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<title>WHITECHRISTMAS</title>
                                    "WHITE CHRISTMAS"                                            by                      Melvin Frank, Norman Krasna and NormanPanama                               FULL SHOT - REAR AREA - (DAY) - (GLASS)               This is December 24, 1944, in the first safe area directly                behind the battle line, in the Italiantheatre.               In the distance occasional artillery light flashes are seen                and artillery rumbles are heard.  The battered terrain shows                the effects of battle.               In the foreground is arecreation area, covered with                camouflage; entertainment is in progress on a raised stage.                 Men of the division are seated about on benches, boxes, and                the ground.  A camouflaged motorpool of jeeps and tanks is                nearby.               MED. SHOT - NEAR RECREATION AREA               We can HEAR LAUGHTER and APPLAUSE from the men as a jeep                with two stars on the frontindicating it is the General's                car jounces along a road toward the side of the recreation                area.  A YOUNG SERGEANT is at the wheel, an ADJUTANT beside                him, and in the rear are GENERALWAVERLY and GENERAL CARLTON.               JEEP - MED. CLOSE               As it jounces along.  General Waverly is weather-beaten and                weary; his uniform, while neat, shows the effects oflong                wear.  General Carlton, on the other hand, is stiff, clean                and fresh from the Pentagon.               He is staring off at the recreation area.                                     GENERALCARLTON                              (To Adjutant)                         What's this all about, Colonel?                                     ADJUTANT                              (Turning)                         A little entertainment forthe men,                          sir.  Tonight's Christmas Eve.                                     GENERAL CARLTON                         These men are moving up tonight.                           They should be lined up forfull                          inspection!               The jeep has come to a halt.                                     GENERAL WAVERLY                              (Eyeing him)                         You're absolutelyright.                              (To Adjutant)                         There's no Christmas in the Army,                          Colonel.                                     ADJUTANT                         Yes, sir.               Waverly and theAdjutant alight from the jeep.                                     GENERAL WAVERLY                              (To Carlton)                         There's always a slip-up or two during                          a change incommand.  The men get a                          little loose.  But I know I'm leaving                          them in good hands.                                     GENERALCARLTON                              (Stiffly)                         Thank you.                              (To Driver)                         Sergeant, take me to headquarters                          immediately!  We'll have thosemen                          turned out on the double!               The Sergeant looks at General Waverly.                                     GENERAL WAVERLY                         Goodbye, Sergeant.  Take theshort                          cut.                                     SERGEANT                         Yes, sir!               The jeep pulls off and makes a half circle. The Adjutant                makes a gesture, as if to stop it. TheGeneral stops him.               TWO SHOT - GENERAL WAVERLY AND ADJUTANT               The Adjutant turns to him.                                     ADJUTANT                         That's not the way toheadquarters!                                     GENERAL WAVERLY                         Joe, you know that, and I know that,                          but the new General doesn't know it.                         Or he won't for aboutan hour and a                          half.                                     ADJUTANT                         That Sergeant'll be a private                          tomorrow!                                     GENERALWAVERLY                         Yes... isn't he lucky?               He takes the Adjutant by the arm and leads him toward the                recreation area.               RAISED PLATFORM - MED.SHOT               CAPTAIN BOB WALLACE (BING CROSBY) is wearing a makeshift                beard and Santa Claus hat and PRIVATE PHILIP DAVIS (DONALD                O'CONNOR) is in combat clothes.  They aredoing a number to                entertain the soldiers, WHAT DOES A SOLDIER WANT FOR                CHRISTMAS?  During introduction, we                                                                    CUTTO:               5A.               TWO SHOT - GENERAL AND ADJUTANT               just starting to take seats, off to one side where they are                not noticed by theperformers.               5B.               GROUP SHOT - ABOUT 6 SOLDIERS               seated in audience.  They look off, see General, start to                rise.               5C.               TWOSHOT - GENERAL AND ADJUTANT               The General notices them - motions for them to sit down again,                indicating he doesn't want attention called tohimself.               5D.               PLATFORM - FULL SHOT               The number concludes to applause.  Bob holds up his hand for                silence.  He removes hisbeard.                                     BOB                         Thanks, fellows.  I guess by now you                          know the Old Man's being replaced by                          a new Commanding General freshout                          of the Pentagon... this divisions's                          been awfully lucky so far, but tonight                          they're running a special on St.                          Christophers at the PX... TheOld                          Man's heading back to the rear -                          he's never moved in that direction                          in his life.  All I can say is, we                          owe so much to General Waverlyand                          the way --                                     WAVERLY'S VOICE                              (A bellow)                         ATTENTION!               Automatically, Bob stiffens.  Phil does thesame.               AUDIENCE - FULL SHOT               Every man is at attention and every head has turned to where                General Waverly has taken up a position near the front of                theplatform.                                     GENERAL WAVERLY                         Captain Wallace, button your shirt.                         You're out of uniform!                              (Bob, grinning,hastily                               buttons his shirt)                         This division is now under the command                          of General Harold G. Carlton, and I                          don't want anyone to forget it--                          not that he'll let you.  He's tough --                          just what this sloppy outfit needs.                           You'll be standing inspection night                          and day -- you may even learn howto                          march.  And if you don't give him                          everything you got, I may come back                          and fight for the enemy.  Merry                          Christmas!               The boys respondwith "Merry Christmas".                                     GENERAL WAVERLY                              (Embarrassed)                         Well -- I guess that's about it - uh -                          uh --               Bob, covering hisembarrassment:                                     BOB                         Perhaps I can help you out, sir.               He turns to the musicians, gives the downbeat.  They play                THE OLD MAN, which is sung bythe entire outfit.               The General stands at attention through the first chorus,                visibly moved.  During the second chorus he starts up the                aisle, revealing for the first time that his left legis                bandaged to the knee. The Adjutant puts out his arm to help.                 Waverly refuses. Toward the finish of the song, he turns,                faces the men and salutes them.  The men return thesalute.                 (This is not a military mistake, the General salutes the                enlisted men as a deliberate gesture.)  There is a Red Cross                ambulance standingby.                                                               DISSOLVE TO:               CLOSE SHOT - (NIGHT) - TINY CANDLE               THE CAMERA PULLS BACK to reveal a hand lighting a candle on                atiny makeshift Christmas tree.  We reveal a number of                enlisted men huddled around the tree in a trench, including                Bob and Phil.  One of the men looks at his wristwatch.  Now                anotherdoes.               CLOSE SHOT - WRISTWATCH               The hand is approaching midnight.               CLOSE SHOT - SOLDIER               He is looking at his wristwatch.               CLOSE SHOT -WRISTWATCH               The second hand is pointing to the hour.               FULL SHOT OF SCENE               This is the prearranged signal for Bob to begin singing WHITE                CHRISTMAS.  Philaccompanies him on a harmonica.  Toward the                end of the song, an enemy barrage DROWNS out the music.  A                shell BURSTS in the vicinity.               CLOSE SHOT - BOB ANDPHIL               Phil pulls Bob down in time to save him from the shrapnel                burst.  This has also pushed Bob's face into the mud, which                he thinks is unnecessary.  Phil, ignoring Bob's hostilelook,                brightly continues with WHITE CHRISTMAS from where the song                left off.  Bob finishes with him, but eyeing him.                                                               DISSOLVETO:               EXT. SKY - (NIGHT)               CAMERA SHOOTING UP to the sky as brilliant fireworks explosion                lights up the screen.  Over sceneSUPERIMPOSE:               12-A.               INSERT - NEWSPAPER               Headline reads: "V-E DAY!"               As CAMERA MOVES FAST INTO headline, we LOSE the fireworks                display andthe headline covers the whole screen.                                                               DISSOLVE TO:               12-B.               INSERT - CHURCH TOWERS - (DAY)               Bells are ringing forcelebration of V-E Day.  CAMERA MOVES                INTO mouth of one bell, blacking out the screen.                                                               DISSOLVE TO:               EXT. BILL POSTER OF FLORIDASHOW - (NIGHT)               featuring names and pictures of Bob and Phil.  CAMERA MOVES                to a CLOSE SHOT of the picture, HOLDS for a second, then                suddenly the picture comes to life and weare on the stage                of the theatre where Bob and Phil are doing the production                number "BELLS".               MED. SHOT - INT. THEATRE - AUDIENCE               Perhaps twenty people,


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<title>the Ghost and theDarkness - by William Goldman</title>
"THE GHOST AND THE DARKNESS"byWilliam GoldmanFADE IN ONA TINY FIGURE OF A MAN hurrying toward camera. The figure gets larger ashe approaches. But as yet we cannot tell who he is or where we are. MALE VOICE (over) This is the most famous true story of Africa. It happened a hundred years ago, but even now, when children ask about it, you donot tell them at night. (The FIGURE continues to grow) It began with the race to build a railroad across Africa. (beat) But this is not about building a railroad- it is about Patterson.And now we can tell that the FIGURE isa YOUNG MAN, A LIEUTENANT COLONEL. This is PATTERSON. He is gifted and bright and serious, serious about his life, serious about his career. He has been successful in everything he's attempted, in part because ofhis talents, in part because he is willing to outwork anybody.AND THIS IS WHERE WE ARE: ENGLAND.More specifically, in a high-ceilinged corridor of an elegant building - lovely woodwork all around.Everything is neat, everything is clean and in order. MALE VOICE (over) Patterson was thirty. A brilliant engineer. A fine man, but do not become attached to him- there are many fine men in this story but do notbecome attached to any of them. (beat) So many of them die.Patterson stops at a large ornate door, knocks. Waits. MALE VOICE (over) And remember this: only the impossible parts of what follows really happened...(Now the door opens and we-)CUT TOJust a wonderfully handsome man standing in the doorway. This is ROBERT BEAUMONT - 40, with an irresistable smile. We're in his office and the place reflects the man -clean, cold. There are maps and charts on the walls. He ushers Patterson inside. BEAUMONT (The great smile flashes) John Henry Patterson, come in. I'm Robert Beaumont. (They shake hands) Firm- I likethat, tells me a lot about you- (beat) -now why don't you tell me about me? To get you started, many people find me handsome, with a wonderful smile. I'm sure you agree. (Surprised, uncomfortable, Patterson nods)Winning personality, heaps of charm? PATTERSON My wife is the game player in the family, sir. BEAUMONT Games? (staring dead at Patterson) Look at me closely, Patterson: I am a monster. Myonly pleasure is tormenting people who work for me, such as yourself. (again the smile - only now it's chilling) One mistake and I promise you this: I'll make you hate me.CUT TOPATTERSON, as he realizesBeaumont is serious. Beaumont turns sharply and moves to a large map.CUT TOTHE MAP. It covers a great deal of East Africa with a very clear line that ends at Lake Victoria, a distance of some 600miles. BEAUMONT (pointing along the line) We are building this railroad across Africa for the glorious purpose of saving Africa from the Africans. And, of course, to end slavery. The Germans and French are ourcompetition. We are ahead, and we will stay ahead providing you do what I hired you to do-CUT TOA MORE DETAILED MAP. This one ends at "Tsavo," 130 miles in. BEAUMONT -build the bridge overthe Tsavo river. And be finished in four months time. Can you do that? PATTERSON I'm sure you've examined my record. So you know I've never yet been late on a bridge. BEAUMONT You've neverbuilt in Africa. PATTERSON But I have in India- every country presents problems. BEAUMONT You'll need your confidence, I promise you. PATTERSON I've got a reason far beyondconfidence: my wife is having our firstborn in five months and I promised I'd be with her when the baby comes. BEAUMONT Very moving, Patterson; I'm touched you confided in me. (beat) But I don't reallygive a shit about your upcoming litter. I've made you with this assignment- (the smile) -don't make me break you. PATTERSON (smiling right back) You won't have the chance. (glancing at his watch) Anyfurther words of encouragement? (silence) Then I've a train to catch.They look at each other a moment in silence - and it's very clear they do not like each other. Patterson turns, leaves and weCUT TOARAILWAY STATION, IMMEDIATELY AFTERA train is loading up. A lot of activity, a lot of noise. Patterson stands in the midst of it, anxiously looking around.CUT TOHELENA PATTERSON, hurrying throughthe crowd. Early 20s, with the kind of serene beauty of Jean Simmons. She is still slim, has not begun to show. She spots him, puts a smile on, goes straight into his arms. HELENA I tried to be late, John- itwould have been easier if you'd gone. PATTERSON (They are nutty about each other - he nods) We're not much good at goodbyes, Helena. HELENA (brightly) Tell me about Beaumont- does heunderstand how brilliant you are, how lucky he is to have you? PATTERSON It was embarrassing- the man showered me with compliments.They start to walk hand in hand along the platform toward a quieterplace. Patterson is suddenly very serious- HELENA Oh dear- (beat) -you're geting that downtrodden look again- PATTERSON -well, it's just... (beat) ...other men don't abandon their wives at such atime- HELENA (not unkindly) -oh please- if I'd been against your taking this, you would have abandoned me. You've been desperate to see Africa your whole life. PATTERSON What if there arecomplications?- HELENA -not "what if"- there will be, there always are. Which only means that our "son" and I- note my confidence- will have an excuse to come visit.THE TRAIN WHISTLE sounds.HELENA Go, now. (He kisses her hand) Such a gentleman. (Now he holds her) PATTERSON I am desperate to see Africa- but I hate the leaving.CUT TOHELENA. She hates it, too.HELENA You build bridges, John- (beat) -you've got to go where the rivers are.They hold each other a moment more, then break, then back into each other's arms a final time, then-CUT TOTHE TRAIN,and thick clouds of steam--Patterson runs into the clouds and disappears.HOLD FOR A MOMENT.KEEP HOLDING.Patterson runs out of the steam and wePULL BACK TO REVEALADIFFERENT TRAIN, A DIFFERENT COUNTRY, A DIFFERENT WORLD.This is the train to TSAVO and Patterson is alone on the engine seat- a wooden bench in front of the engine used by railroad inspectors andvisiting VIPs. Behind it is a white circular piece of wood used to keep the engine heat from the passengers.CUT TONIGEL STARLING, running as best as he can alongside the train, trying to pull himself up ontothe engine seat.STARLING is a terribly appealing young man. Clothes do not fit him well, and he is constantly tugging at this sleeve or that shirttail, trying to get things right. He wears glasses, tends nonetheless tosquint at the world. He is, above all, a good man, morally impeccable and very much a product of these Victorian times. STARLING (as Patterson helps him aboard) Many thanks. (squints) You're Patterson,yes? (Patterson nods) Nigel Starling- I'll be assisting you at Tsavo- but surely Beaumont must have told you that. PATTERSON He just gave me his "monster" speech. STARLING That. I know Robertseems dreadful, but when you truly get to know the man, well, he's much worse. (beat) And I'm one of his defenders. (Patterson smiles) Forget him for now- it's your first ride to Tsavo- I think you'll find it breathtaking.(And on that word-)CUT TOSTARLING coughing like crazy, hands over his face which is caked with dust- he and Patterson stare out at an absolutely dreary desert. PATTERSON (shouting towardStarling) "Breathtaking" doesn't begin to do it justice. (As Starling starts to laugh, his mouth opens and sand flies in, and his coughing fit returns and)CUT TOTHE DESERT. ENDLESS. LATER IN THEDAY.CUT TOTHE TWO OF THEM, bent over, arms covering their faces as the dust gets worse- a wind has kicked up.CUT TOTHE TRAIN, TRYING TO MAKE IT UP A STEEP GRADE. STILLLATER.Patterson and Starling are walking beside the train now, helping to push it, trudging through the dust. All the other passengers spread out behind them, also pushing- the train obviously needs all theassistance it can get.CUT TOINSIDE A RAILROAD CAR, EARLY EVENING.Patterson and Starling, filthy, sit together. Starling has nodded off. Patterson has a book open in his lap--we can tell there aredrawings of African animals- not all that accurate.Now Patterson's eyes close and he sleeps.CUT TOTHE TRAIN POUNDING THROUGH THE NIGHT.Stokers shovel coal. They are exhausted but theykeep at it.CUT TOPATTERSON. WAKING IN THE CAR, RUBBING HIS EYES. IT'S DAWN.He stares out--and from his face it's clear something special has happened. And now, at last-CUTTOSOMETHING SPECIAL- and what it is, of course, is Patterson's first view of the Africa of his imagination.Because the desert has ended, and now there are grasses and trees and one more thing--bursts ofanimals. On both sides of the train.A flock of birds materializes here, a cluster of gazelles doing there amazing leap there.Patterson is like a kid in a candy store.CUT TOPATTERSON AND STARLING, backoutside in the engine seat again. Starling points- STARLING Aren't they amazing?CUT TOWHAT HE'S POINTING AT: Some giraffes running along, their absurd shape suddenly graceful as they eat upthe ground in incredibly long strides.CUT TOPATTERSON AND STARLING, staring out. PATTERSON You know the most amazing thing about them?- they only sleep five minutes a day. (Starlingglances at him- clearly, he didn't know that)CUT TOA FAMILY OF HYENAS. Close by, loping in their scary way. STARLING Don't much like them. PATTERSON (nods) The females are bigger-only animal here like that- have to be or they wouldn't survive because the males eat the young.CUT TOSTARLING studying Patterson. Clearly, he didn't know that, either.CUT TOSOME HIPPOSmoving along. Starling turns to Patterson. STARLING Anything special about them? PATTERSON Just that they fart through their mouths. (beat) Must make kissing something of a gamble.STARLING (laughs) I've lived in Africa a year and I don't know what you know. How long have you been here? PATTERSON (looks at his watch) Almost three hours. (beat) But I've been getting ready allmy life. (Now, from them-)CUT TOA BUNCH OF IMPOVERISHED-LOOKING NATIVE WOMEN. They hold children who wave at the passing train. The children are more impoverished looking than theirmothers. STARLING (suddenly touched) Every time I see something like that, I know we're right to be here- to bring Christianity into their lives, enrich their souls. PATTERSON Beaumont says it's to


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<title>Misery - by William Goldman</title>
                                         "MISERY"                                            by                                     William Goldman                                  Based on the Novelby                                       Stephen King                               FADE IN ON:               A SINGLE CIGARETTE. A MATCH. A HOTEL ICE BUCKET that holds a                bottle of champagne. Thecigarette is unlit. The match is of                the kitchen variety. The champagne, unopened, is Dom Perignon.                There is only one sound at first: a strong WIND--               --now another sound, sharper--asudden burst of TYPING as we               PULL BACK TO REVEAL               PAUL SHELDON typing at a table in his hotel suite. It's really                a cabin that's part of a lodge. Not an ornate place.Western                themed.               He is framed by a window looking out at some gorgeous                mountains. It's afternoon. The sky is grey. Snow is scattered                along the ground. We're out westsomewhere. The WIND grows                stronger--there could be a storm.               PAUL pays no attention to what's going on outside as he                continues to type.               He's the hero of what follows.Forty-two, he's got a good                face, one with a certain mileage to it. We are not, in other                words, looking at a virgin. He's been a novelist for eighteen                years and for half that time, the mostrecent half, a                remarkably successful one.               He pauses for a moment, intently, as if trying to stare a                hole in the paper. Now his fingers fly, and there's another                burst of TYPING. Hestudies what he's written, then--                                                                    CUT TO:               THE PAPER, as he rolls it out of the machine, puts it on the                table, prints, in almost childlike letters,these words:                                         THE END                                                                    CUT TO:               A PILE OF MANUSCRIPT at the rear of the table. He puts this                last pageon, gets it straight and in order, hoists it up,                folds it to his chest, the entire manuscript--hundreds of                pages.                                                                    CUT TO:               PAUL, as heholds his book to him. He is, just for a brief                moment, moved.                                                                    CUT TO:               A SUITCASE across the room. PAUL goes to it, opens itand                pulls something out from inside: a battered red leather                briefcase. Now he takes his manuscript, carefully opens the                briefcase, gently puts the manuscript inside. He closesit,                and the way he handles it, he might almost be handling a                child. Now he crosses over, opens the champagne, pours himself                a single glass, lights the one cigarette with the lonematch--               there is a distinct feeling of ritual about this. He inhales                deeply, makes a toasting gesture, then drinks, smokes, smiles.               HOLD BRIEFLY,then--                                                                    CUT TO:               LODGE - DAY               PAUL--exiting his cabin. He stops, makes a snowball, throws                it, hitting asign.                                     PAUL                         Still got it.               He throws a suitcase into the trunk of his '65 MUSTANG and,                holding his leather case, he hops into the car anddrives                away.                                                                    CUT TO:               A SIGN that reads "Silver Creek Lodge." Behind the sign is                the hotel itself--old, desolate. Now the '65Mustang comes                out of the garage, guns ahead toward the sign. As "Shotgun"                by Jr. Walker and the Allstars starts, he heads off intothe                mountains.                                                                    CUT TO:               THE SKY. Gun-metal grey. The clouds seem pregnant withsnow.                                                                    CUT TO:               PAUL, driving the Mustang, the battered briefcase on the                seat besidehim.                                                                    CUT TO:               THE ROAD AHEAD. Little dainty flakes of snow are suddenly                visible.                                                                    CUTTO:               THE CAR, going into a curve and                                                                    CUT TO:               PAUL, driving, and as he comes out of the curve, a stunned                look hits his face aswe                                                                    CUT TO:               THE ROAD AHEAD--and here it comes--a mountain storm; it's as                if the top has been pulled off the sky and with nowarning                whatsoever, we're into a blizzard and                                                                    CUT TO:               THE MUSTANG, slowing, driving deeper into themountains.                                                                    CUT TO:               PAUL, squinting ahead, windshield wipers on now.                                                                    CUT TO:               THEMUSTANG, rounding another curve, losing traction--                                                                    CUT TO:               PAUL, a skilled driver, bringing the car easily undercontrol.                                                                    CUT TO:               THE ROAD               Snow is piling up.                                                                    CUT TO:               PAULdriving confidently, carefully. Now he reaches out,                ejects the tape, expertly turns it over, pushes it in and,                as the MUSIC continues, he hums along withit.                                                                    CUT TO:               THE SKY. Only you can't see it.               There's nothing to see  but the unending snow, nothing to                hear but the wind whichkeeps getting wilder.                                                                    CUT TO:               THE ROAD. Inches of snow on the ground now. This is desolate                anddangerous.                                                                    CUT TO:               PAUL, driving.                                                                    CUT TO:               THE SNOW.Worse.                                                                    CUT TO:               THE ROAD, curving sharply, drop ping. A sign reads: "Curved                Road, Next 13Miles."                                                                    CUT TO:               THE MUSTANG, coming into view, hitting the curve--no problem--               no problem at all--and then suddenly, there is a veryserious                problem and as the car skids out of control--                                                                    CUT TO:               PAUL, doing his best, fighting the conditions and just as it                looks likehe's got things going his way--                                                                    CUT TO:               THE ROAD, swerving down and                                                                    CUT TO:               THEMUSTANG, all traction gone and                                                                    CUT TO:               PAUL, helpless and                                                                    CUT TO:               THE MUSTANG,skidding, skidding and                                                                    CUT TO:               THE ROAD as it drops more steeply away and the wind whips                the snow acrossand                                                                    CUT TO:               THE MUSTANG starting to spin and                                                                    CUT TO:               THE MOUNTAINSIDE as thecar skids off the road, careens down,                slams into a tree, bounces off, flips, lands upside down,                skids, stops finally, dead.               HOLD ON THE CAR A MOMENT               There is still thesound of the WIND, and there is still the                music coming from the tape, perhaps the only part of the car                left undamaged. Nothing moves inside. There is only the WIND                and the TAPE. Thewind gets louder.                                                                    CUT TO:               THE WRECK looked at from a distance. The MUSIC sounds are                only faintlyheard.                                                                    CUT TO:               THE AREA WHERE THE WRECK IS--AS SEEN FROM THE ROAD. The car                is barely visible as the snow begins to coverit.                                                                    CUT TO:               THE WRECK from outside, and we're close to it now, with the                snow coming down ever harder--already bits of the carare                covered in white.               CAMERA MOVES IN TO               PAUL. He's inside and doing his best to fight is, but his                consciousness is going. He tries to keep his eyes openbut                they're slits.               Slowly, he manages to reach out with his left arm for his                briefcase--               --and he clutches it to his battered body. The MUSIC continues                on.               ButPAUL is far from listening. His eyes flutter, flutter                again. Now they're starting to close.               The man is dying.               Motionless, he still clutches the battered briefcase.               HOLD ON THE CASE.Then--                                                               DISSOLVE TO:               The BRIEFCASE in Paul's hands as he sits at a desk.                                     SINDELL (O.S.)                         What'sthat?               PULL BACK TO REVEAL               We are in New York City in the office of Paul's literary                agent, MARCIA SINDELL. The walls of the large room are                absolutely crammed withbook and movie posters, in English                and all other kinds of other languages, all of them featuring                the character of MISERY CHASTAIN, a perfectly beautiful woman.                Misery's Challenge,Misery's Triumph--eight of them. All                written by Paul Sheldon.                                                                    CUT TO:               PAUL, lifting up the battered briefcase--maybe when newit                cost two bucks, but he treats it like gold.                                     PAUL                         An old friend. I was rummaging through                          a closet and it was justsitting                          there. Like it was waiting for me.                                                                    CUT TO:                                     SINDELL                              (searching fora                               compliment)                         It's... it's nice, Paul. It's got...                          character.                                                                    CUT TO:               THE TWO OF


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                                                                     TERMINATOR:SALVATION                                                     Written by                                 John Brancato & MichaelFerris                                                                                REVISEDDRAFT                                                             10.12.05                                                  SUPER ON BLACK:                    LONGVIEWSTATE CORRECTIONAL FACILITY, TEXAS, 2003.                    FADE IN ON:                              INT.   DEATH ROW/CELL - DAWN                    STARTTIGHT ON MARCUS WRIGHT. He's an intense, powerful man,          20's-30's, his head shaven. Marcus stares INTO CAMERA with a          resigned expression. We hear the voice of aPRIEST:                                         PRIEST                     Yea, though I walk through the valley                     of the shadow of death, I will fear                     no evil: for thou art beside me;thy                     rod and thy staff they comfort me...                    CAMERA PULLS BACK, straight up. MARCUS lies in his cot,          staring at the ceiling. He's smoking a CIGARETTE. This          OVERHEADANGLE reveals a PRIEST with a BIBLE, in a folding          chair beside him. A CHESS SET, stacks of BOOKS, WRITING          MATERIALS in the cell. TWO GUARDS wait, shackles in hand.                    MARCUShas no interest in scripture. He blows a cloud of          SMOKE which drifts in the direction of the PRIEST, who blinks          and shuts his bible.                    One of the GUARDS unlocks the cell doorfor--                    DR. SERENA KOGAN. She's in her 30's-50's, brilliant,          attractive, but thin and pale, a scarf tied around her head.          She carries a CLIPBOARD. The PRIEST backs off to giveher          some privacy with Marcus.                                         SERENA                     Marcus-- I'm Doctor Serena Kogan, I'm                     with Project Angel. You consentedto                     donate your body to science...                                                                                (CONTINUED)                                                                                2.          CONTINUED:                                           MARCUS                       Yeah, I'm pretty much done withit.                                           SERENA                       You've been chosen for our research.                                             MARCUS                       Chosen?    Luckyme.                                           SERENA                       We just need a couple of signatures...                    Marcus sits up, she passes him the clipboard and pen-- he          notes that herhands are SHAKING.                                           MARCUS                       You don't need to be scared.                                             SERENA                       I'm not.    It'snerve degeneration.                    MARCUS looks up from the form, takes in the scarf covering          her sparsehair.                                             MARCUS                       Cancer?                                            SERENA                           (NODS)                       You're not the onlyone with a                       death sentence.                    MARCUS meets her eyes.      She studies him a beat.                                           SERENA (cont'd)                       What you're doing isimportant,                       Marcus. Our work is still highly                       experimental... but you may be                       helping people in ways you can't                       begin toimagine.                                           MARCUS                       I'm a regular hero.                    With that sarcastic comment, he SIGNS HIS NAME-- we see the          words "PROJECTANGEL" at the top of DENSE TYPE on the form.                    SERENA takes the clipboard, starts to rise.         She touches his          hand for amoment.                                                                   (CONTINUED)                                                                                3.          CONTINUED:(2)                                            SERENA                     Thank you.     And... I'm sorry.                                         MARCUS                     No one livesforever.                    THE GUARD sees SERENA out.                              INT.   DEATH ROW/CORRIDOR - NIGHT                    LOW ANGLE - MARCUS' CHAINED ANKLESclank as the GUARDS lead          him down the corridor, past PRISONERS in their cells; some          avert their eyes, others give a nod or raise a fist.                                         PRIEST(V.O.)                     Marcus, this is your last                     opportunity to make a confession...                    MARCUS stares straight ahead, taking deep, steady breaths,          struggling not to succumbto fear.                                         PRIEST (V.O.) (cont'd)                     Is there nothing you would say to                     Officer Martinez' family?                              INT.   DEATHROW/EXECUTION CHAMBER - NIGHT                    CLOSE - BUCKLES TIGHTEN... AN ALCOHOL SWAB on MARCUS'          FOREARM... A NEEDLE punctures hisskin.                                         MARCUS (V.O.)                     What can I say. I was seventeen, I                     was angry, I was stupid.                    FINGERS turn the VALVE to releasethe LETHAL CHEMICALS.                    CLOSE ON MARCUS' EYES, looking up toward--                    THE DEADLY I.V., running into his arm.                    From this, he lookstoward--                    HIS REFLECTION in a one-way mirror, the dim shapes of          WITNESSES beyond.                                                                                (CONTINUED)                                                                                4.          CONTINUED:                                           MARCUS (V.O.) (cont'd)                       Yeah...I'm sorry about it. I'm                       sorry about everything. The whole                       goddamn world...                    As the lethal injection takes hold, his POV moves to BRIGHT          LIGHTS overhead,losing FOCUS and BLEACHING TO WHITE...                    From the WHITE SCREEN, a FACE emerges, backlit, blurred--          it's SERENA. She's in focus for just a moment, leaning INTO          CAMERA-- thenmoves OUT OF FRAME.                                                                     CUT TO BLACK.                              SUPER ONBLACK:                    SOUTH-CENTRAL SECTOR, NORTH AMERICA, 2018                              EXT.   CORNFIELD - DUSK                    CORNSTALKS as faras the eye can see, rustling in a summer          breeze. FIGURES are moving within the FIELD. We only make          them out in SILHOUETTE, but all carry HEAVYRIFLES.                              INT.   A-10 COCKPIT - DUSK                    A COMPUTER TARGETING SCREEN - the FIGURES are HIGHLIGHTED in          this tactical display, as is anOCTAGONAL HATCH into the          ground beneath the corn.                              EXT.   CORNFIELD - DUSK                    THE FIGURES in the corn look up-- we hear anAIRCRAFT          APPROACH with a JET WHINE--                    FWOOM! A MASSIVE CONCUSSION as a BUNKER-BUSTING MISSILE          BORES into the earth at high-velocity, burrowingdeep--                    --then a HUGE BLAST - FLAME and DIRT are thrown high in the          air, many of the FIGURES blown sky-high.                    A FLAMING BODY hits the ground IN FG, FACE TOCAMERA... we          now see it was a STEEL TERMINATOR-- its METAL SKULL BLOWN          OPEN and SCORCHED, its RED EYES SHATTERED.                                                                          (CONTINUED)                                                                                5.          CONTINUED:                    A-10 WARTHOGS-- stubby attack planes-- SCREAM from thesky,          RAKING THE REMAINING FIGURES with CANNON FIRE, BLASTING THEM          to bits. These aircraft no longer bear traditional U.S.          insignia-- they're painted in WILD COLORS, graffitilettering          says things like: "BOT BLASTER," "KILL FOR CONNOR," "RAGE          AGAINST THE MACHINES," etc... Resistance fighters.                    Motley military and civilian CHOPPERS LAND in theCORNFIELD,          disgorging RESISTANCE SOLDIERS. These are human troops in          high-tech HELMETS, carrying slightly futuristic conventional          ASSAULT WEAPONS.                    THEWARTHOGS veer off, laying NAPALM in the distance behind          the SOLDIERS. The troops run toward--                    --AN OPENING which has been blown into the ground, the          remains of theoctagonal hatch where the bunker-buster hit.                    A surviving TERMINATOR rises from the SINGED CORN, FIRES its          PLASMA RIFLE--                    --DROPPING A SOLDIER.His comrades FIRE EXPLOSIVE BULLETS--          and BLOW THE ROBOT APART. The LEADER of this assault group          waves his soldiers to enter the darkhatchway.                              INT.   UNDERGROUND FACILITY/CORRIDOR - NIGHT                    COLLAPSED CEILINGS, FLAMES, a high-tech installation in          ruins; REDLIGHTING, distinctive of Skynet environments.                    SOLDIERS flick on HELMET LAMPS and make their way carefully          inside-- pretty deserted. They kick aside rubble toenter--                              INT.   UNDERGROUND FACILITY/ROBOTIC ROOM - NIGHT                    HELMET BEAMS play over BANKS OF ELECTRONICS


ï»¿Project Gutenberg's The Children of the New Forest, by Captain MarryatThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Children of the New ForestAuthor: Captain MarryatRelease Date: May 21, 2007 [EBook#21558]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE CHILDREN OF THE NEW FOREST ***Produced by Nick Hodson of London, EnglandThe Children of the New Forest, by CaptainMarryat.________________________________________________________________________Captain Frederick Marryat was born July 10 1792, and died August 8 1848.He retired from the British navy in 1828 inorder to devote himself towriting.  In the following 20 years he wrote 26 books, many of which areamong the very best of English literature, and some of which are stillin print.Marryat had an extraordinary gift for theinvention of episodes in hisstories.  He says somewhere that when he sat down for the day's work, henever knew what he was going to write.  He certainly was a literarygenius."The Children of the New Forest" waspublished in 1847, thetwenty-fourth book to flow from Marryat's pen, and the last publishedwhilst he was still alive.  It was written for children, and has beenphenomenally succesful: it is still in print over 150 yearslater.This e-text was transcribed in 1998 by Nick Hodson, and was reformattedin 2003, and again in 2005.________________________________________________________________________THE CHILDREN OFTHE NEW FOREST, BY CAPTAIN FREDERICK MARRYAT.CHAPTER ONE.The circumstances which I am about to relate to my juvenile readers tookplace in the year 1647.  By referring to the history of England of thatdatethey will find that King Charles the First, against whom theCommons of England had rebelled, after a civil war of nearly five years,had been defeated, and was confined as a prisoner at Hampton Court.  TheCavaliers, orthe party who fought for King Charles, had all beendispersed, and the Parliamentary army under the command of Cromwell werebeginning to control the Commons.It was in the month of November in this year that KingCharles,accompanied by Sir John Berkely Ashburnham and Legg, made his escapefrom Hampton Court, and rode as fast as the horses could carry themtowards that part of Hampshire which led to the New Forest.  Thekingexpected that his friends had provided a vessel in which he might escapeto France; but in this he was disappointed.  There was no vessel ready,and after riding for some time along the shore he resolved to gotoTitchfield, a seat belonging to the Earl of Southampton.  After a longconsultation with those who attended him, he yielded to their advice,which was, to trust to Colonel Hammond, who was governor of the Isle ofWightfor the Parliament, but who was supposed to be friendly to theking.  Whatever might be the feelings of commiseration of ColonelHammond towards a king so unfortunately situated, he was firm in hisduties towards hisemployers, and the consequence was that King Charlesfound himself again a prisoner in Carisbrook Castle.But we must now leave the king, and retrace history to the commencementof the civil war.  A short distancefrom the town of Lymington, which isnot far from Titchfield, where the king took shelter, but on the otherside of the Southampton Water, and south of the New Forest, to which itadjoins, was a property called Arnwood,which belonged to a Cavalier ofthe name of Beverley.  It was at that time a property of considerablevalue, being very extensive, and the park ornamented with valuabletimber; for it abutted on the New Forest, andmight have been supposedto have been a continuation of it.  This Colonel Beverley, as we mustcall him, for he rose to that rank in the king's army, was a valuedfriend and companion of Prince Rupert's, and commandedseveral troops ofcavalry.  He was ever at his side in the brilliant charges made by thisgallant prince, and at last fell in his arms at the battle of Naseby.Colonel Beverley had married into the family of the Villiers, andtheissue of his marriage was two sons and two daughters; but his zeal andsense of duty had induced him, at the commencement of the war, to leavehis wife and family at Arnwood, and he was fated never to meetthemagain.  The news of his death had such an effect upon Mrs Beverley,already worn with anxiety on her husband's account, that a few monthsafterwards she followed him to an early tomb, leaving the fourchildrenunder the charge of an elderly relative till such time as the family ofthe Villiers could protect them; but, as will appear by our history,this was not at that period possible.  The life of a king and many otherliveswere in jeopardy, and the orphans remained at Arnwood, still underthe care of their elderly relation, at the time that our historycommences.The New Forest, my readers are perhaps aware, was first enclosed byWilliamthe Conqueror as a royal forest for his own amusement, for inthose days most crowned heads were passionately fond of the chase; andthey may also recollect that his successor, William Rufus, met his deathin thisforest by the glancing of an arrow shot by Sir Walter Tyrrell.Since that time to the present day it has continued a royal domain.  Atthe period of which we are writing it had an establishment of verderersand keepers,paid by the Crown, amounting to some forty or fifty men.At the commencement of the civil war they remained at their posts, butsoon found, in the disorganised state of the country, that their wageswere no longer to beobtained; and then, when the king had decided uponraising an army, Beverley, who held a superior office in the forest,enrolled all the young and athletic men who were employed in the forest,and marched them awaywith him to join the king's army.  Some fewremained, their age not rendering their services of value, and amongthem was an old and attached servant of Beverley's, a man above sixtyyears of age, whose name wasJacob Armitage, and who had obtained thesituation through Colonel Beverley's interest.  Those who remained inthe forest lived in cottages many miles asunder, and indemnifiedthemselves for the non-payment of theirsalaries by killing the deer forsale and for their own subsistence.The cottage of Jacob Armitage was situated on the skirts of the NewForest, about a mile and a half from the mansion of Arnwood; and whenColonelBeverley went to join the king's troops, feeling how littlesecurity there would be for his wife and children in those troubledtimes, he requested the old man, by his attachment to the family, not tolose sight of Arnwood,but to call there as often as possible to see ifhe could be of service to Mrs Beverley.  The colonel would havepersuaded Jacob to have altogether taken up his residence at themansion; but to this the old manobjected.  He had been all his lifeunder the greenwood tree, and could not bear to leave the forest.  Hepromised the colonel that he would watch over his family, and ever be athand when required; and he kept hisword.  The death of Colonel Beverleywas a heavy blow to the old forester, and he watched over Mrs Beverleyand the orphans with the greatest solicitude; but when Mrs Beverleyfollowed her husband to the tomb hethen redoubled his attentions, andwas seldom more than a few hours at a time away from the mansion.  Thetwo boys were his inseparable companions, and he instructed them, youngas they were, in all the secrets ofhis own calling.  Such was the stateof affairs at the time that King Charles made his escape from HamptonCourt; and I now shall resume my narrative from where it was broken off.As soon as the escape of Charles theFirst was made known to Cromwelland the Parliament, troops of horse were despatched in every directionto the southward, towards which the prints of the horses' hoofs provedthat he had gone.  As they found that hehad proceeded in the directionof the New Forest, the troops were subdivided and ordered to scour theforest, in parties of twelve to twenty, while others hastened down toSouthampton, Lymington, and every otherseaport or part of the coastfrom which the king might be likely to embark.  Old Jacob had been atArnwood on the day before, but on this day he had made up his mind toprocure some venison, that he might not gothere again empty-handed; forMiss Judith Villiers was very partial to venison, and was not slow toremind Jacob if the larder was for many days deficient in that meat.Jacob had gone out accordingly; he had gained hisleeward position of afine buck, and was gradually nearing him by stealth, now behind a hugeoak-tree, and then crawling through the high fern, so as to get withinshot unperceived, when on a sudden the animal, whichhad been quietlyfeeding, bounded away and disappeared in the thicket.  At the same timeJacob perceived a small body of horse galloping through the glen inwhich the buck had been feeding.  Jacob had never yet seentheParliamentary troops, for they had not during the war been sent intothat part of the country, but their iron skull-caps, their buffaccoutrements, and dark habiliments, assured him that such these mustbe; so verydifferent were they from the gaily-equipped Cavalier cavalrycommanded by Prince Rupert.  At the time that they advanced, Jacob hadbeen lying down in the fern near to some low black-thorn-bushes; notwishing to beperceived by them, he drew back between the bushes,intending to remain concealed until they should gallop out of sight; forJacob thought, "I am a king's forester, and they may consider me as anenemy; and whoknows how I may be treated by them?"  But Jacob wasdisappointed in his expectations of the troops riding past him; on thecontrary, as soon as they arrived at an oak-tree within twenty yards ofwhere he wasconcealed, the order was given to halt and dismount; thesabres of the horsemen clattered in their iron sheaths as the order wasobeyed, and the old man expected to be immediately discovered; but oneof thethorn-bushes was directly between him and the troopers, andeffectually concealed him.  At last Jacob ventured to raise his head andpeep through the bush; and he perceived that the men were loosening thegirths oftheir black horses, or wiping away the perspiration from theirsides with handfuls of fern.A powerfully-framed man, who appeared to command the others, wasstanding with his hand upon the arched neck of his steed,which appearedas fresh and vigorous as ever, although covered with foam andperspiration.  "Spare not to rub down, my men," said he, "for we havetried the mettle of our horses, and have now but onehalf-hour'sbreathing-time.  We must be on, for the work of the Lord must be done.""They say that this forest is many miles in length and breadth,"observed another of the men, "and we may ride many a mile to nopurpose;but here is James Southwold, who once was living in it as a verderer;nay, I think that he said that he was born and bred in these woods.  Wasit not so, James Southwold?""It is even as you say," replied anactive-looking young man; "I wasborn and bred in this forest, and my father was a verderer before me."Jacob Armitage, who listened to the conversation, immediately recognisedthe young man in question.  He was oneof those who had joined theking's army with the other verderers and keepers.  It pained him much toperceive that one who had always been considered a frank, true-heartedyoung man, and who left the forest to fightin defence of his king, wasnow turned a traitor, and had joined the ranks of the enemy; and Jacobthought how much better it had been for James Southwold if he had neverquitted the New Forest, and had not beencorrupted by evil company: "Hewas a good lad," thought Jacob, "and now he is a traitor and ahypocrite.""If born and bred in this forest, James Southwold," said the leader ofthe troop, "you must fain know all its mazesand paths.  Now call tomind, are there no secret hiding-places in which people may remainconcealed; no thickets which may cover both man and horse?  Peradventurethou mayst point out the very spot where this manCharles may behidden.""I do know one dell, within a mile of Arnwood," replied James Southwold,"which might cover double our troop from the eyes of the most wary.""We will ride there, then," replied theleader.  "Arnwood, sayest thou?Is not that the property of the Malignant, Cavalier Beverley, who wasshot down at Naseby?""Even so," replied Southwold; "and many is the time--that is, in theolden time, before I wasregenerated--many is the day of revelry that Ihave passed there; many the cup of good ale that I have quaffed.""And thou shalt quaff it again," replied the leader.  "Good ale was notintended only for Malignants, but forthose who serve diligently.  Afterwe have examined the dell which thou speakest of, we will direct ourhorses' heads towards Arnwood.""Who knows but what the man Charles may be concealed in the Malignant'shouse?"observed another."In the day, I should say no," replied the leader; "but in the night theCavaliers like to have a roof over their heads; and therefore at night,and not before, will we proceed thither.""I have searchedmany of their abodes," observed another; "but search isalmost in vain.  What with their spring panels and secret doors, theirfalse ceilings and double walls, one may ferret for ever and findnothing.""Yes," replied theleader, "their abodes are full of these Popishabominations; but there is one way which is sure; and if the man Charlesbe concealed in any house, I venture to say that I will find him.  Fireand smoke will bring him forth;and to every Malignant's house withintwenty miles will I apply the torch; but it must be at night, for we arenot sure of his being housed during the day.  James Southwold, thouknowest well the mansion of Arnwood?""Iknow well my way to all the offices below--the buttery, the cellar,and the kitchen; but I cannot say that I have ever been into theapartments of the upper house.""That it needeth not; if thou canst direct us to the lowerentrance, itwill be sufficient.""That can I, Master Ingram," replied Southwold, "and to where the bestale used to be found.""Enough, Southwold, enough; our work must be done, and diligently.  Now,my men, tightenyour girths; we will just ride to the dell: if itconceals not whom we seek, it shall conceal us till night, and then thecountry shall be lighted up with the flames of Arnwood, while wesurround the house and preventescape.  Levellers, to horse!"The troopers sprang upon their saddles, and went off at a hard trot,Southwold leading the way.  Jacob remained among the fern until theywere out of sight, and then rose up.  He looked fora short time in thedirection in which the troopers had gone, stooped down again to take uphis gun, and then said, "There's providence in this; yes, and there'sprovidence in my not having my dog with me, for he wouldnot haveremained quiet for so long a time.  Who would ever have thought thatJames Southwold would have turned a traitor!  More than traitor, for heis now ready to bite the hand that has fed him, to burn the housethathas ever welcomed him.  This is a bad world, and I thank heaven that Ihave lived in the woods.  But there is no time to lose;" and the oldforester threw his gun over his shoulder and hastened away in thedirectionof his own cottage."And so the king has escaped," thought Jacob, as he went along, "and hemay be in the forest!  Who knows but he may be at Arnwood, for he musthardly know where to go for shelter?  I must hasteand see Miss Judithimmediately.  `Levellers, to horse!' the fellow said.  What's aLeveller?" thought Jacob.As perhaps my readers may ask the same question, they must know that alarge proportion of the Parliamentaryarmy had at this time assumed thename of Levellers, in consequence of having taken up the opinion thatevery man should be on an equality, and property should be equallydivided.  The hatred of these people to anyone above them in rank orproperty, especially towards those of the king's party, which mostlyconsisted of men of rank and property, was unbounded, and they weremerciless and cruel to the highest degree; throwingoff much of hatfanatical bearing and language which had before distinguished thePuritans.  Cromwell had great difficulty in eventually putting themdown, which he did at last accomplish by hanging and slaughteringmany.Of this Jacob knew nothing; all he knew was, that Arnwood was to beburnt down that night, and that it would be necessary to remove thefamily.  As for obtaining assistance to oppose the troopers, that heknew tobe impossible.  As he thought of what must take place, hethanked God for having allowed him to gain the knowledge of what was tohappen, and hastened on his way.  He had been about eight miles fromArnwood whenhe had concealed himself in the fern.  Jacob first went tohis cottage to deposit his gun, saddled his forest pony, and set off forArnwood.  In less than two hours the old man was at the door of themansion; it was thenabout three o'clock in the afternoon, and being inthe month of November, there was not so much as two hours of daylightremaining.  "I shall have a difficult job with the stiff old lady,"thought Jacob, as he rang the bell;"I don't believe that she would riseout of her high chair for old Noll and his whole army at his back.  Butwe shall see."CHAPTER TWO.Before Jacob is admitted to the presence of Miss Judith Villiers, wemust give someaccount of the establishment at Arnwood.  With theexception of one male servant, who officiated in the house and stable ashis services might be required, every man of the household of ColonelBeverley had followedthe fortunes of their master, and as none hadreturned, they, in all probability, had shared his fate.  Three femaleservants, with the man above mentioned, composed the whole household.Indeed, there was everyreason for not increasing the establishment; forthe rents were either paid in part or not paid at all.  It was generallysupposed that the property, now that the Parliament had gained the day,would be sequestrated,although such was not yet the case; and thetenants were unwilling to pay, to those who were not authorised toreceive, the rents which they might be again called upon to make good.Miss Judith Villiers, therefore, foundit difficult to maintain thepresent household; and although she did not tell Jacob Armitage thatsuch was the case, the fact was, that very often the venison which hebrought to the mansion was all the meat that was inthe larder.  Thethree female servants held the offices of cook, attendant upon MissVilliers, and housemaid; the children being under the care of noparticular servant, and left much to themselves.  There had beenachaplain in the house, but he had quitted before the death of MrsBeverley, and the vacancy had not been filled up; indeed, it could notwell be, for the one who left had not received his salary for manymonths, and MissJudith Villiers, expecting every day to be summoned byher relations to bring the children and join them, sat in her high chairwaiting for the arrival of this summons, which, from the distractedstate of the times, hadnever come.As we have before said, the orphans were four in number; the two eldestwere boys, and the youngest were girls.  Edward, the eldest boy, wasbetween thirteen and fourteen years old; Humphrey, thesecond, wastwelve; Alice, eleven; and Edith, eight.  As it is the history of theseyoung persons which we are about to narrate, we shall say little aboutthem at present, except that for many months they had been underlittleor no restraint, and less attended to.  Their companions were Benjamin,the man who remained in the house, and old Jacob Armitage, who passedall the time he could spare with them.  Benjamin was rather weakinintellect, and was a source of amusement rather than otherwise.  As forthe female servants, one was wholly occupied with her attendance on MissJudith, who was very exacting, and had a high notion of herownconsequence.  The other two had more than sufficient employment; as,when there is no money to pay with, everything must be done at home.That, under such circumstances, the boys became boisterous andthelittle girls became romps, is not to be wondered at; but their havingbecome so was the cause of Miss Judith seldom admitting them into herroom.  It is true that they were sent for once a day, to ascertain ifthey werein the house or in existence, but soon dismissed and left totheir own resources.  Such was the neglect to which these young orphanswere exposed.  It must, however, be admitted, that this very neglectmade themindependent and bold, full of health from constant activity,and more fitted for the change which was so soon to take place."Benjamin," said Jacob, as the other came to the door, "I must speakwith the old lady.""Have


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  BRUCE ALMIGHTYby Steve Koren & Mark O'Keefe  Rewrite by Steve Oedekerk           7/30/02 Shady AcresEntertainmentINT. KOWOLSKI'S BAKERY - KITCHEN - DAYA news crew shuttles around a GIGANTIC COOKIE. Standing byare the KOWOLSKI BROTHERS, GUSTOV and VOL, two SHORT,STOCKY,MEN, along with MOTHER KOWOLSKI and other bakery familyemployees. A "30 YEAR ANNIVERSARY" sign hangs in thebackground.BRUCE NOLAN looks into a make-up mirror, desperately tryingto place a largesegment of wayward hair.                     BRUCE          Oh, God, no! The hair's wrong.          This is a bad sign.               (calling out)          We really need to get a make-up          person?!The segmentproducer, ALLY LOMAN, steps over.                     ALLY          Not in the budget. And not to                         *                                                                *          worry, you're going to lookgreat          in this.She holds out a HAIR NET.                     BRUCE          A hair net? I'm not wearing a hair          net. I just did the hair.                     ALLY               (matter of fact)          Healthcode. In the kitchen or          around the cookie, you gotta have          it.                     BRUCE               (to crew: re hair net)          You guy's should tell me this          before hand, this is like ahuge          waste of...moose.Bruce spreads the hair net, bends down out of frame, comes uplooking ridiculous and very disgruntled.                     BRUCE          Remind me to swing by anelementary                   *          school after this and serve lunch.Ally laughs.                                                       2.                     ALLY          You're a thing of beauty.     In          three,two, one. . .Bruce SNAPS from pissed to instant charismatic TV newsman.(Note: Whenever Bruce speaks on camera he speaks in his"REPORTER'S VOICE" - that recognizable, too-smooth deliverythat all news reportersseem to have. In mathematical termsBruce's version is to the 7th power.)                    BRUCE          For three decades the Kowolski          Family Bakery has been a mainstay          in downtown Buffalo.Known for          their sinfully rich, cream filled,          deep fried polski pierogis. And          the occasional sugar induced coma          that follows. Today, in honor of          their 30 year anniversary,Momma          Kowolski and her sons Gustov and          Vol, decided to do something, a          little bit different. Tell me          guys, how did this idea come about?                       GUSTOV          Well,    Volsaid to me, 'Gustov, why          don't    we make the biggest chocolate          chip    cookie in Buffalo?' And I          said,    'Yeah, sure.'                    BRUCE          Wow. Fascinating.Bruce steps up to the HUGECOOKIE.                    BRUCE          The previous Buffalo cookie record          was 3 feet, 17 inches baked by          Gladys Pelsnick. But this behemoth          cookie clearly proving that Gustov          and Volhave much more free time.The Kowolski brothers and all celebrate in the background,toasting with big mugs of milk. Bruce steps forward, looksdramatically at camera, slow zoom in as hespeaks.                       BRUCE (CONT'D)          As we witness the ceremonial          toasting with milk it makes one          pause and think. What are we          really looking athere?                       (MORE)                                                        3.                    BRUCE (CONT'D)          Is it just a big cookie or does          this cookie represent the prideof          Buffalo? Our dedicated and hard          working citizens the key          ingredient, with a few nuts thrown          in.              (motions his eyes to the               Kowolski twins)          And finally, the love ofour          families which provides the warm          chewy center making our beloved          Buffalo the sweetest place to live.Camera is in CLOSE as Bruce signs-off.                    BRUCE (CONT'D)          Andthat's the way the cookie          crumbles. I'm Bruce Nolan,          Eyewitness News.Bruce's hair net SLIPS UP, PUFFING HIS HAIR INTO A BUN ON THETOP OF HIS HEAD. The Kowolskis and bystanders all laugh.Theframe FREEZES.We PULL BACK from the TV and find Bruce holding the remote,watching the recorded spot on TV. We are now...INT. BRUCE AND GRACE'S APARTMENT - NIGHTBruce is with his longtimegirlfriend, GRACE. She has a boxof photos on the coffee table in front of her organizing theminto a photo album.                    BRUCE          So, what do you think?                       GRACE          It'sgood.                       BRUCE          It sucks. It's a story about a          cookie. People with eating          disorders will be riveted,               (goes into huge pathetic                fan character)          Dear Bruce,love the bakery piece.          I can't wait to vomit so I can make          room for more cookies.                       GRACE          I thought it was funny. I love the          hair net. How'd you get it todo          that?                                                             4.                        BRUCE          What? I'm cutting that. They made          me wear that stupid thing. I don't          even look likemyself. The hair is          one of the most important parts of          an on camera persona. Right out of          the gate, I lost the hair          advantage.Grace looks at a photo,                        GRACE          Oh,my gosh, look at this one. My          sister is so drunk.She places it in the album.                        BRUCE          Grace. Try to stay focused here.          I need yourhelp.                     GRACE          Aren't you taking this a little too          seriously?                        BRUCE           It's sweeps Grace. It is serious.           There's an anchor job open. This           isimportant. This is our future!Bruce points to the TV as he says "future," not realizinghe's pointing at the ridiculous image of himself with thehair net bun. Grace can't help butgiggle.                        GRACE           I'm sorry.Bruce collapses into Grace's arms like a child. He clearlyhas a fragile temperament.                     BRUCE               (sighs)          I'm never going toget anchor doing          these kind of assignments. I want          my work to matter.                     GRACE          It does matter. You're funny. You          make people smile. Come on, take a          break, helpme put this album          together.                    BRUCE               (reluctant)          Alright.Grace holds up a photo.                    GRACE          Oh look at this. It's the first          day wemoved in together.It's the two of them, younger, laughing.                      BRUCE               (down)          Yeah, so full of hopes and dreams.                    GRACE          Oh, here's me at mysister's          wedding. I caught the bouquet.It's a picture of Grace overpowering the other bridesmaidsfor the bouquet.                    BRUCE          You look pretty intense,hun.                    GRACE          Well, I was thinking about you.Grace cuddles into Bruce.                    BRUCE          So, you're attracted to me in some          way, is that what you're tryingto          say?Grace rolls over onto Bruce.                    GRACE          You have no idea.                    BRUCE          I was saving myself for the wedding          night, but if you keep this up,I          may lose my resolve.Grace stands, pulling Bruce up.                    GRACE          Well, that's the way the cookie          crumbles.They kiss, stumbling toward thebedroom.                                                           6.                       BRUCE            Hey, that's a good line, but you            need more resonance. Fromthe            diaphragm.                (newscaster voice)            That's the way the cookie crumbles.                      GRACE            Oh, say itagain.                      BRUCE                (bigger)            That's the way the cookie crumbles.                      GRACE                (sweet, southern groupie)            Oh, I just loveon-air            personalities.                       BRUCE                 (newscaster voice)            Well then, let me take these            clothes off and slip into my hair            net.Grace laughs, Bruce joins in as theydisappear into thebedroom.                                            CUT TO:A TELEVISION SCREENWe see the INTRO FOR SIXTY MINUTES:                      NEWS CLIP            I'm Ed Bradley, I'mMerely Safer,            an d I ' m --LESLIE STAHL is HIT IN THE NECK WITH A TRANQUILIZER DART.Her head wavers, then DROPS on the desk. The camera PANS toBRUCE, who lowers a bamboo blow gun, coolyaddresses camera.                      BRUCE            ...Bruce Nolan. And this is Sixty            Minutes.THE SIXTY MINUTES TICKING CLOCK                                            DISSOLVETO:BRUCE'S ALARM CLOCK - IT RINGSWe are in. . .                                                            7.INT. BRUCE AND GRACE'S APARTMENT - MORNINGBruce lies next to Gracewith a big smile on his face. Gracehits the alarm, rolls over snuggling close to Bruce.                    GRACE          Sweety, time to get up...She kisses Bruce, gets up.                    BRUCE          No, I'mhaving a great dream.The covers are RIPPED OUT OF FRAME.   Bruce throws a mockhissy fit.INT. BEDROOM - MORNINGBruce watches TV as he buttons hisshirt.                     SPORTSCASTER          ...and the Sabers lost another          close one last night. Four to          three to the Toronto Maple Leafs.                     BRUCE          Of course they lost,they're my          team.                                            CUT TO:MOMENTS LATERBruce checks his hair in the mirror practicing his new sign-off.                     BRUCE          "And that's theway the cookie          crumbles."               (calls to Grace)          You know, I think there might be          something to that cookie line.          Everything great anchor has his own          signature sign-off.               (asWalter Cronkite)          "And that's the way the cookie          crumbles."ANGLE - SAMPeeing in the corner on thecarpet.                                                              8.                     BRUCE          Oh no!   Grace, the dog!                    GRACE (O.S.)          I'm in theshower!                     BRUCE          Ah!INT. APARTMENT STAIRCASEBruce runs along carrying the peeing Sam with extended armsdodges a man ascending the stares, who getssprinkled.                    BRUCE          Whoops, sorry.EXT. APARTMENT - CONTINUOUSBruce makes it outside, sets Sam down on the grass. Samlooks up innocently at Bruce,