's the big idea walking out of here without saying goodbye?
DANIEL
I thought I could just slip out without you guys knowing. I hate good-byes. I promise, I was going to visit first, and then write.
They all laugh, including Daniel.
They all step forward and each of them gives Daniel a hug and offers a parting good wish.
DANIEL
(to Roger)
The first thing I'm going to do is rent all your movies. I hope things turn out well for you.
ROGER
Thank you.
DANIEL
Tell your manager not to worry. Things will improve soon.
Roger nods.
DANIEL
(to Larry)
Larry, when they let you out of here, think about what you've learnt. Okay? No more stealing.
LARRY
Got it.
DANIEL
(to Reginald)
Reginald, you don't need to be afraid of your own tricks. They are only tricks, after all, aren't they?
REGINALD
Yes. They are.
DANIEL
People need to be entertained. So, entertain them.
They all nod their appreciation.

DANIEL
(to everyone)
I'll be seeing you. When you're all released, come and see me.
Daniel smiles. Keith opens the door and Daniel walks out. When Daniel is gone, Keith closes the door.
REGINALD
So, what do you say Keith? You going to let us all go now?
KEITH DROW
We'll talk about it in your next session.
Keith smiles and walks back towards his office.
ROGER
Cards anyone?
EXT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
Daniel walks outs of the hospital. The first thing he sees is his family waiting by their car. They are standing by the car, happy and proud of Daniel. Daniel walks up to them. They all hug.
INT. HOSPITAL COURTYARD - DAY
In this scene, we see the group of patients - Larry, Roger, Reginald, the White-Haired Man, Fred - being released one by one. The group of patients are all sitting in the courtyard. In each shot, which fades into the next shot, there is one less patient in the scene, until the courtyard is empty and all the patients have been sent home. A peaceful ballad is playing during this scene.
Finally, FADE TO BLACK.
INT. PARK - DAY
Daniel is sitting in the park with Samantha and Jane Blueberry. They are sitting on a grassy hill overlooking a beautiful landscape filled with tall trees. The sun is out and shining.
DANIEL
So, we made it.
JANE BLUEBERRY
Yes.
DANIEL
You're not going to . . .

JANE BLUEBERRY
What?
DANIEL
You're not going to try to hurt yourselves again, are you?
JANE BLUEBERRY
I already have a thousand things I want to do. Nothing's going to stop me. Suicide is in the past.
SAMANTHA BLUEBERRY
Me too. Life is just starting to be enjoyable again.
DANIEL
I . . . have something I want to ask you.
SAMANTHA BLUEBERRY
What is it?
DANIEL
The thing is, Larry, me, Fred, Roger, Reginald and . . . god, what was that white-haired guy's name anyway? . . . we're not completely out of our bind yet. Big Benny's still alive. It's just a matter of time before he comes after us again.
SAMANTHA BLUEBERRY
What can we do?
DANIEL
I was thinking of your mother. You said she was a journalist. A well-known journalist. Someone that people hear and listen to. I sort of have a plan which might work. It could put Benny off our case forever.
INT. DANIEL'S HOUSE - DAY
A few weeks later. Daniel is sitting in his lounge room. Larry, Roger, Reginald and Fred are with him. They are all watching TV. An advertisement is playing.
DANIEL
Here, it's starting.
The news begins.
NEWSREADER
We begin tonight's news with the tragic story surrounding the untimely deaths of two men in a horror triple-murder. Anne Blueberry reports.
As the journalist (Jane and Samantha's mother) delivers her report, photographs of Daniel Leftman and Larry Brian appear on the screen.
JOURNALIST
Last night, two innocent lives were taken in what may be one of the most brutal crimes committed in recent years. Twenty six year old Daniel Leftman and forty one year old Larry Brian were murdered last night while they slept. It is understood by this reporter that evidence left at both crime scenes indicate that the killings are almost certainly related. It is not known for sure if Daniel and Larry knew each other, or indeed were friends, but it is certain that their losses will be felt by all that knew them. Police have released what little information there is available in the hope it will lead to the capture of their killer. They are searching for a man with dark brown hair, about one hundred a sixty centimetres tall, with a scar on his left cheek and a tattoo on his left shoulder. Should you see this man, do not approach him, but contact police instead.
As the report is finishing, the group sits in relief. It has worked. Their deaths have been faked.
LARRY
We're now officially dead.
ROGER
How does it feel?
LARRY
Strange.
REGINALD
What about the police? Won't they know what's going on?
DANIEL
Don't worry. We've explained it to them. They understand. The case is closed.
ROGER
They understood. Just like that?
DANIEL
We told the bad ones that we know they're in cahoots with Big Benny. We won't talk if they don't.
End of the journalist's report. Cut back on news-reader on screen.
NEWSREADER
In other news, one of the city's most notorious organized crime figures has been maimed and left for dead in what appears to be a revenge attack by a rival faction. Big Benny, owner of the illegal gambling den, Big Benny's Place, was found stabbed and shot outside his shady establishment. Police are yet to reveal if they have any leads on the crime.
The group is dumbstruck by this announcement on the news. They all look to Larry. Larry looks uncomfortable as he receives the amazed stares of the group around him.
LARRY
I had to do it.
DANIEL
No, Larry. Tell me you didn't. Tell me you didn't go back there.
REGINALD
You tried to kill Big Benny?
LARRY
Of course not. I tipped off the people Big Benny stole the money from. As you can see, they took the matter seriously.
They all breathe a sigh of relief.
ROGER
But Big Benny isn't dead. They only maimed him. It sounds bad, I admit, but he'll live to see another day.
DANIEL
If he recovers, he'll hear about us. His thugs will tell him we're all dead, they'd have seen us on the news, and there's no need to try to chase us down anymore.
REGINALD
You think it'll work?
DANIEL
Of course it'll work. We're dead now. Big Benny has no one left to chase.
Reginald looks at his watch.
REGINALD
We'd better get a move on.
The others all look at their watches.
DANIEL
You're right. It's past six.


EXT. HOLLANT BRANT BOXING ARENA - NIGHT
An exterior shot of the massive boxing arena. There are neon lights and a big sign which reads: TONIGHT'S FIGHT - CLARENCE BOZER vs. WORLD CHAMP TIPTON LEWIS.
INT. FRONT ROW SEATS IN ARENA - NIGHT
The massive boxing arena is filled to capacity. A boxing ring, lit up by lights, is in the centre of the ring. Clarence Bozer and Tipton Lewis are going at it.
In near front row seats, the whole group sits - Daniel, Roger, Reginald, Larry, Fred and the White-Haired Man. They are absorbed in the fight.
LARRY
(shout)
Come on Clarence! Give Tipton one he won't forget!
ROGER
(shout)
That's it Clarence. Move those feet! Swing like you've never swung before!
Suddenly, Clarence swings and connects with Tipton Lewis' head. Tipton hits the floor in a second and doesn't get up. Clarence walks gently to his corner of the ring. His trainer, ecstatic and beaming from ear to ear, jumps into the ring, and starts to mop Clarence's brow. Clarence manages a smile too.
In the near front row seats, the group are on their feet, clapping and cheering.
LARRY
You did it Clarence! You're the champ!!
DANIEL
(amid whistling)
Ladies and gentleman, we're looking at the new champ - CLARENCE BOZER!!
They all continue to clap their hands and whistle.


ROGER
(quietly)
Well done Clarence. You're back, old boy.
INT. MAGIC SHOW THEATRE - NIGHT
A small theatre with about thirty seats in front of a small stage. On the stage is Reginald. He has returned to magic, his confidence now back.
We see Reginald perform two or three tricks for the audience. Music is playing and Reginald acts like a true showman. He makes a handkerchief disappear up his sleeve and then he pulls a rabbit from a hat. The small crowd applauds.
After the rabbit is gently set aside, Reginald leads into his big trick - sawing his assistant in two, one of the tricks that led to his breakdown.
Reginald's assistant is wheeled out in a long box. Reginald takes the saw, hesitates a moment, and for a split-second it appears he cannot do it. His hand shakes for a moment, but no one really sees it. His assistant in the box senses the hesitation and looks alarmed. The audience is silent, slightly puzzled by the pause in the show.
Then Reginald regains his confidence and realizes that he can do it. He raises the saw showman-like and then lowers it and saws the box in two. The box is separated, his assistant in two. Reginald stands triumphant as the audience claps in rapturous applause. In the audience are his friends - Daniel, Roger, Reginald, Fred, the White-Haired Man and Clarence. They applaud wildly.
EXT. THEATRE - NIGHT
Roger is back on stage in front of a packed house. He is performing in Shakespeare's King Lear, playing the lead role of King Lear.
Somewhere near the front of the audience, in centre seats are Roger's friends - Daniel, Larry, Reginald, Fred, the White Haired Man and Clarence. Roger's manager is sitting with them, a proud smile on his face. Larry and Reginald are clearly proud too and cannot conceal it.

EXT. JEWELRY SHOP - DAY
Larry is now working in a jewelry shop. He stands behind the counter, arranging jewels in a glass display cabinet. The jewelry shop owner enters from a back room.

JEWELLER
Everything okay, Larry?
LARRY
Everything's perfect.
Larry smiles.
A customer walks in. She starts to peruse the cabinets, peering inside. Larry walks from the counter and up to the female customer.
LARRY
Hi. My name's Larry. Can I help you with anything?
CUSTOMER
I'm looking for something special, for my friend. It's her birthday. Nothing too fancy though.
LARRY
Nothing too fancy.
CUSTOMER
Yes. I mean, nothing too dear.
LARRY
Let's see what we can find. Maybe over here, we have some very nice and very affordable pieces.
Daniel leads the customer to one of the cabinets. Larry points to some jewels.
LARRY
Something like that?
The customer looks into the cabinet.
CUSTOMER
Yes. Those look nice. Very beautiful.
EXT. DANIEL'S HOUSE - DAY
Daniel comes riding down the street on his bicycle. He pulls up outside his house. He ties up his bike and takes out his house key, unlocks the door and enters.
INT. DANIEL'S HOUSE - DAY
Daniel walks into the lounge room. His parents and Amy are sitting there, talking to Keith Drow. Daniel is surprised and almost shocked to see Keith. They all stand as Daniel enters.
FATHER
Hello, Daniel. You remember Keith?
KEITH DROW
Hello, Daniel. How are you doing?
DANIEL
Fine, thanks. Have I . . . have I done something wrong?
Daniel looks to Keith, looking a bit uncomfortable.
KEITH DROW
I was worried when I saw you on the television. I had come to pay my condolences to your family.
DANIEL
Oh, that. It's a long story. The point of it is - we had no choice.
Daniel flops down in a chair.
DANIEL
If we wanted to keep living, we had to do it. But you can't tell anyone.
KEITH DROW
I've discussed it with your family, and we've decided that, whatever your reasons were for faking your own death, they must be good reasons. We'll keep your secret.
DANIEL
Appreciated.
KEITH DROW
Your parents tell me you're doing well.
DANIEL
Yes. I am. I feel great. A hundred per cent. Better than I've ever felt before. That hospital, somehow, I don't really know how, it gave me a new perspective on life.
KEITH DROW
I'm glad we could help.
AMY
It's good to have you back Daniel.
KEITH DROW
Well, I need to be going. I doubt you'll have any more trouble, but, if something does happen, my door is always open. And pay us a visit soon too. We all love to catch up with old patients.
DANIEL
Maybe I will.
Keith nods and smiles, picks up his coat and hat, and walks to the door.
KEITH DROW
I'll let myself out.
DANIEL
Bye Keith.
Keith exits the house.
DANIEL
(to his family)
You have to understand, I really didn't have any choice.
SISTER
Forget about it Daniel. We're just happy you're home.
DANIEL
I was thinking maybe I ought to go visit Marcus.
MOTHER
I think Marcus would have appreciated that.
DANIEL
Yes. I think so too.
EXT. CEMETERY - DAY
Daniel is walking through a large cemetery. He walks past numerous gravestones until he arrives at Marcus' grave. He puts some flowers that he is holding by the gravestone. We see the engraving on the gravestone - MARCUS MILTON, BORN 1982. DIED 2008. DEAR FRIEND OF ALL.
DANIEL
Hi Marcus. It's me, Daniel. You know, Daniel, your old friend. Your oldest friend you could say. I've just come by to say hello. I hope things are good for you up there. I want to say that I'm sorry I didn't do more to help you when you were struggling. I wish you hadn't done what you did. I guess in a way I'm like everyone else. I didn't act soon enough. I think a lot now that if I had lent a helping hand you might still be with us. I know I should have done more to help you. We miss you.
(pause)
Well, that's it. Stay happy and stay well. And put in a good word with the big guy for me. Hopefully I won't be up there with you for a while yet, but put in a good word anyway. Thanks.
A wide shot of Daniel at Marcus' grave. He lingers there a few more seconds and t                   PIRATE ISLAND
                 
                          BY

                  ANTHONY KIRKWOOD


                   PART ONE

FADE IN:
EXT. PIRATE ISLAND - DAY
SUPERIMPOSE: TEN YEARS BEFORE
EXT. PIRATE ISLAND - DAY
A PIRATE sits with a quill and a piece of paper. He sits, concealed in the undergrowth, with his back resting against a tree. He quickly scribbles a written message alongside a map he has hastily drawn on the paper. He quickly sticks the paper into a bottle. In the distance, gradually approaching closer to him, he hears the voices of his pursuers. He stands up and starts to walk. He pushes his way through the dense undergrowth.
EXT. PIRATE ISLAND - DAY
A short time later. The PIRATE is running desperately through dense undergrowth. He runs, breathing heavily, and occasionally glancing back over his shoulder. He is carrying the bottle with the piece of paper inside. He is running to the beach. An arrow shoots past him. Then another. He quickens his run.
EXT. BEACH - DAY
The PIRATE runs onto the beach. He races to reach the water. He gets to the edge of the water and runs out into the ocean. He stops, up to his waist in water, holds up the bottle, and hurls it as far as he can into the sea. He then turns and is about to run back onto the beach. An arrow hits him dead in the chest as he turns. He sinks into the water, which starts to turn red with his blood. His body floats in the water.
EXT. FAR OUT AT SEA - DAY
The pirate's bottle with the note and map inside is floating in the water. It bobs up and down as the water moves it about.
CREDITS
EXT. INN ON THE BOAT DOCKS - NIGHT/TEN YEARS LATER

It is late at night, close to midnight. The inn sits close to the docks and the water. The air is chill and damp. The moon is the only light that lights the docks.
INT. INN ON THE BOAT DOCKS - NIGHT

The inn is almost empty. There are three groups of people sitting at tables spread around the inn. They are drinking and talking quietly to each other. The inn has wooden walls and is adorned with seafaring objects - maps, compasses, ship wheels, etc.
Three sailors are sitting in the corner of the inn at a small wooden table. The three sailors are dressed in common sailor's uniforms and are wearing caps or hats. Each has a mug of ale in front of him.
One of the three men is CAPTAIN TREPSTORT. The other two are members of his crew. CAPTAIN TREPSTROT is a sailor. He is a large man, but he is benevolent looking. His two loyal crew members are equally benevolent.
The three sailors are huddled together and speak in muted tones. They don't wish anyone to overhear their conversation. They are extremely cautious, due to the subject of their conversation.
CAPTAIN TREPSTROT takes out a small cigar, and lights it with a match. He inhales, and blows out the smoke.

CAPTAIN TREPSTROT
Is my ship ready to sail?
CREWMAN #1
Yes, Captain. Everything is ready to go. Your crew is waiting.
CAPTAIN TREPSTROT
Then the Anensder will sail tonight.
CREWMAN #1
Captain, this trip is not without risk.
CAPTAIN TREPSTROT
I know the passage is a dangerous one. It may be our most dangerous voyage yet. But remember, any trip at sea is not without danger. We've sailed the oceans of the world for over twenty years. We've faced hurricanes, typhoons, high seas, scurvy, pirates and worse.
The two crewmen, who are sitting forward, nod their agreement with their captain. CAPTAIN TREPSTORT sits back and inhales from his cigar. Again, he blows out the smoke. They sit momentarily in silence.
CREWMAN #1
Captain, I don't want to raise any doubts, but I have to ask. Do you really think we can find it?
CAPTAIN TREPSTROT
I wouldn't venture to sea if I thought otherwise. I wouldn't go if I didn't think that we will all come back rich men.
CREWMAN #2
Captain Trepstrot, Pirate Island might not exist.
CREWMAN #2 looks to CREWMAN #1.
CREWMAN #1
Pirate Island might be nothing more than pirate folklore.
CAPTAIN TREPSTROT
The story of Pirate Island came from somewhere, and it wasn't from the imagination of other pirates. There is a real island, and we will find it. We have our proof.
CREWMAN #2
Proof, Captian? The map is hardly proof.
CREWMAN #1
It is true - for centuries pirates have talked of the island - the unknown island that overflows with extraordinary riches. But that talk doesn't make it true. The truth is - no pirate, living or dead, has ever discovered the true location of Pirate Island. 
CAPTAIN TREPSTROT
Do you doubt the evidence that fortune has been so good to lay in our hands? We have proof that someone has been to Pirate Island. We have proof they found it.
CREWMAN #1
The map may be the figment of some pirate's imagination. I want to believe it Captain, and I will follow you to the ends of the earth in search of the island, but we must be realistic. We must consider the probability that Pirate Island cannot be found because there is no island in the first place.
CREWMAN #2
He's right, Captain. Except for the map, we have no proof. No one does. We could sail in circles for months looking for it. And the area you believe the island to be in, the area you think the map depicts, is notoriously rough and dangerous. The seas and the storms Captain, who can sail through them and live?
CAPTAIN TREPSTROT
All I can do to reassure you is this - my feeling is that the island is more than centuries-old pirate folklore. Pirates have found it. Pirates have set foot upon its shores. What happened to them when they did is another matter. I believe that the stories are true. Pirate Island will yield more riches than can ever be conceived.
CREWMAN #1
Part of the folklore says that no pirate has ever made it off the island once they found it.
CAPTIAN TREPSTROT reaches into a bag and takes out a bottle. Inside is a piece of paper. He puts it on the table and the three sailors look at it. CAPTAIN TREPSTROT takes out the old piece of parchment, which has a hastily drawn map on it. He lays it on the table.
CAPTAIN TREPSTROT
Look at it again. Whoever drew this map found the island. There,
(he points to an island)
That is Pirate Island.
CREWMAN #2
Captain what if the map is wrong? What if it was a fake all along, a fraud?
CAPTAIN TREPSTROT
This map is dated ten years ago. Someone wanted this map to be found. The chances against it being found were minute. But, by good fortune, we did find it. We fished it right out of the sea. It is a real message in a bottle. I don't believe this map is a fraud. Look, right there - it reads: 'This is Pirate Island, find it, but be prepared for what you find. It contains great riches for those lucky enough to escape. I am soon to die.'. The fact is this, we won't know if this map is real, or if it is a fake, unless we try to find the island itself. I am prepared for what I find. The island is real, and I will find it. If you wish not to accompany me on this voyage - if you think that Pirate Island is nothing more than a tall tale - you may. But think of what you shall miss out on when we find it.
CREWMAN #1
I'm with you Captain.
CREWMAN #2
So am I.
CREWMAN #1
We have eight sailors in all. Every sailor on your ship will do everything he can to help you.
CAPTAIN TREPSTROT
That's good to hear. Then we leave tonight.
CAPTAIN TREPSTROT raises his mug of ale.
CAPTAIN TREPSTROT
To the voyage ahead and to Pirate Island, soon to be discovered and its secret's revealed.
The two crewmen raise their glasses in a toast. They drain their glasses.
At this point, two drunken PIRATES stumble into the inn. They stand at the door and survey the empty inn. CAPTAIN TREPSTROT and his two crewmen watch on apprehensively. The two PIRATES walk to the bar.
CAPTAIN TREPSTROT
(to his CREWMEN)
Put the map away. And keep an eye on them.
CREWMAN #1 hurriedly hides the map.
The two PIRATES are at the bar.
INNKEEPER
Sorry, gentlemen, I'm closing up for this evening.
PIRATE #1
Closing! We want ale. Fetch it for us!
INNKEEPER
You didn't hear me. We're closed. Come back tomorrow.
PIRATE #2 pulls out a dagger and places it on the counter, in front of the INNKEEPER. The INNKEEPER eyes it nervously.
PIRATE #2
Tomorrow we may be gone. Bring us our drinks.
The INNKEEPER obliges. He starts to pour two drinks. The two PIRATES, satisfied that ale is on the way, turn and examine again the almost empty inn. Those people in the inn who have been watching the PIRATES turn back to their business.
CAPTAIN TREPSTROT and his two crewmen are watching the PIRATES.
CAPTAIN TREPSTROT
Who are they?
CREWMAN #1
They're pirates. That's for sure. I recognize them from the docks. They sailed in yesterday.
CAPTAIN TREPSTROT
Why are they here?
CREWMAN #1
Who can say? Why don't we ask them?
CREWMAN #2
I don't think we'll have to.
The two PIRATES have seen CAPTAIN TREPSTROT. The INNKEEPER puts two mugs of ale on the counter.
INNKEEPER
Three coins for that.
PIRATE 1
Later.
INNKEEPER
Now, if you don't mind.
PIRATE 1
We'll pay later. If you are unhappy with that arrangement, perhaps you'd like to taste a bullet.
The INNKEEPER sees now that the two PIRATES have guns tucked into their belts. He looks at the guns and then back at the pirates.
INNKEEPER
They're on the house, gentlemen. Enjoy yourselves. And please, no trouble.
PIRATE #2 takes his dagger of the counter, and puts his dagger back in his belt. Then, the two PIRATES leave the INNKEEPER and walk over to CAPTAIN TREPSTROT'S table. They stop at the table and stare at CAPTAIN TREPSTROT. The two PIRATES look tough and imposing, but CAPTAIN TREPSTROT is not intimidated. CAPTAIN TREPSTROT has a serious, hard look on his face. He returns their stare.
CAPTAIN TREPSTROT
Can we help you?
PIRATE #1
What's your name?
CAPTAIN TREPSTROT doesn't reply. He stares into the eyes of the two pirates.
PIRATE #1
What's your name?
(he gets no response)
Have it your way. Are you sailors?
PIRATE #2
They look like sailors. What with the funny little caps on their heads.
The two PIRATES laugh. The two CREWMEN look at each other and at CAPTAIN TREPSTROT.
CREWMEN #1
Captain?
CAPTAIN TREPSTORT raises his hand to quiet CREWMEN #1. His look doesn't shift from the PIRATES.
CAPTAIN TREPSTROT
Found any treasure lately?
The grins on the PIRATE'S faces disappear. Serious, hard looks replace them.
PIRATE #2
Bold words for a lowly sailor.
CAPTAIN TREPSTROT
Maybe.
The two PIRATE'S eye TREPSTROT. PIRATE #2 pulls out a cigar and sticks it in his mouth.
PIRATE #2
Got a light, sailor?
TREPSTROT reaches into his coat and produces a packet of matches. He hands it to PIRATE #2. PIRATE #2 lights a match, lights his cigar and pockets the packet of matches in his coat.
PIRATE #2
(puffing on his cigar)
Why are you here?
CAPTAIN TREPSTROT
We're drinking. Like you.
PIRATE #2
I mean, why are you here? At this port.
CAPTAIN TREPSTROT
We're waiting.
PIRATE #2
What for?
CAPTAIN TREPSTROT
What we do here doesn't concern you.
PIRATE #1
That's where you're wrong. Everything concerns us. When we ask a question we want an answer. That's how it works, you see. We ask, you answer.
CAPTAIN TREPSTROT
Well, I'm going to disappoint you. Because I'm not telling you anything.
PIRATE #1
(to PIRATE #2)
What do you think?
PIRATE #2
Maybe this sailor's right. Maybe his business is his business.
(to CAPTAIN TREPSTROT)
We won't bother you anymore. Sorry to have disturbed you, sailors.
CAPTAIN TREPSTROT nods. The two PIRATES walk to another table and sit down. They start up a conversation and drink from their mugs.
CAPTAIN TREPSTROT
I don't like these pirates being here.
CREWMAN #1
Forget them. They're here to cause trouble. Nothing more. We sail tonight. All that matters is the island. All you have to do is give the order and we'll set sail within the hour.
CAPTAIN TREPSTROT
(looking at the two PIRATES)
They're here for a reason. What is it?
CREWMAN #1
Whatever it is, there's nothing we can do about it.
CAPTAIN TREPSTROT
I guess you're right.
The door to the inn opens and one of CAPTAIN TREPSTROT'S crewmen bursts in. He looks around and sees CAPTAIN TREPSTROT sitting at a table in the corner. He hurries over.
CREWMAN #3
Captain, we have a problem. One of your crew has revealed himself to be somewhat untrustworthy.
CAPTAIN TREPSTROT
Who?
CREWMAN #3
The new man - Gribby Harlow. The man you took on yesterday.
CAPTAIN TREPSTROT
What's he done?
CREWMAN #3
Captain, he's a spy. We don't know who's. He moves from ship to ship, looking for secrets.
CAPTAIN TREPSTROT
Where is he?
CREWMAN #3
We've got him tied up.
CAPTAIN TREPSTROT
Good. Take me to him.
INT. CAPTAIN TREPSTROT'S SHIP - NIGHT

GRIBBY HARLOW is tied up on board the Anensder. He is bound at the ankles and wrists and is tied to a pole. He is gagged with a cloth, which is tied around his head. Two of CAPTAIN TREPSTROT'S crew watch over him. He looks around. CAPTAIN TREPSTROT appears on board, followed by CREWMAN #1 and CREWMAN #2.
CREWMAN GUARD
This is him Captain. He almost had us fooled.
CAPTAIN TREPSTROT
Take the gag off him. I want to speak to him.
CREWMAN GUARD #1 removes the gag from GRIBBY HARLOW. TREPSTROT stands imposingly over him.
CAPTAIN TREPSTROT
Now, Gribby, if you tell us the truth - the truth Gribby - we might let you go. What are you doing on my ship?
GRIBBY HARLOW
The accusations are false Captain. Your crew is telling you lies. I'm not a spy. I'm a sailor looking for a ship to sail on.
CAPTAIN TREPSTROT
Gribby, my crew never lies to me. If you'd served on my ship before you'd know that. Which means you are the one who's lying. Now, I'll ask again, why are you on my ship?
GRIBBY HARLOW
To serve you Captain. I'm an honest sailor. I've sailed on over ten vessels in my lifetime. I served each Captain with dedication and hard work.
CAPTAIN TREPSTROT
Gribby, tell me the truth.
GRIBBY is silent.
Both GUARDS pulls pistols from their coats and hold them pointed at the floor. GRIBBY sees them take out the pistols. He looks back at Captain Trepstrot.
CAPTAIN TREPSTROT
We'll use them Gribby.
GRIBBY HARLOW
You can't shoot an innocent sailor. Anyhow, the shots will be heard. People will know. And then you'll front up before the law and your sailing days will be over.
CAPTAIN TREPSTROT nods to the two men. They put their pistols on a table on the deck. GRIBBY looks relieved. The two GUARDS walk to a table. One picks up a dagger, the other picks up a club.
GRIBBY HARLOW
Let me talk sense to you Captian. I can see you're a smart man. You can't be taken in easily. If I was a spy, you'd have found me out yourself. You'd already know. How could I be a spy? All I know is how to sail. I've sailed all my life. The sea is what I live for.
The two GUARDS approach GRIBBY. GRIBBY sees they mean business.
GRIBBY HARLOW
(to CAPTAIN TREPSTROT)
What are they going to do?
GRIBBY HARLOW
We're not going to kill you Gribby. I don't want a death on my conscience. Besides, I'm not that sort of man. Killing you would be a first for me. But my guards will do whatever they think is necessary to get answers from you. I want the truth Gribby. The plain, honest truth.
GRIBBY thinks about it. He is nervous and afraid of the two GUARDS and of their dagger and club.
GRIBBY HARLOW
The thing is this Captain. If I tell you the truth, my Captain will punish me. If I don't, you will punish me.
CAPTAIN TREPSTROT
My punishment will be worse. I assure you of that.
GRIBBY HARLOW
You don't know my Captain.
CAPTAIN TREPSTROT
Who is he?

GRIBBY HARLOW
I can't. I can't tell you that. If he knew I'd given him away he'd punish not just me, but everyone I know. He'd do it for fun. I can't tell you that, Captain.
CAPTAIN TREPSTROT
You know what, Gribby, let's try the guns again.
GRIBBY HARLOW
You said you'd never do it. You're not that kind of man. If your crew do it, it's just as bad. It means the same thing. I'm confused Captain, have you or haven't you done this to someone before?
The two GUARDS put down their dagger and club, pick up their guns again and prepare them for firing. GRIBBY watches their every move, realizing they will use the guns if he doesn't talk. They finish preparing the guns and point them at GRIBBY.
CAPTAIN TREPSTROT
Why are you on my ship? Don't make me ask again.
GRIBBY HARLOW
I move from ship to ship. I go  to every ship that comes into the docks. I find a way on board. Usually, I just pretend to be a sailor looking for work. That usually works. I say I've sailed the seven seas and all that. I look for information, secrets, anything that may be profitable to my Captain.
CAPTAIN TREPSTROT
So you're not really a sailor?
GRIBBY HARLOW
No, sir. I just pretend that bit. I wasn't even going to sail with you. Tomorrow morning, I was to get some sort of illness. It would be bad enough to take me off the ship. I would be too sick to sail.
CAPTAIN TREPSTROT
What secrets?
GRIBBY HARLOW
Anything. My captain uses me to find out what his 'competitors' are up to. Shipments, goods, money, gold, silver, anything. And when he comes to this port, which he does every now and again, he asks me for other information, about people in the town - who has money or gold, any valuables that he can steal. He spends his time here plundering as many people as he can. Which is usually a lot.
CAPTAIN TREPSTROT
You're a dishonest man, Gribby.
GRIBBY HARLOW
(feeling guilty and remorseful)
That, Captain, I am. But I'm a good man besides the dishonesty. I'm nothing like my Captain. No one is. You're not going to shoot me then?
CAPTAIN TREPSTORT gestures to the two GUARDS to lower the guns, which they do.
CAPTAIN TREPSTROT
It depends on how much you tell me. What is the purpose of my trip?
GRIBBY HARLOW
Riches. I know that much.
CAPTAIN TREPSTROT
What else?
GRIBBY HARLOW
If I may say it - I think, but I'm not sure, that you're heading to a place that is famous among pirates and in pirate legend. I believe it's called Pirate Island.
GUARD #1
(raises his pistol)
He knows too much. Let me kill him.
CAPTAIN TREPSTROT
My crew doesn't mess around.
GRIBBY HARLOW
I see that. Please, don't kill me. I'm just a spy. I don't do anything that the other pirates do. I don't hurt people, or rob them. I just find things out. That's my job and my living. We all have to make a living. You understand that, don't you Captain?
CAPTAIN TREPSTROT
What have you told your Captain?
GRIBBY HARLOW
Nothing. Not yet. And if you let me go, I won't tell him anything.
CREWMAN #1
That's another lie. He's probably told his Captain everything. This man cannot be trusted.
CAPTAIN TREPSTROT
Do I have a map?
CREWMAN #1
Captain!
CAPTAIN TREPSTROT
Do I?
GRIBBY HARLOW
For Pirate Island?
CAPTAIN TREPSTROT
Yes.

GRIBBY HARLOW
No. Your crew said one doesn't exist. If no map exists, how could you have one?
CAPTAIN TREPSTROT
How can I trust you Gribby? How can I know that you won't tell your Captain that I'm going in search Pirate Island? I can't have anyone else knowing my secrets. They're far too important. You understand that, don't you Gribby?
GRIBBY HARLOW
Yes, Captain.
CAPTAIN TREPSTROT
I can't have other crews interfering in my search. And I can't have other crews spoiling my adventure.
GRIBBY HARLOW
What is there to tell my Captain? You don't know yourself where you're going, from what your crew says.
CAPTAIN TREPSTROT
What did my crew tell you?
GRIBBY HARLOW
No one knows where it is. Pirate Island doesn't appear on any maps. No pirate is known to have been there and come back to tell the tale. Not one. The legend has it that pirates have been there, but no one knows who or when, or where they are now. It's a mystery to all pirates, as is what is on the island. How can I tell my Captain something you yourself don't know?
CREWMAN #1
(to CAPTAIN TREPSTROT)
We have no way of knowing who he's told. You said it yourself - he's a dishonest man.
CREWMNAN #2
He's already told his Captain everything he knows. It's better to kill him now.
GRIBBY looks pleadingly at CAPTAIN TREPSTROT, waiting for his decision.
CAPTAIN TREPSTROT
I may have a better solution.
(to GRIBBY)
Gribby, does your captain pay you well?
GRIBBY HARLOW
No sir. He's a hardfisted man. And thoroughly mendacious. He lies to his whole crew about what he finds, and keeps most of it for himself. His crew is too stupid to realize that.
CAPTAIN TREPSTROT
I do pay my crew well.
(to GUARD #2)
Open the trunk.
GUARD #2 goes to a large wooden trunk and opens it up. There are valuable objects inside. CAPTAIN TREPSTROT walks to the trunk and takes out a pearl necklace. He holds it up.
GRIBBY HARLOW
It's beautiful.
CAPTAIN TREPSTROT
It's yours, Gribby, if you leave now, and never return to your Captain. Everything you know about me stays with you. You never came on this ship, and you never met me. Is it a deal?
GRIBBY HARLOW
You're very generous Captain. And very fair. I'll take that deal.
CAPTAIN TREPSTROT
Good. You leave tonight. Go to another port where your Captain can't find you. Go anywhere. So long as your Captain never finds you.
GRIBBY HARLOW
He'll know. He'll call me a traitor and hunt me down. He's like that. He wouldn't forget something like this.
CAPTAIN TREPSTROT
We'll put out word that you're dead. Killed by us for treachery and deceit aboard my vessel.
(to GUARDS)
Cut him loose. Put him on a ship leaving tonight. Somewhere far away.
(to GRIBBY)
With that necklace, Gribby, you'll be able to start a new life for yourself.
GRIBBY HARLOW
Thank you Captain. I'll remember this gesture for a long time.
The GUARDS cut GRIBBY loose. While the GUARDS release him from his bonds,
GRIBBY HARLOW
You're not from this part of the world Captain?
CAPTAIN TREPSTROT
My crew and I just stopped by. We're leaving tonight, as you know of course.
The GUARDS finish untying the ropes and GRIBBY stands up.
CAPTAIN OF BOAT
I have your word, Gribby, that no one else knows anything of this trip to Pirate Island?
GRIBBY HARLOW
Yes. You have my word.

EXT. PORT - NIGHT

A group of drunken PIRATES are standing idly on the docks, waiting for their Captain, CAPTAIN RISCOTTAL. Their pirate ship is docked at the port. The pirates stand, drinking and smoking cigars. They are a gruesome looking bunch, large, hairy, strong, with beards and scars. A group of three people, two men and two women, pass by. The PIRATES watch them pass.
PIRATE #1
Evening.
The group nods and smiles, nervously. They quicken their pace and try not to make eye contact. The group passes.
CAPTAIN RISCOTTAL emerges on the deck of the boat, in front of which the pirates are standing. He emerges from his cabin. He walks down the gang-plank to the port. The PIRATES, his crew, straighten up and salute.
CAPTAIN RISCOTTAL
Gentlemen, sorry to keep you waiting.
PIRATE #1
That's alright Captain.
PIRATE #3
(who is a little dim)
Besides, Captain, we're used to you keeping us waiting.
The PIRATES go silent, realizing the inherent insult in this remark. They avert their eyes, fearing the worst for PIRATE #3. CAPTAIN RISCOTTAL considers the remark for a moment, but, fortunately for PIRATE #3, dismisses it.
CAPTAIN RISCOTTAL
Gentlemen, we've come to this port and this town for a good reason. At this moment, we're a little short of funds. It's up to you all to replenish our dwindling funds. Make the most of this town. Get whatever you can and bring it back to the ship.
The PIRATES all smile, revealing their horrid rotting teeth.
CAPTAIN RISCOTTAL
The night is young. Make the most of it.
PIRATE #1
You're not coming with us on this one Captain?
CAPTAIN RISCOTTAL
I would like to. I enjoy nothing more than plundering. As you all know.
The PIRATES nods and smile and laugh.
CAPTAIN RISCOTTAL
But I have pressing matters to deal with tonight. Go. And have fun.
CAPTAIN RISCOTTAL turns and walks back up the gang-plank.
EXT. TOWN SQUARE - NIGHT

The town square is filled with shops with glass front windows. CAPTAIN RISCOTTAL'S PIRATES are scattered around the square. They are all standing outside the various shops. They all throw things through the windows and break open doors. They all enter the shop premises, with the exception of a couple of PIRATES who keep watch.
INT. SHOPS - NIGHT
The PIRATES rob the shops in the town. They take whatever they can - jewels, precious objects, money. They put the objects into bags and sacks.
INT. SHOP - NIGHT

Two of CAPTIAN RISCOTTAL'S PIRATES are in a shop. One of the two pirates, PIRATE IN SHOP #2, is busy taking valuable objects and putting them into his sack. The other, PIRATE IN SHOP #1, looks at an expensive painting on the wall.
PIRATE IN SHOP #1
What do you think?
PIRATE IN SHOP #2
We don't need paintings. What will we do with paintings? Hang them on the ship?
PIRATE IN SHOP #1
It might be worth something.
PIRATE IN SHOP #2
No. Forget it. No pictures.
PIRATE IN SHOP #1 takes out a large knife and makes a cut through the canvass of the painting. He puts his knife away and turns to other objects. He throws a few on the ground, and then he finds an elaborate clock.
PIRATE IN SHOP #1
What about clocks? Do we take clocks?
PIRATE IN SHOP #2
We have clocks already. We don't need more. Look for the good stuff - money and jewels.
PIRATE IN SHOP #1 casually picks up the clock, admires it and smashes it on the floor. He smiles.
PIRATE IN SHOP #2
Are you going to break everything? Just get the good stuff.
PIRATE IN SHOP #2 continues busily filling his sack with valuables.
PIRATE IN SHOP #1 takes out a pack of matches. He lights one and sets fire to a curtain. PIRATE IN SHOP #2 sees this. He shakes his head in disbelief, even though he has seen this before. PIRATE IN SHOP #2 finishes filling his sack and they leave the shop.
EXT. SHOP - NIGHT

The two PIRATES IN SHOP walk out of the shop. They walk off. The flames are building and smoke is starting to billow from the shop's broken windows.

EXT. TOWN STREET - NIGHT

Two more PIRATES knock on the door of a two story house. A light goes on upstairs. They see it come on. They wait. A short time later the door opens and a man in his dressing-gown is standing there.
MAN IN DRESSING GOWN
Yes?
PIRATE #1
Evening.
The MAN IN DRESSING GOWN examines the two menacing PIRATES.
MAN IN DRESSING GOWN
(angrily and impatiently)
Do you know what the time is? It's the middle of the night. I was fast asleep. I'm not in the mood to be woken up in the middle of the . . .
PIRATE #1
(raises his hand to silence the MAN IN DRESSING GOWN)
We're sorry to disturb you at this hour, but we're collecting.
MAN IN DRESSING GOWN
What? Collecting? Who for?
PIRATE #1
Ourselves, and our Captain.
MAN IN DRESSING GOWN
(bewildered but still angry)
Your Captain?
The MAN IN DRESSING GOWN suddenly realizes who they are and tries to shut the door, but they block it with their strong arms. The two PIRATES push the door open and push the MAN IN DRESSING GOWN aside.

EXT. TOWN STREET - NIGHT

A short time later, the two PIRATES emerge from the house carrying sacks filled with stolen goods. The MAN IN DRESSING GOWN watches on helpless.
PIRATE #1
Thank you for your generosity. Our Captian thanks you. Good night to you.
PIRATE #1 bows to the MAN IN DRESSING GOWN.
MAN IN DRESSING GOWN
I knew it. You're pirates. The worst kind no doubt.
PIRATE #1
We do out best.
The two PIRATES laugh. PIRATE #2 takes out a cigar. He lights a match and lights his cigar. He then takes out a stick of dynamite and lights the fuse with the match. The MAN IN DRESSING GOWN watches on, horrified.
PIRATE #1
Is there anyone else in the house?
MAN IN DRESSING GOWN
No.
PIRATE #2 smashes the front window of the house and tosses in the dynamite. The MAN IN DRESSING GOWN runs into the street. The PIRATES stand at a safe distance and watch. The dynamite goes off and an explosion demolishes the front of the house.
The two PIRATES laugh and walk off.
EXT. TOWN STREETS - NIGHT
The pirates have finished their plundering and have returned to their ship. We see the ruins left by the pirates. There are broken windows, kicked-in doors, fires still burning and the rubble of the MAN IN DRESSING GOWN'S house.

EXT. CAPTAIN RISCCOTTAL'S SHIP - NIGHT

CAPTAIN RISCOTTAL'S PIRATE CREW return to their ship carrying all their sacks of stolen money and goods. They walk along the docks and up the gang-plank to the ship. CAPTAIN RISCOTTAL stands proudly aboard his ship, watching over their return.
CAPTAIN RISCOTTAL
(watching them arrive, he calls out to them all)
A profitable night I hope gentlemen!
PIRATE #1
We took all we could, Captain. And we left quite a mess behind. They'll be cleaning it up for weeks. Just like you wanted, Captain.
CAPTAIN RISCOTTAL
Good. That's the way to do it. You make me proud. I couldn't ask for a better crew. Hurry aboard, men. We'll add up our takings for the evening. And then we'll have a toast - a toast to you all!
The PIRATES all cheer and walk into the ship.
EXT. TOWN - MORNING
It is the next day. It is early morning. The morning sun is shining down. Market stall owners are setting up their stalls. Shopkeepers are opening up their shops. There are only a few people about.
A number of shops near the markets shown the signs of the plundering by the pirates during the previous night. The windows of several shops are all broken. The shopkeepers are inspecting the damage. They pick up bits of things that have been broken or strewn about while they talk.
SHOPOWNER #1
The pirates are at it again. They come here, strut around like they own the town, and then steal what they can. Look what they've done.
SHOPOWNER #2
Seven hold-ups, several robberies and two fights. And that was just last night.
SHOPOWNER #1
We're never safe so long as pirates are about. They ought to stick to the seas, where they belong. If they want to fight and steal from each other, fine, but leave innocent people to live in peace.
SHOPOWNER #2
They move from port to port, town to town. They're getting away with what's almost murder. Look at our shops, all ruined and ransacked. But what can we do?
MARKET STALL OWNER #2
There might be more today. Word from the docks is the pirate ship is still there. The fisherman say they're flying their flag, in full view of everyone.
SHOPOWNER #1
How has business been?
SHOPOWNER #2
I can't complain. I'm lucky. Some aren't. I had a young boy in here yesterday. He was asking for help. He said his harvest - he was a farmer - was failing quite badly this year. He said that the crop had to come sooner or later.
SHOPOWNER #1
What did you do?
SHOPOWNER #2
What could I do? I had to turn the poor boy out on his ear. I didn't feel good about it afterwards, but what could I do?

SHOPOWNER #1
Yes, what can we do? We can't help everyone.
EXT. THOMAS STEVEN'S FARM - DAY
A young boy, THOMAS STEVENS, is toiling in a field. THOMAS STEVENS is a young boy, around twelve years old. He is thin and of medium height, with blond hair. THOMAS STEVENS has a pick and is digging up the earth. The field around him should be full of vegetables to harvest, but the land is dead and dying. This year, there has been no harvest. Even the trees are barren.
The farmhouse where THOMAS and his family live is on the edge of the field. It is a small wooden houses, with dark windows. There are two other fields, belonging to THOMAS and his family, which surround the house. They are equally dead.
THOMAS' FATHER is working in another part of the field. He is busy digging up the earth like Thomas, preparing the soil for planting. He puts down his shovel and wipes his forehead. He can't believe how bad a condition the fields are in. He looks across at THOMAS. He sees THOMAS working hard with his pick. He walks slowly across the field to THOMAS.
EXT. THOMAS STEVEN'S FARM - DAY
THOMAS'S FATHER walks up to THOMAS and stands next to him. He looks at the barren earth where THOMAS is digging. THOMAS turns and looks at his FATHER, smiles, and continues to dig with his pick.
THOMAS' FATHER
Thomas, have a rest.
THOMAS STEVENS
I'm not tired. I can keep going.
THOMAS' FATHER
No. Have a break. A few minutes.
THOMAS stops digging, looks at the earth, and then puts down his pick.
THOMAS'S FATHER
Pull up at a seat.
THOMAS and THOMAS'S FATHER sit down on two small boxes that are next to THOMAS. THOMAS'S FATHER wipes his brow. THOMAS sees how hot and tired his father is.
THOMAS STEVENS
You look hot. Don't overwork yourself.
THOMAS' FATHER
It's been a bad year Thomas.
THOMAS STEVENS
Yes, it has.
THOMAS' FATHER
I've never seen a worse year. And I've been harvesting these fields for twenty years.
THOMAS STEVENS
It doesn't make sense. Our farm should be at its full harvest.
THOMAS' FATHER glances across the decaying field.
THOMAS'S FATHER
It's just nature. Nature sometimes does this. It's hard, but it happens. We have to live with it and hope.
THOMAS STEVENS
But look at the earth.
(THOMAS points to a patch of earth)
Over there. There should be a field of carrots, cabbages, tomatoes. Last year we had a full harvest.
(he looks back at his FATHER)
This year, nothing wants to grow.
THOMAS' FATHER
There's nothing more to do. We just have to accept that we've had a bad year.
THOMAS STEVENS
If we keep at it we'll get something soon. We will. We can plant another crop, we can wait . . . Something has to grow. Bad luck can't last this long.
THOMAS'S FATHER
No Thomas. Nothing is going to come, not now or in the future. Our land is decaying. It's beyond decaying. It's dead. I can't explain it, but it is. The whole farm is dead.
THOMAS STEVENS
We'll plant again. We'll get some cabbages, or some carrots, or some pumpkins. We can't give up. We have to keep trying.
THOMAS'S FATHER
Maybe. Let's go inside. We'll have a cold drink.
INT. THOMAS STEVEN'S FARMHOUSE - DAY
THOMAS'S MOTHER brings in some cold drinks. THOMAS STEVENS and THOMAS'S FATHER are waiting in a scantily furnished room. There are two younger CHILDREN in the room, THOMAS' two younger brothers. THOMAS' MOTHER hands drinks to THOMAS' FATHER and to THOMAS. She quietly takes a seat and they sit in silence. THOMAS drinks his drink quickly, his thirst quenched.
THOMAS' MOTHER
Anything?
THOMAS' FATHER
Nothing yet.
THOMAS' MOTHER
What will we do?
THOMAS' FATHER
We wait.
THOMAS' MOTHER
We've waited. We've waited all year. There's no food in the cupboards. The shelves are bare. There are five of us to feed.
THOMAS STEVENS
We keep at it until we get a harvest. I know one will come.
THOMAS' FATHER
I'm afraid it's going to only get worse. The land is gone. It's useless. It's going to sit and decay for a long time.
THOMAS' MOTHER
Perhaps if we could buy more land. We sell the farm and move.
THOMAS' FATHER
This land can't be sold. No one could possibly want it. What would they do with it?
THOMAS' MOTHER
We can't sit and do nothing.
THOMAS' FATHER
I've been a farmer all my life. My parents were farmers, my grand-parents were farmers. Thomas is a farmer. But our good fortune has run out. Our land will reap nothing for years, perhaps decades.
They sit in silence, thinking about this sad fact.
THOMAS'S MOTHER
What will we do for dinner?
THOMAS'S FATHER
Thomas, go into town and buy some food.
THOMAS'S FATHER reaches into his pocket and hands THOMAS a small number of coins. THOMAS takes them.
THOMAS' FATHER
That's the last of our money. See what it will buy.
EXT. TOWN STREETS - DAY
The town streets are crowded with people. There is a range of people, from the wealthy and well-dressed, to the poor. THOMAS STEVENS walks through the town streets, amid the crowds of people. He takes note of everything going on around him.
EXT. TOWN STREET - DAY
In the town streets, there are market stalls. In the stalls are market owners selling a variety of produce and goods. Along the streets are shop-fronts with more goods for sale.
THOMAS STEVENS is walking down a wide street in the town.
He reaches and open space and looks at the market stalls that fill the space. He walks towards them, enticed by the large array of food, goods and miscellaneous objects.
He walks along the line of stalls. He stops and admires all the wonderful and strange objects in some of the stalls.
EXT. FRUIT AND VEGETABLE MARKET - DAY
THOMAS walks up to a fruit and vegetable stall. He looks at everything on display, one group of fruit and vegetables at a time. He is thinking what he should buy. The SELLER sees THOMAS and calls out to him.
SELLER
Don't think about stealing anything.
The SELLER looks THOMAS up and down.
SELLER
Where are you from?
THOMAS
I live on a farm.
The SELLER points a finger at THOMAS.
SELLER
Are you one of those kids who's been pinching from my stall?
THOMAS STEVENS
No.
SELLER
Are you sure?
THOMAS STEVENS
I'm sure. I don't take what's not mine.

SELLER
That's a good principle to have. Neither do I. But some do.
THOMAS STEVENS
I was only looking.
SELLER
That's what the other kids said. "We're just looking". I turned my back for a second, and when my back was turned, they pinched as much as they could fit in their pockets. I saw them, chased them down the street, caught them and made them empty their pockets. Boy, had they taken a lot. I'm surprised they could run with all the stuff they'd put in their pockets.
THOMAS STEVENS
I'm not going to steal from you. It never crossed my mind.
SELLER
You must be one of the good kids I've been told about. I didn't think they existed. People say, they're not all going to pinch from you. But I don't trust them any more. If you'd had a stall in the market as long as I have - twenty odd years - you'd see why I think that.
THOMAS STEVENS
How much for an apple?
SELLER
More than a boy like you can afford.
THOMAS STEVENS
How do you know that?
SELLER
I can tell. I can see it. You don't strike me as a kid with a lot of money to spend.
THOMAS STEVENS
How much?
SELLER
I doubt you have enough.
THOMAS STEVENS
For one apple?
SELLER
Yes. My apples are the best. When you taste them you'll see why. And quality doesn't come cheap.
THOMAS STEVENS
Can I have one anyway?
SELLER
No. I work too hard to give these away. Like I said, my stall has some of the best produce in the whole town.
THOMAS eyes the apples. They look delicious.
THOMAS STEVENS
They do look good.
SELLER
That's because they are. Now, are you really going to buy something?
THOMAS STEVENS
I'm very hungry. I haven't eaten in three days. My stomach rumbles all day and night. It needs something to fill it. And my parents are hungry too. And my two brothers.
SELLER
Three days? You look quite healthy. Poor, but healthy. Well . . .
(he looks around)
Take an apple quickly. Don't let anyone see you. No, take three. One for you, and one each for your parents. Because you're a good kid. But don't tell anyone. If word gets around I'm giving fruit away for free, there'll be a line a mile long. You're not the only poor people in the town. Wait, two brothers as well. Here, take two more. Wow, I really am a generous man.
THOMAS STEVENS
Thank you. I'm very grateful.
THOMAS STEVENS discretely takes five apples. He puts them into his pockets.
SELLER
Now get going. If you manage to get free food from every stall, you'll have had a pretty good day.
THOMAS STEVENS
Can I get some of the vegetables as well? My family's starving. We're not just hungry. We're starving. Please.
SELLER
How do I know if your family is really starving? I've never met them. How do I know?
THOMAS STEVENS
I'm not telling a lie. We're starving. We haven't had a decent meal in a week.
SELLER
I feel for your family. I do. But nothing's free. What's you name?
THOMAS STEVENS
Thomas Stevens.
SELLER
Thomas, I feel for you. I really do. Times are tough. Not just for you and your family. For lots of people. Take a look around you now. There's rags and there's riches everywhere you look. I want to help you. But, Thomas, you have to realize, I have a business to run. I can't just give things away to anyone who asks. Where would that leave me? It just doesn't work that way.
THOMAS STEVENS
I do have some money. Here, take it. This is all I have.
THOMAS STEVENS reaches into his pocket, and puts the coins he has on the market stall counter. The SELLER looks at the coins, takes them and counts them.
SELLER
This won't buy you anything.
The SELLER puts the coins back on the counter.
THOMAS STEVENS
I know it's not much, but is there anything you can give me for that?
SELLER
I'm sorry Thomas. Come back with more and we'll do business.
A new customer walks up to the SELLER. He is a wealthy man. He looks down at THOMAS and gives him a disapproving look. The SELLER turns his attention away from THOMAS to the CUSTOMER.
CUSTOMER
Five apples, five oranges, two carrots, a cabbage, and two cobs of corn. And a pumpkin.
The SELLER takes her order and starts to pack a bag with the items requested by the CUSTOMER.
THOMAS STEVENS watches and then tries the SELLER one last time.
THOMAS STEVENS
We don't have any money. This is it.
(he holds out the coins)
We'd pay you if we had more money.
CUSTOMER
Nothing's free, child.

THOMAS STEVENS
I know that.
(to SELLER)
We'll pay you when we can. I give you my word. If you give us food now, I'll come back with twice this.
The SELLER is packing the CUSTOMER'S fruit and vegetables into a bag. 
SELLER
(to THOMAS STEVENS)
I'm sorry. There's nothing more I can do for you.
THOMAS STEVENS
(to CUSTOMER)
Will you help us?
CUSTOMER
No.
THOMAS turns, sad, and walks to another market stall.
As THOMAS walks off, the SELLER and CUSTOMER watch him.
CUSTOMER
Another starving child?
SELLER
Yes. It's sad really.
CUSTOMER
You mustn't be too gentle with these children. If they have to learn the hard way, so be it.
SELLER
All the same, it's sad to see.
EXT. CAKE STALL IN MARKETS - DAY
THOMAS STEVENS is at a cake stall in the markets. There are an array of appetizing cakes on display. THOMAS STEVENS stands and admires the cakes. The CAKE SELLER sees him.
CAKE SELLER
Can I help you?

THOMAS STEVENS
My family's farms is dead. I was just wondering if . . .
CAKE SELLER
No.
THOMAS STEVENS
Just one.
CAKE SELLER
No.
THOMAS STEVENS
We can't grow anything. Can you help us by giving us some cakes for our dinner?
CAKE SELLER
I don't give my cakes away to you or to anybody else. Cakes cost money.
THOMAS STEVENS
I have this.
THOMAS STEVENS puts the money on the counter of the CAKE STALL. The CAKE SELLER counts it.
CAKE SELLER
Is this all you have?
THOMAS nods.
CAKE SELLER
It's not a lot. Actually, it's very little.
THOMAS STEVENS
Will it buy anything?
CAKE SELLER
No. But I'm willing to negotiate. Are you a nice boy?
THOMAS STEVENS
Yes.
CAKE SELLER
Do you behave?
THOMAS STEVENS
Yes.
The CAKE SELLER thinks about this. He examines THOMAS up and down.
CAKE SELLER
I'll see if have anything for you. I can't promise anything, but give me a minute.
THOMAS STEVENS waits while the CAKE SELLER looks at his cakes. He assesses each one.
THOMAS points to a cake.
THOMAS STEVENS
That one looks good. Actually, they all look good.
CAKE SELLER
Yes. It does. And it tastes even better. Now that I look, I can't help you. If you had just a little more.
THOMAS STEVENS
I'll take anything. Even stale cakes. Anything you have left over.
CAKE SELLER
I feed all the stale cakes to the birds. It's a good way to get rid of stale cakes, anything that's left over and won't sell. The birds don't care what they're eating, as long as they are eating. That's why they all hang around my stall come the afternoon each day.
THOMAS STEVENS takes his money back off the counter. He puts it back in his pocket.
THOMAS STEVENS
Thanks anyway.
The CAKE SELLER nods. THOMAS walks to another market stall.
EXT. FISHMONGER STALL - DAY
The next market stall is a fishmonger's stall. THOMAS sees the large fish laid out on the table. He looks closely at them - their scales, their eyes. He runs his hand over one. The FISHMONGER sees him.
FISHMONGER
Hands off.
THOMAS STEVENS removes his hand from the fish.
FISHMONGER
No one touches the fish except me and the person who buys the fish.
THOMAS STEVENS
How much for a fish?
FISHMONGER
How much have you got?
THOMAS STEVENS takes out one of the apples in his pocket.
THOMAS STEVENS
I'll trade you. The apple for a fish.
FISHMONGER
What do I want with an apple? If I want an apple I go the fruit stall and get an apple. I have apples at home. Lots of apples. Why do I want one from you?
THOMAS STEVENS
Just for a small fish. Here.
THOMAS STEVENS holds out the apple.
FISHMONGER
Do you have any money?
THOMAS STEVENS
No. Well, not enough.
FISHMONGER
No money. Well, you can't buy any fish. I only deal with customers who have money. I'm not giving them away.
(the FISHMONGER thinks of something, he points a suspicious finger at THOMAS)
Wait, if you have no money, where did you get the apple?
THOMAS STEVENS
Where did all these fish come from?
FISHMONGER
The sea. Where do you think?
THOMAS STEVENS
Are they fresh?
FISHMONGER
The freshest in town. Succulent and tasty.
THOMAS STEVENS
Do you catch them?
FISHMONGER
They're delivered to me every morning. First thing in the morning, while the whole town is still sleeping. Straight out of the sea. Some of them are still moving when I get them, they're so fresh.
THOMAS STEVENS
Tell me who catches them. I can be of help.
FISHMONGER
You want to catch fish for me?
THOMAS STEVENS
Yes.
The FISHMONGER thinks about this.
FISHMONGER
I don't catch the fish. I just sell them.
The FISHMONGER thinks some more.
FISHMONGER
We could use an extra hand. Go to the docks. You know where the docks are?

THOMAS STEVENS
Yes.
FISHMONGER
There's a man at the docks, he has a big boat. His name is Radeckis. Find him, and tell him I sent you.
THOMAS STEVENS
What's your name?
FISHMONGER
Tell Radeckis the fishmonger sent you. He knows who I am. If he likes what he sees, he might find something for you to do. Have you ever caught fish before?
THOMAS STEVENS
Not in the sea. I've never been out at sea. I've only caught fish from the river near our farm. But that's dried up now.
FISHMONGER
What do you grow on your farm?
THOMAS STEVENS
Everything is dead. Nothing will grow. We can't figure it out. When something does grow, it doesn't survive. Nothing survives. Without anything to grow and sell, we can't live.
FISHMONGER
Everything grew a year ago. But not now?
THOMAS nods.
FISHMONGER
And everything just withers and dies?
THOMAS STEVENS
Yes.
FISHMONGER
You're not alone. It's poison.
(he looks around and his voice quietens a bit)
There are other farms, and the same thing has happened. I know what it is. There's so much competition, farmers poison each other's crops to ruin them. Fewer farms and fewer farmers means less competition.
THOMAS STEVENS
No one could want to poison our crops. They'd be poisoning our livelihood.
FISHMONGER
It happens. Believe me it happens. I've seen it happen myself. I don't do it. I just know about it. I knew a man once, he had a market stall next to mine for over ten years. The best fruit and vegetables there ever were. Everyone went to him because his were the best. The best. And then, one day, he went to reap his harvest, and he found everything was gone - everything was dead and decaying in the fields, everything, the whole lot. He didn't know how it happened or who was responsible. But it put him out of business. With no crops he had nothing to sell. The next week a new stall opened up in the market, right where his used to be. Selling the same things. Now how do you suppose that happened?
THOMAS STEVENS
We'd catch them. We'd see them doing it.
FISHMONGER
If you want work, go to the docks. Find Radeckis.

EXT. DOCKS - DAY
The docks are crowded with boats and people. The busy docks have boats continually coming in and out.
Large sailing boats are moored at the docks.
There are at least a dozen fishing boats.
THOMAS STEVENS makes his way through the throngs of people at the docks. Many fisherman are hauling baskets of fish. Many are calling out to each other, giving and taking orders.
THOMAS is examining each face, trying to find RADECKIS. He walks up to a fisherman hauling a basket of fish from a boat.
THOMAS STEVENS
Are you Radeckis?
FISHERMAN
Who?
THOMAS STEVENS
Radeckis. The fisherman.
FISHERMAN
Radeckis is over there.
The FISHERMAN, holding the basket of fish, nods in the direction of RADECKIS. THOMAS sees RADECKIS, twenty metres along, and walks over to him. RADECKIS is standing giving orders to his crew, who are in a fishing boat.
RADECKIS
Hurry up. I want ever one of those fish on shore in ten minutes. We need to transport them now. They won't move themselves.
The FISHING CREW steps up the speed of their work.
THOMAS STEVENS
Mr. Radeckis?
RADECKIS
What is it?
RADECKIS barely takes any notice of THOMAS STEVENS. He is too occupied in giving orders to the crew and unloading the fishing boat of its load. RADECKIS doesn't even look at THOMAS.
THOMAS STEVENS
The fishmonger sent me to see you.
RADECKIS
Did he?
THOMAS STEVENS
He said you might be able to use an extra hand. My family is in trouble. Our harvest has failed again.
RADECKIS
Who sent you? Rabbager?
THOMAS STEVENS
I don't know his name. Maybe it was Rabbager. He's got a stall in the markets. He sells the fish you catch.
RADECKIS
That would be Rabbager.
THOMAS STEVENS
Can you use my help?
RADECKIS
Not today.
(RADECKIS looks and examines THOMAS)
Besides, you don't look strong enough to be a fisherman. Could you carry two of those baskets at a time?
(he points at two heavy baskets filled with fish)
THOMAS STEVENS
No. But I think I could fish.
RADECKIS
Have you fished before?
THOMAS STEVENS
In the river. There's a river a few miles from our farm. We used to fish there but the river's dried up. All the fish are gone.
RADECKIS
Never at sea?
THOMAS STEVENS
No.
RADECKIS
Do you know boats? A fisherman spends a lot of time on his boat. You need a good knowledge of boats if you want to be a fisherman. And what about nets and lines and hooks? You know how to do all that?
THOMAS STEVENS
No. I've never been out on the sea.
RADECKIS
Why did Rabbager send you then? Because your family is in trouble?
THOMAS STEVENS
We're starving. We desperately need food. There are five of us. I have two brothers, and we've not eaten in days.
RADECKIS
So you want to get a job as a fisherman. As a fisherman you can earn some money to feed your family. I'm sorry you're starving. But I don't think you're quite suited to fishing. If you haven't fished before, or been on a boat, then I don't think it's for you.
THOMAS STEVENS
You won't help me?
RADECKIS
Sorry. Look along here.
RADECKIS points to all the other boats and fishermen.

RADECKIS
Boats come in and out of here every day. Ask around. Someone might be willing to take you on board. There are a dozen fishing boats that leave here every morning before first light.
THOMAS STEVENS
Thank you anyway.
RADECKIS
Have a good day. I want to help you. But not today. Good luck to you.
THOMAS STEVENS
My name is Thomas Stevens. Remember my name. If you decide you'd can use my help I live at . . .
RADECKIS
I'll remember you.
THOMAS STEVENS stands back as RADECKIS resumes giving orders.
RADECKIS
(to his CREW, as THOMAS leaves)
COME ON! THOSE FISH ARE GOING TO GO BAD BEFORE YOU GET THEM ON SHORE!
THOMAS STEVENS looks up and down the docks. As he does he sees a large pirate ship. The crew who are walking back and forth on the deck of the ship strike him as somehow strange. THOMAS doesn't know that this ship is a pirate ship. He's never seen one before.
There are four PIRATES lazing about on the deck. Two more are working. The idle PIRATES sit with their feet up on barrels, taking in the sun.
One of the PIRATES catches THOMAS' eye. This PIRATE has scars on his face and a pirate's cap on his head. He has a cigar sticking out of his mouth. He smiles a crooked smile at THOMAS STEVENS. THOMAS looks away.
THOMAS STEVENS looks somewhere else. He sees, standing a short distance along the docks, a man standing smoking a pipe. THOMAS is interested in this sailor, and walks over to him. This is CAPTAIN WILBON. CAPTAIN WILBON is dressed in a large coat and thick trousers. He looks like a sailor. He has a cap on, and his long brown hair is visible from the sides of the cap.
CAPTAIN WILBON is staring out to sea. THOMAS STEVENS walks up to him. He stands next him and looks at his face. CAPTAIN WILBON doesn't appear to notice THOMAS STEVENS standing next to him. He continues to stare out to sea. THOMAS STEVENS doesn't speak and continues to look at CAPTAIN WILBON. CAPTAIN WILBON, aware of the child standing next to him, turns his head slightly and looks down at THOMAS STEVENS.
CAPTAIN WILBON
You'd better have a good reason to stand there and stare at me.
THOMAS STEVENS
Are you a sailor?
CAPTAIN WILBON
I am.
THOMAS STEVENS
Where have you sailed?
CAPTAIN WILBON
Here, there. Everywhere. Where haven't I sailed is the question you should ask.
THOMAS STEVENS
Do you have a big boat?
CAPTAIN WILBON, holding his pipe, points to a large sailing ship.
CAPTAIN WILBON
That's mine. She's beautiful, isn't she?
THOMAS STEVENS
How many can it hold?
CAPTAIN WILBON
Twelve sailors.
THOMAS STEVENS
How many have you got?
CAPTAIN WILBON
Twelve.
THOMAS STEVENS
What are you looking at out at sea?
CAPTAIN WILBON
The water. The sky. The clouds.
THOMAS STEVENS
How long till you sail again?
CAPTAIN WILBON
Three days.
THOMAS STEVENS
Where are you going?
CAPTAIN WILBON
Wherever the sea takes me.
THOMAS STEVENS
Do you need an extra hand on board?
CAPTAIN WILBON
You ask a lot of questions.
THOMAS STEVENS
I can be of assistance. Take me on your ship.
CAPTAIN WILBON
No. I have a crew.
THOMAS STEVENS
I like sailing. I'm a good sailor. I've spent all my life at sea.
CAPTAIN WILBON thinks about this. He puffs on his pipe.
CAPTAIN WILBON
Sorry, boy, I'm not hiring.
THOMAS STEVENS
If you ever need an extra hand on board, my name's Thomas Stevens. I'm strong, quick, and a tireless worker.
CAPTAIN WILBON
I'll remember your name. If I ever need an extra man, I'll find you.
THOMAS STEVENS
Really? Do you mean that?
CAPTAIN WILBON
Of course Thomas Stevens.
CAPTAIN WILBON turns back to the sea and looks out at it as he puffs on his pipe. THOMAS walks away.
EXT. THOMAS STEVEN'S FARM - DAY
THOMAS'S FATHER is standing in the field with THOMAS'S MOTHER and THOMAS'S two BROTHERS. They are inspecting their ruined crops. THOMAS is next to them. THOMAS'S FATHER picks up a handful of dirt and lets it run through his fingers.
THOMAS' FATHER
Poison?
THOMAS STEVENS
I think so.
THOMAS' FATHER
But who?
THOMAS STEVENS
Other farmers. They must come during the night. This is the result.
THOMAS' FATHER
Whoever's poisoning our land is doing a good job of it.
THOMAS'S MOTHER
What are we going to do?
THOMAS'S FATHER sits down on a box and wonders what to do. He looks sad and the others stand around him.
THOMAS' FATHER
(sadly)
I don't know.
THOMAS'S MOTHER
What will we eat? 
THOMAS' FATHER
Do we have anything?

THOMAS'S MOTHER
Barely enough to feed one. The children have to eat soon. The people on the next farm gave me some bread. It's stale, but at least it's food.
INT. THOMAS STEVEN'S HOUSE - DAY
The poor cottage they live in is run down. They five family members are sitting around a wooden table. There is a scant amount of bread on the table for dinner. They all eat quietly, and for a few moments, they do not talk. THOMAS is eating a piece of bread. He puts it back down on his plate.
THOMAS STEVENS
I'm sorry I couldn't get anything.
THOMAS' FATHER
That's alright Thomas. We'll try the markets again tomorrow.
THOMAS' BROTHER
Someone will help us. They have to. They can't let us starve.
THOMAS' FATHER
There are charitable people in the town. We'll find one.
THOMAS' MOTHER
We can't rely on charity.
THOMAS changes the subject, and raises what has been on his mind.
THOMAS STEVENS
(to THOMAS' FATHER)
Have you ever been to sea?
THOMAS'S FATHER
To sea? No. Why? What's at sea? Our life is here, on the farm.
THOMAS STEVENS
If we get a boat we can fish and if we can fish we can feed ourselves. The sea is teeming with fish. I saw it today at the docks. All the fishing boats were hauling in huge baskets of fresh fish. There were thousands of fish being brought into the docks.
THOMAS'S FATHER
We're not fisherman. And we would need a boat. Where could we get a boat?
THOMAS STEVENS
We have to face facts. The crops aren't going to grow. It could take years for our land to recover from the poison. We have to think of something else.
THOMAS'S FATHER
There's always the river. If we want to fish, we can go to the river.
THOMAS STEVENS
There aren't any fish left in the river. There's no river left either. It's just a muddy pool. It dried up last year.
THOMAS'S BROTHER
That's true. The river is gone. I saw it today.
THOMAS'S FATHER
How do we get a boat? We can't afford our dinner. How will we afford a boat? Even a small boat.
THOMAS STEVENS
We can borrow one. Just for a day.
The family sits in silence. They all know it is impossible to get a boat.
THOMAS'S FATHER
No one will lend us a boat.
THOMAS STEVENS
They might. We have to ask around. They can't be using their boats all day and all night. Can they?
THOMAS'S FATHER
Perhaps.
THOMAS STEVENS
I'll go back to the docks tomorrow. I think I can find someone to take me on board. Someone might need an extra hand.
EXT. DOCKS - NEXT DAY
THOMAS is back at the docks. Like the day before, THOMAS is walking through the crowds of people who swarm around the busy docks. He is searching for CAPTAIN WILBON. He looks up and down the docks, but he can't see him anywhere. CAPTAIN WILBON'S boat is still moored in the docks. THOMAS walks up to it. The deck is empty and there are no crewman about.
A PASSER-BY passes THOMAS. THOMAS catches her attention.
THOMAS STEVENS
(to PASSER-BY)
Excuse me. Did you see a man here today - with a pipe and a hat and long hair?
PASSER-BY
I've seen twenty sailors with that description.
THOMAS STEVENS
He was here yesterday.
PASSER-BY
Maybe he's sailed.
THOMAS STEVENS
If you see him can you tell him Thomas Stevens . . .
PASSER-BY
Sorry, I'm in a hurry.
The PASSER-BY hurries off down the docks.
EXT. PIRATE'S SHIP - DAY
THOMAS sees the strange pirate ship that attracted his interest the day before. He walks up to it, not knowing it is a pirate ship. A PIRATE is on board, the same man with the scarred face as the previous day.
THOMAS STEVENS
Hey you!
The PIRATE stops at the sound of THOMAS'S voice, turns and listens. He sees THOMAS. The PIRATE points to himself.
PIRATE #1
Me?
THOMAS STEVENS
Where's your captain?
PIRATE #1
What?
THOMAS STEVENS
Your captain.
PIRATE #1
The captain's not here.
THOMAS STEVENS
Where is he?
PIRATE #1
What do you want?
THOMAS STEVENS
When he comes back I'd like to meet him. Could you pass on a message to him for me, that I'd like to speak with him?
PIRATE #1
Don't pry into our affairs kid.
PIRATE #1 walks off. A WOMAN walks up to THOMAS. She has seen THOMAS talking to PIRATE #1.
WOMAN
(hushed whispers)
Don't you know what sort of ship that is?
THOMAS STEVENS
No.
WOMAN
It's a pirate ship.
THOMAS STEVENS
A pirate ship?
THOMAS turns back to the boat, and sees a flag waving in the air, which he hadn't previously noticed. It is the typical pirate flag.
WOMAN
See that flag? That's a pirate's flag. It reminds people to keep their distance. Don't go near this ship and don't speak to it's crew. The crew is full of villains and cutthroats. They don't take kindly to children.
THOMAS STEVENS
Why are the pirates here?
WOMAN
I don't know. But I want them to leave. So does everyone else. Pirate ships bring bad things to everyone.
The WOMAN hurries away.
INT. BOAT - DAY
THOMAS ignores the woman's warning and walks to the gang-plank  which leads up to the ship. He watches two PIRATES disappear inside. He quickly sneaks up the gang-plank and onto the deck. He notices two men cleaning the deck. He stays out of their view. He walks around the boat, staying out of sight, until he reaches a door to the cabin. He stands next to the door to the cabin. He hears two PIRATES talking inside the cabin. He listens in.
VOICE OF PIRATE #1
Captain, last night's news from Gribby will please you.
CAPTAIN RISCOTTAL/PIRATE #2
Yes?
VOICE OF PIRATE #1
Gribby found out something quite interesting, before he . . . before he . . .
CAPTAIN RISCOTTAL
Yes?
VOICE OF PIRATE #1
Before he disappeared. He's presumed dead, Captain. Discovered and disposed of. That's the word on the docks.
CAPTAIN RISCOTTAL
What did he find out before his demise?
VOICE OF PIRATE #1
He was on board Trepstrot's ship. He thinks Trepstrot's knows where to find riches. A treasure maybe.
CAPTAIN RISCOTTAL
Where?
VOICE OF PIRATE #1
Well, that's the thing. He called it Pirate Island? Do you know it?
CAPTAIN RISCOTTAL
Pirate Island is a myth. Put into the minds of pirates for hundreds of years. There is no Pirate's Island and it contains no riches.
VOICE OF PIRATE #1
If the riches are real and they might well be, they're on this island. Trepstort is almost certain it exists. All we have to do is find out where Trepstrot thinks it is and follow him there. He might know something no one else does.
CAPTAIN RISCOTTAL
I am a pirate and treasure's are my business. But, my question is this - how do we find him? Trepstrot left this dock the night before last. He has a two day head start and we don't know where he's going.


VOICE OF PIRATE #1
You don't think finding a treasure is worth the trouble of going after him?
CAPTAIN RISCOTTAL
It's worth the trouble if we know where he's going and how to get there.
VOICE OF PIRATE #1
Captain Riscottal, we know his course. We had Gribby on his ship. Before it left, and before Gribby disappeared, he found out the exact course that Trepstrot is sailing. He passed the information on to us as usual - immediately and secretly.
CAPTAIN RISCOTTAL
Gribby has delivered in the past. He's gathered important information over the years.
VOICE OF PIRATE #1
Gribby did his usual routine. He went on board in disguise, pretended to be one Trepstrot's crew, and found out the course Trepstrot planned to sail.
Unfortunately, Gribby's identity on board was discovered by Captain Trepstrot and Gribby encountered his maker some time last night. But he had already passed on the information to us. The exact course Captain Trepstrot planned to sail. This is a sure thing, Captain. A sure thing. We'd be crazy to miss this opportunity.
THOMAS wants to see the faces of the two PIRATES who are talking secretly, but who do not know that THOMAS is listening.
THOMAS takes a step closer to the cabin door. As he does so, he knocks over a bottle that is sitting on the deck, with his foot. The bottle tips over and rattles and rolls down the deck.
The noise of the bottle is immediately heard by the two PIRATES who are talking in the cabin.
CAPTAIN RISCOTTAL
What was that noise?
THOMAS quickly jumps behind a barrel to conceal himself from the two PIRATES.
The two PIRATES step outside of the cabin onto the deck. They look around the ship. They see the bottle. They look up and down the ship but they don't see THOMAS. THOMAS stays hidden and holds his breath.
VOICE OF PIRATE #1
It was nothing.
PIRATE #1 and CAPTAIN RISCOTTAL continue their conversation on deck, within earshot of THOMAS STEVENS. THOMAS can see their faces now. He looks around the side of the barrel at the two pirates.
VOICE OF PIRATE #1
Captain, no one else can know of this.
CAPTAIN RISCOTTAL
Then we keep it to ourselves. My crew doesn't need to know anything about any treasure. If, and I say if, there is a treasure, the full extent of it will be kept a secret. Only you and I know about it. If it is real and if we find it, we will divide it between ourselves and whatever we don't want will be split amongst the crew.
VOICE OF PIRATE #1
Excellent Captain. Soon we'll be very rich men.
CAPTAIN RISCOTTAL
However, if you are wrong about this hidden treasure and Captain Trepstrot's voyage to find it, and again I say if, it will be you who 'encounters his maker'.
PIRATE #1 smiles at this. He knows that they are going to find the treasure, and will return as rich men. This pleases him.
VOICE OF PIRATE #1
So we'll go?
CAPTAIN RISCOTTAL
Yes. We'll go. Inform the crew we set sail this afternoon. Prepare the Stiegel for sailing.
VOICE OF PIRATE #1
Captain Trepstrot has a two day head start. All we need to do is to follow the same course. We'll find him.
CAPTAIN RISCOTTAL
Yes. The Stiegel is fast. Faster than most ships. We shouldn't have any problem catching them.
VOICE OF PIRATE #1
We'll be ready to set sail this afternoon.
CAPTAIN RISCOTTAL
Remember, if you're wrong about this - you walk the plank.
VOICE OF PIRATE #1
I'm not wrong Captain. I have a good feeling about this one.
THOMAS is still hiding, listening in on the conversation. The two PIRATES walk away. THOMAS waits until they are gone and then emerges from his hiding place. He turns quickly to leave the ship, but two large PIRATES, PIRATE #3 and PIRATE #4, are blocking his way. They stand over him, tall and menacing. They have scars and tatoos and one has an eye patch.
PIRATE #3
Well, well, well, we have a stowaway. Who are you?
PIRATE #4
No one is allowed on this ship without the permission of Captain Riscottal.
PIRATE #3
Do you have the Captain's permission?

THOMAS STEVENS
I was just leaving. I made a mistake. I'm on the wrong ship.
THOMAS tries to leave. PIRATE #3 puts a firm hand on his shoulder and pushes him into the cabin. THOMAS struggles to free himself from the PIRATE #3's grip. CAPTAIN RISCOTTAL, one of the two men THOMAS heard talking, is standing in the cabin. RISCOTTAL sees PIRATE #3 and PIRATE #4 enter, pushing THOMAS in front of them.
CAPTAIN RISCOTTAL
Who is this?
PIRATE #4
He was trespassing on your ship.
CAPTAIN RISCOTTAL
(to THOMAS)
No one is allowed on this boat without my express permission. And I don't believe I gave it to you.
THOMAS STEVENS
I made a mistake, sir. I got on the wrong boat. I thought this was a fishing vessel.
CAPTAIN RISCOTTAL
In my illustrious career as a pirate and plunderer, I've spent twenty years sailing the seas with pirates. Twenty years of dealing with pirates. Most pirates are, by nature, deceivers. And from my experiences with pirates I am able to look in the eyes of any pirate and know if he is telling me the truth.
THOMAS STEVENS
I'm not a pirate. And I'm telling the truth.
PIRATE #3
He's a spy Captain. Let's toss him into the sea.
CAPTAIN RISCOTTAL
Are you a spy?
THOMAS STEVENS
No. I'm not a spy.
CAPTAIN RISCOTTAL
Who sent you onto my ship?
THOMAS STEVENS
No one sent me. The truth is that I'm here to offer my services to any captain in this port who wants my help.
CAPTAIN RISCOTTAL
You want to join my crew?
PIRATE #3 and PIRATE #4 erupt in laughter.
PIRATE #3
He wants to be a pirate!
CAPTAIN RISCOTTAL
We have no need for a child.
THOMAS STEVENS
Then I'll be on my way. I'm sorry to have disturbed you, Mr. Riscottal.
CAPTAIN RISCOTTAL
No need to apologize.
THOMAS strikes CAPTAIN RISCOTTAL as being far too suspicious. RISCOTTAL thinks that THOMAS might have overheard him talking about the treasure.
CAPTAIN RISCOTTAL
Tell me the truth. I don't want to . . . force honesty out of you. What did you hear?
THOMAS STEVENS
Nothing. I heard nothing.
PIRATE #3
Let's take him out to sea and toss him overboard.
PIRATE #4
He was hiding on the boat. We caught him at it.
CAPTAIN RISCOTTAL
No. No.
(pause)
We'll let the boy live. Take him off the boat. If he knew something I'd know.
(to THOMAS)
A word of advice, don't trespass into places you don't belong. If I thought you knew something that you shouldn't know, things would be much worse for you. Do you understand me?
THOAMS nods.
PIRATE #4
Captain, you're setting him free?
CAPTAIN RISCOTTAL
Yes. Take him off the ship.
PIRATE #3 and PIRATE #4 take THOMAS from the cabin and down the gang-plank to the port.
As they leave,
CAPTAIN RISCOTTAL
(to THOMAS)
Next time, be careful where you go and who you lie to. Don't meddle with affairs that don't concern you.
THOMAS STEVENS
Let go of my arm.
PIRATE #3
Don't ever come here again. Order of the Captain. Got it? Don't show your face near this ship.
PIRATE #4
You're lucky the Captain is in a good mood. Now go.
They push THOMAS off the ship. As he is pushed off the ship he thinks of something quickly.
THOMAS STEVENS
How much does your captain tell you? Do you know where he is planning to go?
PIRATE #3
We follow our captain wherever he takes us. We do what he wants us to do.
THOMAS STEVENS
Do you think he'd share a treasure with you . . . if he found one? I mean, if he came across a stash of unimaginable riches do you think that he'd willingly split it with you - his trusty crew?
PIRATE #3
Why?
THOMAS STEVENS
Oh, nothing. I just thought you should know that your Captain plans to set sail this afternoon. He's going in search of riches. Did he tell you that? 
PIRATE #3
Any treasures the Captain finds, either through fighting, plundering, or through non violent methods, he shares with his crew. We all have gold in our pockets thanks to Captian Riscottal. Now, go away.
THOMAS STEVENS
Let me come with you. Persuade your Captain to let me sail on your ship. I promise you - I won't get in your way. I'll help you. I'll be a good crewman.
PIRATE #3 and PIRATE #4 laugh uproariously.
PIRATE #3
You're not pirate material.
THOMAS STEVENS
Can I ask you something? Where did you get the eye patch?
PIRATE #3
Do you know why he wears that eye patch? It's because the Captain cut out his eye in one of his furious rages. If things don't go the Captain's way, watch out. The Captain keeps his crew in line.
PIRATE #4
Are you still certain you want to sail with us?
A voice calls out. It is CAPTAIN WILBON, standing on the dock.
CAPTAIN WILBON
(to the PIRATES)
Leave the boy alone.
THOMAS hears the voice of CAPTAIN WILBON. He sees it is CAPTAIN WILBON and recognizes him from the day before. CAPTAIN WILBON is smoking his pipe.
PIRATE #3
(to CAPTAIN WILBON)
Who are you?
CAPTAIN WILBON
Leave him alone. He's one of my crew.
PIRATE #4
He came onto our ship.
CAPTAIN WILBON
If he comes to any harm you'll answer to me.
PIRATE #3
He was trespassing. We weren't going to hurt him.
CAPTAIN WILBON
I suggest you get back on your ship and leave my crew alone. I don't want to see your faces in this port anymore. When you leave, don't come back.
PIRATE #3
We have a right to be here. We've done quite well, since we stopped by.

CAPTAIN WILBON
I know what you've done. Stealing from innocent men and women. Your time here has expired.
PIRATE #3
Don't give us orders, sailor. We'll stay as long as we like.
CAPTAIN WILBON
Do you remember me?
PIRATE #4
No. Why don't you tell us who you are?
CAPTAIN WILBON
You don't remember attacking an unarmed vessel called the Trachsel. Think about it. It was two years ago.
PIRATE #4
The Trachsel? We've raided lots of boats.
CAPTAIN WILBON
Try and remember this - you came on board an unarmed vessel, took everything there was to take, anything you didn't want you threw overboard, and then you sank the ship. 
PIRATE #4
The Trachsel. I do remember you now.
CAPTAIN WILBON
Well, on that day, I wasn't armed. Today I am.
CAPTAIN WILBON pulls back his coat and reveals that he has a pistol tucked into his belt.
PIRATE #3
So are we.
PIRATE #3 and PIRATE #4 take out their pistols and hold them up, ready to fire. CAPTAIN WILBON casually takes out his pistol and points it at them.
CAPTAIN WILBON
I think some form of compensation is in order. I think the Captain owes me something. Don't you?
PIRATE #3
What do you want?
CAPTAIN WILBON
I want compensation. Compensation equal to what you took from me.
PIRATE #3
You'll need to take that up with the Captain. But I don't think he'll be in the giving mood.
CAPTAIN WILBON
Captain Riscottal. The most heinous man to ever sail the seas.
PIRATE #3
That's him.
CAPTAIN WILBON lowers his gun.
CAPTAIN WILBON
I will get my reparation. Take your boat and leave. Or else I return with ten men.
PIRATE #3
We're leaving this afternoon.
CAPTAIN WILBON
Tell Riscottal that Captain Wilbon sends his greetings. Tell him I will have justice.
PIRATE #3 and PIRATE #4 climb back up the gang-plank to their ship.
CAPTAIN RISCOTTAL watches them leave and then turns to THOMAS STEVENS.
CAPTAIN WILBON
(to THOMAS)
You don't know who you were dealing with. Those men are pirates. Dangerous pirates. What were you doing on their boat?
THOMAS STEVENS
I went on to see if I could offer my services. You remember me from yesterday? Thomas Stevens.
CAPTAIN WILBON
Thomas Stevens, if you really want to sail, I'll take you. My name is Captain Wilbon.
THOMAS STEVENS
It's nice to meet you Captain. Where are you going?
CAPTAIN WILBON
I haven't decided. My crew is ready to leave. They're sitting idle at the moment, hankering to get going on another adventure.
THOMAS STEVENS
You're not a pirate too, are you?
CAPTAIN WILBON
I used to be. I gave it up. A long time ago.
THOMAS STEVENS
You'll help me?
CAPTAIN WILBON
Yes. I'll help you. We're setting sail in two days.
THOMAS STEVENS
Can I tell you something? That boat - Riscottal's boat - is sailing this afternoon. They're going in search of treasure. Now, it's just an idea - but if you followed them, and they take you to the place where the treasure is, you could take the treasure from them, and that would be your compensation.

CAPTAIN WILBON
You heard them say that? They talked of treasure?
THOMAS STEVENS
Yes.
CAPTAIN WILBON
What exactly did they say? Try and remember everything they said.
THOMAS STEVENS
I only heard a bit of it. They plan to steal it from another ship. The captain on the other ship is the one who knows where the treasure is. Maybe the only one.
CAPTAIN WILBON
Typical of Riscottal. Plunder anyone and anything. They won't stop until they've got every last treasure there is. They're going to take it from another crew?
THOMAS STEVENS
Yes. They're following a ship that set out two days ago. Captain Trepstrot's ship.
CAPTAIN WILBON
I know of Trepstrot. He's not a bad man. He seeks what we all seek - gold and silver, riches and wealth - but he won't take it from another. He's travelled to the four corners of the earth - following stories, and tales of wealth to be found. He's gone where no one else would dare to go. If he knows something it must be true.
THOMAS STEVENS
It sounded like a real treasure.
CAPTAIN WILBON
Riscottal will go anywhere to get his hands on something like that.
THOMAS STEVENS
Captain Trepstrot has a two day head-start.
CAPTAIN WILBON
The only ship that sailed two days ago was Trepstrot's - the Anensder. He never mentioned treasure. It must be a big secret.
CAPTAIN WILBON looks at the PIRATE SHIP - the Stiegel.
CAPTAIN WILBON
(to himself)
Where could it be?
THOMAS STEVENS
I don't know. They don't know. Captain Riscottal is going to follow the same course as the Anensder. It could be on the other side of the world. It could be closer than that. They didn't say.
CAPTAIN WILBON
I'll get my crew together. Be ready this afternoon. When they go, we'll follow them.
EXT. BOAT DOCKS - DAY
The PIRATES are busy preparing their boat to leave. They are untying ropes etc., and loading cargo on the boat. THOMAS and CAPTAIN WILBON stand at a distance and watch them.
CAPTAIN WILBON
They're stocking up on provisions.
THOAMS
They're expecting a long trip.
EXT. CAPTAIN WILBON'S BOAT - DAY
CAPTAIN WILBON and his CREW, and THOMAS STEVENS, are on CAPTAIN WILBON'S boat. The boat and crew are ready to leave. The CAPTAIN hands THOMAS STEVENS a telescope.
CAPTAIN WILBON
Do you know how to use a telescope?
THOMAS STEVENS
I think so. I just look through it into the distance and everything should be magnified.
CAPTAIN WILBON
That's it. I'm giving this to you. See up there.
They look up at the top of the mast to the crow's-nest.
CAPTAIN WILBON
I want you up there.
THOMAS STEVENS
Yes sir.
CAPTAIN WILBON
You keep an eye on the ship in front of us. We'll follow it at a distance. We can't let ourselves be seen. They can't know that we're coming after them.
THOMAS STEVENS
What will happen if they see us?
CAPTAIN WILBON
They'll open their cannons and try to sink us.
THOMAS STEVENS
Do you have cannons?
CAPTAIN WILBON
Not any more. But we have guns, gunpowder and swords. If needed we can defend ourselves.
EXT. CAPTAIN'S RISCOTTAL'S SHIP - DAY
CAPTAIN RISCOTTAL is on his boat. He is ordering his crew of PIRATES. They take up their positions and their boat slowly pulls out of the port.

EXT. CAPTAIN WILBON'S BOAT - DAY
They sail their boat out behind the boat of CAPTAIN RISCOTTAL. THOMAS and CAPTAIN WILBON stand at the helm.
THOMAS STEVENS
How long will we be gone?
CAPTAIN WILBON
I don't know Thomas. As long as it takes. We're sailing on your word that these pirates are going in search of treasure. When the time comes we'll take it from them, or get it before them, whatever and wherever it is. And then we'll come back.
THOMAS STEVENS
I'm leaving my family behind. I hope that these riches are real. Because we need them.
CAPTAIN WILBON
If what Captain Riscottal said is true, we'll come back rich sailors.
EXT. SEA - DAY
The CAPTAIN'S boat is sailing quickly. They hoist a pirate flag. In the distance behind them, is CAPTAIN WILBON'S boat.
EXT. CAPTAIN WILBON'S BOAT - DAY
THOMAS STEVENS is climbing the mast to the crow's nest. He has the telescope tucked into his belt. He reaches the top.
CAPTAIN WILBON
What do you see?
THOMAS puts the telescope to his eye and looks at CAPTAIN RISCOTTAL'S boat. He sees the pirate's flag.
THOMAS STEVENS
They've hoisted their flag. There's no sign of Captain Riscottal.
CAPTAIN WILBON turns to two crewmen.
WILBON'S CREWMAN #1
How far do you think we're going?
CAPTAIN WILBON
It could be a long journey. We're following him and he's following Trepstrot. Wherever that first boat takes us all is where we're going.
WILBON'S CREWMAN #1
Three ships racing to find a hidden treasure. This is why I became a sailor!
INT. CAPTAIN RISCOTTAL'S CABIN - DAY
It is ten days later.
RISCOTTAL is looking at a map. An assistant crewman is standing by the door, on guard.
CAPTAIN RISCOTTAL
How far is Trepstrot taking us?
He examines the map closely.
CAPTAIN RISCOTTAL
We've sailed this course for ten days. There are three islands within one hundred miles. They're marked on the map.
ASSISTANT CREWMAN
What's on those islands?
CAPTAIN RISCOTTAL
I don't know.
ASSISTANT CREWMAN
Could pirate island be amongst them?
CAPTAIN RISCOTTAL
I don't know.
ASSISTANT CREWMAN
Are there people? Maybe he plans to rob whoever is there.
CAPTAIN RISCOTTAL
Maybe. Here . . . This island. This could be it. It's the biggest one there. We're heading directly towards it.
CAPTAIN RISCOTTAL has pinpointed an island on the map.
CAPTAIN RISCOTTAL
Crabstill Island. Discovered 1750, visited by no one except pirates since 1800. Uninhabited. In 1750 a crew was marooned on the island. They buried their treasure on the island, thinking they could never get off. Since that story first surfaced, every pirate there is has thought about going to Crabstill Island to look for the treasure that is supposed to be there.
ASSISTANT CREWMAN
Pirates have been to Crabstill Island. The mythical buried treasure has never been found. It's like Pirate Island, except everyone knows where this one is.
CAPTAIN RISCOTTAL
The sea in that area is dangerous and few risk it.
ASSISTANT CREWMAN
Let's raid his boat. We'll find him, force him to tell us where the riches are, and then go there ourselves. We'll sink his ship and everyone on it. It's the easiest way to get what we want.
CAPTAIN RISCOTTAL
No. We follow him. He'll lead us all the way. So long as he sees and suspects nothing, we'll take the treasure once he has it. No point attacking him before he's led us all the way.
ASSISTANT CREWMAN
The crew are waiting for you in the dining cabin.
INT. DINING CABIN ON RISCOTTAL'S BOAT - NIGHT
The dining cabin is full of pirates, about ten in all. They are drinking ale from cups and waiting to gorge themselves on food that is waiting on the tables. RISCOTTAL enters. The crew continues to laugh and shout. RISCOTTAL stands and waits for quiet. They finally quiet down.
CAPTAIN RISCOTTAL
It won't be too much longer. We must all be patient. Soon we'll have what we want.
PIRATE #5
Captain, you haven't told us what we're chasing. Is it riches? Where is it, and how are we going to find it?
CAPTAIN RISCOTTAL
I've told you all you need to know. When I know more, you will know more. Until then, you will do as I say.
The PIRATES sit in quiet and think about this. PIRATE #6, a man with an eye-patch, speaks up. This man's name is ESTAN.
PIRATE #6/ESTAN
Captain, I'm assuming that this voyage has a point, a goal. I assume that we're going in search of what pirate's like to call - booty. Now, how do we know you're going to share with us all the riches you hope to find?
CAPTAIN RISCOTTAL
Take my word on it.
ESTAN
Your word's not worth much these days.
CAPTAIN RISCOTTAL
Really? And why is that?
ESTAN
I've heard of the crews you've commanded. Discontent was rife amongst them. You kept your activities a secret, and you worked them hard, for little reward. What makes all this worth our time?
CAPTAIN RISCOTTAL
You're a new crewman. Your face -I've not seen it before.
ESTAN
I came on board for this voyage. One of your crewman got into a fight and well . . . he didn't win. You needed a replacement. I am he.
CAPTAIN RISCOTTAL
Who did he fight?
ESTAN
Me. Now my services are not free. I want to know what we get in the end of all this?
CAPTAIN RISCOTTAL
If you'd travelled on board this vessel before, you'd know that such questions are out of place.
ESTAN
Don't threaten me. I've been a seaman for twenty years. I've sailed with the vilest of creatures, the harshest of captains. You're nothing new to me, Riscottal.
CAPTAIN RISCOTTAL
Insubordination has no place on this vessel. Weren't you told?
(to two GUARDS)
Bring him up on deck when he's finished his dinner.
(to ESTAN)
Enjoy your dinner. It might be your last.
ESTAN grunts and doesn't believe RISCOTTAL. RISCOTTAL sits down at his table and commences to eat. PIRATES around ESTAN speak in hushed tones.
PIRATE #7
(to ESTAN)
You didn't know. If I were you I'd make a full apology to the Captain.
PIRATE #8
Yes, you don't know what he does to insubordinate crewmen.
ESTAN
What can he do? Throw me overboard? Hang me from the mast?
PIRATE #8
Yes.
ESTAN
We'll see.
EXT. DECK ON RISCOTTAL'S BOAT - NIGHT
CAPTAIN RISCOTTAL emerges onto the deck. ESTAN is waiting there, guarded by two very strong large GUARDS.
CAPTAIN RISCOTTAL
(to ESTAN)
I thought it better to deal with you on deck, rather than in front of the rest of the crew. It's bad for morale.
ESTAN
I'm apologize for giving you the impression that I was being rebellious. I am no rebel, Captain. I'm just an ordinary pirate with riches on my mind. I want an assurance from you that whatever you find will be shared with the rest of us.
CAPTAIN RISCOTTAL
I don't want anyone putting ideas of mutiny or sedition into the minds of my crew.
ESTAN
I'm not here to cause a mutiny. I simply want to know what our reward will be.
CAPTAIN RISCOTTAL
Mutiny would be devastating for me. It would mean that I can't fulfil my objective - which is to return home a rich man.
ESTAN
I've told you - I'm not a mutineer. The last thing in the mind of your crew is mutiny. They might not like you, but they certainly respect you, and will work hard for you. Tell me though, what will we get out of this journey?
CAPTAIN RISCOTTAL
You will get nothing.
The two GUARDS grab ESTAN and bind his wrists behind his back. They push ESTAN to the side of the ship. They lean him over the edge of the ship. He looks down in the sea and waves. ESTAN struggles pleads for his life.
ESTAN
Captain, captain, stop! stop! Don't throw me overboard. Please. I will wait. I'm prepared to wait. I'll wait until you find the riches that you seek. I won't ask any more what our share will be. I will take only what you see fit to give me. Let me live, please.
CAPTAIN RISCOTTAL
It is true - most of the riches will be mine. My crew will share in a paltry sum. I'm somewhat of a generous man, and I could not live with myself if I gave them nothing at all. Well, I could. But the fact is - they are my crew and they deserve something of whatever it is I find. I shall give them what I see fit. I am the Captain and the decision will be mine. No one, including you, may question that. Of course the crew don't know it, and won't know it. They'll think, oh well, at least we found something. It wasn't much, but it was something.
(he laughs to himself)
And you won't get any share at all.
(to the two GUARDS)
Throw him in.
The two GUARDS are about to throw ESTAN into the sea.
ESTAN
Wait. I won't tell. I'll keep my mouth shut. Your crew will be none the wiser.
CAPTAIN RISCOTTAL
No. Your time is up.
CAPTAIN RISCOTTAL gestures with his hand to the two GUARDS that they should throw ESTAN into the sea.
The TWO GUARDS tighten their grips on ESTAN and throw him overboard. He enters with a splash and surfaces. He continues to call out, pleading for his life.
ESTAN
Pull me back in. Please. Don't let me die here.
CAPTAIN RISCOTTAL turns and reenters the ship's cabin. The boat sails on. ESTAN'S cries go unheard.
EXT. DECK OF CAPTAIN WILBON'S SHIP - NIGHT
THOMAS STEVENS is standing on deck, the telescope at his eye. He has seen ESTAN fall from the deck of the RISCOTTAL'S ship. CAPTAIN WILBON is standing further down on the ship, smoking his pipe.
THOMAS STEVENS
Captain Wilbon, they've thrown a man overboard.
CAPTAIN WILBON
It happens. It's none of our business.

THOMAS STEVENS
He's just up ahead. We can stop and pick him up.
CAPTAIN WILBON
A pirate is a pirate. If he's thrown overboard, it must be for a good reason.
THOMAS STEVENS
We can't just let him die.
CAPTAIN WILBON
We can and we will. We sail on. We're not stopping to pick up one of our enemies.
THOMAS STEVENS
Captain, we can't just leave him there.
CAPTAIN WILBON thinks about it. He turns to the man at the helm of the ship.
CAPTAIN WILBON
Stop and pick him up.
(to THOMAS STEVENS)
I hope this doesn't end up badly for us. We don't know who this man is, what he's done, or what he will do.
EXT. SEA - DAY
CAPTAIN WILBON'S boat has stopped by ESTAN, who is still struggling in the water. He looks up. CAPTAIN WILBON and THOMAS STEVENS look over the side of the ship at him.
ESTAN
Thank goodness you've come. I thought I was done for. Lift me onto the deck before I sink.
Two GUARDS lower themselves and pull ESTAN from the water. They lift him onto the deck but leave his wrists bound. He stands in front of them.
ESTAN
Thank you. I am forever in your debt.

CAPTAIN WILBON
What's your name?
ESTAN
Estan. They tossed me overboard. It was lucky another ship was following close behind us.
CAPTAIN WILBON
Where is that ship going, Estan?
ESTAN
I don't know. Captain Riscottal, that's the captain of the ship, wouldn't tell us. It's a secret even from his own crew.
CAPTAIN WILBON
What's the purpose of your journey?
ESTAN
I suppose I can tell you. Riscottal's chasing riches. Lots of riches. They're tracking another boat. That first boat knows something - likely the location of a secret treasure. We were going to steal it.
CAPTAIN WILBON
What sort of riches?
ESTAN
I don't know. The Captain wouldn't say. Say, what are you doing following us anyway?
They stand and look at ESTAN. ESTAN looks at THOMAS STEVENS.
CAPTAIN WILBON
We happened to be passing by. The boy here saw you fall from the ship. You were lucky he was watching. We'll drop you at the first port we come to.
ESTAN
I could always lend a hand. You are my rescuers. Where are you heading?
CAPTAIN WILBON
It's secret. We can't tell you. When we reach a port, you're free.
ESTAN
Were you following us?
CAPTAIN WILBON
We're seeking the same thing you are. You see, I know Captain Riscottal. He and I had a run in once. A long time ago. But I have a long memory.
ESTAN
What did he do to you?
CAPTAIN WILBON
He attacked my ship and my crew, took everything we had and sank us. He left many of my crew dead. I escaped.
ESTAN
You want revenge?
CAPTAIN WILBON
Yes. I want revenge. If you wish to stay and help us, you can.
ESTAN
If I get something out of it, I'd be more than happy to help. Maybe I'll get my own revenge on Riscottal when the time comes.
INT. CABIN ON CAPTAIN WILBON'S SHIP - DAY
It is ten days later.
CAPTAIN WILBON and THOMAS STEVENS are sitting in a cabin.
THOMAS STEVENS
What's the longest time you've ever been at sea?
CAPTAIN WILBON
Sometimes I'm away for months at a time. I spend more time at sea than I do at home. It's the life of a sailor.
THOMAS STEVENS
Do you have a family?
CAPTAIN WILBON
No. I had a wife and child once. When Riscottal sank my ship, they sank with it.
THOMAS STEVENS
I'm sorry.
CAPTAIN WILBON
It was a long time ago.
The boat suddenly sways violently.
THOMAS STEVENS
What was that?
CAPTAIN WILBON
It's just a storm. We were expecting it. We should go up on deck and prepare the ship.
EXT. DECK OF CAPTAIN WILBON'S SHIP - NIGHT
A violent storm is blowing. The ship is sailing through it. CREWMEN are running about, trying to prepare the ship for the storm.
WILBON'S CREWMAN #1
(to WILBON)
It's coming Captain and it's coming hard. I don't know if we can make it through.
CAPTAIN WILBON
We have to stay on course. We can't lose Riscottal's ship.
WILBON'S CREWMAN #1
It's not worth it captain. If we keep on through this storm we won't be around to share in any treasure.
CAPTAIN WILBON
It's that bad?


WILBON'S CREWMAN #1
Yes, captain. I've never seen a storm like this one. We have to turn around.
CAPTAIN WILBON thinks about this.
CAPTAIN WILBON
No. We go on.
WILBON'S CREWMAN #1
Yes, captain.
EXT. RISCOTTAL'S SHIP - NIGHT
RISCOTTAL is on deck with two of his highest ranked CREWMEN.
RISCOTTAL
I don't like this storm.
RISCOTTAL'S CREWMAN #1
What do we do? Turn back?
RISCOTTAL
No. I'm not letting that ship get away. If we let it get away, we'll never see a single piece of that treasure. And that's what we're doing - seeking treasure. No, we keep on course. If the storm worsens we hope for the best. But we're not changing course.
RISCOTTAL'S CREWMAN #2
We could all perish out here. I've not seen a storm like this for years. Ships can't make it through this.
RISCOTTAL
If that ship goes on, we go on.
EXT. CAPTAIN TREPSTROT'S SHIP - NIGHT
Captain Trepstort's ship is being battered by the storm. It sways violently in the storm and water is pulverizing the ship. The CREW are calling out to each other over the noise of the storm.
CREWMAN #1
We can't go on.
CREWMAN #2
Order of Captain Trepstrot. We go on.
CREWMAN #1
Why can't we wait it out? What's the hurry?
CAPTAIN TREPSTROT comes on the deck.
CREWMAN #2
Captain Trepstrot, we can't go on.
CAPTAIN TREPSTROT
I've sailed through storms before. We keep going. The sooner we get through, the sooner we reach calm seas. We have no choice - we go on.
CREWMAN #2
Yes, captain.
EXT. SEA - NIGHT
The storm is raging. The wind is howling and tossing the ships around on the violent seas. The three boats are all battered around. The crew on the three ships do all they can to control the ships.
They get blown way off course. The ships cannot compete with the raging storm and all three sink, one after the other. The crew jump or are washed overboard and struggle in the seas. They call desperately to each other.
CREW
Swim for your lives! Swim! There's nowhere to swim!
INT. CAPTAIN WILBON'S SHIP - NIGHT
The ship sinks. As it sinks,
CAPTAIN WILBON
(to THOMAS STEVENS)
Thomas, try and find land. There might be something out here.
THOMAS STEVENS
Yes, Captain.
These are WILBON'S last words as they are thrown into the water. THOMAS STEVENS is separated from CAPTAIN WILBON and the rest of the crew.
EXT. SEA - DAY
The violent sea and horrendous storm.
EXT. SEA - DAY
The next day. The sea is calm. The storm has passed. There is no sign of the three ships or any of the crew.
EXT. SEA - DAY
THOMAS STEVENS is paddling through the sea. He is tired and hungry, and has been drifting all night. In the distance, he suddenly sees an island and swims towards it.
EXT. ISLAND - DAY
THOMAS STEVENS is close to the island. He is in shallow water and emerges from the sea and collapses, exhausted, on the warm sand. He lies there, panting heavily. There is no sign of any other crewmen.
                  
                END OF PART ONE



                   
               PIRATE ISLAND
                  PART TWO

EXT. ISLAND - DAY
THOMAS STEVENS is on his feet and is walking along the sand near the water. He is looking out to sea in all directions for any sign of life. There is none. The sea is calm and the sun is shining.
EXT. ISLAND - DAY
THOMAS STEVENS has decided it is time to determine where he is. He walks up the beach and into green undergrowth. He sees fruit and coconuts growing on trees and bushes. He takes some of the fruit. He eats it. He then climbs a tree and takes two coconuts. He climbs down. He sits down and replenishes himself.
EXT. ISLAND - DAY
THOMAS STEVENS is walking through undergrowth. He is looking for any signs of life, or any evidence of any other survivors. As he walks, a figure stands and watches him from above. It follows him as he walks.
EXT. STREAM - DAY
THOMAS STEVENS arrives at a stream. He kneels down to drink. Behind him, the figure, no larger than THOMAS himself, creeps closer. A twig snaps and THOMAS STEVENS stops drinking and turns around. He sees no one and resumes his drinking from the stream.
VOICE IN DISTANCE
Hello! Hello! Is there anyone here?
The figure retreats quietly.
THOMAS STEVENS has heard the voice and looks around. He hears a rustling of someone coming closer to him in the undergrowth. He takes shelter behind a large tree and watches. A ragged, tired man, from the first ship, Trepstrot's, emerges from the undergrowth. He sees the stream. He runs to it, falls to his knees and starts to drink. THOMAS STEVENS quietly steps from behind the tree to watch. The man turns around.
CREWMAN #1
Hello there!
THOMAS STEVENS
Who are you?
CREWMAN #1
A shipwrecked sailor. Do you live on this island?
THOMAS STEVENS
What ship were you on?
CREWMAN #1
What?
THOMAS STEVENS
What ship were you on that was wrecked in the storm?
CREWMAN #1
Oh, you're one of us. There are more. Four I've seen from my ship, the Anensder. They're resting on the beach. I went looking for food.
THOMAS STEVENS
There's fruit and coconuts.
CREWMAN #1
Thank God. Thank God. We're not going to starve.
THOMAS STEVENS
What island are we on? Do you know?
CREWMAN #1
No. We were sailing to an island, but this one isn't it.
THOMAS STEVENS
You were looking for treasure, weren't you?
CREWMAN #1
How did you know that?

THOMAS STEVENS
A pirate, Captain Riscottal, was following you. He was planning to take whatever it was you found.
CREWMAN #1
Captain Riscottal! The pirate! That dastardly man! He'll never give up. I hope he perished in the storm.
THOMAS STEVENS
Have you seen anyone else?
CREWMAN #1
Wait. How did you get to this island? Are you one of Riscottal's men?
THOMAS STEVENS
No. We were following Riscottal, and he was following you.
CREWMAN #1
You were going to rob Riscottal then, after he robbed us.
THOMAS STEVENS
Yes.
CREWMAN #1
Who was your captain?
THOMAS STEVENS
Captain Wilbon.
CREWMAN #1
Wilbon. I don't know him.
THOMAS STEVENS
He wasn't only going to take Riscottal's riches. He was going to take revenge against Riscottal. Riscottal sank his ship once, and took everything he had.
CREWMAN #1
Revenge, eh? A pirate is a pirate.

THOMAS STEVENS
I think we should try and figure out where we are. Have you anything from the ships? Did anything wash up on shore?
CREWMAN #1
Not a thing. We're marooned here without any provisions. There might be people on this island. This could be an inhabited island. But I don't hold any real hopes that there are people here.
THOMAS STEVENS
If there are, they can help us.
EXT. BEACH - DAY
The four other CREWMEN are sitting on the beach. THOMAS STEVENS and the CREWMAN appear from the undergrowth. They are carrying enough fruit and coconuts for the four other crew.
CREWMAN #1
Lunch is served.
THOMAS STEVENS and CREWMAN #1 lay the fruit and coconuts on the beach next to the four men. They help themselves and eat.
CREWMAN #2
What else did you find?
CREWMAN #1
Another castaway.
(to THOMAS STEVENS)
What's your name?
THOMAS STEVENS
Thomas Stevens.
CREWMAN #1
(to other CREWMEN)
Has anyone else turned up?
CREWMAN #3
Not yet. If they were pushed this way by the sea, they'll turn up sooner or later.
CREWMAN #1
We were being followed. Captain Riscottal was after us - to steal our treasure.
CREWMAN #4
Riscottal. Hopefully he didn't make it. I don't want to share this island with a murdering pirate.
CREWMAN #1
If he ends up on this island, there are five of us and one of him.
CAPTAIN RISCOTTAL
Yes, but do any of you have a pistol? Like this one?
They all turn and see RISCOTTAL standing next to them, pointing a pistol at them.
CAPTAIN RISCOTTAL
If you move or speak I will fire. Now, how many of you are there? Are there others?
CREWMAN #1
We don't know.
CAPTAIN RISCOTTAL
(to THOMAS STEVENS)
I know you. Your face, it's . . . familiar.
THOMAS STEVENS
You're thinking of someone else. We've never met.
CAPTAIN RISCOTTAL
No. I know your face. How do I know it?
THOMAS STEVENS shrugs.
CAPTAIN RISCOTTAL
It'll come to me. Soon.
(to ALL)
Now, what do you have? Hand it over. Anything in your pockets that will assist me on this island.
CREWMAN #11
Everything we had is in the sea. We've got nothing.
CAPTAIN RISCOTTAL
No knives, no maps, nothing?
CREWMAN #1
Nothing.
CAPTAIN RISCOTTAL
Then you're all useless to me. All of you, stand up. We're taking a walk.
EXT. UNDERGROWTH ON ISLAND - DAY
The six crewman and THOMAS STEVENS are walking single file. CAPTAIN RISCOTTAL is walking behind them, his gun in his hand, pointed at their backs.
THOMAS STEVENS
Where are we going?
CAPTAIN RISCOTTAL
Now that my crew is dead, I need new hands to do my work for me.
THOMAS STEVENS
Why do you think we'll agree to be your crew?
CAPTAIN RISCOTTAL
Because I'm holding the gun. If you have one too, then we'd talk about it. But, as it stands, you're in no position to refuse.
CREWMAN #1
We should work together to get off this island.
CAPTAIN RISCOTTAL
In time we will. But, for now, you do as I say, when I say it. Now, we'll find a place to camp. And then, you will each go in different directions and discover what else, or who else, is on this island.
EXT. CAMPSITE - DAY
RISCOTTAL sits back, his legs extended, with his gun by his side. The five crew and THOMAS STEVENS are hauling logs, and building a shelter. RISCOTTAL watches on.
RISCOTTAL
Make sure it's strong enough.
CREWMAN #3
We'll make it big enough to hold all of us, and anyone else we find on the island.
RISCOTTAL
Who said anything about it holding all of you? When this is finished, then you can go about building your own shelter.
(to THOMAS STEVENS)
You. Take a break. Come here.
THOMAS puts down a log he is dragging and walks to CAPTAIN RISCOTTAL.
CAPTAIN RISCOTTAL
Who are you?
THOMAS STEVENS
A ship's hand.
CAPTAIN RISCOTTAL
I know I've met you before.
THOMAS STEVENS
No. You haven't. I would remember. What's your name?
CAPTAIN RISCOTTAL
Riscottal. Captain of the Stiegel. Which now sits at the bottom of the ocean. I lost twelve crew in the storm. Twelve. Twelve trusted crew. Hard workers, every one of them.
THOMAS STEVENS
And murderers too, I'm sure.
CAPTAIN RISCOTTAL
They may have fired a pistol or used their swords once in a while, but only because they needed to. A pirate needs to protect himself against his adversaries. We can't have other pirates getting it into their heads that they can attack us or plunder us.
THOMAS STEVENS
I know why you were sailing. It's to do with a treasure.
CAPTAIN RISCOTTAL
I am always in search of treasure. Always. When the time comes, I'll make sure each of these men
RISCOTTAL looks at the four toiling crewmen.
CAPTAIN RISCOTTAL
Tells me what I need to know. They know the location of a secret horde of riches. Somewhere. That includes you. If any of you know where the riches are, I will get it out of you.
THOMAS STEVENS
I don't know where any riches are. You're mistaken. None of us do.
CAPTAIN RISCOTTAL
I know why the Anensder set sail. I was following you.
THOMAS STEVENS now sees that CAPTAIN RISCOTTAL assumes he was on the first boat.
THOMAS STEVENS
To rob us. That's why you set sail.
CAPTAIN RISCOTTAL
Yes, well, that's how it goes.
RISCOTTAL sits back and reclines.
CAPTAIN RISCOTTAL
Now get back to work. I want that finished by nightfall.
EXT. CAMPSITE - NIGHT
Night has arrived. The shelter for CAPTAIN RISCOTTAL is finished. He is inspecting it.
CAPTAIN RISCOTTAL
A good job men. A very good job. I'll be comfortable here tonight.
CREWMAN #1
Where are we supposed to sleep? We didn't have time to finish our own shelter.
CAPTAIN RISCOTTAL
You'll find somewhere. Now, leave me in peace. And don't try and escape. I'll be listening.
CAPTAIN RISCOTTAL enters his shelter. The five CREWMEN and THOMAS STEVENS stand and wait for him to enter his shelter. They talk quietly, out of earshot of CAPTAIN RISCOTTAL.
CREWMAN #1
What should we do?
THOMAS STEVENS
Steal his gun. If we have the gun he will be under our control. Riscottal would value his own life too much to try anything against us then.
CREWMAN #2
What if we fail? He'll kill us.
THOMAS STEVENS
No. He needs us.
CREWMAN #2
He needs us. Maybe only some of us. Four crew can do as much as five crew.
THOMAS STEVENS
We wait until he's asleep. He can't stay awake all night.

EXT. CAMPSITE - NIGHT

It is the middle of the night. The five CREWMEN and THOMAS are huddled together. They are cold.
CREWMAN #2
Riscottal knows that there's room in the shelter for all of us.
CREWMAN #1
So Thomas. Tell us about your ship and your Captain.
CREWMAN #2
It was Captain Wilbon's ship. I hardly knew him. He took me on board just before he left.
CREWMAN #1
You're not a sailor then?
THOMAS STEVENS
It's my first time at sea. I didn't think I'd end up on an island. Is this island marked on any map?
CREWMAN #1
Not this one. There are others, but this one isn't. I know. Our captain knew where he was going - he'd been in these waters before. We were blown off course in the storm, but this island wasn't on any map.
THOMAS STEVENS
If you don't mind me asking - where were these riches?
CREWMAN #4
We don't know actually if the riches exist or not. It's an old seaman's story - priceless riches somewhere in the ocean. It's a story other pirates have followed before. All we know is that they are to be found on an island. Our Captain had an idea of where this island was - just the general area, not the exact place. It's in this area. We knew that much.  
THOMAS STEVENS
Sshh! What was that?
THOMAS STEVENS thinks he hears a noise. He looks around him.
CREWMAN #4
I heard nothing.
THOMAS STEVENS
I have the strange impression that we are not alone on this island. I can feel eyes watching us as we speak.
CREWMAN #3
We don't know anything about this island, do we? Nothing at all. There could be dangers on this island that we haven't yet encountered.
THOMAS STEVENS
I'd feel safer if I had Riscottal's gun. Or a knife. Something - some form of protection against whatever is out there.
There is a noise of footsteps moving slowly in the bushes.
CREWMAN #3
I heard that.
CREWMAN #2
So did I.
They all stand up.
CREWMAN #1
Stay together. We'll stand a better chance against whoever it is if we stick together.
They stand and wait, looking into the darkness. There is a quiet whispering, which they all here.
WHISPER
Is it safe?
CREWMAN #1
Who's there?
WHISPER
Who are you?
CREWMAN #1
Who are you?
WHISPER
I've been shipwrecked. Are you friendly?
CREWMAN #1
As friendly as they come.
CAPTAIN WILBON steps from the bushes.
THOMAS STEVENS
Captain!
CAPTAIN WILBON
Ssshhhh! Be very quiet.
WILBON stands in the darkness and looks at the shelter where RISCOTTAL is sleeping.
CAPTAIN WILBON
Who's in there?
THOMAS STEVENS
(quietly)
It's Captain Riscottal.
CREWMAN #2
He's got a pistol.
CAPTAIN WILBON
A pistol will help.
EXT. SHELTER - NIGHT

WILBON is standing outside CAPTAIN RISCOTTAL'S shelter. The five CREWMEN and THOMAS STEVENS are behind him. WILBON creeps into the shelter. He turns to the others and gestures for them to be as quiet as possible.

INT. RISCOTTAL'S SHELTER
CAPTAIN WILBON sees that RISCOTTAL is fast asleep.  He looks around the shelter for the gun. He can't see it anywhere. He moves to the sleeping RISCOTTAL and feels over his body for the gun. RISCOTTAL doesn't wake, but shifts in his sleep. RISCOTTAL suddenly opens his eyes. From nowhere his gun is out and pointed at WILBON.
CAPTAIN RISCOTTAL
Well, captain, I'm honoured. Thank you for dropping by to see me.
RISCOTTAL stands up.
CAPTAIN RISCOTTAL
You want my gun. Why? To kill me?
CAPTAIN WILBON
You don't understand yet. But you will.
CAPTAIN RISCOTTAL
Oh, I understand. You're hoping to kill me. For revenge no doubt. You know - that treasure I took from you so many years ago - was one of the best I've ever stolen. It lasted me a long time.
CAPTAIN WILBON
Riscottal, be quiet. You're in danger here. We all are.
EXT. CAMPSITE - NIGHT

RISCOTTAL is outside the shelter. He has his gun pointed at the others.
CAPTAIN RISCOTTAL
Talk.
CAPTAIN WILBON
(quietly)
Not here. We must move. It's not safe.

CAPTAIN RISCOTTAL
(doesn't lower his voice)
Move? I'm comfortable right here. These crewmen built me an adequate shelter.
CREWMAN #2
Adequate! It's a palace.
CREWMAN #5
And you know it would fit all of us.
CAPTAIN WILBON
Then stay. But let us go. You have no need for us.
CAPTAIN RISCOTTAL
I need a crew. You are they.
CAPTAIN WILBON
If you want to stop us from leaving, you can try. But we're not staying a minute longer.
The sound of an arrow whistling through the air is heard. It narrowly misses RISCOTTAL and sticks into a tree next to him. RISCOTTAL turns with his pistol.
CAPTAIN RISCOTTAL
Who was that? Who else is here?
CAPTAIN WILBON
Quickly.
CAPTAIN WILBON turns and runs, followed by THOMAS STEVENS and the five CREWMEN. RISCOTTAL doesn't move and is intent on fighting whoever is there.
EXT. UNDERGROWTH ON ISLAND - NIGHT

CAPTAIN WILBON leads the five CREWMEN and THOMAS STEVENS through undergrowth, running the whole time. He turns as he runs.
CAPTAIN WILBON
Quickly. As fast as you can. But quietly.
They run through the undergrowth away from the campsite.
THOMAS STEVENS
What about Riscottal?
CAPTAIN WILBON
He's on his own.
EXT. CAMPSITE - NIGHT

CAPTAIN RISCOTTAL is pointing his gun in the undergrowth.
CAPTAIN RISCOTTAL 
(shout)
I've got a gun.
There is no response.
CAPTAIN RISCOTTAL
(shout)
You think a single arrow is going to frighten me? This island now belongs to me. Whoever you are, I'm taking this island and claiming it as my own. At least until I figure out a way to get off it.
There is no response. RISCOTTAL soon lowers his gun and believes the attacker has left. He sits on a log.
Another arrow is heard whistling through the air. It enters RISCOTTAL'S back and sticks in his body. He sits for a minute, the arrow protruding from his back. He then slumps over, still sitting on the log.
EXT. UNDERGROWTH ON ISLAND - NIGHT
CAPTAIN WILBON and the others have stopped running. They are hiding in dense forest.
THOMAS STEVENS
Where are we?
CREWMAN #1
Yes, Captain, we've been trying to figure it out. What island could we possibly be on?
CREWMAN #2
We don't remember it being marked on any map.
CAPTAIN WILBON
Wherever we are, we're not supposed to be here. If you don't mind my asking - where exactly was Trepstrot heading?
CREWMAN #2
Trepstrot?
CAPTAIN WILBON
I know he was searching for riches. Where exactly was he going to search?
CREWMAN #1
I guess it doesn't matter now we've been shipwrecked. There's no more need to keep it a secret. This is the story. Several years ago, a bottle washed up on shore. It doesn't matter where. That bottle was found by our Captain. In the bottle was a map. It was a map of an island in the seas - not far from where we are now. It seemed fairly accurate. There were mistakes, obviously because whoever drew it did it in a hurry, and did it from memory. It was more a sketch of the area, than an exact representation.
CAPTAIN WILBON
What was the map of?
CREWMAN #1
Pirate Island.
They stand in silence, absorbing the last statement.
CREWMAN #2
There was a note with it. It was from a man who said he'd found the actual island - and on it were riches beyond all comprehension. He said he was soon to die, he didn't say how. That was all.

CAPTAIN WILBON
And you trusted it enough to go out in search for the island?
CREWMAN #2
Our Captain did. He believed in it. And all it contained.
CAPTAIN WILBON
How far from where the storm hit was Pirate Island, according your map?
CREWMAN #2
The map wasn't that accurate, so we didn't know the exact location. But we were close. Close enough for me to think that the land under our feet just might be Pirate Island.
CAPTAIN WILBON
My thoughts are the same. Thomas, are you alright?
THOMAS STEVENS
I thought you were dead. How did you make it to the island?
CAPTAIN WILBON
I was lucky. Most of my crew weren't. I'm glad to see you're alright Thomas.
THOMAS STEVENS
I'm fine. Who are we running from?
CAPTAIN WILBON
I don't know. I made it onto the island, far across on the other side. Three of my crew were there with me. They're all dead now.
THOMAS STEVENS
What? What happened to them?
CAPTAIN WILBON
We were ambushed.
CREWMAN #1
Ambushed?
CAPTAIN WILBON
I couldn't see who it was. But they attacked us without warning. Arrows came flying from all directions. I got away. My crew didn't.
CREWMAN #1
Captain Wilbon. It's my pleasure. My name's Predmore.
CAPTAIN WILBON
Wilbon. I'm glad to meet you. I thought I was alone after my crewmen were slain. I didn't know you'd all made it. We've got to find a way off this island. So long as we stay here, we're all in great danger.
CREWMAN #1
I believe our Captain - Captain Trepstrot is dead. And the rest of the crew too. It's just us and the boy here. Who would have thought it - we get washed up on the very island we were searching for. But now we can't get off.
CAPTAIN WILBON
Not yet. But there must be a way.
THOMAS STEVENS
Do you really think we've found Pirate Island?
CREWMAN #1
It's possible. But there's no way to tell.
THOMAS STEVENS
There might be. If we find evidence of other pirates. Or the riches that are here.
CREWMAN #4
Captain Wilbon, who killed your crew?

CAPTAIN WILBON
I don't know. And I don't want to stay to find out. We wait until morning, and then we'll have a look around and see if there is any way off this island.
CREWMAN #4
Without a boat it's impossible.
CAPTAIN WILBON
I say fate has dealt us a bad blow. That storm has put us somewhere we definitely don't want to be.
THOMAS STEVENS
Should we be scared?
CAPTAIN WILBON
No. We'll be okay Thomas. Don't worry. We need to keep watch during the night. We'll take turns.
EXT. ISLAND - MORNING
The next morning. CAPTAIN WILBON, four of the FIVE CREWMEN and THOMAS STEVENS are asleep. The fifth CREWMAN is sitting high up in a tree, keeping watch.
EXT. ISLAND - MORNING
The fifth CREWMAN climbs down from the tree and wakes up the others. He shakes each in turn. They stir and open their eyes and sit up.
THOMAS STEVENS
We're sill here.
CREWMAN #5
(to CAPTAIN WILBON)
Nothing and no one came near us. I thought I heard something approaching before daybreak. But it was nothing.

EXT. BEACH - DAY
CAPTAIN WILBON and the others are standing on the beach, looking out to sea.
CAPTAIN WILBON
What I'd give for a boat.
THOMAS STEVENS
Captain, tell us what happened to your crew.
CAPTAIN WILBON
I can do better than that. I can show you.
THOMAS STEVENS
But, is it safe to go there . . .
CAPTAIN WILBON
I have to go back. We had a gun. I left it there. I didn't have time to grab it. When the arrows started raining down on us, we just ran. It's still there.
CREWMAN #1
How far is it?
CAPTAIN WILBON
Not far. The island is small, from what I can tell. But we need to be very quiet and very careful. We must keep ourselves hidden.
EXT. ISLAND - DAY
CAPTAIN WILBON and the others are crossing the island. They go carefully, continually looking about them.
EXT. SITE OF ATTACK - DAY
CAPTAIN WILBON is up ahead. The others have stopped, twenty metres back, taking cover behind trees and bushes. WILBON is behind a tree. He looks over an open space.

EXT. OPEN SPACE - DAY
In this open space are the bodies of three of WILBON's CREWMEN. They all have arrows sticking out of them. WILBON scans the area with his eyes to see if the gun is still there. He sees no movement and hears no sounds, and waves his arm for the others to come closer.
THOMAS STEVENS and the five CREWMEN come closer. They move up next to CAPTAIN WILBON. They examine the three dead crewmen lying in the open space.
CAPTAIN WILBON
We were just standing there, figuring out what to do, when the arrows came. Look.
THOMAS STEVENS and the five CREWMEN look at the scene of the attack.
CAPTAIN WILBON
We didn't stand a chance.
THOMAS STEVENS
Who else is on this island?
CREWMAN #1
Captain, can you see your gun anywhere?
CAPTAIN WILBON
No. Whoever attacked us has taken it.
THOMAS STEVENS
We should go and check on Riscottal.
CAPTAIN WILBON
Riscottal is dead.
CREWMAN #1
Captain, you must have an idea in your head as to who attacked your men. Did you really see nothing?
CAPTAIN WILBON
Nothing. Not a thing. The arrows had already hit before we heard anything.

CREWMAN #3
So they have arrows. Arrows we can dodge. Let's go and find them. We'll hunt them down.
There is a flash of movement across the space. They all see it and take cover.
CAPTAIN WILBON
They're back. They've seen us. Move quickly.
They all turn and run. As they do they hear a call. It is ESTAN, with his eye patch. ESTAN has seen them. He calls out after them.
ESTAN
Hey! Captain! You're safe.
They all stop and turn at the voice. ESTAN continues to call across the clearing.
CAPTAIN WILBON
Estan, get down. Don't let yourself be seen.
ESTAN walks across the open space, oblivious to the attackers.
ESTAN
What do you mean? This island's great. You should see what I've found. Bountiful supplies of fruit. Clear water to drink. It's great!
CAPTAIN WILBON
Estan, keep you voice down and get out of view.
ESTAN
What are you worried about? We're so far from anywhere no one is going to hear us!
CAPTAIN WILBON tries to keep ESTAN quiet.
CAPTAIN WILBON
Estan. You have to get down. Stay out of view. Find a place that is protected and stay down. I think we're being watched.
ESTAN
(call)
Watched! By who!
ESTAN now sees the three bodies of the dead CREWMEN.
ESTAN
What . . .
(to CAPTAIN WILBON)
What happened to them?
An arrow sails across the clearing and sticks in a tree next to ESTAN'S head. Another flies across the space and sticks in ESTAN'S arm. He winces with pain.
CAPTAIN WILBON
ESTAN! They're attacking!
ESTAN takes cover. He pulls out a dagger. Three more arrows sail across and almost hit him.
CAPTAIN WILBON and the others have also taken cover. CAPTAIN WILBON is looking across the space. He sees the pistol.
CAPTAIN WILBON
There it is.
THOMAS STEVENS
The gun?
CAPTAIN WILBON
The gun. I'm going to get it.
CAPTAIN WILBON waits and then dashes across the space and picks up the gun. He keeps running and ends up next to ESTAN.
ESTAN
Captain, that was some move.
CAPTAIN WILBON
We've got this now. I'm going to send them a warning.
WILBON stands and fires his gun three times into the bushes. The arrows cease. There are strange calls from the bushes and the sound of retreating feet. CAPTAIN WILBON and the others wait. When WILBON is sure the attackers have retreated, he emerges.
CAPTAIN WILBON
(to ESTAN)
It's safe now. Come on.
CAPTAIN WILBON and ESTAN join the others. They stand and look at the three dead crewmen.
ESTAN
Alright, what's going on? What do you know that I don't?
CAPTAIN WILBON
Someone has objected to our arrival on the island.
ESTAN
Let's find them.
THOMAS STEVENS
I agree with Estan. Let's find them and talk to them. They might think we mean them harm when we don't.
CAPTAIN WILBON
How many of us are there?
WILBON counts all that are there - himself, THOMAS STEVENS, ESTAN, and five of TREPSTORT'S CREWMEN.
CAPTAIN WILBON
Eight. That's good.
CREWMAN #1
Captain, as you're the only captain on this island, you should be our leader. We'll follow your orders.
The four other CREWMAN agree. THOMAS STEVENS nods his assent. They look at ESTAN.
CREWMAN #1
Are we agreed?
ESTAN
No problem with me. It'll be my honour to serve you Captain.
CAPTAIN WILBON
We only have one gun. And Estan has a dagger.

ESTAN
We can find some wood and sharpen them into spears. One for each of us.
CAPTAIN WILBON
Good idea Estan. Get to work on that. Take these men and make a spear for everyone. I'll take Thomas and have a look around.
EXT. UNDERGROWTH ON ISLAND - DAY
The FIVE CREWMEN and ESTAN being work. They find suitable pieces of wood, breaking some from the branches of trees. Using ESTAN's dagger they begin cutting the sticks of wood into spears.
EXT. UNDERGROWTH ON ISLAND - DAY
CAPTAIN WILBON and THOMAS STEVENS are walking through the undergrowth.
THOMAS STEVENS
Even with eight people, it might not be enough. We might not stand a chance.
CAPTAIN WILBON
I want to avoid fighting if I can. I want to talk to these people. I want to tell them we're not a threat to them.
THOMAS STEVENS
And if they don't listen?
CAPTAIN WILBON
Then we fight for our lives. We avoid them for as long as we can or we fight them until we can get off this island.
EXT. CLIFF - DAY
CAPTAIN WILBON and THOMAS STEVENS are standing at the base of a cliff.
THOMAS STEVENS
Is there anyway around it?
CAPTAIN WILBON
There is. But it's a long way around. Can you climb it?
THOMAS STEVENS
I think so.
They climb up the cliff, helping each other. They hold onto rocks, plants to help them climb up. They reach the top.
EXT. TOP OF CLIFF - DAY
CAPTAIN WILBON and THOMAS STEVENS stand in silence at the view they now see. Beyond them, in a large clearing is a Palatial Compound.
THOMAS STEVENS
We're not alone.
CAPTAIN WILBON
We certainly aren't. It's beautiful.
They look at the structure and the fort-like protections around it. There is no sign of any person inside.
THOMAS STEVENS
Do you see anyone?
CAPTAIN WILBON
No. They're all inside. Or out hunting for us.
THOMAS STEVENS
Should we go any closer? Without our weapons?
CAPTAIN WILBON
No. We tell the others. Then we come together. All eight of us.
EXT. UNDERGROWTH ON ISLAND - DAY
CAPTAIN WILBON and THOMAS STEVENS are back with the others. They have finished making their spears. They have eight in total, one for each.
CREWMAN #1
We've sharpened them as much as we can.
They hand out the spears.
CREWMAN #1
What did you find?
CAPTAIN WILBON
You tell them Thomas.
THOMAS STEVENS
We know where the attackers are coming from.
CREWMAN #1
It's funny you say that, because so do we. Look over here.
The CREWMAN lead CAPTAIN WILBON and THOMAS STEVENS to a large hole in the ground. It looks like a mine entrance.
CAPTAIN WILBON
Tunnels?
CREWMAN #1
It looks more like a mine than a tunnel.
CAPTAIN WILBON
There's only one way to find out.
CREWMAN #1
I'm not going down there. Not unarmed.
ESTAN
You have your spear.
CREWMAN #1
They have arrows, and possibly more. We don't who these people are, what they want, what there intentions are. All that is clear is that they don't like us being here, and I'm sure they want us to leave. There could be an army down there.
CREWMAN #2
We could wait here and if anyone comes out, we capture them and make them talk.

CAPTAIN WILBON
I've got the gun. I'll go.
ESTAN
I'm not afraid. I'll go with you.
CAPTAIN WILBON
The rest of you wait here. If anyone comes you run as fast as you can. Stay safe until we return.
CREWMAN #1
Wait, wait, wait. How can you go in without a light? You haven't got a torch and we have no way of making fire.
CAPTAIN OF BOAT
He's right. Without light we can't go. It mightn't be lit. We'd be sitting ducks in the darkness.
CREWMAN #1
They might want us to go down the tunnel so they can corner us and kill us.
ESTAN
So, Captain, tell us what you found.
EXT. TOP OF CLIFF - DAY
All eight are standing on the top of the cliff, looking at the Palatial Compound.
CREWMAN #4
What is it? It looks like a palace. Is this island part of someone's kingdom?
ESTAN
Let's go. I want a closer look.
CAPTAIN WILBON
Two of us will go. Estan, you and I. We'll get as close as we can. If all eight of us go, we'll be seen.
CREWMAN #4
What are we supposed to do in the meantime? Wait here? No thanks. I'm not waiting to be found.
CAPTAIN WILBON
There's probably nowhere on this island that we are safe. This cliff top is as safe as anywhere else, probably more so.
THOMAS STEVENS
Captain, I'm coming too.
CAPTAIN WILBON
No. You stay with the crewmen. We won't be gone long.
EXT. CLIFF TOP - A SHORT TIME LATER
CAPTAIN WILBON is preparing his gun. They are checking their spears for sharpness. ESTAN is practising spearing something in the air. THOMAS STEVENS and the five CREWMEN are sitting down.
CAPTAIN WILBON
(to ESTAN)
Let's go.
EXT. OPEN SPACE AROUND PALATIAL COMPOUND - DAY
CAPTAIN WILBON and ESTAN cross very slowly, constantly checking their surroundings. They get close to the structure.
ESTAN
So far so good.
CAPTAIN WILBON
It's quiet.
ESTAN
It could be empty.
CAPTAIN WILBON
No. There are people in there.

EXT. PALATIAL COMPOUND - DAY
They reach a wall and climb over it. There are precious gemstones in the wall. They shine in the light. The stones attract the attention of CAPTAIN WILBON and ESTAN.
ESTAN
Have you ever seen stones like that? They must be worth a fortune.
CAPTAIN WILBON
Pirate stories, eh?
They both realize that these gems might be worth something, hence there is truth to the legend of riches on Pirate Island.
ESTAN
Could be, Captain.
EXT. PALATIAL COMPOUND - DAY
CAPTAIN WILBON and ESTAN are now inside the Palatial Compound. They are walking towards the entrance. They pass massive sculptures made from the precious gemstones. They don't stop and observe them as they pass, but just give them a quick look.
ESTAN
Captain, I'm thinking our riches are right here. Have you ever seen anything like it?
CAPTAIN WILBON
Where's it coming from?
ESTAN
Obviously somewhere on this island. There are riches here. That's for sure.
They continue to a wall of the compound.
CAPTAIN WILBON
We're going in.
ESTAN
Wait. We don't know what's in there.

CAPTAIN WILBON
Are you afraid?
ESTAN
No I'm not afraid. But if we're outnumbered, we don't stand a chance. Bring the others at least. Eight of us together has more of a chance than two.
CAPTAIN WILBON
We might not need to fight. They'll see we come in peace.
ESTAN
What? Armed with a pistol and spears! They'll see them, fire their arrows from some hidden place, and we'll be dead. That's it captain. Dead. The others won't know we're dead until we don't return, and then they'll come to find us, and they'll be dead too.
CAPTAIN WILBON
I'm going in. You can stay here and keep guard.
ESTAN
If you're going in, I'm going in. But I want you to know it's a bad idea.
EXT. WALL IN COMPOUND - DAY
CAPTAIN WILBON and ESTAN are edging along a wall, heading towards a door. They door is closed. CAPTAIN WILBON waits, builds up the courage, and opens the door slowly. They stand against the wall and wait. CAPTAIN WILBON signals to ESTAN that he is going in. He turns into the doorway and looks inside. ESTAN nods and follows him in.
INT. PALATIAL BUILDING - DAY
Inside, there is a large open room. The walls of the room are all made of wood. The space is empty, except for more sculptures made from the precious gemstones.
ESTAN
Empty.
CAPTAIN WILBON
What is this place?
ESTAN
It's a palace. The kingdom for whoever lives on this island.
CAPTAIN WILBON
Then where is everyone?
ESTAN
Upstairs, downstairs, in another room, having dinner, out hunting for us. Who knows?
They proceed to a large arch that leads into another empty space. There are more sculptures.
CAPTAIN WILBON
My guess is this compound goes underground.
ESTAN
The tunnel we saw?
CAPTAIN WILBON
Maybe. They can cross the island using tunnels. That puts them at an advantage. We won't see them and we won't hear them. Their attacks will be sudden and swift and we won't know what hit us.
ESTAN
If we can find one of these tunnels we can look for ourselves.
They see a staircase leading down and a staircase leading up.
ESTAN
Which way? Up or down.
CAPTAIN WILBON
Down.
They hurry to the staircase and start down the stairs. The staircase darkens as they go down. They arrive at the bottom of the staircase in a darkened room. There is only a dim light in the large room. What they see horrifies them. Skeletons hang from the walls. Captured possessions of the victims hang next to them - objects from seafaring.
ESTAN looks at the skeletons. Some are still clothed in the remnants of seaman's clothes.
ESTAN
What are those?
CAPTAIN WILBON
Previous visitors. Pirates and sailors who made it this far but never got off the island. I don't like this. Let's get out of here, now.
Suddenly there is movement behind them. They turn to look at the movement, but there is only darkness and shadow.
ESTAN
What was that?
There is the sound of a voice nearby from the shadows. It is harsh and quiet.
VOICE FROM DARKNESS
It mistake to come to here.
ESTAN
We come in peace. Who are these people? Did you kill them all?
VOICE FROM DARKNESS
They come here. It mistake to come here.
Suddenly, there is movement from the darkness. A club hits ESTAN on the head. He drops to the floor. CAPTAIN WILBON pulls his pistol quickly and fires it blindly into the darkness. The shots echo loudly. When the gun is out of bullets, he raises his spear. He cannot see his attackers in the darkness.
CAPTAIN WILBON
(shout)
Who's there! We come to your island in peace. There is no reason to fear us. Do you understand that? You don't need to fear us.
There is no sound.
CAPTAIN WILBON
(voice raised more than before, almost pleading)
Do you hear? In peace! Let us find a way off the island.
VOICE FROM DARKNESS/SLOW CROAKY DRAWL
Peace. Peace. There is no peace.
CAPTAIN WILBON
(raised voice)
Who are you? Why can there be no peace!
VOICE FROM DARKNESS
No. No peace.
There is another movement in the shadows. CAPTAIN WILBON follows the movement. He looks down at the body of ESTAN, unconscious on the floor.
CAPTAIN WILBON
Then I will fight you. If there can really be no peace, I will fight you. And it will be worse for you if I do. I don't want to fight you, but I will fight you.
He raises his spear, ready to fight. A shape moves in the shadows again. Someone is watching the helpless CAPTAIN WILBON from the darkness. Two eyes gleam in the darkness. 
VOICE FROM DARKNESS/SLOW CROAKY DRAWL
You will fight. You will fight.
CAPTAIN WILBON looks into the darkness. He tries to make out any shapes. But he cannot see clearly in the shadows. He sees a quick movement near him and he swings his spear. It hits nothing. Suddenly, there is the flash of a club in front of him and CAPTAIN WILBON is hit. He staggers. A second club hit follow and CAPTAIN WILBON drops to the floor.
The two bodies - CAPTAIN WILBON and ESTAN - lie slumped on the floor. Three figures emerge from the darkness, and stand over the bodies.
VOICE FROM DARKNESS
No peace.
Then a horrendous cry.
VOICE FROM DARKNESS
NO PEACE!
EXT. CLIFF TOP - DAY
THOMAS STEVENS and the five CREWMEN sit on the cliff top overlooking the Palatial Compound. They are sitting on large rocks, on the ground, and reclined against trees. They look out at the Palatial Compound below. THOMAS STEVENS is looking closely at it.
THOMAS STEVENS
I wish I had my telescope.
CREWMAN #1
What's inside?
CREWMAN #2
I don't know.
THOMAS STEVENS
I want to go closer. We're too far.
CREWMAN #1
The Captain will tell us what's in there - when he returns. We have to be patient.
CREWMAN #4
If he returns. They could be dead already.
CREWMAN #3
The truth is - none of us have any clue what is in that compound. If there are people - they could be hostile, they could be friendly. We don't know.
CREWMAN #1
The Captain can defend himself. He has a weapon.
CREWMAN #3
Even so, he'll be outnumbered.

THOMAS STEVENS
They're taking too long. They wouldn't take this long. I want to go closer.
CREWMAN #1
They've only been gone half an hour. Our orders were to wait. And that is what we are going to do. You'll see, Thomas. The Captain will walk out that compound before long and we'll have an answer to the question that all of us are asking ourselves - what is on this island?
CREWMAN #2
And what our chances of escape are.
CREWMAN #1
So, we wait for the Captain. Sit back and relax.
THOMAS STEVENS accepts he has no choice but to wait for CAPTAIN WILBON to return. He reclines against a tree. The five CREWMEN relax too.
As they do this, a figure stands nearby, carefully watching them. This diminutive figure has been standing there for some time, listening.
It moves. We cannot see who it is. It approaches bit by bit, staying hidden and remaining quiet. The small figure approaches even closer, still hidden.
The CREWMEN, who are relaxing, hear a noise nearby. They sit up. They reach for their spears.
CREWMAN #1
What was that?
They all sit up.
CREWMAN #1
I heard something. Over there.
They all stand and hold up their spears.
CREWMAN #1
Come out - whoever you are. We won't hurt you.
CREWMAN #2
We won't hurt them, but will they hurt us? This is crazy - negotiating with invisible enemies.
They look at the source of the noise. They see nothing except the undergrowth.
CREWMAN #1
One of us has to look.
THOMAS STEVENS
I'll go.
CREWMAN #1
No Thomas. One of us.
(to CREWMAN #2)
You go.
CREWMAN #2
Me?
CREWMAN #2 turns and steps quietly towards the source of the noise. He pokes around in bushes, looks behind trees, but sees no one.
CREWMAN #2
(shout)
Nothing.
The CREWMAN and THOMAS catch a quick glimpse nearby. It is a young CHILD, crouched in the undergrowth.
CREWMAN #3
There!
They step forward with their spears.
CREWMAN #1
No wait.
They stop and examine the small CHILD, who peers back at them.
CREWMAN #3
It's a child.
(to CHILD)
Come out. We mean no harm.
CREWMAN #2
It's a trap. Send the kid and behind him is an army of island inhabitants with bows and arrows.
THOMAS STEVENS walks towards the boy. The CHILD is still hiding in the undergrowth. He watches THOMAS approach him. THOMAS stops and stands a few metres from the CHILD.
THOMAS STEVENS  
My name is Thomas.
The small figures signals with his hand for THOMAS STEVENS and the five CREWMEN to follow him. THOMAS STEVENS looks back at the crew.
THOMAS STEVENS
(to CREWMEN)
He wants us to follow him.
CREWMAN #2
It's a trap Thomas. Don't take another step. Arrows are already on their way.
The CREWMEN scan the bushes for any other people. They still have their spears raised.
CREWMAN #3
Take him captive. Then we have something to barter with. If they try to get us, we show them the kid, and make a trade - our lives for his.
THOMAS STEVENS
The child doesn't want to hurt us. This isn't a trap.
CREWMAN #3
How can you be so sure?
THOMAS STEVENS
He wants us to follow him.
CREWMAN #5
To where? The compound? An island prison? I tell you now - I'm not going anywhere. The kid can do what he wants, but I'm not leaving until Captain Wilbon comes back.

THOMAS STEVENS
I'm going. Tell the Captain I'll return when I can.
The CHILD walks through the undergrowth, continually signalling to THOMAS. THOMAS follows him. The CREWMEN, in two minds about what to do, hesitate.
CREWMAN #1
Thomas, come back. Our orders were to wait. The Captain will be angry if he returns and finds you missing.
THOMAS STEVENS follows the boy, who has stopped signalling and is walking on ahead through the undergrowth.
CREWMAN #1
What do we do? Wait for the Captain or see if the boy is  friend or foe?
CREWMAN #5
We can't let Thomas go alone.
CREWMAN #1
We go with Thomas. We see where the child takes us. If it's nothing, we come back and meet the Captain.
CREWMAN #5
He's going to lead us straight into their hands.
CREWMAN #1
We won't know unless we follow him.
The five CREWMEN run after THOMAS STEVENS and the CHILD.
EXT. UNDERGROWTH ON ISLAND - DAY
THOMAS is walking behind the CHILD. The CHILD turns occasionally to look at THOMAS. He doesn't stop.
They five CREWMEN catch up to THOMAS STEVENS and the CHILD. They run up to THOMAS and join him. They all walk behind the CHILD.
They speak in soft voices, so the CHILD cannot hear them.
CREWMAN #1
(to THOMAS)
Talk to him. He might speak a language we know. Ask him where he's leading us.
THOMAS STEVENS
(to CHILD)
Hey.
The CHILD turns to THOMAS.
THOMAS STEVENS
Where are you taking us?
The CHILD signals to be quiet and to follow.
CREWMAN #3
Hand signals. Can't he speak?
CREWMAN #2
Hey! Where are we going?
The CHILD doesn't respond. He keeps on walking.
CREWMAN #2
(to the others)
Here, there, somewhere? Anywhere? Why doesn't he speak?
(to CHILD loudly)
HEY!
The CHILD turns and signals for CREWMAN #2 to be quiet.
CREWMAN #1
Keep your voice down. He knows what he's doing. Keep shouting like that and it's all over for all of us. Understood?
The CHILD changes direction and they follow.
EXT. CLEARING - DAY
The group of castaways, led by the CHILD, arrive at a clearing. The CHILD stops at the edge of the clearing, and listens closely for any sound. He crouches and looks across and around the clearing. He sees the way is clear and crosses the clearing quickly. The others follow.
CREWMAN #5
Great. We're in the open.
They cross the large clearing hurriedly and enter denser forest.
EXT. FOREST - DAY
The group cross through the forest. They arrive at a small cave with an overhanging rock. The CHILD stops there and points inside.
THOMAS STEVENS
(to CHILD)
You want us to go in?
The CHILD nods and points.
CREWMAN #2
Get him to tell us what's in there first.
CREWMAN #1
He's right. No one goes in unless we're sure it's safe.
THOMAS STEVENS
I'm going inside.
CREWMAN #1
I'll go with you.
(to CREWMEN)
Wait outside and keep a watch. If any one comes, you call to us.
They nod.
CREWMAN #2
Be careful.
CREWMAN #1
I wish we had a gun, just to be sure.
THOMAS STEVENS and CREWMAN #1 enter the cave.
INT. CAVE - DAY
They walk slowly deeper into the cave. It is a tunnel of rock.
THOMAS STEVENS
What does he want us to do?
CREWMAN #1
We'll find out. Be prepared Thomas. Keep your guard up.
THOMAS STEVENS
I don't think he wants to hurt us. There's something important here that he want us to see.
CHILD
(from behind them)
Stop.
They turn. The CHILD speaks in broken English.
CREWMAN #1
So you do speak.
CHILD
Dig. Here.
The CHILD points to the ground.
THOMAS STEVENS
What's buried here?
CHILD
More like you. They came buried it here. I saw them.
THOMAS STEVENS
Who came? Sailors? Like us?
THOMAS STEVENS points to their clothes.
THOMAS STEVENS
Like this?
CHILD
Yes. They buried what they brought here. They did that before they found.
THOMAS STEVENS
(to CREWMAN #1)
There were others. Who?
CREWMAN #1
It could be anyone. But it means this island is not undiscovered. Someone was here before us - other sailors. What did they bring? And where are they?
THOMAS STEVENS
(to CHILD)
Dig? Here?
THOMAS points to the ground.
CHILD
Yes. Dig.
THOMAS and CREWMAN #1 kneel down and they start to dig with their hands on the spot where the CHILD pointed.
CREWMAN #1
No shovel. That doesn't help.
EXT. OUTSIDE CAVE - DAY
The four other CREWMAN are standing, waiting for THOMAS STEVENS and CREWMAN #1. They look around nervously.
CREWMAN #5
We shouldn't be standing out in the open. It's an invitation to our attackers.
CREWMAN #5 walks to the cave entrance.
CREWMAN #5
Hurry it up.
INT. CAVE - DAY
CREWMAN #5's voice echoes down the cave.
THOMAS STEVENS and CREWMAN #1 are digging. They've made a large hole in the ground. They keep digging and hit a solid object.
CREWMAN #1
There's something there. It's solid, like a chest.
They dig a little more and clear away the dirt. They see the top of a chest in the hole.
THOMAS STEVENS
Pull it out of the hole.
CREWMAN #1
It couldn't be. It just couldn't be. Could it?
THOMAS STEVENS
I think it is.
CREWMAN #1
If Riscottal was still alive, he'd be mad as hell. We found a buried treasure before he did.
CREWMAN #1 and THOMAS STEVENS pull a locked chest from the ground. They strain to lift the heavy object from the hole they have dug. They drag it away to look at it.
THOMAS STEVENS
Open it.
CREWMAN #1 strains to open the chest. He cannot. They both try to open it but it is securely locked.
CREWMAN #1
Get a rock. We'll smash it to pieces.
CREWMAN #1 looks around the cave for a large rock. He can't see one.
CREWMAN #1
Here, help me.
THOMAS STEVENS and CREWMAN #1 lift the heavy chest and with difficulty carry it outside, watched and followed all the time by the CHILD.
EXT. CAVE - DAY
The four CREWMEN watch THOMAS STEVENS and CREWMAN #1 emerge from the cave carrying the chest.
THOMAS STEVENS
(to the CREWMEN)
We can't open it.
CREWMAN #2
That looks like a treasure chest. Where did it come from?
THOMAS STEVENS
We dug it up. We have to open it.
CREWMAN #3
Who put it there? How did that chest get to be in that cave?
THOMAS STEVENS
The boy said it came from others like us. Pirates probably. Or sailors. They got stuck on this island too. They buried the treasure chest on the island so no one else could get their hands on it.
CREWMAN #1
Which means that we're not the first castaways to be stuck on this island. So there is truth to the story. We might be on pirate island after all.
CREWMAN 2
If there were other pirates, where are they?
CREWMAN #1
Maybe they survived, maybe they didn't.
CREWMAN #2
(to the CHILD)
What did you do to them? Did your people kill them, like you tried to kill us?
THOMAS STEVENS
Leave him alone. We need to find a way to open this chest. Then we have to find Captain Wilbon.
The CHILD suddenly looks up. A look of fear appears on his face. He makes a quiet, fearful noise. THOMAS and the CREWMEN all see his face and they all look up. They follow his gaze. THOMAS stands next to the CHILD.
THOMAS STEVENS
(to CHILD)
What is it?
The CHILD hesitates, still looking into the undergrowth. Then he runs off.
THOMAS STEVENS
Wait. Where are you going?
Suddenly, a cluster of arrows rains down upon THOMAS and the CREWMEN.
CREWMAN #1
Take cover!
They disperse to find cover from the arrows. CREWMAN #4 and CREWMAN #5 are both struck in the chest with an arrow. They drop dead to the ground. The three remaining CREWMEN and THOMAS STEVENS run for cover, dodging arrows as they run. They all take a position to shield themselves from the attack.
CREWMAN #1
(from his cover)
Where are they?
The arrows have stopped. There is silence. There is no movement in the undergrowth. THOMAS STEVENS and the CREWMEN scan the undergrowth with their eyes.
CREWMAN #1
If we could just see who we were fighting.
CREWMAN #2
They're probably circling us, to attack from all sides when the moment is right.
CREWMAN #1
Everyone stay where you are. Stay quiet and stay hidden.
More arrows are fired. They seem to come from nowhere. They stick into trees and into the ground. Some stick into trees very close to where THOMAS and the CREWMEN are hiding.
THOMAS STEVENS
We have to make a run for it. If we wait any longer, they'll have us.
CREWMAN #1
No. I want to see our attackers. We put up a stand right here.
CREWMAN #2
We can't fight an invisible enemy.
CREWMAN #4
And what will we fight with? Our spears?
The arrows stop again. THOMAS looks around. He examines any possible means of escape. He sees only denser undergrowth around them.
THOMAS sees a tunnel entrance in the ground. It is about twenty metres away. The tunnel resembles a mine entrance.
THOMAS STEVENS
(to the three CREWMEN)
Down there.
They all look at the tunnel entrance.
THOMAS STEVENS
It's our only choice.
CREWMAN #2
I'm not going down there.
CREWMAN #3
Neither am I. It's too dark. There could be more of them down there, waiting for us.
CREWMAN #1
I have to agree. Until we know what we're dealing with, and what is in those tunnels, I'm not going near them. We stand more of a chance out here.
THOMAS STEVENS
Then stay and fight.
THOMAS STEVENS stands up, checks that no more arrows are being fired, and makes a run to the tunnel. He runs down the slope leading into the tunnel entrance. He stops momentarily and then he runs into the darkness of the tunnel.
CREWMAN #1
(as THOMAS runs off)
Thomas! Thomas! Come back!
THOMAS has disappeared into the dark tunnel.
The CREWMEN resume their scan of the undergrowth, looking for their invisible attackers.
CREWMAN #2
They're going to hunt us down. The arrows are their first method of attack, but they'll come and they'll hunt us down like animals.
CREWMAN #1
Stay calm and alert.
Behind the CREWMEN, a lone figure, creeps towards them, making no sound. He steps quietly, and raises his bow and arrow. The CREWMEN are exposed and he has a clear shot. He fires an arrow. It hits CREWMAN #2 in the back. A look of horror and surprise appears on his face. He slumps against the tree he is standing behind and slips slowly to the ground.
CREWMAN #1 spins around and hurls his spear in the direction of the arrow source. It hurtles through the air and catches the attackers directly in the chest before he has time to conceal himself again.
CREWMAN #4 and CREWMAN #1 look at the dead ISLAND INHABITANT. His bow and arrow is by his side.
CREWMAN #1
Get his weapon!
CREWMAN #1 and CREWMAN #3 run to the dead man, take his bow and arrow. They run off into the undergrowth.
INT. TUNNEL - DAY
The tunnel is pitch black. THOMAS STEVENS is stepping blindly further and further down into the tunnel.
In the distance of the tunnel, THOMAS sees a gleaming light. He hurries towards it, wondering what it could be. He arrives at the gleaming light and reaches up to touch it. He now sees that it is a precious gemstone, sticking out of the tunnel wall. It dawns on THOMAS.
THOMAS STEVENS
They're mining stones. This is a mine.
THOMAS looks further down the tunnel and sees more gleaming lights coming from more gemstones in the walls.
EXT. ISLAND PRISON - DAY
CAPTAIN WILBON and ESTAN are unconscious. They are tied up and are in a wooden barred cage. They are in a prison on the island. The prison is a wooden cage inside a wooden hut.
CAPTAIN WILBON stirs and opens his eyes. The first thing he sees is a man and a woman sitting opposite them. They look in good health. The man is looking at them.
ARNOLD FRAGMAN
Welcome.
CAPTAIN WILBON
(groggy)
Who are you? Where are we?
ARNOLD FRAGMAN
You are on an island in the sea, which, for the reason you are about to discover, is not marked on any map.
CAPTAIN WILBON
How did I get . . . Wait, I remember. Yes, it's coming back.
ARNOLD FRAGMAN
Do tell us.
The events of the shipwreck and being stranded on the island return to CAPTAIN WILBON'S mind.
CAPTAIN WILBON
Where's Thomas?
ARNOLD FRAGMAN
I never thought I'd see another person in my life. Never. I thought it was just me and my wife here. My name is Arnold Fragman. This is my wife, Beatrice Fragman.
CAPTAIN WILBON
Are there others? Others like you?
ARNOLD FRAGMAN
There were.
CAPTAIN WILBON
What happened to them?

ARNOLD FRAGMAN
We don't know where they are now.
CAPTAIN WILBON
How did you get here?
ARNOLD FRAGMAN
How did you get here? That's what I'm wondering. We never expected to see anyone ever again. If you're stuck on an unknown island, without any way off, or any hope of sending a message, the last thing you expect is to see anyone ever again.
CAPTAIN WILBON
We were shipwrecked.
ARNOLD FRAGMAN
How many of you?
CAPTAIN WILBON
More. More than just us.
ARNOLD FRAGMAN
We landed on this island, for a break. That was it. Just a short break. To rest and walk around and gather some food if there was any. It looked like a good island to rest on. Also, we were a little curious to see what the island contained. It wasn't marked on our map. We guessed it was undiscovered.
CAPTAIN WILBON
That means no one knows of the existence of this island, and no one will ever come.
ARNOLD FRAGMAN
Ships don't tend to come near this area. So, yes, it's unlikely that we'll be rescued any time soon. What we didn't expect on this island was to encounter its angry inhabitants. We didn't expect it to be inhabited. That's what we found. And that's what you have found. Right?
CAPTAIN WILBON
I don't know what we've found. Who else is on the island?
ARNOLD FRAGMAN
People like us. People who have been here a long time. A long, long time. Probably since time began. They never leave is my guess. They've never got inquisitive. They're happy with what they've got here. And we didn't see any boats anyhow.
ESTAN wakes up. He sees CAPTAIN WILBON and ARNOLD FRAGMAN and BEATRICE FRAGMAN. ESTAN is groggy from the club to his head. He sits up.
ESTAN
What day is it?
CAPTAIN WILBON
You got a knock on the head Estan.
ESTAN
I had a dream that I'd been stranded on a terrible island.
ARNOLD FRAGMAN
You should probably break it to him gently.
CAPTAIN WILBON
That was not a dream Estan. We are stranded on an island, with some very unfriendly people. I think we've crossed into territory better left alone.
BEATRICE FRAGMAN
We've been here for . . .
BEATRICE FRAGMAN looks to her husband.
BEATRICE FRAGMAN
How long has it been?
ARNOLD FRAGMAN
I would estimate, ten years.
BEATRICE FRAGMAN
Yes. About ten years. They won't set us free.
CAPTAIN WILBON
So you found the island purely by chance and wanted to rest here.
ARNOLD FRAGMAN
Rest, recuperate, explore, conquer. Whatever you want. It was a long time ago. If only I knew then how long I would really be here. It was a mistake to come to this island. No doubt about it.
CAPTAIN WILBON
Do they . . . hurt you?
ARNOLD FRAGMAN
No. We're provided with food and water. Fruit mostly. Coconuts and berries if we're lucky. They're quite generous people. They treat their prisoners quite well, all things considered.
CAPTAIN WILBON
Does that include the collection of bones in the other room?
ARNOLD FRAGMAN
They spared us. They chased down all the others. Are they really still here?
CAPTAIN WILBON
Yes. As skeletons.
ESTAN
Why the hostility? Why do they try to kill anyone who sets foot on the island?
ARNOLD FRAGMAN
I really don't know. We hadn't been here ten minutes when the attacks began. They played games with us - they knew they'd get us eventually, so they toyed with us a bit. Let us run around the island in desperation, fear and panic. Then, they just killed everyone they found. The sailors thought there'd be places to hide. There aren't on this island.
ESTAN
But there must be a reason they're so hostile.
ARNOLD FRAGMAN
I don't know the reason.
ARNOLD FRAGMAN looks at BEATRICE.
BEATRICE FRAGMAN
Yes - you do know. Tell them.
ARNOLD FRAGMAN
Okay okay. We were travelling with men we thought were sailors. But they weren't just sailors. They were pirates. It turned out they were in search of a place called Pirate Island. They were treasure seekers. Do you know the story?
CAPTAIN WILBON
Pirate Island is an island somewhere in the sea. It is rumoured to contain priceless treasures. No pirates know exactly where it is, or why no one has been able to find it.
ARNOLD FRAGMAN
Yes, that's more or less it. Anyhow, our own ship was damaged, it sank, but fortunately, the pirates, who we thought were sailors, found us in time and picked us up.
BEATRICE FRAGMAN
We didn't know a lot about pirates until then.
ARNOLD FRAGMAN
So they picked us up. We had no choice to stay with them until they finished their journey. We stopped on this island. Do you know much about pirates - what they do? Their business? That sort of thing.
ESTAN
Yes.
ARNOLD FRAGMAN
I see. You're eye patch gives you away. Lost in a fight with another pirate?
ESTAN
Yes.
ARNOLD FRAGMAN
(to CAPTAIN WILBON)
And you too?
CAPTAIN WILBON
Once, a long time ago. I gave up being a pirate. It wasn't for me anymore.
ARNOLD FRAGMAN
Well, the pirates that picked us up seemed to be ordinary sailors. We soon noticed they had a particularly bloodthirsty attitude when it came to finding treasure. Anything is permitted in the acquisition of a hoard of riches - murder included.
BEATRICE FRAGMAN
Like Arnold said, we found this island by chance. It wasn't marked on their maps. They thought they'd check it out, you know, see if it yielded anything good. They talked about plundering villages and people, running off with all their goods. They talked about it and then had a good laugh about it. Of course, they hoped they'd finally found Pirate Island.
CAPTAIN WILBON
Had they?

BEATRICE FRAGMAN
We think this might be the island that no one has been able to find. Pirate Island.
ARNOLD FRAGMAN
That's not entirely accurate. We think that when pirates or sailors do find this island they don't make it off. They die here, and hence the island remains a mystery to everyone else. Pirates have found Pirate Island, except they all die.
ESTAN
Dozens of pirates could have made it here but not survived to reveal the secret and tell the tale. But what about the secret riches the island is supposed to contain?
ARNOLD FRAGMAN
You've not seen it for yourself? Those gems?
ESTAN
Yes, we saw them. Are they really so valuable?
ARNOLD FRAGMAN
We think so. More valuable than gold itself. Ten times more so.
CAPTAIN WILBON
Tell me about the people that live on Pirate Island?
ARNOLD FRAGMAN
The pirates that rescued us made a mistake picking this island to land on. The people we found seemed amicable at first. They seemed quite receptive to our presence. Until they saw the guns, the swords, the fierce look in the pirate's eyes. Then it was all over. War broke out then and there. Arrows, swords, spear, knives, they all came out. The pirates didn't stand a chance.
BEATRICE FRAGMAN
The fight lasted two hours. It went over the whole island. Pirates ran in all directions to escape the attack. They ran into the tunnels they found. They hid in the forest. Some even tried to swim away. In two hours, the island inhabitants caught every single one. I won't tell you what happened then. I think you can guess for yourselves.
CAPTAIN WILBON
How did you survive?
BEATRICE FRAGMAN
We made no threats. We stood back and watched. I think they saw we weren't really part of it. They let us live.
CAPTAIN WILBON
I've lost crewmen since we were shipwrecked here. Arrows.
BEATRICE FRAGMAN
Before the last pirate was killed, they buried a treasure on the island, in the hope that if they escaped they could come back and retrieve it. The pirate who buried the treasure told me, just before he was slain. Again, the pirate loves his treasure and only reluctantly parts with it.
CAPTAIN WILBON
It's still here? On this island?
BEATRICE FRAGMAN
Yes. Somewhere on this island is a treasure.
ARNOLD FRAGMAN
Who cares about the treasure though? Did you happen to see any of the wonderful sculptures? Each one is made from gemstones, which must be unique to this island. I've never seen them anywhere else. Those stones are rare and priceless. Every one of them is worth a small fortune. I would be willing to bet that this island is the only island in the world that produces those types of stones. If I ever escaped, I'd forget the treasure and take some of those stones.
CAPTAIN WILBON
We are going to escape.
ESTAN realizes his knife has been taken.
ESTAN
Captain, they took my knife.
CAPTAIN WILBON
And my gun.
ARNOLD FRAGMAN
A gun and a knife. You're lucky they let you live.
CAPTAIN WILBON
There are others of us. Still out there.
ARNOLD FRAGMAN
They won't last much longer. There's nowhere to hide on this island. Nowhere.
CAPTAIN WILBON
What happened to your boat? If you weren't shipwrecked it might still be here.
ARNOLD FRAGMAN
A remarkable feat by the island inhabitants. It was anchored out at sea. They went out, pulled up the anchor and brought it to the island. They pulled it up - out of the water! - and left it on the island. It will probably still sail. It might need a little work.
CAPTAIN WILBON
Can we get it to the sea?

ARNOLD FRAGMAN
No. Impossible. Not without a hundred hands to help us.
ESTAN
You've been captive on this island for ten years. In that time, are you really telling us you've figured out no possible way of escaping? Haven't you observed their habits, their movements, the layout of the island?
ARNOLD FRAGMAN
No. They keep us here mostly. We are permitted to walk about the island on occasion - to give us some fresh air and activity.
ESTAN
You never thought about fighting back?
BEATRICE FRAGMAN
With what? We're their prisoners and we will remain their prisoners. Until they either kill us or let us go. I don't know which it will be.
ESTAN
I'd rather die that sit in a cage like this for ten years. You'll be here for the rest of your life if you don't make a move soon.
ARNOLD FRAGMAN
There is no way to escape. Even if we got out of this cage how would we get off the island? It's just impossible and we've accepted that. So, sit back and try to enjoy yourselves. You're not going anywhere.
INT. TUNNEL - DAY
THOMAS STEVENS is making his way through the tunnel. It is lit up by the sparkling gemstones. He marvels at them as he walks. He makes a turn and another turn. He hears voices coming through the tunnel. They are harsh voices that he can't recognize. He freezes and waits. They voices pass and move on.
THOMAS STEVENS
Captain, I wish you were here.
He keeps walking.
EXT. UNDERGROWTH - DAY
CREWMAN #1 and CREWMAN #3, now with a bow and arrow, are treading carefully through the undergrowth.
CREWMAN #1
What now?
CREWMAN #3
We get to the beach and try our luck at sea. We can make a boat.
CREWMAN #1
We can't leave the Captain and Thomas and Estan behind. They might still be alive.
CREWMAN #3
Doubtful. Let's concentrate on saving our own skins. If they're alive, they're on their own.
They see the beach ahead. They head towards it.
EXT. BEACH - DAY
They step onto the beach. They look around. There is nothing. No sign of life, and no boats.
CREWMAN #3
We're dead men. Dead. There's no way off this island.
CREWMAN #1
Don't give up just yet. Look, what other choices do we have? We have to go back to the compound. There might be a boat.
CREWMAN #3
Do you remember the way?
CREWMAN #1 turns around. As he does an arrow skims his head and he hears a thud behind him. He turns to CREWMAN #3 who is standing and wavering on his feet.
CREWMAN #3
I think . . . I think they got me.
An arrow is sticking out of his chest. He stands and wavers and then falls to the sand.
CREWMAN #1 raises his arms in surrender. As he stands with arms raised and looks up the beach, he sees a hundred ISLAND INHABITANTS emerge from their cover. He looks along the lines of inhabitants and knows that his time has come.
CREWMAN #1
Hello. I wanted to tell you, we didn't mean to come to your island. It was nature that did it. The storm blew us off course and we ended up here. All we are are sailors. Sailors. That's it. If we knew what was here, we wouldn't have come. We didn't want to invade your island. There, I've said what I wanted to say.
He closes his eyes to await an arrow. The ISLAND INHABITANTS stand and look at him standing on the beach. When no arrow comes, CREWMAN #1 opens his eyes.
CREWMAN #1
Aren't you going to finish me off like you did the rest of our crew? You've killed us all. I'm the only one left.
This is met with silence. The ISLAND INHABITANTS haven't moved. One steps forward. CREWMAN #1 sees this.
CREWMAN #1
What is your name?
The ISLAND INHABITANT doesn't speak. He stands in front of all the others. He is holding a bow and arrow.
CREWMAN #1
Tell me who you are.
The ISLAND INHABITANTS raises his bow and puts an arrow into it. He raises it and points it at CREWMAN #1. CREWMAN #1 closes his eyes again. The arrow is fired and hits the man. We hear the arrow hit him, but we don't see his death.
EXT. ISLAND BEACH - DAY
From above, we see the circle of one hundred natives standing around the body of CREWMAN #1.
INT. TUNNEL - DAY

THOMAS STEVENS is walking through a tunnel. He sees a room at the end of one of the tunnels and walks towards it.
INT. PALATIAL COMPOUND - DAY

He enters and finds himself in a large room full of sculptures. He quickly crosses this room and into another room. He sees the stairs going up and down. He stands and thinks which way to go. He decides to find the Captain.
THOMAS STEVENS
(quiet call)
Captain! Captain! Are you here! It's Thomas.
There is no reply. He decides to go up the staircase. He climbs it and finds himself on the roof of the compound. He runs to the side and looks out across the island. He sees the green forests and undergrowth and the beach in the distance. He sees the cliff where he and the five CREWMEN had been waiting. He can't see them. He runs back to the stairs and descends them. He finds himself in pitch blackness. He can make out figures on the walls - hanging skeletons. He approaches them and sees they are skeletons.
THOMAS STEVENS
I hope that's not you Captain.
He feels through the darkness and finds a door.

INT. PALATIAL COMPOUND - DAY

THOMAS pushes the door open and is now in a large room where various ISLAND INHABITANTS are sitting eating and drinking. His presence has gone unnoticed. He watches on as a hundred ISLAND INHABITANTS sit at tables. He looks around the whole room to see if there are any prisoners there. He sees none. He closes the door. As he does it closes with a loud thud. There are calls from the ISLAND INHABITANTS in the next room.
THOMAS STEVENS
Oh no.
EXT. PALATIAL COMPOUND - DAY

THOMAS runs out of the compound and is pursued by twenty ISLAND INHABITANTS, who emerge a short time later in pursuit. They fire arrows and carry daggers and knives. The arrows fall all about THOMAS STEVENS. He runs for his life. Then, from nowhere, the CHILD appears.
CHILD
This way.
THOMAS STEVENS follows the running CHILD and they descend into a tunnel.
INT. TUNNELS - DAY

They run through the darkness, taking several turns, before they again emerge into the daylight.
EXT. ISLAND - DAY

They run on further, see they have lost the ISLAND INHABITANTS and stop running. 
THOMAS STEVENS
Thank you for saving my life.
CHILD
It's okay. I don't want to stay anymore.
THOMAS STEVENS
We'll find a way out of this place. What's your name?
CHILD
I don't know. I was left on island when I was child. The island people took me in, but killed everyone. I want to leave.
THOMAS STEVENS
Two of my friends are still inside that big building. Do you know where they would be? I have to find them.
CHILD
They are not in there. They are across the other side of the island, in the prison.
THOMAS STEVENS
Can you show me the way?
CHILD
Yes. But we wait. Until the night come.
EXT. PRISON BUILDING - EVENING
The sun is setting. The prison building is a large wooden structure in the forest. Inside is CAPTAIN WILBON, ESTAN and ARNOLD and BEATRICE FRAGMAN.
EXT. SHORT DISTANCE FROM PRISON BUILDING - EVENING
THOMAS STEVENS and the CHILD are watching from a distance. There are two ISLAND INHABITANTS standing guard outside the prison.
CHILD
They in there.
THOMAS STEVENS
We have to distract the guards to get inside.
CHILD
I can do that. I will make them come after me and you go inside and rescue your friends. Then when they are free I will find you.
INT. PRISON BUILDING - NIGHT

CAPTAIN WILBON, ESTAN and ARNOLD and BEATRICE FRAGMAN are sitting inside the prison building. A GUARD enters and places a plate of fruit and a jug of water outside their cage. They take it and start to eat.
EXT. PRISON BUILDING - NIGHT

The two GUARDS are standing, peering into the darkness. Fire torches are burning around the prison building to give light.
An arrow is fired from the darkness and sticks into the wall next to the head of one of the GUARDS. A second arrow flies past and lands in the wall next to the head of the second GUARD. The GUARDS react, call to each other, and run into the darkness. When they are gone, THOMAS STEVENS runs out of the bushes and into the prison. He is carrying an axe, stolen from the island inhabitants.
INT. PRISON BUILDING - NIGHT

The prisoners see THOMAS STEVENS run in.
CAPTAIN WILBON
Thomas! I knew I could count on you.
THOMAS STEVENS takes out the axe and hands it to CAPTAN WILBON.
THOMAS STEVENS
Cut your way out.
CAPTAIN WILBON takes the axe and starts to hack through the wood.
THOMAS STEVENS
Hurry. The guards will be back soon.
CAPTAIN WILBON hacks through the wood. He cuts through one of the wooden poles and then another that allows the prisoners to squeeze out through the gap.
ARNOLD FRAGMAN
(to CAPTAIN WILBON)
One of your crew?
CAPTAIN WILBON
Yes. Thomas is one of ours.
They run from the prison and outside.
ESTAN
Where now?
THOMAS STEVENS
This way.
THOMAS STEVENS runs into the undergrowth and the others all follow.
EXT. UNDERGROWTH ON ISLAND - NEXT DAY
They are all huddled in the undergrowth. They cannot be seen. The sun is still rising. There is a sound of someone approaching and the CHILD appears. They all put up their guard to defend themselves.
THOMAS STEVENS
No, it's alright. He's helping us.
ESTAN
Who is he?
THOMAS STEVENS
He'll help us off the island. That's all that matters now.
ESTAN
(to CHILD)
Well, your help is most appreciated.
THOMAS STEVENS
Captain, we found a chest. We couldn't open it. There might be something in it besides treasure.

CAPTAIN WILBON
We should wait until night. It'll be harder for them to see us at night.
EXT. AREA NEAR CAVE - EVENING
They are creeping through the undergrowth. The chest is lying where they left it after the attack.
THOMAS STEVENS
One of us has to go get it.
CAPTAIN WILBON
I'll go.
ESTAN
No, Captain. I'll do it.
EXT. AREA NEAR CAVE - NIGHT

ESTAN emerges from the undergrowth. He slowly walks across the open space, expecting arrows to come. He reaches the chest, and starts to pull it across the clearing. An arrow fires and sticks in his leg. He falls to the ground in pain. He stands up, the arrow sticking out of his leg, and continues to pull the chest.
EXT. AREA NEAR CAVE - NIGHT

THOMAS STEVENS
They've seen him. We have to help him.
CAPTAIN WILBON doesn't hesitate. He runs out of the undergrowth, grabs ESTAN and pulls him back to safety, amid several arrows.
ESTAN
Is there anywhere they can't see?
CAPTAIN WILBON
How's the leg? Can you walk?
ESTAN
I think so.
ESTAN pulls out the arrow and stands up, clearly in pain.
THOMAS STEVENS
They're coming as we speak. We've got to move.
ESTAN
No. The chest.
ESTAN runs out into the clearing before anyone can stop him. He grabs the chest and starts to pull it towards the others. They watch on. They try to call him back.
CAPTAIN WILBON
Estan, leave it! Come back!
Arrows are fired at ESTAN but all miss. He safely gets the chest to them, when an arrow suddenly hits his back. He falls forward, and then collapses to the ground.
ESTAN
(about to die)
Take it, and go.
CAPTAIN WILBON and ARNOLD FRAGMAN pick up the chest between them.
ESTAN
Go. Captain, it was a pleasure to sail with you. I only wish we could have gone a little further. This island was just getting interesting.
ESTAN laughs. Then he dies.
CAPTAIN WILBON
There's nothing we can do for him.
THOMAS STEVENS
We should bury him.
CAPTAIN WILBON
There isn't time. They're coming. Those arrows are going to keep coming and coming until they hit their target. We have to leave him here. Come on!
The approaching figures in the undergrowth are getting closer and closer.
They run into the undergrowth to escape the attackers.
EXT. UNDERGROWTH - NIGHT
The group of castaways is running through the undergrowth.
ARNOLD FRAGMAN
Any idea which way we go?
CAPTAIN WILBON
Wherever we're least likely to see more arrows.
They keep hurrying on.
CAPTAIN WILBON
We'll find a safe place to spend the night. Somewhere they won't see us.
THOMAS is running.
CAPTAIN WILBON
Are you alright Thomas?
THOMAS STEVENS
I'm fine. I can run as fast as any man.
EXT. AREA NEAR CAVE - NIGHT
The body of ESTAN is lying in the clearing. From the thick trees and undergrowth, the attackers emerge and surround the body. They say nothing as they look at it. One of them takes ESTAN'S legs and drags him into the undergrowth. The rest of the attackers follow.
EXT. UNDERGROWTH ON ISLAND - LATER
The castaways are trying to smash the lock on the chest to open it.
ARNOLD FRAGMAN
I wonder which part of the island we're on.
CAPTAIN WILBON
The lock should give soon. Get a bigger rock.
ARNOLD FRAGMAN finds a larger rock and hands it to CAPTAIN WILBON. He smashes the lock a few more times and it breaks. They open the chest. In the chest are several guns, knives, and a sheet of paper. CAPTAIN WILBON takes out the sheet of paper and reads it to the group.
CAPTAIN WILBON
'My name is Captain Bobak. Captain of the Listerman. To whoever has the misfortune of finding this chest. First, good luck getting off this island. I hope the inhabitants are more friendly to you than they have been to us. As I write this, most of my crew are already dead. The rest are scattered across the island, running for their lives. The inhabitants we have found are hostile, angry and warlike. They don't abide trespassers. If you have fallen into a predicament like ours, this chest is to help you. It contains several guns and knives. Use them if you can. I don't know how long I have before the natives find my hiding place. It could be any minute. I don't know any way to get off this island. My ship should still be anchored in the harbour, unless a storm has destroyed it. If you find it, you may take whatever is there. You'll find there are some substantial riches on board. Again, I say good luck to you. I can hear approaching footsteps . . . I hope that is only . . .'
CAPTAIN WILBON stops reading the letter.
CAPTAIN WILBON
That's it. There's no more.
ARNOLD FRAGMAN
That note was written by Captain Bobak, Captain of the Listerman.  Captain Bobak is the one that picked us up from the water. Without him, we wouldn't be alive. He may have been a pirate, but there was some kindness in him. And his ship did carry some riches. Most of it was plundered, of course.
CAPTAIN WILBON
Now we have weapons. Everyone take a gun.
They all reach into the chest and take out a gun.
CAPTAIN WILBON
And take a knife too.
CAPTAIN WILBON takes some of the knives from the chest and hands a knife to each person.
CAPTAIN WILBON
Now we find the boat.
(to the CHILD)
Can you take us to the boat?
CHILD
Yes.
EXT. AREA WHERE BOAT IS - NIGHT

They arrive at the boat. It is a large vessel and looks strange sitting on dry land.
The BOAT is sitting on the top of a hill that runs straight down to the water.
ARNOLD FRAGMAN
That's the ship! I still don't know how they got that thing all the way from the sea to here.
CAPTAIN WILBON
Spread out. Go around to the boat and check if there is anything inside.
They spread out and climb up onto the boat.
INT. BOAT - NIGHT

They search the boat. Each member of the group looks around the boat. THOMAS sees a container piled high with gold coins. They all find lots of riches on board - coins and objects of value.
THOMAS STEVENS
This is all Captain Bobak's loot.
BEATRICE FRAGMAN
There's so much of it. If . . . If we do find a way off this island, do you suppose we could take just some of this . . . not all . . . Just some. Would Captain Bobak mind?
THOMAS STEVENS
He said what we find is ours.
BEATRICE FRAGMAN
But it somehow seems disrespectful.
CAPTAIN WILBON
We'll take what we can carry. We'll spend the night on the ship. We keep watch and if anyone comes we hold them off. Everyone find a bunk.
They all find a place to sleep on the ship. They each lie down and try to sleep.
INT. BOAT - NIGHT
CAPTAIN WILBON and ARNOLD FRAGMAN take first guard. They sit on the deck of the vessel.
ARNOLD FRAGMAN
You know it. I know it. There is no way off this island.
CAPTAIN WILBON
Yes there is. We haven't found it yet, but we will.
ARNOLD FRAGMAN
We have a boat but would you believe it - it's stuck on land.
CAPTAIN WILBON
So we can't sail from here. Maybe a boat will come.
ARNOLD FRAGMAN
You don't really believe that, do you?
CAPTAIN WILBON
I can hope one does. Miracles have happened before.
ARNOLD FRAGMAN
No one in the world knows about this island. No one. We're castaways. We're stuck on this island and there is no way off. Sooner or later they'll find us.
CAPTAIN WILBON
Castaways have found ways to escape their island prisons before. We will too.
ARNOLD FRAGMAN
We'll end up skeletons hanging from one of their walls. The next unfortunate castaways to be marooned on the island will find our skeletons and then they'll join us. This island was destined to never be found. Because, anyone who comes here never survives. It's one pirate crew after another.
CAPTAIN WILBON
I don't plan on dying here. And neither does Thomas.
ARNOLD FRAGMAN
Maybe I shouldn't have even bothered escaping from the prison. I stand more chance of living a long life there than I do out here.
CAPTAIN WILBON
Perhaps you should get some sleep. I'll keep watch.
ARNOLD FRAGMAN
Maybe I should. Good night.
ARNOLD FRAGMAN stands. He finds a bunk and lies down to sleep. CAPTAIN WILBON sits on deck, the gun in his hands.
EXT. BOAT - NIGHT

Later that night. CAPTAIN WILBON is standing on the boat deck looking out into the island undergrowth. There is flash of lightning and a clap of thunder. He looks to the dark stormy sky.
EXT. UNDERGROWTH - NIGHT

The ISLAND INHABITANTS are approaching the boat from all sides. They are spread out through the undergrowth.
INT. BOAT - EARLY MORNING
The ISLAND INHABITANTS creep through the undergrowth towards the boat. The CAPTAIN hears a noise and quickly wakes up the others. He looks out from the ship and then turns to the others.
CAPTAIN WILBON
I can hear them. Everyone get your gun.
ARNOLD FRAGMAN
What time is it?
CAPTAIN WILBON
It's morning. Quickly.
They all pick up their guns and take up positions around the boat. ARNOLD FRAGMAN looks up at the dark stormy sky.
MAN
(quiet whisper)
There's a storm coming. It'll hit any second.
There is another flash of lightning and more thunder. Rain starts to fall.
The ISLAND INHABITANTS creep closer to the boat.
CAPTAIN WILBON
(to ALL)
When I say fire, fire. Keep firing. They'll back away when they see we have guns. They don't know we're armed.
They all wait for the ISLAND INHABITANTS to get close enough. They emerge from the undergrowth and are visible to all on the boat.
CAPTAIN WILBON
Now.
They all fire their guns. They fire from all directions. Some of the ISLAND INHABITANTS are hit. The ISLAND INHABITANTS see the guns, try to continue the attack, but are too afraid of the guns, and retreat.
CAPTAIN WILBON
Stop.
They cease firing. The rain is falling more heavily. They all stand, their guns still smoking, and look into the dark undergrowth around them.
CAPTAIN WILBON
I think that scared them off. But they'll be back.
ARNOLD FRAGMAN
With twice the number.
The rain starts to bucket down. Water is cascading down the hill.
CAPTAIN WILBON
We can't hold them off for long.
ARNOLD FRAGMAN
We haven't enough bullets. We ought to prepare ourselves, you know, for when they get us.
The rain is pelting down. The boat shifts slightly. They all feel it.
BEATRICE FRAGMAN
What was that?
ARNOLD FRAGMAN
The boat moved. It's the rain. It's moving the boat.
THOMAS STEVENS
Look.
They all look and see a river flowing down from the boat to the sea. The pelting rain has caused a river of water to cascade down the hill out to the sea. The boat shifts again.
CAPTAIN WILBON
(to ARNOLD FRAGMAN)
You asked for a way off. I think you just found it.
ARNOLD FRAGMAN
This boat cannot make it down that hill and to the sea. Even if it does, it'll get stuck.
CAPTAIN WILBON
Maybe. Maybe it will make it.
The boat shifts again. It starts to slide down the hill. It then picks up speed. They all grab for something to hold. The boat slides all the way down the hill and into deep water. It floats.
ARNOLD FRAGMAN
I don't believe it.
CAPTAIN WILBON
We don't want to hang around. Let's put up the sails and get moving.
They all get to work. The boat drifts out into the sea. They raise the sails. The boat starts to move well. They all look back at the island, which is getting smaller and smaller in the distance. They see the ISLAND INHABITANTS standing on the shoreline, watching them leave.
EXT. SEA - DAY
Several days later.
The boat crew is navigating its way back to their country. They are all recovered and are well. They are standing or sitting on the deck, talking.
ARNOLD FRAGMAN
What do we say when we get back? Do we tell them the truth? What we saw, what we experienced?
CAPTAIN WILBON
It'll be a good pirate's tale. It might be believed.
ARNOLD FRAGMAN
I guess you're right. No one will believe it. It'll be just another story about Pirate Island.
THOMAS STEVENS
I'm not so sure. I think we just tell the truth. No lies, no made up stories. People will want to know where we've been. Our families, our friends. I'm going to tell it exactly as it happened.
BEATRICE FRAGMAN
It's been ten years for us. We haven't seen our families or our friends for a long time. They might not know us anymore.
CAPTAIN WILBON
We shouldn't reveal the location of the island. Or who was on it. We let them live in peace. If that was Pirate Island we leave it a mystery. No more intruders into their world. How does that sound?
They all agree.
OTHERS
Yes. I agree. Fine with me.
ARNOLD FRAGMAN
Then where do we say we've been?
CAPTAIN WILBON
Anywhere. It doesn't matter. Make something up.
The CHILD they rescued form the island is sitting in the corner of the ship. They all turn to look at him.
ARNOLD FRAGMAN
What will become of him? He saved us really.
THOMAS STEVENS
We don't know where he lived before the island. We don't know where his family is, if he has a family.
CAPTAIN WILBON
I'll take him. He can be one of my crew. If he wants.
THOMAS walks over to the CHILD. The CHILD looks up.
THOMAS STEVENS
Captain Wilbon is going to look after you now. Do you want to live with the Captain?
The CHILD nods quietly.
THOMAS STEVENS
You're free from the island now. You never have to go back there, and you don't have to think about it anymore.
CHILD
I can't remember before the island. The people on the island are all I know.
THOMAS STEVENS
You're free from them now. From now on you will sail with Captain Wilbon. He needs your help. Okay?
CHILD
Yes.
EXT. BOAT DOCKS - DAY
The BOAT sails into the docks and moors. The crew are all standing on the deck, watching the ship approach the docks.
EXT. BOAT DOCK - DAY
The boat is docked. The crew all climb off the boat, one by one.
A MAN who happens to be standing on the docks recognizes the boat. He runs over, with a smile on his face, and greets the crew as they climb down onto the docks.
MAN ON DOCKS
Hey! Hey! I wouldn't have thought it possible! You're back. Where's Captain Bobak?
CAPTAIN WILBON
I'm Captain Wilbon. What can I do for you?
MAN ON DOCKS
Where's Captain Bobak? This is his boat. I'd recognize it anywhere. He's been gone ten years. I thought he was dead.
CAPTAIN WILBON
He is. If you want this boat, it's yours. We'll take off our belongings first.
MAN ON DOCKS
He's dead? I saw the boat and thought it was him. How did you come across this boat? Wait, did you take it by force?
CAPTAIN WILBON
No, we found it. I'm sorry for your Captain. I don't know what happened to him.
EXT. DOCKS - DAY
CAPTAIN WILBON and THOMAS STEVENS are walking along the docks.
CAPTAIN WILBON
We made it back after all. For a while, I thought it was all over.
THOMAS STEVENS
What will you do now?
CAPTAIN WILBON
Find a new ship, and find a new adventure. You're welcome to come aboard as part of my crew.
THOMAS STEVENS
I've had enough of the sea for a while. Visiting Pirate Island was enough for me. I'll keep my feet on land for the moment. But thank you. And good luck.
CAPTAIN WILBON
You too Thomas. It was a pleasure sailing with you. And thank-you for rescuing us. Without your help, we wouldn't have made it out of that island prison.
THOMAS STEVENS
Captain, do you think that really was Pirate Island?
CAPTAIN WILBON
My guess is it was. Maybe anyone who has ever set foot on that island never made it off. Like Captain Bobak and his crew. Hence, no one ever really knows about it.
THOMAS STEVENS
Goodbye Captain.
CAPTAIN WILBON
Goodbye Thomas. Maybe we'll see each other again.
THOMAS walks away. He turns as he walks and waves to CAPTAIN WILBON, who is watching him leave. CAPTAIN WILBON waves back.
EXT. THOMAS STEVEN'S FARM - DAY
THOMAS STEVENS is running along the track to his farm. He sees his parents working in the fields. They see him running towards them in the distance.
THOMAS'S FATHER
Thomas! You're home!
THOMAS STEVENS waves as he runs.
THOMAS STEVENS
I've got a story to tell you. And I've brought you something.
THOMAS STEVENS stops running. He walks up to the farm.
THOMAS'S FATHER
How was your first adventure at sea?
THOMAS STEVENS
I got this.
THOMAS STEVENS holds out his hand and in it is a collection of priceless coins.
THOMAS STEVENS
And this.
He reaches into his pocket and holds out one of the precious gemstones that were found in abundance on the island.
THOMAS STEVENS
Have you ever seen a stone like this before?
THOMAS' MOTHER
Thomas, where did you get those coins? And that gem looks exquisite!
THOMAS STEVENS
I'll tell you all about it. I don't think we're ever going to be poor again. With this we can buy a new farm and new equipment for the farm. Let's get a farm next to a big flowing river, one with lots of fish . . .
EXT. THOMAS STEVEN'S FARM - DAY
A shot of the family walking back to the farmhouse, talking, smiling and happy.
EXT. THOMAS STEVEN'S FARM - DAY
SUPERIMPOSE: SIX MONTHS LATER
THOMAS and his family have a new farm. It is flourishing and healthy. There are massive numbers of crops that are growing well. The new farmhouse is large and well furnished.
THOMAS' FATHER stands with a FRIEND, who is also a FARMER.
FARMER FRIEND
How did you do it, Mr. Stevens?
THOMAS' FATHER
Well, actually, it was Thomas. It's all thanks to him.
FARMER FRIEND
Your boy? How?
THOMAS' FATHER
That's a secret.
FARMER FRIEND
Come on, you can tell me. We've been friends for twenty years!
THOMAS' FATHER
Well, he found something. I can't tell you what. We took it to a jewelers to have it valued and the jeweller fainted at the sight of it.
FARMER FRIEND
What? Gold?
THOMAS' FATHER
No. The jeweller who looked at it said . . .
CUT TO:
INT. JEWELERS - DAY
THOMAS and his parents and two brothers stand in front of the JEWELER. The precious gem from Pirate Island is on the counter. The jeweler is inspecting it carefully. He looks at it from all angles, trying to place its origin in his mind. He is about to speak, decides against it, and looks again at the gem. THOMAS and his family wait while the JEWELER inspects the gem. He finally puts down his magnifying glass.
JEWELER
My apologies for falling over like that. This gem, well, it took me by surprise. I've never seen anything like it before.
THOMAS STEVENS
Is it worth something then?
JEWELER
If I wanted, I could tell you a lie and take it off your hands quite cheaply. And then, I'd be a wealthy man forever. But I won't lie. Yes, it's priceless. If you wish to sell it I'm sure you'll get an extraordinary price for it. If you don't mind me asking, where did you find it? It's a bigger discovery than finding the world's biggest gold mine.
THOMAS STEVENS
Would it buy us a new farm?
JEWELER
It would buy you ten farms. A hundred even.
THOMAS STEVENS
Then we'll sell it.
(to his parents)
What do you think we should do?
THOMAS' FATHER
It's your gem Thomas. You do with it what you like.
EXT. THOMAS STEVEN'S FARM - DAY
THOMAS' FATHER
So we sold it. And we bought this.
FARMER FRIEND
You wouldn't tell me where you found it, would you?
THOMAS' FATHER
No. That part is a secret.
FARMER FRIEND
Well, I'm glad that things are on the up for you, Mr. Stevens.
Goodbye. See you soon.
The FARMER FRIEND walks away, across a field. THOMAS'S FATHER looks across the field to the next field. THOMAS is there, tending to a herd of cattle and a flock of sheep. THOMAS' FATHER walks across the field towards the happy THOMAS, who is talking to and playing with the animals.
THE END

Anthony Kirkwood, February 2007
This script is registered with the Writers Guild of America, west.

hen slowly walks away.
THE END

ANTHONY KIRKWOOD, OCTOBER 2008
These scripts are registered with the Writers Guild of America, West.